අසෙයිබයිජානි සඟරාව සඳහා,  මොල්ලා නස්රදින්(සඟරාව) බලන්න

නස්රදින් (පර්සියානු ملا نصرالدین, අරාබි: جحا transl.: Joĥa ,نصرالدين  අර්ථය "විශ්වාසය ජය ගනී," තුර්කි නස්රෙදින් හොකා,  "කොසා නසිර්",  බොස්නියානු නස්රුදින් හොඩ්සා) වනාහි satirical sufi figure who lived  during the මධ්‍යතන යුගයන්හිදී (13වන සියවස ආසන්නයෙහි), somewhere in Greater Khorasan,Iran. under the Seljuq rule. Many nations of the Near, මැද පෙරදිග and Central Asia claim the Nasreddin as their own (Afghans, Iranians, Turks, and Uzbeks). His name is spelled differently in various cultures and is often preceded or followed by titles "Hodja", "Mullah", or "Effendi" (see section "Name variants"). Nasreddin was a populist philosopher and wise man, remembered for his funny stories and anecdotes. In චීනය he is known as Afanti, a folk hero of the Uyghurs (a Turkic people)

Much of Nasreddin's actions can be described as illogical yet logical, rational yet irrational, bizarre yet normal, foolish yet sharp, and simple yet profound. What adds even further to his uniqueness is the way he gets across his messages in unconventional yet very effective methods in a profound simplicity.

Nasreddin's origin & legacy

According to an unproven claim, the legendary Nasreddin lived in Anatolia; he was born in Hortu Village in Sivrihisar, Eskişehir in the 13th century, then settled in Akşehir, and later in Konya, where he died.

The "International Nasreddin Hodja Festival" is held annually in Akşehir between July 5-10.

As generations went by, new stories were added, others were modified, and the character and his tales spread to other regions. The themes in the tales have become part of the folklore of a number of nations' and express the national imaginations of a variety of cultures. Although most of them depict Nasreddin in an early small-village setting, the tales (like Aesop's fables) deal with concepts that have a certain timelessness. They purvey a pithy folk wisdom that triumphs over all trials and tribulations.

Today, Nasreddin stories are told in a wide variety of regions, and have been translated into many languages. Some regions independently developed a character similar to Nasreddin, and the stories have become part of a larger whole. In many regions, Nasreddin is a major part of the culture, and is quoted or alluded to frequently in daily life. Since there are thousands of different Nasreddin stories, one can be found to fit almost any occasion. Nasreddin often appears as a whimsical character of a large Albanian, Arab, Azeri, Bengali, Bosnian, Hindi, Pashto, Persian, Serbian, Turkish and Urdu  folk tradition of vignettes, not entirely different from zen koans. He is also very popular in Greece for his wisdom and his judgment;  he is also known in Bulgaria, although in a different role, see below.

Nasreddin's tales
The Nasreddin stories are known throughout the Middle East and have touched cultures around the world. Superficially, most of the Nasreddin stories may be told as jokes or humorous anecdotes. They are told and retold endlessly in the teahouses and caravanserais of Asia and can be heard in homes and on the radio. But it is inherent in a Nasreddin story that it may be understood at many levels. There is the joke, followed by a moral – and usually the little extra which brings the consciousness of the potential mystic a little further on the way to realization.

The anecdotes attributed to him reveal a satirical personality with a biting tongue that he was not afraid to use even against the most tyrannical rulers of his time. He is the symbol of Middle-Eastern satirical comedy and the rebellious feelings of people against the dynasties that once ruled this part of the world.

Some mystic traditions use jokes, stories and poetry to express certain ideas, allowing the bypassing of the normal discriminative thought patterns. The rationality that confines and objectifies the thinking process is the opposite to the intuitive, gestalt mentality that the mystic is attempting to engage, enter and retain.

By developing a series of impacts that reinforce certain key ideas, the rational mind is occupied with a surface meaning whilst other concepts are introduced. Thus paradox, unexpectedness, and alternatives to convention are all expressed.  Although there are several books that attempt to put together the many jokes attributed to him, most people encounter his jokes in the context of their daily lives. Often, a Nasreddin joke is told by one party when the other party makes the kind of mistake that Nasreddin had parodied.

Some tales of Nasreddin are also adapted and used as teaching stories by followers of Sufism. This is such a common practice that, given the nature of many of Nasreddin's jokes, multiple interpretations (or several 'layers' of meaning) are to be expected. Idries Shah, a well-known Sufi and writer, published a number of collections of Nasreddin stories (see list below), and suggested that the stories' various layers of meaning have a teaching-effect.

In some Bulgarian folklore tales that originated during the Ottoman, the name appears as an antagonist to a local wise man, named Hitar Petar (Хитър Петър, meaning "cunning Peter"). In Sicily the same tales involve a man named Giufà.

While Nasreddin is mostly known as a character from anecdotes, whole novels and stories have later been written and an animated feature film was almost made.

The oldest manuscript of Nasreddin was found in 1571.

In Europe, Nasreddin can be compared with the German 14th century figure Till Eulenspiegel, published in 1510.

The Russian composer Shostakovich celebrates Nasreddin, among other figures, in the second movement (Yumor, 'Humor') of his Symphony No. 13. The text, by Yevgeny Yevtushenko, portrays humor as a weapon against dictatorship and tyranny. Shostakovich's music shares many of the 'foolish yet profound' qualities of Nasreddin's sayings listed above.

Examples

Delivering a Khutba
Once, Nasreddin was invited to deliver a khutba. When he got on the minbar (pulpit), he asked "Do you know what I am going to say?" The audience replied "NO", so he announced "I have no desire to speak to people who don't even know what I will be talking about" and he left.

The people felt embarrassed and called him back again the next day. This time when he asked the same question, the people replied "YES". So Nasreddin said, "Well, since you already know what I am going to say, I won't waste any more of your time" and he left.

Now the people were really perplexed. They decided to try one more time and once again invited the Mullah to speak the following week. Once again he asked the same question - "Do you know what I am going to say?" Now the people were prepared and so half of them answered "YES" while the other half replied "NO". So Nasreddin said "The half who know what I am going to say, tell it to the other half" and he left!

Two sides of a river
Nasreddin sat on a river bank when someone shouted to him from the opposite side:
- "Hey! how do I get across?"
- "You are across!" Nasreddin shouted back.

Whom do you trust
A neighbour comes to the gate of Mula Nasreddin's yard. The Mulla goes out to meet him outside.
"Would you mind, Mulla," the neighbour asks, "lending me your donkey today? I have some goods to transport to the next town."
The Mulla doesn't feel inclined to lend out the animal to that particular man, however; so, not to seem rude, he answers:
"I'm sorry, but I've already lent him to somebody else."
Suddenly the donkey can be heard braying loudly behind the wall of the yard.
"You lied to me, Mulla!" the neighbour exclaims. "There it is behind that wall!"
"What do you mean?" the Mulla replies indignantly. "Whom would you rather believe, a donkey or your Mulla?"

UNESCO
The stories of Mulla Nasreddin are in many languages.  They are popular all over the world.  In honor of Mulla Nasreddin, UNESCO (http://portal.unesco.org/) decided to call the year 1996-1997 International Nasreddin Year.

Collections
600 Mulla Nasreddin Tales, collected by Mohammad Ramazani (Popular Persian Text Series: 1) (in Persian).
 The Exploits of the Incomparable Mulla Nasrudin, by Idries Shah
 The Subtleties of the Inimitable Mulla Nasrudin, by Idries Shah
 The Pleasantries of the Incredible Mullah Nasrudin, by Idries Shah
 The Wisdom of Mulla Nasruddin, by Shahrukh Husain

Name variants
Nasreddin's name is also commonly spelled Nasrudin, Nasr ud-Din, Nasredin, Naseeruddin, Nasruddin, Nasr Eddin, Nastradhin, Nasreddine, Nastratin, Nusrettin, Nasrettin and Nastradin (lit.: Victory of the Deen).

His name is sometime preceded or followed by a title of wisdom used in the corresponding cultures: "Hoxha", "Khwaje", "Hodja", "Hojja","Hodscha", "Hodža", "Hoca", "Hogea", "Hodza".

In Arabic speaking countries this character is known as "Djoha", "Djuha", "Dschuha", "Giufà", "Chotzas", "Mullah", "Mulla", "Molla", "Maulana", "Efendi", "Ependi".  For these, see Hajji, Mullah and Effendi (In several cultures his name is just the title).

In the Swahili culture many of his stories are being told under the name of "Abunuwasi".

See also
Hershele Ostropoler
Gebre Hanna

References

External links

 Booklist comprising larger collections of Nasreddin stories in various languages
 Nasruddin.org "Nasruddin is an ancient Persian folk character, telling stories in the Sufi tradition of Rumi and Hafiz, as well as wisdom tales from many faiths, ..."
 Afghanistan Online: Mullah Nasruddin Jokes "Funny Works.. A few of the thousands of humurous and thoughtful stories about Mullah Nasruddin" afghan-network.net
 Mullah Nasruddin and his Spiritual Stories  "This page contains numerous Mullah Nasruddin Jokes, very funny!" afghan-web.com

Iranian culture
Persian culture
Humor
Islamic history
Persian literature
Rhetoric
Stock characters by name
Sufis
Turkish literature
Urdu literature
Arabic literature
Hindi literature

නස්රදින්


Latina târzie este limba latină din Antichitatea târzie, în mod obișnuit versiunile latinei care se scria în secolele al III-lea - al IV-lea  și până în secolul al VII-lea în Spania. Formele latinei regrupate sub această denumire sunt versiuni intermediare între latina clasică și latina medievală. Aceste versiuni sunt diferite de limba latină vulgară, care era doar vorbită.  Chiar dacă autorii de limbă latină târzie încorporează mai mult sau mai puțin din vocabularul și din construcțiile proprii latinei vulgare, aceste forme de latină păstrează, într-o largă măsură, caracteristicile generale ale latinei clasice. În aceste forme ale latinei târzii, este posibil să se distingă o formă deosebită, aceea din patrologiile latine, o colecție de texte creștine.

Latina târzie a fost larg folosită ca limbă de transcriere a registrelor necesare în relațiile socio-economice la frontierele  cu popoarele nelatinofone. Potrivit lui Antoine Meillet,

Latina târzie a servit apoi, în cursul secolelor următoare la construirea unor termeni pentru limbile romanice.

Note

Bibliografie
 .

Vezi și
 Appendix Probi

Istoria limbii latine
Limbi antice

Latina târzie


Cueva del Callao es una cueva con siete cámaras ubicadas en la provincia de Cagayán en el noreste de la isla Luzón en Filipinas. Es uno de los atractivos turísticos más conocidos de la provincia. Se encuentra en los barangays de Magdalo y Quibal, Peñablanca, cerca de la ciudad de Tuguegarao, la capital de la provincia de Cagayán.

Tiene una catedral natural situada en la primera cámara, que se convirtió en una capilla para la población local. Las condiciones dentro de la cueva formaron estalactitas y estalagmitas, sobre todo en las cámaras más profundas.

Cada cámara tiene grietas naturales, que dejan pasar la luz a la cueva, esto sirve como iluminación de otras áreas, de otra manera más oscuras.

Homo luzonensis
El hombre de Callao (Homo luzonensis) hace referencia a los restos fosilizados descubiertos en la cueva en 2007.

Véase también
Geografía de Filipinas
Geografía de Asia

Referencias

Cuevas de Filipinas

Cueva del Callao


Sigurður Jóhannsson (f. 16. mars 1918, d. 2. október 1976) var annar vegamálastjóri vegagerðarinnar og gegndi því starfi frá 1956 til 1976.

Tenglar

Fólk fætt árið 1918
Fólk dáið árið 1976
Vegamálastjórar

Sigurður Jóhannsson


Cositas Buenas is an album featuring Paco de Lucía and directed by Paco de Lucía with the collaboration of Javier Limón. It was released in 2004 labelled "Blue Thumb Records", by Universal Music Spain S.L.

The album has four bulerías, two rumba tracks, a tangos and a tientos. The album won the Latin Grammy Award for Best Flamenco Album.

Track listing
 "Patio Custodio" - Bulerías 4:44
 "Cositas Buenas" (Good little things) - Tangos 4:23
 "Antonia" - Bulería por Soleá 6:28
 "El Dengue" - Rumba 4:03
 "Volar" - Bulerías 5:30
 "El Tesorillo" (The little treasure) - Tientos 4:39
 "Que Venga el Alba" - Bulerías 4:11
 "Casa Bernardo" - Rumba 4:12

Artists
 Paco de Lucía - Guitar, vocal, lute, mandolin, bouzouki
 Piraña - Percussion
 Guadiana, Antonio el Negro, Montse Cortés, Tana, Potito, Ángela Bautista, and Paco - Palmas and Chorus
 Tomatito- Guitar
 Alain Pérez- Bass on Casa Bernardo (Rumba)

Design
Flamenkos

2004 albums
Latin Grammy Award for Best Flamenco Album

Cositas Buenas


دييغو كابيل ترينيداد  (مواليد 16 فبراير 1988 في البوكس - إسبانيا) لاعب كرة قدم إسباني لعب لنادي إشبيلية الإسباني من عام 2001 إلى عام 2011، ويلعب حاليا لصالح نادي الدرجة الأولى جنوى الإيطالي منذ 2015 في مركز الجناح الأيسر .

روابط خارجية

مراجع

لاعبو كرة قدم رجالية مغتربون في اليونان
لاعبو كرة قدم رجالية مغتربون في إيطاليا
لاعبو كرة قدم رجالية مغتربون في مالطا
لاعبو كرة قدم رجالية مغتربون في بلجيكا
لاعبو كرة قدم رجالية إسبان مغتربون
لاعبو كرة قدم رجالية مغتربون في البرتغال
لاعبو كرة قدم رجالية إسبان
رياضيون من المرية (مقاطعة)
أجنحة كرة قدم
أشخاص على قيد الحياة
أشخاص من مقاطعة ألمرية
رياضيون إسبان مغتربون في البرتغال
رياضيون إسبان مغتربون في اليونان
رياضيون إسبان مغتربون في إيطاليا
رياضيون إسبان مغتربون في بلجيكا
رياضيون إسبان مغتربون في مالطا
لاعبو نادي أندرلخت
لاعبو الدوري الإسباني
لاعبو الدوري الإسباني الدرجة الثانية
لاعبو الدوري الإسباني الدرجة الثانية ب
لاعبو الدوري الإيطالي
لاعبو الدوري البرتغالي الممتاز
لاعبو الدوري البلجيكي للمحترفين
لاعبو الدوري المالطي الممتاز
لاعبو الدوري اليوناني لكرة القدم الدرجة الثانية
لاعبو إشبيلية
لاعبو إشبيلية أتلتيكو
لاعبو إكستريمادورا يونيون ديبورتيفا
لاعبو جنوى
لاعبو سبورتينغ لشبونة
لاعبو كرة قدم أندلسيون
لاعبو كرة قدم إسبان
لاعبو كرة قدم إسبان مغتربون
لاعبو كرة قدم مغتربون في البرتغال
لاعبو كرة قدم مغتربون في اليونان
لاعبو كرة قدم مغتربون في إيطاليا
لاعبو كرة قدم مغتربون في بلجيكا
لاعبو كرة قدم مغتربون في مالطا
لاعبو كرة قدم من مقاطعة المرية
لاعبو منتخب إسبانيا تحت 20 سنة لكرة القدم
لاعبو منتخب إسبانيا تحت 21 سنة لكرة القدم
لاعبو منتخب إسبانيا تحت 23 سنة لكرة القدم
لاعبو منتخب إسبانيا لكرة القدم
لاعبو منتخب إسبانيا لكرة القدم للشباب
لاعبو نادي بيركيركارا
لاعبون فائزون بكأس الاتحاد الأوروبي
مواليد 1988
مواليد في البوكس

دييغو كابيل


Ragıp Savaş (d. 24 Ekim 1966, İzmit), Türk tiyatrocusu ve dizi oyuncusu.

1972-1977 yıllarında İsmet İnönü İlkokulu'nda okudu. 1977-1980 yıllarında Merkez Ortaokulu'na gitti. 1980-1983'te İzmit Lisesi'nde öğrenim gördü ve İzmit Lisesi'nden mezun oldu. 1983 yılında İzmit'te amatör olarak sürdürdüğü voleybol hayatını, Eczacıbaşı SK'ne transfer olarak profesyonel olarak sürdürmeye başladı. 1986 yılında Mimar Sinan Üniversitesi Devlet Konservatuvarı Tiyatro Bölümü'ne girdi. 1990 yılında yüksek dereceyle mezun oldu ve aynı yıl kurulan Türkiye'nin 3. Ödenekli Tiyatrosu olan Bakırköy Belediye Tiyatroları'nda profesyonel sanat yaşamına başladı ve genç yaşta bu tiyatronun kurucularından biri olma şansına sahip oldu.

Sanatçının ilk oyunu 1990 yılında Aziz Nesin'in yazdığı Ahmet Gülhan'ın yönettiği "Demokrasi Gemisi"dir. Aynı sezon Nâzım Hikmet'in yazıp Kenan Işık'ın yönettiği "İvan İvanoviç Var Mıydı Yok Muydu?" adlı oyunda başrol alarak Petrof'u oynamış ve oyun Uluslararası İstanbul Tiyatro Festivali'nde 5 ödüle layık görülmüştür.

Ragıp Savaş, Bakırköy Belediye Tiyatroları'nda birçok tiyatro oyunu ve müzikalde rol almıştır. Dünyanın en önemli tiyatrolarından biri olan Gürcistan Rustaveli Tiyatroları'nın Genel Sanat Yönetmeni ve dünya çapında üne ve başarıya sahip yönetmen Robert Sturua ile Sofoklers'in Antigonesi'nde Kreon rolünü oynamış ve oyun Uluslararası İstanbul Tiyatro Festivali'nde birçok ödül almıştır.

Sanatçı aynı zamanda 1998-2002 yılları arasında Bakırköy Belediye Tiyatroları'nda Genel Sanat Yönetmeni (Müşfik Kenter) Yardımcılığı ve Yönetim Kurulu üyeliği yapmıştır.

2004 yılında Kocaeli Büyükşehir Belediye Şehir Tiyatrosu'nun Genel Sanat Yönetmenliği'ne vekaleten atanmıştır, hâlen bu görevini sürdürmektedir.

2004 yılında sinema kariyerine "Neredesin Firuze" adlı filmle adım atmıştır. Özel televizyon kanallarında da çeşitli dizilerde rol almaktadır.

Tiyatro oyunları
 Yağmurcu
 Yıldızların Altında (Müzikal)
 Bahar Noktası
 Ocak
 Sokak Kızı İrma
 İvan İvanoviç Var Mıydı, Yok Muydu?
 Kuğular Şarkı Söylemez
 İnsan Denen Garip Hayvan
 Sofokles'in Antigonesi
 Matmazel Julie
 Üç Kuruşluk Opera
 Mahagony Şehrinin Var Oluşu, Yükselişi ve Yıkılışı (Müzikal)
 Barış
 Bir Gerçmiş Zaman Eğlencesi
 Demokrasi Gemisi

Filmografisi

Klipler

Affet Beni feat. Özcan Deniz (2004) - Neredesin Firuze?

1966 doğumlular
Türk erkek tiyatro oyuncuları
Türk erkek dizi oyuncuları
Türk erkek sinema oyuncuları
İstanbul Şehir Tiyatroları sanatçıları
İzmit doğumlular
Yaşayan insanlar
Bakırköy Belediye Tiyatroları sanatçıları
Kocaeli Şehir Tiyatroları sanatçıları
Kocaeli Şehir Tiyatroları genel sanat yönetmenleri
Bakırköy Belediye Tiyatroları genel sanat yönetmen yardımcıları

Kaynakça

Dış bağlantılar

Ragıp Savaş


මුන්ජොං අගබිසව (හංගුල්: 문정왕후, හන්ජා: 文定王后) (1 පෙබරවාරි 1502 – 29 දෙසැම්බර් 1565) යනු ජොසොන් රාජවංශයේ ජුංජොං රජුගේ බිරිඳයි.

ඇය පප්යොං යුන් වංශයේ තැනැත්තියකි. ඇය සිය පුත්‍රයා වූ මියොංජොං රජ කුඩා අවධියේ 1565 දක්වා රාජ්‍ය පාලනය ගෙනගියා ය. දක්ෂ රාජ්‍ය පාලිකාවක වූ ඇය සිය පුතු වැඩිවියට එළැඹි පසු ද රාජ්‍ය පාලනය මෙහෙයවූවා ය. ඇය මුලින් වංශවතුන්ට හිමිව තිබූ ඉඩම් සාමාන්‍ය ජනයා අතර බෙදාදුන්නා ය. ඇගේ මරණින් පසු ඇගේ පුතුට බලය හිමි විය.

ඇයට සොංර්යොල් ඉන්මියොං මුන්ජොං වංහු (성렬인명문정왕후, 聖烈仁明文定王后) යන මරණාපර නාමය පිරිනැමිණි.

බලයට පත් වීම
නිල‍නොවන වංශකථා අනුව, දශකයක පමණ උදාසීනභාවයකින් පසු මුන්ජොං රැජින අවසානයේ සිය "හදාගත්" පුත්‍රයා වූ ඉන්ජොං රජු කෙරෙහි සිය සෙනෙහස දැක්වූ බව සඳහන් වේ (රහසිගත සිදුවීම් පිටුපස ඇති සත්‍යය).

ඉන්ජොං සිය උදෑසන ආචාරය දැක්වීමට පිටත් වූ අවස්ථාවේ, මුන්ජොංගේ මුහුණ මවක විසින් දරුවකුට පමණක් පුදකළ හැකි සිනහවකින් පිරීගියේ ය. එය මව්බිසව අවසානයේ ඇගේ පුත්‍රයා මෙන් තමන්ව රජු ලෙස පිළිගත් බවට නිමිත්තක් ලෙස ඉන්ජොං රජු සිතී ය. ඔහු සිය සුළු මව ලබාදුන් දොක් අනුභව කළේ එය තමන් වෙත මරණය ළඟා කරවන බව නොදැන ය. ක්‍රමයෙන් රෝගී බවට පත් වූයේ කිසිදු සැකයක් ඇති නොකරමිනි. නමුත් පසුව ඉතිහාසඥයන් මෙම සිදුවීම සැලකිල්ලට ගෙන ඇත. ඉන්ජොං අද්භූත ලෙස මියයාමට පෙර දින තුනක් ගත විය. (මාස 9ක් රාජ්‍ය පාලනයෙන් පසු)

මුන්ජොං රැජිනගේ පුත්‍රයා මියොංජොං ලෙස සිහසුනට පත් වූ පසු, මුන්ජොං රාජ්‍යාධිකාරී රැජින බවට පත් විය. ඉන්ජොංගේ මරණින් පසු මුන්ජොං බිසව නිතර නිතර රාත්‍රියේ භූතාත්ම දුටු බව වංශකථාවල සඳහන් වේ. මෙලෙසින් බියට පත් වූ ඇය, සිය නවාතැන ග්යොංබොක් මාලිගයේ සිට චංදොක් මාලිගය වෙත ගෙනගියා ය.

බුදු දහම නගා සිටුවීම
රාජවංශයේ මුල් සමයේ මුන්ජොං අගබිසව බුදුදහමේ ප්‍රබල ආධාරකාරියක වූවා ය. නිල වශයෙන් බෞද්ධ වන්දනාවට පනවා තිබූ තහනම ඉවත් කළ ඇය, බුදු දහම නගාසිටුවීමට පියවර ගත්තා ය.

ඇය බුදුදහම දැක්වූ ප්‍රබල අනුග්‍රහය නිරූපණය කෙරෙන සාධක දෙකක් අදටත් පවතී.

බෞද්ධ සිතුවම්
ඇගේ පුත්‍රයා (රාජකීය කුමරු) රෝගී වූ අතර ඇයට තවත් පුත්‍රයකු බිහිකිරීමට අපොහොසත් වූ අවස්ථාවේ, බෞද්ධ සිතුවම් 400ක් නිම කරවීමට ඇය ඉටාගත්තා ය. (මින් 50ක් රාජකීය කුමරුගේ නිරෝගීභාවය සහ තවත් පුත්‍රයකුගේ උපත සඳහා වන ආයාචනයන් ය) එසේම මීට අමතරව මෙමගින් හොයිඅම් විහාරය විවෘත කිරීම ද අනුස්මරණය කෙරිණි. 1563දී ආරම්භ වූ මෙම ව්‍යාපෘතිය වසර 2කට පසුව අවසන් විය. අවාසනාවට මෙම කටයුත්ත සම්පූර්ණ කිරීමට පෙර රාජකීය කුමරු මියගියේ ය.

මෙම දැවැන්ත කටයුත්ත සන්නස් 100කින් සමන්විත වූ අතර, ඒ සෑම එකක්ම ත්‍රික 4කින් සමන්විත විය:
 ඓතිහාසික බුදුන් වහන්සේ ත්‍රිකය (සංස්කෘත: शाक्यमुनि ශාක්‍යමුණි; කොරියානු: 석가모니/석가 සොක්ගාමොනි/සොක්ගා)
 බටහිර පාරාදීසයේ බුදුන් වහන්සේ ත්‍රිකය (अमिताभ අමිතාභ; 아미타불 අමිතාබුල්)
 අනාගත බුදුන් වහන්සේ ත්‍රිකය (मैत्रेय මෛත්‍රෙය; 미륵보살 මිර්යුක්බොසල්)
 භේසජ්‍ය බුදුන් වහන්සේ ත්‍රිකය (भैषज्यगुरु භෛසජ්‍යගුරු; 약사여래/약사불 යක්සයෝරේ/යක්සබුල්)
මෙම සෑම 100හි කට්ටලයකම, 50ක් රනින් සහ වර්ණයෙන් නිමවා ඇති අතර, අනෙක් 50 රනින් පමණක් නිමවා ඇත.

2009 වන විට, මෙම 400න් හමු වී ඇත්තේ 6ක් පමණි.
ශාක්‍යමුණි ත්‍රිකයේ සිතුවම් 1ක් – 1565දී නිර්මාණය වූවකි. මුලින් හොයිඅම් විහාරයට අයත්ව තිබූ මෙය ජපානයෙන් හමු විය (උසස් තත්ත්වයෙන් යුතුව) මෙය 1990දී නිව් යෝක්හි මේරි ජැක්සන් බර්ක් එකතුව විසින් මිලදී ගන්නා ලදී. මෙම ක්ෂේත්‍රයේ ප්‍රවීණයන්ගේ සැලකිල්ලට බඳුන් වූ මෙය, ජොසොන් රාජවංශ සමයේ නිර්මාණය වූ අනර්ඝ සහ ඉතාම වැදගත් බෞද්ධ කලානිර්මාණයක් යැයි පැවසේ.
භෛසජ්‍යගුරු ත්‍රිකයේ සිතුවම් 1ක් – වර්තමානයේ කොරියාවේ ජාතික කෞතුකාගාරයේ තබා ඇත.
මෙහි සිතුවම් 4ක් ජපානයේ ඇත.
ඉන් සිතුවම් 1ක් ශාක්‍යමුණි ත්‍රිකයට අයත් ය
සිතුවම් 3ක් භෛසජ්‍යගුරු ත්‍රිකයට අයත් ය

බෞද්ධ විහාර
මුන්ජොං අගබිසව තුළ බුදු දහම යළි නගාසිටුවීමට පැවති උද්යෝගයට තවත් සාධකයක් ලෙස බෞද්ධ විහාර දැක්විය හැක. බුදු දහම යළි නගාසිටුවීමට තැබූ අඩිතාලමක් වශයෙන් බොන්ගුන්සා විහාරය (සෙන් බුදු දහමේ ප්‍රධාන මධ්‍යස්ථානයකි) සැලකෙයි.

බොන්ගුන්-සා විහාර පිහිටුවන ලද්දේ 794දී යොන්-හොයි භික්ෂුව විසිනි. මෙය මුලින් හඳුන්වන ලද්දේ ග්යොන්සොං-සා  ලෙසයි. 1498දී (මුන්ජොං අගබිසවගේ අනුග්‍රහය යටතේ) ප්‍රතිනිර්මාණය වූ මෙය බොන්ගුන් න්-සා යනුවෙන් නම්කෙරිණි. 1562දී මෙම ස්ථානය එහි පැවති ස්ථානයෙන් කි.මී. 1ක් පමණ ඈත ස්ථානයක පිහිටුවන ලදී. අවසානයේ එය ගින්නෙන් (1592 සහ 1637) විනාශ විය. නමුත් එය නිරන්තර ප්‍රතිසංස්කරණයන්ට සහ නව්‍යකරණයන්ට (1637, 1692, 1912, 1941, සහ 1981) ලක් කරන ලදී. මෙහි ඇති මහල් තුනකින් යුත් ශෛලමය ස්තූපය තුළ 1975දී ශ්‍රී ලංකාවෙන් වැඩම වූ ශාක්‍යමුණි බුදුන් වහන්සේගේ චීවර ධාතුව තැන්පත් කොට ඇත.

පසුකාලීන ගෝර්යෝ යුගයේ මෙම විහාරය පරිහානියට පත් විය. නමුත් 1498දී එය ප්‍රතිසංස්කරණය කෙරිණි. මෙය ප්‍රතිසංස්කරණයට පෙර, නව-කොන්ෆියුසියානුවාදය රාජ්‍ය දර්ශනය ලෙස පදනම් කරගත් රජය යටතේ බුදු දහම දැඩි පීඩාවන්ට ලක් විය. බුදු දහම යළි නගා සිටුවීමට මුන්ජොං රැජින දරූ දැඩි පරිශ්‍රමය හේතුවෙන් ඇයට බොන්ගුන්-සා යළි ප්‍රතිනිර්මාණය කිරීමට හැකි වූ අතර, මුල්කාලීන ජොසොන් බෞද්ධ පුනරුදයේ සන්ධිස්ථානයක් ලෙස එය සැලකෙයි.

මෙම අවදානාත්මක සමයේ බෝ-වූ භික්ෂුව වැදගත් කාර්යභාරයක් ඉටුකළේ ය. 1648දී ඔහු බොන්ගුන්-සා විහාරයේ ප්‍රධාන විහාරාධිපති ධුරයට පත් විය. ඔහු කොරියානු බුදු දහමේ නිකායයන් වූ සොන් (භාවනා) සහ ග්‍යෝ (ආගමික, ශාස්ත්‍රීය) යන නිකායයන් සඳහා භික්ෂූන් තෝරා ගැනීමේ සහ පුහුණු කිරීමේ නිල ක්‍රමවේදය ප්‍රතිශෝධනය කළේ ය. 1551දී, බොන්ගුන්-සා විහාරය, ජොංග්යේ සොන් නිකායේ ප්‍රධාන විහාරය බවට පත් වූ අතර, අනතුරුව එය කොරියානු බුදු දහම ප්‍රතිෂ්ඨාපනයට පදනම් ආයතනය ලෙස කටයුතු කළේ ය. මෙම ප්‍රතිශෝධිත පුහුණු ක්‍රමවේදය තුළින් සෝ-සන්, සා-මියොං, සහ බ්යොක්-අම් වැනි කීර්තිමත් භික්ෂූන් බිහි විය. කෙසේනමුත්, මුන්ජොං අගබිසවගේ මරණින් පසු, බෞද්ධ-විරෝධී නිලධාරීන් පිරිසක් විසින් බෝ-වූ භික්ෂුව මරාදමන ලදී.

පවුල
 සැමියා: ජොසොන්හි ජුංජොං රජු
 දරුවන්:
 ග්යොංවොන් ප්‍රධාන කුමරු (හංගුල්: 경원대군), පසුව ජොසොන්හි මියොංජොං රජු
 උයිහ්යේ කුමරිය (හංගුල්: 의혜공주, හන්ජා: 懿惠公主)
 හ්යෝසුන් කුමරිය (හංගුල්: 효순공주, හන්ජා: 孝順公主)
 ග්යොංහ්යොන් කුමරිය (හංගුල්: 경현공주, හන්ජා: 敬顯公主)
 ඉන්සුන් කුමරිය (හංගුල්: 인순공주, හන්ජා: 仁順公主), ළමා වියේ මියගියේ ය

පූර්වජයින්
 මහා-මහා-මහා-මුත්තණුවන්: යුන් බොන් (හංගුල්: 윤번, හන්ජා: 尹璠) (1384–1448), ජොසොන්හි සේජෝ රජ සමයේ ආග්‍රාමාත්‍යවරයායි
 මහා-මහා-මහා-මිත්තණිය: ලී ආර්යාව (හංගුල්: 이씨, හන්ජා: 李氏)
 මහා-මහා-මුත්තණුවන්: යුන් සාහ්‍යුන් (හංගුල්: 윤사흔, හන්ජා: 尹士昕) (1422–1485), ජොංහුයි රැජිනගේ සොහොයුරෙකි
 මහා-මුත්තණුවන්: යුන් ග්යේ-ගියොම් (හංගුල්: 윤계겸, හන්ජා: 尹繼謙) (1442–1483)
 මුත්තණුවන්: යුන් උක් (හංගුල්: 성욱, හන්ජා: 尹頊) (1459–1485)
 මිත්තණිය: යොංගිල් ජොං වංශයේ ජොං ආර්යාව (හංගුල්: 영일 정씨, හන්ජා: 迎日 鄭氏)
 පියා: යූන් ජි-ඉම් (හංගුල්: 윤지임, හන්ජා: 尹之任) (1475–1534), අභ්‍යන්තර කුමරු පාසන් (파산부원군)
 මව: ජොන්උයි ලී වංශයේ ලී ආර්යාව (හංගුල්: 이씨, හන්ජා: 全義 李氏) (1475–1511), ජොන්සොං අභ්‍යන්තර වල්ලභ කුමරිය (전성부부인 이씨)

සහෝදර-සහෝදරියන්
සොහොයුරන්
 යුන් වොන්-ගේ (හංගුල්: 윤원개, හන්ජා: 尹元凱)
 යුන් වොන්-ර්යං (හංගුල්: 윤원량, හන්ජා: 尹元亮) (1495–1569)
 යුන් වොන්-පිල් (හංගුල්: 윤원필, හන්ජා: 尹元弼)
 යූන් වොන්-රෝ (හංගුල්: 윤원로, හන්ජා: 尹元老) (died 1547)
 යූන් වොන්-හ්යුං (හංගුල්: 윤원형, හන්ජා: 尹元衡) (1509–1567)

 හඳනාගත් නෑනාවරියන්
 ජං ආර්යාව (장씨), යූන් වොන්-ර්යංගේ බිරිඳ
 කිම් ආර්යාව (김씨 부인, ?-1551), යූන් වොන්-හ්යොංගේ 1වන බිරිඳ
 ජොං නන්-ජොං (정난정, ?-1565), ජොංග්යොං ආර්යාව (정경부인), යූන් වොන්-හ්යොංගේ 2වන බිරිඳයි. ඔවුනට යුන් චුං-වොන් (හංගුල්: 윤충원, හන්ජා: 尹忠源) නැමැති පුත්‍රයකු විය.

මුන්ජොං රැජින නිරූපණය කළ නිළියන්
කිම් හ්යේ-ජා – 1985 – 500 ඉයර්ස් ඔෆ් ද ජොසොන් ඩයිනාස්ටි කතාමාලාවේ 4වන කථාංගය (ද වින්ඩ් ඕකිඩ්)
ජොන් ඉන්-හ්වා – 2001 – වුමන් ඔෆ් ද වර්ල්ඩ්
පාක් ජොං-සූක් – 2003 – දේ ජං ගුම්
ලී දොක්-හුයි – 2008 – හෝම්ටවුන් ඔෆ් ලෙජන්ඩ්ස්
පාක් ජි-යොං - 2013 - ද ෆුගිටිව් ඔෆ් ජොසොන්
'කිම් මි-සූක් - 2016 ද ෆ්ලවර් ඉන් ප්‍රිසන්''

මේවාත් බලන්න
ජොසොන්හි ජුංජොං
ජොසොන්හි මියොංජොං
යුන් වොන්-හ්යොං
කොරියානු බුදු දහම

මූලාශ්‍ර

16වන සියවසේ කාන්තා රාජ්‍ය පාලිකාවන්
1501 උපත්
1565 මරණ
16වන සියවසේ කොරියානු රාජ්‍යත්වය
යි ගෘහය
කොරියානු රාජකීය බිසෝවරුන්
කොරියාවේ රාජ්‍යාධිකාරීන්

මුන්ජොං අගබිසව


Vinland (engleski: Vinland, Vineland ili Winland, staronordijski: Vínland) naziv je za područje priobalnoga dijela Sjeverne Amerike koji su istraživali Vikinzi predvođeni Leifom Ericssonom. Oni su se iskrcali u Sjevernu Ameriku oko 1000. godine, oko pet stoljeća prije Kristofora Kolumba i Johna Cabota. O pronalasku Vinlanda govore sage Grœnlendinga saga i Eiríks saga rauða. Smatra se da su opisana područja u sagama zapravo Newfoundland, Zaljev sv. Lovrijenca i sjeveroistok Novog Brunswicka. Godine 1960. u arheološkom nalazištu L'Anse aux Meadows na sjeveru Newfoundlanda pronađeno je jedino nordijsko naselje u Sjevernoj Americi izvan Grenlanda. Prije otkrića arheološkog nalazišta, o Vinlandu se jedino znalo preko nordijskih saga i srednjovjekovne historiografije. To otkriće dokazalo je nordijsko istraživanje Sjeverne Amerike. Hipotezirano je da je L'Anse aux Meadows zapravo kamp Straumfjörð iz sage Eiríks saga rauða.

Izvori

Vidi još
 Antillia
 Velika Irska
 Nordijska kolonizacija Sjeverne Amerike
 Point Rosee
 Karta Vinlanda
 Vitis labrusca

Vanjske poveznice

 Vinland, Hrvatska enciklopedija
 Vinland, Encyclopædia Britannica
 Vinland, Ancient History Encyclopedia
 The Vinland Mystery, dokumentarac od National Film Board of Canada

Povijest Kanade
Vikinzi
Povijest istraživanja i otkrića

Vinland


PAW Patrol er en canadisk tv-tegnefilmserie, der blev skabt af Keith Chapman. Serien blev først vist den 12. august 2013 på Nickelodeon i USA og i Canada på TVOKids den 27. august 2013.

Referencer

Eksterne henvisninger

 PAW Patrol  på TVOKids.com
 PAW Patrol på NickJr.com

Canadiske tv-serier fra 2010'erne
Canadiske tv-serier fra 2020'erne
Animerede tv-serier fra Canada
Tv-programmer fra Nickelodeon
Tv-programmer fra Nick Jr.

PAW Patrol


Anoksične vode su područja morske vode, slatke vode ili podzemne vode koja su osiromašena otopljenim kisikom. Američko geološko istraživanje definira anoksične podzemne vode kao one s koncentracijom otopljenog kisika manjom od 0,5 miligrama po litri. Ovo se stanje obično nalazi u područjima koja imaju ograničenu razmjenu vode.

U većini slučajeva sprječava se da kisik dosegne dublje razine fizičkom barijerom kao i izraženom raslojavanjem gustoće, u kojoj se, na primjer, teže hiperslane vode nalaze na dnu tekućeg tijela. Anoksični će se uvjeti dogoditi ako je brzina oksidacije organske tvari bakterijama veća od opskrbe otopljenim kisikom.

Anoksične vode su prirodni fenomen, i javljale su se tijekom geološke povijesti. U stvari, neki pretpostavljaju da je događaj permskog izumiranja, masovno izumiranje vrsta iz svjetskih oceana, rezultat široko rasprostranjenih anoksičnih uvjeta. Trenutno anoksični bazeni postoje, na primjer, u Baltičkom moru i drugdje (vidi dolje). U posljednje vrijeme postoje neki pokazatelji da je eutrofikacija povećala opseg anoksičnih zona na područjima, uključujući Baltičko more, Meksički zaljev i kanal Hood u državi Washington.

Biološka prilagodba
Organizmi su prilagodili razne mehanizme za život u anoksičnom sedimentu. Iako su neki sposobni pumpati kisik iz više razine vode dolje u sediment, druge prilagodbe uključuju specifične hemoglobine za okruženja s niskim kisikom, sporo kretanje radi smanjenja brzine metabolizma i simbiotske veze s anaerobnim bakterijama. U svim slučajevima, prevalencija otrovnog H2S rezultira niskim razinama biološke aktivnosti i nižom razinom raznolikosti vrsta, ako taj prostor nije anoksičan.

Anoksični bazeni

 bazen Bannock, istočno Sredozemno more;
 Crnomorski bazen, izvan istočne Europe, ispod 50 metara (150 stopa);
 Kaspijski bazen, ispod 100 metara (300 stopa);
 Bazen Cariaco, sjeverno od središnje Venezuele;
 Gotlandski bazen, na Baltiku kod Švedske;
 bazen L'Atalante, istočno Sredozemno more
 fjord Mariager, pokraj Danske;
 bazen Orka, sjeveroistočni Meksički zaljev;
 uvala Saanich, kod otoka Vancouver, Kanada

Izvori

Oceanografija
Ekologija

Anoksične vode


Mokuan may refer to:

Mokuan Reien (died 1345), Japanese painter during the Muromachi Period
Muyan (Japanese: Mokuan Shoto, 1611–1684), Chinese Chan monk and a founder of the Ōbaku Zen school in Japan

Mokuan


أحمد فتح الله جامي شيخ الطريقة الشاذلية القادرية وخليفة الشيخ عبد القادر عيسى، الموشي مولدا المرعشي مسكنا نسبة لمدينة مرعش في تركيا الشافعي مذهبا، كان جده الشيخ عبد الله جامي من العلماء البارزين في وقته أما والده «فتح الله» فقد انضم إلى المجاهدين ضد الغزو الروسي لبلاد المسلمين أيام الدولة العثمانية وكان مشهورا بشجاعته وعلمه، وكان حريصًا على أن يكون ولده أحمد طالب علم.

طلب العلم
لما تم له من العمر عشرون عاماً بدأ بطلب العلم بشكل جدي وتابع دراسته على يد الشيخ حق شوناس وبدأ في نفس الوقت بالسير والسلوك على الطريقة النقشبندية عند الشيخ إبراهيم حقي بالقرب من مدينة القامشلي في سوريا وبقي معه حتى توفي وغسله وكفنه بيده، تعلم القرآن الكريم وأخذ علم الفقه واللغة العربية عن الشيخ عبد الهادي العمري البوطي (أحفاده موجودون في اليعربية على الحدود العراقية السورية) والشيخ عبد الرحمن العمري وكذلك تتلمذ على يد الشيخ محمد ظاهر الملاذ كردي. ورغم أنه شافعي المذهب إلا أنه متوسع في الفقه الحنفي وقد قرأ كتاب حاشية ابن عابدين أكثر من سبع مرات دراسة وتدريسا وأصبح مرجعا لكثير من دوائر الإفتاء في تركيا بجانب اشتغاله بالطريقة الشاذلية.

البحث عن المرشد
وبعد وفاة شيخه إبراهيم حقي أخذ يبحث عن مرشد جديد وقد استغرق مدة سبعة عشر عاما في البحث، وخلال هذه الأعوام كان مجاهدا لنفسه على طريقة الإمام الغزالي، وله اهتمام كبير بمسلك سعيد النورسي، وقد كان كثير الخلوة حتى التقى بالشيخ عبد القادر عيسى الحسيني الحلبي فبايعه والتزم الطريقة الشاذلية الدرقاوية ودخل الخلوة بعد أن قرأ كتاب حقائق عن التصوف، ثم أذن له بالورد العام للطريقة الشاذلية، وبعد أعوام أعطاه الإذن بالورد العام والخاص، وقد سافر الشيخ عبد القادر عيسى إليه من الأردن إلى تركيا وكتب له إجازة خطية بالطريقة الشاذلية وجعله خليفة له قبل أن يتوفاه الله تعالى عام 1991.

أهم ما يوصي به تلاميذه

 الصدق والإخلاص لله عز وجل.
 التمسك بالشريعة الإسلامية واتباع السنة النبوية.
 الإكثار من ذكر الله عز وجل والتحلي بالأخلاق الحسنة.
 عدم التعلق بالدنيا ومجاهدة النفس والهوى والشيطان.
 لا يتكلم عن الطريقة إلا في مضمار الشريعة والسنة (حتى أن من يقرأ وصاياه يحسبه سلفياً).
الأدب عند طلب العلم

الكتب والمؤلفات

 نداء المؤمنين في القرآن المبين.
 صفات المؤمنين في القرآن المبين.
 الدرر البهية في الوصايا الجامية.
 كتاب سوانح قلبية.
 المجرد المختصر من تفسير القاضي البيضاوي.

مراجع

أشاعرة
شافعية
صفحات تحتاج تصنيف سنة الولادة
صوفيون أتراك
علماء دين سنة أتراك

أحمد فتح الله جامي


O tempo médio de reparo (MTTR) é uma métrica básica da manutenibilidade de itens reparáveis. Representa o tempo médio necessário para reparar um componente ou dispositivo com falha. Expresso matematicamente, é o tempo total de manutenção corretiva dividido pela quantidade de ocorrências de manutenção corretiva durante um determinado período. Geralmente não inclui tempo de entrega para peças não prontamente disponíveis ou outro tempo de indisponibilidade administrativo ou logístico (ALDT).

No projeto tolerante a falhas, geralmente considera-se que o MTTR inclui, também, o tempo em que a falha está latente (o tempo entre o momento em que a falha ocorre até o momento que ela é detectada). Se uma falha latente não for detectada até que ocorra uma falha independente, o sistema pode não ser capaz de se recuperar.

O MTTR geralmente faz parte de um contrato de manutenção, onde um sistema cujo MTTR é de 24 horas geralmente é mais vantajoso do que um de 7 dias se o tempo médio entre falhas (MTBF) for igual, porque sua Disponibilidade Operacional é maior.

No entanto, no contexto de um contrato de manutenção, seria importante distinguir se o MTTR deve ser uma medida do tempo médio entre o ponto em que a falha é descoberta pela primeira vez até o ponto em que o equipamento retorna à operação (geralmente denominado "tempo médio de recuperação"), ou apenas uma medida do tempo decorrido entre o ponto em que os reparos realmente começam até o ponto em que o equipamento retorna à operação (geralmente denominado "tempo médio de reparo"). Por exemplo, um sistema com um contrato de serviço garantindo um tempo médio de "conserto" de 24 horas, mas com tempo de espera adicional de peças, atrasos administrativos e atrasos de transporte técnico somando uma média de 6 dias, não seria mais atraente do que outro sistema com contrato de serviço garantindo um tempo médio de "recuperação" de 7 dias.

Veja também

 Tempo médio de recuperação
 Tempo médio entre falhas
 Tempo médio de inatividade
 Tempo entre revisões

Referências

Tempo médio de reparação


Michihiro Yasuda (født 20. december 1987) er en japansk fodboldspiller.

Japans fodboldlandshold

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|2008||5||0
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Eksterne henvisninger

Japan National Football Team Database

Fodboldspillere fra Japan

Michihiro Yasuda


El City Code on Takeovers and Mergers es un reglamento aplicado por el Panel on Takeovers and Mergers en la Bolsa de Londres. Consta de diez principios generales y treinta y ocho reglas que rigen los procedimientos utilizados en las opas y las fusiones de las empresas del Reino Unido. Fue creado en 1959 por un comité reunido a iniciativa de Cameron Cobbold, quien en aquella época era Gobernador del Banco de Inglaterra. El Panel on Takeovers and Mergers fue creado unos años después, en 1968, cuando el City Code fue aceptado de forma voluntaria por los participantes de la Bolsa de Londres.

Bibliografía

Enlaces externos
 City Code on Takeovers and Mergers (en inglés).

Economía de Londres
Fusiones y adquisiciones

City Code on Takeovers and Mergers


Rachel Ashley Platten, blot kendt som Rachel Platten (født 20. maj 1981) er en amerikansk singer-songwriter, berømt takket være sangen Fight Song (2015).

Diskografi

Albummer
 Fight Song (2015)
 Wildifire (2016)

Referencer

Personer fra Massachusetts
Singer-songwritere fra USA

Rachel Platten


Egentlige okser (Bos) er en slægt af skedehornede, der omfatter vilde og domesticerede arter af kvæg. Slægten kan inddeles i fire underslægter: Bos, Bibos, Novibos og Poephagus, men opdelingen er omstridt. Der findes fem uddøde arter af slægten, men antallet kan øges til syv, hvis de domesticerede varianter regnes som selvstændige arter, og ni, hvis den tæt forbundne slægt Bison regnes med. Moderne kvægarter menes at nedstamme fra den uddøde urokse (B. taurus primigenius).

Anatomi og morfologi
De fleste arter er græsædere med lange tunger til at slynge sig om de planter, de foretrækker, og kraftige tænder til at nedbryde plantematerialet. De er drøvtyggere med firedelte maver, som tillader dem at nedbryde planterne gradvis.

Udbredelse
Der findes omkring 1,3 milliarder tamkvæg, hvilket gør dem til en af verdens mest talrige pattedyrslægter. Medlemmerne af slægten findes fortrinsvis i Afrika, Asien, Vest- og Østeuropa, dele af Nord- og Sydamerika samt Oceanien. Deres habitater varierer meget fra art til art; de kan findes på prærier, i regnskove, i vådområder, på savanner og i tempererede skove.

Økologi, adfærd og livscyklus
De fleste egentlige okser lever 18-25 år i vild tilstand, og i fangenskab er rekorden 36 år. Drægtighedsperioden er 9-11 måneder, afhængig af arten, og koen nedkommer med én, i sjældne tilfælde to, kalve om foråret.

De fleste arter færdes i hjorde på fra ti til hundredvis af individer. I de fleste hjorde er der én tyr (han) for alle køerne (hunner). Dominans er vigtig i hjorden; kalvene vil normalt arve deres mødres position i hierarkiet.

De er mest dagaktive, idet de dog typisk hviler sig midt på dagen, hvor det er mest varmt, og er derfor aktive om morgenen og eftermiddagen. I områder, hvor menneskene har indskrænket oksernes levearealer, kan de være nataktive. Nogle arter vandrer efter føde og vand.

Evolution
De fleste egentlige okser menes at stamme fra en fælles forfader, uroksen (B. taurus primigenius). Denne art overlevede indtil begyndelsen af det 17. århundrede, hvor den på grund af jagt uddøde. Den sidste kendte urokse, en ko, døde i Polen.

Systematik og taksonomi
 Underslægt Bos
 Tamkvæg (B. taurus)
 Urokse (B. taurus primigenius) †
 Europæisk kvæg (B. taurus taurus) - husdyr
 Indisk kvæg: Zebu (B. taurus indicus) - husdyr
 B. aegyptiacos †
 B. acutifrons †
 B. planifrons †
 Underslægt Bibos
 Gaur (B. gaurus)
 Gayal (B. frontalis) - husdyr
 Banteng (B. javanicus)
 B. palaesondaicus †
 Underslægt Novibos
 Kouprey (B. sauveli)
 Underslægt Poephagus
 Yak (B. grunniens)

Referencer

Eksterne henvisninger

Egentlige okser


Urbanistička cjelina mjesta Kaštel Nehaja predstavlja zaštićeno kulturno dobro.

Opis dobra
Naselje Kaštel Nehaj danas je upravno dio naselja Kaštel Štafilića. Zapadno od kaštela obitelji Stafileo nalazi se kula Nehaj. Godine 1548. trogirska plemićka obitelj Lodi dobiva dozvolu za gradnju kaštela radi obrane posjeda. Na hridima u moru sagrađena je četvrtasta kula sa skarpom i ravnim parapetnim zidom iznad kordonskog vijenca. Kula nikada nije dovršena a budući da su se u selo doselile uskočke izbjeglice iz Senja, a loza Lodi je izumrla, zaboravljeno je staro ime kaštel Lodi te se uvriježilo ime Nehaj. Na kopnenom dijelu formirano je manje naselje trokutasta oblika, a uz istočni obrambeni zid bile su prizidane kamene jednokatnice. S istočne strane sačuvan je izvorni perimetar naselja dok je stambena arhitektura većim dijelom izmijenjena.

Zaštita
Pod oznakom Z-3208 zavedena je pod vrstom "kulturno-povijesna cjelina", pravna statusa zaštićena kulturnog dobra, klasificirano kao "urbana cjelina".

Izvori

Zaštićene urbane cjeline u Splitsko-dalmatinskoj županiji
Građevine u Kaštel Štafiliću

Kaštel Nehaj (urbanistička cjelina)


Ortacı, Simav - Kütahya ili Simav ilçesine bağlı köy
 Ortacı, Ereğli - Zonguldak ili Ereğli ilçesine bağlı köy

Ortacı


La batea / Tío Caimán es un sencillo del grupo chileno Quilapayún, lanzado en Italia en 1975 y que contiene el reconocido tema «La batea» en el lado A, perteneciente a los álbumes de estudio Vivir como él (1971) Adelante (1975), y la canción «Tío Caimán» en el lado B, perteneciente al disco Quilapayún 4 (1970). Ambos temas aparecieron por separado en otros sencillos de principios de la década de 1970.

Lista de canciones

Referencias

Sencillos de 1975
Sencillos de Quilapayún

La batea / Tío Caimán


Eyota est une ville américaine située dans le comté d'Olmsted au Minnesota. Selon le recensement de 2010, sa population est de .

Liens externes

Ville au Minnesota
Comté d'Olmsted

Eyota (Minnesota)


Alex Iwobi (født 3. maj 1996) er en nigeriansk fodboldspiller som spiller for klubben Everton F.C., hvor han har spillet siden 2019. Han fik debut for klubbens hold i Premier League i august 2019. Fra 2015 til 2019
spillede han for Arsenal. Han er nevø til Jay-Jay Okocha.

Referencer

Eksterne henvisninger

 Spillerstatistik på soccerbase.com

Personer fra Lagos
Fodboldspillere fra Nigeria
Deltagere ved verdensmesterskabet i fodbold 2018
Fodboldspillere fra Arsenal F.C.

Alex Iwobi


إنالابريل  هو خافض ضغط الدم من زمرة مثبط الأنزيم المحول للأنجيوتنسين، يسوق من قبل شركة ميرك تحت الأسماء التجارية رينيتيك  وفاسوتيك

آلية التأثير
يمنع بشكل تننافسي الإنزيم المُحول للأنجيوتنسين 1 من تحويل الأنجيوتنسين 1 إلى الأنجيوتنسين 2 وهو مادة مقبضة قوية للأوعية الدموية وجزء من نظام الجسم الطبيعي للحفاظ على الضغط الدموي مرتفع بما يطفي لتحقيق تروية مناسبة للأعضاء.

والنتائج السريرية لهذا المنع التنافسي لهذا الإنزيم هي انخفاض الصوديوم والاحتفاظ بالسوائل وانخفاض ضغط الدم وزيادة إدرار البول.

الاستعمالات
يستعمل الإنالابريل لعلاج فرط ضغط الدم وفشل القلب الاحتقاني المصحوب بالأعراض. بالمشاركة مع المدرات والديجتال ولعلاج الخلل الوظيفي للبطين الأيسر بعد احتشاء العضلة القلبية.

الاستعمالات غير الرسمية
علاج الاعتلال الكلوي السكري، وعلاج فرط الضغط الدموي الطفلي، وعلاج النوبة الكلوية في تصلب الجلد.

الجرعة
لضغط الدم يبدأ بجرعة 2,5 إلى 5 ملغ يوميًا مع معايرة الضغط ثم يستمر المريض عادة بجرعة 10 إلى 40 ملغ باليوم بجرعة واحدة أو مجزأة على دفعتين.

التآثرات (التداخلات)
ألوبيورينول تزداد احتمالية فرط التحسس بتناولهما معاً

مضادات الحموضة قد ينخفض التوافرالحيوي للإينالأبريل، ولذلك يجب فصل تناول مضاد الحموضة عن وقت تناول الإنالأبريل بساعة أو ساعتين.

ديجوكسين زيادة مستويات الديجوكسين بالدم.

الإندوميتاسين التأثيرات الخافضة للضغط قد تنقص الليثيوم زيادة مستويات الليثيوم واحتمال حدوث تسمم به.

البوتاسيوم ومدرات مستبقية للبوتاسيوم قد تزيد مستويات البوتاسيوم في المصل

التفاعلات الضارة
القلبية الوعائية : ألم صدري، احتشاء عضلة القلب، انخفاض الضغط، تسرع قلبي، غشي، التهاب وعائي،

جملة عصبية مركزية ألم رأس، دوار، دوخة، تعب، وهن.

الدم نقص الهيموغلوبين، والهيماتوكريت، وقلة العدلات، وندرة المحببات، وقلة الصفحيات وكثرة اليوزينيات، فرط بوتاسيوم الدم.

التنفس التهاب القصبات، سعال مستمر، ضيق التنفس،

وقد يحدث حرارة، أو ألم عضلي، أو ألم مفصلي، أو التهاب المفصل.

احتياطات
 الحمل : من الفئة د (في الأثولوث الثاني والثالث)، ومن الفئة ج (الأثلوث الأول)
 الإرضاع : يفرز الدواء في الحليب.
 الأطفال : لم يؤكد الفعالية والسلامة.
 وذمة وعائية : قد تحدث؛ ولذلك يجب استعمال الدواء بحذر شديد مع المرضى الذين لديهم تاريخ عائلي للإصابة بالوذمة الوعائية.
 سعال : قد يحدث سعال جاف ومزمن أثناء العلاج، واحتمال حدوث هذا السعال أكبر عند النساء.

انخفاض الضغط من أول جرعة : قد تحدث انخفاضات ضغط كبيرة من أول جرعة وبالأخص في المرضى المستنفدين من الملح أو الحجم (حجم الدم) أو المصابين بالفشل القلبي وللك يجب مراقبة المريض عن قرب أو ساعتين على الأقل من بداية استعمال الدواء وخلال أول أسبوعين من المعالجة، ويمكن خفض الاختطار بتخفيض جرعة المدرات، أو خفض الجرعة، أو زيادة الملح المتناول قبل أسبوع تقريباً من ابتداء العلاج
بالإينالأبريل.

يحدث أحياناً قلة العدلات وندرة المحببات والاختطار يزيد مع الاعتلال الكلوي والفشل القلبي وكبت المناعة؛ ولهذا يراقب تعداد الكريات البيض بشكل متكرر.

الاختلال الكلوي تخفض جرعة الدواء وعدد مرات إعطائها، وفي القصور الكلوي توجد مستويات مرتفعة من نتروجين يوريا الدم وكرياتنين المصل بسبب من إرواء الكلية غير الكافي؛ ولذا راقب الوظيفة الكلوية خلال الأسابيع الأولى من المعالجة وعدل الجرعة.

إرشادات
 يمكن تناول الدواء بغض النظر عن الوجبات
 سجل وزن المريض عند بداية العلاج
 راقب ضغط المريض ونبضه قبل المعالجة وبانتظام خلالها.
 حدوث انخفاض كبير في الضغط الدموي يستدعي الاتصال بالطبيب ومتابعة تعليماته.
 اتصل بالطبيب فوراً إذا ظهرت علامات زيادة السوائل (زيادة وزن، ضيق تنفس، خراخر كركرية، توسع الوريد الرقبي)
 اتصل بالطبيب إذا حصل دوار أو دوخة أو تعب.
 استخدم وسائل علاج فرط ضغط الدم الطبيعية كخفض وزن الجسم وأداء التمارين وتحمل الكرب والتوقف عن التدخين
 يجب تنبيه المريض إلى احتمال تعطل الإحساس الذوقي، وحدوث سعال جاف
 يجب ألا ينهض المريض أو يغير وضعه بسرعة

اقرأ أيضاً
 خافضات ضغط الدم
 الفيرباميل
 أملودبين
 أتينولول
 فوزينوبريل
 كابتوبريل

مراجع

أحماض كربوكسيلية
أدوية أساسية حسب منظمة الصحة العالمية
أدوية متصاوغة مرآتية
أميدات
إسترات كربوكسيلية
بيروليدينات
طليعة الدواء
مثبطات الإنزيم المحول للأنجيوتنسين

إنالابريل


Aranjamentul 0-8-6, în notația Whyte pentru clasificarea locomotivelor cu abur după aranjamentul  roților, este o locomotivă fără roți de conducere, cu opt roți motoare (4 axe) fixate într-un cadru rigid și șase roți finale (în mod normal, montate într-un modul final). Exemple de acest tip de locomotive au fost construite de Wilhelm von Engerth.

Clasificări echivalente
Alte clasificări echivalente sunt:
 Clasificarea UIC: D3 (de asemenea, cunoscută sub numele de clasificare germană și de clasificare italiană)
 Clasificarea franceză: 043

Referințe

Locomotive cu aburi
Notația Whyte

0-8-6


Sznajd-modellen er navnet på en række sociofysiske beskrivelser af beslutningsprocessen hos grupper af mennesker. Den blev oprindeligt formuleret af Katarzyna Sznajd-Weron og Jozef Sznajd i 2000. I 2007 modtog Katarzyna Sznajd-Weron DPG's Young-Scientist Award for Socio- and Econophysics som anerkendelse for sin model. Modellen er også kendt som Sznajd-Weron-modellen og blev oprindeligt kaldt USDF-modellen, hvilket er en forkortelse for "United we Stand, Divided we Fall".

Modellen

I den første og simpleste version af modellen betragter man en gruppe af individer, der kan have én af to holdninger - fx ja eller nej - som kun kan ændres ved interaktion med andre individer. For at holde det simpelt står individerne på række - dvs. en gittermodel - og kan kun interagere med nogen, der står 2 pladser væk eller mindre. Til at starte med vil ja- sigere og nej-sigere stå tilfældigt, og der vil være omkring lige mange af hver. For hvert tidsskridt vælges et tilfældigt par på rækken, som enten kan være enigt eller uenigt. Er de enige, antager deres to naboer også samme holdning. Er parret derimod internt uenigt, bliver de to naboer også internt uenige.

Matematisk kan hvert individ nummereres, så alle står i rækkefølge. Holdningen hos individ nr. i udtrykkes ved symbolet , som kan antage værdierne  for nej eller  for ja. Systemet udvikler sig efter følgende algoritme:
 Vælg tilfældigt parret  og .
 Opdater naboerne således at  og .
 Gentag 1.-2.

Opdateringen kan programmeres på en computer for effektivt at simulere diskussionen blandt et stort antal mennesker for mange tidsskridt.

Kildehenvisninger

Se også
 Ising-modellen
 Monte Carlo-simulation

Sociofysik

Sznajd-modellen


Volodymyr Volodymyrovych Rafeienko (né le 25 novembre 1969 à Donetsk) est un écrivain, romancier et poète ukrainien, membre de l'association PEN International.

De 1992 à 2018, il a écrit ses œuvres en russe et a été principalement publié en Russie. Ainsi considéré comme un représentant de la littérature russe , il est lauréat des prix littéraires russes « Prix russe[ru] » (2010, 2012) et « Nouvelle littérature » (2014).

Ses textes se caractérisent souvent par la brièveté et un sens du grotesque, dans un style surréaliste comparé à celui de Nikolas Gogol et de Viktor Erofejew.

En 2014, après avoir déménagé à Kiev, il étudie l'ukrainien. Puis, il a commencé à écrire  en ukrainien. En 2019, il publie son premier roman en ukrainien, édité par Oleksandr Boytschenko, "Mondegreen (chansons sur la mort et l'amour)".  Il y plonge le protagoniste et alter ego Gabrielle, qui a fui la zone de guerre vers Kiev, dans diverses situations.

Références

Liens externes

Écrivain ukrainien du XXe siècle
Écrivain ukrainien du XXIe siècle
Poète ukrainien du XXe siècle
Poète ukrainien du XXIe siècle
Écrivain de langue russe
Naissance en novembre 1969
Romancier ukrainien

Volodymyr Rafeienko


Calcium silicate is the chemical compound Ca2SiO4, also known as calcium orthosilicate and is sometimes formulated as 2CaO·SiO2. It is also referred to by the shortened trade name Cal-Sil or Calsil. It occurs naturally as the mineral larnite.

Properties

Calcium silicate is a white free-flowing powder. It can be derived from naturally occurring limestone and diatomaceous earth, a siliceous sedimentary rock. It is one of a group of compounds that can be produced by reacting calcium oxide and silica in various ratios e.g. 3CaO·SiO2, alite (Ca3SiO5); 2CaO·SiO2, (Ca2SiO4); 3CaO·2SiO2, (Ca3SiO7); and CaO·SiO2, wollastonite (CaSiO3).  It has a low bulk density and high physical water absorption.

Use
Calcium silicate is used as an anticaking agent in food preparation, including table salt and as an antacid. It is approved by the United Nations' FAO and WHO bodies as a safe food additive in a large variety of products. It has the E number reference E552.

High-temperature insulation

Calcium silicate is commonly used as a safe alternative to asbestos for high-temperature insulation materials. Industrial-grade piping and equipment insulation is often fabricated from calcium silicate. Its fabrication is a routine part of the curriculum for insulation apprentices. Calcium silicate competes in these realms against rockwool and proprietary insulation solids, such as perlite mixture and vermiculite bonded with sodium silicate.  Although it is popularly considered an asbestos substitute, early uses of calcium silicate for insulation still made use of asbestos fibers.

Passive fire protection

It is used in passive fire protection and fireproofing as calcium silicate brick or in roof tiles. It is one of the most successful materials in fireproofing in Europe because of regulations and fire safety guidelines for commercial and residential building codes. Where North Americans use spray fireproofing plasters, Europeans are more likely to use cladding made of calcium silicate.  High-performance calcium-silicate boards retain their excellent dimensional stability even in damp and humid conditions and can be installed at an early stage in the construction program, before wet trades are completed and the building is weather-tight. For sub-standard products, silicone-treated sheets are available to fabricators to mitigate potential harm from high humidity or general presence of water. Fabricators and installers of calcium silicate in passive fire protection often also install firestops.

While the best possible reaction to fire classifications are A1 (construction applications) and A1Fl (flooring applications) respectively, both of which mean "non-combustible" according to EN 13501-1: 2007, as classified by a notified laboratory in Europe, some calcium-silicate boards only come with fire classification of A2 (limited combustibility) or even lower classifications (or no classification), if they are tested at all.

Acid mine drainage remediation
Calcium silicate, also known as slag, is produced when molten iron is made from iron ore, silicon dioxide and calcium carbonate in a blast furnace. When this material is processed into a highly refined, re-purposed calcium silicate aggregate, it is used in the remediation of acid mine drainage (AMD) on active and passive mine sites.
Calcium silicate neutralizes active acidity in AMD systems by removing free hydrogen ions from the bulk solution, thereby increasing pH. As its silicate anion captures H+ ions (raising the pH), it forms monosilicic acid (H4SiO4), a neutral solute. Monosilicic acid remains in the bulk solution to play other important roles in correcting the adverse effects of acidic conditions. As opposed to limestone (a popular remediation material), calcium silicate effectively precipitates heavy metals and does not armor over, prolonging its effectiveness in AMD systems.

As a product of sealants
It is used as a sealant in roads or on the shells of fresh eggs: when sodium silicate is applied as a sealant to cured concrete or egg shells, it chemically reacts with calcium hydroxide or calcium carbonate to form calcium silicate hydrate, sealing micropores with a relatively impermeable material.

As a component of cement
It also occurs in cements, where it is known as belite or in cement chemist notation C2S.

Agriculture
Calcium silicate is often used in agriculture as a plant available source of silicon. It is "applied extensively to Everglades mucks and associated sands planted to sugarcane and rice"

See also

References

Inorganic silicon compounds
Calcium compounds
Antacids
Silicates
E-number additives

Calcium silicate


El término El jardín de la alegría se refiere a:

 La película de Alfred Hitchcock del año 1925: El jardín de la alegría (película de 1925).
 La película de Nigel Cole del año 2000: El jardín de la alegría (película de 2000).

El jardín de la alegría


An Ophrys circaea in uska species han Liliopsida nga ginhulagway ni Walter Rossi ngan Prola. An Ophrys circaea in nahilalakip ha genus nga Ophrys, ngan familia nga Orchidaceae.

Mabibilngan ini ha Italy. Waray hini subspecies nga nakalista.

Mga kasarigan

Ophrys

Ophrys circaea


An Xanthosoma hylaeae in uska species han Liliopsida nga ginhulagway ni Adolf Engler ngan Kurt Krause. An Xanthosoma hylaeae in nahilalakip ha genus nga Xanthosoma, ngan familia nga Araceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Xanthosoma

Xanthosoma hylaeae


Die Kleinblättrige Zwergmispel (Cotoneaster microphyllus) ist ein immergrüner, bis 1 Meter hoher Strauch mit roten Früchten aus der Gruppe der Kernobstgewächse (Pyrinae). Das natürliche Verbreitungsgebiet der Art liegt in China, Indien, Myanmar und Nepal. Sie wird häufig als Zierpflanze verwendet.

Beschreibung

Die Kleinblättrige Zwergmispel ist ein immergrüner, bis zu 1 Meter hoher, dicht verzweigter Strauch mit niederliegenden Ästen. Die Zweige stehen aufrecht und sind sparrig verzweigt. Sie sind rötlich braun bis schwarzbraun, stielrund, anfangs gelblich behaart und allmählich verkahlend. Die Laubblätter sind in Blattstiel und Blattspreite gegliedert. Der Blattstiel ist 1 bis 2 oder bis über 4 Millimeter lang und behaart. Die Nebenblätter sind lanzettlich oder linealisch, etwa so lang wie die Blattstiele und leicht behaart. Die Blattspreite ist einfach, verkehrt-eiförmig bis länglich verkehrt-eiförmig, 4 bis 10, selten bis 16 Millimeter lang und 4 bis 8 Millimeter breit, dick ledrig, meist mit spitzer, selten ausgerandeter oder mehr oder weniger stumpfer Blattspitze, mit breit keilförmiger Basis und nach unten umgebogenem Blattrand. Die Blattoberseite ist glänzend grün, kahl oder spärlich behaart, mit eingesenkter Mittelader; die Unterseite ist hellgrau behaart, selten kahl, mit hervortretender Mittelader.

Die Blüten wachsen einzeln oder bis zu dreien auf 2 bis 3 Millimeter langen, spärlich behaarten Blütenstielen. Sie haben Durchmesser von 8 bis 10 Millimeter. Der Blütenbecher ist glockenförmig und außen zumindest anfangs behaart. Die Kelchblätter sind eiförmig-dreieckig, mit stumpfer Spitze, 1 bis 1,5 Millimeter lang und beinahe genauso breit. Die Kronblätter stehen waagrecht, sie sind weiß, rundlich, etwa 4 Millimeter lang und etwa genauso breit, mit stumpfer Spitze und kurz genagelter Basis. Die 15 bis 20 Staubblätter sind kürzer als die Kronblätter. Die Spitze des Fruchtknotens ist behaart. Die zwei freistehenden Griffel sind kürzer als die Staubblätter. Die scharlachroten, runden Früchte haben Durchmesser von 5 bis 6, selten bis 10 Millimeter. Je Frucht werden zwei Kerne gebildet.

Die Kleinblättrige Zwergmispel blüht im Mai und Juni, die Früchte reifen von August bis September.

Die Chromosomenzahl beträgt 2n = 68.

Vorkommen und Standortansprüche
Das natürliche Verbreitungsgebiet liegt in den chinesischen Provinzen Sichuan, Xizang und Yunnan, in Bhutan, in der Himalaya-Region Indiens, in Nepal und Myanmar. Die Kleinblättrige Zwergmispel wächst in Steppen, Trockenwäldern und Strauchflächen in 2000 bis 4200 Metern Höhe auf mäßig trockenen bis frischen, schwach sauren bis alkalischen, sandig-lehmigen bis lehmigen, nährstoffreichen Böden an sonnigen bis lichtschattigen Standorten. Die Art ist wärmeliebend und frosthart.

Systematik
Die Kleinblättrige Zwergmispel (Cotoneaster microphyllus) ist eine Art aus der Gattung der Zwergmispeln (Cotoneaster). Sie wird in der Familie der Rosengewächse (Rosaceae) der Unterfamilie Spiraeoideae, Tribus Pyreae der Untertribus der Kernobstgewächse (Pyrinae) zugeordnet. Die Art wurde 1827 als Cotoneaster microphylla erstmals wissenschaftlich beschrieben. Der Gattungsname Cotoneaster leitet sich vom lateinischen "cotoneum malum" für die Quitte (Cydonia oblonga) ab. Die Endung "aster" ist eine Vergröberungsform für Pflanzengruppen, die im Vergleich zu ähnlichen Gruppen als minderwertig betrachtet werden. Das Artepitheton microphyllus kommt aus dem Griechischen und bedeutet "kleinblättrig".

Es werden bis zu vier Varietäten unterschieden, deren Status als Varietät jedoch nicht allgemein anerkannt wird:
 Cotoneaster microphyllus var. cochleatus (Franchet) Rehder & E. H. Wilson mit 2 bis 4 Millimeter langen Blattstielen und ovalen bis eiförmig-ovalen, 5 bis 11 Millimeter langen und 3 bis 8 Millimeter breiten Blattspreiten, mit grauweiß behaarter Blattunterseite, kahler Oberseite und eingerolltem Blattrand. Der Blütenbecher außen und die Kelchblätter auf der Unterseite sind dicht und bleibend grau behaart. Die Kronblätter sind weiß. Die Chromosomenzahl beträgt 2n=68. Die Varietät wächst in Höhen von 2000 bis 3000 Metern in Sichuan, Yunnan, Bhutan und Nepal.
 Cotoneaster microphyllus var. glacialis J. D. Hooker ex Wenzig mit 1 bis 2 Millimeter langen Blattstielen und ovalen, 6 bis 12 Millimeter langen und 4 bis 7 Millimeter breiten Blattspreiten und kahlen oder unterseits wenig behaarten Blattspreiten. Der Blütenbecher außen und die Kelchblätter auf der Unterseite sind anfangs spärlich behaart und verkahlend. Die Kronblätter sind leicht rosa gefärbt. Die Varietät wächst in Höhen von 3900 bis 4200 Metern in Xizang, Yunnan, Bhutan, Indien und Nepal.
 Cotoneaster microphyllus var. microphyllus mit verkehrt eiförmigen bis länglich verkehrt-eiförmigen, 4 bis 10 Millimeter langen und 4 bis 7 Millimeter breiten, auf beiden Seiten behaarten Blattspreiten. Die Kronblätter sind weiß. Sie wächst in Höhen von 2500 bis 4200 Metern in Sichuan, Xizang, Yunnan, Bhutan, Indien und Nepal.

 Cotoneaster microphyllus var. thymifolius (Baker) Koehne mit schmal länglichen oder länglich verkehrt-eiförmigen bis linealisch-lanzettlichen, 4 bis 16 Millimeter langen und 1,5 bis 5 selten bis 7 Millimeter breiten, auf beiden Seiten behaarten Blattspreiten. Die Kronblätter sind rosa-weiß gefärbt. Sie wächst in Höhen von 3000 bis 4000 Metern in Xizang, Yunnan, Indien und Nepal.

Verwendung
Die Kleinblättrige Zwergmispel wird aufgrund ihrer dekorativen Blüten und der bemerkenswerten Früchte häufig als Ziergehölz verwendet.

Nachweise

Literatur

 Andreas Roloff, Andreas Bärtels: Flora der Gehölze. Bestimmung, Eigenschaften und Verwendung. Mit einem Winterschlüssel von Bernd Schulz. 3., korrigierte Auflage. Eugen Ulmer, Stuttgart (Hohenheim) 2008, ISBN 978-3-8001-5614-6, S. 232.

 Helmut Genaust: Etymologisches Wörterbuch der botanischen Pflanzennamen. 3., vollständig überarbeitete und erweiterte Auflage. Nikol, Hamburg 2005, ISBN 3-937872-16-7 (Nachdruck von 1996).

Einzelnachweise

Weblinks

 Thomas Meyer:  Datenblatt mit Bestimmungsschlüssel und Fotos bei Flora-de: Flora von Deutschland (alter Name der Webseite: Blumen in Schwaben)

Zwergmispeln

Kleinblättrige Zwergmispel


Ursula Tautz (Rio de Janeiro, 22 de Julho de 1968) é uma artista plástica brasileira.

Biografia
Possui formação acadêmica em Estilismo pela Faculdade Cândido Mendes em 1996 e pós-graduação em produção gráfica pela ESPM/RJ, em1997. Entre os anos de 1997 e 1999 realizou oficinas de design experimental da School of Visual Arts de Nova Iorque com Richard Wilde. Em 2005 ingressou na Escola de Artes Visuais do Parque Laje e posteriormente integrou o programa de pesquisa coordenado por Glória Ferreira e Luiz Ernesto.

Carreira
Sua trajetória é marcada por pesquisas históricas e histórico-familiar, onde funde suas culturas de origem: manauara, carioca e alemã. A artista atua nos campos da instalação, multimídia, desenho, escultura, fotografia e além das questões políticas. Seu trabalho utiliza o tempo e suas manifestações, principalmente a memória, das particulares às coletivas, das reais às ficcionais. Ele estabelece um diálogo com as relações que envolvem o habitar, o pertencer, deslocamentos e cartografias, para desconstruir referências e gerar novas identidades e narrativas. O tempo cronológico em suas obras é constantemente corrompido e para gerar novas reminiscências.

Em 2015 realizou sua primeira exposição individual, Fluidostática na Galeria do Lago localizado no Museu da República, cuja sede é o Palácio do Catete. O palácio representou o poder republicano brasileiro entre os anos de 1897 e 1960, onde seus presidentes assinaram leis e decretos com suas canetas tinteiros. A instalação contou com jarras de vidro cheias de tinta azul que repousavam sobre balanços de madeira, que se movimentavam em sincronia à entrada do espectador ao ambiente. A instalação explorou as relações entre o povo e o poder, o perigo e o fascínio.

No mesmo ano participou das Intervenções Urbanas ArtRio, com a instalação Mas que as asas enraízem e que as raízes voem que apresentou no Palácio do Catete balanços de madeira costurados ao chão e pendidos por uma tamarindeira plantada por António Clemente Pinto, o primeiro Barão de Nova Friburgo. Os balanços impossibilitados de movimento representavam uma tentativa de controle do tempo. Ursula realizou no mesmo ano a exposição Estranhamentos no Centro Cultural Justiça Federal do Rio de Janeiro com curadoria de Isabel Sanson Portella.

Outros trabalhos que se destacam são Frestas por onde Muros escoam, instalação que inaugurou em 2017 o espaço expositivo do Jardim da Reitoria da Universidade Federal Fluminense no Rio de Janeiro. E Campo Dormitório, apresentado na SIART 2018,  Bienal de La Paz na Bolívia. Por meio da residência artística Echangeur 22, em Saint-Laurent des Arbres na França, Ursula desenvolveu o projeto Tempo Móvel para a exposição Mobilité, Immobilité, no La Chartreuse, em Villeneuve-lez-Avignon. A obra foi resultado de um estudo sobre o sentimento de moradores em relação aos sinos que tocavam próximos de suas residências.

Em 2021, Ursula foi selecionada para a Bienal de Bahia Blanca com o projeto Cada Dia. No mesmo ano apresentou a instalação O Som do Tempo ou tudo que se dá a ouvir com curadoria de Ivair Reinaldim. Resultado de cinco anos de pesquisa, a obra apresentou um trono soterrado sob nove toneladas de terra em formato de pirâmide e badalos de sino quebrados. A instalação fez alusão à colonização e à memória ligada ao entorno do Paço Imperial, interagindo com as badaladas dos sinos das igrejas ao redor. O trabalho, Such Sweet Thunder, do artista sonoro Samson Young fez parte de um dos vídeos da instalação.

Referências

Ligações Externas
Sítio Oficial

Artistas plásticos do estado do Rio de Janeiro
Artistas contemporâneos
Alunos da Escola de Artes Visuais do Parque Lage
Naturais da cidade do Rio de Janeiro

Ursula Tautz


Canberra () ya da Kanberra, Avustralya'nın başkenti ve denizden uzak en büyük, Avustralya'da tüm şehirler içinde de sekizinci büyük şehridir. Başkent işlevi görmek üzere yapay olarak kurulan kentlerin örnek tipidir. Yeri 1913'te Avustralya'nın Cardillerası'nın ortasındaki yüksek ovada; iki rakip anakent olan Sidney'in 300 km güney batısında, Melbourne'ün 650 km kuzeydoğusunda Avustralya Başkent Bölgesi adı verilen bölgede yer alan tasarlanmış kenttir. Avustralya Parlamentosu bu şehirde yer almaktadır. Kentin planını Amerikalı Walter Burley Griffin yapmıştır. 1927'de tamamlanan kent 1945'ten sonra hızla gelişme göstermiştir. Çeşitli semtler, parklar ve geniş su örtüleriyle birbirinden ayrılır. Yönetim binaları geniş alana yayılır. Ticaret merkezi giderek daha da canlılık kazanmakta sürekli büyüyen bu kentteki etkinlikler durmadan çeşitlenmektedir.

İklim

Galeri

Kaynakça

Dış bağlantılar
 Resmî site
 Canberra Turist Sitesi

Canberra


Le College of Southern Nevada (CSN) est une université publique du comté de Clark , au Nevada.

Le CSN est la plus grand université publique de l'État.

Enseignement à Las Vegas
Comté de Clark (Nevada)

College of Southern Nevada


التجربة أي-002 هي التجربة الثالثة لنظام انقاذ مركبة القيادة Command module في حالة الخطر، طبقا لبرنامج أبولو.

الغرض
الغرض من التجربة الثالثة هو التأكد من نجاح عملية انقاذ مركبة القيادة [كبسولة القيادة) التي يركبها رواد الفضاء، وذلك في حالة حدوث خلل لصاروخ الإطلاق في الأجواء العليا يتسبب في عدم توازن حركة الصاروخ وخروجه عن نطاق السيطرة.

كان الصاروخ الحامل هنا هوالصاروخ الثالث من نوع  ليتل جو 2  Little Joe II. وأهم التغيرات عن سابقتها: تحسين نظام الإنقاذ بإضافة عدة جنيحات توجيه Canard للتحكم في مسار صاروخ الإنقاذ ومسار الهبوط، كما زودت مركبة القيادة بعازل للحرارة. وعُدل نظام الهبوط أيضا عن طريق إضافة مظلتين ابتدائيتين بدلا من واحدة لكل مظلة إنقاذ من المظلات الثلاث الرئيسية.

الإقلاع

اطلقت التجربة A-002 في ديسمبر 1964 في تمام الساعة 8:00 بالتوقيت المحلي (15:00 بالتوقيت العالمي المنسق وذلك باشعال جميع المحركات الصاروخية. وكان اختيار لحظة اشعال صاروخ الإنقاذ مختارة بالحاسوب على أساس حساب العلاقة بين أعلى مقاومة ديناميكية بين الهواء وهيكل الصاروخ وسرعة الصاروخ. ولكن حدث أن أحد الثوابت في المعادلة المتعلق بالمعطيات الجوية لم يكن دقيقا، مما أدى إلى انطلاق صاروخ الإنقاذ 4و2 ثانية قبل الوقت المطلوب. ورغم ذلك فقد أدى هذا الانطلاق المبكر إلى أن الاختبار قد تم بنجاح وفي ظروف مقاومة ديناميكية أعلى من المطلوب.

وبعد انطلاق صاروخ الإنقاذ ترنح النظام أربعة مرات قبل أن تتخذ قاعدة المركبة ذات العازل الحراري وضعها إلى اسفل. وبلغ أقصى ارتفاع وصل إليه نظام الإنقاذ نحو 4و15 كيلومتر فوق سطح البحر.

وعلى ارتفاع 2و7 كيلومتر عملت مقاييس الارتفاع على إطلاق وفتح مظلات الهبوط، وهبطت مركبة القيادة (الكبسولة) تحملها ثلاثة مظلات بالسرعة المطلوبة المقدرة ب 7 متر/ثانية، وهبطت على بعد 10 كيلومترات من مكان الإقلاع.

اقرأ أيضا
 أبولو 8
 أبولو 10
 أبولو 11
 نيل أرمسترونج
 قائمة بعثات أبولو

وصلات خارجية
 The Apollo Spacecraft: A Chronology
 Apollo Program Summary Report
 Little Joe II Qualification Test Flight Report - September 1963 (PDF)
 Little Joe II Progress Report - December 1964 (PDF)
 Little Joe II Mission A-003 - April 1965 (PDF)

اختبار الرحلات الفضائية
برنامج أبولو
رحلات الفضاء في 1964
مهام برنامج أبولو

A-002


دائرة تيزي راشد إحدى دوائر ولاية تيزي وزو.
مقرها تيزي راشد.
تبلغ مساحتها 44.7875 كم² يقطنها 29861 نسمة (أي بكثافة سكانية تقدر بـ 667 نسمة /كم²).
وتضم كل من بلديات :

 تيزي راشد
 أيت أومالو

مواضيع ذات صلة
 دوائر ولاية تيزي وزو
 بلديات ولاية تيزي وزو

مصادر

دوائر الجزائر
تيزي راشد

دائرة تيزي راشد


Ray casting is the methodological basis for 3D CAD/CAM solid modeling and image rendering. It is essentially the same as ray tracing for computer graphics where virtual light rays are "cast" or "traced" on their path from the focal point of a camera through each pixel in the camera sensor to determine what is visible along the ray in the 3D scene. The term "Ray Casting" was introduced by Scott Roth while at the General Motors Research Labs from 1978–1980. His paper, "Ray Casting for Modeling Solids", describes modeled solid objects by combining primitive solids, such as blocks and cylinders, using the set operators union (+), intersection (&), and difference (-). The general idea of using these binary operators for solid modeling is largely due to Voelcker and Requicha's geometric modelling group at the University of Rochester. See solid modeling for a broad overview of solid modeling methods. This figure on the right shows a U-Joint modeled from cylinders and blocks in a binary tree using Roth's ray casting system in 1979.

Before ray casting (and ray tracing), computer graphics algorithms projected surfaces or edges (e.g., lines) from the 3D world to the image plane where visibility logic had to be applied. The world-to-image plane projection is a 3D homogeneous coordinate system transformation (aka: 3D projection, affine transformation, or projective transform (Homography)). Rendering an image in that way is difficult to achieve with hidden surface/edge removal. Plus, silhouettes of curved surfaces have to be explicitly solved for whereas it is an implicit by-product of ray casting, so there is no need to explicitly solve for it whenever the view changes.

Ray casting greatly simplified image rendering of 3D objects and scenes because a line transforms to a line. So, instead of projecting curved edges and surfaces in the 3D scene to the 2D image plane, transformed lines (rays) are intersected with the objects in the scene. A homogeneous coordinate transformation is represented by 4x4 matrix. The mathematical technique is common to computer graphics and geometric modeling. A transform includes rotations around the three axes, independent scaling along the axes, translations in 3D, and even skewing. Transforms are easily concatenated via matrix arithmetic. For use with a 4x4 matrix, a point is represented by [X, Y, Z, 1] and a direction vector is represented by [Dx, Dy, Dz, 0]. (The fourth term is for translation and that does not apply to direction vectors.)

Concept

Ray casting is the most basic of many computer graphics rendering algorithms that use the geometric algorithm of ray tracing. Ray tracing-based rendering algorithms operate in image order to render three-dimensional scenes to two-dimensional images. Geometric rays are traced from the eye of the observer to sample the light (radiance) travelling toward the observer from the ray direction. The speed and simplicity of ray casting comes from computing the color of the light without recursively tracing additional rays that sample the radiance incident on the point that the ray hit. This eliminates the possibility of accurately rendering reflections, refractions, or the natural falloff of shadows; however all of these elements can be faked to a degree, by creative use of texture maps or other methods. The high speed of calculation made ray casting a handy rendering method in early real-time 3D video games.

The idea behind ray casting is to trace rays from the eye, one per pixel, and find the closest object blocking the path of that ray – think of an image as a screen-door, with each square in the screen being a pixel.  This is then the object the eye sees through that pixel.  Using the material properties and the effect of the lights in the scene, this algorithm can determine the shading of this object.  The simplifying assumption is made that if a surface faces a light, the light will reach that surface and not be blocked or in shadow.  The shading of the surface is computed using traditional 3D computer graphics shading models.  One important advantage ray casting offered over older scanline algorithms was its ability to easily deal with non-planar surfaces and solids, such as cones and spheres. If a mathematical surface can be intersected by a ray, it can be rendered using ray casting. Elaborate objects can be created by using solid modelling techniques and easily rendered.

From the abstract for the paper "Ray Casting for Modeling Solids": To visualize and analyze the composite solids modeled, virtual light rays are cast as probes. By virtue of its simplicity, ray casting is reliable and extensible. The most difficult mathematical problem is finding line-surface intersection points. So, surfaces as planes, quadrics, tori, and probably even parametric surface patches may bound the primitive solids. The adequacy and efficiency of ray casting are issues addressed here. A fast picture generation capability for interactive modeling is the biggest challenge.

Light rays and the camera geometry form the basis for all geometric reasoning here. This figure shows a pinhole camera model for perspective effect in image processing and a parallel camera model for mass analysis.  The simple pinhole camera model consists of a focal point (or eye point) and a square pixel array (or screen). Straight light rays pass through the pixel array to connect the focal point with the scene, one ray per pixel. To shade pictures, the rays' intensities are measured and stored as pixels. The reflecting surface responsible for a pixel's value intersects the pixel's ray.

When the focal length, distance between focal point and screen, is infinite, then the view is called "parallel" because all light rays are parallel to each other, perpendicular to the screen. Although the perspective view is natural for making pictures, some applications need rays that can be uniformly distributed in space.

For modeling convenience, a typical standard coordinate system for the camera has the screen in the X-Y plane, the scene in the +Z half space, and the focal point on the -Z axis.

A ray is simply a straight line in the 3D space of the camera model. It is best defined as a direction vector in parameterized form as a point (X0, Y0, Z0) and a direction vector (Dx, Dy, Dz). In this form, points on the line are ordered and accessed via a single parameter t. For every value of t, a corresponding point (X, Y, Z) on the line is defined:

 X = X0 + t · Dx
 Y = Y0 + t · Dy
 Z = Z0 + t · Dz

If the vector is normalized, then the parameter t is distance along the line. The vector can be normalized easily with the following computation:

 Dist = √(Dx2 + Dy2 + Dz2)
 Dx = Dx / Dist
 Dy = Dy / Dist
 Dz = Dz / Dist

Given geometric definitions of the objects, each bounded by one or more surfaces, the result of computing one ray's intersection with all bounded surfaces in the screen is defined by two arrays,

 Ray parameters:    t[1], t[2], ..., t[n]
 Surface pointers:  S[1], S[2], ..., S[n]

where n is the number of ray-surface intersections. The ordered list of ray parameters t[i] denote the enter-exit points. The ray enters a solid at point t[1], exits at t[2], enters a solid at t[3], etc. Point t[1] is closest to the camera and t[n] is furthest. In association with the ray parameters, the surface pointers contain a unique address for the intersected surface's information. The surface can have various properties such as color, specularity, transparency with/without refraction, translucency, etc. The solid associated with the surface may have its own physical properties such as density. This could be useful, for instance, when an object consists of an assembly of different materials and the overall center of mass and moments of inertia are of interest.

Applying the information

Three algorithms using ray casting are to make line drawings, to make shaded pictures, and to compute volumes and other physical properties. Each algorithm, given a camera model, casts one ray per pixel in the screen. For computing volume, the resolution of the pixel screen to use depends on the desired accuracy of the solution. For line drawings and picture shading, the resolution determines the quality of the image.

LINE DRAWINGS.  To draw the visible edges of a solid, generate one ray per pixel moving top-down, left-right in the screen. Evaluate each ray in order to identify the visible surface S[1], the first surface pointer in the sorted list of ray-surface intersections. If the visible surface at pixel location (X, Y) is different than the visible surface at pixel (X-1, Y), then display a vertical line one pixel long centered at (X-½, Y). Similarly, if the visible surface at (X, Y) if different than the visible surface at pixel (X, Y-1), then display a horizontal line one pixel long centered at (X, Y-½). The resulting drawing will consist of horizontal and vertical edges only, looking jagged in course resolutions.

Roth's ray casting system generated the images of solid objects on the right. Box enclosures, dynamic bounding, and coherence were used for optimization. For each picture, the screen was sampled with a density of about 100x100 (e.g., 10,000) rays and new edges were located via binary searches. Then all edges were followed by casting additional rays at one pixel increments on the two sides of the edges. Each picture was drawn on a Tektronix tube at 780x780 resolution.

SHADED PICTURES.  To make a shaded picture, again cast one ray per pixel in the screen. This time, however, use the visible surface pointer S[1] at each pixel to access the description of the surface. From this, compute the surface normal at the visible point t[1]. The pixel's value, the displayable light intensity, is proportional to the cosine of the angle formed by the surface normal and the light-source-to-surface vector. Processing all pixels this way produces a raster-type picture of the scene.

COMPUTING VOLUME AND MOMENTS OF INERTIA.  The volume (and similar properties) of a solid bounded by curved surfaces is easily computed by the "approximating sums" integration method, by approximating the solid with a set of rectangular parallelepipeds. This is accomplished by taking an "in-depth" picture of the solid in a parallel view. Casting rays through the screen into the solid partitions the solid into volume elements. Two dimensions of the parallelepipeds are constant, defined by the 2D spacing of rays in the screen. The third dimension is variable, defined by the enter-exit point computed. Specifically, if the horizontal and vertical distances between rays in the screen is S, then the volume "detected" by each ray is

 S × S ×  (t[2]-t[1]  +  t[4]-t[3]  +  ∙∙∙ + t[n]-t[n-1]) / L

where L is defined as the length of the direction vector. (If already normalized, this is equal to 1.)

 L = √(Dx2 + Dy2 + Dz2)

Each (t[i]-t[i-1])/L  is a length of a ray segment that is inside of the solid.

This figure shows the parallelepipeds for a modeled solid using ray casting. This is a use of parallel-projection camera model.

In-out ray classification

This figure shows an example of the binary operators in a composition tree using + and – where a single ray is evaluated.

The ray casting procedure starts at the top of the solid composition tree, recursively descends to the bottom, classifies the ray with respect to the primitive solids, and then returns up the tree combining the classifications of the left and right subtrees.

This figure illustrates the combining of the left and right classifications for all three binary operators.

Realistic shaded pictures

Ray casting is a natural modeling tool for making shaded pictures. The grayscale ray-casting system developed by Scott Roth and Daniel Bass at GM Research Labs produced pictures on a Ramtek color raster display around 1979. To compose pictures, the system provided the user with the following controls:

 View
 Viewing direction and position
 Focal length: width-angle perspective to parallel
 Zoom factor
 Illumination
 Number of light sources
 Locations and intensities of lights
 Optionally shadow
 Intensities of ambient light and background
 Surface reflectance
 % reflected diffusely
 % reflected specularly
 % transmitted

This figure shows a table scene with shadows from two point light sources.

Shading algorithms that implement all of the realistic effects are computationally expensive, but relatively simple. For example, the following figure shows the additional rays that could be cast for a single light source.

For a single pixel in the image to be rendered, the algorithm casts a ray starting at the focal point and determines that it intersects a semi-transparent rectangle and a shiny circle. An additional ray must then be cast starting at that point in the direction symmetrically opposite the surface normal at the ray-surface intersection point in order to determine what is visible in the mirrored reflection. That ray intersects the triangle which is opaque. Finally, each ray-surface intersection point is tested to determine if it is in shadow. The "Shadow feeler" ray is cast from the ray-surface intersection point to the light source to determine if any other surface blocks that pathway.

Turner Whitted calls the secondary and additional rays "Recursive Ray Tracing". [A room of mirrors would be costly to render, so limiting the number of recursions is prudent.] Whitted modeled refraction for transparencies by generating a secondary ray from the visible surface point at an angle determined by the solid's index of refraction. The secondary ray is then processed as a specular ray. For the refraction formula and pictorial examples, see Whitted's paper.

Enclosures and efficiency

Ray casting qualifies as a brute force method for solving problems. The minimal algorithm is simple, particularly in consideration of its many applications and ease of use, but applications typically cast many rays. Millions of rays may be cast to render a single frame of an animated film. Computer processing time increases with the resolution of the screen and the number of primitive solids/surfaces in the composition.

By using minimum bounding boxes around the solids in the composition tree, the exhaustive search for a ray-solid intersection resembles an efficient binary search. The brute force algorithm does an exhaustive search because it always visits all the nodes in the tree—transforming the ray into primitives' local coordinate systems, testing for ray-surface intersections, and combining the classifications—even when the ray clearly misses the solid. In order to detect a "clear miss", a faster algorithm uses the binary composition tree as a hierarchical representation of the space that the solid composition occupies. But all position, shape, and size information is stored at the leaves of the tree where primitive solids reside. The top and intermediate nodes in the tree only specify combine operators.

Characterizing with enclosures the space that all solids fill gives all nodes in the tree an abstract summary of position and size information. Then, the quick "ray intersects enclosure" tests guide the search in the hierarchy. When the test fails at an intermediate node in the tree, the ray is guaranteed to classify as out of the composite, so recursing down its subtrees to further investigate is unnecessary.

Accurately assessing the cost savings for using enclosures is difficult because it depends on the spatial distribution of the primitives (the complexity distribution) and on the organization of the composition tree. The optimal conditions are:

 No primitive enclosures overlap in space
 Composition tree is balanced and organized so that sub-solids near in space are also nearby in the tree

In contrast, the worst condition is:

 All primitive enclosures mutually overlap

The following are miscellaneous performance improvements made in Roth's paper on ray casting, but there have been considerable improvements subsequently made by others.

 Early Outs. If the operator at a composite node in the tree is – or & and the ray classifies as out of the composite's left sub-solid, then the ray will classify as out of the composite regardless of the ray's classification with respect to the right sub-solid. So, classifying the ray with respect to the right sub-solid is unnecessary and should be avoided for efficiency.
 Transformations. By initially combining the screen-to-scene transform with the primitive's scene-to-local transform and storing the resulting screen-to-local transforms in the primitive's data structures, one ray transform per ray-surface intersection is eliminated.
 Recursion. Given a deep composition tree, recursion can be expensive in combination with allocating and freeing up memory. Recursion can be simulated using static arrays as stacks.
 Dynamic Bounding. If only the visible edges of the solid are to be displayed, the ray casting algorithm can dynamically bound the ray to cut off the search. That is, after finding that a ray intersects a sub-solid, the algorithm can use the intersection point closest to the screen to tighten the depth bound for the "ray intersections box" test. This only works for the + part of the tree, starting at the top. With – and &, nearby "in" parts of the ray may later become "out".
 Coherence. The principle of coherence is that the surfaces visible at two neighboring pixels are more likely to be the same than different. Developers of computer graphics and vision systems have applied this empirical truth for efficiency and performance. For line drawings, the image area containing edges is normally much less than the total image area, so ray casting should be concentrated around the edges and not in the open regions. This can be effectively implemented by sparsely sampling the screen with rays and then locating, when neighboring rays identify different visible surfaces, the edges via binary searches.

Anti-aliasing

The jagged edges caused by aliasing is an undesirable effect of point sampling techniques and is a classic problem with raster display algorithms. Linear or smoothly curved edges will appear jagged and are particularly objectionable in animations because movement of the image makes the edges appear fuzzy or look like little moving escalators. Also, details in the scene smaller than the spacing between rays may be lost. The jagged edges in a line drawing can be smoothed by edge following. The purpose of such an algorithm is to minimize the number of lines needed to draw the picture within one pixel accuracy. Smooth edges result. The line drawings above were drawn this way.

To smooth the jagged edges in a shaded picture with subpixel accuracy, additional rays should be cast for information about the edges. (See Supersampling for a general approach.) Edges are formed by the intersection of surfaces or by the profile of a curved surface. Applying "Coherence" as described above via binary search, if the visible surface at pixel (X,Y) is different than the visible surface at pixel (X+1,Y), then a ray could be generated midway them at (X+½,Y) and the visible surface there identified. The distance between sample points could be further subdivided, but the search need not be deep. The primary search depth to smooth jagged edges is a function of the intensity gradient across the edge. Since (1) the area of the image that contains edges is usually a small percentage of the total area and (2) the extra rays cast in binary searches can be bounded in depth — that of the visible primitives forming the edges — the cost for smoothing jagged edges is affordable.

History of ray casting

For the history of ray casting, see ray tracing (graphics) as both are essentially the same technique under different names. Scott Roth had invented the term "ray casting" before having heard of "ray tracing". Additionally, Scott Roth's development of ray casting at GM Research Labs occurred concurrently with Turner Whitted's ray tracing work at Bell Labs.

Ray casting in early computer games

In early first person games, raycasting was used to efficiently render a 3D world from a 2D playing field using a simple one-dimensional scan over the horizontal width of the screen. Early first-person shooters used 2D ray casting as a technique to create a 3D effect from a 2D world. While the world appears 3D, the player cannot look up or down or only in limited angles with shearing distortion.  This style of rendering eliminates the need to fire a ray for each pixel in the frame as is the case with modern engines; once the hit point is found the projection distortion is applied to the surface texture and an entire vertical column is copied from the result into the frame.  This style of rendering also imposes limitations on the type of rendering which can be performed, for example depth sorting but depth buffering may not.  That is polygons must be full in front of or behind one another, they may not partially overlap or intersect.

Wolfenstein 3D

The video game Wolfenstein 3D was built from a square based grid of uniform height walls meeting solid-colored floors and ceilings. In order to draw the world, a single ray was traced for every column of screen pixels and a vertical slice of wall texture was selected and scaled according to where in the world the ray hits a wall and how far it travels before doing so.

The purpose of the grid based levels was twofold — ray-wall collisions can be found more quickly since the potential hits become more predictable and memory overhead is reduced. However, encoding wide-open areas takes extra space.

ShadowCaster

The Raven Software game ShadowCaster uses an improved Wolfenstein-based engine with added floors and ceilings texturing and variable wall heights.

Comanche series

The Voxel Space engine developed by NovaLogic for the Comanche games traced a ray through each column of screen pixels and tested each ray against points in a heightmap. Then it transformed each element of the heightmap into a column of pixels, determined which are visible (that is, have not been occluded by pixels that have been drawn in front), and drew them with the corresponding color from the texture map.

Beyond raycasting

Later DOS games like id Software's DOOM kept many of the raycasting 2.5D restrictions for speed but went on to switch to alternative rendering techniques (like BSP), making them no longer raycasting engines.

Computational geometry setting

In computational geometry, the ray casting problem is also known as the ray shooting problem and may be stated as the following query problem: given a set of objects in d-dimensional space, preprocess them into a data structure so that for each query ray, the initial object hit by the ray can be found quickly. The problem has been investigated for various settings: space dimension, types of objects, restrictions on query rays, etc. One technique is to use a sparse voxel octree.

See also
 Ray tracing (graphics) A more sophisticated ray-casting algorithm which considers global illumination
 Photon mapping
 Radiosity (computer graphics)
 Path tracing
 Volume ray casting
 2.5D

References

External links
 Raycasting example in the browser. (unavailable)
 Raycasting planes in WebGL with source code
 Interactive raycaster for the Commodore 64 in 254 bytes (with source code)
 Interactive raycaster for MSDOS in 64 bytes (with source code)

Computer graphics algorithms

Ray casting


Musashino may refer to:

 Musashino (train), a train service in Japan
 Musashino, Tokyo, a city in Greater Tokyo, Japan
 Musashino Line, a railway line in Greater Tokyo, Japan
 3249 Musashino, an asteroid
 Musashino Terrace
 Musashino (Utamaro), an ukiyo-e print set by Kitagawa Utamaro,
 "Musashino", a short story by Doppo Kunikida
 Musashino! (AKA Musasi-no), the second season of the anime TV series Urawa no Usagi-chan
 Musashino Animation, a fictional Japanese animation studio and the setting of the anime TV series Shirobako

Musashino


Le dème de Féakes, en  / Dímos Feákon, ou en français dème des Phéaciens, est un ancien dème du district régional de Corfou, en Grèce. Depuis 2010, il est fusionné au sein du dème de Corfou-Centre et des îles Diapontiques.

Le dème doit son nom aux Phéaciens, peuple de l'Odyssée vivant sur l'île de Schérie, communément identifiée avec Corfou.

Selon le recensement de 2011, la population du dème compte .

Notes et références

Voir aussi

Liens externes

Dème dans les îles Ioniennes
Ancien dème en Grèce

Féakes (dème)


Gabriela Perianu (født 20. juni 1994 i Brăila, Rumænien) er en rumænsk håndboldspiller, der spiller for CSM Bucuresti.

Referencer

Håndboldspillere fra Rumænien

Gabriela Perianu


217398 Tihany este un asteroid din centura principală de asteroizi.

Descriere
217398 Tihany este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Piszkesteto de Krisztián Sárneczky. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,28 ua, o excentricitate de 0,20 și o înclinație de 6,1° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 217001-218000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2005
Centura de asteroizi

217398 Tihany


Le tissage tais est une forme de tissage traditionnel créé par les femmes du Timor oriental. Partie essentielle du patrimoine culturel de la nation, les tissages tais sont utilisés pour les parures de cérémonie, en signe de respect et d'appréciation envers les invités, les amis, les parents, la décoration intérieure et les vêtements personnels. L' a également adopté l'utilisation des tais lors de ses cérémonies. En raison de l'occupation indonésienne du Timor oriental, l'étude détaillée de l'histoire et de l'importance des tais n'a commencé qu'après 2000.

Histoire et rôle social
Le tais a été utilisé au Timor oriental comme unité d'échange, souvent contre du bétail ou d'autres objets de valeur. Lors des cérémonies, le tais est généralement porté avec des plumes, du corail, de l'or et/ou de l'argent. Pourtant, la vente de tais n'est devenue courante qu'au cours des trente dernières années. Bien que le commerce à petite échelle des tais soit une importante source de revenus pour les femmes, l'exportation est toutefois difficile et presque toutes les ventes ont lieu avec des étrangers. Ces dernières années, le marché public du textile de la capitale Dili a connu un afflux de tissages de fabrication étrangère, qui ressemblent souvent aux tais et sont vendus (et fabriqués) à moindre coût.

Le tissage des tais est réalisé uniquement par des femmes, avec des techniques transmises de génération en génération dans une tradition orale. L'activité sert souvent de rassemblement communautaire autant que de corvée de productivité, et a servi de rare forme d'expression personnelle dans l'environnement restrictif des 25 ans d'occupation indonésienne.

Tia Veronica Pereira a créé un tais noir sur lequel sont tissés en rouge les noms des 271 victimes, pour commémorer les victimes du massacre de Santa Cruz en 1991. L'influence des textiles sur la vie des femmes se reflète dans l'expression est-timoraise « apporter un fil et une bobine » en référence à un nouveau-né.

Pendant l'occupation, les soldats indonésiens représentaient un marché considérable pour les tisseurs de tais. Dans les années 1970, les tais ont pour la première fois commencé à porter des inscriptions, généralement écrites en indonésien. À l'ère de l'indépendance, les artisans du tais ont commencé à se spécialiser dans les tissages personnalisés, ainsi que dans les produits similaires au tais, tels que les sacs à main et les écharpes.

Depuis 1999, les travailleurs des ONG et des Nations unies achètent des tais pour les rapporter chez eux comme cadeaux et souvenirs et de nouveaux messages ont été insérés dans les tais en anglais et en portugais ainsi qu'en tétoum. Un fait assez remarquable, étant donné que la plupart des tisserands se trouvent dans des zones rurales où ils n'ont pas eu l'occasion d'apprendre à lire ou à écrire.

De nombreuses personnes souhaitant aider les femmes du Timor oriental à développer des sources de revenus ont importé des tais pour les vendre et ont aidé les tisserands et les groupes de couture à produire des articles tels que des sacs à main, des sacs, des housses de coussin et des paniers qui peuvent être vendus en Australie et ailleurs. La vente de tais se déplace rapidement vers l'étranger, car bon nombre des personnes qui prennent ces initiatives appartiennent à des groupes d'amitié du gouvernement local en Australie.

La culture traditionnelle timoraise s'appuie sur la culture, la coupe, le nouage, le tissage, la teinture et le gainage d'une variété de fibres, d'herbes et de feuilles à des fins cérémonielles et pratiques. Le tissage des tais joue un rôle essentiel dans la vie des Timorais et surtout des femmes : il façonne l'identité et les attitudes à leur égard. Avant et après l'introduction de la monnaie, le tais était utilisé comme un objet d'échange précieux pour les cadeaux et les cérémonies. Les textiles sont la forme d'art de la région de l'Asie du Sud-Est et les plus beaux tais sont souvent utilisés pour envelopper les corps des êtres chers pour l'enterrement. Certains auteurs attribuent à son rôle dans l'organisation des mariages et aux liens familiaux qui y sont associés la contribution au maintien et à la force de l'identité timoraise malgré des centaines d'années d'occupation coloniale. Un forum s'est récemment tenu à Melbourne afin de stimuler et d'élargir le débat et le dialogue sur l'impact de la marchandisation du tais, car il s'agit d'un artisanat ancré dans la culture et la vie sacrée.

Designs

Les dessins et les motifs des tais varient considérablement d'une région à l'autre, mais ils comportent souvent des messages relatifs à la région et aux événements importants. Les dessins comprennent souvent des animaux tels que le crocodile, sur lequel repose la légende de la création de l'île. Des motifs géométriques, appelés kaif, sont également utilisés dans la plupart des tais.

Les styles de tais portés sur le corps sont différenciés selon le sexe : les hommes portent traditionnellement la crinière tais (ou « tissu de l'homme »), une seule grande enveloppe autour de la taille généralement terminée par des glands. Les femmes portent le tais feto (« tissu des femmes »), une forme de robe sans bretelles tissée en forme de tube. Un troisième type, le selendang, un tissu fin porté autour du cou, est devenu populaire ces dernières années.

Production
Utilisant principalement des fils de coton, le tissu est créé pendant la saison sèche de l'île, presque entièrement à la main. L'utilisation du coton est un héritage de l'époque coloniale portugaise, lorsque Timor était un port important pour le commerce de ce matériau. Les fibres synthétiques comme la rayonne, l'acrylique et le polyester sont de plus en plus courantes car elles sont importées à moindre coût au Timor oriental. La réalisation d'un seul tais peut prendre de plusieurs jours à un an, selon la complexité du dessin et la variété des couleurs utilisées.

Les teintures sont utilisées pour créer des couleurs vives dans les tais ; elles sont mélangées à partir de plantes comme le taun, le kinur et le teka. D'autres colorants sont dérivés de la peau de mangue, de la feuille de pomme de terre, de la fleur de cactus et du curcuma. Les personnes qui savent mélanger les colorants sont parfois comparées à des alchimistes, qui utilisent des recettes traditionnelles pour créer les couleurs souhaitées. Bien que les couleurs portent des associations différentes d'un village à l'autre, le rouge est souvent utilisé de manière prédominante, car il est lié à la longue vie et au courage, en plus d'être la base du drapeau du Timor oriental. Lorsque les Nations Unies sont devenues la puissance administrante du Timor oriental de 1999 à 2002, les marchés tais ont augmenté la production de tissus bleus pour correspondre au drapeau cette organisation.

L'un des outils les plus courants pour le tissage des tais est le métier à sangle arrière, qui permet de tendre le tissu pendant que le fil de trame est manipulé. La pression exercée par la sangle et le temps nécessaire à la réalisation des motifs complexes de nombreux tais sont à l'origine de douleurs importantes pour de nombreuses femmes. Lors de la vague de violence de 1999, connue au Timor oriental sous le nom de « septembre noir », de nombreux tisserands de tais ont vu leurs outils et leur matériel volés ou détruits. Ces dernières années, le nombre de jeunes femmes apprenant les méthodes traditionnelles de tissage du tais a également diminué.

Variations régionales
Les dessins, les couleurs et les styles de production des tais varient considérablement dans chacun des treize districts du Timor oriental. Dans l'enclave d'Oecussi-Ambeno, l'influence portugaise est la plus évidente, avec des images florales et religieuses prédominantes et des teintes discrètes de noir, d'orange et de jaune. Dans la capitale Dili, en revanche, les couleurs vives et les panneaux pleins reflètent l'importance accordée au commerce du tais.

Dans le district d'Ermera, les motifs en noir et blanc sont les plus courants, reflétant la royauté des chefs traditionnels, qui vivaient souvent dans la région. Le village de Manufahi produit des tais avec certains thèmes animaliers communs, notamment le lézard et le porc.

Patrimoine culturel immatériel
En , l'UNESCO inscrit « le tais, tissu traditionnel » sur la liste du patrimoine immatériel nécessitant une sauvegarde urgente.

Références

Bibliographie

 Pride, Natali. "Weaving the Country Together: Identities and Traditions in East Timor". Dissertation, University of New South Wales: 2002. Online at East Timor Law Journal. Retrieved 7 February 2008.

Liens externes
 Then and Now : le tais à travers l'histoire du Timor oriental, présenté par le Virtual Museum of East Timorese Tais

Tissage textile
Économie au Timor oriental
Patrimoine culturel immatériel de l'humanité au Timor oriental
Patrimoine immatériel nécessitant une sauvegarde urgente

Tais