Eyjar á Grikklandi eru margar.  Milli 1.200 til 6.000 eftir því hvaða lágmarksstærð er miðað við. Byggðar eyjar eru á milli 166 og 227. Krít er stærsta eyjan og Evbea næststærst. Lesbos og Ródos koma næst en eftir það eru allar eyjar sem eftir eru 2/3 af stærð Ródos. Ein þekktasta ferðamannaeyjan er Santorini.

Tæknilega séð er Pelópsskagi stærsta gríska eyjan, eftir að Kórinþu-skipaskurðurinn var grafinn árið 1893 og aðskildi skagann frá meginlandinu.

Eyjunum er skipt í meginhópana:
Sarinok-eyjar
Hringeyjar/Kyklades-eyjar
Tylftareyjar
Norður-Egeifseyjar/Eyjahafseyjar
Sporadeseyjar
Jónaeyjar

Eyjur
Krít
Evbea
Lesbos
Ródos
Kíos
Kefalónía
Korfú
Lemney
Samos
Naxos
Zakynþos
Þassos
Andros
Lefkada
Karpaþos
Kos
Kyþira
Íkaría
Skyros
Paros
Tinos
Samóþrakía
Milos
Kea
Amorgos
Kalymnos
Íos
Kyþnos
Astypalaia
Íþaka
Salamis

Grískar eyjur

Listi yfir eyjar Grikklands


By Fire and Sword () is a historical novel by the Polish author Henryk Sienkiewicz, published in 1884. It is the first volume of a series known to Poles as The Trilogy, followed by The Deluge (Potop, 1886) and Fire in the Steppe (originally published under the Polish title Pan Wołodyjowski, which translates to Lord Wolodyjowski). The novel has been adapted as a film several times, most recently in 1999.

By Fire and Sword is a historical fiction novel, set in the 17th century in the Polish–Lithuanian Commonwealth during the Khmelnytsky Uprising. It was initially serialized in several Polish newspapers, chapters appearing in weekly installments. It gained enormous popularity in Poland, and by the turn of the 20th century had become one of the most popular Polish books ever. It became obligatory reading in Polish schools, and has been translated into English and most European languages.

The series was a vehicle for expressing Polish patriotism in a Poland partitioned and deprived of independence.

Plot
Despite some deviations, the book's historical framework is genuine and the fictional story is woven into real events. Many characters are historical figures, including Jeremi Wiśniowiecki and Bohdan Khmelnytsky (Polish: Bohdan Chmielnicki). Sienkiewicz researched memoirs and chronicles of the Polish nobility, or szlachta, for details on life in 17th-century Poland. The book was written, according to the author, "to lift up the heart" of the Polish nation in the unhappy period following the failed January Uprising during the era of the partitions of Poland. Thus it often favors epic plots and heroic scenes over historical accuracy. Nonetheless, Sienkiewicz's vivid language made it one of the most popular books about that particular place and era.

Chapters I–VIII

Jan Skrzetuski (Yan Skshetuski), lieutenant of the armoured regiment of Prince Jeremi Wiśniowiecki (Yeremi Vishnyevetski), gives assistance to Bohdan Zenobi Chmielnicki (first posing as Abdank) as his party are returning from a mission to the Khan through the Wilderness. At Czyhryn (Pol. Czehryń) the next day, Skrzetuski learns that Chmielnicki was escaping to the Sich. In a tavern he throws Czapliński (Chaplinski), a voluble under–starosta (and Chmielnicki's deadly enemy), out through the door. It is here that he also becomes acquainted with Zagłoba and the Lithuanian Podbipięta (Podbipienta), who wishes to join the service of Prince Jeremi in order to fulfil his family vow of cutting off the heads of three infidels, all at the same time with one blow.

On their way to Lubni, the party comes to the assistance of two women, one of whom is Helena Kurcewicz (Kurtsevich), returning to her aunt's home that really belongs to her. Jan's party are invited back to Rozlogi where Jan meets Bohun, a Cossack, adopted as a sixth son by the old princess (Helena's aunt). Bohun wants to pick a quarrel but is sent away and Jan is able to declare his love for Helena. Skrzetuski realizes the girl is being mistreated and denied her rights so gets the princess to promise Helena to him instead of Bohun or he will have Prince Jeremi help her recover home. The lieutenant finally arrives at Lubni and tells his comrades about his mission to the Crimea. Prince Jeremi returns and entertainments are laid on. To wile away the time, Skrzetuski fences with his friend, Michał Wołodyjowski (Volodyovski), and receives a response to his letter sent to Helena via Rzędzian (Jendzian), his assistant.

Revolution is now afoot. The prince decides to send an envoy, in a group led by Pan (Sir) Bychowiec (Bykhovets), to the Sich to find out about Chmielnicki. Jan persuades him to let him go in his place as he wants to see Helena and receives permission from the prince. He meets Helena once more at Rozlogi and then sets out for Czyhryn. Here, he meets Zaćwilichowski (Zatsvilikhovski), an old colonel, who says he expects revolt in the Ukraine. He also re-encounters Zagłoba who tells him that he has befriended Bohun. Further on his travels he decides to send Rzędzian with a message to Helena to flee the impending hordes. His party encounters some Cossacks and Tartars and a fight breaks out in which Jan's soldiers are slaughtered and he severely wounded. The alliance between the Cossacks and Tartars had been brokered by Chmielnicki, who understood that Cossacks, while having an excellent infantry, could not hope to match the Polish cavalry, the best in Europe. By combining Cossack infantry with Tartar cavalry, the uprising had balanced military force and a chance to beat the Polish army.

Chapters IX–XV

The messages to the friends in the court are discovered and two, Barabasz (Barabash) and Tatarczuk (Tatarchuk), are murdered by the Brotherhood of Cossacks. Tuhaj-bej (Tugay Bey), the Tartar leader, is given Jan as a ransom captive and news arrives that the Great Hetman, Mikołaj Potocki (Pototski), has sent his son Stefan (Stephen) with his army against the Brotherhood, so Chmielnicki is chosen as their leader. The Zaporojians and Tartars march out of the Sitch to meet the Poles marching from Czyhryn. Chmielnicki avoids besieging Kudak. Krzeszowski (Krechovski), a Cossack, is sent to support Potocki but is won over by talks with Chmielnicki and massacres the German mercenaries who refuse to support his betrayal. At Żółte Wody (Zhovti Vody) the Polish hussars become bogged down in the soft mud and cannot attack on the second day of the battle, so Chmielnicki wins it and another at Kruta Bałka (Krutaya Balka).

Chapters XVI–XXVII

Chmielnicki frees Jan to parley with the Prince. Skrzetuski passes through a devastated landscape to Czyhryn and then to Rozlogi, where he discovers that Helena has disappeared. He mistakenly believes that Helena has been spirited away by Bohun. In reality, after capturing Rzędzian and discovering Skrzetuski's plan to marry Helena, Bohun went immediately to Rozlogi to wed her. However, Zagłoba, who accompanied him, spirited her away after Bohun was wounded by Mikołaj (Nicholas), one of the old Princess' sons. Instead of heading for Lubni, they headed for Czerkasy but are caught between Bohun's force and Chmielnicki's advancing army. To disguise themselves Zagłoba pounces on an old blind minstrel and a young boy and steals their clothes. At a village named Demianówka (Demianovka), Zagłoba persuades the villagers to flee to Chmielnicki's force taking himself and Helena with them. Zagłoba eventually decides the safest place is on the right bank of the Dnieper and, just as they are crossing, Bohun's Cossacks appear at the river's bank but it is too late to stop the runaways.

Prince Jeremi's army arrives at Rozlogi and Skrzetuski is reunited with Wiśniowiecki. After returning to Lubni, preparations are made to march and Lubni is abandoned to its fate. They end up marching through the forests to Czernihów (Chernigov) where Chmielnicki attempts to burn the wood. They eventually cross the Dnieper and go through the Pripet Marshes, and reach the region of revolt where they wreak revenge on the Cossacks. The Brotherhood meet to determine how to respond and eventually Maksim Krzywonos (Krivonos) agrees to lead a 60,000 army to Machnówka (Makhnovka) to fight the Prince. His son besieges the castle but the Prince's hussars eventually crush the rebels.

Chapters XXVIII–XLV
Skrzetuski is dispatched to persuade some German infantry to the Prince Jeremi's side but they refuse. On his way back he attacks an outlaw camp and finds Zagłoba amongst them; he tells Jan Helena is safe in the castle in Bar. The Polish army passes Konstantynów (Konstantinoff) and halts at Rosołowce (Rosolovtsi) where they are now joined by the German infantry fleeing from Chmielnicki. Krzywonos arrives with his forces, the battle starts with single hand-to-hand combat, and Krzywonos is eventually defeated. Rzędzian is reunited with his master.

The King dies and a disputed succession takes place. Jeremi and his army rest at the castle of Zbaraż (Zbaraj) where, after much internal struggle, the Prince announces he will submit to the commanders appointed by the Commonwealth. Bohun captures Helena at Bar and hides her with a witch, Horpyna, at Horpyna's house. Helena threatens to stab herself when Bohun speaks to her about marriage, having tried to do so when she was captured at Bar. Skrzetuski and his colleagues go out to crush marauding bands. He is forced to split his force, putting parts of it under the command of Podbipięta, Wołodyjowski, and Zagłoba. Zagłoba is captured with his men by Bohun's Cossacks after they get drunk at a peasant wedding, but they are freed by Wołodyjowski and his troops.

The four Polish officers return to Jarmolińce (Yarmolintsi) and Zagłoba reveals that he overheard during his captivity that Helena is hidden somewhere between Jampol (Yampol) and Jahorlik (Yagorlik). Wierszułł (Vershul) arrives and reveals that the Poles, under Prince Dominik Zasławski, have been ignominiously defeated. They make for Lwów (Lviv), where Prince Jeremi is elected leader of the Commonwealth forces, and continue to Zamość (Zamost) and afterwards to Warsaw with his wife, Princess Gryzelda (Griselda). Wołodyjowski gets into a quarrel with Charłamp (Kharlamp) over Anusia Borzobohata. Kazimierz (Kazimir) and his brother Karol (Karl) are disputing the election, and the former is elected King. Zagłoba and Wołodyjowski also meet Bohun, travelling as an envoy, and Michał Wołodyjowski leaves him for dead in a duel.

XLVI–LVII

Chmielnicki's army is besieging Zamość but withdraws for peace negotiations. Zagłoba and Wołodyjowski now head to the castle and Wierszułł tells them that Skrzetuski is looking for Helena, travelling with some Armenian merchants to Jampol. A commission led by voivode Adam Kisiel (Kisel) is sent by the Commonwealth to negotiate with Chmielnicki, which Skrzetuski joins. The commission is rudely received by the Cossack hetman at Perejasław (Pereyaslav), despite giving him a baton from the King. Chmielnicki is pleased to see Jan and promises him 200 Cossack horsemen to accompany him to Kyiv (Kiev) and beyond.

An armistice is concluded but Cossack attacks continue. Skrzetuski is told during his search that Helena was murdered in a monastery with some nuns. He ends up with Prince Korecki at Korets, where he lies ill. Rzędzian reappears and tells Zagłoba that Helena is actually hidden in a ravine at the Waładynka river (Valea Adîncă), to which he was sent by Bohun after Bohun was wounded by Wołodyjowski. Wołodyjowski, Zagłoba and Rzędzian make for Waładynka, where they kill the witch and her servant Czeremis (Cheremis), and rescue Helena. Using Bohun's baton, they make for Zbaraż. Just before reaching it, they are pursued by Tartar horsemen. Rzędzian escapes with Helena into a wood, while the two officers make a last stand, only to be rescued by Kuszel (Kushel) and Roztworowski (Roztvorovski) with two thousand horsemen. All of the Crown forces in the Ukraine are assembled at Zbaraż, including Skrzetuski, and Jeremi finally arrives. At last, battle can take place between him and Chmielnicki.

In the ensuing fighting outside Zbaraż, Zagłoba is nearly captured by the Cossack leader Burłaj (Burlai), but instead kills his pursuer. The Cossacks are defeated, but Chmielnicki convinces the Khan to keep fighting by appealing to his pride.

LVIII–LXIII

The valiant Polish force continues to hold out against the Cossacks and Tartars. Huge assault towers are burnt to the ground by a sally led by Skrzetuski; in the action the Polish soldiers are nearly taken but are saved by the hussars. Chmielnicki summons Zaćwilichowski for negotiations but his monstrous demands are rejected by Prince Jeremi, so the fighting continues. Hunger sets in, and Longin decides to steal through the enemy's lines to tell the king of the army's plight. However, he is discovered after stumbling into some Tartar horse-herders and is killed by Tartar arrows after a last stand. His naked body is hung from an assault machine, which the Poles storm to cut him down so he can be given a military funeral.

Skrzetuski goes next and, working his way through the swamp, finally makes it through the tabor to Toporów (Toporov) and King Jan Kazimierz, who resolves to rescue Zbaraż. Skrzetuski falls seriously ill from his ordeal, but is nursed by Rzędzian, who tells him Helena is safe. The victorious Polish army returns to Toporów and Skrzetuski and his colleagues ride out to meet the lady of Sandomierz (Sandomir), in whose carriage Helena is travelling. Returning home, the whole happy party stops for a picnic at Grabowa (Grabovo) castle, which has been burnt, and Skrzetuski and his loved one are happily cheered by the soldiers.

Major characters

Historical figures:
John Casimir
Jeremi Wiśniowiecki
Bohdan Khmelnytsky
Adam Kisiel
Ivan Vyhovsky
Tugay Bey
İslâm III Giray

Fictional characters:
Jan Skrzetuski (based on )
Jan Onufry Zagłoba
Michał Wołodyjowski (based on )
Longinus Podbipięta
Yuri Bohun (based on Ivan Bohun)
Helena Kurcewiczówna
Rzędzian
Horpyna

English translations
The novel was initially translated by Jeremiah Curtin in 1898. Curtin was Sienkiewicz's "authorized" translator, meaning the publisher, Little, Brown and Co., paid a commission to Sienkiewicz for his endorsement because at the time, as a foreign work, it was not copyrighted in the USA. Thus, another translation by Samuel A. Binion (who translated many other books by Sienkiewicz) was published by R. F. Fenno and Co. around the same time as Curtin's, but without Sienkiewicz's endorsement. Both translations have since lapsed into the public domain.

A modern translation was published in 1991 by W. S. Kuniczak, at the behest of the Copernicus Society of America, as part of a series of Polish classics in modern translation.

Adaptations
A film version of the novel, With Fire and Sword, was directed by Jerzy Hoffman and released in 1999. At the time, it was the most expensive Polish film ever made (since surpassed by Quo Vadis, 2001). Although the novel is the first part of the trilogy, the film was the last part of Hoffman's version of the trilogy to be made, following The Deluge, which was filmed in 1974, and Colonel Wolodyjowski, which was filmed in 1969.

A video game based on the novel, Mount & Blade: With Fire & Sword, was published in 2011.

Invasion 1700, also known as With Fire and Sword, is a 1962 Italian-French historical epic film directed by Fernando Cerchio, based on the 1884 novel.

See also

 With Fire and Sword (film)
 Mount & Blade: With Fire & Sword
 Dzikie Pola
 Polish–Lithuanian Commonwealth
 List of historical novels

References

 Henryk Sienkiewicz, With Fire and Sword, Fredonia Books 2002,
 Jerzy R. Krzyanowski, The Trilogy Companion: A Reader's Guide to the Trilogy of Henryk Sienkiewicz, Hippocrene Books, 1992,
 Sienkiewicz Trilogy DVD edition, 2004

External links

 With Fire and Sword, translations by Jeremiah Curtin, and by Samuel A. Binion, at Internet Archive

1884 novels
19th-century Polish novels
Novels adapted into video games
Novels by Henryk Sienkiewicz
Novels first published in serial form
Novels set in Ukraine
Polish historical novels
Polish novels
Polish novels adapted into films
Sienkiewicz's Trilogy
Works originally published in Polish newspapers

With Fire and Sword


Mini Mundi er en forlystelsespark i Middelburg, hovedbyen i den nederlandske provins Zeeland. Parken omfatter miniatureparken Miniatuur Walcheren med en række modeller af byer og landskaber fra halvøen Walcheren. Dertil kommer nogle forlystelser for børn og et indendørs legeland.

Miniatuur Walcheren blev oprindeligt indviet af dronning Juliana 25. juli 1954. Forud for åbningen havde 600 frivillige brugt mere end 90.000 timer på parken med dens modeller, der alle blev opført i størrelsesforholdet 1:20. I forbindelse med projektet blev der desuden afholdt en konkurrence, hvor førstepladsen gik til en model af Slot ter Hoge fra Middelburg, andenpladsen til kirken i Veere og trediepladsen til vandtårnet i Vlissingen. Oprindeligt var det meningen, at parken kun skulle have været åben i tre måneder, men den blev en succes og følgelig permanent. I 1980'erne blev de vedligeholdelseskrævende modeller af træ efterhånden udskiftet med modeller med polyester, der er mere vejrbestandige.

Miniatuur Walcheren blev senere flyttet fra midten af Middelburg til forlystelsesparken Mini Mundi, der åbnede 15. maj 2009. I den nuværende udgave er der modeller fra 18 forskellige byer, herunder mange kendte bygninger fra Middelburg og Vlissingen.

Eksterne henvisninger

 Officiel hjemmeside

Noter

Forlystelsesparker i Holland
Miniatureparker
Etableret i 1954

Mini Mundi


Tapirira guianensis est une espèce d'arbres néotropicaux de la famille des Anacardiaceae (famille du manguier). Il s'agit de l'espèce type du genre Tapirira Aubl.

En Guyane, on il est connu sous les noms de Tapirira (Kali'na), Mombin blanc, Mombin faux, Mombin fou, Mombin sauvage, Bois à huile (Créole), Aganiaimaie (Nenge tongo), Tata pilili (Wayãpi), Ara, Ara ahavukuno (Palikur), Pau-pombo,  Tatapiraca (Portugais). Ses fruits sont appelés Loussé ou Raisin pays.

Au Suriname, on le nomme Doka, Man krappa (Hollandais du Suriname), Witte hoedoe, Anoema latti, Djedoe, Krassi pisie (Sranan tongo), Matta-warie nengé, Djedoe, Matawarie nengidjedoe, Dan lieba, Basa mopé (Saramaka), Warimia, Warimia balli, Dokka (Arawak), Atapiriri, Ata-apiriri, Ann-akara, Dukti, Tamoche-nooitjane-atapiriri, Saprieran, Massé (Karib).

Au Guyana, c'est Broad leaf/Small leaf waramir, Brown/White warimir (Créole), Duka, Waramia (Arawak), Wataparïrï (Caribe).

Au Venezuela, on l'appelle Jobillo, Makarinyek, Maro, Palo de mosquito, Patillo, Tapaculo, Zapacuro (Espagnol), Tamú ñe mën (Panaré)

Description
Tapirira guianensis est un arbre de taille moyenne, haut de , pour  de diamètre, et pouvant développer des contreforts.
Son écorce est brune à grise, mince, lisse ou très légèrement fissurée, avec une écorce interne résineuse, brun rosâtre à brun rougeâtre.
Ses rameaux cylindriques, sont grisâtres, avec des lenticelles et des touffes terminales de panicules et de feuilles.
Son bois est léger (densité : 0,44 à 0,56), rosé, lustré, souvent ponctué d'exsudations des canaux à résine. Il ressemble beaucoup à celui du genre Tetragastris (Burseraceae).

Ses feuilles composées imparipennées (parfois paripennées) à (0)2-5(7) paires de folioles, et longues de , sont extrêmement variables.
Le pétiole est cylindrique, souvent aplati ou subcanaliculé dans la partie apicale, brunâtre, pubérulent quand il est jeune, glabrescent.
L'espace entre les folioles est de .
Les pétiolules sont courts (sauf le terminal plus long), mesurant  de long, généralement pubérulents lorsqu'ils sont jeunes, sillonnés, sub-opposés.
Les folioles sont membraneuses, cartacés à subcoriaces, glabres ou un peu pubérulentes en dessous le long des nervures médiane (poils uniquement apprimés), généralement glabres adaxialement, de taille et de forme très variables (obovales, oblongues ou lancéolées), à marges entières, à base cunéiforme, et à apex obtus ou légèrement cuspidé ou acuminé, et longues de , pour  de large (la foliole terminale est généralement plus grande que les autres).
La nervure médiane est proéminente sur les deux faces, glabre sur la face supérieure.
Les nervures secondaires sont plus ou moins proéminentes et bien visibles en dessous, à peine proéminentes mais clairement visibles sur la face adaxiale, et reliées en arc de cercle vers la marge.

Les inflorescences sont des panicules axillaires, généralement ramifiés deux fois, avec les rameaux tertiaires courts, tronqués, qui portent les petites fleurs jaunes.
Les inflorescences mâles sont à peu près aussi longues que les feuilles, tandis que les hermaphrodites sont beaucoup plus courtes, puis s'élargissent lorsque les fruits mûrissent.
Les bractées sont pubérulentes, de forme ovale à subaiguë.

Les pédicelles sont pubérulents, longs de  (plus court dans les panicules hermaphrodites) avec 2 bractéoles minuscules, pubérulentes, et de forme elliptiques.
Le calice comporte 5 lobes persistants, imbriqués, reliés à la base, largement triangulaires-ovales, à sommet arrondi et à marge membraneuse, longs d'environ .
Les pétales sont blanc jaunâtre, imbriqués (ceux postérieurs réfléchis chez les fleurs mâles), glabres, de forme elliptiques, obtus ou pointus, et longs de  pour  de large.
On compte (8-)10 étamines, plus longues que les pétales, réfléchies, insérées sous le disque, avec des filets linéaires longs de  (plus courts pour les fleurs hermaphrodites) et des anthères ellipsoïdes, versatiles, latéralement déhiscentes.
Le disque cupuliforme à 10 créneaux, est réduit dans les fleurs hermaphrodites.
L'ovaire est réduit à seulement 3-5 styles poilus plus ou moins libres dans les fleurs mâles.
Ils sont de forme obovoïdes, peu pubérulents, plus longs que les pétales, avec 4-5 styles courts disposés symétriquement pour les hermaphrodites.

Le fruit est une drupe violet foncé à noire, comestible à maturité (mais peu consommée par l'homme), de forme ovoïde, ellipsoïde à obliquement obovale, portant des restes de styles, et mesurant .
L'exocarpe est fin, charnu, comestible, et l'endocarpe fin, ligneux.
La graine pend au bout d'un funicule apical.

Cette espèce varie considérablement dans le port et la morphologie des feuilles, raison pour laquelle les populations distinguent au moins deux types.

Répartition
Tapirira guianensis est présent du Costa Rica, au Paraguay, en passant par le Panama, la Colombie, Trinidad, le Venezuela, le Guyana, le Suriname, la Guyane, le Équateur, le Pérou, le Brésil, et la Bolivie.

Écologie

Tapirira guianensis est un arbre de taille moyenne, poussant communément dans les forêts secondaires ou anciennes dégradée. Au Venezuela, on le trouve partout (forêts de plaine, forêts de montagne, forêts-galeries semi-décidues, sempervirentes, savanes) à l'exception des hautes montagnes et des régions arides, autour de  d'altitude. Il fleurit en Guyane en novembre.

Tapirira guianensis est la principale plante hôte de la chenille du papillon Lonomia achelous Cramer. Cette chenille grégaire est venimeuse : elle injecte son venin par ses épines et peut provoquer d'importantes hémorragies potentillement mortelles.

Divers aspects de Tapirira guianensis ont été étudiés :
 la structure de son charbon de bois,
 la biologie de sa reproduction comme espèce dioïque,
 les étapes du développement de ses fleurs, l'ontogénèse de ses fruits, la biologie évolutive de ses organes floraux,
 la structure de son fruit et de sa graine,
 ses relations avec l'hémiparasite Phoradendron perrottettii (et les conséquences sur sa chimie), et les endophytes fongiques Pseudocercospora sp., Phomopsis sp., Lecanicillium psalliotae dans les feuilles, et Stagonospora sp., Phomopsis sp. dans les tiges,
 l'influence du parasitisme de Photadendron crassifolium sur l'embolie de ses vaisceaux conducteurs
 l'influence de la luminosité sur sa croissance,
les effets de la fragmentation forestière sur la génétique de ses populations,
 les effets de la teneur d'Aluminium dans le sol sur son développement (Tapirira guianensis est hautement tolérant à l'Aluminium  grâce à l'émission de substances organiques aux propriétés chélatrices, qui modifient sa toxicité dans le milieu),
 sa culture in vitro,
 les effets du séchage des graines sur leur pouvoir germinatif,
 etc.

Usage
Tapirira guianensis est connu de toutes les populations pour ses fruits comestibles et sucrés, principalement consommés par les enfants.

En Guyane, son écorce sert à confectionner un remède Wayãpi contre le muguet des enfants : la sève des fins copeaux d'écorce interne est appliquée dans la bouche des enfants.

Chez les populations amérindiennes du Guyana, l'écorce interne visqueuse est grattée et appliquée sur les plaies et les coupures pour désinfecter et arrêter le saignement. L'écorce est parfois mélangée à un cataplasme de tige de bananier noir (Musa sp.) dans le même but. Les plaies sont lavées avec une décoction d'écorce interne. À Barama, les jeunes troncs droits sont utilisés comme poutres de maison et comme poteaux verticaux pour tisser des hamacs. Le bois est généralement utilisé comme bois de chauffe.

Les fruits renferment des dérivés d'hydroquinone et des cyclohexanones cytotoxiques.

Tapirira guianensis est une plante mellifère importante en Amazonie.

On peut facilement travailler et polir le bois de Tapirira guianensis. On l'utilise localement pour fabriquer des planches, planchers et des murs, mais il faut absolument le traiter pour tout usage car il est périssable (il se décompose rapidement au soleil et à la pluie). On peut aussi le dérouler. Il pourrait être employé pour la pâte à papier.

L'extrait de ses feuilles présente des propriétés vasodilatrice et antioxydantes,
inhibiteurs des gélatinases,
et contient des Polyphénols aux propriétés antioxydantes,
et des flavonoïdes aux effets vasodilatateurs et inhibiteurs de la myéloperoxydase.

L'extrait d'écorce contient des polyols alkyliques cycliques, qui présentent des propriétés anti-leishmaniennes, anti-plasmodiale, antibactérienne (sur Staphylococcus aureus, S. epidermidis et Escherichia coli) et antifongique (Candida albicans) :
4,6,2′-trihydroxy-6-[10′(Z)-heptadécényl]-1-cyclohexène-2-one ;
1,4,6-trihydroxy-1,2′-époxy-6-[10′(Z)-heptadécényl]-2-cyclohexène ;
1,4,5,2′-tétrahydroxy-1-[ 10′(Z)-heptadécényl]-2-cyclohexène ;
1,3,4,6-tétrahydroxy-1,2′-époxy-6-[10′(Z)-heptadécényl]-cyclohexane.

Les extraits de fleurs et de graines de Tapirira guianensis contienent notamment des quercetines et de l'acide gallique qui présentent une activité cytotoxique.

L'extrait de Tapirira guianensis inhibe la prolifération des cellules tumorales de cancer de la bouche.

Chimie
La composition de son huile essentielle a été analysée : elle varie selon son origine.

On a trouvé des terpènes notamment flavonoïdes et norisoprénoïdes dans les feuilles de Tapirira guianensis

Dans son écorce, on a isolé des beta-sitostérol : 3beta-O-beta-D-glucopyranosyl-sitosterol, sitostenone, et stigmast-4-en-6beta-ol-3-one.

Protologue

En 1775, le botaniste Aublet propose le protologue suivant :

Notes et références

Voir aussi

Articles connexes
 Liste des plantes décrites par Fusée-Aublet

Liens externes

Anacardiaceae
Espèce d'Angiospermes (nom scientifique)
Plante décrite par Aublet
Arbre fruitier

Tapirira guianensis


Gratiot est un village américain situé dans les comtés de Licking et de Muskingum, dans l'Ohio. Selon le recensement de 2010, sa population est de .

Liens externes

Village dans l'Ohio
Comté de Licking
Comté de Muskingum

Gratiot (Ohio)


Salix gooddingii es una especie de sauce perteneciente a la familia de las salicáceas. Es nativa del sudoeste de los Estados Unidos y norte de México, donde crece en lugares húmedos y muy húmedos en muchos tipos de hábitat desde las montañas al desierto.

Descripción
Es un árbol que alcanza un tamaño de tres a 30 metros de altura, con gruesa y surcada corteza desmenuzada y muchas ramas delgadas. Las hojas son de hasta 13 centímetros de largo, generalmente en forma de lanza, y finamente dentadas en los bordes. Las hojas jóvenes están cubiertas de pelos. La inflorescencia es un amento de hasta 8 centímetros de largo.

Taxonomía
Salix gooddingii fue descrita por Carleton Roy Ball y publicado en Botanical Gazette 40(5): 376–377, pl. 12, f. 1–2, en el año 1905.
Etimología
Salix: nombre genérico latino para el sauce, sus ramas y madera.

El epíteto gooddingii fue nombrado en honor del recolector Leslie Newton Goodding.
Sinonimia
Salix gooddingii var. variabilis C.R. Ball
Salix nigra var. vallicola Dudley
Salix vallicola (Dudley) Britton

Referencias

Enlaces externos

 Jepson Manual Treatment
 USDA Plants Profile
 Flora of North America
 US Forest Service Fire Ecology
 Photo gallery

gooddingii
Flora de Estados Unidos
Flora de México
Plantas descritas en 1905
Plantas descritas por C.R.Ball

Salix gooddingii


Hokka, ilk sayısı Kasım 1989'da yayınlanan aylık dergi". Yayıncısı Kıyı Yayınları, yayına hazırlayanları Hamdi Koç, Mario Levi, Güzin Özkan, Tevfik Turan, Halil Turhanlı, Şahin Beygu, Erdem Bagatur idi. Uzunluğu 2-3 sayfayı geçmeyen, "tadımlık", genellikle çeviri, "oyuncaklı" metinlerden oluşan 32 sayfalık ilginç bir dergiydi. Son olarak Kasım 1990'daki 8. sayısı (başyazısının başlığı "Çıkmazken" idi) yayımlandı.

Türkiye dergileri
Türkiye'de yayımlanan aylık dergiler
Türkçe dergiler

Hokka (dergi)


Emilio Alonso Larrazábal, más conocido como Emilín (nacido el 25 de mayo de 1912 en Guecho, Vizcaya, España - fallecido el 29 de diciembre de 1989 en México, D. F., México) es un ex-futbolista español. Jugaba de delantero y su primer club fue Arenas.

Carrera

Comenzó su carrera en 1929 jugando para Arenas Club, de la ciudad de Guecho. Juega para el club hasta 1933. En ese año se confirma su pase al Real Madrid, en donde se mantuvo ligado hasta 1936. En 1940 se traslada con rumbo hacia la Argentina, para formar parte del San Lorenzo de Almagro, en donde se retira definitivamente del fútbol argentino.

Selección nacional

Ha sido internacional con la Selección de fútbol de España en el año 1936.

Familia

Fue conocido por haber sido el hermano de Santos Alonso Larrazábal
Contrajo nupcias con Carmela González Uribe de sangre asturiana y con ella procreó 3 hijos , Emilio , Amalio y Ricardo .

Fallecimiento

Falleció el 18 de abril de 2001 a los  en México, D. F., México debido edad avanzada.

Clubes

 Arenas Club  (1929-1933)
 Real Madrid  (1933-1936)
 San Lorenzo  (1940)

Enlaces externos

 Emilin's Biografía en página oficial del Real Madrid

Nacidos en Guecho
Futbolistas de Vizcaya
Futbolistas del Arenas Club
Futbolistas del Real Madrid Club de Fútbol en los años 1930
Futbolistas del Club Atlético San Lorenzo de Almagro
Futbolistas de la selección de fútbol de España en los años 1930
Futbolistas de la Selección de fútbol del País Vasco 1937-1939
Exiliados del franquismo en México
Fallecidos en Ciudad de México

Emilio Alonso Larrazábal


Pixel art is a form of digital art drawn with graphical software where images are built using pixels as the only building block. It is widely associated with the low-resolution graphics from 8-bit and 16-bit era computers, arcade machines and video game consoles, in addition to other limited systems such as LED displays and graphing calculators, which have a limited number of pixels and colors available. The art form is still employed to this day by pixel artists and game studios, even though the technological limitations have since been surpassed.

Most works of pixel art are also restrictive both in file size and the number of colors used in their color palette because of software limitations—in order to achieve a certain aesthetic or simply to reduce the perceived noise. Older forms of pixel art tend to employ smaller palettes, with some video games being made using just two colors (1-bit color depth). Because of these self-imposed limitations, pixel art presents strong similarities with many traditional restrictive art forms such as mosaics, cross-stitch and fuse beads.

The precise definition of pixel art is a subject of debate, but an artwork is usually considered as such if deliberate thought was put into each individual pixel of the image. Standard digital artworks or low-resolution photographs are also composed of pixels, but they would only be considered pixel art if the individual pixels were placed with artistic intent, even if the pixels are clearly visible or prominent (see Definition).

The phrases "dot art" and "pixel pushing" are sometimes used as synonyms for pixel art, particularly by Japanese artists. A much more popular variation is the term spriting, which sometimes refers to the activity of making pixel art elements for video games specifically. The concept most likely originated from the word sprite, which is used in computer graphics to describe a two-dimensional bitmap that can be used as a building block in the construction of larger scenes.

Overview

Definition
The majority of pixel artists agree that an image can only be categorized as pixel art when the pixels play an important individual role in the composition of the artwork, which usually requires deliberate control over the placement of each individual pixel. When purposefully editing in this way, changing the position of a few pixels can have a drastic effect on the image. Modern pixel art software incorporates tools that automatically place multiple pixels at once (such as fill tools, line tools, and brush tools), therefore defining pixel art as "art in which an artist has placed each individual pixel" is not accurate anymore. The following is a better way to interpret it: "The process that leads to the final artwork is less relevant than the final result. If the pixels play an important individual role in the final composition, it will be broadly regarded as a pixel art piece by most artists independently of the techniques that may have been implemented to achieve that result."

A common characteristic in pixel art is the low overall colour count in the image. Pixel art as a medium mimics a lot of traits found in older video game graphics, rendered by machines which were capable of only outputting a limited number of colours at once. Additionally, many pixel artists are of the opinion that in most cases, using a large number of colours, especially when very similar to each other in value, is unnecessary, and detracts from the overall cleanliness of the image, making it look messier. Many experienced pixel artists recommend not using more colours than necessary.

Differences from digital art
As images get bigger in resolution, pixels get harder to distinguish from each other and the importance of their careful placement is diminished, to the point that the concept of pixel art falls apart. The exact point at which this occurs and the conditions for a piece to be reasonably called "pixel art" have been the source of great disagreement among professionals and enthusiasts.

In general, the construction of a pixel image can be very similar to that of a digital artwork, particularly during the early sketching phases. The part in which the biggest distinction is made is the final pixel-by-pixel polishing.

Differences from Oekaki
Oekaki is a form of digital art done at small resolutions that presents many similarities with pixel art. However, in Oekaki, the placement of individual pixels is not considered as important compared to the general feel of the artwork, giving it a characteristic "messy" or jagged look.

Automation and algorithms
There are plenty of algorithms that have been used to facilitate the creation or editing of pixel art, such as using 3D shaders within software like Blender to generate complex effects or rotating objects, that are later imported into pixel art software.

There also exist many interpolation algorithms calibrated specifically for pixel art.

History

Origin

Some traditional art forms, like counted-thread embroidery (including cross-stitch) and some kinds of mosaic and beadwork, are very similar to pixel art and could be considered as non-digital counterparts or predecessors. These art forms construct pictures out of small colored units similar to the pixels of modern digital computing.

Some of the earliest examples of pixel art could be found in analog electronic advertising displays, such as the ones from New York City during the early 20th century, with simple monochromatic light bulb matrix displays extant circa 1937. Pixel art as it is known today largely originates from the golden age of arcade video games, with games such as Space Invaders (1978) and Pac-Man (1980), and 8-bit consoles such as the Nintendo Entertainment System (1983) and Master System (1985).

The term pixel art was first published in a journal letter by Adele Goldberg and Robert Flegal of Xerox Palo Alto Research Center in 1982. The practice, however, goes back at least 11 years before that, for example in Richard Shoup's SuperPaint system in 1972, also at Xerox PARC.

1970s
Because of severe restrictions of early graphics, the first instances of pixel art in video games were relatively abstract. The low resolution of computers and game consoles forced game designers to carefully design game assets by deliberate placement of individual pixels, in order to form recognizable symbols, characters, or items. Simple function-based avatars (or player-surrogates) such as spaceships, cars, or tanks required a minimum of animation and computing power, while enemies, terrain, and power-ups were often represented by symbols or simple designs. Due to the limited hardware of the 1970s, abstraction, as in the case of Pong's relatively simple design, sometimes led to better game readability and commercial success than attempting more detailed representational art.

Although computers had been used to create art since the 1960s and microcomputers were used in the late 1970s and there are examples of digital art utilizing a more pixelated aesthetic, there is no well known tradition of pixel art from the 1970s that differentiated between the deliberate placement of pixels or the aestheticization of individual pixels in contrast to other forms of digital painting or digital art. For this reason, one could argue that pixel art was not a recognized medium or artform in the 1970s.

1980s

In what is sometimes referred to as a golden age of video games or golden age of arcade video games, the 1980s saw a period of innovation in video games, both as a new artform and form of entertainment. During the early 1980s, video game creators were mainly programmers and not graphic designers. Technological innovation led to market pressure for more representational and "realistic" graphics in games. As graphics improved, it became possible to replace hand-drawn game assets with imported pictures or 3D polygons, which contributed to pixel art developing as a separate art form.

Gradually, professional artists and graphic designers had a bigger impact in the video games industry. Sierra Entertainment released Mystery House, pixelled by Roberta Williams, and the King's Quest series; and Lucasfilm Games released games such as Maniac Mansion, Zak McKracken and the Alien Mindbenders, and Indiana Jones and the Last Crusade: The Graphic Adventure. Mark J. Ferrari, an artist at Lucasfilm Games, later said:When I was first hired by Lucasfilm Games in 1987 to do artwork for their computer games, pixel graphics was not thought of by anyone as an 'art form'. The use of pixels was not an aesthetic choice – as it certainly is now. If anything, pixels were an unavoidable and very irksome obstacle to the creation of any 'real art' for use in the exciting but bewildering new realm of computer entertainment. There were no pixel artists then – at all! There were only traditional artists.
Nevertheless, the aesthetic of 1980s video games had a major impact on contemporary and future pixel art, both in video games, the demoscene graphics and among independent artists. As computers became more affordable in the 1980s, software such as DEGAS Elite (1986) for the Atari ST, Deluxe Paint (1985) and Deluxe Paint 2 (1986) for the Commodore Amiga, and Paint Magic for the Commodore 64, inspired many later pixel artists to create digital art by careful placement of pixels. In the case of the Commodore 64 and the Amstrad CPC, some early pixel artists used joysticks and keyboards to pixel.

With the rise of the demoscene movement in Europe in the late 1980s, artists who were proficient with creating pixel art using 8-bit computers like the Commodore 64 and ZX Spectrum or 16-bit computers like the Atari ST began to publish their pixel art as demos. Demogroups would often include coders (programmers), musicians, and graphicians, where graphicians were a common name for graphic designers and/or pixel artists. Although some graphicians worked on adding art to cracked video games (cracktros), the demoscene contributed to artistic communities creating pixel art for its own sake as art. These were often shared via floppy disks that were handed from person to person or via the postal service. The golden age of the demoscene and its associated pixel art milieu, however, is often regarded as beginning in the early 1990s.

1990s

Before the 1990s, display systems were mostly based on a small 4-bit palette of imposed colors (16 fixed shades innate to each system, often incompatible with one another). The coming decade greatly improved the graphics standard with the appearance of increased color depth and indexed color palettes (For example, 512 colors for the Atari ST and the Mega Drive, 4,096 for the Amiga ECS, 32,768 for the Super Nintendo, and 16,777,216 for the Amiga AGA and the VGA mode of the PCs). During the 1990s, 2D games with manually painted graphics saw increasing competition from 3D games and games using pre-rendered 3D assets. Still, pixel art games like Flashback, The Secret of Monkey Island, The Chaos Engine, Street Fighter III: 3rd Strike, and The Legend of Zelda: A Link to the Past had a major influence on future artists in the game industry, the contemporary demoscene and the aesthetic of pixel art in later decades.

In addition to pixel art influenced by video games, pixel artists (or graphicians) in the demoscene continued to make pixel art for demos and cracktros. Some demoscene pixel artists active in the 1990s have cited movies and urban graffiti as important influences for their art, particularly in designing logos. In addition to copying sprites from existing video games, demoscene pixel artists also copied the work of popular artists and illustrators such as Ian Miller and Simon Bisley. Competition gradually became an increasingly important part of demoscene gatherings, including pixel art (graphics) competitions, and as teenagers and young adults were the major demographic in these gatherings, a lot of demoscene pixel art referenced familiar fantasy, science fiction and cyberpunk tropes. Demoscene competitions had a major effect in shaping the direction of pixel art. Prominent artists would look for ways to innovate, display superior technique, overcome technical restrictions and in many cases aim for photorealism through anti-aliasing.

As the internet gradually became more available in the 1990s, pixel artists and demosceners would gradually begin to spread their pixel art via websites, instant messaging and online file sharing. While the demoscene was arguably most popular among young males, an online movement began in the late 1990s known as pixel dolls or 'dollz', which was popular among young females. The increased popularity of online chatting and personal webpages at a time before digital cameras were common led to an increased demand for personal representation through personalized avatars. These avatars often took the form of pixel dolls, being pixel art characters that could be outfitted with different clothing and accessories. As pixel dolls grew more and more common, many pixel artists gradually began to develop this as an independent artform.

2000s

The 2000s were a pivotal decade for pixel art establishing itself as an artform practiced around the world, separate from other forms of digital art. In particular, the Pixelation forum and Pixel Joint gallery are credited as the most influential English-speaking online communities, connecting pixel artists all over the world in a way that the mostly western European demoscene movement had not. Pixelation was a webforum where artists could share pixel art to give and receive feedback. Its main focus was critiquing, developing skills and understanding of pixel art, more so than simply sharing art for the sake of admiration, entertainment or competition. Pixel Joint is an online gallery where members can submit personal work and comment on other members' pixel art. It has features such as weekly challenges, a forum, a hall of fame and a monthly top 10 pixel art competition based on member voting.

Over time, the overlapping but separate communities on Pixelation and Pixel Joint were engaged in online discourse about the nature of pixel art, inspiring widely shared tutorials and arguably contributing to a new paradigm that was different to the pixel art of the 1990s. A major concern was to establish pixel art as its own medium and/or art form, separate from other types of digital art, such as oekaki. In particular, highly restricted palettes (e.g. a maximum 8 or 16 colors) were argued by some to be a defining feature of pixel art. One example is the so-called "8 colour gentlemen's club", consisting of pixel artists who celebrated pixel art with 8 colours. The use of transparent layers and smudging tools were also considered non-pixel art and unacceptable for the Pixel Joint gallery. Whereas the demoscene had, to a large degree, revolved around physical gatherings and groups of artists, musicians and programmers collaborating, pixel art communities on Pixel Joint and Pixelation were based mostly on online interaction among individual artists. On Pixel Joint, pixel art made through collaboration between artists was not accepted in the gallery, but considered a separate pursuit. The relatively strict ideas of what constituted acceptable pixel art, enforced by moderators on Pixel Joint, led to repeated conflict but also contributed to pixel art standing out as a separate medium at a time when many types of digital paintings were shared on the internet, on websites like DeviantArt. In particular, several prominent artists mention Cure's tutorials as significant for learning about pixel art as a separate art medium or art form.

After the golden age of the demoscene pixel art in the 1990s, many notable pixel artists of that milieu took a break from pixel art in the 2000s - although some made an early transition to join Pixelation and Pixel Joint, such as Gas 13 and Tomic. While activity did decline, the demoscene continued to explore pixel art on platforms from the late 1980s and early 1990s, particularly using the Commodore 64 and Atari computers.

Pixel doll communities grew rapidly during the 2000s, in large part due to the continued growth of forums, message boards and chat services. With websites like the Doll Palace, Eden Enchanted, DeviantArt, and many personal websites, pixel dolls was increasingly recognized as a new art form, with public feedback, competition, tutorials, best practices, and rules of conduct. The 2000s were arguably the height of pixel doll popularity, in part because of various online communities that made use of pixel dolls for avatars and the popularity of internet forums in an age before social media. Despite this, there was relatively little interaction between the pixel doll communities and other pixel art communities such as Pixel Joint, Pixelation, or the demoscene.

In video games for computers and consoles during the 2000s, pixel art was largely abandoned in favor of more modern graphics, particularly based on 3D. Many professional game artists who had been working with pixel art either left the industry or switched to other forms of digital art. This arguably contributed to pixel art establishing itself as an independent art form, practiced mostly by independent artists rather than game industry employees. There are a few notable exceptions, such as Habbo Hotel, which inspired a great amount of isometric pixel art, and Advance Wars, for Game Boy Advance.

2010s

The popularity of pixel art accelerated during the 2010s. One major contribution to this trend was the success of several 'retro' pixel art games such as Superbrothers: Sword & Sworcery EP (2011), Fez (2012), Papers, Please (2013), Shovel Knight (2014), Owlboy (2016), Stardew Valley (2016), Celeste (2018), and Octopath Traveler (2018). Many of these games combined low-resolution game assets with non-pixel art (NPA) elements such as filters, high definition UI, or special effects. The increased attention on pixel art in media and the game industry coincided with the rapid growth of pixel art communities. Owlboy's art director, Simon Andersen, explained that he wanted to show the advantages of the pixel as an art medium, pushing the potential of the artistic technique and showcase pixel art done properly, without millions of colors or 3D captures. In contrast, the heavily stylized and abstract Superbrothers: Sword & Sworcery EP made extensive use of filters and non-pixel art graphics. Superbrothers: Sword and Sworcery also allowed players to share various in-game achievements on Twitter, the #sworcery hashtag went viral, contributing to the renewed interest in pixel art in video games.

Pixel Joint and Pixelation remained important communities with a growing number of contributors, but the 2010s saw the rise of new communities on Reddit, DeviantArt, Instagram, and Twitter. While Pixelation in particular had a core of very dedicated, often professional, pixel artists, and Pixel Joint had moderators who accepted or rejected submissions to its online gallery, new pixel art communities in social media were naturally less cohesive, yet more open. Not only did social media contribute significantly to the continued growth of pixel art, and more traffic to older pixel art websites, but websites like Tumblr, Twitter, and Instagram also gave significant global attention to new pixel artists outside of the traditional pixel art communities, such as Waneella and Pixel Jeff.

During the 2010s, the demoscene arguably entered a silver age, as several older artists returned to their hobbies after a hiatus. In addition, the increasing popularity of pixel art in this decade also attracted new artists to the demoscene, who had not been active during the 1990s and 2000s. It is important to note that the demoscene and its graphics competitions never stopped, but the 2010s could nevertheless be considered a period of rejuvenation.

As advanced digital painting software like Photoshop became more widely available and easier to use, the pixel doll community split into a group of artists using traditional pixel art, known as pixel-shaders, and a group of artists using more advanced tools, known as tool-shaders. As internet forums lost popularity and drawn avatars were increasingly replaced by photos in internet communities, the pixel dolling community gradually became less active in this decade.

Perhaps because of the rise of pixel art in video games and in social media, pixel art was also seen in other areas of popular culture and even made its way to public museums. Ivan Dixon and Paul Robertson received international attention for making a pixel art version of The Simpsons''' introduction sequence. Eboy became well known for their isometric pixel art displays, often used for advertisement or sold as independent art. The work of pixel artists such as Octavi Navarro and Gustavo Viselner was featured in major newspapers and magazines. French urban artist Invader received international attention for his urban pixel art mosaics, seen around the world. Among 1980s-inspired synthwave artists and groups, pixel art was used to make music videos, such as Valenberg's work for Pertubator and a Gunship music video by pixel artists Jason Tammemagi, Gyhyom, Mary Safro, and Waneella. In 2012, the Smithsonian Institution museum of Washington created an exhibition called The Art of Video Games, attended by almost 700,000 people.

2020s

Although some commenters had predicted the decline of "retro" pixel art after a wave of pixel art games in the 2010s, pixel art has continued to remain popular in the current decade. One major contributing factor seems to have been the COVID 19 pandemic, as people around the world spent more time online, playing games, using social media and developing new hobbies. A second contributing factor seems to have been the rise of NFTs, as pixel art became an inexpensive way to produce large numbers of artworks. As the market for NFTs grew rapidly, many pixel artists embraced the new technology as a new source of income. Many notable professional artists also expressed skepticism and disapproval of NFTs, citing environmental factors, pyramid scheme claims, and money laundering as reasons for rejecting offers. One of the most profiled examples of pixel artists expressing opposition to NFTs is Castpixel, citing environmental effects and artificial scarcity. Furthermore, as is the case with other forms of digital art, pixel artists have also discovered many cases of plagiarism and fraud by actors who download pixel art without permission to sell as NFTs. Although discussion around pixel art theft is not new, the issue has certainly become more controversial with the rise of NFTs.

Perhaps linked to the increased influence and attraction of social media platforms like Twitter, Mastodon, Reddit, and Instagram, older pixel art communities on Pixelation and DeviantArt declined in the 2020s. Discord became an important platform for pixel art communities like Pixel Joint, PAD (Pixel Art Discord), Lospec, and Trigonomicon. In the early fall of 2022, Pixelation announced the closing of its webforum and a transition to Twitter.

Pixel art continued to be a popular style in games across platforms, with releases such as Eastward (2021), Teenage Mutant Ninja Turtles: Shredder's Revenge (2022), Songs of Conquest (2022), Vikings on Trampolines (2022), and Loop Hero (2021). Some argued that the recent wave of pixel art games, released thirty years after the release of the SNES, was largely influenced by nostalgia and freedom from publishers, responding to unoriginal stories in modern video game blockbusters and wanting to integrate contemporary themes, such as ecological concerns and representation of queer characters.

Techniques
Pixel art typically involves a more careful and deliberate placement of pixels compared to other forms of digital art. Artists use different brush sizes (e.g. 1x1 or 2x2 pixels) and a variety of tools, such as free-hand / pencil, lines, and rectangles. One key difference between pixel art and other digital art is that pixel artists tend to apply a single color at a time, avoiding tools such as soft edges, smudging, and blurring. Agreeing on which tools and techniques are considered non-pixel art (NPA) is something that has caused considerable disagreement in the past. For example, applying layers with different filters that adjust hue or light values is considered a non-pixel art technique, but the resulting art may still be considered pixel art if there's a clear foundation of deliberate placement of pixels. To preserve the careful pixel placement, pixel art is preferably stored in a file format utilizing lossless data compression. The JPEG format, for example, is often avoided because of its compression, as it introduces visible artifacts in the image.

Different restrictions are central to pixel art, and these are often traced back to technical limitations of hardware such as Amiga, Commodore 64, NES, and early computers. The two most common restrictions are resolution and palette, and pixel artists often work with a significantly reduced canvas size and number of colors compared to other digital artists. (Lee, p. 276) Examples include Commodore 64 restrictions (320x200 resolution, 16 colors), original ZX Spectrum restrictions (256x192 pixels, 15 colors), and GameBoy restrictions (160x144 pixels, 4 colors).

Some artists start the process of pixelling by drawing line-art, while others begin by blocking in simple shapes and big clusters. Traditionally, pixel art was done on a single layer, similar to painting on a canvas, but modern software permits work with multiple layers, potentially adding animation or transparency to the foreground while keeping a static background.

To deal with the various restrictions of pixel art, such as reduced resolution or colors, pixel artists have traditionally employed a number of techniques specific to the artform. One widely used technique is dithering, commonly using noise or a repeating pattern such as a checkerboard or lines to create a third color when seen from a distance. Other common techniques include anti-aliasing (AA) where strong edges are softened by manually placing pixels, and sub-pixelling, changing colors of pixels to create an illusion of movement.

Styles
Because pixel art is a flexible medium, pixel artists can often imitate styles from traditional media, such as impressionism or pointillism in oil painting or cross hatching in embroidery. Pixel art is not a style itself, but a broad artistic medium. However, there are different styles within pixel art that revolve around pixel placement. One common distinction in style is the use of clusters. A cluster is a field of connected pixels with the same exact color. The opposite of a cluster is an isolated pixel (1x1) surrounded by pixels of other colors. Cluster size has become an important marker of pixel art styles, where some pixel art uses large clusters and avoids isolated (orphan) pixels, whereas other works use clusters of all sizes in combination with isolated pixels, or even rely primarily on isolated pixels and small clusters for a more grainy, noisy texture. Styles that rely more on small clusters and isolated pixels often have similarities with pointillism and impressionism, whereas pixel art with larger clusters and geometric shapes have similarities with cubism and suprematism. Although some artists have been known for championing a particular style, there are many pixel artists who alternate between different styles in their works.

Genres and subjects
Pixel art is a flexible medium and shares traditions of figure drawing, landscapes and abstract with traditional media. However, certain genres have emerged as particularly popular. These genres often overlap, but include:

 Isometric: Pixel art drawn in a near-isometric dimetric projection. Originally used in games to provide a three-dimensional view without using any real three-dimensional processing. Normally drawn with a 1:2 pixel ratio along the X and Y-axis.
 Sprites: Characters and game assets typically drawn in the fashion of platformer games and fighting games such as Streets of Rage or Street Fighter II or JRPGs (Japanese Roleplaying Game) such as Final Fantasy.
 Pixel dolls: Also known as dollz. Sets of pixel art characters, usually with customizable appearance and sets of clothing. Often used as avatars for chatting and forums, or in dress-up games.
 Mock-ups'': Concepts for non-existing pixel art games, including a user interface and other game elements. Retro-style mock-ups based on modern games are called 'demakes'.

Software
Essentially all raster graphics editors can be used in some way for pixel art, some of which include features designed to make the process easier. See Comparison of raster graphics editors for a list of notable raster graphics editors. The following notable programs were designed specifically to facilitate drawing pixel art.

See also
 ASCII art
 Cel shading
 Cross-stitch
 Low poly
 Mosaic
 r/place

Notes

External links
 Pixelation - a forum for pixel art critique and discussion. Active 2005 - 2022. Now closed for new comments.
 Pixel Joint - an online gallery with a forum, weekly challenges, awards, events and a Discord channel
 Lospec - an online community with a gallery, various tutorials and other resources

Bibliography

Books

Other relevant sources

References

Computer art
Digital art

Pixel art


عدنان الباجة جـي (بغداد 14 أيار مايو 1923- 17 تشرين الثاني نوفمبر 2019) وهو سياسي ودبلوماسي عراقي. دكتوراه في العلوم السياسية من جامعة جورجتاون
. سفير العراق في الأمم المتحدة بعد حركة 14 تموز 1958 مباشرة حتى أصبح وزيراً للخارجية في عهد الرئيس عبد السلام عارف (1965 - 1967 م)، وهو ابن السياسي البارز في عهد الملكية (مزاحم الباجه جي الذي كان رئيس الوزراء العراقي خلال حرب فلسطين 1948). وخدم خلال الحرب مع إسرائيل في 1967.
كان عدنان الباجة جي خارج العراق عندما أطاح البعثيون بحكم عبد الرحمن عارف في انقلاب تموز 1968، وارتأى عدم العودة وقرر العمل مع المعارضة العراقية، حيث كان عضوا بارزا فيها. التحق بحكومة أبو ظبي للعمل فيها، وقد حضر اجتماع التوقيع على دستور إقامة الإمارات العربية المتحدة وإعلان استقلال الدولة. مما يذكر أنه عقب احتلال العراق سنة 2003، تم تعيين السيد الباجه جي عضوا في مجلس الحكم العراقي للفترة من 12 تموز يوليو 2003، ولغاية 1 حزيران يونيو 2004 م هي مدة المجلس لحين حله، ومُنح المجلس صلاحيات جزئية في إدارة شؤون العراق، وتولُى رئاسته الدورية للفترة من 1 كانون الثاني يناير 2004 إلى 31 كانون الثاني يناير 2004. ثم أصبح عضواً في الجمعية الوطنية الانتقالية (2004-2005). انتخب في كانون الثاني يناير من عام 2005 عضواً في الجمعية الوطنية العراقية وافتتح جلستها الأولى كأكبر الأعضاء سنّاً. وترشح عام 2010 في انتخابات مجلس النواب العراقي في قائمة أياد علاوي. تمتع الباجه جي بصلات قوية في الخليج، وقضى السنوات التي كان فيها بالمنفى في أبو ظبي، حيث كان مستشارا لحكومة دولة الإمارات العربية المتحدة، وقد توفي فيها يوم 17 تشرين الثاني نوفمبر 2019 عن عمر 96 عاماً.

ولادته ونشأته وحياته الخاصة
ولد ببغداد في 14 أيار مايو 1923 لأبوين من أسرة الباجة جي من عشيرة السباهي من قبيلة شمر العربية فوالده السياسي ورئيس وزراء العراق الأسبق مزاحم الباجه جي، ووالدته بهيجة حسن الباجه جي التي اقترن بها في تشرين الثاني نوفمبر 1921 فهي ابنة عمة والده، ووالدها حسن الباجه جي الذي كان من أشهر المحامين في العراق في حينه. كان المولود الوحيد لأبويه بسبب سوء حالة والدته الصحية التي اضطرت إلى ولادته بعملية قيصرية في المستشفى الملكي ببغداد.
ونشأ في بيت سياسي حيث كان والده وعمه حمدي الباجه جي وصهره علي جودت الأيوبي والد زوجته رؤساء وزارات مختلفة في العراق خلال العهد الملكي
تزوج في عام 1946 في أثناء عمله سكرتيراً بالسفارة العراقية بواشنطن من «سلوى» ابنة علي جودت الأيوبي السفير العراقي بواشنطن، ورزق منها بثلاث بنات أولهن ميسون التي ولدت هناك عام 1947، وريمة التي ولدت في بغداد.

الانتساب
قال إبراهيم الحيدري في ذكره عائلة الباجة جي «ومنها بيت الباجة جي، وهو بيت عز وتجارة وخيرات ومبررات ودولة وتجارة عظيمة، وقد نشأ فيهم الحاج نعمان جلبي، ونال من المال ما لم ينله أحد من التجار، وكان ذا جاه عظیم وخيرات كثيرة وكان يطعم جميع فقراء بغداد وغيرهم من الواردين إلى بغداد سنة القحط والغلاء، وبنى جامعاً وكذا بنى أخوه الحاج أمين جامعاً ببغداد، ثم قام مقام الحاج نعمان المذكور الحاج سليمٌ جلبي ابنُ أخيه، وفي حق مقامه، وبقي منهم رجال من ذوي التجارة، وأجلهم في عصرنا هذا عبد الرحمن چلبی نجل المرحوم الحاج سلیم، وهو من أهل الدراية والفهم والصدق والوفاء، وهم في الأصل من أكابر أهل الموصل من السباهية، والباجه جيون أخوالهم نُسبوا إليهم، ولهم سابقة التوطن في بغداد».

دراسته
درس الابتدائية في بغداد وانتقل عام 1934 وهو بعمر الحادية عشرة إلى الإسكندرية في مصر لدراسة الثانوية في كلية فيكتوريا وتخرج فيها عام 1940 م. ثم انتقل إلى بيروت فدرس العلوم السياسية في الجامعة الأميركية وتخرج فيها عام 1943. ثم نال درجة الدكتوراه في العلوم السياسية في جامعة جورج تاون بالولايات المتحدة عام 1949م في فترة عمله الدبلوماسي هناك.

عمله الدبلوماسي
عين في كانون الأول ديسمبر 1944 في الخارجية العراقية ثم عينه أرشد العمري عام 1945 سكرتيراً ثالثاً في السفارة العراقية بواشنطن بمعية السفير علي جودت الأيوبي وبقي في واشنطن حتى إكماله الدكتوراه وعودته إلى بغداد عام 1949.
عمل في ديوان وزارة الخارجية ببغداد لفترة ثم نقل للعمل كقنصل في القنصلية العراقية بالإسكندرية بمصر، والتي لم يجد لها عملاً في هذه المدينة فاقترح على وزارة الخارجية إلغاء القنصلية فحصلت الموافقة على ذلك. عندها عاد إلى بغداد عام 1950 ليعمل" معاونًا لمدير الدائرة السياسية لشؤون الأمم المتحدة والمؤتمرات في وزارة الخارجية .
في عام 1953 طلبه موسى الشابندر السفير العراقي في واشنطن للعمل بمعيته فعين هناك سكرتيراً أولا لمتابعة الشؤون السياسية وبقي هناك أربع سنوات.

كتبه
 في عين الاعصار (كتاب) وهي مذكرات الباجه جي الصادر في بيروت عام 2013 في 335 صفحة.

وفاته
توفي في أبو ظبي في 17 تشرين الثاني نوفمبر 2019 عن عمر ناهز 96 عاما.

مصادر
 شبكة ألم الإمارات.
 برنامج قناة الجزيرة شاهد على العصر مع عدنان الباجه جي الجزء الأول

مراجع

وصلات خارجية

أشخاص من بغداد
أعضاء مجلس الحكم
أعضاء مجلس النواب العراقي عن انتخابات كانون الأول 2005
خريجو الجامعة الأمريكية في بيروت
دارسون في كلية فيكتوريا
سياسيون من بغداد
علمانيون عراقيون
قوميون عرب عراقيون
مسلمون سنة عراقيون
معارضون عراقيون
مغتربون عراقيون في الإمارات العربية المتحدة
مندوبو العراق الدائمون لدى الأمم المتحدة
منفيون عراقيون
مواليد 1341 هـ
مواليد 1923
مواليد في بغداد
ناصريون
نواب عراقيون
وزراء خارجية العراق
وزراء عراقيون
وفيات 1441 هـ
وفيات 2019

عدنان الباجه جي


Veljko Narančić (Donji Lapac, 26. svibnja 1898. – Rijeka, 6. veljače 1983.), hrvatski atletičar. Natjecao se za Kraljevinu Jugoslaviju.

Natjecao se na Olimpijskim igrama 1924., 1932. i 1936 u bacanju kugle i diska. Na OI 1932. bio je nositelj državne zastave. Najbolji rezultat je ostvario u bacanju kugle 1924. kada je osvojio 12. mjesto.

Bio je član zagrebačke Concordije.

Izvori

Hrvatski bacači kugle
Hrvatski bacači diska
Srbi u Hrvatskoj

Veljko Narančić


Arroyo Cano es un Distrito Municipal del municipio de Bohechio, de la provincia de San Juan en el sur de la República Dominicana. Centro del municipio y cuna de grandes líderes.

Ubicación
Arroyo Cano son dos Distritos Municipales que junto al casco urbano conforman el municipio de Bohechío. Está ubicado en el este de la provincia de San Juan, a 38 km de San Juan de la Maguana, a 6 km del casco urbano del municipio de Bohechio y a unos 20 km de la carretera Sánchez y el distrito municipal de Guanito. Limita al norte con el distrito municipal de Los Fríos, perteneciente al municipio de Padre las Casas, provincia de Azua, al sur con la presa de Sabana Yegua, al este el casco urbano del municipio de Bohechio y al oeste con el río Yaque del Sur, que lo separa del distrito municipal de Yaque, también perteneciente al municipio de Bohechio.

Fundado por la familia Sánchez, descendientes del Patricio Francisco del Rosario Sánchez. Después del fusilamiento del Patricio los Sánchez fueron despojados de sus tierras y se dispersaron por diferentes lugares.

Breve historia de los Sánchez y los Abreu.

Población

Tiene una población de 3,074 habitantes, según el VIII Censo Nacional de Población y Vivienda 2002.

Economía

La principal actividad económica de Arroyo Cano es la agricultura, destacándose entre los principales rubros el Café, Habichuelas, Maíz, Guandul, Aguacate, entre otros.

La producción de Café es parte de la cultura de Arroyo Cano, está ligada a su tradición y a su diario vivir. De 1985 hacia atrás el cultivo y producción de este grano aromático marcaba en cierto modo el ritmo de vida de los habitantes de esta zona.

El calendario escolar, las actividades festivas, y las conmemoraciones religiosas giraban en torno a la cosecha del café. Las casas permanecían prácticamente vacías durante tres meses, octubre-diciembre, la temporada óptima de cosecha y este proceso envolvía a todos los miembros de la familia; cada uno realizaba una labor en la cadena de producción.

La pérdida del valor del precio del café en el mercado internacional y la entrada de otros países a la lista de productores, y le quitó la rentabilidad a la producción cafetera. Hoy día, a pesar de que el valor ha mejorado, producir un quintal cuesta unos RD$3,500.00 y su precio de venta ronda los RD$3,600.00

El alto costo de producción del café y su baja rentabilidad ha provocado que los agricultores de Arroyo Cano exploren otro campo, y están orientando sus actividades al desarrollo de fincas de aguacate y cítricos, mientras las plantaciones de café se mantienen como un patrimonio familiar sin que ésta constituya la base de sustensación que era antes.

Educación

Arroyo Cano ha producido cientos de profesionales incluyendo el actual Presidente Constitucional de la República Dominicana,  el Lic.Danilo Medina Sánchez, hijo de este Distrito Municipal.

Arroyo Cano posee una Escuela Primaria y un Liceo Secundario, La escuela primaria Prof. Catalina Sánchez y el Liceo María Trinidad Sánchez, por los cuales han pasado cientos de profesionales que hoy ocupan cargos públicos y privados convirtiéndolo en el lugar donde más profesionales han surgido de la zona.

Los estudiantes de nivel superior estudian en las Universidades de San Juan de la Maguana los cuales cuentan con un transporte estudiantil para comodidad y economía.

Religión

El 90% de la población de Arroyo Cano son Católicos, el 5% Cristianos protestantes, el 3% de otras religiones y un 2% no asisten a ninguna religión.

La patrona es la Virgen de la Altagracia.

Atractivos turísticos
Sus principales atractivos turísticos son las opciones ecoturísticas de los parques nacionales José del Carmen Ramírez y José Armando Bermúdez, en las estribaciones de la Cordillera Central (norte); los ríos Yaque del Sur y Blanco.

Fuente de Empleo
La principal fuente de empleo de Arroyo Cano es la Agricultura, la construcción y Los cargos públicos.

Desde el año 2005 se construye en la zona el Proyecto Hidroeléctrico Palomino, el cual desde ese año hasta la fecha es la principal fuente de empleo de Arroyo Cano y todo el Municipio.

Acceso
Arroyo Cano es Accesible por la Carretera Guanito/Bohechio que comunica al municipio de Bohechio con la Carretera Sánchez, la Carretera Arroyo Cano/Yaque comunica a estos dos Distritos Municipales y la Carretera Arroyo Cano/Bohechio lo comunica con Bohechio. Hay una Carretera en mal estado que comunica Arroyo Cano con las comunidades que se localizan al norte del Distrito como son: La sección de los Montacitos y el Distrito Municipal de Los Fríos.

Cultura y Tradición
Arroyo Cano celebra sus fiestas Patronales del 13 al 21 de enero en honor a la Virgen de la Altagracia patrona del Distrito, durante 8 días todo el municipio y zonas aledañas se concentran en Arroyo Cano, convirtiendo estas fiestas en la principal fiesta del municipio.

Las fiestas son organizadas por el Ayuntamiento y por el Comité organizador que cada año hacen posible la realización de estas fiestas.

Arroyo Cano como todas las comunidades de provincia de San Juan, tienen como cultura la realización de la tradicional fiesta de palos o atabales las cuales son realizadas casi en todo el año en honor a distintos Santos religiosos.

Distritos municipales de San Juan (República Dominicana)

Arroyo Cano


Satoshi Tsunami (født 14. august 1961) er en japansk fodboldspiller.

Japans fodboldlandshold

|-
|1980||3||0
|-
|1981||7||0
|-
|1982||8||0
|-
|1983||10||0
|-
|1984||5||0
|-
|1985||7||0
|-
|1986||5||2
|-
|1987||10||0
|-
|1988||0||0
|-
|1989||0||0
|-
|1990||0||0
|-
|1991||0||0
|-
|1992||10||0
|-
|1993||10||0
|-
|1994||0||0
|-
|1995||3||0
|-
!Total||78||2
|}

Eksterne henvisninger

Japan National Football Team Database

Fodboldspillere fra Japan
Fodboldtrænere fra Japan

Satoshi Tsunami


Christianne Mwasesa Mwange (født d. 23. Marts 1985 i Lubumbashi)er en congolesisk håndboldspiller som spiller for Primeiro de Agosto i Angola og DR Congos håndboldlandshold. Hun har deltog under VM i håndbold 2013 i Serbien, hvor DR Congo blev nummer 20. og Mwasesa blev topscorer for det congolesiske landshold.

Kilder

Eksterne henvisninger

Håndboldspillere fra Demokratiske Republik Congo

Christianne Mwasesa


Mordoğan, İzmir'in Karaburun ilçesine bağlı bir mahalle. Uzunada'nın tam karşısında yer alır. Mordoğan, özellikle Çatalkaya, Ayıbalığı kayalıkları ve plajı, Ardıç Plajı, amatör balıkçılığı ve 70 çeşit mor çiçeği ile ünlüdür.

Tarihçe
Mordoğan'da 29 Aralık 1986'da belde belediyesi kuruldu. 12 Kasım 2012'de TBMM'de kabul edilen 6360 sayılı kanun ile mahalle oldu.

Yönetim

Belediye başkanlığı

Turizm
Mahallede Manal, Ayıbalığı koyları ile Sulucadere, Korsan, Kocakum, Ardıç plajları yer almaktadır.

Kaynakça

Galeri

Karaburun'un mahalleleri
6360 sayılı yasaya göre kaldırılan belediyeler

Mordoğan


Blaubach ist ein geographischer Name und Namensbestandteil:

Orte:
 Blaubach, Ortsgemeinde im Landkreis Kusel, Rheinland-Pfalz
 Blaubach (Blaufelden), Weiler der Gemeinde Blaufelden, Landkreis Schwäbisch Hall, Baden-Württemberg

Gewässer:
 Blaubach (Brettach), rechter Zufluss der Brettach (zur Jagst) bei Bemberg, Gemeinde Rot am See, Landkreis Schwäbisch Hall, Baden-Württemberg
 Blaubach (Ecker), linker Zufluss der Ecker bei Abbenrode, Gemeinde Nordharz, Landkreis Harz, Sachsen-Anhalt
 Blaubach (Fallbach), linker Zufluss des Fallbachs (rechter Hauptstrang-Oberlauf des Littenbachs) gegenüber Reute, Kanton Appenzell Ausserrhoden
 Blaubach (Fils), rechter Zufluss des Fils in Uhingen, Landkreis Göppingen, Baden-Württemberg
 Blaubach (Kuselbach), linker Zufluss des Kuselbaches in Diedelkopf, Stadt Kusel, Landkreis Kusel, Rheinland-Pfalz
 Blaubach (Prims), linker Zufluss der Prims in Schmelz, Landkreis Saarlouis, Saarland
 Blaubach oder Stegbach (Rhein), rechter Zufluss des Oberrheins in Geisenheim, Rheingau-Taunus-Kreis, Hessen
 Blaubach (Wied), linker Zufluss der Wied in Neustadt, Landkreis Neuwied, Rheinland-Pfalz

 Blaubachgraben, linker Zufluss des Blaubach (Prims) gegenüber Schmelz, Landkreis Saarlouis, Saarland
 Blaubachsee oder Hochwasserrückhaltebecken Bemberg, See im Lauf der Blaubach (Brettach) bei Bemberg, Gemeinde Rot am See, Landkreis Schwäbisch Hall, Baden-Württemberg

Straßen:
 Blaubach, Straße in Köln, siehe Kölner Bäche #Blaubach

Blaubach (Begriffsklärung)


Mill Creek or Millcreek may refer to:

Communities

Canada
Mill Creek, Cape Breton, Nova Scotia, in the Cape Breton Regional Municipality
Mill Creek, Cumberland, Nova Scotia, in Cumberland country

United States
Millcreek Township (disambiguation), several places
Mill Creek, Pope County, Arkansas, an unincorporated community
Mill Creek, Bakersfield, a district in Downtown Bakersfield, California
Lundy, California, formerly known as Mill Creek
Mill Creek, California, a town in Tehama County
Mill Creek, Delaware, an unincorporated community in New Castle County
Mill Creek Hundred, an unincorporated subdivision of New Castle County, Delaware
Mill Creek, Georgia, an unincorporated community
Mill Creek, Illinois, a village
Mill Creek, Adams County, Illinois, a local name for Hickory Grove, Ellington Township
Mill Creek, Indiana, an unincorporated community in Lincoln Township, LaPorte County
Millcreek, Missouri, an unincorporated community in Castor Township, Madison County
Mill Creek, Oklahoma, a town
Mill Creek, Pennsylvania, a borough in Huntingdon County
Mill Creek, Philadelphia, Pennsylvania, a neighborhood
Millcreek, Utah, a city in Salt Lake County
Mill Creek, Gloucester County, Virginia, an unincorporated community
Mill Creek, Washington, a city in Snohomish County
Mill Creek East, Washington, a CDP in Snohomish County
Mill Creek, West Virginia, a town in Randolph County
Mill Creek, Wisconsin, a ghost town
Mill Creek Community, Wisconsin, an unincorporated community

Streams

Canada
Mill Creek Ravine, Edmonton, Alberta, on a tributary of the North Saskatchewan River

United Kingdom
Mill Creek, a tributary of the River Ouse, Sussex in Newhaven

United States

California
Mill Creek (Los Angeles County, California), a mountain stream in the Angeles National Forest and a major tributary of Big Tujunga Creek
Mill Creek (Mono Lake), in the endorheic Mono-Mojave subregion
Mill Creek (San Bernardino County), a tributary of the Santa Ana River
Mill Creek, a tributary of San Vicente Creek in Santa Cruz County, California
Mill Creek (Tehama County), a tributary of the Sacramento River
Mill Creek (Tulare County), a tributary of the Kaweah River
Old Mill Creek (Arroyo Corte Madera del Presidio), a tributary to Arroyo Corte Madera del Presidio, and thence to Richardson Bay in Marin County

Colorado
Mill Creek (San Juan River tributary)

Delaware
Mill Creek (Blackbird Creek tributary), a stream in New Castle County
Mill Creek (Smyrna River tributary), a stream in Kent County
Mill Creek (White Clay Creek tributary), a stream in New Castle County

Georgia
Mill Creek (Etowah River tributary)
Mill Creek (Muckalee Creek tributary)

Indiana
Mill Creek (Jackson County, Indiana), a tributary of the White River

Iowa
Mill Creek (Jackson County, Iowa), a tributary of the Upper Mississippi River
Mill Creek (Johnson County, Iowa)
Mill Creek (Nodaway River tributary), a stream in Iowa and Missouri

Maryland
Mill Creek (Marshyhope Creek tributary), a stream in Dorchester County, Maryland

Michigan
Mill Creek (Paw Paw River tributary)

Missouri
Mill Creek (Barren Fork)
Mill Creek (Big River tributary)
Mill Creek (Crane Pond Creek tributary)
Mill Creek (Eleven Point River tributary), a stream in Arkansas and Missouri
Mill Creek (Elk River tributary), a stream in Arkansas and Missouri
Mill Creek (Grandglaize Creek tributary)
Mill Creek (Little Piney Creek tributary), a stream in Phelps County in the Ozarks
Mill Creek (Loutre River tributary)
Mill Creek (Morgan County, Missouri)
Mill Creek (Niangua River tributary)
Mill Creek (Nodaway River tributary), a stream in Iowa and Missouri
Mill Creek (River aux Vases)

New Jersey
Mill Creek Marsh, flows into the Hackensack River

New York
Mill Creek (Black Creek tributary), flows into Hinckley Reservoir
Mill Creek (Black River tributary), flows into the Black River near Boonville
Mill Creek (Black River, Lyons Falls), flows into the Black River near Lyons Falls
Mill Creek (Black River, Watson), flows into the Black River in Watson
Mill Creek (Fall Creek tributary), a tributary of Fall Creek
Mill Creek (Gravesville, New York), a tributary of West Canada Creek
Mill Creek (Hudson River tributary), in Rensselaer County
Mill Creek (Jamaica Bay), a small stream in Brooklyn that empties into Jamaica Bay
Mill Creek (Owasco Inlet), a tributary of Owasco Inlet in Cayuga County
Mill Creek (Susquehanna River tributary, Otego), a tributary of the Susquehanna River
Mill Creek (West Canada Creek tributary), a tributary of West Canada Creek
Mill Creek (West Kill), converges with West Kill by North Blenheim, New York
Mill Creek (Wharton Creek tributary), a tributary of Wharton Creek

North Carolina
Mill Creek (Pee Dee River tributary), a stream in Anson County
Mill Creek (Coddle Creek tributary), a stream in Cabarrus and Rowan Counties
Mill Creek (Trent River tributary), a stream in Jones County, North Carolina
Mill Creek (Little River tributary), a stream in Moore County
Mill Creek (Deep River tributary), a stream in Randolph County
Mill Creek (Uwharrie River tributary), a stream in Randolph County
Mill Creek (Lanes Creek tributary), a stream in Union County
Mill Creek (Richardson Creek tributary), a stream in Union County

Ohio
Mill Creek (Ohio), a tributary of the Ohio River
Mill Creek (Scioto River tributary), a stream in central Ohio

Oregon
Mill Creek (Marion County, Oregon), a tributary of the Willamette River
Mill Creek (Mohawk River tributary), a tributary of the Mohawk River in Lane County

Pennsylvania
Mill Creek (Delaware River tributary), a stream in Bucks County, Pennsylvania
Mill Creek (Neshaminy Creek tributary, Doylestown Township), a stream in Bucks County, Pennsylvania
Mill Creek (Neshaminy Creek tributary, Northampton Township), a stream in Bucks County, Pennsylvania
Mill Creek (Neshaminy Creek tributary, Wrightstown Township), a stream in Bucks County, Pennsylvania
Mill Creek (Clarion River tributary), a stream in Clarion and Jefferson Counties, Pennsylvania
Mill Creek (Roaring Creek tributary), a stream in Columbia County, Pennsylvania
Mill Creek (Lake Erie), a tributary of Lake Erie and a stream in Erie County, Pennsylvania
Mill Creek (Juniata River tributary), a stream in Huntingdon County, Pennsylvania
Mill Creek (Lackawanna River tributary), a stream in Lackawanna and Lycoming Counties, Pennsylvania
Mill Creek (Conestoga River tributary), a stream in Lancaster County, Pennsylvania
Mill Creek (Reilly Creek tributary), a stream in Luzerne County, Pennsylvania
Mill Creek (Loyalsock Creek tributary), a stream in Lycoming and Sullivan Counties, Pennsylvania
Mill Creek (Susquehanna River tributary), a stream in Luzerne County, Pennsylvania
Mill Creek (French Creek tributary), a stream in Mercer and Venango Counties, Pennsylvania
Mill Creek (Lower Merion, Pennsylvania), a tributary of the Schuylkill River upstream of Philadelphia
Mill Creek (Philadelphia), a tributary of the Schuylkill River and a stream in Montgomery County and Philadelphia City
Mill Creek (Tioga River tributary), a stream in Tioga County, Pennsylvania
Mill Creek (Whitelock Creek tributary), a tributary of Whitelock Creek and a stream in Wyoming County, Pennsylvania

Tennessee
Mill Creek (Davidson County, Tennessee), a tributary of the Cumberland River

Texas
Mill Creek (Brazos River tributary), a river draining into the Brazos River

Virginia
Mill Creek (Whitethorn Creek tributary), a stream in Pittsylvania County, Virginia

West Virginia
Mill Creek (North Fork South Branch Potomac River tributary), a tributary of the North Fork South Branch Potomac River
Mill Creek (Opequon Creek tributary)
Mill Creek (Patterson Creek tributary), a tributary of Patterson Creek
Mill Creek (South Branch Potomac River tributary), a tributary of the South Branch Potomac River
Mill Creek (western West Virginia), a tributary of the Ohio River

Washington
Mill Creek (Thurston County, Washington)

Wisconsin
Mill Creek (Wisconsin River tributary)

Other uses
Historic Mill Creek Discovery Park, in Michigan
Mill Creek (Bakersfield), a linear park in downtown Bakersfield, California; adjacent to the Kern Island Canal
Millcreek Canyon (Salt Lake County, Utah)
Mill Creek chert, a type of stone from southern Illinois used extensively by the Mississippian culture
Mill Creek Correctional Facility, Salem, Oregon
Mill Creek Expressway, Ohio
Mill Creek Generating Station, a coal-fired power plant in Louisville, Kentucky
Mill Creek Elementary School, Warrington, Pennsylvania
Mill Creek High School, in Hoschton, Georgia
Mill Creek Park, in Youngstown, Ohio
Millcreek Mall, shopping center in Erie, Pennsylvania
The Mall at Mill Creek, Secaucus, New Jersey
Millcreek (UTA station), a transit station in South Salt Lake, Utah
Mill Creek Zanja, California

See also

Mill River (disambiguation)
Mill (disambiguation)
Mills Creek (disambiguation)
Mill Creek Bridge (disambiguation)
Mill Brook (disambiguation)
Mill Rock Creek, a stream in Crawford and Iron counties, Missouri; a tributary of Huzzah Creek
Mill Spring Creek a small stream in Wayne County, Missouri; a tributary of the Black River.
Mill Valley Creek in Pickleweed Inlet, a small bay in Marin County

Mill Creek


Burkhard Christoph von Münnich (1683 - 1767) 1735-1739 Osmanlı-Rus Savaşı'nda Rus ordularına komutanlık etmiş bir generaldir. Rus İmparatorluk Ordusu'nda büyük reformlar gerçekleştirdi.

1683 doğumlular
1767 yılında ölenler
Rus İmparatorluğu'nun generalleri

Burkhard Christoph von Münnich


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Olaylar

Doğumlar
 Claudia Antonia, Roma İmparatoru Claudius'un kızı (ö. 66)
 Mobon, Koguryo Krallığı'nın beşinci hükümdarı (ö. 53)
 Poppea Sabina, Roma İmparatoriçesi (ö. 65)

Ölümler
 Nero Caesar, Julio-Claudian hanedanı mensubu Roma soylusu (d. 6)

als:30er#30

30


Vuk Kostić (Beograd, 22. studenoga 1979.) je srbijanski kazališni, televizijski i filmski glumac.

Životopis

Otac mu je poznat kazališni i filmski glumac i trendmaker-a 70-tih i 80-tih, Mihajlo Kostić Pljaka, a unuk Nestora-nege Kostića, jednog od osnivača i glumaca prvog kazališta u Prokuplju, prije Drugog svjetskog rata. Mlađi mu je brat profesionalni ronilac.

Odrastao je na Vračaru. Glumačku karijeru započeo je još kao dječak igrajući u nekoliko filmova i u televizijskoj seriji Otvorena vrata. Sa 6 godina igrao je i u Ateljeu 212 u komadu Dušana Kovačevića "Sveti Georgije ubiva aždahu" u režiji Ljubomira Mucija Draškića, uloga Vane siroče. Istovremeno igra glavnu ulogu u dječjem komadu Kristine Nestlinger "Konrad" u režiji Zorana Ratkovića s Oljom Grašič. Na televiziji snima drame "Vrenje", "Dom Bergmanovih" i brojne dječje obrazovne emisije i serije za djecu: "Knjiga je da se čita", "Jezički zabavnik", "Ogledi iz stila", "Strašna Priča", itd

Pohađao je 11. Beogradsku Gimnaziju na Lekinom Brdu. Poslije 3. razreda gimnazije je započeo studije, glumu na Fakultetu dramskih umjetnosti u Beogradu. Bio je na klasi s Nenadom Stojmenovićem, Sonjom Kolačarić, Bojanom Stefanović, Anom Maljević i Goranom Jevtićem. Diplomirao je kolovoza 2001. godine predstavom "Mušica" (Rucante-a).

Prije završetka studija na 3. godini studija, Vuk počinje snimanje filma "Apsolutnih 100" iz 2001. godine. Srdana Golubovića, kojim hrabri režiser - kome je to prvi film i njegov glavni glumac kome je to također prvi igrani film postižu izuzetan uspjeh u zemlji i inozemstvu. Vuk igra ulogu mladog šampiona u streljaštvu - Sašu Gordića. Pažnju na sebe je skrenuo ovom ulogom.

Po završenim studijama Vuk upisuje postdiplomske studije iz povijesti filma.

Uloge

Televizijske uloge
 "Otvorena vrata" kao Miličin prijatelj (1995.)
 "M(j)ešoviti brak" kao Boriša (2003.)
 "Ulice lipa" kao Ladni (2007. – 2008.)
 "Beli lavovi" kao Amonijak (2011.)
 "Ubice mog oca" kao inspektor Aleksandar Jakovljević (2016. – 2019.)
 "Meso" kao Glava (2017. – 2018.)
 "Južni vjetar" kao Sparta (2018.)
 "Močvara" kao Danijel Kinaković – Kinez (2020.)

Filmske uloge
 "Apsolutnih sto" kao Saša Gordić (2001)
 "Život je čudo" kao Miloš Đurić (2004.)
 "Ljubav i drugi zločini" kao Stanislav (2008.)
 "Šišanje" kao navijač (2010.)
 "Neprijatelj" kao Čaki (2010.)
 "Anka" kao Milan (2017.)

Vanjske poveznice
 Vuk Kostić na IMDb

Srbijanski filmski glumci
Srbijanski televizijski glumci
Glumci iz Beograda

Vuk Kostić


Religija na Cipru zastupljena je s nekoliko vjerskih zajednica.

Povijest
U starogrčka vremena ovdje je bila raširena starogrčka religija. Dolaskom Rimljana širi se rimska vjera. Cipar je jedno od mjesta gdje se kršćanstvo prvo proširilo. Pripadalo je bizantskom kršćanskom krugu a bilo je izloženo blizini monofizitskih Crkava s Bliskog Istoka. Rimokatoličanstvo ostavlja trag tijekom mletačke vlasti. Osmanskim osvajanjima širi se islam. Padom pod englesku krunu mali trag ostavlja i anglikanska Crkva.

Vjerska struktura
Procjene koje navodi CIA za 2011. godinu govore o sljedećem vjerskom sastavu za područje Cipra pod nadzorom ciparske vlade:
 pravoslavni 89,1%
 rimokatolici 2,9%
 protestanti i anglikanci 2%
 muslimani 1,8% (suniti)
 budisti 1%
 ostali (maronitski kršćani, armenski kršćani, hinduisti) 1,4%
 nepoznato 1,1%
 nijedno i ateisti 0,6%

Galerija

Izvori

Religija na Cipru


An Saccharum contortum in uska species han Liliopsida nga syahan ginhulagway ni Stephen Elliott, ngan ginhatag han pagkayana nga asya nga ngaran ni Thomas Nuttall. An Saccharum contortum in nahilalakip ha genus nga Saccharum, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Saccharum

Saccharum contortum


Julius Ebbinghaus (9 de novembro de 1885, Berlim - 16 de junho de 1981, Marburg an der Lahn) foi um filósofo alemão, um dos seguidores mais próximos de Immanuel Kant no século XX. Ele foi influenciado pela escola de neokantismo de Heidelberg de Wilhelm Windelband, e escreveu sobre filosofia do direito e o imperativo categórico. Professor na Universidade de Marburg (Philipps-Universität Marburg) desde 1940; 1954 professor emérito, continuando a lecionar até 1966. Em outubro de 1945, assumiu o cargo de Reitor Magnífico por ordem das forças de ocupação americanas. Ele era filho do famoso psicólogo Hermann Ebbinghaus.

Obras

 Gesammelte Aufsätze, Vorträge und Reden. Wissenschaftliche Buchgesellschaft, Darmstadt 1968 (oito ensaios sobre Kant, cinco sobre a história da filosofia e um sobre a filosofia do direito)

Escritos coletados (editados em Bouvier por Hariolf Oberer e Georg Geismann ou Karlfriedrich Herb (volume 4)):

 Bd. 1: Sittlichkeit und Recht, Praktische Philosophie 1929–1954, Bonn 1986;
 Bd. 2: Philosophie der Freiheit, Praktische Philosophie 1955–1972, Bonn 1988;
 Bd. 3: Interpretation und Kritik, Schriften zur Theoretischen Philosophie und zur Philosophiegeschichte 1924–1972, Bonn 1990;
 Bd. 4: Studien zum Deutschen Idealismus, Schriften 1909–1924, Bonn 1994
 Philosophische Studien aus dem Nachlaß, Würzburg 2013

 Die Atombombe und die Zukunft des Menschen (zum gleichnamigen Werk von Karl Jaspers), in: Studium generale: Zeitschrift für interdisziplinäre Studien 10/3 (1957), S. 144–153.

Referências

Ligações externas

Filosofia

Julius Ebbinghaus