العمارة النيوكلاسيكية هي نمط معماري أنتجته الحركة الكلاسيكية الجديدة التي بدأت في منتصف القرن الثامن عشر في إيطاليا وفرنسا. في أنقى أشكاله، هو أسلوب مُشتق بشكل أساسي من عمارة العصور الكلاسيكية القديمة، ومبادئ فيتروفيو، وعمل المهندس الإيطالي أندريا بالاديو.

كان تطوير علم الآثار حاسمًا في ظهور العمارة النيوكلاسيكية. سمحت مواقع التنقيب مثل تلك الموجودة في بومبي وهركولانيوم للمهندسين المعماريين بإنتاج تفسيرات متعمقة للهندسة المعمارية الكلاسيكية وتجميع أسلوبهم الفريد.

في الشكل، تؤكد العمارة النيوكلاسيكية على الجدار بدلًا من الجلاء والقتمة وتحافظ على هويات منفصلة لكل جزء من أجزائه. يتجلى الأسلوب في تفاصيله كرد فعل ضد أسلوب عمارة الروكوكو للزخرفة الطبيعية، وفي صيغه المعمارية كنمو لبعض السمات الكلاسيكية للتقاليد المعمارية المتأخرة في العمارة الباروكية. لذلك، يتميز هذا النمط بالتماثل، والهندسة البسيطة، والمطالب الاجتماعية بدلًا من الزخرفة. العمارة النيوكلاسيكية لا تزال حتى اليوم، ولكن قد يتم تسميتها بالعمارة الكلاسيكية الجديدة للمباني المعاصرة.

في أوروبا الوسطى والشرقية، يُشار عادةً إلى النمط باسم «الكلاسيكية»، في حين تُسمى أنماط الإحياء الأحدث للقرن التاسع عشر حتى اليوم باسم النمط النيوكلاسيكي.

تاريخها
فكريًا، كانت النيوكلاسيكية دليلًا على الرغبة في العودة إلى «النقاء» المُتصور للفنون في روما، بدلًا من المنظور الأكثر غموضًا «المثالي» للفنون اليونانية القديمة، وبدرجة أقل، كلاسيكيات عصر النهضة في القرن السادس عشر، والتي كانت أيضًا مصدرًا لعمارة الباروك الأكاديمية المتأخرة. تعود جذورها إلى القرن السابع عشر عندما قرر كلود بيرو إحياء العمارة اليونانية القديمة.

عمارة بالاديو

يمكن الكشف عن العودة إلى أشكال معمارية أكثر كلاسيكية كرد فعل على أسلوب الروكوكو في بعض العمارة الأوروبية في القرن الثامن عشر المبكر، والتي تم تمثيلها بشكل واضح في عمارة بالاديو لبريطانيا الجورجية وأيرلندا.

لم يكن أسلوب الباروك مناسبًا أبدًا للذوق الإنجليزي. تم نشر أربعة كتب مؤثرة في الربع الأول من القرن الثامن عشر والتي سلطت الضوء على بساطة ونقاء العمارة الكلاسيكية: كتاب فيتروفيوس بريتانيكوس (بالإنجليزية:Vitruvius Britannicus) لكولين كامبل عام (1715)، والكتب الأربعة في العمارة (بالإيطالية:I quattro libri dell'architettura) لأندريا بالاديو عام (1715)، وفي فن البناء (باللاتينية: De re aedificatoria) لليون باتيستا ألبيرتي عام (1726)، وتصاميم إنيجو جونز .. مع بعض التصميمات الإضافية عام (1727). كان الأكثر شهرةً هو المجلدات الأربعة لكتاب فيتروفيوس بريتانيكوس لكولين كامبل. احتوى الكتاب على مطبوعات معمارية لمباني بريطانية شهيرة مستوحاة من المهندسين المعماريين العظماء من فيتروفيوس إلى بالاديو. في البداية، تضمّن الكتاب بشكل أساسي عمل إنيجو جونز، لكن المجلدات الأخيرة احتوت على رسومات وخطط من قبل كامبل وغيرهم من المهندسين المعماريين في القرن الثامن عشر. أصبحت عمارة بالاديو راسخة في بريطانيا في القرن الثامن عشر.

في طليعة المدرسة الجديدة للتصميم كان الأرستقراطي «إيرل المعماري»، وهو ريتشارد بويل، إيرل الثالث من برلنغتون. في عام 1729. قام هو ووليام كينت بتصميم منزل تشيسويك. كان هذا البيت إعادة تفسير لفيلا بالاديو «لا روتوندا»، ولكن نُقيت من عناصر وزخرفة القرن السادس عشر. كان هذا النقص الحاد في الزخرفة سمة من سمات عمارة بالاديو. في عام 1734، صمم ويليام كينت واللورد برلنغتون أحد أفضل الأمثلة في إنجلترا على عمارة بالاديو، وهي قاعة هولخام في نورفك. اتبعت الكتلة الرئيسية لهذا المنزل إملاءات بالاديو عن كثب تمامًا، وكانت لأجنحة مباني المزارع المنخفضة والمنفصلة غالبًا عند بالاديو أهمية كبيرة.

كان هذا الوريد الكلاسيكي قابلًا للكشف أيضًا، بدرجة أقل، في العمارة الباروكية المتأخرة في باريس، كما هو الحال في متحف اللوفر كولوناد. يمكن رؤية هذا التحول في روما في الواجهة المعاد تصميمها لكاتدرائية القديس يوحنا اللاتراني.

النيوكلاسيكية
بحلول منتصف القرن الثامن عشر، توسعت الحركة لتشمل مجموعة أكبر من التأثيرات الكلاسيكية، بما في ذلك التأثيرات من اليونان القديمة. كانت إيطاليا مركزًا مبكرًا للكلاسيكية الجديدة، وخاصة نابولي، إذ كان مهندسو البلاط في عام 1730 مثل لويجي فانفيتيلي وفيرديناندو فوغا يستعيدون الأشكال الكلاسيكية والبلادية والمانييريزمو في عمارتهم الباروكية (يمكن رؤية حركة جمالية مماثلة في الأعمال اللاحقة لفيليبو يوفارا، وهو معماري محكمة بيدمونتيس في تورينو). بعد تقدمهم، بدأ جيوفاني أنطونيو ميدرانو في بناء أولى الهياكل الكلاسيكية الجديدة في إيطاليا في ثلاثينيات القرن التاسع عشر. في نفس الفترة، قدّم اليساندرو بومبي النيوكلاسيكية إلى جمهورية البندقية، إذ بنى أول لابيداريوم في أوروبا في فيرونا، على النظام الدوري (1738). خلال نفس الفترة، قُدمت العناصر النيوكلاسيكية إلى توسكانا من قبل المهندس المعماري جان نيكولاس جادوت دي فيل إيسي، وهو مهندس بلاط فرانسيس الأول من لورين. على خطى جادوت، طُور أسلوب نيوكلاسيكي أصلي بواسطة غاسباري باوليتي، مما حول فلورنسا إلى أهم مركز للنيوكلاسيكية في شبه الجزيرة. في النصف الثاني من القرن، ازدهرت النيوكلاسيكية أيضًا في تورينو، وميلانو (جوزيبي بيرماريني)، وتريستي (ماتيو بيرتش). في المدينتين الأخيرتين، كما هو الحال في توسكانا، ارتبط النمط النيوكلاسيكي الرصين بالإصلاحات للملوك المستنيرين من عائلة هابسبورغ الحاكمة. ومع ذلك، ظل أسلوب الروكوكو شائعًا جدًا في إيطاليا حتى الأنظمة النابليونية، التي جلبت كلاسيكية أثرية جديدة، اعتنقها الشباب الإيطاليين، والتقدميين، والحضريين مع الميول الجمهورية كبيان سياسي.

التصميم الداخلي
في الداخل، اكتشفت النيوكلاسيكية التصميم الداخلي الكلاسيكي الحقيقي، مستوحى من عمليات إعادة الاكتشاف في بومبي وهركولانيوم. بدأت هذه التصاميم في أواخر الأربعينيات من القرن التاسع عشر، لكنها حققت جمهورًا واسعًا في ستينيات القرن التاسع عشر فقط، مع أول مجلدات فاخرة بتوزيع محكم ومتماسك في عرض آثار هركولانيوم. أظهر عرض آثار هركولانيوم أنه حتى أكثر التصميمات الداخلية الباروكية كلاسيكية، أو معظم الغرف «الرومانية» لويليام كينت كانت مبنية على العمارة الخارجية للمعبد والكاتدرائية التي حُولت للداخل، ومن هنا نتج مظهرها المذهل في كثير من الأحيان للعيون الحديثة: تحولت إطارات النوافذ المتوّجة إلى مرايا مذّهبة، ومواقد مُغطاة بواجهات المعابد.

الإحيائية اليونانية
من حوالي 1800 بعد الميلاد، أعطى تيار جديد من الأمثلة المعمارية اليونانية، التي شوهدت من خلال وسط الرسوم والنقوش، دافعًا جديدًا إلى النيوكلاسيكية، وهو الإحياء اليوناني. كان هناك القليل -أو لم يكن- من المعرفة المباشرة بالحضارة اليونانية قبل منتصف القرن الثامن عشر في أوروبا الغربية، عندما بدأت بعثة ممولة من قبل جمعية ديليتانتي عام 1751 بقيادة جيمس ستيوارت ونيكولاس ريفيت تحقيقًا أثريًا جادًا. تم تكليف ستيوارت بعد عودته من اليونان من قبل جورج ليتلتون لإنتاج أول مبنى يوناني في إنجلترا، وهو معبد الحديقة في قاعة هاجلي (1758-1759). واجه عدد من المهندسين المعماريين البريطانيين في النصف الثاني من القرن التحدي التعبيري للنظام الدوري من أوليائهم الأرستقراطيين، بما في ذلك جوزيف بونومي وجون سوان، ولكنه بقي للحماس الخاص للخبراء حتى العقد الأول من القرن التاسع عشر مئة عام.

الميزات المعمارية
كانت النيوكلاسيكية الرفيعة حركة دولية. على الرغم من أن العمارة النيوكلاسيكية استخدمت نفس المفردات الكلاسيكية كالعمارة المتأخرة الباروكية، إلا أنها تميل إلى التأكيد على ميزاتها المستوية، بدلًا من الأشكال النحتية. كانت البروزات والتراجعات وتأثيراتها على الضوء والظل مسطحة أكثر؛ إذ كانت النقوش البارزة النحتية أكثر تسطحًا وتميل إلى أن تكون مغمورة في أفاريز أو أقراص أو ألواح. عُزلت ميزاتها الفردية المفصلية الواضحة بدلًا من أن تتداخل، أو تستقل، أو تكتمل بحد ذاتها.

أثرت الكلاسيكية الجديدة أيضًا على تخطيط المدن؛ إذ استخدم الرومان القدماء مخططًا موحدًا لتخطيط المدينة لكلا الدفاع والراحة المدنية، ومع ذلك، تعود جذور هذا المخطط إلى الحضارات القديمة. في أبسط الصور، كانت هناك سمات التصميم الروماني المنطقي والمنظم للغاية، أهمها نظام شبكة الشوارع، وميدان مركزي مع خدمات للمدينة، وجادتين رئيسيتين أوسع قليلًا، وأحيانًا الشارع القطري العرضي. تم توجيه الواجهات القديمة وتخطيطات المباني حسب أنماط تصميم المدينة هذه ومالت نحو العمل بما يتناسب مع أهمية المباني العامة.

وجدت العديد من أنماط التخطيط الحضري هذه طريقها إلى أولى المدن المخططة الحديثة في القرن الثامن عشر. تشمل الأمثلة الاستثنائية كارلسروه وواشنطن العاصمة، ولكن لم يتم تصميم جميع المدن والأحياء المخططة وفقًا للمبادئ الكلاسيكية الجديدة. يمكن العثور على نماذج متعارضة في التصاميم الحداثية، مثال على ذلك برازيليا، وحركة المدينة الحدائقية، وليفيتاون، والحضرية الجديدة.

معرض صور

انظر أيضاً
 عمارة كلاسيكية
 كلاسيكية محدثة

مراجع

وصلات خارجية

 معهد العمارة والفنون الكلاسيكية
 مجموعة العمارة التقليدية

الكلاسيكية الجديدة
حركات معمارية
طرز معمارية
عمارة القرن 18
عمارة القرن 19
عمارة القرن 20

عمارة كلاسيكية جديدة


Nagrada Grada Pakraca, hrvatsko automobilističko natjecanje. Naslovljeno kao Otvoreno prvenstvo Zagreba u ocjensko spretnosnim vožnjama, a održava se u Pakracu. Organizira ga AK INA Delta iz Zagreba. Prvo se natjecanje održalo 8. rujna 2019. na parkiralištu gradske tržnice.

Izvori

Vanjske poveznice
Nagrada Grada Pakraca
Facebook

Hrvatska automobilistička natjecanja
Šport u Zagrebu

Nagrada Grada Pakraca (automobilizam)


Egg war ein Schweizer Hersteller von Automobilen.

Unternehmensgeschichte
Rudolf Egg, der zuvor Egg & Egli leitete, gründete 1914 in Zürich das Unternehmen zur Produktion von Automobilen. Die Produktion fand mit Hilfe von Fritz Moser von Moteurs Moser statt. Der Markenname lautete Egg. 1919 endete die Vermarktung als Egg. Die Seebacher Maschinenbau AG übernahm die Produktion.

Fahrzeuge
Es gab nur ein Modell. Rudolf Egg hatte das Fahrzeug selbst entworfen. Ein Vierzylindermotor mit seitlichen Ventilen und 980 cm³ Hubraum von Zedel trieb den Wagen an. Das Getriebe war an der Hinterachse montiert. Die Kraft übertrug eine Kardanwelle. Im Angebot waren zwei- und viersitzige Ausführungen.

Ein Fahrzeug existiert heute noch.

Literatur

 George Nick Georgano: The Beaulieu Encyclopedia of the Automobile, Volume 1 A–F. Fitzroy Dearborn Publishers, Chicago 2001, ISBN 1-57958-293-1 (englisch)
 Nick Georgano: The Beaulieu Encyclopedia of the Automobile, Volume 2 G–O. Fitzroy Dearborn Publishers, Chicago 2001, ISBN 1-57958-293-1 (englisch)
 Ernest Schmid: Schweizer Autos. Die schweizerischen Automobilkonstruktionen von 1868 bis heute. Auto-Jahr, Lausanne 1978, ISBN 2-88001-058-6

Ehemaliger Pkw-Hersteller (Schweiz)
Produzierendes Unternehmen (Zürich)
Ehemaliges Unternehmen (Zürich)

Egg (Automobilhersteller)


Giuliano Tadeo Aranda (født 21. februar 1974) er en tidligere brasiliansk fodboldspiller.

Eksterne henvisninger

Fodboldspillere fra Brasilien

Giuliano Tadeo Aranda


Forårsarbejde i roemarken er en dansk oplysningsfilm fra 1960.

Handling
En film, som belyser forskellige spørgsmål vedrørende såning, rensning, blokhakning og udtynding af roer.

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Oplysningsfilm fra Danmark
Danske film fra 1960

Forårsarbejde i roemarken


O Rubus elipticus, comumente conhecido como ainselu, framboesa perene dourada, framboesa dourada do Himalaia ou framboesa amarela do Himalaia,  é uma espécie asiática de arbusto frutífero espinhoso na família das rosas. É nativo da China, Nepal, Índia, Paquistão, Indochina e Filipinas.

Descrição
A framboesa dourada do Himalaia é um grande arbusto com caules robustos que pode crescer até  de comprimento. Suas folhas são trifoliadas, elípticas ou obovadas e dentadas com cerdas longas. Suas folhas podem crescer até 5 a 10 centímetros de comprimento. Suas flores são curtas, brancas, têm cinco pétalas e crescem em cachos, e florescem no Himalaia entre os meses de fevereiro e abril. Seus frutos são doces, destacáveis e muito procurados por pássaros e elefantes.

Rubus ellipticus é doce ao paladar, embora não seja comumente colhido para uso doméstico. A fruta perece rapidamente depois de ser arrancada do arbusto espinhoso.

A casca desta planta é usada por medicinalmente nas aldeias tibetanas, principalmente como tônico renal e antidiurético. Seus sucos também podem ser usados para tratar tosses, febres, cólicas e dores de garganta. A planta também pode ser usada para fazer um corante roxo-azulado.

Etimologia
A fruta tem vários nomes nas línguas do sul da Ásia. É chamado ainselu (  ) em nepalês, hisalu (Kumaoni : ) em Kumaoni, hisol (Garhwali : ) em Garhwali, nyinch (Nyishi : ) em Nyishi e sohshiah (Khasi : ) na língua Khasi.

Ecologia
A origem da framboesa dourada do Himalaia está na região temperada do Himalaia e é nativa da Índia, Paquistão, Nepal e China. É encontrado como uma erva daninha em pastagens abertas e raramente em florestas dos estados do Himalaia da Índia, por exemplo Himachal e Uttarakhand em seus alcances mais altos em uma atitude de 1500 a 2100 metros. É frequentemente encontrado em florestas de pinheiros da região.

A framboesa dourada do Himalaia pode ser encontrada em florestas mésicas ou úmidas, e se adaptou para poder viver em total sombra e em plena exposição ao sol. Tal como acontece com outras espécies de Rubus, suas sementes são prontamente distribuídas por pássaros. Ele também pode se propagar, ou se reproduzir assexuadamente, através de estaquia. Pode crescer em campos abertos ou em copas de florestas úmidas.

A framboesa do Himalaia também pode sustentar grandes populações de Drosophila, ou moscas-das-frutas, de seu fruto podre, e seus frutos também são consumidos por elefantes.

Espécie invasora

Rubus elipticus está listado no banco de dados do IUCN Invasive Species Specialist Group como uma espécie invasora, uma das 100 piores espécies invasoras do mundo. Foi introduzido pela primeira vez em 1961 no Havaí como uma fruta comestível e como planta ornamental.

A framboesa amarela do Himalaia representa uma ameaça para as comunidades nativas porque forma moitas espessas e impenetráveis e compete com a framboesa  do Havaí. Fazendas abandonadas e terras perturbadas por populações de porcos selvagens também são suscetíveis à invasão. Sua capacidade de crescer alto devido às suas hastes robustas também é uma ameaça por causa de sua capacidade de se estabelecer dentro da copa das árvores. A framboesa amarela do Himalaia também é uma ameaça à flora nativa porque pode competir com outras plantas. Mais especificamente, tem taxas fotossintéticas mais altas, tem taxas de fixação de nitrogênio mais altas e, portanto, uma maior eficiência de uso de nitrogênio fotossintético (ou PNUE).

A framboesa amarela do Himalaia é atualmente invasiva apenas no Havaí. É considerada uma erva daninha nociva pelo Serviço Nacional de Parques e pelo Departamento de Agricultura do Havaí.

Estratégias de controle
Devido ao seu alcance limitado, a framboesa dourada do Himalaia foi contida no Havaí. Quaisquer novas populações devem ser eliminadas o mais rápido possível. As práticas de controle no Parque Nacional dos Vulcões do Havaí mostraram que a simples identificação e remoção do arbusto pode ajudar a reduzir drasticamente seu impacto invasivo.

Para eliminar completamente um arbusto de framboesa amarela do Himalaia, seus sistemas de raízes devem ser arrancados. O arbusto lança raízes profundas no subsolo após um incêndio ou corte. O fogo pode ser aplicado às raízes se o arbusto tiver sido removido por meios físicos. Herbicida, como Roundup, um pesticida comum, também pode ser usado para conter o arbusto.

Outros usos
Os agricultores do Nepal tiveram sucesso limitado na colheita e fermentação da fruta aiselu para produzir um vinho de frutas. Em Sikkim, suas raízes são usadas para tratar dores de estômago e dores de cabeça, e seus frutos são usados para tratar a indigestão.

Os frutos da framboesa dourada do Himalaia foram registrados como rica fonte de fenólicos, beta-carotenos, ácido ascórbico (vitamina C), muitos outros metabólitos importantes e antioxidantes.

Veja também

 Myrica esculenta, também conhecida como Kafal
 Choerospondias axillaris, também conhecido como Lapsi

Referências

links externos

Flora do Nepal
Flora da Ásia
Rubus

Rubus ellipticus


Stjepan II. od Iberije (gruz. სტეფანოზ II), iz dinastije Hosroida, bio je predsjedavajući knez Iberije (Kartlija, središnja i istočna Gruzija) od 637./642. do 650. godine.

Sin i nasljednik Adarnaza I., Stjepan je provodio očevu pro-bizantsku politiku i car ga je vjerojatno odlikovao titulom patricija. Bio je prisiljen priznati kalifa kao sizerena, 645. godine, kad su se Arapi doselili u Gruziju. Naslijedio ga je sin Adarnaz II.

Na vanjskoj kamenoj ploči crkve Svetog Križa u Mcheti spominju se glavni graditelji ove crkve: Stjepan patricius, Dmitar hypatos i Adarnaz hypatos koje su gruzijski učenjaci tradicionalno izjednačavali sa Stjepanom I, sinom Guarama; Dmitrom - Stjepanovim bratom, te Adarnazom I. Međutim, mišljenje koje je iznio povjesničar Kiril Tumanov ne slaže se s tim stavom, već poistovjećuje ove osobe sa Stjepanom II., Dmitrom (bratom Stjepana I.) i Adarnazom II. (sinom Stjepana II.)

Izvori

Hosroidi
Kneževi Iberije

Stjepan II. od Iberije


Rayleigh ist ein Einschlagkrater am östlichen Rand der Mondvorderseite, weshalb er von der Erde aus wenn überhaupt, dann nur stark verzerrt sichtbar ist.
Er liegt nördlich des Kraters Lyapunov und nordöstlich von Urey.
Der Kraterwall ist sehr stark erodiert und teilweise fast ganz verschwunden und überlagert.

Der Krater wurde 1964 von der IAU nach dem britischen Physiker John William Strutt, 3. Baron Rayleigh, offiziell benannt.

Weblinks

 Rayleigh auf The-Moon Wiki

Einzelnachweise

Einschlagkrater (Mond)

Rayleigh (Mondkrater)


William Thomas "Bill" Hader Jr. () este un actor de comedie și scriitor american. Este cunoscut pentru rolurile sale din Saturday Night Live (2005-2013), pentru care a primit trei nominalizări la premiile Emmy, South Park (2009–prezent), și parodia seria de parodie Documentary Now! (2015–prezent), pentru care a câștigat un premiu Emmy.

A mai jucat în You, Me and Dupree (2006), Superbad (2007), Forgetting Sarah Marshall (2008), Tropic Thunder (2008), Night at the Museum: Battle of the Smithsonian (2009), Paul (2011), Men in Black 3 (2012) și Maggie's Plan (2015). A dublat vocile personajelor din Cloudy with a Chance of Meatballs (2009), Inside Out (2015),  Monsters University, Inside Out, The Angry Birds Movie (2016) și Finding Dory.

Viața timpurie
Hader s-a născut și a crescut în Tulsa, Oklahoma, ca fiu al lui Sherri Renee (născută Patton) și William Thomas Hader. Tatăl lui avea o companie de transport aerian de marfă și a lucrat ca manager de restaurant, șofer de camion, și, ocazional, în stand-up comedy; mama lui a fost o profesoară de dans. El are două surori mai mici, Katie și Kara. Are origini germane, daneze, Irlandeze și engleze; numele său provine din Germania.

Hader îi apreciază pe Monty Python și filmele lui Mel Brooks și Woody Allen, multe dintre care au fost prezentate prin intermediul tatălui său. În adolescență a făcut filme de scurt metraj cu prietenii, și a jucat într-o piesă de teatru la școală intitulată The Glass Menagerie.

Referințe

Legături externe

Nașteri în 1978
Americani de origine daneză
Americani de origine engleză
Americani de origine germană
Americani de origine irlandeză
Scenariști de televiziune americani
Oameni în viață
Oameni din Tulsa, Oklahoma
Scriitori din statul Oklahoma

Bill Hader


Joël Anglès d'Auriac est un scout français né à Toulon le  et exécuté le  par le régime nazi, après avoir créé un clan routier clandestin au sein du STO.

Biographie

Jeunesse

Joël Anglès d'Auriac est le fils d'un médecin de la marine Henry Anglès d'Auriac et de Geneviève de Kergarec.

Il est issu d'une famille de parlementaires dauphinois à laquelle appartiennent Jean Anglès d'Auriac, Paul Anglès d'Auriac, Bernard Anglès d'Auriac, Charles Anglès, le comte Jules Jean Baptiste Anglès et Jean-François Anglès.

En mai 1943, il est requis pour le service du travail obligatoire. Il cède à la troisième convocation.

Il prononce sa promesse scoute au clan Saint Martin de Toulon le 23 mars 1941.

Routier au STO
Envoyé à Tetschen-sur-Elbe, dans les Sudètes, il est affecté à une usine d'armements. Il se livre à quelques actes de sabotage passif.

Cependant sa résistance sera surtout spirituelle contre la nazification des esprits. Il crée la patrouille Notre-Dame de l'Espérance, un clan routier clandestin.

En 1943, le régime nazi accentue la persécution contre les mouvements chrétiens en raison de leur opposition à l'idéologie nazie. Le docteur Krause avait en effet déclaré le 13 novembre 1933 : « Le seul service divin véritable est celui qui a pour but le culte de la nation (…) ». Le 3 décembre 1943, les autorités allemandes promulguent un décret qui requiert la recherche de tous les jeunes français engagés dans des activités chrétiennes sur leur lieu de travail et qui interdit toute activité chrétienne organisée au sein du STO.

Le 3 mars 1944, Joël Anglès d'Auriac réunit une dernière fois son équipe. Cependant, des indicateurs à la solde des nazis l'ont dénoncé, il est arrêté le 10 mars 1944.

Son procès et sa mort
Le procès de Joël Anglès d'Auriac est considéré comme particulièrement révélateur des intentions nazies.

L'acte d'accusation énonce que « l'inculpé aurait dû comprendre qu'il participait à une grande entreprise qui concernait le monde entier, qu'il ne participait pas seulement à une usine de guerre allemande, mais à la construction d'un monde nouveau. De sa part, c'est donc contraire à la conscience ».
Il est condamné pour haute trahison le 20 octobre 1944 et décapité le 6 décembre suivant. Grâce à un prêtre allemand, il peut recevoir la communion avant d'être exécuté. Ce même prêtre allemand a témoigné :« Il me disait « Je suis tout tranquille ; je peux dire que je me réjouis d'aller à la mort, car je vais à Jésus-Christ. C'est Lui Qui m'a si bien conduit. Je Le remercie de tout mon cœur. Je n'ai qu'un seul souci, c'est celui de ma famille ».A ses Routiers, il écrit :« Voici le dernier message de votre ami Joël… Ne soyez pas tristes, je meurs avec le sourire, car le Seigneur est avec moi, et je n'oublie pas qu'un Routier qui ne sait pas mourir n'est bon à rien… Continuez dans la voie que je vous ai tracée. C'est certainement la plus fructueuse et celle qui conduit à la vie la plus belle.Adieu Frères Routiers, ma dernière parole : ne quittez pas le Scoutisme. Adieu.»Et à ses parents :« Ne soyez pas tristes. Soyez certains que j'accepte l'épreuve presque avec joie et je l'offre pour vous tous… Le Seigneur est avec moi et je vais certainement le voir de plus près. Lui seul est la vie réelle ; le secret de la vraie joie… Ma dernière prière : « Vivez avec le Seigneur. Il est la vie. Adieu… »Amédée de Miribel, un de ses camarades et ami, écrivit à son père en 1946 : « Je garde de Joël le souvenir d'un ami, d'un apôtre même. Il est monté à Dieu en offrant sa vie pour nous… Il nous dépassait tous et rayonnait sur nous. Là commence vraiment son apostolat… Que Joël nous protège puisqu'il est parmi les saints de Dieu ! »

Reconnaissance ultérieure
Il est reconnu « mort pour la France » par lettre du ministre des anciens combattants et déportés en date du 27 janvier 1948.

Notes et références

Liens externes

Scoutisme en France
Résistant français
Personnalité française du catholicisme

Joël Anglès d’Auriac


Tomislav Gabrić (Drniš, 17. kolovoza 1995.) hrvatski je profesionalni košarkaš. S hrvatskom kadetskom košarkaškom reprezentacijom (do 16) osvojio je zlatnu medalju na Europskom prvenstvu 2011. u Češkoj. Prvi je hrvatski košarkaš koji je od osamostaljenja Hrvatske zaigrao za neki srpski klub.

Izvori

Hrvatski košarkaši

Tomislav Gabrić


Ibn al-Dschazzar (; * um 898 (oder 932) in Kairouan; † um 1009 in Kairouan; vollständig ) war ein einflussreicher nordafrikanischer Mediziner und arabischer Fachautor des 10. Jahrhunderts.

Ibn al-Dschazzar war ein Schüler von Isaak Judäus und lebte in Kairuan (Tunesien), wo er der dortigen Medizinschule angehörte.

Schriften
Insgesamt werden ihm etwa 40 Werke zugeschrieben. Eine Auswahl:

 Zād al-Musāfir (Viaticus peregrinantis): deutsch "Proviant für den Reisenden" (vollständig auch Der Proviant des Reisenden und die Nahrung des Seßhaften), ein sieben Bücher umfassendes, auch Viaticum (peregrinantis) genanntes, Handbuch der Pathologie für reisende Ärzte (von Konstantin den Afrikaner bearbeitet, ins Lateinische übersetzt und unter seinem eigenen Namen veröffentlicht), das inhaltlich auch im Deutschen salernitanischen Arzneibuch enthalten ist.
 Liber de gradibus quos vocant simplicium (Buch der einfachen Medikamente) eine lateinische Bearbeitung und Übersetzung des (Kitāb) al-Iʿtimād durch Konstantin dem Afrikaner, der auch dieses Werk unter seinem Namen veröffentlichte. Neu übersetzt wurde diese Drogenkunde 150 später 1233 durch Stephan von Saragossa (= Stephanus von Lerida) als Liber fiduciae.
 Liber de stomacho: Magenkrankheiten (Lateinübersetzung durch Konstantin den Afrikaner)
 De elephantiasi
 De coitu: über Sexualstörungen
 De oblivione über die Vergesslichkeit und Mittel zur Stärkung des Gehirns

 Literaturliste bei OPACplus der Bayerischen Staatsbibliothek

Literatur
 Fuat Sezgin: Geschichte des Arabischen Schrifttums. Bd. 3, Leiden 1970: Medizin, Pharmazie, Zoologie, Tierheilkunde
 Sleïm Ammar, John Kirkup: Ibn Al Jazzar & the Medical School of Kairouan. International Society of the History of Medicine (englisch) Artikelauszug von Sleïm Ammar
 Ahmed Ben Miled: Ibn Al Jazzar. Constantin l'Africain, édition Salambô, Tunis, 1987 (französisch)
 Ahmed Ben Miled: Histoire de la médecine arabe en Tunisie, édition Dar al-Gharb al-Islami, Beyrouth, 1999 (französisch)
 Ahmed Ben Miled: Ibn Al Jazzar. Médecin à Kairouan, édition Al Maktaba Al Tounisia, Tunis, 1936 (französisch)
 Friedrun R. Hau: Die Behandlung der Magenkrankheiten aus dem 4. Buch des "Zâd al-musâfir" ('Viaticum') des Ibn al-Ğazzâr (10. Jh.). (Medizinische Habilitationsschrift, Bonn 1980) Königshausen & Neumann, Würzburg 1991 (= Würzburger medizinhistorische Forschungen. Band 41).
 Jutta Schönfeld: Die Zahnheilkunde im "Kitâb Zâd al-musâfir" des al-'Gazzâr [10. Jahrhundert]. In: Sudhoffs Archiv 58, 1974, S. 380–403.
 Moritz Steinschneider: Constantins Lib. de gradibus und ibn al-Gezzars Adminiculum. In: Deutsches Archiv für Geschichte der Medicin u. medicinische Geographie 2, 1879; Neudruck Hildesheim und New York 1971, S. 1–22.

Einzelnachweise

Arabische Medizin
Autor
Literatur (10. Jahrhundert)
Sachliteratur
Person (Kairouan)
Geboren im 9. Jahrhundert
Gestorben im 10. Jahrhundert
Mann

Ibn al-Dschazzar


Allmovie.com (eski adıyla All-Movie Guide), All Media Guide'ın şirketinin bir iştiraki; filmlerin eleştiri, inceleme ve değerlendirmesinin yapıldığı internet sitesidir.

All-Movie Guide, Michael Erlewine (popüler kültür arşivcisi) ve Vladimir Bogdanov (Matematik doktoru) tarafından kurulmuştur. İkili ayrıca All-Music Guide (allmusic.com) ve All-Game Guide (allgame.com) adlı siteleri de kurmuştur.
Sitenin veritabanı, onbinlerce film dağıtımcısı, internet sayfası ve perakende satış noktası adına lisanslıdır. Veritabanı zengin ve ayrıntılıdır. Veri tabanında film bilgileri, oyuncu ve yapım detayları, konu özeti, profesyonel eleştiriler, ilgili bağlantılar bulunur.

Kaynakça

Dış bağlantılar

Amerikan sinema web siteleri
Film inceleme siteleri

AllMovie


Pio Vito Pinto (Noci, 29 de março de 1941) é um clérigo italiano, canonista e reitor emérito da Rota Romana.

Pio Vito Pinto foi auditor-prelado (interrogador) da Rota Romana de 25 de março de 1995 a 22 de setembro de 2012. Papa Bento XVI nomeou-o em 22 de setembro de 2012 Decano da Rota Romana e em 10 de dezembro de 2012 Presidente da Corte di Apello dello Stato Città del Vaticano.

Em 29 de março de 2021, seu 80º aniversário, Pinto renunciou ao cargo de Decano da Rota Romana.

Ver também

Cúria Romana

Pio Vito Pinto


ساتا  وهو ناقل في الحاسوب تصل ضابط التخزين (Storage Controller) بمعدات التخزين (Mass Storage Device) مثل الأقراص الصلبة ومشغل الأقراص. وهو بديلا للوصلة القديمة التي تستخدم برتكول ATAPI والمعروفة باسم بيئة تطوير متكاملة ومؤخرا باسم مقبس تكنولوجي متقدم متوازي PATA ، ومن أفضلياتها على IDE هي صغر سماكة الوصلة (تستخدم ساتا ثمانية وصلات بينما تستخدم IDE ثمانين وصلة) وقدرة نقل البيانات أسرع وقدرة تركيب ونزع معدات التخزين خلال تشغيل الحاسوب. ولكنها إلى الآن لم تلغ وصلة IDE كليا لأن أغلب لوحات الأم المصنوعة حاليا ما زالت تحتوي على وصلة IDE إلى جانب وصلة ساتا، على الرغم من كثرة استخدام وصلات ساتا إلى حد كبير.

ميزات

التوصيل الساخن (توصيل بدون إغلاق الحاسب)

الكابلات والموصلات وبوابات الإدخال

موصل البيانات

مراجع

استحداثات متعلقة بالحواسيب في 2003
تخزين بيانات الحاسوب
نواقل تسلسلية
وصلات كهربائية

ساتا


Elizabeth Karl (Irmã Mary Cordia) ( – ) foi uma matemática estadunidense, que contribuiu significativamente para a teoria dos ortopolos na geometria. Este foi o tema de sua tese de doutorado na Universidade Johns Hopkins em 1931.

Foi chefe do Departamento de Matemática do College Notre Dame of Maryland (atual Notre Dame of Maryland University) até 1965, quando aposentou-se com o título de Professora Emérita.

Tese de doutorado
Sua tese de doutorado foi intitulada "Projective Theory of the Orthopoles". Um grande resumo deste trabalho foi publicado no American Mathematical Monthly (junho-julho de 1932, páginas 327-338). A ideia chave é associar uma linha-parábola bem escolhida a cada linha ordinária do plano, de tal forma que o ortopolo de qualquer elemento da linha-parábola pertença à linha inicial. Essa correspondência pode ser ilustrada pela figura a seguir (onde L é a linha no infinito e A1, A2, A3 o triângulo da base):

Tal aparato projetivo permite, dado um ponto no plano, determinar as retas que admitem este ponto como ortopolo. No caso geral, existem quatro deles (incluindo a linha no infinito e as linhas complexas, se houver).

Matemáticas dos Estados Unidos
Matemáticos dos Estados Unidos do século XX
Matemáticas do século XX
Alunos da Universidade Johns Hopkins

Mary Cordia Karl


هذه المقالة تحتوي معلومات تفصيلية عن الدَّوارات المستخدمة في آلة إنيجما.

من أجل فهم الآلية التي تعمل بها الآلة في تعمية الرسائل، يجب الأخذ بعين الاعتبار الموضع الحالي للدَّوار، وإعدادات الحلقة، والتوصيلات الداخلية للآلة.

التصميم الفيزيائي للدَّوار

حركة الدّوار
من أجل فهم تأثير الدوران على عمل الدّوار سنستخدم مثالاً توضيحياً.

لنأخذ الدوار I بدون أي إعدادات للحلقة. يكون الحرف A مشفرًا على أنه الحرف E، الحرف B مشفرًا على أنه الحرف K والحرف K مشفرًا على أنه الحرف N. لاحظ أن كل حرف يتم تشفيره إلى حرف آخر. في حال استخدام العواكس، حيث الحرف A سيعيد الحرف Y والحرف Y سيعيد الحرف A، أي أن التوصيلات هي على شكل حلقة مغلقة بين الحرفين.

عندما يتحرك الدّوار، يجب أخذ هذه الحركة بعين الاعتبار من أجل معرفة خرج الآلة.

إذا كان الدّوار على سبيل المثال في الموقع B يدخل الحرف A عند الحرف B الذي يكون متصلاً معK. وبسبب انتقال الدّوار فإن إدخال الحرف K سيكون في الحرف J.

آلة إنجما
تعمية

تفاصيل دوار إنجما


Karapınar, Zonguldak ilinin Gökçebey ilçesine bağlı bir köydür.

Coğrafya
Köy, Zonguldak il merkezine 59 km, Gökçebey ilçe merkezine 14 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Gökçebey belde ve köyleri

Karapınar, Gökçebey


Džura ili Čjure nagara (azerski: Cürə nağara, ruski: Джура нагара, Чюре Нагара) azerbajdžansko je narodno glazbalo koje spada pod udaraljke. Džura nagara je jedna od najčešćih udaraljka u Azerbajdžanskoj narodnoj glazbi.

Etimologija
Cürə na azerskome znači mala, a nagara dolazi od arapske riječi نقارة koja znači kucanje, tucanje.

Opis
Džura nagara nikada se ne svira sama. U ansamblima zurla često ju prati bejuk nagara. Džura nagara često prati bejuk nagaru u ansamblima zurla. Tijelo glazbala najčešće je napravljeno od drveća marelice, duda i oraha. Od vrha se proteže membrana od ovčje ili kozje kože, koja je po strukturi identična. Zvuk se iz glazbala dobiva uz pomoć dva laka štapića čiji su krajevi zategnuti koncima. Dijametar tijela iznosi 300 – 320 mm, a visina 340 – 360 mm.

Vidi još
 Nagara
 Goltug nagara
 Bejuk nagara
 Goša-nagara

Azerbajdžanski bubnjevi

Džura nagara


Chappal Waddi es una montaña en el país africano de Nigeria y, con 2419 metros, es el punto más alto de esa nación. Se encuentra ubicado en el estado de Taraba, cerca de la frontera con Camerún, en la Reserva Forestal Gashaka (Parque Nacional Gashaka-Gumpti). Chappal Wadi es a veces citado como el punto más alto en el oeste de África, si no se considera en la región a Camerún como parte de esta.

Véase también
 Geografía de Nigeria
 Geografía de África

Referencias

Enlaces externos
Información sobre la montaña

Montañas de Nigeria
Puntos más altos de los países de África

Chappal Waddi


Charles Félix Édouard Deshayes, né à Toulon le , et mort au Kremlin-Bicêtre le , est un peintre français.

Biographie

Enfance et famille
Charles Félix Édouard Deshayes est né à Toulon le 9 novembre 1831, fils de Charles Salomon Deshayes, originaire d'Évreux, alors instituteur, et de Thérèse Paule Colom. On sait que Deshayes passa sa petite enfance en Algérie, où son père s'est installé pendant quelque temps à Alger vers 1834, puis à Bouzareah où naît son second frère. On retrouve la famille à Toulon quelques années plus tard, lorqu'y meurt son jeune frère à l'âge de dix ans. Les parents ont perdu auparavant les jumelles Angélique-Claire (Toulon, 1829-1831) et Marie-Thérèse Louise (1829-1829) puis, leur fille Denise-Paula-Caroline (Toulon, 1846-1846).

De cette fratrie, survivront Thérèse-Séverine-Louise Deshayes, née à La Seyne-sur-Mer en 1833, mariée à Paris en 1865 à Charles Clémenceau, et Frédéric Deshayes, menuisier à Paris.

Deshayes se marie tardivement à Paris le  avec Elmire Chloris Leleu, une modiste âgée de 36 ans, qui meurt en 1894 au domicile conjugal, 34, boulevard de Clichy.

Carrière

Deshayes s'installe à Paris après le décès de son père en 1851 ; il étudie avec Bernard Sénéquier et Louis Français et débute au salon de Paris en 1864. Il expose à Philadelphie en 1876.

Peu de temps avant la mort de Deshayes, le ministre de l'instruction publique et des beaux-arts le nomme officier de l'instruction publique, le .

Il meurt au Kremlin-Bicêtre le 20 février 1905.

Œuvres
 Intérieur de forêt (Musée de Langres)
 Figures de bergers (Musée de Rouen)
 Soleil couchant (Var)
 Dans la vallée de Chevreuse
 Une matinée sur la Basse-Seine
 Chemin sous bois
 Métairie (environ de Cernay)
 Dans une cour de campagne, à la Garde-de-Dieu, près Rozoy-sur-Serre
 Paysage (vente à New York, mai 1909)
 Près Nogent-sur-Marne (1869)
 Bords de la Seine, à Saint-Ouen (1870)
 Souvenir d'Afrique (1870)
 Journée d'été dans les cascades de Cernay-la-Ville (1872)
 Étang sous bois, à Villebrun (1873)
 Dans les cascades de Cernay (1874)
 Dans la vallée de Cernay (1874)
 Effet de soleil sous bois (1876)
 Un coin de parc à l'Étang-la-Ville (1878)
 Effet se soleil sous bois, aux environs de Paris (1879)
 Chaudron et pommes (1879)
 Le bois de Boulogne (1880)
 Ville de Belgique, panneau décoratif (1881, collection de M. Braquenier)
 Giroflées, étude (1881)
 Une rue du vieil Alger (1882)
 Vaches à l'abreuvoir (1889 ?)

Liens externes
Artnet

Notes et références

Naissance en novembre 1831
Naissance à Toulon
Décès à 73 ans
Décès au Kremlin-Bicêtre
Décès en février 1905

Charles-Félix-Édouard Deshayes


Zimzeleni javor (lat. Acer sempervirens) zimzeleno drvo iz porodice sapindovki. rašireno je po istočnom Mediteranu: Grčka, Kreta, Cikladi, Turska.

Sinonimi
 Acer heterophyllum Willd.
 Acer humile Salisb.
 Acer orientale L.
 Acer willkommii Wettst.

Izvori

Vanjske poveznice

Javor

Zimzeleni javor


Les élections législatives françaises de 2022 se déroulent les  et . Dans le Doubs, cinq députés sont à élire dans le cadre de cinq circonscriptions. 4 députés sortants sur 5 sont issus de la majorité présidentielle.

Contexte
Les élections législatives de 2022 ont lieu à la suite de l'élection présidentielle.

Résultats de l'élection présidentielle de 2022 par circonscription

Système électoral
Les élections législatives ont lieu au scrutin uninominal majoritaire à deux tours dans des circonscriptions uninominales.

Est élu au premier tour le candidat qui réunit la majorité absolue des suffrages exprimés et un nombre de voix au moins égal au quart (25 %) des électeurs inscrits dans la circonscription. Si aucun des candidats ne satisfait ces conditions, un second tour est organisé entre les candidats ayant réuni un nombre de voix au moins égal à un huitième des inscrits (12,5 %) ; les deux candidats arrivés en tête du premier tour se maintiennent néanmoins par défaut si un seul ou aucun d'entre eux n'a atteint ce seuil. Au second tour, le candidat arrivé en tête est déclaré élu.

Le seuil de qualification basé sur un pourcentage du total des inscrits et non des suffrages exprimés rend plus difficile l'accès au second tour lorsque l'abstention est élevé. Le système permet en revanche l'accès au second tour de plus de deux candidats si plusieurs d'entre eux franchissent le seuil de 12,5 % des inscrits. Les candidats en lice au second tour peuvent ainsi être trois, un cas de figure appelé . Les second tours où s'affrontent quatre candidats, appelés  sont également possibles, mais beaucoup plus rares.

Partis et nuances
Les résultats des élections sont publiés en France par le ministère de l'Intérieur, qui classe les partis en leur attribuant des nuances politiques. Ces dernières sont décidées par les préfets, qui les attribuent indifféremment de l'étiquette politique déclarée par les candidats, qui peut être celle d'un parti ou une candidature sans étiquette.

En 2022, seules les coalitions Ensemble (ENS) et Nouvelle Union populaire écologique et sociale (NUP), ainsi que le Parti radical de gauche (RDG), l'Union des démocrates et indépendants (UDI), Les Républicains (LR), le Rassemblement national (RN) et Reconquête (REC) se voient attribuer  une nuance propre.

Tous les autres partis se voient attribuer l'une ou l'autre des nuances suivantes : DXG (divers extrême gauche), DVG (divers gauche), ECO (écologiste), REG (régionaliste), DVC (divers centre), DVD (divers droite), DSV (droite souverainiste) et DXD (divers extrême droite). Des partis comme Debout la France ou Lutte ouvrière ne disposent ainsi pas de nuance propre, et leurs résultats nationaux ne sont pas publiés séparément par le ministère, car mélangés avec d'autres partis (respectivement dans les nuances DSV et DXG).

Résultats

Élus

Résultats à l'échelle du département

Résultats par coalition

Résultats par nuance

Cartes

Résultats par circonscription

Première circonscription
Députée sortante : Fannette Charvier (La République en marche) n'est pas candidate à un 2° mandat. C'est Laurent Croizier (MoDem) conseiller municipal de Besançon qui est investi pour représenter la Majorité Présidentielle.

Deuxième circonscription
Député sortant : Éric Alauzet (La République en marche) est candidat à sa réélection.

Troisième circonscription
Député sortant : Denis Sommer (La République en marche) n'est pas candidat à un 3° mandat. C'est le maire d'Étouvans, Nicolas Pacquot, qui est candidat pour la Majorité Présidentielle.

Quatrième circonscription
Député sortant : Frédéric Barbier (La République en marche) est candidat à sa réélection.

Cinquième circonscription
Députée sortante : Annie Genevard (Les Républicains) est candidate à sa réélection.

Notes et références

Notes

Références

Doubs
Législatives, 2022

Élections législatives de 2022 dans le Doubs


Elikónas, en , est un village du dème des Lébadéens, dans le district régional de Béotie, en Grèce-Centrale.

Selon le recensement de 2011, la population du village s'élève à .

Notes et références

Voir aussi

Liens externes

Village en Grèce-Centrale
Béotie

Elikónas (Béotie)


An Octomeria prostrata in uska species han Liliopsida nga ginhulagway ni H.Stenzel. An Octomeria prostrata in nahilalakip ha genus nga Octomeria, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Octomeria

Octomeria prostrata


The statue of Laocoön and His Sons, also called the Laocoön Group (), has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents.

The Laocoön Group has been called "the prototypical icon of human agony" in Western art. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly Laocoön's bulging eyebrows, which were noted by Guillaume-Benjamin Duchenne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially Laocoön's, with every part of his body shown straining.

Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date (27 BC to 68 AD) now being the preferred option.

Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and has undergone several ancient modifications and restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Subject

The story of Laocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer.  It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid (see the Aeneid quotation at the entry Laocoön), but this dates from between 29 and 19 BC, which is possibly later than the sculpture.  However, some scholars see the group as a depiction of the scene as described by Virgil.

In Virgil, Laocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving Laocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present.  In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: Laocoön was either punished for doing wrong, or for being right.

The snakes are depicted as both biting and constricting, and are probably intended as venomous, as in Virgil. Pietro Aretino thought so, praising the group in 1537:
...the two serpents, in attacking the three figures, produce the most striking semblances of fear, suffering and death. The youth embraced in the coils is fearful; the old man struck by the fangs is in torment; the child who has received the poison, dies.

In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

History

Ancient times
The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation (including serpents) which is very similar to those of Laocoön, though the style is "looser and wilder in its principles" than the altar.

The execution of the Laocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Pliny
In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History (XXXVI, 37), he says:
....in the case of several works of very great excellence, the number of artists that have been engaged upon them has proved a considerable obstacle to the fame of each, no individual being able to engross the whole of the credit, and it being impossible to award it in due proportion to the names of the several artists combined. Such is the case with the Laocoön, for example, in the palace of the Emperor Titus, a work that may be looked upon as preferable to any other production of the art of painting or of [bronze] statuary. It is sculptured from a single block, both the main figure as well as the children, and the serpents with their marvellous folds. This group was made in concert by three most eminent artists, Agesander, Polydorus, and Athenodorus, natives of Rhodes.

It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests "he regards it as an original".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 (see "Findspot" section below). He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as "in concert" (de consilii sententia) is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: " [the artists] at the behest of council designed a group...", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.

The same three artists' names, though in a different order (Athenodoros, Agesander, and Polydorus), with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga (though they may predate his ownership), but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the Laocoon group of much higher quality and finish.

Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the Laocoön group's creation.  However the Sperlonga inscription, which also gives the fathers of the artists, makes it clear that at least Agesander is a different individual from the priest of the same name recorded at Lindos, though very possibly related.  The names may have recurred across generations, a Rhodian habit, within the context of a family workshop (which might well have included the adoption of promising young sculptors).  Altogether eight "signatures" (or labels) of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.

Renaissance

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:

The first time I was in Rome when I was very young, the pope was told about the discovery of some very beautiful statues in a vineyard near Santa Maria Maggiore. The pope ordered one of his officers to run and tell Giuliano da Sangallo to go and see them.  So he set off immediately. Since Michelangelo Buonarroti was always to be found at our house, my father having summoned him and having assigned him the commission of the pope's tomb, my father wanted him to come along, too. I joined up with my father and off we went. I climbed down to where the statues were when immediately my father said, "That is the Laocoön, which Pliny mentions".  Then they dug the hole wider so that they could pull the statue out. As soon as it was visible everyone started to draw (or "started to have lunch"), all the while discoursing on ancient things, chatting as well about the ones in Florence.

Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.

In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most (but certainly not all) of the artworks plundered by the French were returned, and the Laocoön reached Rome in January 1816.

Restorations

When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one child and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by Laocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.

According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of Laocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.

In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this Laocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."

In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the children's arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".

The more open, planographic composition along a plane, used in the restoration of the Laocoön group, has been interpreted as "apparently the result of serial reworkings by Roman Imperial as well as Renaissance and modern craftsmen". A different reconstruction was proposed by Seymour Howard, to give "a more cohesive, baroque-looking and diagonally-set pyramidal composition", by turning the older son as much as 90°, with his back to the side of the altar, and looking towards the frontal viewer rather than at his father.  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs. Other suggestions have been made.

Influence

The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the Laocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.

The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.

The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.

The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.

Laocoön as an ideal of art

Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann (1717–1768) wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay Laocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.

Johann Goethe said the following in his essay, Upon the Laocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.

The most unusual intervention in the debate, William Blake's annotated print Laocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.

The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850), which stood before the east façade of the United States Capitol for over 100 years.

Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his hurry to dress on Christmas morning.

John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the Laocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. Furthermore, he attacked the composition on naturalistic grounds, contrasting the carefully studied human anatomy of the restored figures with the unconvincing portrayal of the snakes:

In 1910 the critic Irving Babbitt used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

Findspot

The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill (the southern spur of the Esquiline Hill), as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore" (see above) or it being "near the site of the Domus Aurea" (the palace of the Emperor Nero); in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives (badly indexed, and so missed by earlier researchers), which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.

The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys,  in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it.

The findspot was inside and very close to the Servian Wall, which was still maintained in the 1st century AD (possibly converted to an aqueduct), though no longer the city boundary, as building had spread well beyond it.  The spot was within the Gardens of Maecenas, founded by Gaius Maecenas the ally of Augustus and patron of the arts.  He bequeathed the gardens to Augustus in 8 BC, and Tiberius lived there after he returned to Rome as heir to Augustus in 2 AD.  Pliny said the Laocoön was in his time at the palace of Titus (qui est in Titi imperatoris domo), then heir to his father Vespasian, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.  The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly rediscovered findspot-location is not very far beyond them.

Notes

References
 Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,
 Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001, subscription required, reprinted in Confronting the Classics: Traditions, Adventures and Innovations, 2013 EBL ebooks online, Profile Books, Google Books
 Boardman, John ed., The Oxford History of Classical Art, 1993, OUP,
 "Chronology": Frischer, Bernard, Digital Sculpture Project: Laocoon, "An Annotated Chronology of the "Laocoon" Statue Group", 2009
 Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various edns, page refs from Pelican edn of 1960
 Cook, R.M., Greek Art, Penguin, 1986 (reprint of 1972),
 Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala
 Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 (Yale University Press), cat. no. 52, pp. 243–47
 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue (Jun., 1974), pp. 275–277,
 Howard, Seymour, "Laocoon Rerestored", American Journal of Archaeology, Vol. 93, No. 3 (Jul., 1989), pp. 417–422,
 Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, , Google Books
 Rice, E. E., "Prosopographika Rhodiaka", The Annual of the British School at Athens, Vol. 81, (1986), pp. 209–250,
 Spivey, Nigel (2001), Enduring Creation: Art, Pain, and Fortitude, University of California Press,
 Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,
 Stewart, A., "To Entertain an Emperor: Sperlonga, Laokoon and Tiberius at the Dinner-Table", The Journal of Roman Studies, Vol. 67, (1977), pp. 76–90,
 "Volpe and Parisi": Digital Sculpture Project: Laocoon. "Laocoon: The Last Enigma", translation by Bernard Frischer of Volpe, Rita and Parisi, Antonella, "Laocoonte. L'ultimo engima," in Archeo 299, January 2010, pp. 26–39
 Warden, P. Gregory, "The Domus Aurea Reconsidered", Journal of the Society of Architectural Historians, Vol. 40, No. 4 (Dec., 1981), pp. 271–278, ,

External links

 University of Virginia's Digital Sculpture Project 3D models, bibliography, annotated chronology of the Laocoon
 Laocoon photos
 Laocoon and his Sons in the Census database
 FlickR group "Responses To Laocoön", a collection of art inspired by the Laocoön group
 Lessing's Laocoon etext on books.google.com

 Laocoonte: variazioni sul mito, con una Galleria delle fonti letterarie e iconografiche su Laocoonte, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50, luglio/settembre 2006
 Nota sul ciclo di Sperlonga e sulle relazioni con il Laoocoonte Vaticano, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50. luglio/settembre 2006
 Nota sulle interpretazioni del passo di Plinio, Nat. Hist. XXXVI, 37, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50. luglio/settembre 2006
 Scheda cronologica dei restauri del Laocoonte, a cura di Marco Gazzola, "La Rivista di Engramma" n. 50, luglio/settembre 2006

1st-century BC sculptures
1506 archaeological discoveries
Antiquities acquired by Napoleon
Hellenistic sculpture
Roman copies of Greek sculptures
Sculptures in the Vatican Museums
Tourist attractions in Rome
Archaeological discoveries in Italy
Hellenistic-style Roman sculptures
Nude sculptures
Sculptures of snakes

Laocoön and His Sons


Nicăieri nu-i ca acasă este cel de-al doilea album al trupei La Familia, lansat la data de 06 mai 1998 prin "Cat Music" / "Media Services", atât pe casetă cât și pe CD, acesta fiind vândut în aproximativ 70.000 de exemplare în toată țara. Primul lor album a fost Băieți de cartier, lansat pe 16 august 1997, adică cu aproximativ 9 luni înainte față de cel de-al doilea album. Albumul Nicăieri nu-i ca acasă a beneficiat în premieră și de un videoclip la piesa Tupeu de borfaș în colaborare cu Dana Marijuana, dar, care a apărut în 1999, însă versiunea de videoclip e parțial modificată față de versiunea de album, și tot cea mai cunoscută piesă de pe album și probabil cea mai cunoscută piesă a trupei de până acum, tot Tupeu de borfaș, a atacat ca reprezentantă a Cartelului, cu limitarea specifică educației, două trupe ale R.A.N.-S.-ului imediat după lansarea ei. În această piesă au fost vizați "capii" R.A.N.-S.-ului, adică R.A.C.L.A. și altă trupă din R.A.N.-S., Getto Daci, și din afara R.A.N.-S.-ului, pe Tase din Pirats Klan. Ca colaboratori îi avem pe cântăreața menționată mai sus (Marijuana), B.U.G. Mafia, Adrian, Mihai Budeanu & Laurențiu Duță (3rei Sud Est), Cătălina Toma și Gunja. Albumul conține 15 track-uri dintre care 12 piese noi, intro, remix-ul piesei Băieți de cartier (varianta originală fiind pe albumul de debut) și varianta cenzurată a piesei Tupeu de borfaș.

Ordinea pieselor pe disc
Tracklist

Legături externe
Site-ul Oficial La FamiliaSite-ul Oficial al lui PuyaSite-ul Oficial al lui Sișu

Note

Albume de La Familia
Albume hip hop românești
Albume hip hop
Albume din 1998

Nicăieri nu-i ca acasă (album)


Jakob Grimminger () a fost un membru al Schutzstaffel (SS), cunoscut în calitate de purtător al Blutfahne (Drapelul Însângerat), steagul ceremonial nazist.

Biografie
Grimminger s-a născut în orașul Augsburg din Bavaria și a intrat în Armata Imperială Germană, atunci când avea vârsta de șaisprezece ani. A servit în timpul Primului Război Mondial ca mecanic într-un regiment de aviație din 1914 până în 1917. El a luptat în Campania Gallipoli. De asemenea, el a servit un an în Palestina după care s-a întors în Germania. A fost distins cu Crucea de Fier (clasa a II-a), cu medalii bavareze și cu ordinul Semiluna de Fier. Grimminger a fost demobilizat în anul 1919.

Grimminger s-a alăturat Partidului Nazist (NSDAP) în 1922 și a devenit un membru al Sturmabteilung (SA). El a luat parte la luptele de stradă de la Coburg din 1922 și la Puciul de la München din 8 noiembrie 1923. După ce a servit la Casa Brună, cartierul general al NSDAP, a fost selectat în 1926 pentru a deveni membru al Schutzstaffel (SS). Grimminger a fost promovat de mai multe ori pe parcursul carierei sale în SA și SS, ajungând în cele din urmă la gradul de SS-Standartenführer (echivalent cu gradul militar de colonel). În calitate de membru al SS, el a primit onoarea de a purta drapelul pătat de sânge Blutfahne de la Puciul de la München. Grimminger a fost decorat cu Insigna de Aur a Partidului, cu Ordinul Sângelui (nr. 714) și cu Insigna Coburg, trei dintre cele mai importante decorații ale NSDAP.

Grimminger a supraviețuit celui de-al Doilea Război Mondial și a fost judecat de Aliați în 1946 pentru vina de a fi fost membru al SS-ului și purtător al Blutfahne timp de nouăsprezece ani. Nu a fost trimis la închisoare, dar toată averea lui a fost confiscată. Mai târziu, potrivit surselor, el a încercat să intre în politică și a deținut mandatul de consilier în cadrul Primăriei orașului München; trecutul lui nazist, cu toate acestea, l-a împiedicat să-și continue această carieră. A murit în anonimat la München în 1969.

Note

Nașteri în 1892
Decese în 1969
Personal militar german al Primului Război Mondial
Oameni din Augsburg
Naziști
Ofițeri SS

Jakob Grimminger


A Liga BNXT, por motivos de patrocínio a betFirst BNXT League, é uma competição profissional de basquetebol com equipes da Bélgica e dos Países Baixos. A liga é o primeiro nível no sistema holandês e belga, substituindo o DBL e o PBL. A temporada inaugural é a temporada 2021-22, começando em setembro de 2021.

História
Em 10 de dezembro de 2020, foi anunciado que a Pro Basketball League e a Eredivisie se fundiram para formar uma nova liga multinacional. Todos os clubes da DBL holandesa votaram a favor, enquanto 9 das 10 equipes da Bélgica votaram a favor da decisão. Conversas sérias sobre a iniciativa estavam em andamento desde o outono de 2019. Em 20 de maio de 2021, o novo nome "BNXT League" e o logotipo da liga foram anunciados.

Patrocínios
Em 10 de setembro de 2021, a liga anunciou seu primeiro patrocínio quando a empresa de apostas belga betFirst assinou para se tornar patrocinadora por 3 temporadas.

Fórmula de competição
A liga é disputada por diferentes etapas com competições domésticas e um campeonato comum da BeNeLeague.

Equipes
As seguintes equipes jogam na temporada 2021-22 :

Arenas e localizações
 Nota: Listas de tabelas em ordem alfabética.

Referências

Ligações externas

 Website oficial

Ligas de basquetebol
Basquetebol dos Países Baixos
Basquetebol da Bélgica

BNXT League


Domaines est une composition de Pierre Boulez. Il existe une première version pour clarinette seule datant de 1961 et une deuxième version révisée en 1968 pour clarinette et ensemble instrumental constitué de six groupes (vingt et un instruments) .

Il existe également une version pour basson.

Histoire
La pièce originale Domaines pour clarinette seule s'inscrit dans la continuité de la troisième sonate pour piano composée en 1957 et de la pièce pour voix de soprano et orchestre Pli selon pli, portrait de Mallarmé, à laquelle il a travaillé entre 1957 et 1962
, qui concluent la fin d'un cycle créatif. On retrouve des similitudes entre ces trois pièces notamment au niveau mélodique.

Les premières idées de Domaines remontent à 1959, lorsqu'il avait provisoirement intitulé la pièce Concert ou Labyrinthe en retenant l'idée du "six" et la répartition spatiale, non seulement dans la notation musicale mais aussi dans la disposition en étoile des musiciens dans l'espace de scène. Il semble également qu'une pièce d'ensemble, en plus de la version solo, ait été conçue dès le départ.

Plus tard, Boulez effectue une révision et la transforme en une sorte de concerto y créant six ensembles discrets de un à six musiciens tout en conservant la partie solo originale en 1969.

La version instrumentale solo a été créée le  à Ulm (Allemagne).

La version instrumentale a été créée le  à Bruxelles par le clarinettiste
Walter Boeykens à la RTB sous la direction de Pierre Boulez. La version finale a été écrite en 1969.  Michel Portal avec  l'ensemble Musique vivante, dirigé par le compositeur Pierre Boulez a enregistré une version légèrement différente en . La partition solo a été éditée chez Universal Edition en 1970.

Engagé dans un processus de révision permanent, Pierre Boulez a toujours considéré ces pièces comme non terminées.

Une sorte de révision est la pièce pour clarinette et électronique Dialogue de l'ombre double (1982-1985) qui reprend du matériel de la musique d'ensemble de Domaines mais pas de la partie solo.

Analyse
Domaines constitue une des dernières œuvres partiellement ouvertes du compositeur et comporte deux parties :
 Dans une première partie dite  « original » , le  soliste dispose de la liberté d'interpeller sur son chemin dans l'ordre qu'il choisit chacun des six groupes de musiciens disposés de façon circulaire sur  les  sommets  d'un  hexagone  autour  du  chef ; la clarinette basse seule constituant la sixième entité. Cette scénographie génère un dialogue entre « le protagoniste » se déplaçant sur la scène et chacun des groupes sonores ;
 Dans la seconde partie dite  « miroir », de durée égale, la pièce devient  un miroir dont l'ordre des éléments constitutifs est également ouvert mais cette fois choisi par le chef d'orchestre.

Domaines se compose de six cahiers étiquetés de A à F. Chacun de ces "originaux" a une version "miroir", ce qui fait douze cahiers en tout. Chacun d'eux contient à son tour six "cellules" ou fragments. Leur contenu va d'une simple note à quatre lignes denses de musique complexe. L'interprète doit commencer par jouer les six cahiers originaux, en les présentant dans n'importe quel ordre ; puis les six versions miroir sont jouées, toujours dans n'importe quel ordre. Les six cahiers de chaque page peuvent être joués séquentiellement de deux façons, soit verticalement, soit horizontalement. L'interprète se voit proposer un certain nombre de façons différentes de jouer plusieurs des cellules. Celles-ci concernent des marques de tempo alternatives (aucune marque de métronome n'est utilisée), des niveaux de nuance, des trilles optionnels, l'utilisation du vibrato, de la langue flottante et de techniques étendues telles que les doigtés de timbre ou les trilles sur une seule note, l'utilisation de sons aériens et de techniques multiphoniques.

En se limitant aux deux permutations combinatoires des 6 livrets originaux et des 6 livrets miroirs, les « formes   ouvertes » de l'oeuvre    donnent naissance à (6!)2=7202=518400 possibilités de jeu et de déplacements. Néanmoins, certaines combinaisons ont la préférence du compositeur qui n'a pas pu explorer toutes les combinaisons et ont servi aux enregistrements comme l'emploi du quatuor de trombones pour débuter et une terminaison avec la clarinette basse jouant dos au public.

Instrumentation
 Soliste : clarinette
 Ensemble de 21 instruments : flûte, hautbois, clarinette base, basson, cor, trompette, 4 trombones, marimba, harpe, saxophone alto, guitare, 2 violons, 2 altos, 2 violoncelles, contrebasse

Les 21 instruments sont répartis en 6 groupes étiquetés de A à F correspondant aux livrets:
 A : Un quatuor de  trombones  (un alto, deux ténors et un basse)
B : Un sextuor à cordes (deux violons, deux altos et deux  violoncelles)
 C : Un duo (marimba et contrebasse)
 D : Un quintette (flûte, trompette, saxophone alto, basson et harpe)
 E : Un trio (hautbois, cor  et guitare)
 F : Une clarinette basse

Enregistrements (sélection)
 Pierre Boulez : Domaines avec Michel Portal, (Musique d'abord, HMA195930, 1971), ƒƒƒƒ Télérama
 Alain Damiens Plays Stravinsky* - Boulez* - Denisov* - Stockhausen* - Donatoni* - Berio* – Clarinette (Label Adda – 581066, CD, 1988)

Notes et références

Liens externes

.

Œuvre de Pierre Boulez
Boulez, Domaines
Œuvre pour instrument seul

Domaines de Boulez


An Cyrtostylis rotundifolia in uska species han Liliopsida nga ginhulagway ni Joseph Dalton Hooker. An Cyrtostylis rotundifolia in nahilalakip ha genus nga Cyrtostylis, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Cyrtostylis

Cyrtostylis rotundifolia


En astronomía, una constelación es una agrupación convencional de estrellas.

Constelación o constelaciones también puede referirse a:
 Constelaciones (Miró), una serie de 23 pinturas sobre papel de pequeñas dimensiones, iniciada por Joan Miró el 1939.
 Constelaciones familiares, método pseudoterapéutico.
 Proyecto Constelación, programa espacial de la NASA.

Constelación (desambiguación)


AFC istok je jedna od četiri divizije AFC konferencije u nacionalnoj ligi američkog nogometa NFL. Članovi divizije su Buffalo Billsi, Miami Dolphinsi, New England Patriotsi i New York Jetsi. Divizija postoji u trenutnom obliku od sezone 2002., kada je nakon ulaska u ligu Houston Texansa ukupan broj momčadi porastao na 32, koje su tada raspodijeljene na ukupno osam divizija po četiri momčadi, po četiri divizije u svakoj konferenciji.

Sjedišta momčadi divizije AFC istok su Orchard Park, New York (Buffalo Bills), Miami Gardens, Florida (Miami Dolphins),  Foxborough, Massachusetts (New England Patriots) i East Rutherford, New Jersey (New York Jets).

Pobjednici divizije AFC istok od 2002. do 2018. godine

Izvori

National Football League

AFC istok


Melnibonéli Elric İngiliz bilimkurgu ve fantezi yazarı Michael John Moorcock tarafından yaratılan karakter ve aynı kahramanın maceralarının anlatıldığı Elric Destanı'nın ilk kitabı. Melnibone Krallığının 428. Kralı olan Elric Çoğulevren'de (Multiverse) bulanan bir Ebedi Kahramandır.(Eternal Champion)

Melnibonéli Elric Moorcock tarafından yaratılan Ebedi Şampiyonların muhtemelen en ünlüsüdür. Altmışlı yılların sonunda yazmaya başladığı Melnibonéli Elric sıra dışı bir kahraman olarak dikkat çeker. Hükümdarı olduğu, yüzyıllardır insan diyarlarına hükmeden efsanevi imparatorluğun, sevdiği kadın için yağmalanıp yıkılmasına göz yummuş bir imparatordur. Sevdiğini kurtarabilmek için kaosun hizmetkarı bir iblis ile antlaşma yapar ve kana susamış kılıç "Fırtına Yaratan'ı" taşımaya başlar. Bu kılıç ile albino ortak bir yaşam sürerler. Elric kılıç için kıyım yaratırken, kılıç da ona yoksun olduğu gücü sağlar. Diğer fantezi hikâyelerindeki kahramanların aksine iyilik için savaşmaz. Burnunun dikine gider, işine geleni yapar. Elric'in hemen hemen yapmış olduğu kahramanca ya da kahramanca sayılabilecek işler, tamamen şartları onu o noktaya getirmesi ile olur.

Romanlar
Elric Destanı
 Melnibonéli Elric (Altıkırkbeş 2000)
 Kader Denizlerindeki Denizci (Altıkırkbeş 2000)
 Beyaz Kurt'un Kaderi (Altıkırkbeş 2000)
 Kaybolan Kule (Altıkırkbeş 2000)
 Kara Kılıç'ın Laneti (Altıkırkbeş 2002)
 Fırtına Yaratan (Altıkırkbeş 2003)

Elric Destanı
Kurgusal erkek karakterler
Karanlık fantezi

Melnibonéli Elric


Marzia Kjellberg (născută Bisognin, ), cel mai des cunoscută după numele de utilizator al canalului ei de YouTube, Marzia (în trecut CutiePieMarzia), este o YouTuber-iță, creatoare de modă și scriitoare italiană. În ianuarie 2017, canalul ei avea peste 530 de milioane de vizionări și peste 6 milioane de abonați. Pe data de 29 august 2019, canalul ei înregistra 7,7 milioane abonați și 20,5 milioane vizualizări din cauza videoclipurilor șterse.

Cariera
Marzia face videoclipuri despre modă, cărți, filme și DIY. Uneori Bisognin face și vloguri. Chiar dacă este din Italia, Marzia vorbește engleză în videoclipurile sale, pentru a avea audiență din mai multe părți ale globului. Statisticile arată că publicul său majoritar e format din femei cu vârste cuprinse între 13 și 24 de ani.

Succesul canalului său i-a permis să își deschidă o linie proprie de îmbrăcăminte, care sunt vândute pe site-ul ei.

În ianuarie 2015, Bisognin a lansat prima ei carte cu titlul "La Casa dei Sogni" (eng. "Dream House").

Pe data de 22 octombrie 2018, Marzia a anunțat printr-un video încărcat pe Youtube faptul că dorește să își lase cariera deoparte și să își urmeze visul. Ea a schimbat vizibilitatea majorității videoclipurilor de pe canalul de Youtube, lăsând publice doar câteva din cele cu vacanțele petrecute alături de iubitul ei, Felix.

Viața personală
Marzia Bisognin s-a născut la 21 octombrie 1992 în Vicenza, Italia. Este împreună cu Felix Kjellberg (cunoscut ca PewDiePie) din 2011, cei doi căsătorindu-se pe 19 august 2019 (la 8 ani după ce s-au cunoscut). Locuiesc împreună în Japonia alături de doi mopși, Edgar și Maya, și de un arici numit Doggie.

Note

YouTube
Scriitori de literatură pentru copii

Marzia Kjellberg


Gorska lupina (gorska božika, nemopantus, lat. Ilex mucronata), močvarni grm iz porodice Aquifoliaceae, nekada uključivan u vlastiti rod Nemopanthus, a danas rodu Ilex, odnosno božikovinama.

Domovina joj je Sjeverna Amerika, a raširena je od Newfoundlanda na zapad do Minnesote.

Izvori

Vanjske poveznice

Aquifoliales

Gorska lupina


දහම් චින්තා
 ධම්ම චක්කපවත්තන සූත්‍රය.
 මහා සතිපට්ඨාන සූත්‍රය.
ආලවක සූත්‍රය.

බාහිර සබැඳි
 සරල (ඉංග්‍රීසි) ජ්‍යත්‍යන්තර ධර්ම සාකච්ඡා මණ්ඩපය.
 Q & A

ධම්ම සාකච්ඡා


Nordsinni Station (Nordsinni stasjon) var en jernbanestation på Valdresbanen, der lå i bygden Nordsinni i Nordre Land kommune i Norge. Den lå i den vestlige del af dalen, lidt syd for elven Etna.

Stationen åbnede 1. april 1904, året efter at banen blev forlænget fra Dokka til Tonsåsen. Oprindeligt hed den Nordsinnen, men den skiftede navn til Nordsinni i 1920. Den blev nedgraderet til trinbræt 7. januar 1968. Den blev nedlagt 1. januar 1989, da persontrafikken på banen blev indstillet.

Stationsbygningen blev opført i 1903. Den blev revet ned i 1985 sammen med udhuset.

Litteratur

Eksterne henvisninger

Stationer på Valdresbanen
Nedlagte jernbanestationer i Norge
Etableret i 1904
Ophørt i 1989

Nordsinni Station


O Campeonato Sul-Americano de Futebol Sub-20 de 2023, oficialmente CONMEBOL Sul-Americano Sub-20 Colômbia 2023 (espanhol: CONMEBOL Sudamericano Sub-20 Colombia 2023) foi a 30ª edição da competição organizada pela Confederação Sul-Americana de Futebol (CONMEBOL) para jogadores com até 20 anos de idade. O evento foi realizado na Colômbia entre os dias 19 de janeiro e 12 de fevereiro, retornando após quatro anos após o cancelamento da edição de 2021 por conta da pandemia de COVID-19.

As três equipes melhores colocadas se classificaram para o torneio de futebol dos Jogos Pan-Americanos de 2023, a ser realizado em Santiago, no Chile. Além destes, o quarto colocado se classificou para a Copa do Mundo FIFA Sub-20 de 2023, inicialmente a ser realizado na Indonésia. Porém com a FIFA retirando a competição do país asiático em 29 de março de 2023, a Argentina, que inicialmente não havia se classificado, também garantiu presença após ser designada como a nova sede.

O Brasil conquistou o seu décimo segundo título da competição, o primeiro desde 2011, após vencer o confronto direto contra o Uruguai na última rodada da fase final. As duas seleções, além da anfitriã Colômbia e do Equador se classificaram para o mundial sub-20.

Equipes participantes
Todas as dez equipes filiadas a CONMEBOL participaram do evento:

  (anfitrião)

  (atual campeão)

Sedes
Um total de quatro estádios foram utilizados no campeonato, nas cidades de Bogotá e Cáli.

Árbitros
A Comissão de Árbitros da CONMEBOL selecionou onze árbitros e vinte e dois assistentes, incluindo um trio de Portugal como parte do memorando de entendimento entre a CONMEBOL e a UEFA, marcando a primeira vez que uma equipe de arbitragem europeia atuou na competição.

Sorteio
O sorteio foi realizado em 21 de dezembro de 2022 na sede da CONMEBOL em Luque, no Paraguai. A anfitriã Colômbia e os campeão vigente Equador foram alocados nos grupos A e B respectivamente, enquanto as demais seleções completaram os demais potes de acordo com as posições no Campeonato Sul-Americano de 2019.

Fase de grupos
As 10 equipes participantes foram divididas em dois grupos de cinco equipes cada. As três primeiras colocadas em cada um dos grupos avançaram para a fase final.

Em caso de empate em pontos em qualquer uma das posições, a classificação é determinada seguindo os seguintes critérios, por ordem:

Resultado entre as equipes empatadas;
Pontos no confronto direto entre as equipes empatadas;
Diferença de gols no confronto direto entre as equipes empatadas;
Gols marcados em confrontos diretos entre os times empatados;
Diferença de gols em todos os jogos do grupo;
Gols marcados em todos os jogos do grupo;
Menos cartões vermelhos recebidos;
Menos cartões amarelos recebidos;
Sorteio.

Todas as partidas seguem o fuso horário da Colômbia (UTC−5).

Grupo A

Grupo B

Fase final

Premiação

Artilharia
6 gols

 Andrey Santos
 Vitor Roque

5 gols

 Álvaro Rodríguez
 Fabricio Díaz
 Luciano Rodríguez
 Brayan Alcócer

4 gols
 Justin Cuero

3 gols
 Óscar Cortés

2 gols

 Pedro
 Ronald
 Gustavo Puerta
 Jorge Cabezas
 Allan Wlk
 Diego González
 Gilberto Flores

1 gol

 Gino Infantino
 Maximiliano González
 Máximo Perrone
 Fernando Nava
 Pablo Luján
 Giovane
 Guilherme Biro
 Stênio
 Lucas Assadi
 Vicente Conelli
 Alexis Manyoma
 Daniel Luna
 Juanda Fuentes
 Cristhoper Zambrano
 Sebastián González
 Yaimar Medina
 Kevin Pereira
 Diether Vásquez
 Damián García
 Facundo González
 Ignacio Sosa
 Rodrigo Chagas
 Alejandro Cova

Gols contra

 Denilson Durán (para o Equador)
 Luis Córdova (para a Colômbia)

Ligações externas

2023
2023 no futebol
Competições internacionais de futebol sediadas na Colômbia
Futebol das categorias de base em 2023
Futebol de 2023 na Colômbia
Eventos esportivos na América do Sul em janeiro de 2023
Torneios de qualificação para os Jogos Pan-Americanos de 2023


O Uso do Conhecimento na Sociedade (do inglês: The Use of Knowledge in Society) é um artigo acadêmico escrito pelo economista Friedrich Hayek, considerado um dos mais importantes no campo da economia moderna. Foi publicado pela primeira vez na edição de setembro de 1945 da The American Economic Review.

Escrito (junto com The Meaning of Competition ) como uma refutação ao colega economista Oskar R. Lange e seu endosso por uma economia planificada, foi incluído entre os doze ensaios do livro Individualismo e ordem econômica de Hayek, de 1948.

Argumento
O artigo de Hayek argumenta contra o estabelecimento de um Conselho Central de Preços (defendido por Lange), destacando a natureza dinâmica e orgânica das flutuações de preços de mercado e os benefícios desse fenômeno. Ele afirma que uma economia planejada centralmente nunca poderia igualar a eficiência do mercado aberto porque o que é conhecido por um único agente é apenas uma pequena fração da soma total do conhecimento detido por todos os membros da sociedade. Uma economia descentralizada complementa assim a natureza dispersa da informação espalhada por toda a sociedade. Nas palavras de Hayek, "O maravilhoso é que, num caso como o de uma escassez de matéria-prima, sem que seja dado algum comando, sem que mais de uma pessoa saiba a causa, dezenas de milhares de pessoas, cuja identidade não poderia ser determinada mesmo após meses de investigação, são levadas a usar a matéria-prima ou seus produtos de maneira mais moderada; isto é, elas se movem na direção correta." O artigo também discute os conceitos de 'equilíbrio individual' e a noção de Hayek da divisão entre informação útil e praticável versus aquela que é puramente científica ou teórica.

Recepção
Considerada como uma obra primordial, "O Uso do Conhecimento na Sociedade" foi um dos artigos mais elogiados e citados do século 20. O artigo conseguiu convencer os membros da Comissão Cowles (o alvo pretendido de Hayek) mudando a ideia sobre a possibilidade de uma economia planejada e, ao mesmo tempo, derrotar o argumento de Oskar Lange de que o socialismo poderia resolver o problema do cálculo econômico. A Obra foi também recebida positivamente pelos economistas Herbert A. Simon, Paul Samuelson e Robert Solow.

Influência
Jimmy Wales, co-fundador da Wikipedia, cita "The Use of Knowledge in Society", que ele leu como estudante de graduação, como "central" para seu pensamento sobre "como gerenciar o projeto Wikipedia". Hayek argumentou que a informação é descentralizada – que o conhecimento é disperso de forma desigual entre os diferentes membros da sociedade – e que, como resultado, as decisões são mais bem tomadas por quem tem conhecimento local e não por uma autoridade central. O artigo também "preparou o cenário" para o uso posterior de modelos do ramo da matemática aplicada da teoria dos jogos. O artigo influenciou vitalmente o economista Thomas Sowell e serviu de inspiração para escrever sua obra Conhecimento e Decisões. O economista sueco Assar Lindbeck, que presidiu o comitê de premiação do Prêmio Nobel de Ciências Econômicas, testemunhou que "O Uso do Conhecimento na Sociedade" foi o trabalho que esclareceu as "vantagens do bom funcionamento dos mercados".

Ver também

 Mão invisível
 Custo de oportunidade
 A Arrogância fatal: os erros do socialismo, um livro de Hayek.
 Friedrich Hayek

Bibliografia

Documentos de 1945
Friedrich Hayek

O Uso do Conhecimento na Sociedade


133296 Federicotosi este un asteroid din centura principală de asteroizi.

Descriere
133296 Federicotosi este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Campo Imperatore, în cadrul proiectului CINEOS. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,72 ua, o excentricitate de 0,15 și o înclinație de 25,0° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 133001-134000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2003
Centura de asteroizi

133296 Federicotosi


Gałąźnia Wielka (deutsch Groß Gansen) ist ein Dorf ist ein Dorf in der Woiwodschaft Pommern in Polen. Es gehört zur Gmina Kołczygłowy (Gemeinde Alt Kolziglow) im Powiat Bytowski (Bütower Kreis).

Lage
Das Dorf liegt in Hinterpommern, etwa 27 km südöstlich von Słupsk (Stolp) und 38 km südwestlich von Lębork (Lauenburg i. Pom.).

Geschichte
Das adelige Dorf Groß Gansen war in älterer Zeit Lehensbesitz der Familie Zitzewitz. Der Zitzewitzschen Familienchronik zufolge befand sich das Dorf bereits vor dem Jahr 1410 im Besitz von Jarislaw von Zitzewitz.
Um 1784 bestand Groß Gansen aus zwei Teilen, A und B, mit insgesamt zwei Vorwerken, zehn Bauern, sechs Kossäten, auf der Feldmark des Dorfs einem Holzwärterkaten und 26 Haushaltungen. Groß Gansen A, auf das ein Vorwerk, acht Bauern und der Holzwärterkaten entfielen, befand sich seinerzeit im Besitz von Friedrich George Ernst von Zitzewitz. Groß Gansen B mit einem Vorwerk, zwei Bauern und drei Kossäten gehörte zu dem Rittergut Goschen und befand sich zur damaligen Zeit im Besitz von Lieutenant Friedrich Franz von Zitzewitz.

Am Ende des 18. Jahrhunderts verlegte die bis dahin auf Gut Goschen ansässige Familie Zitzewitz ihren Wohnsitz nach Groß Gansen. Im 19. Jahrhundert erlosch dieser Familienzweig, da Heinrich von Zitzewitz kinderlos geblieben war. Er verkaufte seine Güter 1877 an seinen Cousin Friedrich Karl von Zitzewitz auf Muttrin und zog nach Stolp, wo er 1885 verstarb.

Nach dem Ersten Weltkrieg übernahm in zweiter Generation Georg von Zitzewitz das Gut Groß Gansen. Er war als Mitglied der Deutschnationalen Volkspartei politisch aktiv und wurde in das Preußische Abgeordnetenhaus gewählt. Vor der Machtergreifung der NSDAP gehörte er für kurze Zeit dem Reichstag an.

Vor Ende des Zweiten Weltkriegs gehörte Groß Gansen zum Landkreis Stolp im Regierungsbezirk Köslin der Provinz Pommern. Die Gemeindefläche war 1.583 Hektar groß. Zur Gemeinde gehörten neben dem Dorf Groß Gansen die Wohnplätze Goschen, Bergland, Hermannshöh, Lösung, Paschke (Piaschke), Pranitz, Steggen, Windmühle und Zitzenkaten.
1925 standen in Groß Gansen 70 Wohngebäude. Außer dem Gut gab es in der Dorfgemeinde 45 bäuerliche Betriebe. Im Jahr 1939 wurden insgesamt 129 Haushaltungen und 546 Einwohner gezählt.

Gegen Ende des Zweiten Weltkriegs wurde die Region am 9. März 1945 von der Roten Armee eingenommen. Groß Gansen gehörte zu den wenigen Ortschaften im Kreis Stolp, die vor Herannahen der Front noch vollständig geräumt werden konnten. Einigen Dorfbewohnern gelang die Flucht von Gotenhafen aus mit dem Schiff über die Ostsee. Viele wurden von der Sowjetarmee überrollt und kehrten zurück. Nachdem ganz Hinterpommern nach Kriegsende unter polnische Verwaltung gestellt worden war, wurden die Häuser und Gehöfte beschlagnahmt und die Dorfbewohner vertrieben.

Später wurden in der Bundesrepublik Deutschland 193 und in der DDR 186  Dorfbewohner aus Groß Gansen ermittelt.

Söhne und Töchter der Gemeinde
 Klaus Gersonde (1934–2010), Biochemiker in Kiel und Aachen, o. Professor für Medizintechnik an der Universität des Saarlandes

Literatur
 Karl-Heinz Pagel: Der Landkreis Stolp in Pommern. Lübeck 1989, S. 513–516 (Ortsbeschreibung Groß Gansen; PDF)
 Ludwig Wilhelm Brüggemann: Ausführliche Beschreibung des gegenwärtigen Zustandes des Königl. Preußischen Herzogtums Vor- und Hinterpommern. Teil II, Band 2, Stettin 1784, S. 963-964, Nr. 45,  S. 964, Nr. 46  und S. 969, Nr. 56.

Weblinks
 Zur Vorkriegsgeschichte von Gallensow und seinen Nachbarorten (Gisela Seipenbusch und Siegfried Krause, 2007)

Einzelnachweise

Ort in Pommern
Ort der Woiwodschaft Pommern
Gmina Kołczygłowy

Gałąźnia Wielka


Posten, Norveç'in ulusal posta kurumudur. Kelime anlamı "Posta" dır. 1647 yılında Henrik Morian tarafından Postvesenet adıyla kuruldu. İlk başta özel girişim olarak kurulan şirket 1719'da devletin eline geçti. 1933 yılında Postverket olarak ismini değiştirdi.

Posten'in bünyesinde üç kurum vardır. Bunlar, Posten Posta, Posten Dağıtım ve Posten Lojistik'tir.

Norveç'te posta
Posta kuruluşları
17. yüzyılda Norveç'te kurulan oluşumlar
1647'de Avrupa'da kurulan oluşumlar
17. yüzyılda kurulan kamu kurumları

Posten Norge


جحوظ العين  إن جحوظ العين عبارة عن بروزها إلى الأمام بحيث يلفت انتباه الآخرين وخاصة إذا كان في عين واحدة.

أسباب جحوظ العين
يتسبب في جحوظ العين عوامل كثيرة.. أهمها:

- قصر النظر الشديد.

- شلل في الأعصاب والعضلات المحركة للعين.

- التهابات في الأنسجة المحيطة بالعين وما خلفها

- النشاط المتزايد ل الغدة الدرقية.

- ماء سوداء خلقية.

- نزيف شديد وراء العين.

- أورام وراء العين

- كسور في عظم الجمجمة المحيط بالعين.

- تغيرات خلقية في الجمجمة يصاحبها نقص في عمق التجويف العيني (المحجر).

ويسهل علاج جحوظ العين إذا عرف السبب، وذلك بالاستفسار الدقيق عن تاريخ المرض وباستخلاص عينات من الدم لفحص افرازات الغدة الدرقية. وبالكشف عن أي التهابات مع إجراء صور شعاعية للمريض وصور ما فوق الصوتية لمحجر العين.

مراجع

أعراض
أمراض الكلاب
اضطرابات الجفن والجهاز الدمعي ومحجر العين

جحوظ العين


වුන්දුකුලි බාලිකා විද්‍යාලය
 චාවකච්චේරි  හින්දු විද්‍යාලය
 යාපනය මධ්‍යමහා විද්‍යාලය
 යාපනය විද්‍යාලය, වඩ්ඩුකොඩ්ඩායි
 යාපනය හින්දු විද්‍යාලය
 කොකුවිල් හින්දු විද්‍යාලය
 මහජන විද්‍යාලය, තෙල්ලිප්පලයි
 ශාන්ත ජෝන්ස් විද්‍යාලය
 වෙම්බඩි උසස් බාලිකා විද්‍යාලය

පාසල් නාමාවලි - ශ්‍රී ලංකා

යාපනය පාසල් නාමාවලිය


Flow may refer to:

Science and technology
 Fluid flow, the motion of a gas or liquid
 Flow (geomorphology), a type of mass wasting or slope movement in geomorphology
 Flow (mathematics), a group action of the real numbers on a set
 Flow (psychology), a mental state of being fully immersed and focused
 Flow, a spacecraft of NASA's GRAIL program

Computing
 Flow network, graph-theoretic version of a mathematical flow
 Flow analysis
 Calligra Flow, free diagramming software
 Dataflow, a broad concept in computer systems with many different meanings
 Microsoft Flow (renamed to Power Automate in 2019), a workflow toolkit in Microsoft Dynamics
 Neos Flow, a free and open source web application framework written in PHP
 webMethods Flow, a graphical programming language
 FLOW (programming language), an educational programming language from the 1970s
 Flow (web browser), a web browser with a proprietary rendering engine

Arts, entertainment and media
 Flow (journal), an online journal of television and media studies
The Flow (book), a 2022 non-fiction book by Amy-Jane Beer
 Flow (video game)
 Flow (comics), a fictional character in the International Ultramarine Corps
 Flow 93.5, the Canadian radio station CFXJ-FM
 Flow FM (Australia), a radio station
 Flow (Argentina), a cable television operator

Film and television
 Flow (television), the sequencing of TV material from one element to the next
 Flow TV, a network of Ripe Digital Entertainment
 Flow: For Love of Water, a 2008 documentary film
 Flow (1996 film), a 1996 film by Quentin Lee
 Flow (2014 film), also known as Ækte vare, 2014 film by Fenar Ahmad

Music
 Flow (rapping), the rhythms and rhymes of a hip-hop song's lyrics and how they interact
 Flow (American band), a new age band
 Flow G, Filipino rapper and songwriter
 Flow (Japanese band), a rock group
 Flow (rapper) (Widner DeGruy, born 1991)
 Flow (Terence Blanchard album), 2005
 Flow (Conception album), 1997
 Flow (Foetus album), 2001
 The Flow, a 1997 album by Chris Leslie
 "Flow", a song by Cage the Elephant from the 2011 album Thank You, Happy Birthday
 "Flow", a song by Cloud Wan from The Cloud, 2022
 "Flow", a song by Sade from the 2000 album Lovers Rock
 "Flow", a song by Transister from the 1998 album Transister

Other uses
 Flow (brand), a Caribbean telecommunications provider
 Flow (policy debate), a form of note-taking in policy debate and public forum debate
 Flow (real estate company), an American residential real estate company
 FLOW (Belgium), a national health care network
 Football League of West Godavari, an Indian football league

See also

 Flo (disambiguation)
 Floe (disambiguation)
 Floh (disambiguation)
 Flou (disambiguation)
 Streamflow, or channel runoff, the flow of water in streams, rivers, and other channels
 Tide, the rise and fall of sea levels
 Phlow, a German webzine

Flow