Ḥail Province ( ), also known as the Ha'il Region, is one of the 13 provinces of the Kingdom of Saudi Arabia. It is the eighth-largest province by area at  and the ninth-largest by population, with the population in 2019 being 731,147. The province accounts for roughly 2% of the population of the country and is named for its largest city, Ha'il. Other populous cities in the province include al-Ghazalah, Shinan and Baq'aa. The region is famous for the twin mountain ranges of 'Aja and Salma, and for being the homeland of historic symbol of curiosity and generosity, Hatim al-Ta`i.

The province is popular for hosting the geographically and historically important twin mountain ranges of 'Aja and Salma, which are now areas protected by the Saudi Wildlife Authority. In addition, multiple rock art sites can be found in the province, two sites of which have been added to the UNESCO World Cultural Heritage Site List; Jabal Umm Sinman near Jubbah and Jabal al-Manjur. Multiple old forts and castles can be found in the region, especially in and around the capital, Ha'il. Another important site in the province are the sandstone formations, such as the Nafud al-Kabir formation.

The area is known to have been inhabited since at least the Paleolithic period, with several archaeological sites dating back to 10000 BC to 7500 BC. Several sites with archaeological rock art and other artifacts have been found in the province. The province is inhabited by members of the Shammar tribe, who ruled the area and other areas surrounding the province from 1791 to 1922 as the Emirate of Jabal Shammar; when King Abdulaziz conquered the region.

The province is divided into 8 governorates, and more than two-thirds of the population of the city lives in the capital city of Ha'il. The incumbent Provincial Governor is 'Abdulaziz ibn Sa'ad al-Sa'ud. It is bordered, clockwise from the north, by the Northern Borders Province, Eastern Province, Qassim Province, Madinah Province, Tabuk Province and Al Jawf Province.

History

Prehistory
Archaeological evidence indicates the continuation of human settlement in the Ha'il Province since prehistoric times. The sites dating to the Middle Paleolithic age discovered in and around Ha'il attest that the soil in the area could have held enough water to enable plant life during the period from 75000 BC to 5000 BC. A striking discovery in the province was that there are more archaeological sites dating back to the Paleolithic period than to the Neolithic. One reason given for this is that the climatic changes from a cold and humid climate in the Paleolithic period to the heat and drought of the Neolithic period and the resulting gradual change in vegetation cover from greenery to desertification led to mass migration to more habitable areas in the Fertile Crescent. Archaeologists have deduced that the availability of its water, the fertility of the soil, the abundance and distribution of pastures in different directions, and the moderate climate of the region, combined, made it a lot more hospitable than the surrounding Arabian Desert.

Neolithic sites are clearly scattered across the northern Arabian Peninsula. Several Neolithic artifacts found in the province date back to the period from 10000 BC to 7500 BC. The artifacts discovered in Hail can be distinguished from others found in Saudi Arabia by the abundance of rock drawings that vary between human and animal figures. The Neolithic period in Ha'il is distinguished by its different environments and diversity, as can be seen in the sandy banks of the valleys, the dune slopes and ancient lake deposits, including those discovered in Jubbah, northwest of Ha'il. Stone tools in separate areas of Ha'il also indicate that the people living in the area lived a life of hunting-gathering, rather than in permanent settlements.

Cultural evidence from the Copper Age (approximately 5500 BC) is most widespread within the Ha'il Province, and among the artifacts found in the area from this age are stone tools with flat sides in the form of scrapers, drills and cleavers. In addition to the discovery of a group of stone formations and circles that characterize the Copper Age, these stone installations indicate that life in this era was more settled than the life of hunting-gathering, which is a striking characteristic of a Neolithic society. Among the signs that prove these settlements are the presence of flint tools, vessels made of rough, unpolished clay and a group of rock inscriptions that together confirm the existence of human activity in the region in prehistoric times.

In May 2021, archaeologists announced that a 350,000-year-old Acheulean site named An Nasim in the Hail region could be the oldest human habitation site in northern Saudi Arabia. The site was first discovered in 2015 using remote sensing and palaeohydrological modelling. It contains paleolake deposits related with Middle Pleistocene materials. 354 artefacts, hand axes and stone tools, flakes discovered by researchers provided information about tool-making traditions of the earliest living man inhabited South-West Asia. Besides, Paleolithic artefacts are similar to material remains uncovered at the Acheulean sites in the Nefud Desert.

Up to and after the advent of Islam

Part of the historic Najd region was inhabited by Arab tribes and influenced by the Nabataean people and later, the Ghassanids and Lakhmids. This is supported by the discovery of 122 Thamudian texts dating back to the eighth and seventh centuries BC in the city of Jubbah, approximately  north of Ha'il, which is the fourth archaeological site in the Kingdom to be put on the UNESCO World Cultural Heritage Site List, in 2002.

By 633, under the rule of Abu Bakr, the Rashidun Caliphate consolidated the region. The Shammar tribe emerged to be the most powerful in the region in later years and by 1791, Prince Abdullah bin Ali al-Rasheed of the Shammar consolidated the region under his rule, whose state acted as a precursor to the Emirate of Jabal Shammar, which was formed in 1834 by the Rashidi dynasty. The Emirate of Jabal Shammar fought several wars against the new Saudi state to the south, supported by the Ottomans, but in 1921, King Abdulaziz of the House of Saud conquered its capital city, Ha'il, during the Unification of Saudi Arabia, and the region completely fell into Saudi hands by 1922.

Demographics

Population
The 2017 Population Characteristics Surveys conducted by the Saudi General Authority for Statistics observed the population of the province to be 699,774 (2.19% of the entire kingdom), with Saudis constituting approximately 77% of the population, at 530,944 individuals; making the province the ninth-most populous in the kingdom. United Nations projections estimate the 2020 population of the capital of the province, the city of Ha'il, at 400,000; more than two-thirds of the population of the province lives in the city and the Ha'il Governorate, in which Ha'il is located, is the province's most populous governorate.

Administrative divisions and history

Governorates

Governors

References

External links
 A travel through the province of Hail, Splendid Arabia: A travel site with photos and routes

Provinces of Saudi Arabia

sv:Ha'il

Ḥa'il Province


Jerry Nelson ist der Name folgender Personen:

* Jerry Nelson (Puppenspieler) (1934–2012), US-amerikanischer Puppenspieler
 Jerry Nelson (Astronom) (1944–2017), US-amerikanischer Astronom

Jerry Nelson


REScoop.be est la branche belge de la fédération européen de coopératives pour les énergies renouvelables, REScoop.eu.

Histoire
Elle est créée en 2011 à l'initiative de la coopérative énergétique flamande Ecopower.

Au niveau belge, elle coordonne les initiatives coopératives de ses membres, qui est composé d'une aile flamande, REScoop Vlaanderen et d'une aile wallonne, REScoop Wallonie. Ces deux structures existent depuis 2014 pour répondre à l'évolution de la compétence régionale.

REScoop Flandre
L'organisation faîtière flamande, officiellement REScoop Mutual for Energy Communities Investing in a Sustainable Europe (REScoop MECISE) est fondée en 2010  et est officiellement enregistrée depuis le 16 octobre 2018.  En pratique, le secrétariat coïncide avec celui d'Ecopower à Berchem (Anvers). L'ombrelle se compose de 14 membres réguliers et de 5 membres associés.

REScoop Wallonie
La fédération REScoop Wallonie est fondée le  à Namur. La coopérative pour les énergies du futur (CLEF) fait partie de ses fondateurs.

En , le groupe de coordination comprenait 15 coopératives, dont 13 produisaient effectivement de l'électricité à partir de sources renouvelables. Plus de 10 000 membres étaient affiliés aux coopératives.

En 2011, la fédération Wallonne fait parler d'elle par l'intermédiaire de son président, Bernard Delville, pour son dépôt de certificat de propriété du vent wallon auprès du  gouvernement wallon.

En mars 2019, l'antenne Wallonne propose une offre de reprise de la société Enercoop Belgique à ses actionnaires pour éviter la liquidation. À la suite de l'assemblée générale extraordinaire, cette offre de reprise est plébiscité.

Fin 2019, des coopératives citoyennes, soutenue par la fédération, souhaite acquérir la filiale éolienne de Nethys à la suite du scandale politico-financier d'enrichissement personnel sur le compte de biens publics en région liégeoise révélé fin 2016 lors de l'affaire Publifin.

Les initiatives coopératives assurent une intervention dans des domaines où l'intervention de l'État n'est pas jugé suffisante ; celles-ci complètent ou suppléante l'action publique.

En 2021, les 18 coopératives membres de la fédération locale ont produit l'équivalent de la consommation électrique de 21 700 ménages.

Notes et références

Annexes

Articles connexes

 Energy4All
 Énergie partagée

Lien externe

Énergie renouvelable en Belgique
Association ou organisme lié aux énergies renouvelables

REScoop.be


Patent plavo V ili patent Blue V (C.I. 42051) je nebesko plava sintetičko trifenilmetansko bojilo koje se koristi kao bojilo za hranu. Kao aditiv za hranu ima E broj E131. To je natrijeva ili kalcijeva sol [4-(a-(4-dietilaminofenil)-5-hidroksi-2,4-disulfofenilmetiliden)-2,5-cikloheksadien-1-iliden] dietilamonij hidroksida unutarnje soli. Ne koristi se često, ali u Europi ga se mogu naći u škotskim jajima, određeni slatkiši od želea, plavi Curaçao (liker), određeni želatinski deserti, između ostalog. Važna prednost je vrlo snažna boja koju daje čak i pri niskoj koncentraciji, a nedostatak je što prilično brzo blijedi kad je izložena svjetlosti.

U medicini se patent plavo V koristi u limfografiji i biopsiji sentinelnog čvora kao boja za bojanje limfnih žila. Također se koristi u tabletama koje otkrivaju zube kao mrlje koje pokazuje zubne naslage na zubima.  Nijansa boje ovisi o pH vrijednosti. U vodenoj otopini njegova će boja se mijenjati od tamnoplave u alkalnom ili slabo kiselom mediju do žuto-narančaste u jačim kiselim uvjetima. Koristan je kao pH pokazatelj u rasponu od 0,8 do 3,0. Struktura je također redoks-osjetljiva i mijenja se iz reduciranog žutog u oksidirani crveni oblik u otopini. Potencijal smanjenja od oko 0,77 V sličan je onom kod ostalih trifenilmetanskih boja. Koristan je kao reverzibilni redoks pokazatelj u nekim analitičkim metodama.

Za dobivanje zelenih, ljubičastih ili smeđih tonova miješa se s ostalim umjetnim bojilima. Pojedina znanstvena istraživanja pokazuju da može uzrokovati mučninu i utjecati na snižavanje krvnoga tlaka. U organizmu se ne razgrađuje, nego se najvećim dijelom izlučuje u nepromijenjenu obliku. Često konzumiranje nije preporučljivo. Izbjegavati! Patent plavo V zabranjena je kao prehrambeno bojilo u Australiji i SAD-u, jer zdravstveni službenici u tim zemljama sumnjaju da može izazvati alergijske reakcije, a simptomi se kreću od svrbeža i osipa (koprivnjača) do mučnine, hipotenzije i u rijetkim slučajevima anafilaktičkog šoka; stoga se u tim zemljama ne preporučuje djeci.

Prihvatljivi dnevni unos ili ADI
U svrhu zaštite potrošača i s ciljem smanjenja zdravstvenih rizika za aditive se određuje prihvatljivi dnevni unos - ADI (eng. Acceptable Daily Intake). To je količina aditiva za koju se smatra da je potrošač može unositi u organizam bez štetnih posljedica po zdravlje. ADI se izražava u miligramima nekog aditiva po kilogramu tjelesne težine, a temelji se na rezultatima pokusa na životinjama u kojima se izračunavaju količine aditiva koje ne narušavaju zdravlje laboratorijskih životinja, to jest takozvani Observed Adverse Effective Level (NOAEL). Te vrijednosti preračunavaju se u dnevnu dozu za ljude (ADI/PDU) tako da se obično umanjuju sto puta.

Prihvatljivi dnevni unos za patent plavo V je 15 mg/kg tjelesne težine.

Triarilmetanska bojila

Triarilmetanska bojila su bojila koja se izvode strukturno od bezbojnog trifenilmetana (C6H5)3CH. Najčešća među njima su trifenilmetanska, a manji dio pripada derivatima difenil-naftilmetana C10H7·CH·(C6H5)2. U para-položaju prema centralnom ugljikovu atomu moraju se u molekuli nalaziti na arilnim grupacijama najmanje dvije auksokromne skupine. Kromofor je ove skupine p-kinonoidna grupacija O=C6H4=O, odnosno 0=C6H4=NH. Prema broju i karakteru auksokromnih grupa dijele se ta bojila na trifenilmetanske derivate s dvije amino-grupe, na iste derivate s tri amino-grupe, na hidroksi-trifenilmetanske derivate, aminohidroksi-derivate i derivate difenilnaftilmetana. U svakoj od ovih grupa nalaze se bojila različitih svojstava bojenja: bazna, kisela, močilna i bojeni lakovi. Ako molekula bojila sadrži grupu —COOH u o-položaju prema grupi —OH, bojilo je močilno. Uvođenjem sulfonskih grupa u molekulu dobivaju se od baznih bojila kisela. Sulfonske grupe koje se nalaze u o-položaju prema centralnom ugljikovom atomu povećavaju postojanost prema alkalijama. Bojeni lakovi nastaju od baznih bojila taloženjem s fosformolibdenskom ili fosforvolframskom kiselinom. Trifenilmetanskim bojilima postižu se neobično živahna, briljantna i čista obojenja crvene, ljubičaste, modre i zelene boje, ali su im postojanosti općenito niske, osobito na svjetlu i prema alkalnoj obradi. Zbog toga im upotreba sve više opada u korist postojanih bojila. Bazni predstavnici se najviše upotrebljavaju za bojenje svile i močenog pamuka, a kiseli i močilni za bojenje vune. Najveće količine ovih bojila troše se izvan tekstilne upotrebe, i to za bojenje papira, drveta, šibica, u proizvodnji grafičkih boja, za tinte, kao boje u kozmetici i prehrambenoj industriji.

Diamino-derivati trifenilmetana
Od diamino-derivata trifenilmetana valja u prvom redu spomenuti malahitno zelenilo, C.I. 42000. Patent plavo V, C.I. 42051, priprema se kondenzacijom m-hidroksibenzaldehida s 2 mola dietilanilina, sulfuriranjem i oksidacijom, a dolazi na tržište kao kalcijeva sol. Uz upotrebu benzaldehid-2,4-disulfonske kiseline i dietilanilina nastaje Patentblau VF, C.I. 42045; ako se mjesto dietilanilina uzme etilbenzil-anilin, dobiva se Patentblau A, C.I. 42080.

Izvori

Vanjske poveznice

Prehrambeni aditivi
Pigmenti

Patent plavo V


Brattvåg,Norveç'in Haram şehrinin idare merkezidir. 2005 yılındaki sayıma göre nüfusu 2,146'dır.

Şehirdeki fabrikalar
Brattvåg'da Rolls-Royce ve Aker Yards'ın fabrikaları bulunmaktadır.

Norveç'teki şehirler

Brattvåg


Hoya purpurea er fjölær jurt í vaxblómaættkvísl.  Útbreiðslan er á Nýju-Gíneu.

Tilvísanir

Vaxblómaættkvísl

Hoya purpurea


The Sancy, a pale yellow diamond of , was once reputed to have belonged to the Mughals of antiquity, but it is more likely of Indian origin owing to its cut, which is unusual by Western standards. The stone has been owned by a number of important figures in European history, such as Charles the Bold, James VI and I, and the Astor family.

The shield-shaped stone comprises two back-to-back crowns (the typical upper half of a stone) but lacks any semblance to a pavilion (the lower portion of a stone, below the girdle or midsection).

History
The diamond now known as the Sancy began as an even larger diamond called the Balle de Flandres with a possible weight of over . The Balle was part of the dowry of Valentina Visconti when she married Louis I, Duke of Orléans (the younger brother of King Charles VI of France) in 1398. While the precise path of ownership over the next 75 years is uncertain, the stone found its way to Charles the Bold, Duke of Burgundy, who lost it together with an array of other treasures - including his silver bath and the Three Brothers jewel - in the Battle of Grandson in 1476. Balfour (2009) posits that this diamond is the same stone that eventually became the Sancy.

After Charles died, in 1477 the diamond passed to his cousin King Manuel I of Portugal. When Portugal was threatened to come under Spanish rule, claimant António, Prior of Crato fled the country with the bulk of the Portuguese Crown Jewels. He spent his life trying to get allies to regain the Portuguese throne in the French and English courts, and eventually sold the diamond to Nicolas de Harlay, seigneur de Sancy.
 Other sources claim that the diamond was purchased in Constantinople by de Sancy. He was popular in the French Court and was later French Ambassador to Turkey. Something of a gem connoisseur, de Sancy used his knowledge to prosperous advantage.

Henry III of France suffered from premature baldness and tried to conceal this fact by wearing a cap. As diamonds were becoming increasingly fashionable at the time, Henry arranged to borrow de Sancy's diamond to decorate his cap. Henry's successor Henry IV of France also borrowed the stone, but for the more practical purpose of collateral for financing an army. An apocryphal tale from the time of de Sancy's possession of the stone tells of a messenger carrying the jewel, but never reaching his destination. Nevertheless, de Sancy (by then Superintendent of Finance) was convinced that the man had remained loyal and conducted a search until the messenger was discovered robbed and murdered. When the body was disinterred, the jewel was found in the faithful man's stomach.

Facing financial difficulties, de Sancy was forced to sell the diamond to King James VI and I in March 1605 when it is thought the Sancy acquired its name. It weighed 53 carats and cost 60,000 French crowns. De Sancy's brother, Robert de Harlay, Baron of Monglat, and his cousin Christophe de Harlay, Count of Beaumont, the French ambassador in London handled the sale. It was described in the Tower of London's 1605 Inventory of Jewels as "...one fayre dyamonde, cut in fawcetts, bought of Sauncy." James had it set into the Mirror of Great Britain, with diamonds from the Great H of Scotland.

The Sancy was briefly possessed by Charles I (King of England, Scotland and Ireland) and then by his third son James II. Beleaguered after a devastating defeat, James took shelter under Louis XIV of France, a fickle host who tired of his exiled guest. Facing destitution, James had no choice but to sell the Sancy to Cardinal Mazarin in 1657 for the reported sum of £25,000. The cardinal bequeathed the diamond to the king upon his death in 1661.

The Sancy was thus domiciled in France but disappeared during the French Revolution when brigands raided the Garde Meuble (Royal Treasury). As well as the Sancy, other treasures stolen were the Regent Diamond, and the French Blue diamond which is known today as the Hope Diamond.

The Sancy was in the collection of Konstantin Rudanovsky until 1828 when purchased by Prince Paul Demidoff for £80,000. Prince Demidoff gave the Sancy 1836 to his Finnish wife, Aurora Demidoff (Stjernvall), as a morning gift. Prince Demidoff died 1840 and Aurora married again 1846 with colonel Andrei Karamzin who died 1854 in Crimean war. Aurora Karamzin had to sell the Sancy in 1865 to Sir Jamsetjee Jeejeebhoy, an Indian merchant prince, for £100,000 to cover the debts of her son Paul Demidoff. Sir Jamtsetjee sold the Sancy only a year later, creating another gap in its history. It reappeared in 1867, displayed at the Paris Exposition, carrying a price tag of one million francs; the gem then vanished again for forty years.

The Sancy next surfaced in 1906 when bought by William Waldorf Astor, 1st Viscount Astor, from famous Russian collector A.K. Rudanovsky. The prominent Astor family possessed it for 72 years until the 4th Viscount Astor sold it to the Louvre for $1 million in 1978. The Sancy now rests in the Apollo Gallery, together with the likes of the Regent Diamond and the Hortensia Diamond.

See also
 List of diamonds

Further reading

Burton, E. (1986). Legendary Gems or Gems That Made History, pp. 78–83. Chilton Book Company, Radnor, PA
Fowler, M. (2002). Hope: Adventures of a Diamond, p. 100, 151, 321. Random House Canada

Shipley, R. (1939). Famous Diamonds of the World, pp. 24–27. Gemological Institute of America, USA
Shipley, Robert (1934). Famous Diamonds of the World, pp. 25–28. Gemological Institute of America, USA, Vol. 1, No. 6 (November–December)

References

External links

Yellow diamonds
Golconda diamonds
Individual diamonds
Material culture of royal courts

Sancy


قوانين الغازات هي مجموعة من القوانين التي تصف العلاقة بين حرارة وضغط وحجم الغازات والعلاقة بين الضغط p والحجم V هي علاقة عكسية، والعلاقة بين الضغط p ودرجة الحرارة T "بالكلفن" هي علاقة طردية، والعلاقة بين الحجم V ودرجة الحرارة T "بالكلفن هي علاقة طردية. وهي مجموعة من القوانين التي استنتجت في أواخر عصر النهضة وبدايات القرن التاسع عشر.

القوانين الثلاثة الأولى

 قانون بويل (1662، مختص بالضغط والحجم):

«عند ثبوت درجه الحراره ، فإن الضغط الواقع علي الغاز يتناسب عكسيا مع حجمه  اي كلما زاد الضغط مع ثبوت درجه الحراره قل حجم الغاز ».

 قانون شارل  (1787، مختص بالحجم والحرارة):

«ان حجم كمية معينة من الغاز تحت ضغط ثابت تتغير طرديا مع درجة الحرارة».

  قانون غاي-لوساك (1809، مختص بتغير الضغط عند درجة الحرارة):

«إذا وضعت كمية من الغاز في وعاء مغلق ذي حجم ثابت فإن ضغط الغاز يتناسب طرديا مع درجة الحرارة».

القانون العام للغازات

وهو يجمع بين القوانين الثلاثة الأولى.

قانون أفوجادرو

«تحتوي احجام متساوية من غازات مختلفة عند نفس درجة الحرارة والضغط على عدد متساو من الجزيئات».

قانون الغازات المثالية

حيث:

 P: الضغط، (الوحدات المستخدمة: ضغط جوي).
 V: حجم الحيز، (الوحدات المستخدمة: لتر).
 n: كمية المادة (تقريبا عدد المولات في الغاز).
 R: ثابت الغازات العام، (الوحدات والعدد المستخدم: 0.0821 لتر * ضغط جوي / مول * كلفن).
 T: درجة الحرارة، (الوحدة: كلفن).

للقانون صيغة أخرى هي:

حيث:

 k: ثابت بولتزمان.
 N: عدد الجزيئات.

تعد هذه القوانين دقيقة تماما في حالة الغازات المثالية فقط، والتي تتجاهل التفاعلات الجزيئية داخل الغازات، إلا أن قانون الغازات المثالية يعد تقريبا جيدا لمعظم الغازات العادية في ظروف ضغط وحرارة متوسطين.

لهذا القانون عدة ملحوظات هامة:

1- إذا ظلت كل من الحرارة والضغط ثابتين، يكون حجم الغاز متناسب طرديا مع عدد الجزيئات في الغاز.

2- إذا ظلت كل من الحرارة والحجم ثابتين، يكون ضغط الغاز متناسب طرديا مع عدد الجزيئات في الغاز.

3- إذا ظل عدد جزيئات الغاز ثابتا وظلت الحرارة ثابتة، يكون ضغط الغاز متناسب عكسيا مع الحجم.

4- إذا ظل عدد جزيئات الغاز ثابتا وتغيرت الحرارة، فلن يتغير أيا من (أو كلا من) بشكل طردي مع الحرارة.

مراجع

انظر أيضا
 غاز مثالي
 غاز حقيقي
 غاز
 معادلة الحالة
 قانون الغازات المثالية
 قانون بويل.
 قانون شارل.
 قانون جاي-لوساك.
 قانون أفوجادرو
 ديناميكا حرارية

قوانين الغازات
تاريخ ديناميكا حرارية
قوانين فيزيائية

قوانين الغازات


Die Pfauenfliege (Callopistromyia annulipes) ist eine Schmuckfliege aus der Unterfamilie Otitinae. Das Artepitheton annulipes bedeutet "mit geringelten Beinen", der Trivialname ist die Übersetzung des englischen Namens peacock fly und bezieht sich auf die auffallenden Flügelbewegungen des Männchens.

Die Gattung Callopistromyia ist mit zwei Arten ursprünglich nur in der nearktischen Fauna vertreten. Die Pfauenfliege (Callopistromyia annulipes) wurde aber inzwischen auch in Europa gefunden, wo sie als Neozoon eingeschleppt wurde und in Ausbreitung begriffen  ist. Die Gattung wurde von Loew 1873 Callopistria benannt, dieser Name war jedoch bereits an eine Gattung der Schmetterlinge vergeben und musste deswegen abgeändert werden.

Merkmale der Imago
Die Fliege erreicht eine Körpergröße von 3,5 bis 5,5 Millimetern. Der Körper ist matt grau mit zahlreichen braunen Tomentflecken.

Der Kopf ist etwas höher als lang und etwa 1,5-mal so breit wie hoch. Er verschmälert sich nach vorn. Die Augen sind nur sehr wenig höher als breit. Die Stirn ist flach und ohne Mittelkiel und von der Seite betrachtet nach innen gewölbt. Der Kopfschild ist mäßig stark ausgebildet, von der Seite betrachtet leicht nach außen gewölbt. Die Fühler sind mittellang und an der Basis voneinander entfernt, die Fühlerborste ist kahl. Die Wangen nehmen weniger als die Hälfte der Augenhöhe ein.

Die Brust ist länger als breit. Die ovalen Flügel sind 2,1-mal so lang wie breit. Die Flügelader Radius 1 ist kurz beborstet, im mittleren Bereich (Diskalzellen) sind die Flügel mit zahlreichen kleinen dunklen und transparenten Flecken besetzt, im Bereich des Vorderrandes treten größere Flecken auf. Die Flecken sind locker verteilt und bilden keine Querbänder. Die graue und durchgehend matte Oberseite der Brust ist mit mikroskopisch kleinen schwarzen Haaren bedeckt.

Der Hinterleib ist ebenfalls dunkel gefleckt. Die Hinterleibsseiten sind behaart. Die Schienen sind an der Basis und nahe den Tarsen gelb und dreimal dunkel geringelt.

Biologie
Die Tiere wurden an totem oder absterbenden Holz verschiedener Bäume gefunden (Acer negundo, Populus deltoides, Robinia pseudacacia). Die Larven fressen die Exkremente holzbohrender Insekten. Die Männchen schlagen die Flügel wie ein Pfau nach oben. Die Fliegen beobachtet man ab Anfang April. Sie halten sich häufig an Baumstämmen auf.

Verbreitung
Die Art ist ursprünglich in Nordamerika beheimatet und aus Kanada und den Vereinigten Staaten gemeldet. Zahlreiche Neufunde lassen vermuten, dass sie auch dort in Ausbreitung begriffen ist. Die erste veröffentlichte Meldung aus Europa datiert aus dem Jahr 2007 und bezieht sich auf den Fund eines Weibchens in einem Weinberg in der Südschweiz. Aus Deutschland sollen die ersten Meldungen von 2006 in Hanhofen, 2008 bei Bonn und 2009 bei Rottenburg und Gelsenkirchen vorliegen. Im Juni 2017 gelang in Potsdam-Golm der Erstnachweis für Brandenburg. Die Bestimmungsanfrage des Taxobildes wurde vom Dipteren-Forum als Erstmeldung aus Frankreich (15. Juli 2011) eingestuft. In der Slowakei wurde die Art erstmals im Jahr 2016 beobachtet.

Einzelnachweise

Weblinks

 Neue Funde der Pfauenfliege in Europa (englisch)

Schmuckfliegen

Pfauenfliege


est un jeu vidéo d'arcade de type shoot 'em up développé par Success et édité par Tecmo. Il s'agit du quatrième jeu de la série Cotton, d'abord publié sur borne d'arcade via le système ST-V en  puis converti sur Sega Saturn le , uniquement au Japon.

Système de jeu
Cotton 2 est la suite directe de Cotton: Fantastic Night Dreams, le jeu reprend les mêmes mécanismes de gameplay. Le joueur contrôle Cotton, une petite sorcière qui se déplace à l'aide d'un balai volant, elle est accompagnée d'une fée nommée Silk. Cotton 2 offre également la possibilité de jouer à deux joueurs simultanément. Un nouveau personnage du nom de Appli, est également jouable dans le mode deux joueurs, elle est accompagnée du personnage de soutien Needle, un chapeau qui parle. Chacun possède ses propres particularités concernant les types de tir et les pouvoirs magiques. Les commandes du jeu se composent de trois boutons : A, B et C. Le bouton A est utilisé de deux façons, une pour le tir principal en appuyant simplement sur le bouton A, et l'autre pour augmenter sa vitesse de déplacement, en maintenant le bouton A.

De la même manière, en appuyant sur le bouton B, le personnage attrape les sceaux magiques et les ennemis normaux à l'écran. Cotton 2 propose une nouveauté en maintenant le bouton B, le personnage peut projeter un ennemi sur les autres s'il l'a attrapé juste avant.

Le bouton C, est la dernière commande, elle est utilisée pour lancer un sort magique selon le cristal élémentaire équipé. Les cristaux peuvent être cumulés jusqu'à 3 et sont représentés au bas de l'écran par des couleurs : le bleu pour le tir de glace, le rouge pour le tir de feu.

Deux autres éléments font également parties du gameplay : le cristal vert sert pour les tirs qui sont imprégnés avec l'élément du vent, et le cristal jaune, sert pour augmenter l'XP. L'expérience sert à améliorer la puissance de feu et peut aller jusqu'au niveau 5.

En plus des commandes de base, Cotton 2: Magical Night Dreams dispose de techniques spéciales, qui sont plus puissantes que des tirs normaux. Les techniques varient selon la situation. En combinant la flèche directionnelle gauche, droite et la touche A, le personnage exécute une attaque tornade. En combinant la flèche directionnelle droite, gauche puis le bouton A, le personnage exécute un tir qui s'éparpille sur trois directions devant lui.

Les options du jeu permettent au joueur de régler la difficulté, il peut également changer le nombre de vies ou encore régler la résistance du personnage. Cotton 2: Magical Night Dreams se compose de six niveaux dont les environnements varient et se déroulent en mer, dans une grotte ou encore dans les airs avec les ruines d'un château qui flottent en arrière-plan. Chaque niveau comprend un mini boss et un boss pour conclure le niveau. La version Sega Saturn du jeu propose des voix digitalisées si elle est accompagnée d'une cartouche RAM de la console.

Cotton Boomerang
Une édition arcade remixée, intitulée Cotton Boomerang: Magical Night Dreams, est sortie dans les salles d'arcade au Japon par Tecmo en , le jeu utilise la même carte d'arcade que Cotton 2, le ST-V. Cotton Boomerang ajoute quatre personnages jouables supplémentaires, pour un total de huit personnages. Cependant, aucun nouveau personnage n'est présenté, le jeu propose trois variantes différentes de Cotton et Appli. Les variantes de ces deux personnages correspondent a une magie élémentaire (feu, vent et glace) et sont différenciées via une palette de couleur pour chaque élément. Silk et Needle sont les deux autres personnages jouables, tous les personnages possèdent leur propre caractéristique, l'équilibrage des personnages se distingue par la puissance de tir et la rapidité. Needle est le personnage qui possède la plus grosse puissance de tir, mais il est en contrepartie le personnage le moins rapide.

Le jeu ajoute un système d'équipe, qui fait disparaître la barre de vie du personnage, le joueur doit choisir trois personnages avant de débuter l'aventure. Si le personnage est touché, il est directement remplacé par le second personnage de l'équipe. Si les trois personnages sont touchés, la partie est terminée et le jeu propose un continue. Le joueur a la possibilité de changer de personnage via une touche, cette fonction est toutefois limitée. Il peut récupérer un bonus dans un niveau, affiché à l'écran via le texte , lui permettant de changer une nouvelle fois de personnage. Les mises en scène et les visuels du jeu ont également été modifiés. Le titre est porté sur Sega Saturn au Japon le , la version Saturn est toujours développée et éditée par Success, elle comprend une galerie d'art et de nouvelles options de contrôle afin de rendre le jeu plus accessible.

Références

Jeu vidéo sorti en 1997
Jeu vidéo d'arcade
Jeu Saturn
Jeu Success
Jeu vidéo développé au Japon

Cotton 2: Magical Night Dreams


Loš zvuk je hrvatski punk-novovalni sastav s članovima iz Pule i Zagreba.

Povijest
Povijest počinje raspadom grupe Top (Valter Dobrilović Buco – gitara, Milenko Piuko – bubnjevi, Darko Vučinić - bas gitara i vokal i Igor Štoković – klavijature). Basist Darko Vučinić (Vule, Vučko) iz Pule otišao je studirati u Zagreb. Listopada 1977. osnovao je sastav Loš zvuk. Njegov sugrađanin Vlado Mladin bio je bubnjar, a zagrebačku polovicu činili su gitarist Vlado Borić i klavijaturist Ivica Dolinar. Potkraj godine prijavili su se na Zaječarsku gitarijadu, na kojem su prolaskom u finale otvorili si put uspjeha. U godinu dana gostovali su po televizijskim i radijskim programima i često nastupali. Izdavačka kuća Suzy ponudila im je ugovor za singlicu. Snimili su ju 23. ili 24. travnja 1979. godine u tada glasovitom novovalnom studiju JM Sound. Na singlici su bile Vučkove pjesme Mi smo divna omladina i Dobro veče dobri čovječe. Time je preko pulskih članova Pula dobila svoje prvo novovalno i punk i novovalno diskografsko izdanje. Tri dana poslije ponudili su im na koncertu u Kineskom paviljonu na Zagrebačkom velesajmu trogodišnji ugovor, što je odbila potpisati zagrebačka polovica te je to otpalo. Na mjesto gitarista došao je Puljanin Rikardo Novak Riki. Loš zvuk odsvirao je još samo dva koncerta, na pulskom rukometnom igralištu ljeti te u listopadu na rock festivalu u Celju. Od drugog dijela Milenka i Valtera nastali su prvi pulski punk sastav Problemi.

Izvori

Vanjske poveznice
Discogs

Pulski glazbeni sastavi
Zagrebački glazbeni sastavi

Loš zvuk (glazbeni sastav, Pula-Zagreb)


Meteorološki radar je radar koji radi u više frekvencijskih područja, jer se zbog različite reflektivnosti na različitim frekvencijama može dobiti znatno više meteoroloških podataka. Služi za određivanje (lociranje) područja oborina i oblaka u atmosferi i njihovo gibanje, za određivanje vrste i jakosti (intenziteta) oborina (kiša, snijeg, tuča i drugog), strukture oblaka, za dobivanje trodimenzijske slike područja te utvrđivanje područja turbulencije i moguće opasnosti za predmete na tlu i u zraku. Meteorološki radari rade na valnim duljinama od 1 do 20 centimetra, s odaslanom snagom od 100 do 1000 kW i dosegom od nekoliko desetaka do više stotina kilometara. Dopplerov radar djeluje na načelu Dopplerova učinka i omogućuje mjerenje poprečne (radijalne) brzine ciljeva u atmosferi (oborinskih čestica, čestica prašine) koji se gibaju izravno prema radaru ili od njega. Neke vrste radara koriste se kao vjetreni presječnici za dobivanje okomitog profila vjetra unutar troposfere. Neki radari služe i za određivanje visinskoga vjetra (praćenje radarske mete koja visi ispod meteorološkoga balona), a posebna je vrsta radara postavljena i na nekim meteorološkim satelitima za određivanje morskih valova (lidar ili optički radar).

Objašnjenje
Meteorološki radari služe za dvije glavne namjene: utvrđivanje osnovnih svojstava sustava oblaka, te mjerenje visinskog vjetra. Položaj nekog objekta radari određuju pomoću radio valova, i to takozvani primarni radari koriste se reflektiranim (odbijenim) i raspršenim radio valovima, a takozvani sekundarni radari retransmitiranim valovima koje šalje posebni uređaj, takozvani responder ili transponder.

Za određivanje visinskog vjetra odašiljači radara imaju snagu impulsa od 250 do 300 kW i valnu duljinu od 100 mm. Radar automatski prati reflektor - metu, koju nosi uvis poveći balon napunjen vodikom. Meta se sastoji od međusobno okomitih ploha u obliku dvostrukog tetraedra, prevučenih tankom metalnom folijom. Na radarskom prijamniku može se kontinuirano pratiti jačina signala, direktna udaljenost mete od radara, takozvana kosa udaljenost, te kutovi azimuta i nagiba. Pomoću primarnog radara kosa udaljenost se određuje mjerenjem vremena potrebnog da radarski signal dođe do radarske mete.

Određivanje visinskog vjetra nije praktički ovisno o vremenskim prilikama, a za direktno računanje svojstava vjetra upotrebljavaju se bilo grafička pomagala bilo elektroničko mikroračunalo.

Meteorološki radari za određivanje mikrofizičkih svojstava oblaka i oborina osnivaju se na pojavi da kapljice u oblacima, kišne kapi, ledeni kristali i zrna, tuča i snježne pahulje raspršuju radarske valove i time pobuđuju radarske odjeke. Funkcija raspršivanja S od čestice promjera D u smjeru izvora energije za valnu duljinu λ radarskog zračenja jest:

gdje je: k - kompleksna dielektričnost. Reflektirana energija je to veća što je valna duljina radarskog zračenja manja: radarom s λ ≼ 12,5 mm mogu se otkrivati konture oblaka, dok radarom s λ ≈ 100 mm samo oni dijelovi dobro razvijenih oblaka koji su sastavljeni od relativno većih vodenih ili ledenih čestica. Meteorološki radari novijih izvedbi imaju dvije valne duljine, pa mogu poslužiti za obje namjene.

Općenito uzevši, radari se mogu upotrijebiti za određivanje vodoravnog i okomitog prostranstva oblačnih i oborinskih područja. Za tu svrhu radari imaju 3 zaslona (ekrana): panoramski, zaslon okomitog presjeka i amplitudni. Na panoramskom zaslonu (eng. Plain Position Indicator ili PPI) mogu se pratiti raspored oblaka i zone oborina u vodoravnoj ravnini na različitim udaljenostima. Na kružnom se ekranu, osim rotirajuće zrake, pojavljuju i područja odraza od oblačnih sustava i oborina te niz koncentričnih krugova koji označuju udaljenost od lokacije radara. Budući da čestice oblaka i oborina (pa i aerosola) oslabljuju energiju radarskog snopa, dolazi do takozvane atenuacije (prigušenje), koja se izražava u decibelima. Atenuacija je funkcija veličine čestica, a za magle i oblake iz kojih ne pada kiša obrnuto je proporcionalna valnoj duljini radarske zrake. Atenuatori na meteorološkim radarima omogućuju da se postepeno mijenja atenuacija radarske zrake u oblaku, pa se na taj način mogu lako odrediti područja povećane akumulacije vodenih i ledenih kapljica.

Za proučavanje okomitog razvoja oblaka služi zaslon okomitog presjeka  (eng. Range-Height Indicator ili RHI). Za vrijeme promatranja ovog zaslona antena je radara fiksirana na određeni azimut i pomiče se samo u okomitoj ravnini. Zaslon ima podjelu s vodoravnim (visine nad tlom) i okomitim (udaljenosti) linijama, pa se može pronaći (locirati) gornja i donja granica oblaka, oblak u okomitom presjeku i područje oborina u oblaku. I na tom zaslonu jakost (intenzitet) je sukladan (proporcionalan) snazi reflektiranog signala.

Amplitudni zaslon (takozvani zaslon A) pokazuje osim primarnog emitiranog signala i veličinu i udaljenost reflektiranog signala, odnosno odjeka. Tim se zaslonom, u kombinaciji s ostala dva zaslona, može pratiti razvoj sustava oblaka.

Analizom odraza na radarskim ekranima moguće je ustanoviti ne samo vrstu oblaka i njihov sastav, već i jakost (intenzitet) oborina nad nekim područjem, područje atmosferskih fronta, tropskih ciklona i tako dalje.

U zadnje vrijeme razvijen je poseban tip radara takozvani Dopplerov radar koji upotrebom okomitog snopa određuje brzinu pada oborinskih čestica, a u određenim uvjetima i spektar njihovih promjena. Obrnuto, ako su poznate brzine padanja čestica, tada se brzine izmjerene Dopplerovim radarom mogu korigirati da bi se dobili iznosi okomitih gibanja u oblaku. Kombinacijom dvaju Dopplerovih radara i dvaju radara sa zaslonima RHI mogu se ustanoviti dvodimenzionalni oblici vodoravnih i okomitih gibanja zraka. Dopplerov radar služi i za mjerenje vjetrova unutar oblaka.

Izvori

Vanjske poveznice

Meteorološki instrumenti i oprema

Meteorološki radar


War Eagle Township ist der Name folgender Townships in den Vereinigten Staaten:

 War Eagle Township (Benton County, Arkansas)
 War Eagle Township (Madison County, Arkansas)

War Eagle Township


Potansiyel kuyusu, bir parçacığın bağlı olması durumunu modelleyen sistemdir. Tek boyutta uygulanan potansiyel,

şeklinde verilir. Burada parçacık görüldüğü üzere a genişlikli sonsuz kuyunun içine hapsolmuştur. Parçacık için Schrödinger denklemi yazılırsa:

 denklemin çözümü ise  olarak elde edilir. Bu, parçacığı kuyu içinde temsil eden dalga fonksiyonudur. Uygulanan potansiyel sonsuz olduğu için parçacığın dışarıda bulunması olasılığı sıfır olacağından, dışarıdaki dalga fonksiyonu  olur. Sınırlarda iki dalga fonksiyonunun değerlerinin alacağı değerler birbirine eşit olmak zorunda olduğundan sınır koşulları ortaya çıkar.

 denklemi ile karşılaştırılırsa

elde edilir. Böylece bağlı durumdaki parçacıkların enerjilerinin kuantalandığı gösterilmiş olur zira parçacığın enerji seviyeleri  olmak üzere bu enerjinin tam katlarıdır.

Diğer bir deyişle kuyudaki parçacığın enerjisi iki enerji seviyesi arasındaki enerjiyi alamaz. Bu yüzden enerjide süreksizlik vardır, bu duruma enerjinin kuantalanması denir.

Kuantum mekaniği

Potansiyel kuyusu


Charlot la băi' (titlul original: The Cure) este un film de comedie american de scurtmetraj din 1917 regizat de Charlie Chaplin.

Prezentare

Charlot este un bețiv care merge la băi pentru a se vindeca de acest nărav. Ușile rotative pot uneori să creeze dificultăți: Charlot riscă decapitarea rămânând blocat cu capul în ușă, iar o altă persoană mai solidă, cu un picior bandajat, riscă să rămână fără picior în timp ce Charlot încearcă să iasă dintre uși.

Distribuție
 Charlie Chaplin - Alcolicul
 Edna Purviance - Fata (The Girl)
 Eric Campbell - Bărbatul cu artrită
 Henry Berhman - masorul
 John Rand - îngrijitor la sanatoriu
 James T. Kelley - îngrijitor la sanatoriu
 Albert Austin - îngrijitor la sanatoriu
 Frank J, Coleman - șeful sanatoriului

Note

Legături externe

Filme din 1917
Filme în limba engleză
Filme americane
Filme de comedie americane
Filme de comedie din anii 1910
Filme de comedie
Filme regizate de Charlie Chaplin

Charlot la băi


António Alexandre de Oliveira (Arouca, 2 de maio de 1873 — Arouca, 26 de janeiro de 1926) foi um farmacêutico português, fundador e diretor do semanário "A Voz de Portugal", primeiro jornal de Arouca.

Biografia

Filho do lavrador Alexandre José de Oliveira (1843(?)-1921) e de sua mulher Maria Rosa de Jesus (1840-1896), António de Oliveira iniciou os estudos primários em Arouca aos 11 anos, tendo terminado aos 13. Em 6 de Fevereiro de 1887, com 13 anos, partiu para o Porto para iniciar o curso prático de farmácia. Entre finais de 1889 e finais de 1891 esteve em Paredes do Bairro, em Anadia. De seguida partiu para Grândola, onde esteve até 1895. Fez estudos de liceu no Porto, Aveiro e Lisboa. Foi para Coimbra em finais de 1895 estudar farmácia, tendo realizado o "Exame de Pharmacia" no "Dispensatorio Pharmaceutico da Universidade" em 20 de abril de 1896, que o habilitou como farmacêutico. Em Coimbra, tornou-se amigo de Egas Moniz e do fadista Hilário, que lhe ofereceu uma guitarra sua, ainda existente.

Teve como mulheres Cecília da Conceição Jesus, de Grândola, e Henriqueta Gomes Beato, de Manhouce, das quais teve um total de 16 filhos, tendo dois morrido antes dos dois anos de idade.

Regressou a Arouca em finais de 1896, onde abriu a Pharmacia Oliveira, na Praça da Vila, aos 23 anos, onde desenvolveu medicamentos para várias doenças, tendo recebido em 1908 um prémio da Academia Physico-Chimica de Palermo, em Itália e sido constituído seu membro honorário, por mérito científico e filantrópico. Em junho de 1904, com 31 anos, fundou o jornal independente "A Voz de Portugal", de que era proprietário e diretor, tendo recebido nessa qualidade, em 1907, um prémio internacional em Madrid.

Foi preso político em 1919, tendo sido libertado em 27/03/1919 por ordem de Adelino Gomes Moreira, Administrador do Concelho de Arouca: "É posto em liberdade o preso político António Alexandre de Oliveira".
Morreu com danos cerebrais na sequência de agressão violenta, executada, por razões políticas, por elementos da Guarda Nacional Republicana, em 20 de janeiro de 1926.

Pensamento
Monárquico e católico. Foi no seu jornal um acérrimo defensor da democracia e da liberdade de imprensa. Foi objeto de vários processos-crime por abuso de liberdade de imprensa por artigos críticos publicados em A Voz de Portugal.

Defendeu repetidamente a emancipação da mulher e a igualdade de direitos: "Escravisada pelo homem arvorado em legislador, a principio pelo direito da força, depois por uma rotineira eguista" (Nº 5, 02/07/1904); "a mulher tambem ha de triumphar, ha de resurgir da sua escravidão e mandar, legislar, orar nos parlamentos, dirigir os municípios, os districtos e os governos"; "Eis a breve trecho o que é e o que, principalmente, deve ser a mulher: puramente egual ao homem. Tem a mesma alma, o mesmo coração, a mesma intelligencia, as mesmas carnes. Porque não hade compartilhar dos mesmos direitos e das mesmas obrigações?" (Nº 14, 03/09/1904)

Criticou a política colonial por "descarada exploração" dos "indígenas": "Em vez de fazer prosperar as colonias, longe de tentar o seu progresso e aumento, procurando desenvolver a habilidade ou aptidões dos indígenas, porque as possuem apesar de todas as declamações em contrário, transformaram-n'as em vasto campo de descarada exploração de que se procura tirar todo o lucro possível, do qual simplesmente beneficia um limitadissimo numero de individuos ou entidades" (Nº 15, 10/09/1904)

Distinções

Recebeu, em 31/12/1907, o "GRAN PREMIO" do "Concurso Internacional en Madrid", da "Sociedad General de Exposiciones y Concursos", "por sus trabajos literários como Director proprietário del periódico «A Voz de Portugal»".

Enquanto farmacêutico, foi agraciado, em 08/01/1908, por "Mérito Científico e Filantrópico", com a Medalha de Primeira Classe e título de Sócio Honorário da «Academia Physico-Chimica Itallianna» de Palermo (ativa entre 1850 e o final da Grande Guerra).

Referências

Farmacêuticos de Portugal
Naturais de Arouca

António Alexandre de Oliveira


Die Liste der denkmalgeschützten Objekte in Hubina enthält das eine nach slowakischen Denkmalschutzvorschriften geschützte Objekt in der Gemeinde Hubina im Okres Piešťany.

Denkmäler

Legende

Einzelnachweise

!
Hubina


Die Plinzenmühle in der Stadt Viersen war eine Wassermühle mit einem mittelschlächtigen Wasserrad.

Mühlen in Viersen
In der Gemeinde Viersen gab es in den früheren Jahrhunderten insgesamt 18 Mühlen. Davon waren vier Rossölmühlen  Hammermühlen. Diese wurden durch Pferdekraft betrieben. Weiter gab es zwei Windmühlen, die Hoser- und die Hüsterfeldwindmühle, die beide in Privatbesitz waren.

Anders dagegen war es mit den Wassermühlen. Das Stift St. Gereon in Köln besaß die Grundherrschaft von Viersen und damit das Wasserrecht über die Bäche in Viersen. Die Errichtung von Wassermühlen bedurfte seiner Zustimmung. Das Stift vergab Mühlenrechte als erbliches Lehen und bezog davon eine jährliche Lehnsrente. Diese musste an die Pfarrstelle St. Remigius geliefert werden. Aus diesen Unterlagen geht hervor, dass es schon 1246 in Viersen zwölf Wassermühlen gegeben hat. Alle Mühlen, mit Ausnahme der Klostermühle, zahlten jährlich einen Sümmer (etwa ein Zentner) Malz als Lehnszins. Es gab in der Herrlichkeit Viersen keinen Mühlenzwang. Alle Bauern konnten mahlen lassen, wo sie wollten.

Diese zwölf Mühlen lagen am:
 "Dorfer Bach": Kaisermühle, Kimmelmühle, Goetersmühle, Biestenmühle und Schricksmühle
 "Hammer Bach": Plinzenmühle, Schnockesmühle, Sgoedenmühle, Bongartzmühle, Hüstermühle und Hammer Mühle
 "Rintger Bach": Klostermühle

Geographie
Die Plinzenmühle hatte ihren Standort am Hammer Bach an der Weiherstraße im Ortsteil Oberbeberich, in der Stadt Viersen im Kreis Viersen. Der Mühle vorgelagert war ein Weiher.  Der Wasserspiegel vom Hammer Bach lag in diesem Bereich bei 52 m über NN. Die Mühle lag an dem schmalen Weg, der von der Bebericher Straße gegenüber der Berliner Höhe herunter zur Weiherstraße führt. Unterhalb der Plinzenmühle lag die Schnockesmühle.

Der Hammer Bach versorgte über Jahrhunderte sechs Mühlen mit Wasser. Die Pflege und Unterhaltung des Gewässers obliegt dem Wasser- und Bodenverband der Mittleren Niers, der in Grefrath seinen Sitz hat.

Geschichte
Die oberste der Mühlen am Hammer Bach war die Plinzenmühle. Sie gehörte am Anfang des 18. Jahrhunderts einer Müllerfamilie Nensch und wurde deswegen auch Nenschmühle genannt. Neben diesem Personennamen führte sie auch die ältere Bezeichnung "Plinzenmühle". Damit war der Umstand gemeint, dass hier Buchweizenmehl hergestellt worden war. "Plinsen" ist der Buchweizenpfannekuchen. "Thoenes (Anton) up der plinsen Moellen" hieß der erste bekannte Müller auf dieser Mühle (1408). Die Plinzenmühle hatte wegen ihrer Hanglage ein mittelschlächtiges Wasserrad, das einen Mahlgang antrieb. Im Jahre 1809 betrug die tägliche Mahlfähigkeit der Mühle eineinhalb Malter Getreide. (Ein Malter = drei Zentner) Die Mühle stellte um 1920 den Mahlbetrieb ein. Das Gebäude wurde nach 1945 niedergelegt und der Weiher zugeschüttet.

Galerie

Literatur
 Hans Vogt: Niederrheinischer Wassermühlenführer. Krefeld 1998, S. 511–523.
 Ferdinand Dohr: Vom Wasserwesen im Alten Viersen. In: Heimatbuch des Kreises Kempen-Krefeld. 25. Folge/1974, S. 47–55.

Weblinks

Einzelnachweise

Wassermühle in Viersen
Mühle in Europa

Plinzenmühle


ييفيموفسكيي  هي مدينة في مقاطعة لينينغراد أوبلاست في روسيا.

يبلغ عدد سكانها حوالي 3654 نسمة.

مراجع

بلدات من النمط المدني في مقاطعة لينينغراد
مدن مقاطعة لينينغراد

ييفيموفسكيي (لينينغراد)


The Heart Sūtra (  or  , ) is a popular sutra in Mahāyāna Buddhism. In Sanskrit, the title  translates as "The Heart of the Perfection of Wisdom".

The Sutra famously states, "Form is emptiness (śūnyatā), emptiness is form." It is a condensed exposition on the Buddhist Mahayana teaching of the Two Truths doctrine, which says that ultimately all phenomena are Śūnyatā (emptiness).

It has been called "the most frequently used and recited text in the entire Mahayana Buddhist tradition." The text has been translated into English dozens of times from Chinese, Sanskrit, and Tibetan, as well as other source languages.

Summary of the sutra
In the sutra, Avalokiteśvara addresses Śariputra, explaining the fundamental emptiness (śūnyatā) of all phenomena, known through and as the five aggregates of human existence (skandhas): form (rūpa), feeling (vedanā), volitions (saṅkhāra), perceptions (saṃjñā), and consciousness (vijñāna). Avalokiteśvara famously states, "Form is Emptiness (śūnyatā). Emptiness is Form", and declares the other skandhas to be equally empty—that is, dependently originated.

Avalokiteśvara then goes through some of the most fundamental Buddhist teachings, such as the Four Noble Truths, and explains that in emptiness, none of these notions apply. This is interpreted according to the two truths doctrine as saying that teachings, while accurate descriptions of conventional truth, are mere statements about reality—they are not reality itself—and that they are therefore not applicable to the ultimate truth that is by definition beyond mental understanding. Thus the bodhisattva, as the archetypal Mahayana Buddhist, relies on the perfection of wisdom, defined in the Mahāprajñāpāramitā Sūtra to be the wisdom that perceives reality directly without conceptual attachment, thereby achieving nirvana.

The sutra concludes with the mantra , meaning "gone, gone, everyone gone to the other shore, awakening, svaha."

Popularity and stature

The Heart Sutra is "the single most commonly recited, copied, and studied scripture in East Asian Buddhism."  It is recited by adherents of Mahayana schools of Buddhism regardless of sectarian affiliation  with the exception of Shin Buddhists and Nichiren Buddhists.

While the origin of the sutra is disputed by some modern scholars, it was widely known throughout South Asia (including Afghanistan) from at least the Pala Empire period (–1200 CE) and in parts of India until at least the middle of the 14th century. The stature of the Heart Sutra throughout early medieval India can be seen from its title 'Holy Mother of all Buddhas Heart of the Perfection of Wisdom' dating from at least the 8th century CE (see Philological explanation of the text).

The long version of the Heart Sutra is extensively studied by the various Tibetan Buddhist schools, where the Heart Sutra is chanted, but also treated as a tantric text, with a tantric ceremony associated with it.  It is also viewed as one of the daughter sutras of the Prajnaparamita genre in the Vajrayana tradition as passed down from Tibet.

The text has been translated into many languages, and dozens of English translations and commentaries have been published, along with an unknown number of informal versions on the internet.

Versions
There are two main versions of the Heart Sutra: a short version and a long version.

The short version as translated by Xuanzang is the most popular version of adherents practicing East Asian schools of Buddhism. Xuanzang's canonical text (T. 251) has a total of 260 Chinese characters.  Some Japanese and Korean versions have an additional 2 characters. The short version has also been translated into Tibetan but it is not part of the current Tibetan Buddhist Canon.

The long version differs from the short version by including both an introductory and concluding section, features that most Buddhist sutras have.  The introduction introduces the sutra to the listener with the traditional Buddhist opening phrase "Thus have I heard".  It then describes the venue in which the Buddha (or sometimes bodhisattvas, etc.) promulgate the teaching and the audience to whom the teaching is given.  The concluding section ends the sutra with thanks and praises to the Buddha.

Both versions are chanted on a daily basis by adherents of practically all schools of East Asian Buddhism and by some adherents of Tibetan and Newar Buddhism.

Dating and origins

Earliest extant versions and references to the Heart Sutra
The earliest extant dated text of the Heart Sutra is a stone stele dated to 661 CE located at Yunju Temple and is part of the Fangshan Stone Sutra. It is also the earliest copy of Xuanzang's 649 CE translation of the Heart Sutra (Taisho 221); made three years before Xuanzang passed away.

A palm-leaf manuscript found at the Hōryū-ji Temple is the earliest undated extant Sanskrit manuscript of the Heart Sutra. It is dated to c. 7th–8th century CE by the Tokyo National Museum where it is currently kept.

Source of the Heart Sutra - Nattier controversy

Jan Nattier (1992) argues, based on her cross-philological study of Chinese and Sanskrit texts of the Heart Sutra, that the Heart Sutra was initially composed in China.

Fukui Fumimasa, Harada Waso, Ishii Kōsei and Siu Sai yau based on their cross-philological study of Chinese and Sanskrit texts of the Heart Sutra and other medieval period Sanskrit Mahayana sutras theorize that the Heart Sutra could not have been composed in China but was composed in India.

Kuiji and Woncheuk were the two main disciples of Xuanzang. Their 7th century commentaries are the earliest extant commentaries on the Heart Sutra; both commentaries, according to Hyun Choo, Harada Waso, Ishii Kosei, Dan Lusthaus, etc., contradict Nattier's Chinese origin theory.

Philological explanation of the text

Title

Historical titles

The titles of the earliest extant manuscripts of the Heart Sutra all includes the words "hṛdaya"  or "heart" and "prajñāpāramitā" or "perfection of wisdom".  Beginning from the 8th century and continuing at least until the 13th century, the titles of the Indic manuscripts of the Heart Sutra contained the words "bhagavatī" or "mother of all buddhas" and "prajñāpāramitā".

Later Indic manuscripts have more varied titles.

Titles in use today
In the western world, this sutra is known as the Heart Sutra (a translation derived from its most common name in East Asian countries). But it is also sometimes called the Heart of Wisdom Sutra.  In Tibet, Mongolia and other regions influenced by Vajrayana, it is known as The [Holy] Mother of all Buddhas Heart (Essence) of the Perfection of Wisdom.

In the Tibetan text the title is given first in Sanskrit and then in Tibetan:  (),  English translation of Tibetan title: Mother of All Buddhas Heart (Essence) of the Perfection of Wisdom.

In other languages, the commonly used title is an abbreviation of Prajñāpāramitāhṛdayasūtraṃ : i.e. The Prajñāhṛdaya Sūtra) (The Heart of Wisdom Sutra). They are as follows: e.g. Korean: Banya Shimgyeong (); Japanese: ; Vietnamese:  (chữ Nho: ).

Content

Various commentators divide this text into different numbers of sections. In the long version, there exists the traditional opening "Thus have I heard" and Buddha along with a community of bodhisattvas and monks gathered with Avalokiteśvara and Sariputra at Gridhakuta (a mountain peak located at Rajgir, the traditional site where the majority of the Perfection of Wisdom teachings were given), when through the power of Buddha, Sariputra asks Avalokiteśvara  for advice on the practice of the Perfection of Wisdom. The sutra then describes the experience of liberation of the bodhisattva of compassion, Avalokiteśvara, as a result of vipassanā gained while engaged in deep meditation to awaken the faculty of prajña (wisdom). The insight refers to apprehension of the fundamental emptiness (śūnyatā) of all phenomena, known through and as the five aggregates of human existence (skandhas): form (rūpa), feeling (vedanā), volitions (saṅkhāra), perceptions (saṃjñā), and consciousness (vijñāna).

The specific sequence of concepts listed in lines 12–20 ("...in emptiness there is no form, no sensation, ... no attainment and no non-attainment")  is the same sequence used in the Sarvastivadin Samyukta Agama; this sequence differs in comparable texts of other sects. On this basis, Red Pine has argued that the Heart Sūtra is specifically a response to Sarvastivada teachings that, in the sense "phenomena" or its constituents, are real. Lines 12–13 enumerate the five skandhas. Lines 14–15 list the twelve ayatanas or abodes. Line 16 makes a reference to the 18 dhatus or elements of consciousness, using a conventional shorthand of naming only the first (eye) and last (conceptual consciousness) of the elements. Lines 17–18 assert the emptiness of the Twelve Nidānas, the traditional twelve links of dependent origination, using the same shorthand as with the eighteen dhatus. Line 19 refers to the Four Noble Truths.

Avalokiteśvara addresses Śariputra, who was the promulgator of abhidharma according to the scriptures and texts of the Sarvastivada and other early Buddhist schools, having been singled out by the Buddha to receive those teachings.  Avalokiteśvara famously states, "Form is empty (śūnyatā). Emptiness is form", and declares the other skandhas to be equally empty of the most fundamental Buddhist teachings such as the Four Noble Truths and explains that in emptiness none of these notions apply. This is interpreted according to the two truths doctrine as saying that teachings, while accurate descriptions of conventional truth, are mere statements about reality—they are not reality itself—and that they are therefore not applicable to the ultimate truth that is by definition beyond mental understanding. Thus the bodhisattva, as the archetypal Mahayana Buddhist, relies on the perfection of wisdom, defined in the Mahaprajnaparamita Sutra to be the wisdom that perceives reality directly without conceptual attachment thereby achieving nirvana.

All Buddhas of the three ages (past, present and future) rely on the Perfection of Wisdom to reach unexcelled complete Enlightenment.  The Perfection of Wisdom is the all powerful Mantra, the great enlightening mantra, the unexcelled mantra, the unequalled mantra, able to dispel all suffering.  This is true and not false. The Perfection of Wisdom is then condensed in the mantra with which the sutra concludes: "Gate Gate Pāragate Pārasamgate Bodhi Svāhā" (literally "Gone gone, gone beyond, gone utterly beyond, Enlightenment hail!"). In the long version, Buddha praises Avalokiteśvara for giving the exposition of the Perfection of Wisdom and all gathered rejoice in its teaching.  Many schools traditionally have also praised the sutra by uttering three times the equivalent of "Mahāprajñāpāramitā" after the end of the recitation of the short version.

Mantra
The Heart Sūtra mantra in Sanskrit IAST is , Devanagari: गते गते पारगते पारसंगते बोधि स्वाहा, IPA: , meaning "gone, gone, everyone gone to the other shore, awakening, svaha."

Buddhist exegetical works

China, Japan, Korea and Vietnam

Two commentaries of the Heart Sutra were composed by pupils of Xuanzang, Woncheuk and Kuiji, in the 7th century. These appear to be the earliest extant commentaries on the text. Both have been translated into English. Both Kuījī and Woncheuk's commentaries approach the Heart Sutra from both a Yogācāra and Madhyamaka viewpoint; however,  Kuījī's commentary presents detailed line by line Madhyamaka viewpoints as well and is therefore the earliest surviving Madhyamaka commentary on the Heart Sutra. Of special note, although Woncheuk did his work in China, he was born in Silla, one of the kingdoms located at the time in Korea.

The chief Tang Dynasty commentaries have all now been translated into English.

Notable Japanese commentaries include those by Kūkai (9th Century, Japan), who treats the text as a tantra, and Hakuin, who gives a Zen commentary.

There is also a Vietnamese commentarial tradition for the Heart Sutra. The earliest recorded commentary is the early 14th century Thiền commentary entitled 'Commentary on the Prajñāhṛdaya Sutra' by Pháp Loa.

All of the East Asian commentaries are commentaries of Xuanzang's translation of the short version of the Heart Sutra. Kukai's commentary is purportedly of Kumārajīva's translation of the short version of the Heart Sutra;but upon closer examination seems to quote only from Xuanzang's translation.

India
Eight Indian commentaries survive in Tibetan translation and have been the subject of two books by Donald Lopez. These typically treat the text either from a Madhyamaka point of view, or as a tantra (esp. Śrīsiṃha). Śrī Mahājana's commentary has a definite "Yogachara bent". All of these commentaries are on the long version of the Heart Sutra.  The Eight Indian Commentaries from the Kangyur are (cf first eight on chart):

There is one surviving Chinese translation of an Indian commentary in the Chinese Buddhist Canon. Āryadeva's commentary is on the short version of the Heart Sutra.

Other
Besides the Tibetan translation of Indian commentaries on the Heart Sutra, Tibetan monk-scholars also made their own commentaries.  One example is Tāranātha's A Textual Commentary on the Heart Sutra.

In modern times, the text has become increasingly popular amongst exegetes as a growing number of translations and commentaries attest. The Heart Sutra was already popular in Chan and Zen Buddhism, but has become a staple for Tibetan Lamas as well.

Selected English translations
The first English translation was presented to the Royal Asiatic Society in 1863 by Samuel Beal, and published in their journal in 1865. Beal used a Chinese text corresponding to T251 and a 9th Century Chan commentary by Dàdiān Bǎotōng () [c. 815 CE]. In 1881, Max Müller published a Sanskrit text based on the Hōryū-ji manuscript along an English translation.

There are more than 40 published English translations of the Heart Sutra from Sanskrit, Chinese, and Tibetan, beginning with Beal (1865). Almost every year new translations and commentaries are published. The following is a representative sample.

Recordings

The Heart Sūtra has been set to music a number of times. Many singers solo this sutra.

 The Buddhist Audio Visual Production Centre () produced a Cantonese album of recordings of the Heart Sūtra in 1995 featuring a number of Hong Kong pop singers, including Alan Tam, Anita Mui and Faye Wong and composer by Andrew Lam Man Chung () to raise money to rebuild the Chi Lin Nunnery.
 Malaysian Imee Ooi () sings the short version of the Heart Sūtra in Sanskrit accompanied by music entitled 'The Shore Beyond, Prajna Paramita Hrdaya Sutram', released in 2009.
 Composer and recording artist Robert Gass, with his group On Wings of Song, released Heart of Perfect Wisdom in 1990, with two long pieces prominently featuring the "Gate Gate" mantra. This is now available as Heart of Perfect Wisdom / A Sufi Song of Love.
 Hong Kong pop singers, such as the Four Heavenly Kings sang the Heart Sūtra to raise money for relief efforts related to the 1999 Jiji earthquake.
 A Mandarin version was first performed by Faye Wong in May 2009 at the Famen Temple for the opening of the Namaste Dagoba, a stupa housing the finger relic of Buddha rediscovered at the Famen Temple. She has sung this version numerous times since and its recording was subsequently used as a theme song in the blockbusters Aftershock (2010) and Xuanzang (2016).
 Shaolin Monk Shifu Shi Yan Ming recites the Sutra at the end of the song "Life Changes" by the Wu-Tang Clan, in remembrance of the deceased member ODB.
 The outro of the b-side song "Ghetto Defendant" by the British first wave punk band The Clash also features the Heart Sūtra, recited by American beat poet Allen Ginsberg.
 A slightly edited version is used as the lyrics for Yoshimitsu's theme in the PlayStation 2 game Tekken Tag Tournament. An Indian styled version was also created by Bombay Jayashri, titled Ji Project. It was also recorded and arranged by Malaysian singer/composer Imee Ooi.
 An Esperanto translation of portions of the text furnished the libretto of the cantata La Koro Sutro by American composer Lou Harrison.
 The Heart Sūtra appears as a track on an album of sutras "performed" by VOCALOID voice software, using the Nekomura Iroha voice pack. The album, Syncretism of Shinto and Buddhism by VOCALOID, is by the artist tamachang.
 Toward the end of the opera The (R)evolution of Steve Jobs by Mason Bates the character inspired by Kōbun Chino Otogawa sings part of the Heart Sūtra to introduce the scene in which Steve Jobs weds Laurene Powell at Yosemite in 1991.
 Part of the Sutra can be heard on Shiina Ringo's song 鶏と蛇と豚 (Gate of Living), from her studio album Sandokushi (2019)

Popular culture
In the centuries following the historical Xuanzang, an extended tradition of literature fictionalizing the life of Xuanzang and glorifying his special relationship with the Heart Sūtra arose, of particular note being the Journey to the West (16th century/Ming dynasty). In chapter nineteen of Journey to the West, the fictitious Xuanzang learns by heart the Heart Sūtra after hearing it recited one time by the Crow's Nest Zen Master, who flies down from his tree perch with a scroll containing it, and offers to impart it. A full text of the Heart Sūtra is quoted in this fictional account.

The 1782 Japanese text "The Secret Biwa Music that Caused the Yurei to Lament" (琵琶秘曲泣幽霊), commonly known as Hoichi the Earless, because of its inclusion in the 1904 book Kwaidan: Stories and Studies of Strange Things, makes usage of this Sūtra. It involves the titular Hoichi having his whole body painted with the Heart Sūtra to protect against malicious spirits, with the accidental exception of his ears, making him vulnerable nonetheless. A filmed adaptation of this story is included in the 1964 horror anthology Kwaidan.

In the 2003 Korean film Spring, Summer, Fall, Winter...and Spring, the apprentice is ordered by his Master to carve the Chinese characters of the sutra into the wooden monastery deck to quiet his heart.

The Sanskrit mantra of the Heart Sūtra was used as the lyrics for the opening theme song of the 2011 Chinese television series Journey to the West.

The 2013 Buddhist film Avalokitesvara, tells the origins of Mount Putuo, the famous pilgrimage site for Avalokitesvara Bodhisattva in China. The film was filmed onsite on Mount Putuo and featured several segments where monks chant the Heart Sūtra in Chinese and Sanskrit. Egaku, the protagonist of the film, also chants the Heart Sūtra in Japanese.

In the 2015 Japanese film I Am a Monk, Koen, a twenty-four year old bookstore clerk becomes a Shingon monk at the Eifuku-ji after the death of his grandfather.  The Eifuku-ji is the fifty-seventh temple in the eighty-eight temple Shikoku Pilgrimage Circuit. He is at first unsure of himself. However, during his first service as he chants the Heart Sūtra, he comes to an important realization.

Bear McCreary recorded four Japanese-American monks chanting in Japanese, the entire Heart Sūtra in his sound studio. He picked a few discontinuous segments and digitally enhanced them for their hypnotic sound effect. The result became the main theme of King Ghidorah in the 2019 film Godzilla: King of the Monsters.

Influence on western philosophy
Schopenhauer, in the final words of his main work, compared his doctrine to the Śūnyatā of the Heart Sūtra. In Volume 1, § 71 of The World as Will and Representation, Schopenhauer wrote: "...to those in whom the will [to continue living] has turned and has denied itself, this very real world of ours, with all its suns and Milky Ways, is — nothing." To this, he appended the following note: "This is also the Prajna–Paramita of the Buddhists, the 'beyond all knowledge,' in other words, the point where subject and object no longer exist."

See also

 Mahāyāna sutras
 Prajñāpāramitā

Notes

References

Sources

 Beal, Samuel. (1865) The Paramita-hridaya Sutra. Or. The Great Paramita Heart Sutra. Journal of the Royal Asiatic Society of Great Britain and Ireland, No.2 Dec 1865, 25-28

  (originally published 1960 by Mouton & Co.)

 Kelsang Gyatso, Geshe (2001). Heart of Wisdom: An Explanation of the Heart Sutra, Tharpa Publications, (4th. ed.).

  (cf pp 211–224 for tr. of Hanshan Deqing's Straight Talk on the Heart Sutra (Straightforward Explanation of the Heart Sutra))
 Lusthaus, Dan (2003). The Heart Sūtra in Chinese Yogācāra: Some Comparative Comments on the Heart Sūtra Commentaries of Wŏnch'ŭk and K'uei-chi. International Journal of Buddhist Thought & Culture 3, 59–103.

 Minoru Kiyota (1978). Mahayana Buddhist Meditation: Theory and Practice Hawaii: University of Hawaii Press. (esp. Cook, Francis H. 'Fa-tsang's Brief Commentary on the Prajñāpāramitā-hṛdaya-sūtra.' pp. 167–206.)
 Müller, Max (1881). 'The Ancient Palm Leaves containing the Prajñāpāramitā-Hṛidaya Sūtra and Uṣniṣa-vijaya-Dhāraṇi.' in Buddhist Texts from Japan (Vol 1.iii). Oxford Univers* ity Press. Online

 Shih, Heng-Ching  & Lusthaus, Dan (2006). A Comprehensive Commentary on the Heart Sutra (Prajnaparamita-hyrdaya-sutra). Numata Center for Buddhist Translation & Research.

 Yu, Anthony C. (1980). The Journey to the West. Chicago and London: The University of Chicago Press. . First published 1977.

Further reading

 Rinchen, Sonam. (2003) Heart Sutra: An Oral Commentary Snow Lion Publications

External links

Documentary
 Journey of the Heart Produced by Ravi Verma

Translations
  Sanskrit, Chinese, Tibetan, and English versions of The Heart Sutra in sentence-by-sentence reading format; facilitating easy comparison.
  A guide to some of the important translations and commentaries.
  From the Chinese version attributed to Xuanzang (T251).
  From the Chinese version attributed to Kumārajīva (T250).
  From the Chinese translation by Prajñā (T253).
  Conze's translation from his Sanskrit edition (1948, rev. 1967).
  From the Tibetan text.
 The Heart Sutra in English - Translated by Gerhard Herzog. Translation from Chinese, Kaoshiung, Taiwan, 1971.

Mahayana sutras
Vaipulya sutras
Avalokiteśvara
Guanyin

Heart Sutra


Miraculos: Buburuza și Motan Noir este un serial de animație CGI japonezo-franco-coreean creat de Thomas Astruc și produs de Jeremy Zag, co-produs de Zagtoon, Method Animation, Toei Animation și SAMG Animation. Acesta a fost difuzat pentru prima dată în Coreea de Sud în septembrie 2015 pe canalul EBS, iar in Franța pe 18 octombrie 2015 pe TF1 în cadrul programului de tineret TFOU. În SUA, este difuzat pe Nickelodeon .

Serialul este difuzat în 190 de țări din întreaga lume. În România este difuzat pe canalul Disney Channel.

Rezumat
La lumina zilei, Marinette Dupain-Cheng și Adrien Agreste sunt adolescenți obișnuiți, dar fără ca familia și prietenii lor să știe, cei doi poartă un secret uriaș... folosind puterile unor creaturi magice numite Kwami, se transformă în supereroii Buburuza și Motan Noir. Cu misiunea de a proteja orașul Paris de maleficul Hawk Moth, cei doi trebuie să învețe să facă față noilor lor responsabilități, precum și problemelor obișnuite care implică dragostea, școala, familia și prietenii. Mai presus de toate, trebuie să învețe să-și lase sentimentele romantice deoparte pentru a-și îndeplini datoria, neconștienți de adevăratele identități ale celuilalt.

Personaje

Episoade

Disney Channel
Seriale de animație
Seriale pentru copii

Note

Seriale de televiziune din 2015

Desene animate
Seriale franceze
Seriale japoneze

Miraculos: Buburuza și Motan Noir


FC Twente Vrouwen er en kvindefodboldklub fra Enschede, der blev etableret i 2007. Kvindeholdet er en del af FC Twente. Klubben har vundet både Vrouwen Eredivisie og dens midlertidige efterfølger, den nu nedlagde liga BeNe League.

Holdet spiller normalt deres liga- og pokalkampe på Sportpark Slangenbeek, mens de spiller deres Champions League-kampe på De Grolsch Veste.

Hæder
National
 Hollandsk mester
 Vinder (8): 2011, 2013, 2014, 2015 (som bedste hollandske hold i BeNe League), 2016, 2018–2019, 2020–2021, 2021–2022
 BeNe League
 Vindere (2): 2013, 2014
 KNVB Women's Cup
 Vindere (2): 2008, 2015
 BeNe Super Cup
 Toer (1): 2011

Europæisk historie
Alle resultater (ude, hjemme og sammenlagt) viser Twentes mål først.

a Første kamp.

Aktuel trup

Referencer

Fodboldklubber i Nederlandene
Kvindefodboldklubber
Etableret i 2007

FC Twente (kvinder)


El Salón del Cómic y Manga de Getxo (Getxoko Komiki Azoka o Getxoko Komiki eta Manga Azoka en euskera) es un evento de cómic celebrado anualmente en Guecho (Vizcaya) desde 2002. Ya en las ediciones de 2002, 2004, 2005 y 2006 se llamó Salón del Cómic de Getxo (Salón de Cómic de Getxo según el cartel de 2003), aunque se celebraba una única convención de un solo fin de semana, que abarcaba la historieta japonesa (manga) junto con la de otros países. Entre 2007 y 2011 se llamó Salón del Cómic y Manga de Getxo. Desde la edición de 2012 se separa en dos salones anuales, celebrados en fines de semana consecutivos, el primero para el cómic en general, y el segundo para el manga.

Trayectoria
X (25 al 27 de noviembre de 2011, plaza Estación de Las Arenas)

Se celebraron exposiciones dedicadas a Jazz Bulles Blues: el cómic a ritmo de swing, El Balanzín y Víctor Santos. Éste acudió como invitado junto a Manuel Bartual, Luis Bustos, Manel Fontdevila, Albert Monteys, Nancy Peña, Mireia Pérez, Luis Royo y David Rubín, además de tres galardonados con el Premio Nacional de Cómic de España: Max, Paco Roca y Santiago Valenzuela. Se homenajeó al editor Josep María Berenguer y a la editorial bilbaína Astiberri.

Volumen

Referencias

Enlaces externos

 Página oficial del evento

Guecho
Eventos de historieta de España

Salón del Cómic y Manga de Getxo


Einhaus er en kommune i det nordlige Tyskland, beliggende i Amt Lauenburgische Seen under Kreis Herzogtum Lauenburg. Kreis Herzogtum Lauenburg ligger i delstaten Slesvig-Holsten.

Geografi
Einhaus ligger på vest for Ratzeburger See i Naturpark Lauenburgische Seen, ca. 3 km nordvest for Ratzeburg og ca. 15 km syd for Lübeck. Kommunen krydses af Bundesstraße 207 der er nutidens version af Alte Salzstraße fra Lüneburg til Lübeck.

Eksterne kilder/henvisninger

 Kommunens websted .
 Statistikamt Nord – Bevölkerung der Gemeinden in Schleswig-Holstein 4. Quartal 2014  (XLSX-Data) (Fortschreibung auf Basis des Zensus 2011)

Byer i Slesvig-Holsten
Byer i Kreis Herzogtum Lauenburg

Einhaus


Das Naturschutzgebiet Lörmecketal (NSG-Kennung SO-073) ist ein Naturschutzgebiet im Gebiet der Gemeinden Rüthen und Warstein im nordrhein-westfälischen Kreis Soest. Es wurde 2000 von der Bezirksregierung per Verordnung ausgewiesen und deckt mit rund 270 Hektar Fläche das Tal der Lörmecke von der Kreisgrenze bis kurz vor der Mündung in die Glenne ab. Weitgehend deckungsgleich mit dem Naturschutzgebiet besteht das FFH-Gebiet Lörmecketal (Kennung DE-4516-301), wodurch es Teil des europäischen Schutzgebietsnetzes Natura 2000 ist.

Im angrenzenden Hochsauerlandkreis sind im quellnahen Verlauf der Lörmecke zwei weitere Naturschutzgebiete ausgewiesen: das NSG Lörmecketal im Stadtgebiet von Meschede und das NSG Lörmecketalsystem im Gebiet von Bestwig.

Gebietsbeschreibung
Das Lörmecketal liegt im Nordsauerländer Oberland. Das Naturschutzgebiet umfasst die Lörmecke und ihre Aue mit einigen umliegenden Hangflächen.

Die Bereiche der Höhle Hohler Stein und des Felsens Hoher Stein mit angrenzenden Magerrasen wurden ins NSG einbezogen.

Im Gebiet kommen seltene Tier- und Pflanzenarten vor. Zu den bemerkenswerten Biotoptypen zählen unter anderem Halbtrockenrasen.

Schutzzweck
Das NSG soll insbesondere die Quellen und Fließgewässer, die Niedermoor- und Bruchwaldbereiche, der naturnahen Laubwälder, Kalkhalbtrockenrasen und Felskuppen, wärmeliebenden Gebüsche und Säume, Magerrasen und Zwergstrauchheiden, die feuchten und extensiv genutzten Wiesen und Weiden, mit einer Vielzahl schutzwürdiger und z. T. stark gefährdeter oder vom Aussterben bedrohter Pflanzen- und Tierarten, u. a. schützen.

Wie bei allen Naturschutzgebieten in Deutschland wurde in der Schutzausweisung darauf hingewiesen, dass das Gebiet "wegen der Seltenheit, besonderen Eigenart und Schönheit des Gebietes" zum Naturschutzgebiet wurde.

Siehe auch
 Liste der Naturschutzgebiete im Kreis Soest

Einzelnachweise

Weblinks

 ABU-Infos zum NSG Lörmecketal

Geographie (Rüthen)
Geographie (Warstein)
Lormecketal
Lormecketal

Naturschutzgebiet Lörmecketal (Kreis Soest)


"Acadele"  este un cântec înregistrat de Delia lansat pe 05 noiembrie 2018 prin intermediul casei de discuri Cat Music. Alex Cotoi a produs piesa și a scris-o împreună cu Delia.  "Acadele" este o melodie Trap (gen muzical), care este o îndepărtare de la genul pop,folosit în ultimele ei piese. În aceste versuri cu o temă despre dulciuri, ea discută despre emanciparea femeii și comunitatea LGBT din România. Ea se referă, de asemenea, la referendumul constituțional din 2018 privind definiția constituțională a unei familii.

Un videoclip muzical  pentru "Acadele" a fost încărcat pe canalul oficial de YouTube al Deliei la 4 noiembrie 2018 și a fost regizat de Alex Ceaușu.  Mai multe kilograme de dulciuri au fost folosite pentru filmări, inclusiv M & M și bezele. Într-o scenă, Delia poartă un hanorac multicolor care face referire la versurile ce au mesaje LGBT.  Delia a interpretat melodia la multe concerte, inclusiv la X Factor (România) în decembrie 2018  și la postul de radio românesc Radio ZU.

Bazele proiectului
"Acadele" a fost scrisă de Delia și Alex Cotoi, în timp ce producția a fost gestionată de Cotoi.   Melodia a fost lansată  la 5 noiembrie 2018 de către Cat Music.   Din punct de vedere muzical, "Acadele" este un cântec Trap (gen muzical) și este o îndepărtare de la muzica pop.   Versurile conțin mai multe subtexte și conotații,  despre care cântăreața spune: "Mulți oameni au citit în spatele versurilor și fiecare a înțeles textul în mod diferit, [...] are anumite accente pe care le prindeți sau nu.  Sau vă gândiți doar la zahăr. "   În afară de tema despre dulciuri,  cântecul discută predispoziția femeilor la diete și prezintă un mesaj de încurajare față de "femeile voluptoase cu atitudine".

Cunoscută ca o susținătore al drepturilor LGBT  Delia face referire la controversele din jurul comunității LGBT din România prin repetarea versurilor "Boicot, boicot" de-a lungul melodiei și ca parte din refren.  De asemenea se face referire la referendumul constituțional din 2018 privind definiția constituțională a unei familii în versul: "În dulcele stil clasic și deloc tradițional, noi facem totul natural".

Videoclipul și promovarea
Videoclipul muzical pentru "Acadele" a fost încărcat pe canalul de YouTube al lui Deliei la 4 noiembrie 2018.   Alex Ceaușu a fost regizorul clipului și director de imagine , în timp ce Luca's Art Film și Radu Selaru au fost angajați ca producători.    Dupa lansare, clipul a fost în trending pe YouTube în Romania iar pe Facebook a fost lansat un filtru care le permite utilizatorilor recreeze atmosfera din videoclip.

În aproape fiecare scenă din clip apar dulciuri. 500 kg de zahăr au fost folosite pentru clip cu 10 kg de M & M , 15 kg de bezele, 20 kg de bomboane, 30 kg de tort, 100 de brioșe și 150 de acadele.   Delia spune că: "Toate [bomboanele] au fost reale și au fost cumpărate în cantități industriale [...]. Nu am atins nimic, am mâncat doar niște jeleuri "   În timpul videoclipului, ea face o coregrafie cu dansatori,  în timp ce ea poartă adidași galben, părul legat și un hanorac cu sclipici multicolorat cu  mesajul "Love sees no colour", făcând aluzie la comunitatea LGBT.   De asemenea, ea este prezentată într-o piscină cu zahăr plin cu bile multicolore.   Aceste scene sunt intersectate cu altele unde arată arată dansatorii și pe Delia mănâncă bomboane, precum și un semn care se citește "Girls"(fete).

Pentru promovarea piesei, Delia a interpretat melodia de mai multe ori la concertele ei. Ea a cântat piesa pe 5 noiembrie la postul de radio din România Radio ZU  , precum și pe 6 noiembrie 2018 la emisiunea Prietenii de la 11 .   Delia și-a numit seria de concerte  "Acadelia" după piesa "Acadele";  unde în timpul cântecului interpetat în spectacol, câțiva dansatori au ieșit dintr-un tort uriaș.   La 9 decembrie 2018, Delia a cântat melodia la prima gală live X Factor (România) din 2018.

Lansări

Note

Cântece din 2018
Discuri single din 2018
Cântece românești
Cântece de Delia
Pages with unreviewed translations

Acadele


est un manga d'Okada Atsushi. Il est prépublié entre 2016 et 2019 dans le magazine Shōnen Ace de l'éditeur Kadokawa Shoten et est compilé en un total de six volumes. La version française, traduite par Julien Pouly, est éditée en intégralité par Doki-Doki.

Il raconte l'histoire de chats errants vivant dans un quartier, sous forme de gangs. L'histoire suit le personnage principal, Ryûsei, un chat errant et balafré.

Notes et références

Série manga
Shōnen manga
Manga des années 2010
Manga paru dans le Monthly Shōnen Ace
Manga publié par Doki-Doki

Nyankees


Grădina cneazului Boris sau Grădina Borisova  (în , tradusă uneori ca Grădina lui Boris sau Parcul Boris) este cel mai vechi și cel mai cunoscut parc din Sofia, capitala Bulgariei. Construirea și amenajarea lui a început în 1884 și el este numit după țarul bulgar Boris al III-lea.

Istoria grădinii poate fi împărțită în trei perioade denumite după trei grădinari renumiți. Toți trei au urmat planul inițial, dezvoltându-l în continuare și perfecționându-l, în loc să facă schimbări radicale ale modelului original.

Istoric

Perioada Neff (1882-1906)
În 1882 primarul din acea vreme a Sofiei Ivan Hadjienov l-a adus pe grădinarul elvețian Daniel Neff de la București cu scopul de a crea un parc în capitala Bulgariei. Planurile inițiale ale primarului includeau formarea mai întâi a unei mari pepiniere de arbori, arbuști și flori pentru viitoarea grădină, care urma, de asemenea, să furnizeze material vegetal pentru grădinile deja existente și pentru străzi.

Neff a elaborat primul plan al grădinii în primăvara anului 1882, a înființat o pepinieră și a construit o casă pentru sine, începând din 1884. Au fost plantați inițial salcâmi, au fost amenajate straturi de flori, a fost construit un mic lac artificial și toate acestea au fost împrejmuite cu un gard viu de stejari și păducei. Pepiniera a produs puieți care au satisfăcut nevoile municipalității și au fost vândute, de asemenea, cetățenilor. Cei mai cultivați arbori au fost salcâmii, alături de duzi, ulmi, platani etc. Pepiniera a fost modelată ca o grădină în 1885 și a avut o suprafață de 300.000 m2 în 1886 cu patru alei principale.

Grădina Borisova s-a extins către sud-vest în următorii ani, iar lacul mare a fost amenajat în anul 1889. Cneazul Ferdinand a ordonat în 1888 înlocuirea celor mai mulți salcâmi cu stejari, paltini, frasini și mesteceni. În următorii doi ani au fost plantați foioase din pădurile învecinate, precum și conifere din Munții Rila, pini negri și molizi.

Perioada Frei (1906-1934)
Alsacianul Joseph Frei a fost numit director al grădinilor și parcurilor din Sofia în 1906. El a reorganizat Grădina Borisova potrivit propriului său plan, dezvoltând în continuare planul lui Neff. În procesul de realizare a acestui plan Frei a amenajat două alei principale în partea de jos a grădinii, una cu tei și alta cu castani, și a deschis aleea centrală largă și cele două alei laterale din partea superioară, de la locul de joacă al copiilor până la Lacul cu Pești. În această perioadă a avut loc, de asemenea, construirea Fântânii Poporului, placată mai târziu cu piatră și numită Fântâna din Piatră.

În timp ce Neff era un iubitor de salcâmi, Frei a avut o pasiune pentru flori. El a creat Rosarium-ul pe locul unor construcții agricole demolate, precum și numeroase pepiniere și sere moderne. Grădina a fost extinsă tot mai mult la sud de pădurea de stejar către modernul Bulevard Dragan Țankov. Plantațiile de pomi fructiferi au fost înlocuite treptat cu arbori cu rol decorativ și specii de arbuști, pini și molizi, transformând grădina într-un parc plin de verdeață.

Perioada Duhtev (1934-1944)
Grădinarul și botanistul bulgar Gheorghi Duhtev a devenit director al Serviciului de Grădini și Parcuri în 1934. În timpul perioadei în care a administrat grădina, vechiul Rosarium a fost extins până la suprafața de 7.000 de m2, fiind plantate peste 1.400 de specii noi de trandafiri. Colțul Japonez a fost creat în 1940 deasupra Lacului cu Pești către Drumul Țarigradului. Plantele trimise de ministrul plenipotențiar al Japoniei au fost folosite pentru amenajarea acelui colț. Aceste plante reprezentau flora națională a Japoniei și erau un dar și un semn de prietenie între popoarele japonez și bulgar.

În jurul anului 1942 Grădina Borisova se întindea pe o suprafață de 90.500 m2, din care 68.600 m2 era amenajată și 4.400 m2 nu, în timp ce pe suprafața rămasă de 17.350 m2 se aflau Ștrandul de Vară, Observatorul Universității, Școala în aer liber, Lacul Mare, terenurile de fotbal Iunak și Levski, clubul de tenis, terenul de tenis al diplomaților, pista de ciclism și Stația de Redresare Iunak.

Istoria ulterioară
Turnul de Televiziune din Grădina Borisova a fost construit în perioada 1958-1959. Grădina Borisova a fost reamenajată în 1986 după planurile lui Gheorghi Radoslavov. Ea a fost proclamată în același an un model al grădinilor și parcurilor bulgărești.

Nume
Deși cneazul Boris a devenit țar în 1918, nu există nici o evidență că numele parcului s-ar fi schimbat vreodată în mod oficial pentru a reflecta acest fapt. În schimb (sau, poate, datorită acestui fapt), cuvântul cneaz a fost eliminat treptat din denumire, care a devenit pur și simplu Grădina lui Boris.

După instaurarea regimului comunist în Bulgaria în 1944, parcul a fost redenumit Парк на Свободата (Park na Svobodata - "Parcul Libertății"), până la destrămarea sa în 1989, când a revenit la denumirea originală.

Parcul în cultura populară
Parcul Boris este menționat în romanul Căpitanul Conan (1934) al scriitorului francez Roger Vercel, distins cu premiul Goncourt, ca loc de plimbare al locotenentului Norbert și loc de acostat femei al căpitanului Conan în anul următor încheierii Primului Război Mondial. Locotenentul Norbert, naratorul romanului, îi creează o imagine dezolantă:

Note

Legături externe
 Historical photographs of the Boris' Garden

 Photos of the Boris' Garden

Parcuri din Sofia

Grădina cneazului Boris


Das Haus am Marktplatz 9, auch Goldene Gans genannt, ist ein Baudenkmal, eine Gaststätte und eine ehemalige Brauerei innerhalb der denkmalgeschützten Altstadt der mittelfränkischen Stadt Weißenburg in Bayern. Das Gebäude steht auf halber Strecke zwischen der Spitalkirche und dem Schweppermannsbrunnen. Schräggegenüber befindet sich das Haus am Marktplatz 6.

Geschichte
Die Geschichte des Gebäudes Marktplatz 9 hängt sehr eng mit dem Nachbargebäude Marktplatz 11 zusammen. Das Gebäude wurde vermutlich 1792 von Georg David Preu umgebaut. Das ehemalige Gasthaus ist ein dreigeschossiger Spätbarockbau mit Mansardwalmdach. Die Gliederungen sowie das gesamte Erdgeschoss bestehen aus Naturstein. Das Gebäude besitzt eine Vortreppe.
Auf der Vorderseite des Gebäudes hängt das Wappen der Familie Preu und eine goldene Gans, die an den Namen der Gaststätte und Brauerei erinnert.

Literatur

Weblinks

Bayerisches Landesamt für Denkmalpflege

Einzelnachweise

Barockbauwerk in Weißenburg in Bayern
Baudenkmal in Weißenburg in Bayern
Erbaut im 18. Jahrhundert
Marktplatz (Weißenburg in Bayern)
Weissenburg
Gasthaus in Europa

Haus Marktplatz 9 (Weißenburg)


Aktivni elektronički upravljani antenski niz (AESA, od engleskog active electronically scanned array) jest računalno kontrolirani niz antena pogonjenih signalima pomaknutim u fazi čime se snop radiovalova može elektronički usmjeravati u različitim smjerovima bez pomicanja antene. U AESA svaka je antena u nizu povezana s malim elektroničkim modulom koji obavlja funkcije odašiljača ili prijamnika za antenu. Ovo je u suprotnosti s pasivnim elektronički upravljanim antenskim nizom (PESA) u kojem su svi elementi antene povezani s jednim odašiljačem ili prijemnikom preko mjenjača faze (phase shifter) pod kontrolom računala. AESA-ina glavna uporaba je radar, a oni su poznati kao radari s aktivnom fazno upravljanom antenskom rešetkom (APAR, od engleskog active phased array radar).

AESA je uznapredovana, sofisticiranija druga generacija izvorne PESA tehnologije. PESA mogu emitirati samo jedan snop radiovalova na jednoj frekvenciji u isto vrijeme. PESA mora koristiti Butlerovu matricu ako je potrebno više zraka. AESA može zračiti više snopova radiovalova na više frekvencija istovremeno. AESA radari mogu proširiti svoje emisije signala preko šireg raspona frekvencija, što ih čini težim za otkrivanje u odnosu na pozadinsku buku, omogućujući brodovima i zrakoplovima da zrače snažne radarske signale, a da i dalje ostanu nevidljivi, kao i da su otporniji na ometanje. Mogu se pronaći i hibridi AESA i PESA, koji se sastoje od podnizova koji pojedinačno nalikuju PESA, gdje svaki podniz ima svoj radiofrekvencijski front end. Koristeći hibridni pristup, prednosti AESA-e (npr. više neovisnih zraka) mogu se ostvariti po nižoj cijeni u usporedbi s čistim AESA-om.

Osnovni koncept
Radarski sustavi općenito rade spajanjem antene na snažan radioodašiljač za emitiranje kratkih impulsa signala. Odašiljač se tada odspoji, a antena spoji na osjetljivi prijamnik, koji pojačava svaki odjek ciljanih objekata. Mjerenjem vremena koje je potrebno da se signal vrati, radarski prijemnik može odrediti udaljenost do objekta. Prijemnik zatim šalje rezultat na neku vrstu zaslona. Elementi odašiljača su obično bile klistronske cijevi ili magnetroni, koji su prikladni za pojačavanje ili generiranje uskog raspona frekvencija do visokih razina snage. Za pretraživanje (skeniranje) dijela neba, radarska se antena mora fizički pomaknuti da bi bila usmjerena u različitim smjerovima.

AESA su rezultat daljnjeg razvoja elektronike. U starijim sustavima emitirani signal izvorno je stvoren u klistronu ili cijevi s putujućim valom ili sličnom uređaju, koji je relativno velik. Elektronika prijemnika također je bila velika zbog visokih frekvencija s kojima je radila. Uvođenje mikroelektronike galijevog arsenida kroz 1980-e poslužilo je za značajno smanjenje veličine elemenata prijemnika sve dok se učinkoviti elementi nisu mogli izgraditi u veličinama sličnim onima ručnih radija, volumena od samo nekoliko kubičnih centimetara. Uvođenje tranzistora upravljanih poljem (JFET-a i MESFET-a) učinilo je isto i odašiljačkoj strani sustava. To je dovelo do pojave pojačala-odašiljača s generatorom valnog oblika u čvrstom stanju male snage koji je napajao pojačalo, omogućujući tako opremljenom radaru da odašilje na mnogo širem rasponu frekvencija, do točke mijenjanja radne frekvencije sa svakim poslanim impulsom. Sažimanje cijelog sklopa (odašiljač, prijamnik i antena) u jedan modul odašiljač-prijemnik (TRM) veličine tetrapaka za mlijeko i slaganjem tih elemenata u niz ili rešetku nastaje AESA.

Vanjske poveznice

 Aktivni elektronički upravljani nizovi – tehnologija koja sazrijeva (ausairpower.net)
 FLUG REVUE prosinac 1998.: Moderna borbena radarska tehnologija (flug-revue.rotor.com)
 Fazno upravljane rešetke i radari – prošlost, sadašnjost i budućnost (mwjournal.com)
 Pregled vojnog AESA radara - napredak u obrani

Stranice s nepregledanim prijevodima
Radarski sustavi


Fisher Ames (født 9. april 1758 i Dedham, død 4. juli 1808 sammesteds) var en amerikansk politiker.

Ames blev 1781 sagfører i sin hjemstat, Massachusetts, og viste sig tidlig at være en ypperlig taler. I 1788 valgtes han til medlem af statens lovgivende forsamling og virkede for dens tilslutning til den nye unionsforfatning. Han valgtes derefter til kongressen, hvor han ivrig støttede Washingtons styrelse, særlig 1796 afslutning af en handelspagt med England. Ames holdt også 1797 afskedstalen til Washington, men trak sig derefter tilbage fra det offentlige liv. Dog opfordrede han 1798 sine landsmænd til kraftig modstand mod Frankrigs overdrevne krav. Hans skrifter udgavs 1854 i 2 bind og et udvalg af hans taler 1871.

Kilder

Personer fra Massachusetts
Politikere fra USA
Amerikanere i 1700-tallet
Amerikanere i 1800-tallet

Fisher Ames


Wanli was the era name of the Chinese Ming dynasty's Wanli Emperor (1563–1620), the 14th emperor of the Chinese Ming dynasty.

Wanli may also refer to:

China
Wanli District, Nanchang, district of Nanchang, Jiangxi, China
Wan Li (1916–2015), Chinese Communist revolutionary and politician who served successively as Vice Premier, Chairman of the Standing Committee of the National People's Congress (NPC), and a member of the Chinese Communist Party (CCP) Secretariat and its Politburo.
Fang Hui (1227–1307), or Wanli, Chinese historian
Wanli Education Group, group in Zhejiang, China

Taiwan
Wanli District, New Taipei, a district in New Taipei, Taiwan
Wanli River tributary of the Hualien River in Taiwan

Wanli