Berenice Alice Abbott (July 17, 1898 – December 9, 1991) was an American photographer best known for her portraits of cultural figures of the interwar period, New York City photographs of architecture and urban design of the 1930s, and science interpretation of the 1940s to the 1960s.

Early years
Abbott was born in Springfield, Ohio and brought up in Ohio by her divorced mother, née Lillian Alice Bunn (m. Charles E. Abbott in Chillicothe OH, 1886).

She attended The Ohio State University for two semesters, but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. Abbott took revealing portraits of Ray's fellow artists.

Trip to Europe, photography, and poetry

Her university studies included theater and sculpture. She spent two years studying sculpture in Paris and Berlin. She studied at the Académie de la Grande Chaumiere in Paris and the Prussian Academy of Arts in Berlin. During this time, she adopted the French spelling of her first name, "Berenice," at the suggestion of Djuna Barnes. In addition to her work in the visual arts, Abbott published poetry in the experimental literary journal transition.
Abbott first became involved with photography in 1923, when Man Ray hired her as a darkroom assistant at his portrait studio in Montparnasse. Later, she wrote: "I took to photography like a duck to water. I never wanted to do anything else." Ray was impressed by her darkroom work and allowed her to use his studio to take her own photographs. In 1921 her first major works was in an exhibition in the Parisian gallery Le Sacre du Printemps. After a short time studying photography in Berlin, she returned to Paris in 1927 and started a second studio, on the rue Servandoni.

Abbott's subjects were people in the artistic and literary worlds, including French nationals (Jean Cocteau), expatriates (James Joyce), and others just passing through the city. According to Sylvia Beach, "To be 'done' by Man Ray or Berenice Abbott meant you rated as somebody". Abbott's work was exhibited with that of Man Ray, André Kertész, and others in Paris, in the "Salon de l'Escalier" (more formally, the Premier Salon Indépendant de la Photographie), and on the staircase of the Théâtre des Champs-Élysées. Her portraiture was unusual within exhibitions of modernist photography held in 1928–1929 in Brussels and Germany.

In 1925, Man Ray introduced her to Eugène Atget's photographs. She became interested in Atget's work, and managed to persuade him to sit for a portrait in 1927. He died shortly thereafter. She acquired the prints and negatives remaining in Eugène Atget's studio at his death in 1927. While the government acquired much of Atget's archive – Atget had sold 2,621 negatives in 1920, and his friend and executor André Calmettes sold 2,000 more immediately after his death — Abbott was able to buy the remainder in June 1928, and quickly started work on its promotion. An early tangible result was the 1930 book Atget, photographe de Paris, in which she is described as photo editor. Due to a lack of funding, Abbott sold a one-half interest in the collection to Julien Levy for $1,000. Abbott's work on Atget's behalf would continue until her sale of the archive to the Museum of Modern Art in 1968. In addition to her book The World of Atget (1964), she provided the photographs for A Vision of Paris (1963), published a portfolio, Twenty Photographs, and wrote essays. Her sustained efforts helped Atget gain international recognition.

Changing New York

In early 1929, Abbott visited New York City, ostensibly with the goal of finding an American publisher for Atget's photographs. Upon seeing the city again, Abbott recognized its photographic potential. She went back to Paris, closed up her studio, and returned to New York in September. There, over the next decade, she focused on documentary photography and on portraying the city as it underwent a transformation into a modern metropolis.
During this period, Abbott became a central figure and important bridge between the photographic hubs and circles of Paris and New York City.

Her first photographs of New York were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera, which produced 8 × 10-inch negatives. Using this large format camera, Abbott photographed the city with the diligence and attention to detail she had so admired in Eugène Atget. After Atget's death in 1927, she and Julien Levy had acquired a large portion of his negatives and glass slides, which she then brought over to New York in 1929. Her subsequent work provides a historical chronicle of many now-destroyed buildings and neighborhoods in Manhattan. Abbott had her first exhibition in New York in 1937 entitled "Changing New York" at the Museum of the City of New York. A book under the same title was also published, depicting the city's physical transformation, including changes to its neighborhoods and the replacing of low rise buildings with skyscrapers.

Abbott worked on her New York project independently for six years, unable to get financial support from organizations (such as the Museum of the City of New York), foundations (such as the Guggenheim Foundation), or individuals. She supported herself with commercial work and with teaching gigs at the New School of Social Research beginning in 1933.

In 1935, Abbott was hired by the Federal Art Project (FAP) as a project supervisor for her "Changing New York" project. While she continued to take photographs of the city, she hired assistants to help her in the field and in the office. This arrangement allowed Abbott to devote all her time to producing, printing, and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were then deposited at the Museum of the City of New York.

Abbott's project was primarily a sociological study embedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior (and vice versa). Moreover, she avoided the merely pretty in favor of what she described as "fantastic" contrasts between the old and the new, and chose her camera angles and lenses to create compositions that either stabilized a subject (if she approved of it), or destabilized it (if she scorned it).

Abbott's ideas about New York were highly influenced by Lewis Mumford's historical writings from the early 1930s, which divided American history into a series of technological eras. Abbott, like Mumford, was particularly critical of America's "paleotechnic era", which, as he described it, emerged at the end of the American Civil War, a development other historians have dubbed the Second Industrial Revolution. Like Mumford, Abbott was hopeful that, through urban planning efforts (aided by her photographs), Americans would be able to wrest control of their cities away from paleotechnic forces and bring about what Mumford described as a more humane and human-scaled, "neotechnic era". Abbott's agreement with Mumford can be seen especially in the ways that she photographed buildings that had been constructed in the paleotechnic era – before the advent of urban planning. Most often, buildings from this era appeared in Abbott's photographs in compositions that made them look downright menacing.

In 1935, Abbott moved into a Greenwich Village loft with art critic Elizabeth McCausland, with whom she lived until McCausland's death in 1965. McCausland was an ardent supporter of Abbott, writing several articles for the Springfield Daily Republican, as well as for Trend and New Masses (the latter under the pseudonym Elizabeth Noble). In addition, McCausland contributed the captions for Changing New York which was published in 1939. Although well-received, the final book showed important differences from the one initially envisioned by Abbott and McCausland, especially with respect to captions and sequencing. In 1949, her photography book Greenwich Village Today and Yesterday was published by Harper & Brothers.

Ralph Steiner wrote in PM that Abbott's work was "the greatest collection of photographs of New York City ever made."

As the city and architecture are two main themes in Abbott's photographs, her work has been commented on and reviewed together with the work of Eugène Atget and Amanda Bouchenoire, in the book Architecture and Cities. Three Photographic Gazes, where author Jerome Saltz analyzes historicist perspectives and considers their aesthetic implications: "(...) the three authors coincide in the search for and exaltation of intrinsic beauty in their objectives, regardless of quality and clarity of their references."

Gallery

Beyond New York City

In 1934, Henry-Russell Hitchcock asked Abbott to photograph two subjects: antebellum architecture and the architecture of H. H. Richardson. Two decades later, Abbott and McCausland traveled US 1 from Florida to Maine, where Abbott photographed small towns and growing automobile-related architecture. The project resulted in more than 2,500 negatives.

Shortly after the trip, Abbott underwent a lung operation. She was told she should move from New York City due to air pollution. She purchased a rundown home in Blanchard, Maine along the banks of the Piscataquis River for US$1,000. Later, she moved to nearby Monson and remained in Maine until her death in 1991. Most of her work is shown in the United States, but a number of photographs are shown in Europe.

Abbott's last book was A Portrait of Maine (1968).

In 1943, Abbott was commissioned by Hudson D. Walker to photograph operations at the Red River Lumber Company in Westwood, California. Selections from her work in Westwood became part of a touring exhibition, "Lumbering and Logging in the Pine Forest of California."

Approach to photography
Abbott was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes. She also disliked the work of pictorialists who had become popular during a substantial span of her career, leaving her work without support from this school of photographers. Most of Abbott's work was influenced by what she described as her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams.

Throughout her career, Abbott's photography was very much a reflection of the rise in development of technology and society. Her works documented and extolled the New York landscape. This was guided by her belief that a modern-day invention such as the camera deserved to document the 20th century.

Scientific work
In addition to her photography, Abbott co-founded a company, the "House of Photography," which developed, promoted and sold photographic equipment and devices from 1947 to 1959. Abbott's inventions included a distortion enlarging easel, which created unusual effects on images, and the telescopic lighting pole, known today by many studio photographers as an "autopole," to which lights can be attached at any level. Owing to poor marketing, the House of Photography quickly lost money, and with the deaths of two designers, the company closed.

Abbott's style of straight photography helped her make important contributions to scientific photography. She once stated, "We live in a world made by science. There needs to be a friendly interpreter between science and the layman. I believe photography can be this spokesman, as no other form of expression can be."

From 1958 to 1960, she produced a series of photographs for a high-school physics textbook, developed by the Physical Science Study Committee project based at MIT to improve secondary school physics teaching. Her work included images of wave patterns in water and stroboscopic images of moving objects, such as Bouncing ball in diminishing arcs, which was featured on the cover of the textbook. She contributed to the understanding of physical laws and properties of solids and liquids though her studies of light and motion.

Between 1958 and 1961, she made a series of photographs for Educational Services Inc., which were later published. They were subsequently presented by the Smithsonian Institution in an exhibition titled Image of Physics. In 2012, some of her work from this era was displayed at the MIT Museum in Cambridge, Massachusetts.

Personal life
The film Berenice Abbott: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned,  "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian.

She lived with her partner, art critic Elizabeth McCausland, for 30 years.

Abbott's life and work are the subject of the 2017 novel The Realist: A Novel of Berenice Abbott, by Sarah Coleman.

The first comprehensive biography was published in 2018, Berenice Abbott: A Life in Photography by Julia Van Haaften (W. W. Norton); it was nominated for a PEN America award and a Lammy in biography, and excerpted in The Paris Review April 10, 2018.

Works, exhibitions and collections

Notable photographs
 Under the El at the Battery, 1932.
 New York at Night, 1932.
 Tempo of the City I, 1938.
 James Joyce, 1928.
 Jay Street #115, New York, c.1936.
 Automat, 977 Eighth Avenue, New York, 1936.
 Radio Row, Cortland Street, Manhattan, c. 1936.
 Marie Laurencin, Paris, c.1925.
 Triboro Barber School, New York, 1935.
 The Hands of Jean Cocteau, 1927.
 Fifth Avenue Coach Company, New York, 1932.
 Edward Hopper in His Studio, 1949.
 Fifth Avenue, Nos. 4,6,8, 1936.
 Flatiron Building, Broadway and Fifth Avenue, New York City, 1938.
 Father Duffy, Times Square, 1937.
 Gunsmith and Police Department Headquarters, 1937.
 Church of God, 1936.
 Eugene Atget, 1927.
 Edna St. Vincent Millay, c.1929.
 Wall Street and Stock Exchange, 1933.
 Esso Gasoline Station, Tenth Avenue, New York, 1935.

Books
Books of photographs by Abbott
 1939 Changing New York. New York: Dutton, 1939. With text by Elizabeth McCausland.
 Reprint: New York in the Thirties, as Photographed by Berenice Abbott (New York: Dover, 1973).
 Catalog raisonné edition: augmented, annotated by Bonnie Yochelson, ed., Berenice Abbott: Changing New York (New York: New Press and the Museum of the City of New York, 1997)  /.
 Critical edition:
 1949 Greenwich Village: Yesterday and Today. New York: Harper, 1949. With text by Henry Wysham Lanier.
 1968 A Portrait of Maine. New York: Macmillan, 1968. With text by Chenoweth Hall.

Other books by, or with major contributions from, Abbott
 1930 Atget, photographe de Paris. Paris: Henri Jonquières; New York: E. Weyhe, 1930. (As photograph editor.)
 1941 A Guide to Better Photography. New York: Crown, 1941 Revised edition: New Guide to Better Photography (New York: Crown, 1953)
 1948 The View Camera Made Simple. Chicago: Ziff-Davis, 1948
 1956 Twenty Photographs by Eugène Atget 1856–1927 (portfolio of silver prints by Abbott from original Atget negatives in her possession)
 1963 A Vision of Paris: The Photographs of Eugène Atget, the Words of Marcel Proust. New York: Macmillan, 1963. Edited by Arthur D. Trottenberg
 1964 The World of Atget. New York: Horizon, 1964. (And later editions.)
 1964 Magnet. Cleveland: World, 1964. With text by Evans G. Valens.
 1965 Motion. London: Longman Young, 1965. With text by Evans G. Valens
 1968 A Portrait of Maine. NY: Macmillan, 1968. With text by Chenoweth Hall
 1969 The Attractive Universe: Gravity and the Shape of Space. Cleveland: World, 1969. With text by Evans G. Valens
 2008 Berenice Abbott. Germany/New York: Steidl, 2008. 2v. Edited by Hank O'Neal and Ron Kurtz.
 2010 Berenice Abbott". London: Thames & Hudson, 2010, Introduction by Hank O'Neal
 2012 Berenice Abbott: Documenting Science. Göttingen: Steidl, 2012. Edited by Ron Kurtz, with introduction by Julia Van Haaften.
 2014 The Unknown Berenice Abbott. Göttingen: Steidl, 2014. 5v. Edited by Ron Kurtz and Hank O'Neal
 2015 Berenice Abbott: Paris Portraits. Göttingen, Germany: Steidl; New York: Commerce Graphics, 2016. Edited by Hank O'Neal

Anthologies of and/or about Abbott's works
 1970 Berenice Abbott: Photographs. New York: Horizon, 1970; reprinted, Washington, D.C.: Smithsonian Institution Press, 1990
 1982 O'Neal, Hank. Berenice Abbott: American Photographer. New York: McGraw-Hill, 1982. British title: Berenice Abbott: Sixty Years of Photography. London: Thames & Hudson, 1982
 1986 Berenice Abbott, fotografie / Berenice Abbott: Photographs. Venice: Ikona, 1986
 1989 Van Haaften, Julia, ed. Berenice Abbott, Photographer: A Modern Vision. New York: New York Public Library, 1989. [Winner, American Association of Museums' exhibition catalog design award]
 2009 Shimizu, Meredith Ann TeGrotenhuis. "Photography in Urban Disclosure: Berenice Abbott's Changing New York and the 1930s," Ph.D. dissertation, Northwestern University, 2009
 2012 Morel, Gaëlle. Berenice Abbott. Paris: Éditions Hazan, 2012
 2015 Berenice Abbott. Aperture Masters of Photography 9, by Julia Van Haaften. New York: Aperture, 1988; trilingual edition, 1997; completely revised edition, with new photos and text, 2015. [Chinese translation 2015

Solo exhibitions

 Weyhe Gallery, New York, NY, November 1930
 Photographs by Berenice Abbott at Julien Levy Gallery, New York, NY, September 26 – October 15, 1932
 New York Photographs by Berenice Abbott at Museum of the City of New York, New York, NY, October 1934 – January 1935
 New York Photographs by Berenice Abbott at Museum of Fine Arts, Springfield, MA, March 1935
 New York Photographs by Berenice Abbott at Jerome Stavola Gallery, Hartford, CT, April 1935
 New York Photographs by Berenice Abbott at Fine Arts Guild, Cambridge, MA, April 10–15, 1935
 Changing New York, Washington Circuit, Federal Art Project, traveling exhibition, 1936
 Changing New York at Museum of the City of New York City, NY, October 20, 1937 – January 3, 1938
 Changing New York at Teachers College Library, New York, NY, November 1937
 Solo exhibition at Hudson D. Walker Gallery, New York, NY, April 1938
 Changing New York at New York State Museum, Albany, NY, July 1938
 Changing New York at Federal Art Gallery, New York, NY, April 11–22, 1939
 Solo exhibition at Architectural League, New York, NY, April 1939
 Changing New York at Lawrenceville School, Lawrence Township, NJ, May 1939
 Changing New York at Photo League Gallery, New York, NY, July 1939
 Changing New York at New York State Employment Service, New York, NY, November–December 1939
 Changing New York at Walton High School, New York, NY, December 1939
 Photographs of New York by Berenice Abbott at The Cooper Union Library, New York, NY, November–December 1940
 Berenice Abbott, The Museum of Modern Art, New York, NY, December 1970 – February 1971
 Berenice Abbott: The Red River Photographs at Hudson D. Walker Gallery at the Fine Arts Work Center, Provincetown, Massachusetts, August–September 1979
 Berenice Abbott: The 20s and the 30s, International Center of Photography, New York City, November 22, 1981 – January 10, 1982
 Beauty of Physics at New York Academy of Sciences, New York, NY, January–April 1987
 Berenice Abbott, Photographer: A Modern Vision, The New York Public Library, New York NY, October 1989 – January 1990 (Traveled to Metropolitan Museum of Photography [Tokyo, Japan], Toledo [Ohio] Museum of Art, Corcoran Gallery of Art [Washington DC], and Portland [ME] Museum of Art, 1990–1992)
 Documenting New York: Photographs by Berenice Abbott, Dallas Museum of Art, Dallas, Texas,1992
 Berenice Abbott: Portraits, New York Views, and Science Photographs from the Permanent Collection, International Center of Photography, New York, NY, 1996
 Berenice Abbott's Changing New York, National Museum of Women in the Arts, Washington D.C.,1935–1939, 1998–99
 Berenice Abbott: Vintage Photographs of New York from the 1930s, Lee Gallery, Winchester, MA, September 1999
 Berenice Abbott: Science Photographs, The New York Public Library, New York NY, October 1999 – January 2000
 Berenice Abbott: All About Abbott, Howard Greenberg Gallery, New York, NY, September–November 2006
 Making Science Visible: The Photography of Berenice Abbott, The Fralin Museum of Art, Virginia, 2012
 Berenice Abbott (1898–1991), Photographs, Jeu de Paume, Paris, France, February–April 2012
 Berenice Abbott: Photography and Science: An Essential Unity, MIT Museum, Cambridge, Massachusetts, May–December 2012
 Berenice Abbott, Beetles & Huxley Gallery, London, England, October–November 2015
 Berenice Abbott – Photographs, Martin-Gropius-Bau, Berlin, Germany, January–March 2016
 Berenice Abbott's New York Album, 1929. Metropolitan Museum of Art, New York, March 2–September 2023

Collections
Abbott's work is held in the following permanent collections:
 New York Public Library
 Museum of the City of New York
 The Jewish Museum of New York
 New York State Museum, Albany, NY
 Smithsonian American Art Museum
 The Phillips Collection, Washington, DC
 Minneapolis Institute of Art
 Pérez Art Museum Miami, FL
 Walker Art Center, Minneapolis, MN
 Weisman Art Museum, Minneapolis
 Cleveland Museum of Art
 New Mexico Museum of Art, Santa Fe, NM
 Hunter Museum of American Art, Chattanooga, TN
 International Photography Hall of Fame, St. Louis, MO
 Rare Books and Manuscripts Library, Ohio State University libraries
 National Portrait Gallery, London, UK
 Conway Library, The Courtauld Institute of Art, London, UK
 Canadian Centre for Architecture, Montreal, Canada
Museum of Modern Art, New York: 79 prints (as of 28 August 2023)

References and sources

References

Cited sources

Further reading

 Butet-Roch, Laurence, "Berenice Abbott: Writing Her Own History," The New York Times, May 6, 2015
 Documentary Film: Berenice Abbott: A View of the Twentieth Century (1992)
 Hillstrom, L. C., & Hillstrom, K. (1999). Contemporary women artists. Detroit: St. James Press.

 Van Haaften, Julia (2018). Berenice Abbott: A Life in Photography, W. W. Norton & Company. , .

External links

 Barr, Peter, "Becoming Documentary" 2023.
 Corinne, Tee A. "Berenice Abbott" (GLBTQ: An encyclopedia of gay, lesbian, transgender and queer culture.)
 "Berenice Abbott's Photographic Prints"(Commerce Graphics Ltd, Inc.)
 Get the Picture: Berenice Abbott (Minneapolis Institute of Art)
 Berenice Abbott (Archives of Women Artists, Research and Exhibitions)
 Find A Grave

1898 births
1991 deaths
Architectural photographers
Federal Art Project artists
American lesbian artists
American LGBT photographers
LGBT people from Ohio
Women inventors
Art Students League of New York alumni
Ohio State University alumni
People from Piscataquis County, Maine
People from Manhattan
People from Springfield, Ohio
Photographers from New York (state)
20th-century American scientists
Lesbian photographers
People from Monson, Maine
Historians of photography
20th-century American inventors
20th-century American women photographers
20th-century American photographers
20th-century American LGBT people

Berenice Abbott


est une planète mineure classée comme cubewano.

Caractéristiques
2014 RM mesure environ  de diamètre, et possède une petite lune.

Références

Annexes

Articles connexes
 cubewano
 Liste des planètes mineures (511001-512000)

Liens externes

Planète mineure découverte en 2013
Planète mineure prédécouverte en 2000
Objet transneptunien binaire
Cubewano
Objet céleste découvert dans un des observatoires du Mauna Kea
Objet céleste découvert par OSSOS
Objet céleste nommé par sa désignation provisoire

(511551) 2014 UD225


විශ්වනාදන් රුද්‍රකුමාරන් යනු, ශ්‍රී ලංකාව තුල දෙමළ ඊළම නමින් වෙනමම රාජ්‍යයක් ගොඩනගා ගැනීම අරමුණු කොට ගනිමින් පිහිටුවා ගත්, දෙමළ ඊළාම් දේශාතික්‍රාන්ත ආණ්ඩුව යන සංවිධානයේ අගමැති ලෙස හඳුන්වාගන්නා පුද්ගලයා වේ. ඔහු ත්‍රස්ත සංවිධානයක් වූ දෙමළ ඊළාම් විමුක්ති කොටි (එල්ටීටීඊ) සංවිධානයේ හිටපු නීති උපදේශකයාද වෙයි. වෘත්තීයෙන් එක්සත් ජනපදයේ නීතිඥයෙකු වන රුද්‍රකුමාරන්, වර්තමානයේදී එරට නිව්යෝර්ක් හී වාසය කරයි.

මුල් අවධිය
යාපනය හිටපු නගරාධිපති විශ්වනාදන්ගේ පුත්‍රයා වූ රුද්‍රකුමාරන්, සිය අධ්‍යාපන කටයුතු යාපනය මධ්‍ය මහා විද්‍යාලයෙනුත්, කොළඹ නීති විද්‍යාලයෙනුත් හදාරණ ලදී.

එල්ටීටීඊ ත්‍රස්ත සංවිධානයේ නීති උපදේශකයා ලෙස
එල්ටීටීඊ ත්‍රස්ත සංවිධානය හමුදාමය ලෙස ශ්‍රී ලංකාව තුලදී පරාජයට පත් වීමට පෙර, රුද්‍රකුමාරන් එම ත්‍රස්ත සංවිධානයේ නායකයා වූ වේළුපිල්ලේ ප‍්‍රභාකරන්ගේ ජාත්‍යන්තර නීති උපදේශකයා සහ ජාත්‍යන්තර හා රාජ්‍යතාන්ත්‍රික කටයුතු පිළිබඳව භාරව සිටි පුද්ගලයා විය. ඔහු රජීව් ගාන්ධී ඝාතන නඩුවේ විත්ති පාර්ශවයේ සමායෝජක නීතිඥයා ලෙසත්, කැනඩාවේ පැවැති සුරේෂ් මානික්කවාසගම් නඩු විභාගයේ සහයකයා ලෙසත්, අමෙරිකා එක්සත් ජනපදය විසින් 1997 වර්ෂයේදී එල්ටීටීඊ සංවිධානය විදේශ ත්‍රස්තවාදී සංවිධානයක් ලෙස නම් කිරීමට එරෙහිවත් කටයුතු කරමින්, එල්ටීටීඊ සංවිධානය වෙත දැඩිව සහය දැක්වූ පුද්ගලයෙකු බැව්ද සඳහන් වෙයි. ශ්‍රී ලංකා රජය සමග පැවැති සමහර සාම සාකච්ඡාවන්හීදී එල්ටීටීඊ පාර්ශවය නියෝජනය කලේද රුද්‍රකුමාරන් විසිනි.

දෙමළ ඊළාම් දේශාතික්‍රාන්ත ආණ්ඩුව යන සංවිධානය තුල
වර්තමානයේදී රුද්‍රකුමාරන් දෙමළ ඊළාම් දේශාතික්‍රාන්ත ආණ්ඩුව නම් සංවිධානයේ අග්‍රාමාත්‍ය කෙනෙකු ලෙස හදුන්වනු ලබයි. මෙම පත්කිරීම සඳහා පැවැති මත විමසුම් නෝර්වේ, ප්‍රංශය, කැනඩාව, ස්විට්සර්ලන්තය, ජර්මනිය, නෙදර්ලන්තය සහ එක්සත් රාජධානිය වැනි දෙමළ ඩයාස්පෝරාව වැඩි වශයෙන් සිටින රටවල් තුල පැවැත්වූ බව පැවසෙයි.

මේවාද බලන්න
දෙමළ ඊළාම් විමුක්ති කොටි
දෙමළ ඊළම

ආශ්‍රිත

බාහිර සබැඳි
ටැමිල් එක්සයිල් ටු ෆොර්ම් 'ගවර්න්මන්ට්'

දෙමළ ජනයා
එල්.ටී.ටී.ඊ. නායකයෝ

විශ්වනාදන් රුද්‍රකුමාරන්


Tarzan in Manhattan ist ein US-amerikanischer Fernsehfilm aus dem Jahr 1989 von Regisseur Michael Schultz. In dem Action-Abenteuerfilm übernimmt Joe Lara die Rolle des Tarzan.

Handlung
Tarzan verlässt Afrika, um nach New York City zu reisen, wo er nicht nur den Tod seiner Affenmutter Kala rächen will, sondern auch Cheeta retten muss. Dieser wurde von der vermeintlich gutherzigen Brightmore Foundation entführt, damit man an ihm illegale Test an seinem Affengehirn vornehmen kann. In New York angekommen, muss sich Tarzan allerdings anderen Gefahren als denen, die er im Dschungel gewöhnt ist, trotzen. Ihm zur Seite stehen die Taxifahrerin Jane Porter und ihr schrulliger Vater, der pensionierte Polizist Archimedes "Archie" Porter.

Alle drei kommen der Organisation nahe und schaffen es, Cheeta zu befreien. Anschließend schließt sich Jane der Sicherheitsfirma ihres Vaters an und bittet Tarzan, ihnen ebenfalls zur Seite zu stehen.

Kritik

Veröffentlichung
Nachdem der Film am 15. April 1989 auf CBS zum ersten Mal ausgestrahlt worden war, erschien er in Deutschland am 5. Dezember 1989 direkt auf VHS.

Einzelnachweise

Weblinks

Filmtitel 1989
US-amerikanischer Film
Fernsehfilm (Columbia Broadcasting System)
Actionfilm
Abenteuerfilm
Film über Tarzan

Tarzan in Manhattan


Na Inglaterra, watching briefs (resumos de observação) são um processo contínuo projetado para garantir que os vestígios arqueológicos sejam identificados, investigados e registrados antes do desenvolvimento. Eles são realizados enquanto o trabalho de base (ou seja, valas de fundação e valas de utilidade) está em andamento. Este resumo estabelece os requisitos padrão para o contratante arqueológico que realizará este trabalho. Ele pode ser usado para obter orçamentos de contratantes arqueológicos (eles também precisarão de detalhes do desenvolvimento) e informará a preparação de um desenho do projeto (Esquema Escrito de Investigação), que deve ser acordado antes de iniciar o desenvolvimento.

Arquitetura civil
Construção
Engenharia civil
Ciências auxiliares da História
Arqueologia

Watching brief


El hormiguero de Humaitá (Myrmelastes humaythae), es una especie de ave paseriforme de la familia Thamnophilidae perteneciente al género Myrmelastes. Hasta recientemente hizo parte del género Schistocichla, que fue todo integrado a Myrmelastes en 2013. Es nativo de la cuenca amazónica en Sudamérica.

Distribución y hábitat
Se distribuye en el suroeste y en el centro de la Amazonia brasileña (bajo río Japurá hacia el este hasta el bajo río Negro y, al sur del río Amazonas, hacia el este hasta el río Madeira) y en el extremo norte de Bolivia (Pando).

Esta especie habita en el denso sotobosque de selvas húmedas de tierras bajas, hasta los 500 m de altitud.

Sistemática

Descripción original
La especie M. humaythae fue descrita por primera vez por el ornitólogo austríaco Carl Eduard Hellmayr en 1868 bajo el nombre científico Sclateria schistacea humaythae; localidad tipo «Humaitá, Río Madeira, Brasil».

Etimología
El nombre genérico masculino «Myrmelastes» proviene del griego «murmēx»: hormiga y «lastēs»: asaltante; significando «asaltante de hormigas»; y el nombre de la especie «humaythae», se refiere a la localidad donde fue originalmente encontrada, Humaitá, estado de Amazonas, Brasil.

Taxonomía
La presente especie fue elevada a tal rango (antes era la subespecie Schistocichla leucostigma humaythae) siguiendo a Isler et al (2007), con base en diferencias de plumaje y vocalización, lo que fue aprobado en la Propuesta N° 301 al Comité de Clasificación de Sudamérica (SACC).

Los amplios estudios de Isler et al. 2013 en relación con el género Myrmeciza, demostraron que Myrmeciza hyperythra se encontraba agrupada dentro del grupo de especies que entonces formaban el género Schistocichla (entre las cuales la presente) y que todo este grupo estaba hermanado a Sclateria naevia. A todo este grupo lo denominaron un «clado Sclateria», dentro de una tribu Pyriglenini. Para resolver esta cuestión taxonómica, propusieron agrupar M. hypeythra y Schistocichla en el género resucitado Myrmelastes. En la Propuesta N° 628 al (SACC), se aprobó este cambio, junto a todos los otros envolviendo el género Myrmeciza.

Es monotípica.

Referencias

Enlaces externos

 Videos, fotos y sonidos de  Myrmelastes humaythae en The Internet Bird Collection.
 Sonidos y mapa de distribución de Schistocichla humaythae en xeno-canto.
 Fotos y sonidos de  Myrmelastes humaythae en Wikiaves.

Aves del Amazonas
humaythae
Animales descritos en 1907
Taxones descritos por Carl Eduard Hellmayr

Myrmelastes humaythae


Die Kirchenruine Markgrafneusiedl  steht am nördlichen Ortsausgang in beherrschender Lage in der Gemeinde Markgrafneusiedl im Bezirk Gänserndorf in Niederösterreich.  Die Ruine steht unter Denkmalschutz ().

Geschichte
Die ehemalige Wehrkirche, geweiht auf den heiligen Martin von Tours, wurde Ende des 12. Jahrhunderts wohl in einem ehemaligen Siedlungsgebiet erbaut. 1574 wird sie als Wallfahrtskirche bezeichnet und 1683 urkundlich als Ruine erwähnt. Bei der Schlacht bei Wagram 1809 diente sie den Österreichern unter Erzherzog Karl als Kommandositz. 1817 wurde sie zu einer Windmühle umgebaut, dafür wurde dem Rest des Ostturms ein teilweise auskragender Rundturm aufgesetzt. In der Nacht vom 30. auf den 31. Dezember 1862 brannte das Gebäude ab.

Architektur
Das zweijochige Langhaus hat in den noch bestehenden Wänden zwei hochliegende Rundbogenfenster und Reste eines Portals. Der leicht eingezogene, quadratische Chor hat einen aufgesetzten Chorturm.

Literatur
 Die Kunstdenkmäler Österreichs. Dehio Niederösterreich nördlich der Donau 1990. Markgrafneusiedl, Kirchenruine hl. Martin mit Grundrissdarstellung, Seite 722–723.

Weblinks

Einzelnachweise

Kirchenruine
Markgrafneusiedl
Markgrafneusiedl
Windmühle in Österreich
Markgrafneusiedl
Mühle in Europa
Erbaut im 12. Jahrhundert
Profaniertes Kirchengebäude in Österreich
Baudenkmal (Niederösterreich)

Kirchenruine Markgrafneusiedl


Sigismund von Kollonitz (Nagy Levar, 28 de maio de 1677 - Viena, 12 de abril de 1751) foi um cardeal do século XVIII

Nascimento
Nasceu em Nagy Levar em 28 de maio de 1677, Nagy Levar (Gross-Schützen) (Velke Levare), arquidiocese de Esztergom, Hungria (atual Eslováquia). De uma família de origem croata. O mais novo dos sete filhos, cinco meninos e duas meninas, do conde Johann Sigismund von Kollonitsch e Regina Elisabeth von Speidl. Um de seus irmãos era Ignaz Leopold; e uma de suas duas irmãs, Anna Maria Eleonora, era uma freira carmelita em Viena. Sobrinho do cardeal Leopold Karl von Kollonitsch (1686). Seu sobrenome também está listado como Kollonitz, ou Kollonich, ou Colonicz.

Educação
Por iniciativa do tio arcebispo, a partir de 1688, estudou no Ginásio Jesuíta de Neuhaus, na Boêmia, onde conheceu Francisco II Rákóczi, príncipe da Transilvânia; mais tarde, também por recomendação do tio, estudou em Roma, de 1693 a 1699, no Collegio Germanico , onde obteve o doutorado em filosofia e teologia; e no Pontifício Ateneu Romano de S. Apollinare . Enquanto ele estava em Roma, seu tio deu-lhe um canonicato no capítulo da catedral metropolitana de Esztergom.

Sacerdócio
Foi ordenado sacerdote em 22 de outubro de 1699. Celebrou sua primeira missa em 15 de outubro de 1699, na Igreja Carmelita de Viena, na presença do imperador Leopoldo I e sua esposa, a imperatriz Eleanor (2) . Ele tomou posse de seu canonicato em Esztergom em 1700. Em 1704, tornou-se arquidiácono de Sasvár. Conselheiro real do rei da Hungria, em 1705. Em dezembro de 1708, o imperador Joseph I o nomeou bispo de Vác, na Hungria.

Episcopado
Eleito bispo de Vác, 14 de outubro de 1709 (3). Consagrado, 7 de dezembro de 1709 (sem mais informações encontradas). Em Vác teve que reconstruir a diocese recentemente libertada dos turcos e trabalhar pela conversão de muitos não católicos; instalando pensões, cuidou dos jovens sacerdotes; em 1712, fundou uma escola piarista; e ele também aumentou o número de cônegos da catedral e aumentou sua renda. Nomeado para a sé de Viena pelo imperador Carlos VI em 16 de abril de 1716. Transferido para essa sé em 1º de julho de 1716. Em dezembro de 1716, ele emitiu uma ordem detalhada para o clero; nele, entre outras coisas, exortou o clero a usar roupas sacerdotais, viver uma vida santa e celebrar a missa solene e respeitosamente; ordenou que todo sacerdote, pelo menos uma vez ao ano, participasse dos exercícios espirituais. Em 1717, ordenou o interrogatório dos padres estrangeiros e estabeleceu que a permissão para a celebração da missa fosse concedida apenas por um mês; e que após três prorrogações, eles deveriam demonstrar que haviam participado do exercício espiritual. Além disso, os padres foram obrigados à confissão semanal e, pela primeira vez, foram criados catálogos de padres diocesanos. Além disso, todos os sacerdotes que estivessem exercendo algum ofício no ministério tinham que participar de reuniões espirituais semanais. Também foi estabelecido um rigoroso exame dos candidatos à ordenação. Para garantir o aumento do número de jovens sacerdotes, ele aumentou os lugares da fundação de ex-alunos de seis para doze. Fundou um seminário teológico; e introduziu retiros para leigos em 1719. Foi membro do Conselho Privado Imperial de 1719 a 1723;

Cardinalado
Criado cardeal sacerdote no consistório de 26 de novembro de 1727; com um breve apostólico de 23 de dezembro de 1727, o papa lhe enviou o barrete vermelho; o imperador impôs o barrete ao novo cardeal em 4 de abril de 1728, na igreja dos agostinianos. Para cobrir as despesas associadas ao cardinalato, o imperador deu-lhe em 1728 a abadia de São Miguel em Báta, diocese de Pécs, Hungria; e também o cargo de reitor de Zwettl e da paróquia soberana associada de Eggenburg. Nomeado inquisidor geral para Espanha e Sicília, 27 de novembro de 1728 (4); neste cargo contou com a ajuda do padre Georg Ruess, OESA Em 1729 a arquidiocese de Viena recebeu cerca de oitenta paróquias que até então pertenciam à diocese de Passau, que ficavam no distrito dos Bosques de Viena. Em conexão com a expansão do território arquidiocesano, o cardeal conseguiu o estabelecimento de um bispo auxiliar permanente. O cardeal procurou conhecer as novas paróquias e visitá-las rapidamente. Em um longo processo, ele alcançou em 1729 a eliminação da isenção do capítulo. Em compensação, em 1734, deu aos cônegos dos capítulos o direito ao uso da pontificalia . Participou do conclave de 1730, que elegeu o Papa Clemente XII. Recebeu o chapéu vermelho e o título de Ss. Marcellino e Pietro, 14 de agosto de 1730. Protetor da Ordem de Szent Paul (Padres Paulinos) na Áustria, Hungria, Polônia e ao longo do Reno, 21 de julho de 1734. Membro da comissão para examinar as queixas dos protestantes na Hungria, 1734. Para promover a devoção à Eucaristia, estabeleceu a oração de 40 horas; ordenou que os sacerdotes da arquidiocese acompanhassem o Santíssimo Sacramento em procissões com tochas. Em 1735, o cardeal KoIlonitsch também ordenou que, em memória do sofrimento de Cristo, o sino tocasse na quinta-feira à noite e na sexta-feira de manhã. A veneração de São João de Nepomuk foi fortemente promovida; e o cardeal também criou um novo ritual diocesano. Em 1736,(5) . Ele apresentou um programa de contra-reforma com base nas disposições religiosas da Paz de Vestfália. Este movimento, embora sem sucesso, trouxe várias melhorias. Nas terras das missões foi nomeado capelão na própria Viena com a preocupação pelos convertidos. O cardeal também construiu o Konvertitenkassa . Protetor da Alemanha, 1738; ele ocupou o cargo até sua morte. Os maçons se opuseram veementemente ao cardeal KoIlonitsch. Por proposta do cardeal, os judeus de Viena foram agrupados em um gueto. Participou do conclave de 1740, que elegeu o Papa Bento XIV. Optou pelo título de S. Crisogono, em 29 de agosto de 1740. Em 1740, foi incumbido de representar os interesses da Casa dos Habsburgos. Também em 1740, ele proibiu a introdução de novas estátuas e suas roupas incomuns. O cardeal Kollonitsch tinha a confiança da corte imperial e durante as reformas implementadas pela imperatriz Maria Teresa, ajudou na medida em que proibiu os pregadores de criticar as ações do monarca. Em questões puramente espirituais, porém, defendeu-se da intervenção do governo. Ele tomou uma série de iniciativas para melhorar a educação e disciplina do clero e intensificar o cuidado pastoral, incluindo visitas regulares. Em 1741, o cardeal estabeleceu a dignidade de mestre-escola no capítulo da catedral; e em 1743, seguindo as diretrizes do Concílio de Trento, o de cônego teólogo. Para a cura na catedral metropolitana de Sankt Stefan, os estatutos que ele havia emitido em 1723 foram aprimorados significativamente em 1741; ele viu o estabelecimento dovita communis também para o clero secular. Devido ao grande aumento da população de Viena, o cardeal teve que aumentar o número de paróquias e capelas, bem como vicariatos. Ele promoveu o estabelecimento dos Escolápios, das Irmãs Salesianas e dos Franciscanos em toda a arquidiocese. Ao mesmo tempo, o cardeal protegeu o clero secular contra a interferência do clero religioso em seus direitos pastorais. Em 1743, foi nomeado protetor da Áustria e da Hungria, sucedendo ao cardeal Niccolò del Giudice. Em 1746, ele teve que aceitar uma repreensão por não cumprir o Placetum regium. Ele mandou imprimir um catecismo diocesano; e ordenou que aos domingos e feriados o Evangelho fosse lido na língua local; na catedral, após o sermão de domingo, foi introduzido um rosário adicional. Em 1749, o cardeal estabeleceu que todos os professores da escola deveriam passar por um teste de religião antes de assumir seus cargos. O cardeal foi diretor e presidente da Hofalmosenkassaaté 1749. Em 8 de setembro de 1750, o cardeal pediu a Bento XIV que nomeasse o cônego Johannes Joseph von Trautson de Passau seu coadjutor com direito de sucessão; o papa elegeu o cônego bispo em 7 de dezembro de 1750; e o cardeal pessoalmente o consagrou arcebispo titular de Cartago na missa da meia-noite de 1750. Como construtor, o cardeal se preocupou especialmente com as igrejas que estavam na propriedade da família ou subordinadas ao patrocínio do arcebispo, como em Großschützen, Obersiebenbrunn, Viena -St. Veit, Oberlaa e outras igrejas da aldeia; ele também construiu o palácio do arcebispo e renovou o palácio em St. Veit. Na administração das temporalidades, mostrou grande talento e diligência, de modo que a arquidiocese estava bem ordenada e em sólida situação financeira à sua morte.

Morte
Morreu em Viena em 12 de abril de 1751, de manhã cedo. Exposto e enterrado na catedral metropolitana de Viena. Em seu testamento, ele ordenou que a posse da família caísse após a extinção da linhagem masculina dos condes de Kollonitsch para a arquidiocese de Viena; desta forma, a arquidiocese em 1874 passou a possuir as propriedades de Kollonitsch-Obersiebenbrunn e Jedenspeigen; além disso, o falecido cardeal deixou como beneficiários o capítulo da catedral metropolitana de Viena, a missão catequética dos jesuítas em Parham e os pobres.

Cardeais nomeados pelo papa Bento XIII

Sigismund von Kollonitz


Daisy Ann Peterkin, née le 16 septembre 1884 à Saint-Louis et morte le 12 août 1952 à Miami Beach, est une danseuse sur pointes américaine de vaudeville et des Ziegfeld Follies, du début du. Elle danse masquée sous le mystérieux pseudonyme de Le Domino Rouge et se révèle ensuite sous le nom de  Dazie.

Biographie
Daisy Peterkin est née à Saint-Louis. Sa famille déménage à Détroit, où elle grandit. Elle fait ses débuts encore enfant dans le vaudeville au Wonderland Theatre de Detroit. Elle étudie la danse à New York avec le professeur de danse Claude Alvienne.

Elle danse dans des théâtres de vaudeville, et apparait notamment, au Hopkins' Theatre de Chicago en 1899 et dans The Belle of New York au Casino Theater de New York en 1900.

Elle fait sa première apparition à Londres, au Palace Theatre, en juin 1901. La même année, elle part pour étudier le ballet classique et rejoint le ballet impérial à Saint-Petersbourg où elle est nommée seconde ballerine du ballet du théâtre Mariinsky. Ensuite, Dazie apparait dans les principaux music-halls de Londres, Paris, Berlin, Breslau, Vienne, Budapest et Hambourg.

En 1904, elle retourne aux États-Unis  pour une tournée de dix semaines sur le circuit de vaudeville de B.F. Keith. Au cours de la saison, elle est engagée au Wistaria Groves Rooftop à New York, sous la direction des producteurs Louis Werba et Mark Luescher qui devient son époux et manager. Luescher présente Dazie, comme Le Domino Rouge, vêtue de rouge et les traits cachés par un masque rouge. C'est aux Folies Bergère qu'elle apparait pour la première fois comme Le Domino Rouge. L'idée séduit le public. Les engagements à Paris et à Londres suivent.

Elle revient en Amérique en 1905 sous le nom de Domino Rouge et fait sensation.  Elle se produit au  et au Wistaria Groves Rooftop à New York et porte le masque lors de toutes ses apparitions publiques.

Elle revient à Paris en septembre 1905 et danse pendant deux mois au Casino de Paris.

En aout 1906, elle est à Londres pour se produire au Palace Theatre. Elle  sauve un enfant qui se noyait dans les eaux de Hyde Park.

Fin 1906, elle se démasque devant une salle comble au Weber and Fields' Music Hall de New York . Elle est engagée par Oscar Hammerstein comme première danseuse de la Manhattan Opera Company pour la saison 1906-1907.

C'est sous le nom de  Dazie qu'elle apparait dans les Ziegfeld Follies de 1907 au Jardin de Paris où elle interprète notamment Salomé dans la Danse des sept voiles, portant une jupe de gaze taille basse, un cercle de perles sur chaque sein, une aigrette sur le front, avec quatre filles costumées en paons ; elle danse aussi  « Doll Dance », un « Jiu-Jitsu », pas de deux avec le Prince Tokio, et un . Elle apparait aussi dans les Ziegfeld Follies de 1908  dans la « Danse Harlequinette ». En 1908,  Dazie ouvre une « Salomé School» sur le toit-jardin du théâtre. À l'été 1908, elle envoie environ 150 Salomé chaque mois dans les circuits de vaudeville du pays.

Elle joue dans le vaudeville avec sa propre compagnie de danse entre 1909 et 1911.

En 1911, elle apparait dans le rôle de La Sylphide dans  au Winter Garden.

Elle tourne avec le B. F. Keith Circuit dans un Ballet-pantomime, L'Amour d'Artiste, et fait la une du Palace Theatre à Broadway en 1917, dans un autre ballet-pantomime dirigé par Herbert Brenon. En 1918, elle danse avec Elsie Janis, au Palace Theatre une danse jazz avec un « toe rag » et une « airplane dance ».

Elle est la tête d'affiche du ballet The Garden of Punchinello mis en scène par Herbert Brenon au Palace. Sa dernière représentation sur scène est dans Aphrodite, en 1919.

Elle se retire de la scène en 1923.

Théâtre à Broadway
 The Belle of New York, 22 janvier 1900
 Ziegfeld Follies de 1907, 8 juillet 1907
 Ziegfeld Folies de 1908, 15 juin 1908
 La Belle Paree / Bow-Sing / Tortajada, 20 mars 1911
 La Belle Paree, 11 septembre 1911
 The Merry Countess, 20 août 1912
 Maid in America, 18 février 1915.
 Aphrodite, 24 novembre 1919

Cinéma
 1921 : , d'Emile Chautard.

Vie privée
En 1906, elle épouse Mark Luescher, son manager et directeur de théâtre. Ils divorcent en 1910.

En 1914, elle épouse Cornelius Fellowes Jr, président de la St. Nicholas Hygeia Ice Company, fils d'un célèbre cavalier et propriétaire de chevaux de course.

Hommage
Un cheval de course primé, une jument pur-sang porte son nom et a eu une lignée de plusieurs chevaux de course à succès.

Héritage
Gladys Brockwell joue  Dazie dans Spangles, film muet de1926.

Références

Voir aussi

Bibliographie
 :
.
.

Liens externes

Naissance en septembre 1884
Décès en août 1952
Danseuse américaine du XXe siècle
Danseuse de danse classique
Ziegfeld Girl
Danseuse de comédie musicale
Décès à 67 ans

Mademoiselle Dazie


An Aristida chapadensis in uska species han Liliopsida nga ginhulagway ni Carl Bernhard von Trinius. An Aristida chapadensis in nahilalakip ha genus nga Aristida, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Aristida

Aristida chapadensis


Zeyna: Savaşçı Prenses, Lucy Lawless'in başrol oynadığı 1995-2001 arası yayımlanan TV dizisi.  Özgün yazılışı Xena.
 Zeyna, bilimadamları tarafından Eris veya 2003 UB313 olarak adlandırılan cüce gezegene basında verilen isim.  Özgün adlarından biri de Xena.

Zeyna


في حصار باريس من 25 نوفمبر 885 إلى أكتوبر، 886، قام الفايكنج بحصار مدينة باريس، يعتبر أهم حدث في عهد الإمبراطور كارل البدين ونقطة تحول في سلالة الكارولنجيون، الذين فقدوا مصداقيتهم وفسح المجال امام الكابيتيون.

مراجع

885
886
التاريخ العسكري باريس
العصور الوسطى المبكرة
القرن 9
مملكة الفرنجة الغربيين في القرن 9
تاريخ فرنسا
حصارات الإمبراطورية الكارولنجية
حصارات فرنسا
رولو الأول دوق نورماندي
عصر الفايكنج في فرنسا
معارك الفايكنج
معارك في إيل دو فرانس
نزاعات في عقد 880

حصار باريس (885-886)


Rubén Antonio González Medina CMF (* 9. Februar 1949 in Santurce) ist ein puerto-ricanischer Ordensgeistlicher und römisch-katholischer Bischof von Ponce.

Leben
Rubén Antonio González Medina trat der Ordensgemeinschaft der Claretiner bei und empfing am 9. Februar 1975 die Priesterweihe.

Papst Johannes Paul II. ernannte ihn am 12. Dezember 2000 zum Bischof von Caguas. Der Alterzbischof von San Juan de Puerto Rico, Luis Kardinal Aponte Martínez, spendete ihm am 4. Februar des nächsten Jahres die Bischofsweihe; Mitkonsekratoren waren François Robert Bacqué, Apostolischer Nuntius in der Dominikanischen Republik, und Roberto Octavio González Nieves OFM, Erzbischof von San Juan de Puerto Rico.

Am 22. Dezember 2015 ernannte ihn Papst Franziskus zum Bischof von Ponce. Die Amtseinführung fand am 31. Januar des folgenden Jahres statt.

Weblinks

Einzelnachweise

Römisch-katholischer Bischof (21. Jahrhundert)
Römisch-katholischer Geistlicher (20. Jahrhundert)
Claretiner
Puerto-Ricaner
Geboren 1949
Mann
Person (Ponce, Puerto Rico)

Rubén Antonio González Medina


Soldere Suyu, Soldere veya Suçıkan diye tabir edilen dere Uludağ'ın eriyen kar sularının yer altından (Unçukuru köyünün altından geçtiği tahmin ediliyor) geçerek Söğütalan bucak merkezi yakınındaki Kayalık bir mağaradan gürültüyle çıkmasıyla oluşur ve oldukça soğuktur. Bu dere suları, yeşil ağaçlık bir vadide akarak Hacıali Köyü yakınlarında Kirmasti çayına ulaşır. Kabulbaba, İlyasçılar, Güller ve Hacıali'deki 12 su değirmenini üzerinde bulundurur. Fakat un fabrikalarının açılmasıyla beraber 2 tanesi hariç diğerleri kapanmıştır. Civar köylerin su ihtiyacının buradan karşılanmasından sonra biraz azalsa da halen akmaktadır. Görülecek en güzel yerler suyun çıktığı mağara ve civarıdır.

Bol miktarda tatlı su balığını barındıran Soldere, ayrıca irili ufaklı birçok şelaleye de sahiptir. Soldere boyunca güzel bir yürüyüş yapılabileceği gibi, tatlı su balığı avlamak içinde ideal bir yerdir.

Bursa ilindeki yeryüzü şekilleri
Türkiye'deki dereler

Soldere Suyu


Masna se puede referir a:

 Masma, distrito de Junín, Perú.
 Masma, localidad de Junín, Perú, capital del distrito homónimo.
 Masma, río de Galicia, España.

Masma


Morning care is a hygiene routine provided by personal support workers, nursing assistants, nurses, and other workers for patients and residents of care facilities each morning. The care routine typically includes washing the face, combing hair, shaving, putting on cosmetics, toileting, getting dressed, and similar activities.  Nurses may also check the patients' temperature, check medical equipment, replenish IV bags, change dressings, or do other daily or semi-daily tasks at this time.

Most morning care duties are basic activities of daily living.  Different people require different levels of support for morning care, depending on their performance status.  Some people may be able to complete morning care with little or no support from healthcare workers, while others may require the worker to perform all the tasks completely.

Patient preferences may dictate aspects of morning care, such as the order of tasks done, the type of soap used, or whether bathing is a morning or afternoon activity.

Some basic housekeeping, such as changing bedsheets, may be done at the same time.

References

Nursing

Morning care


ملعب أنجيلو ماسيمينو ملعب متعدد الاستخدامات لعدة رياضات يقع في مدينة كاتانيا الإيطالية . يعتبر الملعب الرئيسي لمباريات نادي كاتانيا . تم افتتاحه في 1937 ويتسع لحضور 23420 متفرج .

مراجع

كرة القدم في صقلية
تأسيسات سنة 1937 في إيطاليا
ملاعب الدوري الإيطالي
ملاعب رياضية اكتملت في 1937
ملاعب رياضية في قطانية
أ
نادي كاتانيا

ملعب أنجيلو ماسيمينو


Das Schloss Erb befindet sich im Ortsteil Untererb der Gemeinde Lengau im Bezirk Braunau in Oberösterreich.

Geschichte
Als Erbauungsjahr von Erb wird das Jahr 1150 vermutet. Die ursprünglichen Erbauer sind nicht bekannt. Nach einem Umbau von 1365 wird Erb im Friedberger Urbar als Schloss bezeichnet. Alexius Rainer zu Erb und Teichstätt war 1483 Besitzer des Schlosses. Die Rainers waren bis 1608 Inhaber. Erb war bayrisches Lehen; 1608 verlieh Herzog Max I. von Bayern Erb an Sophia von Lerchenfeld, die Witwe des Freiherrn Albrecht von Lerchenfeld, geborene Stockhausen. Sie starb am 27. August 1649 an der Pest. Anna Violante, Tochter von Sophia, brachte das Gut in ihre Ehe mit dem Reichsfreiherrn Lorenz von Alt- und Neufrauenhofen ein.

1650 wurde die Schlosskapelle gebaut und zu Ehren des "Maria Hilf"-Festes geweiht; der Hochaltar trägt ein Bild Mariens. Zu Beginn des 18. Jahrhunderts war Erb im Besitz der Freiherrn von Frauenhofen. In der 2. Hälfte des 18. Jahrhunderts gelangte Erb auf dem Heiratsweg an die Grafen von Törring (1768, August Graf Törring). 1815 erfolgte die Allodialisierung des Sitzes. Zwischen 1831 und 1852 war Erb im Besitz des Heinrich Edlen von Bohn. Von diesem erwarb Josef Berner das Schloss (bis 1863). Ihm folgten Johann Berner (1863–1911), dann Martin, Mathias und Maria Berner (1911–1920). In weiterer Folge kam das Schloss an Franz und Maria Erlach (1920–1924). Diese verkauften den Besitz an die Glashütte Schneegattern, die den Ansitz als Arbeiterunterkunft verwendete (1924–1939). Die folgenden Jahre waren von Verfall gekennzeichnet: Die zum Schloss gehörenden Gründe wurden schrittweise verkauft und verschiedene Steindenkmäler aus dem Schloss entfernt.

1939 erwarb Baron Achim Haebler das Gebäude und begann mit der neuerlichen Instandsetzung; es folgten Erna von Haebler (bis 1944) und dann Alexander, Beatrix und Achim Haebler. Heute ist das Schloss Erb im Besitz von Herrn Haupt-Stummer aus Wien.

Schloss Erb heute
Das Schloss liegt in einer Ebene, unmittelbar an der Kobernaußer Straße. Auf dem Stich von Michael Wening wird es als "Sitz" bezeichnet. Erb war also keine verteidigungsfähige Burg, sondern ein ritterlicher Ansitz. Der Bau stammt im Wesentlichen aus dem 17. Jahrhundert.

Der Hauptbau ist an seinem hohen Walmdach zu erkennen. An diesem dreigeschoßigen Gebäude sind eingeschoßige, von Türmen flankierte Flügel angebaut, die einen schmalen Hof einschließen. Während der Haupttrakt Wohnzwecken diente, wurden die Seitentrakte zu Wirtschaftszwecken verwendet. Im dritten Geschoß des Haupttraktes befinden sich ein Rittersaal und ein Erkerzimmer mit Kassettendecke. Alle Fenster sind mit schmiedeeisernen Rautengittern versehen. Über dem Haupteingang des Schlosses befindet sich eine Sonnenuhr. Die linke Ecke des Tortraktes wird von einem vorgeschobenen fünfeckigen Turm gebildet.

An der vierten Ecke befindet sich der vorspringende Chor der Schlosskapelle. Die tonnengewölbte Kapelle ist mit Stuck verziert; der Stuck stammt von Vierthaler (1730), Altar und Chorgitter von 1721. Die Schlosskapelle wurde 1980/81 restauriert und ist für eine Samstags-Vorabendmesse zwischen Osten und der Adventszeit öffentlich zugänglich.

Das Schloss ist von einem Park mit Barockfiguren umgeben.

Literatur

Weblinks

Erb
Bauwerk in Lengau
Schwemmbach
Baudenkmal (Oberösterreich)
Erb

Schloss Erb


The Belarusian Latin alphabet or Łacinka (from , BGN/PCGN: , ) for the Latin script in general is the common name for writing Belarusian using Latin script. It is similar to the Sorbian alphabet and incorporates features of the Polish and Czech alphabets. Today, Belarusian most commonly uses the Cyrillic alphabet.

Use
Łacinka was used in the Belarusian area from the 16th century until the 1930s. During the time of the Nazi German-occupied Belarusian territories, the Łacinka script was used as the only official script for the Belarusian language.

It is used occasionally in its current form by certain authors, groups and promoters in the Naša Niva weekly, the ARCHE journal, and some of the Belarusian diaspora press on the Internet.

The system of romanisation in the Łacinka is phonological rather than orthographical, and thus certain orthographic conventions must be known. For instance, the Łacinka equivalent to Cyrillic  can be je or ie, depending on its position in a word. Also, there is no soft sign in Łacinka; palatalisation is instead represented by a diacritic on the preceding consonant.

The official Belarusian romanisation 2007 system is similar to Łacinka but transliterates Cyrillic л in different ways: л = ł (Łacinka) = l (official), ль = l (Łacinka) = ĺ (official), ля = la (Łacinka) = lia (official).

History

In the 16th century, the first known Latin renderings of Belarusian Cyrillic text occurred, in quotes of Ruthenian in Polish and Latin texts. The renderings were not standardised, and Polish orthography seems to have been used for Old Belarusian sounds.

In the 17th century, Belarusian Catholics gradually increased their use of the Latin script but still largely in parallel with the Cyrillic. Before the 17th century, the Belarusian Catholics had often used the Cyrillic script.

In the 18th century, the Latin script was used, in parallel with Cyrillic, in some literary works, like in drama for contemporary Belarusian.

In the 19th century, some Polish and Belarusian writers of Polish cultural background sometimes or always used the Latin script in their works in Belarusian, notably Jan Čačot, Paŭluk Bahrym, Vincent Dunin-Marcinkievič, Francišak Bahuševič, and Adam Hurynovič. The Revolutionary Democrat Kastuś Kalinoŭski used only the Latin script in his newspaper Peasants' Truth (, in Latin script: Mużyckaja prauda, or Mužyckaja praŭda; six issues in 1862–1863).

Such introduction of the Latin script for the language broke with the long Cyrillic tradition and is sometimes explained by the unfamiliarity of the 19th century writers with the history of the language or with the language itself or by the impossibility of acquiring or using the Cyrillic type at the printers that the writers had been using.

The custom of using the Latin script for Belarusian text gradually ceased to be common, but at the beginning of the 20th century, there were still several examples of use of the Latin script in Belarusian printing:

Newspaper Naša Dola (1906).
Newspaper Naša Niva (the issues during 10.11.1906 – 31.10.1912) — issues in both Cyrillic and Latin (with the subheading: Printed weekly in Russian and in Polish letters (in Latin script: Wychodzić szto tydzień ruskimi i polskimi literami)).
Ciotka's Belarusian Violin (, Skrypka biełaruskaja), Baptism to Freedom (, Chrest na swabodu) — books of poetry.
Ciotka's First reading for Belarusian children (, Perszaje czytannie dla dzietak-biełarusaŭ) — an attempt at creating a Belarusian elementary reading book.
Janka Kupała's Zither Player (, Huslar; 1910) — book of poetry.
 rev. Balasłaŭ Pačopka's Belarusian Grammar (1915, publ. in 1918) — Belarusian grammar, based entirely on Latin script, but is claimed by Belarusian linguists, however, to be prepared unscientifically and breaking the traditions of the Belarusian language. See also Belarusian grammar.

In the 1920s in the Belarusian SSR, like the Belarusian Academic Conference (1926), some suggestions were made to consider a transition of the Belarusian grammar to the Latin script (for example, Źmicier Žyłunovič for "making the Belarusian grammar more progressive"). However, they were rejected by the Belarusian linguists (such as Vacłaŭ Łastoŭski).

From the 1920s to 1939, after the partition of Belarus (1921), the use of a modified Latin script was reintroduced to Belarusian printing in Western Belarus, chiefly for political reasons. The proposed form of the Belarusian Latin alphabet and some grammar rules were introduced for the first time in the 5th (unofficial) edition of Taraškievič's grammar (Vilnia, 1929).

Belarusian was written in the Latin script in 1941 to 1944 in the German-occupied Belarusian territories and by the Belarusian diaspora in Prague (1920s – c.1945).

After the Second World War, Belarusian was occasionally written in the Latin script by the Belarusian diaspora in Western Europe and the Americas (notably in West Germany and the United States). In 1962, Jan Stankievič proposed a completely new Belarusian Latin alphabet.

Today

Nowadays, Łacinka is used rarely apart from some posters and badges. Yet, some books continue to be published in this script. For instance:
 Uładzimir Arłoŭ. 2015. Patria Aeterna. Apaviadańni [Patria Aeterna: Short Stories]. Minsk: A. N. Varaksin.
 Ričardas Gavelis. 2018. Vilenski pokier [Vilnius Poker] (translated from the Lithuanian by Paŭlina Vituščanka). Vilnius: Logvino literatūros namai and Minsk: Lohvinaŭ. . NB: The paper book was published in Cyrillic in Taraškievica. Yet, the ebook is available in three orthographically and scriptaly different versions, namely, also in Łacinka and official orthography, apart from the faithful copy of the paper edition.
 Alhierd Bacharevič. 2022. Vieršy Вершы  [Poems]. Prague: Vydaviectva Viasna Выдавецтва Вясна., 142pp. NB: Each poem is given in Łacinka and Cyrillic.
 In Vilnius since 1997 functions a magazine Рунь (Ruń, ISNN 1392-7671), recent issues of which include  articles in both Cyrillic Taraškievica and Łacinka.

In late 2021 a VK project of the Latin alphabet-based Belarusian Wikipedia, that is, the Biełaruskaja Wikipedyja łacinkaj, commenced.

On the occasion of the International Mother Language Day (February 21) in 2023, a machine-converted website edition of Naša Niva in Łacinka was launched.

See also
 Romanization of Belarusian
 Instruction on transliteration of Belarusian geographical names with letters of Latin script
 Russian Latin alphabet
 Ukrainian Latin alphabet

References

Ad. Stankiewič. Biełaruskaja mowa ŭ škołach Biełarusi – Wilnia : Wydawiectwa "Biełaruskaje krynicy". Bieł. Druk. Im. Fr. Skaryny ŭ Wilni Ludwisarskaja 1, 1928; Менск : Беларускае коопэрацыйна-выдавецкае таварыства ″Адраджэньне″, 1993 [факсімільн.]
Б. Тарашкевіч. Беларуская граматыка для школ. – Вільня : Беларуская друкарня ім. Фр. Скарыны, 1929; Мн. : «Народная асвета», 1991 [факсімільн.]. – Выданьне пятае пераробленае і пашыранае.
Да рэформы беларускай азбукі. // Працы акадэмічнае канферэнцыі па рэформе беларускага правапісу і азбукі. – Мн. : [б. м.], 1927.
Дунін-Марцінкевіч В. Творы / [Уклад., прадм. і камент. Я. Янушкевіча]. – Мн. : Маст. літ., 1984.
К. Калиновский: Из печатного и рукописного наследия/Ин-т истории партии при ЦК КП Белоруссии – фил. Ин-та марксизма-ленинизма при ЦК КПСС. – Мн.: Беларусь, 1988.
Сцяпан Некрашэвіч. Садаклад па рэформе беларускага правапісу на акадэмічнай канферэнцыі 1926 г. // Выбраныя навуковыя працы акадэміка С. Н. Некрашэвіча: Да 120-годдзя з дня нараджэння / НАН Беларусі; Ін-т мовазнаўства імя Я. Коласа; Навук. рэд. А. І. Падлужны. – Мн. : 2004.
Як правільна гаварыць і пісаць пабеларуску. Беларускія корэспондэнцыйныя курсы ў Празе. – Прага : Dr. Jan Ermačenko, Běloruské vydavatelství, 1941; Менск : Беларускае коопэрацыйна-выдавецкае таварыства ″Адраджэньне″, 1992 [факсімільн.]. –  Міжнародная асацыяцыя беларусістаў, 1992. – Беларускае таварыства архівістаў, 1992.
Ян Станкевіч. Б. Тарашкевіч: Беларуская граматыка для школ. Выданьне пятае пераробленае і пашыранае. Вільня. 1929 г., бал. 132 + IV [1930–1931] // Ян Станкевіч. Збор твораў у двух тамах. Т. 1. – Мн.: Энцыклапедыкс, 2002.
Ян Станкевіч. Беларуская Акадэмічная Конфэрэнцыя 14.—21.XI.1926 і яе працы дзеля рэформы беларускае абэцэды й правапісу (агульны агляд) [1927] // Ян Станкевіч. Збор твораў у двух тамах. Т. 1. – Мн.: Энцыклапедыкс, 2002.
Ян Станкевіч. Як правільна гаварыць і пісаць пабеларуску (Пастановы Зборкаў Чысьціні Беларускае Мовы) [Вільня, 1937] // Ян Станкевіч. Збор твораў у двух тамах. Т. 1. – Мн.: Энцыклапедыкс, 2002.
Ян Станкевіч. Які мае быць парадак літараў беларускае абэцады [1962] // Ян Станкевіч. Збор твораў у двух тамах. Т. 2. – Мн.: Энцыклапедыкс, 2002.

External links

 Essay on "Łacinka"
 English-language introduction to a web site previously dedicated to "Łacinka" and totally written in "Łacinka"
 Online romanizer for Belarusian texts and websites

Belarusian
Latin alphabet
Proposals

Belarusian Latin alphabet


.pt ist die länderspezifische Top-Level-Domain (ccTLD) des Staates Portugal. Diese Top-Level-Domain wurde am 30. Juni 1988 bei der IANA registriert. Technisch verwaltet wird sie von der Assis Neves Guerreiro (Stiftung für nationales wissenschaftliches Rechnen) in Lissabon auf acht Servern in Portugal und anderen Ländern.

Eigenschaften
Bei einer Registrierung wird von Unternehmen eine Umsatzsteuernummer verlangt, von Privatpersonen die Personalausweisnummer. Außer einer individuell frei wählbaren Domain-Endung direkt unter .pt ist auch eine .com.pt-Endung möglich.

Am 1. Mai 2012 lockerte die zuständige portugiesische Behörde Foundation for National Scientific Computing (FCCN) die Vergabekriterien für .pt-Domains derart, dass sie nun praktisch jedermann zur Verfügung stehen. Zuvor war dies nur Unternehmen, Freiberuflern, öffentlichen oder privaten Einrichtungen und Markeninhabern gestattet. Infolge der Liberalisierung stieg die Verbreitung der Adresse rasant an, .pt hat gegenüber anderen ccTLDs stark an Bedeutung gewonnen.

Weblinks
 Offizielle Website der Vergabestelle Associação DNS.PT

Einzelnachweise

Länderspezifische Top-Level-Domain
Medien (Portugal)
Technik (Portugal)

.pt


Japetushaf er fornhaf sem var til fyrir 600 til 400 árum síðan, seint á nýfrumlífsöld og á fornlífsöld. Japetushaf var á suðurhveli jarðar, á milli meginlandanna Lárentíu, Baltíku og Avalóníu. Hafið hvarf þegar meginlöndin runnu saman í Evrameríku.

Fornhöf
Frumlífsöld
Fornlífsöld

Japetushaf


وهب بن منبه بن كامل بن سيج بن ذي كبار (34 هـ - 114 هـ) هو تابعي جليل، له معرفة بكتب الأوائل وإخباري قصصي يُعد أقدم من كتب في الإسلام. كان ممن قرأ الكُتب ولزم العبادة وواظب على العلم وتجرد للزهد. وعدّه أصحاب السِيَر من الطبقة الثالثة من التابعين. قال الذهبي عنه: ورِوايته للمسند قليلة، وإنما غَزارة علمه في الإسرائيليات، ومن صَحائف أهل الكتاب. روى له البخاري ومسلم وأبو داود والترمذي والنسائي ومحمد بن ماجه في التفسير.

اهتم وهب بأخبار العرب في الجاهلية، وروى أخبار غير العرب التي استقاها من الكتب المقدسة، ويغلب على أخباره طابع القصص الشعبي الخرافي؛ لذلك يوصف بأنه «مؤرخ إخباري وعالم بأساطير الأولين».

حياته
هو وهب بن منبه بن كامل بن سيج أبو عبد الله الصنعاني. ويقال: الذماري نسبة لذمار في اليمن. ولد في سنة 34 للهجرة. كان وهب من أصول يهودية يمنية ويُقال أسلم أبوه على عهد النبي فحسُن إسلامه وسكن اليمن. يعتقد أن وهب زهد في آخر حياته، لكثرة ما قرأ من الكتب الدينية المقدسة وكتب سير الأنبياء والرسل الذين جاؤوا قبل محمد. توفى وهب سنة 110 هـ.كما ذكر ابن كثير في البداية والنهاية في أحداث سنة 110 هـ، ووفاته في صنعاء باليمن.

أعماله
وأكثر ما يُروى عن وهب إنما هو حِكَم ومواعظ، وكانت غزارة علمه في الإسرائيليات، وصحف أهل الكتاب، وأما روايته للأحاديث فهي قليلة. ألَّف وهب عدة كتب في موضوعات شتى، لكن لم يصل أي كتاب من كتبه كاملاً، بل اقتصر الأمر على المقتبسات التي نقلها عنه كل من ابن إسحاق والطبري، وابن قتيبة وغيرهم. ينسب إليه كتاب «الملوك المتوّجة من حمير وأخبارهم وقصصهم وقبورهم وأشعارهم»، وقد وصلت إلينا أجزاء منه في كتاب «التيجان في ملوك حمير» لابن هشام، كما ينسب إليه كتاب «المبتدأ» الذي يشير عنوانه إلى ابتداء الخليقة، وقد اعتمد عليه ابن قتيبة في كتاب «المعارف»، والطبري في كتابه «تاريخ الرسل والملوك»، والمقدسي في كتابه «البدء والتاريخ»، وأحمد بن محمد الثعلبي في كتابه «عرائس المجالس في قصص الأنبياء».

من كتبه أيضا:
 قصص الأنبياء
 قصص الأخيار
 كتاب القدر
 كتاب الإسرائيليات

انظر أيضا
 صحيفة همام بن منبه

مراجع

 حافظ الذهبي، سير أعلام النبلاء

أشخاص اعتنقوا الإسلام
إيرانيون في القرن 8
الشعب الإيراني في القرن 7
تابعون
رواة الإسرائيليات
علماء مسلمون في القرن 1 هـ
علماء مسلمون في القرن 2 هـ
كتاب القرن 8
مؤرخو القرن 8
محدثو التابعين
مواليد 34 هـ
مواليد القرن 7
مواليد في ذمار (مدينة)
وفيات 114 هـ
وفيات القرن 8
وفيات في صنعاء
يمنيون من أصل إيراني
يمنيون يهود
يهود اعتنقوا الإسلام

وهب بن منبه


Le Festival Africlap ou Festival des cinémas d'Afrique de Toulouse est le premier  Festival de cinéma de la région Occitanie (région administrative) à consacrer la totalité de sa sélection aux films (fiction, documentaire) africains.

La première édition du festival a eu lieu en 2014 à Toulouse et depuis lors, il se renouvelle chaque année.

Ce sont en moyenne 50 films venus d'Afrique et de sa diaspora qui sont diffusés dans plus de huit salles de Toulouse et sa métropole pendant 10 jours.

Historique et déroulement

En 2010 est créée l'association Africlap à l'initiative de Bernard Djatang, une association culturelle loi 1901 avec pour but la promotion des cinémas et cultures d'Afrique et la solidarité internationale.

Pendant trois ans l'association Africlap organise des cinés rencontres, ciné concerts, des conférences et débats et participe notamment au Festival Alimenterre pendant deux éditions.

En 2014, la première du festival Africlap a lieu à Toulouse avec une sélection de 18 films sur une durée de cinq jours du 27 au 31 mai, avec pour invité d'honneur l'acteur Guyanais Ricky Tribord.

En 2015, le festival propose une programmation en deux parties, une partie plein air et une partie en salle. Le festival installe à cet effet un Village Culturel du Festival Africlap sur les allées Jules Guesde (premier évènement culturel à s'installer sur ce lieu).

Jusqu'en 2021, Africlap est programmé sur huit jours durant la dernière semaine du mois d'août dans différentes salles de cinéma (cinémas Gaumont Wilson, Utopia Borderouge, American Cosmograph, ABC et Le Cratère) et différents lieux culturels (centre culturel Alban Minville, centre culturel Les Chamois, Espace des Diversités Laïcité, salle du Sénéchal) ainsi que le village culturel du Festival.

À partir de 2022, le festival Africlap, festival des cinémas d'Afrique de Toulouse se déroule exclusivement en salle de cinéma et sur d'autres lieux culturels à Toulouse et sa métropole sur une durée de 10 jours.

Prix décernés

La plus haute récompense remise aux lauréats est le Grand Prix Kilimandjaro, dont le nom fait référence au sommet le plus élevé du continent africain.

Les films en compétition à Africlap visent les prix suivants :

 Grand Prix Kilimandjaro du meilleur long métrage de fiction ;
 Grand Prix Kilimandjaro du meilleur long métrage documentaire ;
 Prix du meilleur court-métrage de fiction ;
 Prix du meilleur court-métrage documentaire ;
 Prix Solidarité internationale : récompense un(e) réalisateur/réalisatrice non africain(e) dont l'œuvre traite des problématiques environnementales, sociales ou culturelles africaines ;
 Prix Droits et libertés fondamentaux : récompense un(e) réalisateur/réalisatrice pour le sens civique et sociétal de son œuvre en matière de droits et libertés fondamentaux ;
 Prix Cauris : récompense le meilleur film de la diaspora africaine.

Les Palmarès

Palmarès Africlap 2019

Palmarès Africlap 2018

Palmarès Africlap 2017

Palmarès Africlap 2016

Palmarès Africlap 2015

Références

Lien externe

Africlap
Africlap
Africlap
Africlap
|}

Festival Africlap


රෝලි ආයතනය ලෙසින් ඇරඹුනු , ෂෝ විශ්වවිද්‍යාලය,යනු  එක්සත් ජනපදයේ රෝලි, උතුරු කැරලයිනා හිදී පිහිටි පෞද්ගලික ලිබරල් කලායතනයක් සහ  ඓතිහාසික වශයෙන් කළු ජාතිකයන් සඳහා වූ  විශ්වවිද්‍යාලයකි (HBCU). 1865 දී ඇරඹි එය, දක්ෂිණ එක්සත් ජනපදයේ පැරණිතම HBCU වෙයි.

ආශ්‍රිත

ෂෝ විශ්වවිද්‍යාලය


François Gérard Marie Lecointre (født 6. februar 1962) er en fransk general, som har fungeret som forsvarschef siden 20. juli 2017.

Recognitions and Honors

 Ridder af Æreslegionen
 Officer af Nationale fortjenestesorden (Frankrig)
 Croix de guerre des théâtres d'opérations extérieures (Krigskorset for eksterne operationer)
 Croix de la Valeur Militaire

Generaler fra Frankrig

François Lecointre


سيدي داود بلدة تقع شمال شرقي الوطن القبلي بالجمهورية التونسية، وهو تتبع إداريا لولاية نابل.

مراجع

أماكن مأهولة سابقا في تونس
أماكن مأهولة في تونس
بلدات ومدن رومانية في تونس
قرى ولاية نابل
مدن أمازيغية قديمة
مستعمرات رومانية
مواقع أثرية في تونس

سيدي داود (نابل)


Onthophagus pljushtchi é uma espécie de inseto do género Onthophagus, família Scarabaeidae, ordem Coleoptera.

Foi descrita cientificamente por Ivanova em 2012.

Referências

Ligações externas

pljushtchi
Coleópteros descritos em 2012

Onthophagus pljushtchi


ගණිතයේ දී සංඛ්‍යාවක ලඝු ගණකයක් යනු වෙනත් ස්ථිර අගයක දර්ශකයක් වන අතර, එහි පාදය, එම සංඛ්‍යාව ඉදිරිපත් කිරීම වැඩි කරනු ලබයි. උදාහරණ ලෙස, 10 පාදය සඳහා 1000 හි ලඝු ගණකය 3 වේ, ඒ 10 එහි 3වන බලයට නැංවු විට 1000 වන බැවිනි:  තව දුරටත් විස්තර කළහොත්, x = by නම්, y යනු b පාදයට x හී ලඝු ගණකය වේ, මෙය ලියනු ලබන්නේ logb(x), එනම් log10(1000) = 3.

ගණනය කිරීම් පහසු කිරීම සඳහා 17 වන ශත වර්ෂයේදී ජෝන් නේපියර් විසින් ලඝු ගණක ඉදිරිපත් කරන ලදී. විද්‍යාඥයන්, ඉංජීනේරුවන්, සහ වෙනත් බොහෝ අය විසින් මෙම ක්‍රමය පහසුවෙන් සහ ඉක්මනින් ගණන් බැලීම් සිදු කිරීම සඳහා, ගණන් කෝදු සහ ලඝු ගණක වගු භාවිතා කරමින් සීග්‍රයෙන් යොදා ගනු ලබයි.

ලඝුwaguwe ithihasaya
ගණිතය

ලඝු ගණක


වන් ෂොට් වන් යනු 2005 වර්ෂයේ ශ්‍රී ලංකාවේ තිරගත වූ රන්ජන් රාමනායක විසින් අධ්‍යක්ෂණය කරන ලද, සිංහල ක්‍රියාදාම චිත්‍රපටයකි.

රංගන ශිල්පීන්

සංගීතය
ගීත රචනය - හේමසිරි හල්පිට
ගීත ගායනා - ශානිකා වනිගසේකර, සුනිල් පෙරේරා

නිෂ්පාදනය
සහාය අධ්‍යක්ෂණය - ඩොනල් ජයන්ත, ප්‍රියන්ත පතිරගේ
අංග රචනය - ඉමල් ශානක පීරිස්
කලා අධ්‍යක්ෂණය - දමිත් නන්දලාල්, සුනෙත් නන්දලාල්
සටන් අධ්‍යක්ෂණය - ටෙඩී විද්‍යාලංකාර
නැටුම් අධ්‍යක්ෂණය සහ නැටුම් නිර්මාණ - රන්ජන් රාමනායක
වෙඩි සහ බෝම්බ පිපිරවීම - කරුණාදාස අතුරුගිරිය, නවීන්ශන් රාජ් (ඉන්දියාව)
විශේෂ ශබ්ද - අරූන් සීනු (ඉන්දියාව)
පසුබිම් හඬ - මෙලනි අශෝකා, අසංග පෙරේරා, ප්‍රේමදාස විතානගේ
ආලෝක උපකරණ - ෆිල්ම් ලොකේෂන් සර්විස්
විශේෂ උපකරණ - සම්පත් ෆිල්ම්ස්
අතිරේක කැමරා - ඩිල් ෆිල්ම්ස්

මේවාද බලන්න
ශ්‍රී ලංකීය සිනමාව

බාහිර සබැඳි
ශ්‍රී ලංකා සිනමා ඩේටාබේස්

වන් ෂොට් වන් (චිත්‍රපටිය)


Selon la police est un drame policier français réalisé par Frédéric Videau, et sorti en 2022.

Synopsis
Six histoires croisées de six agents d'un commissariat de Toulouse et de la police aux frontières (PAF), racontées sur une même journée, à la suite de la visite du ministre de l'Intérieur.

Fiche technique
 Titre original : Selon la police
 Réalisation et scénario : Frédéric Videau
 Musique : Florent Marchet
 Photographie : Céline Bozon
 Décors : Karim Lagati
 Costumes : Véronique Gely
 Montage : François Quiqueré
 Production : Philippe Liégeois
 Société de production : Bus Films
 Société de distribution : Pyramide Distribution
 Pays de production :
 Langue originale : français
 Format : couleur — 2,35:1
 Genre : drame, policier
 Durée :
 Dates de sortie :
 France :

Distribution

Accueil

Critiques
Le film a une critique mitigée au moment de sa sortie. Le site Allociné donne une moyenne de 2,4/5 pour 14 titres de presse.

Le Journal du dimanche parle d'un film au .

Pour Les Inrockuptibles, le film pose un .

Ouest-France évoque .

Dans Le Monde, Clarisse Fabre note :

Box-office
En France, pour son premier jour d'exploitation, le film se place à la  position du box-office des nouveautés, devant La Légende du roi crabe (904 entrées) et derrière Un peuple (). Le film réalise  entrées pour 56 copies.

Notes et références

Liens externes

Film français sorti en 2022
Film dramatique français
Film policier français
Film dont l'action se déroule en une journée

Selon la police


Gülşen Kutlu (1961, Şereflikoçhisar, Ankara) Türk halk müziği sanatçısı.

Kariyeri
İlk olarak 1981 yılında TRTnin açmış olduğu sınavı kazandı, ardından bir yıl kadar Türk Radyo Televizyon Kurumu (TRT) bünyesinde ders aldı. Ekim 1982'de kadrolu ses sanatçısı sınavında birinci oldu. 1991 yılında evlendi, bir kız çocuğu vardır. Yine bir süre TRT int'de Allı Turnam programını sundu.

Diskografi
 1984: Sebeb
 1988: Sultanım
 1990: Gurbet Ellerinde
 1993: Söyle Canan
 1995: Dile Geldim
 2005: Gelin Eyledim
 2007: Bulunur Mu?

Kaynakça

Türk halk müziği ses sanatçıları
Yaşayan insanlar
Türk kadın şarkıcılar
1961 doğumlular
Ankara doğumlu kadın şarkıcılar
TRT sanatçıları
Şereflikoçhisar doğumlular

Gülşen Kutlu


Ulrich Maske (* 1950 in Hannover) ist ein deutscher Text- und Musikautor, Musiker, Regisseur und Produzent.

Leben und Werk
Ulrich Maske war bereits im Jugendalter künstlerisch aktiv. Ende der 1960er Jahre spielte er Free Jazz mit Avantgarde-Kollegen wie Joachim Kühn und Günter Christmann. Zudem veröffentlichte er Gedichte und journalistische Arbeiten.

Nach dem Abschluss seines Psychologiestudiums in Hamburg stieg Maske 1976 als Musikproduzent beim Verlag 'pläne' in Dortmund ein. 'pläne' war auf deutsche Liedermacher und Weltmusik spezialisiert und prägte mit seinen Veröffentlichungen links-orientierter politischer Lieder die westdeutsche linke Szene.
Er produzierte für 'pläne' Platten mit Maria Farantouri, Hannes Wader, Erste Allgemeine Verunsicherung, The Sands Family, Abdullah Ibrahim, Baden Powell und weiteren Folk- und Jazzmusikern. Mit Donata Höffer, Klaus Hoffmann, Henning Venske, Susanne Tremper, Hanns Dieter Hüsch, Lutz Görner produzierte er Sprechplatten. Vor allem aber konzipierte und produzierte er das Kinderliederprogramm von 'pläne', in dem Hörspiele, Hörbücher und Songs wie "Baggerführer Willibald" von Dieter Süverkrüp und "Anne Kaffeekanne" von Fredrik Vahle erschienen.
1990 wurde das Kindertonträger-Label von 'pläne' an den Patmos Verlag in Düsseldorf verkauft. Daraufhin gründete Maske 1991 zusammen mit sechs weiteren Gesellschaftern Jumbo Neue Medien & Verlag in Hamburg.

Der Programmschwerpunkt des Jumbo Verlags lag zu Beginn auf dem Repertoire für Kinder und knüpfte an die 'pläne'-Tradition an. 1993 schloss Jumbo einen Exklusivvertrag mit der Deutschen Schallplatte GmbH (DSB) in Berlin, dem Nachfolger des bisherigen DDR-Staatsunternehmens Amiga, durch den Jumbo Kinderliedermacher aus den neuen Bundesländern wie Gerhard Schöne, Reinhard Lakomy und Ulf und Zwulf ins Programm übernahm. Unter dem Motto "Für Kinder nur das Beste!" erschienen neben Tonträgern von Liedermachern aus dem pläne-Verlag und der ehemaligen DDR auch für Kinder neuinterpretierte und -arrangierte europäische Kinder-Volkslieder. Später differenzierte sich das Programm weiter aus. Ulrich Maske arbeitete zunächst als Autor, Produzent und konzeptioneller Berater im anfangs dreiköpfigen Jumbo-Team mit. Heute verantwortet er als Programmleiter die Programme Jumbo, Goya libre und GoyaLiT des Jumbo Verlags, der inzwischen mehr als 30 Mitarbeiter beschäftigt.

Maske schreibt Bücher, Kinderlieder, Reime und Gedichte. Die musikalischen Einflüsse, die er in seinen Kompositionen verarbeitet, kommen aus der World Music, dem Jazz, dem Folk des Mittelmeerraumes und der Klassik. Seine Kinderlieder – oft von ihm nachgedichtete und arrangierte Lieder aus unterschiedlichen Kulturen – singt Ulrich Maske auf vielen Produktionen selbst. Er komponiert auch eigens Musik für viele Hörbücher aus dem Jumbo Verlag, unter anderem für die Tintenwelt-Trilogie von Cornelia Funke. Eine Auswahl der Instrumentals von Ulrich Maske aus verschiedenen Hörbüchern ist auf dem Album "Thrill & Chill" zu hören.

Veröffentlichungen (Auswahl)
 Bücher
 Es war, als hätt der Himmel die Erde still geküsst. Gedichte aus fünf Jahrhunderten, illustrierter Gedichtband von Franziska Harvey, GOYA, Hamburg 2021, ISBN 978-3-8337-3135-8.
Mit Bernhard Oberdieck: Alle meine Entchen. Allererste Kinderlieder, Jumbo Verlag, Hamburg 2017, ISBN 978-3-8337-3796-1.
 Mit Bernhard Oberdieck: Das Dschungelbuch. Neu erzählt für Klein und Groß, Jumbo Verlag, Hamburg 2016, ISBN 978-3-8337-3482-3.
 Mit Franziska Harvey: Romeo und Julia. Shakespeare für Klein und Groß, Jumbo Verlag, Hamburg 2016, ISBN 978-3-8337-3531-8.
 Mit Silke Brix: Ein Sommernachtstraum. Shakespeare für Klein und Groß. Jumbo Verlag, Hamburg 2014, ISBN 978-3-8337-3242-3.
 Mit Antje Flad: Der kleine Hase findet einen Freund, Jumbo Verlag, Hamburg 2014, ISBN 978-3-8337-3232-4.
 Mit Antje Flad: Was kleine Hasen alles dürfen, Jumbo Verlag, Hamburg 2013, ISBN 978-3-8337-3052-8.
 Mit Silke Brix: Ein Kuss von Papa Igel. Jumbo Verlag, Hamburg 2011, ISBN 978-3-8337-2734-4.
 Ines Rarisch, Ulrich Maske: Sieh mal! Hör mal! Mein Wasser. Jumbo Verlag, Hamburg 2011, ISBN 978-3-8337-2696-5.
 Mit Antje Flad: Sieh mal! Hör mal! Mein Kindergarten. Jumbo Verlag, Hamburg 2010, ISBN 978-3-8337-2555-5.
 Mit Antje Flad: Sieh mal! Hör mal! Meine Tiere. Jumbo Verlag, Hamburg 2009, ISBN 978-3-8337-2314-8.
 Mit Ines Rarische: Sieh mal! Hör mal! Mein Wald. Jumbo Verlag, Hamburg 2007, ISBN 978-3-8337-1854-0.
 Mit Antje Flade: Sieh mal! Hör mal! Meine Stadt. Jumbo Verlag, Hamburg 2006, ISBN 3-8337-1461-1.
 Mit Ines Rarisch: Sieh mal! Hör mal! Mein Zoo. Jumbo Verlag, Hamburg 2005, ISBN 3-8337-1279-1.
 Mit Antje Flad: Sieh mal! Hör mal! Mein Bauernhof. Jumbo Verlag, Hamburg 2004, ISBN 3-8337-1072-1.
 Mit Adelheid Maske: Das werden wir schon ändern. Franz Josef Degenhardt und seine Lieder. Mit Liedbeispielen, Fotos und einem Interview. Weltkreis-Verlag, Dortmund 1977. ISBN 978-3-88142-180-5

Tonträger
 Mit Bettina Göschl: Ostfriesentango. Krimi-Lieder, Jumbo Verlag, Hamburg 2019, ISBN 978-3-8337-3823-4.
 Alle meine Entchen. Allererste Kinderlieder, Jumbo Verlag, Hamburg 2018, ISBN 978-3-8337-3811-1
 Kleiner Stern, ich hab dich gern, Jumbo Verlag, Hamburg 2017, ISBN 978-3-8337-3798-5
 Mit Bettina Göschl und Matthias Meyer-Göllner: Wo die großen Elefanten spazieren geh'n. Die schönsten Kinderzimmerhits, Jumbo Verlag, Hamburg 2017, ISBN 978-3-8337-3610-0
 Wie schön – ich gehe in den Kindergarten! Lieder, Reime und Geschichten, Jumbo Verlag, Hamburg 2017, ISBN 978-3-8337-3678-0
 Das klingende Frühlingsfest. Die schönsten Lieder, Reime und Geschichten von Blütenfeen und Sonnenstrahlen, Jumbo Verlag, Hamburg 2017, ISBN 978-3-8337-3729-9
 Das Dschungelbuch. Neu erzählt für Klein und Groß, Jumbo Verlag, Hamburg 2016, ISBN 978-3-8337-3513-4.
 Romeo und Julia. Shakespeare für Klein und Groß, Jumbo Verlag, Hamburg 2016, ISBN 978-3-8337-3532-5.
 Meine kleinen blauen Träume, Jumbo Verlag, Hamburg 2016, ISBN 978-3-8337-3640-7.
 Reise durch die Weihnachtswelt, Jumbo Verlag, Hamburg 2016, ISBN 978-3-8337-3668-1.
 Mit Bettina Göschl: Ostfriesenblues. Krimi-Lieder, Jumbo Verlag, Hamburg 2016, ISBN 978-3-8337-3566-0.
 Wie schön – ich bin 1 Jahr!, Jumbo Verlag, Hamburg 2016, ISBN 978-3-8337-3655-1.
 Wie schön – ich komme in die Schule!, Jumbo Verlag, Hamburg 2016, ISBN 978-3-8337-3556-1.
 Wie schön – du bist da! Willkommen im Leben kleiner Mensch, Hamburg 2015, ISBN 978-3-8337-3231-7.
 Mit Bettina Göschl und Matthias Meyer-Göllner: Es lebt der Eisbär in Sibirien. Die schönsten Kinderzimmerhits, Jumbo Verlag, Hamburg 2015, ISBN 978-3-8337-3398-7
 Komm, wir wollen schlafen gehen, Jumbo Verlag, Hamburg 2014, ISBN 978-3-8337-3372-7.
 Ein Sommernachtstraum. Shakespeare für Klein und Groß. Jumbo Verlag, Hamburg 2014, ISBN 978-3-8337-3272-0.
 Komm, wir wollen schlafen gehen, Jumbo Verlag, Hamburg 2014, ISBN 978-3-8337-3372-7.
 Mit Jacqui McShee: The Cat and The Fiddle, Hamburg 2014, ISBN 978-3-8337-3351-2.
 Mit Bettina Göschl und Matthias Meyer-Göllner: Auf der Mauer, auf der Lauer. Die schönsten Kinderzimmerhits, Jumbo Verlag, Hamburg 2013, ISBN 978-3-8337-3093-1
 Mit Bettina Göschl und Matthias Meyer-Göllner: Drei Chinesen mit dem Kontrabass. Die schönsten Kinderzimmerhits, Jumbo Verlag, Hamburg 2012, ISBN 978-3-8337-2430-5
 Hoch am Himmel steht der Mond. Jumbo Verlag, Hamburg 2011, ISBN 978-3-8337-2794-8.
 Schlaf, mein Kind, es wird Nacht überall. Jumbo Verlag, Hamburg 2010, ISBN 978-3-8337-2652-1.
 Thrill & Chill. Goya, Hamburg 2009, ISBN 978-3-8337-2515-9.
 Mäh, sagt das kleine Lamm. Jumbo Verlag, Hamburg 2006, ISBN 3-8337-1578-2.
 Kuckuck, Kuckuck ruft aus dem Wald. Jumbo Verlag, Hamburg 2005, ISBN 3-8337-1367-4.
 Zaubergeschichten. Jumbo Verlag, Hamburg 2005, ISBN 3-8337-1312-7.
 Mit Erich Schmeckenbecher, Beate Kynast: Alle meine Entchen. Jumbo Verlag, Hamburg 2001, ISBN 3-89592-576-4.

Weblinks
 Ulrich Maske. auf: jumboverlag.de
 Ulrich Maske. auf: loewe-verlag.de
 20 Jahre Kindermusik-Szene. auf: trottoir-online.de

Einzelnachweise

Komponist (Deutschland)
Singer-Songwriter
Jazz-Gitarrist
Musikproduzent
Mitglied im Marxistischen Studentenbund Spartakus
Deutscher
Geboren 1950
Mann
Urheber von Kinderliedern

Ulrich Maske


Raja Perempuan Zainab II binti Almarhum Tengku Sri Utama Raja Tengku Muhammad Petra (Jawi: راج ڤرمڤوان زينب ٢ بنت المرحوم تڠكو سري اوتام راج تڠكو محمد ڤيترا; 7 August 1917 – 10  January 1993) was the Raja Perempuan (Queen Consort) of Kelantan. She also served as Raja Permaisuri Agong of Malaysia from 20 September 1975 to 29 March 1979.

Born on 7 August 1917 in Kota Bharu, Kelantan. She was the consort of the 27th Sultan of Kelantan, Sultan Yahya Petra and the mother of the 28th Sultan of Kelantan, Sultan Ismail Petra.

Marriage and Becoming Queen
Tengku Zainab, daughter of Almarhum Tengku Sri Utama Raja Tengku Muhammad Petra and Almarhumah Tengku Maharani Putri Tengku Kembang Petri, married Sultan Yahya Petra ibni Almarhum Sultan Ibrahim Petra of Kelantan on 4 June 1939, who at the time held the title of Tengku Temenggong.

She was given the title Tengku Ampuan Mahkota (Crown Princess) of Kelantan by Sultan Ibrahim on 9 August 1956. On the same day she was conferred the S.P.M.K. Order.

In 1960, her husband Sultan Yahya Petra became the Sultan of Kelantan and as his wife she was proclaimed the title of Raja Perempuan of Kelantan or Queen Consort. She took the regnal name of "Raja Perempuan Zainab II" as her stepmother-in-law was also known as Raja Perempuan Zainab. Tengku Zainab was conferred the Darjah Kerabat (D.K. – Royal Family Order) on the first anniversary of Sultan Yahya Petra's installation.

She served as Raja Permaisuri Agong of Malaysia during her husband's reign as Yang di-Pertuan Agong from 1975 to 1979.

On his death on 29 March 1979, she returned to Kelantan where she guided her only son, Sultan Ismail Petra, in the performance of his duties.

Duties and Interests

Tengku Zainab accompanied Sultan Yahya Petra on his official visits to several countries which gave her the opportunity to fulfill her responsibility as the Raja Perempuan and the Raja Permaisuri Agong.

Tengku Zainab was a kind person who loved doing charity work. She was once the president of various social organisations such as the Girl Guides of Kelantan and the Women's Institution.

Tengku Zainab gave special attention to 'house-keeping' such as decorating the palace and preparing food for the royal family. She also loved doing handicraft, collecting antiques and gardening.

Death
Tengku Zainab died  on 10 January 1993 at the Kubang Kerian State Palace at the age of 75. She was laid to rest at the Kelantan Royal Mausoleum.

Awards and recognitions

Honours of Kelantan
  Knight Grand Commander of the Order of the Crown of Kelantan (SPMK) - Dato' (9 August 1956)
  Recipient of the Royal Family Order of Kelantan (DK) (10 July 1960)

Honours of Malaysia
  Recipient of the Order of the Crown of the Realm (DMN) (28 February 1976)

Places named after her
Several places named after her, including:
Raja Perempuan Zainab II Mosque in Kubang Kerian, Kota Bharu, Kelantan
Jalan Raja Perempuan Zainab II (Federal Route 131) in Kubang Kerian, Kota Bharu, Kelantan
Raja Perempuan Zainab II Hospital in Kota Bharu, Kelantan
SK Zainab (2), a primary school in Kota Bharu, Kelantan
SMK Zainab (2), a secondary school in Kota Bharu, Kelantan

See also
 Yang Di-Pertuan Agong
 Raja Permaisuri Agong

References

1917 births
1993 deaths
Malaysian people of Malay descent
Malaysian Muslims
Royal House of Kelantan
Kelantan royal consorts
Malaysian royal consorts
People from Kelantan
Queens consort of Malaysia
Recipients of the Order of the Crown of the Realm
Queen mothers

Raja Perempuan Zainab II