The Denishawn School of Dancing and Related Arts, founded in 1915 by Ruth St. Denis and Ted Shawn in Los Angeles, California, helped many perfect their dancing talents and became the first dance academy in the United States to produce a professional dance company. Some of the school's more notable pupils include Martha Graham, Doris Humphrey, Lillian Powell, Charles Weidman, Jack Cole, and silent film star Louise Brooks. The school was especially renowned for its influence on ballet and experimental modern dance. In time, Denishawn teachings reached another school location as well - Studio 61 at the Carnegie Hall Studios.

Beginnings
Initially solo artists, Ruth St. Denis and Ted Shawn began collaborating on work in 1914. St. Denis was preparing for a tour of the southeastern region of the United States, and needed a male partner to help present new ballroom dances. Shawn, who had admired St. Denis since seeing her perform in 1911, auditioned for and was awarded the role. The resulting tour featured the partnered pieces along with individual works from St. Denis and Shawn respectively.

The working relationship between Shawn and St. Denis soon turned romantic. The two artists fell in love and were married on August 13, 1914. Denis, reticent about marriage, had the word "obey" deleted from their wedding vows and declined to wear a wedding ring. Their "honeymoon" consisted of a second joint tour - accompanied by a small company of dancers - from Saratoga Springs, New York to San Francisco, California. A new collection of dances, including more ballroom variations, St. Denis' solos and Shawn's famous Dagger Dance, was showcased. For promotional purposes, the dancing group was referred to as the St. Denis-Shawn Company. During the summer of 1915 in Los Angeles, the two established their first official school, the Ruth St. Denis School of Dancing and Its Related Arts.

On February 6, 1915, on yet another tour, the term "Denishawn" surfaced. At a performance in Portland, Oregon, a theater manager promised eight box seats to whoever could dream up the most creative name for the latest St. Denis-Shawn ballroom exhibition. The unchallenged, winning title was "The Denishawn Rose Mazurka." While the full name did not warrant much popularity, the "Denishawn" portion attracted audience members and the press - to such an extent that the namesake couple officially changed their company name from the St. Denis-Shawn Company to Denishawn Dancers.

Ruth Austin (1898-1994), a graduate of Hollywood High School in California, enrolled in the Denishawn School of Dancing and Related Arts. She was one of the original dancers of the Denishawn Dancers in 1919 and later as a dance instructor in Carmel-by-the-Sea, California beginning in 1924 at the Golden Bough established by Edward G. Kuster.

With the new name and their own school, Shawn and St. Denis began brainstorming ways to expand their contributions to the dance world. St. Denis and Shawn renamed the school 'The Denishawn School', and they soon began developing those movements, techniques, and innovations that became known as the Denishawn style of dancing. The two developed a guide for their pedagogy and choreography, an excerpt of which is:"The art of dance is too big to be encompassed by any one system. On the contrary, the dance includes all systems or schools of dance. Every way that any human being of any race or nationality, at any period of human history, has moved rhythmically to express himself, belongs to the dance. We endeavor to recognize and use all contributions of the past to the dance and will continue to use all new contributions in the future".

Later years
Denishawn disintegrated in 1931 after Ted Shawn and Ruth St. Denis separated, though the pair never divorced and continued to promote dance education through their respective endeavors. Shawn went on to purchase the property used for the Jacob's Pillow Dance center in Becket, Massachusetts, which continues to operate. In her teachings after Denishawn, St. Denis focused on spiritual and Asian influences in dance. After roughly a decade working apart, Shawn and St. Denis reunited briefly in 1941 at the Jacob's Pillow Dance festival, where they performed several works together.

Technique and classes
Over the years that the school grew more widely renown, the teaching system was constantly being evolved. According to St. Denis, Shawn attributed the most to this. He addressed incoming students with a 'diagnosis lesson', which would assess their current skills in order to assign them to a specific learning/class structure for their time at the Denishawn school. Shawn also was firm on his ideas of what was necessary for the learning curriculum. He addressed that ballet was an overall necessity for any dancer to move forward or thrive in their studies, which is a big reason why the Denishawn curriculum was largely based on ballet fundamentals.

When taking technique classes, students danced in bare feet and wore identical one-piece black wool bathing suits. Classes lasted three hours every morning. Shawn typically taught during the first block of time, leading students through stretches, limbering exercises, ballet barre and floor progressions and free-form center combinations. St. Denis then took over with instruction in Oriental and yoga techniques. Author and former Denishawn pupil Jane Sherman recalls an everyday class, laden with ballet terminology:"A typical Denishawn class began at the barre; first came stretching, petits and grands battements, a series of plies in the five positions, sixteen measures of grande rondes de jambes, and thirty-two measures of petites rondes de jambes. These might be followed by slow releves in arabesque, fast changes, entrechats, and exercises to prepare for fouettes. In short, the works! After ballet arm exercises out on the floor, we next worked to perfect our develops en tournant, out attitudes, out renverses, and our grande jetes".Each pupil danced alone a series of pas de basques: the Denishawn version, the ballet, the Spanish, and the Hungarian. The Denishawn pas de basque was distinguished by arms held high and parallel overhead as the body made an extreme arch sideways toward the leading foot.

Next usually came a free, open exercise affectionately nicknamed "arms and body," done to a waltz from Tchaikovsky's Sleeping Beauty. A forerunner of the technical warmups now used in many modern dance schools, it started with feet placed far apart and pressed flat on the floor. After a slow swinging of the body into ever-increasing circles, came head, shoulder, and torso rolls, with the arms sweeping from the floor to the ceiling followed by a relaxed run around the circumference of the studio, ending in a back fall.  Other exercises included Javanese arm movements, and hand stretches to train the dancers Western fingers into going backward into some semblance of Cambodian dance flexibility.

Class always closed with the learning of another part of a dance. Based on the theory that one learns to perform by performing, dance exercises were essential elements in Denishawn training, and some of them were so professionally interesting that they became part of the concert repertory.

Any pupil attending classes at a Denishawn school had a wide array of classes to choose from outside of the consistent technique classes. Ted felt it important that the technique was not all too rigid, like classical ballet, and contained some less-structured forms, which brought classes on Dalcroze eurythmics as well as Delsarte laws of expressionism into the curricula. Ruth, on the other hand, emphasized the origins of dance from the foreign countries of the East, the history behind these techniques, and the method of what she called "music visualization", and added to the curricula based on these standards. The couple also offered a Hawaiian Hula class taught by the dance instructor Kulamanu, as well as a class taught by Misha Ito that emphasized specificities of the technique to Japanese sword dancing. Outside of movement classes, the school had lectures, music classes, the art of dyeing and the treatment of fabrics, and libraries to study for these courses.

Schools opened
The first school that St. Denis and Shawn opened as partners was an older Spanish-style mansion in the hills of Los Angeles on St. Paul Street. It had an indoor room that was perfectly sized to fit smaller classes, a swimming pool and a tennis court for additional endurance training and/or leisure time, and the estate was filled with eucalyptus trees. Once they settled in, they built their own dancing platform over the tennis court. They also strategically built canopies over the outside space so that they could use it year-round.

There were two spaces in the St. Paul school reserved for technique classes: an indoor studio where St. Denis primarily taught, and an outdoor ballroom for yoga meditations and Shawn's various classes (ballet, ballroom and what would later be called "Denishawn" technique). $500 covered the cost of a 12-week program that included daily technique classes, room and board, arts and crafts and guided reading lessons. Regular classes and a lunch at the school would cost one dollar for the students. The fees would be collected in an old cigar box by one of Shawn's friends, Mary Jane Sizemore.

During the second summer that the school was opened St. Denis and Shawn decided to hire a manager. Mrs. Edwina Hamilton was brought on staff at the school and was praised by Ruth for her kindness. That winter St. Denis and Shawn went on tour and left the school open and in the hands of Mrs. Hamilton and the assistant teachers. While they were on tour, the registration for upcoming classes looked promising and Mrs. Hamilton suggested that the Denishawn School find a bigger home.

Their second school location in Los Angeles was in an old house in West Lake Park and shared similar characteristics to the St. Paul Street estate. This location had a garden and a tennis court, like the previous school had. Another dance platform was built over the tennis court, a tent was placed over that, and an auditorium was positioned on one side of the area and a dressing room on the opposite side. Eventually, the school went on to spreading farther than just California as Shawn and St. Denis spread their repertory and style through performing. In 1927 they opened a school on Stevenson Place in The Bronx, New York.

Repertory and performance

The Denishawn Dancers took advantage of many performance opportunities – in colleges, concert halls, vaudeville theaters, convention centers and outdoor stadiums. Besides being invited to performance venues like New York's Palace Theater (1916), Denishawn was the first American company to present "serious Western dance" in Japan, Burma, China, India, Ceylon, Java, Malaya and the Philippines (1925–26) In some ways, the presented work resembled ballet – each piece was a full-company story with elaborate costumes, sets and lighting. In terms of movement, however, the differences were obvious – no pointe shoes, no pas de deux lifts, no exact format for patterning solos and ensemble pieces.

Most Denishawn works fall into one of four categories:
Orientalia: Chronologically, these were the first true Denishawn works. St. Denis was responsible for the majority of these pieces, though Shawn did put together a small number of Oriental solos and group dances. As their title suggests, these pieces incorporate aspects of East Indian movement, dress and environment (in the form of set design). A particularly famous work from this period is St. Denis's Radha, a mini-ballet set in a Hindu temple in which an exotic woman dances to honor the five senses.
Americana: While St. Denis found her most powerful inspiration in the Far East, Shawn seemed to find his in the cultures of America. His works dominate the Americana series, complete with musical scores by American composers and portrayals of "American" characters like cowboys, Indians and ballplayers. Shawn's comic pantomime Danse Americaine, for example, centers on a soft-shoe dancer acting as a baseball player.
Music visualizations: Inspired by Isadora Duncan's approach to music, St. Denis developed the music visualization, which she defined as "...the scientific translation into bodily action of the rhythmic, melodic and harmonious structure of a musical composition without intention to in any way 'interpret' or reveal any hidden meaning apprehended by the dancer". Meaning, movement was set strictly to music without reading into anything emotionally. If the music swells, the body swells: if the music grows quiet, the body comes to rest. St. Denis's Soaring, set on five female dancers, is arguably her most well-known music visualization.
Miscellanea: Also known as "Denishawn divertissements", these shorter works included those that cannot fit neatly into the pigeonholes of "Oriental", "Americana" and "Music Visualization". These works were reserved for performances that did not require presentations of full-length ballets.

Many Denishawn solo works remain in the active repertoire of many companies. Their solos are of special interest to many for their exotic qualities. Several of their solos were included in "The Art of the Solo" presented at the Baltimore Museum of Art on September 29, 2006. These included three revival premieres, namely, Shawn's "Invocation to the Thunderbird"(1916), last danced by Denishawn dancer John Dougherty and "Death of Adonis" (1922). Both were recreated by Mino Nicolas, programme curator, with the aid of film, written accounts and photographs. Also featured were the revival premiere of Ruth St. Denis' "The Peacock/A Legend of India" (1906) which was recreated using the same methods. Her signature solo, "The Incense", will also be performed by Cynthia Word of Washington, D.C.

Pupils
During its developmental years, the first pupils to join the Denishawn school played a large role in building it up from the ground, and have even been described as "foundation stones of the system that was to spread over the country". This group included Margaret Loomis, Addie Munn, Helen Eisner, Florine Goodman, Aileen Flaven, Florence Andrews (who danced under the name Florence O'Denishawn, Sadie Vanderhoff, Carol Dempster, Ada Forman, Claire Niles, Chula Monzon, and Yvonne Sinnard. The majority of these original dancers were related to close acquaintances of St.Denis and Shawn. Another well known student and employee of the Denishawn school was Pearl Wheeler. She was primarily the costumer for the school but also took classes and appeared in performances alongside the other dancers.

Several notable movie stars of the early 20th century studied under the Denishawn school in their lifetimes. The Gish sisters, Dorothy and Lillian Gish, took classes from St. Denis and Shawn for some time. Lillian even worked separately with St. Denis and Ruth when she and Rosie Dolly learned a dance from the two that was to be featured in their upcoming movie, The Lily and the Rose (1915). Other notable movie stars of the time include: Louise Brooks, Ina Claire, Ruth Chatterton, Lenore Ulric, Mabel Normand, Florence Vidor, Colleen Moore, and Myrna Loy.

Some pupils who had their beginnings in the Denishawn school went on to make names for themselves , and their presence at the school is sometimes overlooked in their history. For instance, 'Mother of Modern Dance' Martha Graham joined the school during its second summer. She remained there for over a half decade, learning the technique and eventually becoming a regular instructor. Ruth claimed that during her time there, she was "quiet but asked intelligent questions." Another two pupils who came to Denishawn in their early careers were Doris Humphrey and Charles Weidman. Humphrey moved out to California from Evanston, Illinois so that she could have the opportunity to study at the Denishawn school. St. Denis eventually told Humphrey that she should reconsider her plans to become a teacher and pursue a career in performing first. After some time studying at the school's West Lake Park, Humphrey and Weidman migrated to New York where they managed Denishawn's NY-based Denishawn house to develop their own styles and, eventually, open their own school: the Humphrey-Weidman Dance Company.

See also
Modern dance
20th century concert dance
Martha Graham
 Charles Weidman
 Doris Humphrey
 Marion Rice Denishawn Dancers
 Marion Rice
 Music Visualization

References

Further reading
Suzanne Shelton, Divine Dancer: A Biography of Ruth St. Denis (New York: Doubleday, 1981)
Jane Sherman, Denishawn: The Enduring Influence (Boston, MA: Twayne Publishers, 1983)
Jane Sherman, The Drama of Denishawn Dance (Middletown, CT: Wesleyan University Press, 1979)

External links

 Denishawn photographs and scrapbooks, 1875-1960s, held by the Dance Division, New York Public Library for the Performing Arts

Dance schools in the United States
Dance in California
Modern dance
Martha Graham
1915 establishments in California
Educational institutions established in 1915

Denishawn school


Ophélie Guillermand, née le 8 mars 1994, est une mannequin française.

Enfance
Ophélie Guillermand est née à Verdun et elle a grandi dans les Alpes françaises à Chambéry où sa famille a déménagé quand elle a 5 ans. Jeune fille, Guillermand voulait devenir chimiste et elle étudie dans une université lyonnaise, avant de devenir mannequin en s'inscrivant dans une agence locale. Mais Ophélie Guillermand réalise que la pharmacie reste ennuyeuse. Comme elle s'ennuie et aime voyager, elle part à New York à la demande de Steven Meisel puis s'y installe. Sept ans plus tard, elle rentre vivre à Paris.

Carrière
Ophélie Guillermand a débuté à New York Fashion Week, où elle a été jugée une « top newcomer », parce qu'elle a défilé pour 40 marques comme du Versace, Chanel ou Alexander Wang. Elle est apparue deux fois en couverture de Vogue Italia, réalisé par Steven Meisel, et a fait des campagnes pour H&M, Tommy Hilfiger, Emporio Armani et Prada, entre autres ainsi que pour Balenciaga, Vivienne Westwood, Diane von Fürstenberg, Ralph Lauren, Burberry, Calvin Klein, Balmain, Alexander McQueen, La Perla, Marc Jacobs, Jason Wu, Miu Miu, Dior ou Emilio Pucci.

Références

Mannequin femme français
Naissance en mars 1994
Naissance à Verdun

Ophélie Guillermand


Die Gefängnisse von La Roquette waren zwei Strafvollzugseinrichtungen im Pariser Quartier de La Roquette im 11. Arrondissement, auf beiden Seiten der Rue de la Roquette. Das ältere bestand von 1830 bis 1974, das jüngere von 1836 bis 1900. Heute befindet sich an der Stelle des ersten Gefängnisses der Park Square de la Roquette.

Geschichte

Die Entstehung der Gefängnisse

1826, unter der Herrschaft von Karl X., wurde der Bau eines Jugendgefängnisses in Paris beschlossen. Als Bauplatz wurde eine Stelle in der Nähe des Friedhofs Père Lachaise gewählt, in Höhe der Rue de la Roquette Nr. 143. Dort hatte sich zuvor ein Konvent befunden, der während der Französischen Revolution geschlossen worden war. Architekt war Louis-Hippolyte Lebas, der auch die Kirche Notre-Dame-de-Lorette gebaut hatte. Für den Entwurf orientierte er sich am Modell des Panopticons des britischen Philosophen Jeremy Bentham. Das sechseckige Gebäude wurde am 11. September 1830 eröffnet und von den Parisern La Roquette genannt.

Im selben Jahr beschloss König Louis-Philippe I. seinerseits, beunruhigt durch einen Anstieg der Zahl von Häftlingen in Paris, den Bau eines weiteren Gefängnisses, obwohl es schon rund zwölf gab. Der aus Köln stammende Architekt François-Chrétien Gau legte den Plan für ein viereckiges Gebäude mit Innenhof vor, das von einer ringförmigen Mauer umgeben war. Dieses neue Gebäude wurde gegenüber dem schon bestehenden angelegt . Während des Baus dieses zweiten Gefängnisses gab es Proteste gegen Hinrichtungen an dieser Stelle. Als Folge wurde 1832 die Guillotine zum fünf Kilometer entfernten Place de Gréve verlegt, südlich der heutigen Metro-Station Saint Jacques.

Das zweite Gefängnis wurde am 24. Dezember 1836 in Betrieb genommen und zunächst 187 Häftlinge aus dem Gefängnis Bicêtre dorthin verlegt. Die offizielle Bezeichnung dieses neuen Gefängnisses lautete Dépôt de condamnés, weil hier Gefangene vor ihrer Deportation in die Strafkolonien von Île de Ré, Cayenne und Neu-Kaledonien untergebracht wurden. Auch befanden sich hier zum Tode Verurteilte. Die Pariser unterschieden schon bald die beiden Gefängnisse in Petite Roquette (das erste Gefängnis) und Grande Roquette.

Die Guillotine in der Grande Roquette

Am 29. November 1851 wurde per Dekret ein neuer Ort für Hinrichtungen in Paris festgelegt. Die Guillotine wurde am Eingang der Grande Roquette errichtet: Zu diesem Zwecke wurden an fünf Punkten zum Aufbau der Apparatur spezielle Platten auf dem Straßenpflaster angebracht; diese Stellen sind noch heute zu sehen. Schon drei Wochen später fand die erste Hinrichtung statt. Insgesamt wurden bis 1899 mit dieser Guillotine 69 Gefangene hingerichtet. Einer von ihnen war 1870 der achtfache Mörder Jean-Baptiste Troppmann. 1871 wurden in der Grande Roquette während der Pariser Kommune sechs Geiseln für die Freilassung von Kommunarden von den Aufständischen standrechtlich erschossen, darunter der Erzbischof von Paris, Georges Darboy, weitere Geistliche und ein Richter.

Im Laufe der 1890er Jahre mehrten sich die öffentlichen Stimmen, die die Zustände in dem Gefängnis kritisierten. Der französische Präsident Félix Faure ließ daraufhin die Grande Roquette schließen und die Häftlinge nach La Santé verlegen. Im Jahre 1900 wurde das Gefängnis abgerissen, und an seiner Stelle wurden Wohnhäuser errichtet.

Die Petite Roquette

Das Gefängnis Petite Roquette hingegen blieb in Betrieb, wenn auch ab den 1920er Jahren unter anderen Bedingungen. Die jugendlichen Straftäter wurden verlegt; die Petite Roquette wurde zum Frauengefängnis umgewandelt und blieb dies bis zu ihrer Schließung im Jahre 1974.

Nach einem Gesetz von 1939, das die Hinrichtung von Frauen in der Öffentlichkeit untersagte, wurden diese – es waren letztlich zwei – fortan in diesem Gefängnis durchgeführt. Eine der beiden hingerichteten Frauen war 1943 Marie-Louise Giraud, die wegen der Durchführung von Schwangerschaftsabbrüchen zum Tode verurteilt worden war.

Rund um den Ausbruch des Zweiten Weltkriegs setzte in Frankreich eine Welle von Internierungen ein, die sich vorwiegend gegen männliche unerwünschte Ausländer richtete.

Es gerieten aber auch Frauen ins Visier der Behörden, und zwar Frauen, "deren Lebensweise die Behörden aus unterschiedlichen Gründen als zweifelhaft ansahen, [..] die bei einer Vorladung selbstbewusst aufgetreten waren oder von denen man nicht wusste, wie sie ihr Geld verdienten". Das betraf zunächst Ausländerinnen, doch nach einem Gesetz vom 18. November 1939 richteten sich die Maßnahmen auch gegen Französinnen die aus nationaler Sicht politisch verdächtig waren. Der Internierungsort für diese Frauen war in Paris die Petite Roquette, bevor sie ab Oktober 1939 in das zum reinen Fraueninternierungslager umfunktionierte Camp de Rieucros verlegt wurden.

Zu den Frauen, die ab Oktober 1939 von der Petite Roquette ins Camp de Rieucros verlegt wurden, gehörten unter anderem die Schauspielerin Steffie Spira-Ruschin, die Journalistin Lenka Reinerová, die Gewerkschafterinnen Suzanne Masson und Cläre Quast sowie Dora Schaul. Mit deren Verlegung endete aber nicht die Inhaftierung politischer Gefangener in der Petite Roquette. 1941 waren hier 356 Frauen aus politischen Gründen untergebracht, 1944, vor der Befreiung von Paris, immer noch 134.

Unter Berufung auf Yvette Sémard, die 1942 als politische Gefangene im Petite Roquette festgehalten wurde, führt Riegel weiter aus, dass zu dieser Zeit zwischen 600 und 700 weitere Gefangene dort interniert waren, neben den politischen Gefangenen auch gewöhnliche Kriminelle, mindestens eine Roma und für kurze Zeit auch eine Handvoll jüdischer Gefangener. Es sei im Gefängnis sehr kalt gewesen, es habe nur wenig zu essen gegeben und die sanitären Anlagen waren mangelhaft. Unter den politischen Gefangenen habe jedoch große Solidarität geherrscht; sie bildeten einen Chor und erstellten eine handgeschriebene Zeitschrift, die an Kontaktpersonen außerhalb des Gefängnisses weitergegeben und verteilt werden konnte.

Nach seiner Schließung wurde das Gefängnis abgerissen und an seiner Stelle der Park Square de la Roquette angelegt. Ein ehemaliges Pförtnerhäuschen des Gefängnisses dient als Eingang.

Literatur
 Dominique Leborgne, Danièle Chadych: Vie et histoire du XI. arrondissement. Èd. Hervas 1990, ISBN 978-2-903118-27-3
 Yvette Sémard, Gilles Perrault: En souvenir de l'avenir. Au jour le jour dans les camps de Vichy 1942-1944. La Petite Roquette, les camps des Tourelles, d'Aincourt, de Gaillon, de La Lande et de Mérignac. Éd. L'Arbre verdoyant. Montreuil. 1991. ISBN 978-2-86718-023-1

Weblinks

 La Roquette

Einzelnachweise

Gefängnis in Paris
Ehemaliges Gefängnis (Frankreich)
Erbaut in den 1830er Jahren

Gefängnisse von La Roquette


චන්ද්‍රයා විවිධාංගිකරණය වු වස්තුවකි. භූ රසායන විද්‍යාත්මකව විශේෂ වු කබොල්ලක් ප්‍රාවරණයක් හා හරයකින් එය සමන්විතය. වසර බිලියන 4.5 කට පෙර එනම් චන්ද්‍රයාගේ උපතින් කෙටි කලකට පසු මැග්මා සාගරයක භාවිත ස්ඵටීකිකරණයෙන් මෙම ව්‍යුහය ඇති වු බව සැලකෙයි. චන්ද්‍රයාගේ පිටත භාගය විලයනයට අවශ්‍ය ශක්තිය ලැබුනේ පෘථිවි චන්ද්‍ර පද්ධතිය ඇති වීමටද හේතු වූ බව සැලකෙන මහා ගැටීම් නිසාවෙනි. ඊට අමතරව පෘථිවි කාක්ෂිකයේ අනුයාත මූලද්‍රව්‍ය යළි ප්‍රවර්ධනය ද ඊට හේතු වෙතැයි සැලකෙයි. මැග්මා සාගරයේ ස්ඵටිකිකරණය මැග්නීසියම් හා යකඩ අඩංගු ප්‍රාවරණයකට හා නිරෝ ගුරුත්වාවර්තී කබොල්ලකට හේතු වී ඇත.

කාක්ෂිකයෙන් ලබා ගත් භූ රසායනික සිතියම් වලින් අඟවන පරිදි චන්ද්‍ර කබොල්ල ප්‍රධාන වශයෙන් ඇන්ත්‍රොසයිටික සංඝටනාවක් දරයි. මැග්මා සාගර උපකල්පනයට මෙය අනුරූප වේ. මූලද්‍රව්‍යය වශයෙන් ගතහොත් චන්ද්‍ර කබොල්ල ප්‍රාථමික ඔක්සිජන්, සිලිකන්, මැග්නීසියම්, යකඩ, කැල්සියම් හා ඇලුමිනියම් වලින් සමන්විත වේ. නමුත් ටයිටේනියම්, යුරේනියම්, තෝරියම්, පොටෑසියම් හා හයිඩ්‍රජන්ද එහි දක්නට ලැබේ. භූ භෞතික විද්‍යාත්මක තාක්ෂණයන් මත පදනම්ව ගණනය කළ පරිදි කබොල්ලේ ඝනකම 50 km වේ.

චන්ද්‍ර ප්‍රාවරණය තුළ භාගික විලයනය චන්ද්‍රයා මතුපිට ද්‍රෝණි වැඩි ප්‍රමාණයක් විධාරණයට හේතු වී ඇත. මෙම ද්‍රෝණීන්හි විශ්ලේෂණයන් අඟවන පරිදි ප්‍රාවරණය ප්‍රධාන වශයෙන් ඔලිවයින් , ඕතොෆයිරොක්සීන් හා ක්ලිනෝෆයිරොක්සීන් වැනි ඛණිජවලින් සමන්විත වේ. එමෙන්ම පෘථිවියට වඩා චන්ද්‍ර ප්‍රාවරණයේ යකඩ බහුල වේ. ඇතැම් චන්ද්‍රද්‍රෝණිවල ටයිටේනියම් බහුල වේ.(ඉල්මනයිට් ලෙස පවතී). මෙයින් දැක්වෙන්නේ ප්‍රාවරණය සංඝටනාවෙන් බහුයෝගීවන බවයි. චන්ද්‍ර භූමිකම්පා එහි මතුපිට සිට 1000 km ගැඹුරකින් ප්‍රාවරණය තුළ දී හමුවී තිබේ. මේවා මාසිකව ඇතිවන අතර පෘථිවිය සම්බන්ධයෙන් චන්ද්‍ර කාක්ෂික විකේන්ද්‍රණය මගින් ඇති වු උදම් ආතතීන්ටද සම්බන්ධ වෙයි. මතුපිටට 100km ගැඹුරින් අපි කේන්ද්‍රයන් පැවති කුඩා චන්ද්‍ර කම්පාවන් ද හඳුනාගෙන ඇතත් මේවා කලාතුරකින් ඇති වන අතර ඊට චන්ද්‍ර උදම් සමග සම්බන්ධතාවයක් නැත.

චන්ද්‍ර මධ්‍යන්‍ය ඝනත්වය 3346.4 kg/m 3 වන අතර සෞරග්‍රහ මණ්ඩලයේ ඊයෝට පසුව ඝනත්වය අධිකම චන්ද්‍රයා මෙය වෙයි. කෙසේ වුවත් සාක්ෂි බොහොමයකට අනුව ඇඟවෙන්නේ චන්ද්‍ර හරය කුඩා බවයි. එහි අරය 350 km හෝ ඊට අඩු වේ. චන්ද්‍ර හරයේ ප්‍රමාණය චන්ද්‍රයාගේ ප්‍රමාණයෙන් 20% ක් පමණක් වේ. මෙය වෙනත් බොහෝ භූ වස්තූන්වලට සාපේක්ෂව 50% පරස්පර වීමකි. චන්ද්‍ර හරයේ සංඝටනාව හොදින් අධ්‍යයනය කොට නැත. නමුත් බොහෝ දෙනා විශ්වාස කරන පරිදි එය සල්ෆර් හා නිකල් වලින් මාත්‍රිත ද්‍රව යකඩවලින් සමන්විතය. කාලය සමග චන්ද්‍ර භ්‍රමණයේ විචලනය අගවන පරිදි හරය අවම වශයෙන් භාගිකව හෝ ද්‍රව වෙයි.

සටහන්

අභ්‍යවකාශ විද්‍යාව
චන්ද්‍රයා

චන්ද්‍රයාගේ අභ්‍යන්තර ව්‍යුහය


ඓතිහාසික වශයෙන් කළු ජාතිකයන් සඳහා වූ ශාස්ත්‍රාලයන් සහ විශ්වවිද්‍යාලයන් (HBCUs) යනු, කළු ජාතික ප්‍රජාවට සේවය කිරීමේ අභිලාෂය සහිතව, 1964 වසරට ප්‍රථම ඇරඹුනු,  එක්සත් ජනපදයේ උසස් අධ්‍යාපන ආයතන වෙති.

වසර-දෙකෙහි සහ වසර-සතරෙහි උපාධි පිරිනමන ආයතන, වෛද්‍ය විද්‍යාල, සහ ප්‍රජා ශාස්ත්‍රාලයන්ද ඇතුළුව ඓතිහාසික වශයෙන් කළු ජාතිකයන් සඳහා වූ ශාස්ත්‍රාලයන් සහ විශ්වවිද්‍යාලයන් 105 ක් (HBCUs) වර්තමානයෙහි එක්සත් ජනපදයෙහි පවතියි.

සටහන්


Max Leven, eigentlich Max Levy, (* 12. Juni 1882 in Diedenhofen, Lothringen; † 10. November 1938 in Solingen) war ein deutscher Journalist. 1938 wurde er in der Reichspogromnacht von führenden Mitgliedern der Solinger NSDAP ermordet.

Biographie

Kommunist und Journalist

Max Leven absolvierte eine Ausbildung zum Exportkaufmann, unter anderem mehrere Jahre lang in Mailand, eine Zeit, die ihn kulturell sehr prägte und in der er seine Liebe für die Oper entdeckte. Vor dem Ersten Weltkrieg heiratete er Emmi Buchthal und zog 1916 mit ihr und dem gemeinsamen Sohn Heinz nach Solingen, wo er zunächst als Handlungsgehilfe arbeitete. 1917 und 1920 kamen die Töchter Hannah und Anita zur Welt. 1918 wurde Leven Mitglied der Unabhängigen Sozialdemokratischen Partei Deutschlands (USPD), wechselte aber wenig später zur KPD, der ab 1929 auch seine Frau angehörte. Später war er als Kulturredakteur bei der KPD-Zeitung Bergische Arbeiterstimme tätig, für die unter anderen bis 1922 auch der spätere Spion Richard Sorge arbeitete, und gehörte für seine Partei dem Kunstausschuss und der Gerichtshilfe in Solingen an. Er war jüdischer Abkunft, im Gegensatz zu seiner Frau jedoch nicht praktizierend.

Nach der Machtergreifung
1933 wurde Max Leven wegen seiner Mitgliedschaft in der KPD vorübergehend im KZ Kemna in Wuppertal inhaftiert; die Bergische Arbeiterstimme wurde verboten. Im April 1936 wurde Leven wegen vermeintlicher kommunistischer Verschwörung gemeinsam mit seiner Frau erneut festgenommen, jedoch nach wenigen Wochen wieder freigelassen.

In der Reichspogromnacht vom 9. auf den 10. November 1938 verschafften sich vier führende Mitglieder der Solinger NSDAP, die sich zuvor schon an der Brandstiftung an der Solinger Synagoge beteiligt hatten, gewaltsam Zutritt zur Wohnung der Levens; darunter das SS-Mitglied Armin Ritter (Adjutant des
Kreisleiters Helmut Otto), Arthur Bolthausen und der Geschäftsführer des Spar- und Bauvereins Solingen, Franz Eickhorn. Der bettlägerige Max Leven, der ihnen als Jude und Kommunist besonders verhasst war, wurde im Beisein seiner Familie gequält und anschließend von Ritter mit einem Pistolenschuss regelrecht hingerichtet. Levens Frau irrte am nächsten Morgen völlig verstört und nur leicht bekleidet auf Strümpfen durch die Solinger Innenstadt. Der Oberbürgermeister von Solingen, Rudolf Brückmann, wurde über den Mord informiert, die Täter blieben jedoch auf freiem Fuß.

Max Levens Frau Emmi und die Töchter Hannah und Anita wurden später deportiert und in verschiedenen Konzentrationslagern ermordet. Das Schicksal von Sohn Heinz, der wahrscheinlich frühzeitig emigrieren konnte, ist unbekannt; sein letzter bekannter Aufenthaltsort war Paris.

1949 wurden die vier Täter in Wuppertal wegen Mordes und Verbrechen gegen die Menschlichkeit angeklagt. Gegen sie wurden jedoch nur milde Strafen – zwischen anderthalb und drei Jahren Haft – verhängt. Der ehemalige Solinger OB Brückmann wurde freigesprochen.

Max-Leven-Zentrum

1979 wurde in Solingen die Straße, in der die Familie Leven gelebt hatte, nach Max Leven benannt und 2004 dort ein Stolperstein verlegt; 1991 ließ die Stadt für ihn und seine Frau auf dem Jüdischen Friedhof einen Gedenkstein errichten, nachdem Schüler der Alexander-Coppel-Gesamtschule die bis dahin unbekannte Lage von Levens Grab ermittelt hatten. Das Schicksal seiner Angehörigen wurde von Solinger Schülern des Gymnasiums Schwertstraße 2002 erforscht.

Das Haus, in dem die Familie Leven bis 1940 in der Solinger Innenstadt lebte, soll ab 2021 abgerissen werden. Auf dem Grundstück soll bis 2023 die neue Hauptverwaltung der Solinger Sparkasse entstehen. In der künftigen Hauptverwaltung der Sparkasse soll weiterhin des NS-Opfers Max Leven gedacht werden, indem ein 150 Quadratmeter großes Max-Leven-Zentrum Solingen integriert wird. Das Max-Leven-Zentrum soll als Bildungs- und Gedenkstätte dienen und der Öffentlichkeit die verschiedenen Aspekte von Verfolgung und Widerstand während der Zeit des Nationalsozialismus näher bringen.

Am 7. Mai 2020 wurde die Bildungs- und Gedenkstätte Max Leven Zentrum im Zentrum für verfolgte Künste mit der Ausstellung … und laut zu sagen: Nein. eröffnet.

Literatur
 Lutz Peters, Horst Sassin: Max und Emmy Leven – Schicksal einer Familie. In: Manfred Krause (Hrsg.): "... daß ich die Stätte des Glücks vor meinem Tode verlassen müßte." Beiträge zur Geschichte jüdischen Lebens in Solingen. Solinger Geschichtswerkstatt e.V., Solingen 2000, ISBN 3-9805443-3-8, S. 153–157.
 Inge Sbosny, Karl Schabrod: Widerstand in Solingen. Aus dem Leben antifaschistischer Kämpfer. Röderberg, Frankfurt am Main 1975.

Siehe auch
 Liste der Stolpersteine in Solingen
 Liste von NS-Opfern aus Solingen

Weblinks

 Max, Emmi, Heinz, Hannah und Anita Leven auf solingen.de
 Max-Leven-Zentrum Solingen

Einzelnachweise

Journalist (Deutschland)
Kulturjournalist
KPD-Mitglied
USPD-Mitglied
Häftling im KZ Kemna
Mordopfer
Person des Judentums (Solingen)
Deutscher
Geboren 1882
Gestorben 1938
Mann
NS-Opfer
Person, für die in Solingen ein Stolperstein verlegt wurde

Max Leven


ماسولة هي إحدى البلدات السياحية الشهيرة بمحافظة گيلان في إيران. وتقع إلى الغرب من رشت عاصمة المحافظة. يقدر عدد سكانها بـ 554 نسمة .

معرض صور

انظر أيضا
 قائمة مدن إيران

مراجع

أماكن مأهولة في مقاطعة فومن
مدن محافظة غيلان
مواقع جذب سياحي في محافظة غيلان

ماسولة


Curalium cronini est une espèce nord-américaine d'insectes hémiptères, du sous-ordre des hétéroptères (punaises) et de l'infra-ordre des Cimicomorpha. C'est la seule espèce connue du genre Curalium, lui-même seul genre connu de la famille des Curaliidae.

Description
Très petite espèce (1.5 mm de long) avec la tête, le thorax, le cunéus et les coxae (hanches) rouge rubis, les appendices étant pâles, la corie et le clavus transparents. Elle présente des antennes visibles de 4 articles, avec les articles 3 et 4 faiblement fusiformes. Les yeux sont quasi-hémisphériques, placés en avant de la tête et légèrement en dessous. La tête, plus ou moins pentagonale vue d'en dessus, présente également des ocelles grands et bien séparés. Le pronotum est court, en forme de collier, et laisse visibles le mésonotum, enflé et bombé, et le scutellum (en forme de langue). Elle est macroptère, et les hémélytres présentent un cunéus et une membrane non veinée, et sont coriacées uniquement sur le bord costal et le cunéus. Tous les tarses présentent 2 segments.

Répartition
Cette espèce est connue uniquement du Sud-Est des États-Unis, au Nord de la Floride et en Louisiane. L'habitat n'est pas décrit.

Biologie
Leur biologie est encore peu connue. Seuls des mâles ont été trouvés jusqu'à présents, venus sur des pièges lumineux UV, vers fin juin début juillet et fin juillet-début août. L'apparence du rostre en fait vraisemblablement une espèce prédatrice.

Systématique
Cette espèce, décrite par Schuh, Weirauch et Henry en 2008 à la suite de sa découverte et de la collecte de spécimens entre 1995 et 2007, prend place, au vu de ses caractéristiques, au sein des Cimicomorpha, super-famille des Cimicoidea, dans un genre et une nouvelle famille créées pour elle, car notamment son pronotum et son mesonotum, de même que ses genitalia, la distinguent des Anthocoridae, Lasiochilinae, et Lyctocoridae, ainsi que des Joppeicidae, Microphysidae et Plokiophilidae, familles auxquelles elle ressemble par la taille, la forme et la structure des tarses.

Le nom de genre « Curalium » fait référence à la couleur rouge corail de l'animal. Le nom d'espèce « cronini » est un hommage au principal découvreur, J. Eric Cronin, à l'occasion du tri de prises au piège lumineux.

Genre et espèce
Selon  :

 genre Curalium Schuh, Weirauch & Henry, 2008
 Curalium cronini Schuh, Weirauch & Henry, 2008

Liens externes

 famille des Curaliidae

 genre Curalium

 espèce Curalium cronini

Notes et références

Espèce d'Hétéroptères (nom scientifique)
Taxon décrit en 2008
Genre d'Hétéroptères (nom scientifique)

Curalium cronini


Diyojen (Osmanlıca: دیوژن), Teodor Kasap tarafından Fransızca ve Rumca olarak çıkarılırken 25 Kasım 1870 tarihinden itibaren Osmanlıca yayınlanmaya başlayan ilk Osmanlı mizah dergisi.

Derginin merkezi İstanbul'da Asmaaltı'ndaki Camlı Han'ın bodrum katındaydı. Fıçıya girmiş Diyojen'in Romalı askerlerle karşı karşıya resimlendiği logosunun üzerinde eski harflerle Diyojen, altında ise "Gölge etme başka ihsan istemem" sloganı yazıyordu; fiyatı 3 kuruştu. İlk yayınlandığında haftalık olan dergi 23. sayısından itibaren haftada iki kez, 148.sayısından itibaren de üç kez yayınlanmaktaydı.

Osmanlı İmparatorluğu'nda modern mizahın ilk örneklerinin yayınlandığı dergi, Direktör Ali Bey, Ebüzziya Tevfik ve Namık Kemal'in imzasız yazılarına yer verilmişti.

Dergi, politik mizah yazılarından dolayı üç kez geçici sürelerle kapatılmış, kesintili süren yayını 11 Ocak 1873'te yayınlanan 183. sayısından sonra kesin kapatma kararıyla sona ermişti.

Kaynakça

Dış bağlantılar
 http://dergisosyalbil.selcuk.edu.tr/susbed/article/view/571/551

Türk mizah dergileri
Osmanlı dergileri
1870'te kurulan oluşumlar
Tanzimat döneminde çıkan dergiler
Osmanlıca dergiler
Osmanlıca mizah dergileri

Diyojen (dergi)


لافاييتي  هي إحدى مدن مقاطعة كونترا كوستا، كاليفورنيا. تم إعطاءها لقب مدينة في 29 يوليو، 1968.

التركيبة السكانية
حدّد مكتب تعداد الولايات المتحدة بيانات التركيبة السكانية للافاييتي في تعداد الولايات المتحدة. في ما يلي، التركيبة السكانية حسب تعدادي 2000 و2010.

تعداد عام 2000
بلغ عدد سكان لافاييتي 23,908 نسمة بحسب تعداد عام 2000، وبلغ عدد الأسر 9,152 أسرة وعدد العائلات 6,755 عائلة مقيمة في المدينة. في حين سجلت الكثافة السكانية . وبلغ عدد الوحدات السكنية 9,334 وحدة بمتوسط كثافة قدره .
وتوزع التركيب العرقي للمدينة بنسبة 86.81% من البيض و0.55% من الأمريكيين الأفارقة و0.22% من الأمريكيين الأصليين و8.23% من الأمريكيين ذوي الأصول الآسيوية و0.09% من سكان جزر المحيط الهادئ و0.81% من الأعراق الأخرى و3.30% من عرقين مختلطين أو أكثر و3.95% من الهسبانيون أو اللاتينيون من أي عرق.

بلغ عدد الأسر 9,152 أسرة كانت نسبة 37.3% منها لديها أطفال تحت سن الثامنة عشر تعيش معهم، وبلغت نسبة الأزواج القاطنين مع بعضهم البعض 64.9% من أصل المجموع الكلي للأسر، ونسبة 6.5% من الأسر كان لديها معيلات من الإناث دون وجود شريك، بينما كانت نسبة 2.4% من الأسر لديها معيلون من الذكور دون وجود شريكة وكانت نسبة 26.2% من غير العائلات. تألفت نسبة 20.1% من أصل جميع الأسر من عدة أفراد يعيشون في نفس المنزل ونسبة 7.1% كانت تتألف من شخص يعيش بمفرده يبلغ من العمر 65 عاماً أو أكثر. وبلغ متوسط حجم الأسرة المعيشية 2.60، أما متوسط حجم العائلات فبلغ 3.02.

بلغ العمر الوسطي للسكان 42.3 عاماً. وكانت نسبة 25.9% من القاطنين تحت سن الثامنة عشر، وكانت نسبة 4.4% بين الثامنة عشر والرابعة والعشرين عاماً، ونسبة 24.8% كانت واقعةً في الفئة العمرية ما بين الخامسة والعشرين والرابعة والأربعين عاماً، ونسبة 30.4% كانت ما بين الخامسة والأربعين والرابعة والستين، ونسبة 14.1% كانت ضمن فئة الخامسة والستين عاماً فما فوق. يوجد لكل 100 أنثى 95.8 ذكر، ويوجد لكل 100 أنثى في الثامنة عشر من عمرها فما فوق 92.1 ذكر.

بلغ متوسط دخل الأسرة في المدينة 102,107 دولارًا، أما متوسط دخل العائلة فبلغ 120,364 دولارًا. وكان متوسط دخل الذكور 90,067 دولارًا مقابل 51,855 دولارًا للإناث. وسجل دخل الفرد الخاص بالمدينة 54,319 دولارًا. وكانت نسبة 2.1% من العائلات ونسبة 2.9% من السكان تحت خط الفقر، وكان من هؤلاء نسبة 2.5% تحت سن الثامنة عشر ونسبة 5.1% في الخامسة والستين من العمر وما فوق.

تعداد عام 2010
بلغ عدد سكان لافاييتي 23,893 نسمة بحسب تعداد عام 2010، وبلغ عدد الأسر 9,223 أسرة وعدد العائلات 6,795 عائلة مقيمة في المدينة. في حين سجلت الكثافة السكانية . وبلغ عدد الوحدات السكنية 9,651 وحدة بمتوسط كثافة قدره .
وتوزع التركيب العرقي للمدينة بنسبة 84.68% من البيض و0.69% من الأمريكيين الأفارقة و0.28% من الأمريكيين الأصليين و9.05% من الأمريكيين ذوي الأصول الآسيوية و0.11% من سكان جزر المحيط الهادئ و1% من الأعراق الأخرى و4.19% من عرقين مختلطين أو أكثر و5.81% من الهسبانيون أو اللاتينيون من أي عرق.

بلغ عدد الأسر 9,223 أسرة كانت نسبة 35.4% منها لديها أطفال تحت سن الثامنة عشر تعيش معهم، وبلغت نسبة الأزواج القاطنين مع بعضهم البعض 63.7% من أصل المجموع الكلي للأسر، ونسبة 7.1% من الأسر كان لديها معيلات من الإناث دون وجود شريك، بينما كانت نسبة 3% من الأسر لديها معيلون من الذكور دون وجود شريكة وكانت نسبة 26.3% من غير العائلات. تألفت نسبة 20.8% من أصل جميع الأسر من عدة أفراد يعيشون في نفس المنزل ونسبة 8.7% كانت تتألف من شخص يعيش بمفرده يبلغ من العمر 65 عاماً أو أكثر. وبلغ متوسط حجم الأسرة المعيشية 2.58، أما متوسط حجم العائلات فبلغ 3.01.

بلغ العمر الوسطي للسكان 45.2 عاماً. وكانت نسبة 24.9% من القاطنين تحت سن الثامنة عشر، وكانت نسبة 5.1% بين الثامنة عشر والرابعة والعشرين عاماً، ونسبة 19.6% كانت واقعةً في الفئة العمرية ما بين الخامسة والعشرين والرابعة والأربعين عاماً، ونسبة 33.8% كانت ما بين الخامسة والأربعين والرابعة والستين، ونسبة 16.6% كانت ضمن فئة الخامسة والستين عاماً فما فوق. وتوزع التركيب الجنسي للسكان بنسبة 48.6% ذكور و51.4% إناث.

المناخ
يظهر الجدول التالي التغييرات المناخية على مدار السنة للافاييتي:

أعلام

 ليو بروير
 ويليام غاريسون
 والتر ديك
 براندون هاركنز
 ستيف راب

مراجع

الموقع الجغرافي
الموقع الجغرافي للمناطق المحيطة بهذه النقطة هو كالتالي:

أماكن مأهولة أسست في 1846
تأسيسات سنة 1846 في كاليفورنيا
ماركيس دي لافاييت
مدن في مقاطعة كونترا كوستا (كاليفورنيا)
مدن كاليفورنيا
مدن منطقة خليج سان فرانسيسكو

لافاييتي (كاليفورنيا)


أزمة النفط عام 1979 أو (أزمة النفط الثانية) في الولايات المتحدة وقعت في أعقاب الثورة الإيرانية، وسط احتجاجات ضخمة، فر شاه إيران محمد رضا بهلوي من البلاد في أوائل عام 1979، وبهذا سمح لآية الله الخميني بالسيطرة على إيران، الاحتجاجات أدت لتحطيم قطاع النفط الإيراني، في حين استأنف النظام الجديد صادرات النفط، لكنها كانت بحجم أقل، مما دفع الأسعار للزيادة، المملكة العربية السعودية ودول أخرى في أوبك قاموا زيادة الإنتاج لتعويض الانخفاض، وعموما خسارة في الإنتاج نحو 4 في المئة. ومع ذلك، أدى إلى ذعر واسع النطاق أسفر عن دفع سعر أعلى بكثير من المتوقع أن يكون في ظل الظروف العادية. ضوابط الأسعار في الولايات المتحدة على المصادر المحلية من النفط أيضا أدت إلى تفاقم الحالة . وفي عام 1980، في أعقاب الغزو العراقي للإيران ، توقف إنتاج النفط في إيران تقريبا، وإنتاج العراق من النفط انخفض بشدة أيضا. بعد عام 1980، اتجهت أسعار النفط لمدة ست سنوات إلى التراجع، الذي بلغ ذروته بانخفاض 46% من سعره في 1986، ويعزى ذلك إلى انخفاض الطلب والإفراط في الإنتاج.

الوضع في إيران

في نوفمبر 1978 ، إضراب ما يقارب 37600 عامل إيراني في مصافي النفط، أدى ذلك في البداية إلى انخفاض في الإنتاج في الفترة من 6 ملايين برميل (950000 م³) يوميا ليصل إلى نحو 1.5 مليون برميل (240000 م³). العمال الأجانب (بما في ذلك عمال النفط) فروا من البلاد، وفي 16 يناير 1979 ، شاه إيران محمد رضا بهلوي وزوجته غادرا إيران بناء على طلب من رئيس الوزراء شابور بختيار، الذي سعى إلى تهدئة الوضع.

التأثير على أعضاء أوبك

ارتفاع أسعار النفط عاد بالفائدة على أعضاء أوبك ( عدا إيران )، مما جعل أرباحهم قياسية.

التأثير على الولايات المتحدة

ريتشارد نيكسون كان قد فرض الرقابة على الأسعار المحلية للنفط، التي ساعدت في القضية التي أدت إلى نقص البنزين خلال خطوط أزمة نفط 1973، ألغيت الضوابط على البنزين، ولكن الضوابط الداخلية على النفط في الولايات المتحدة استمرت، بدأت إدارة جيمي كارتر مراحل تحرير أسعار النفط 5 أبريل 1979 ، عندما كان متوسط سعر النفط الخام 15.85 دولار، خلال 12 شهرا سعر النفط الخام ارتفع إلى 39.50 دولار، إزالة الضوابط المقيدة لأسعار النفط المحلية سمحت لإنتاج النفط في الولايات المتحدة بالارتفاع الحاد، في حين أن واردات النفط انخفضت بشكل حادا، ومع ذلك استمرت طوابير طويلة عند محطات البنزين بسبب تأثيرات أزمة النفط السابقة.

مراجع

أزمات الطاقة
الاقتصاد في 1979
اقتصاديات النفط
الثورة الإسلامية الإيرانية
تاريخ الصناعة النفطية
حظر
رئاسة جيمي كارتر
سياسة النفط
علاقات دولية في 1979

أزمة الطاقة (1979)


Finding Steve McQueen est un film américain réalisé par Mark Steven Johnson, sorti en 2019.

Synopsis
En 1980, Harry James Barber raconte à sa petite amie Molly Murphy comment il a cambriolé une banque californienne.

En 1972, ce fan de Steve McQueen a accepté de participer à un plan mis en place par Enzo Rotella pour voler une supposée caisse noire du président Richard Nixon.

Fiche technique
 Titre : Finding Steve McQueen
 Réalisation : Mark Steven Johnson
 Scénario : Ken Hixon et Keith Sharon
 Musique : Víctor Reyes
 Photographie : José David Montero
 Montage : Kathryn Himoff et Julia Juaniz
 Production : Monika Bacardi, Alberto Burgueño, Juan Antonio García Peredo, Andrea Iervolino, Alexandra Klim, Anthony Mastromauro et Silvio Muraglia
 Société de production : AMBI Group, BondIt Media Capital, Elipsis Capital, Identity Films, Marvin Productions, Paradox Studios et Premiere Picture
 Société de distribution : Momentum Pictures (États-Unis)
 Pays :
 Genre : Thriller
 Durée : 91 minutes
 Dates de sortie :
 :

Distribution
 Travis Fimmel : Harry Barber
 Rachael Taylor : Molly Murphy
 Forest Whitaker : Howard Lambert
 William Fichtner : Enzo Rotella
 Louis Lombardi : Pauly Callahan
 Jake Weary : Tommy Barber
 Rhys Coiro : Ray Darrow
 Lily Rabe : Sharon Price
 John Finn : W. Mark Felt
 Ric Reitz : Sheriff Kelly
 Kenny Alfonso : Bobby Lohman
 Robin McDonald : Rose Kelly
 Darren Keefe Reiher : l'agent Hurlbuck

Accueil
Le film a reçu un accueil mitigé de la critique. Il obtient un score moyen de 53 % sur Metacritic.

Notes et références

Liens externes

Film américain sorti en 2019
Thriller (film) américain
Film de casse
Film réalisé par Mark Steven Johnson

Finding Steve McQueen


Türksat 2A (Eurasiasat 1), 42 derece doğu boylamında görev yapmış uydudur.

Türkiye'ye aittir. Türksat 3A ile aynı boylamdadır. 10 Ocak 2001 tarihinde fırlatılmış, 1 Şubat 2001 itibarıyla 42 derece Doğu boylamında göreve başlamıştır. Yerli yabancı televizyon kanalları ile diğer uydu hizmetleri verilmektedir. Türksat tarafından işletilmektedir.

Türksat 2A görev süresini 27 Eylül 2016 tarihinde tamamladı.

Kaynakça

2A
İletişim uyduları

Türksat 2A


La Sinfonía Concertante en mi menor, op. 125, del compositor ruso Serguéi Prokófiev, es una obra de gran escala para violonchelo y orquesta. Prokofiev la dedicó al violonchelista Mstislav Rostropóvich, quien la estrenó el 18 de febrero de 1952 con Sviatoslav Richter como director. Tras esta primera ejecución (con el título de Concierto para violonchelo n.º 2), fue revisada y renombrada a su denominación actual. Por sí misma, esta pieza es una versión revisada de su anterior Concierto para violonchelo, op. 58, escrito en agosto de 1933.

La pieza, con 40 minutos de duración aproximadamente, consta de tres movimientos:
 Andante (11 minutos)
 Allegro (18 minutos)
 Andante con moto - Allegretto - Allegro marcato (11 minutos)

Este trabajo inspiró a Dmitri Shostakóvich para escribir su Concierto para violonchelo n.º 1, dedicado también a Rostropóvich.

Referencias

sinfonia concertante
Prokofiev
Conciertos para violonchelo
Composiciones de 1952
Composiciones en mi menor

Sinfonía concertante (Prokófiev)


Deesa (en guyaratí: ડીસા ) es una ciudad de la India en el distrito de Banaskantha, estado de Guyarat.

Geografía
Se encuentra a una altitud de 138  a 151 km de la capital estatal, Gandhinagar, en la zona horaria UTC +5:30.

Demografía
Según estimación 2011 contaba con una población de 104 343 habitantes.

Referencias

Enlaces externos

Localidades de Guyarat

Deesa


An Crepidium variabile in uska species han Liliopsida nga syahan ginhulagway ni Oakes Ames ngan Charles Schweinfurth, ngan ginhatag han pagkayana nga asya nga ngaran ni Dariusz Lucjan Szlachetko. An Crepidium variabile in nahilalakip ha genus nga Crepidium, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Crepidium

Crepidium variabile


El XIII Censo Nacional de Población y II de Vivienda fue realizado el día 29 de noviembre de 1960, por la Oficina de Estadísticas y Censos, institución que precedió el Instituto Nacional de Estadísticas actual. A cargo de dicho proceso se encontró el Director Nacional de dicha institución, Omar Rojas Molina, y el jefe nacional ejecutivo del Censo, Osvaldo Pérez Olmedo.

En esta oportunidad se agregó un nuevo concepto, el "hogar censal", que implicó la obtención de información sobre dos categorías básicas:
hogar particular (comprende todos los ocupantes de una vivienda particular, ya sea constituido por una o más personas)
grupo no familiar (comprende lo que hoy se conoce en Censos como vivienda colectiva).

Resultados generales

Bibliografía

1960
Chile
Chile en 1960

Censo chileno de 1960


Ymittos (), is a town and a suburb in the Athens urban area, Greece. Since the 2011 local government reform it is part of the municipality Dafni-Ymittos, of which it is a municipal unit. With a land area of 0.975 km², it was the second-smallest municipality in Greece (after Nea Chalkidona) before 2011. It is situated 2.5 km southeast of the Acropolis of Athens. Ymittos has two lyceums.

Historical population

References

External links
Ymittos weather station

Populated places in Central Athens (regional unit)
Dafni-Ymittos

Ymittos


Strenna Dalmata je bila svojevrsni dodatak zadarskomu tjedniku La Dalmazia koji je izlazio od 1845. do 1847. godine. Prva je objavljena početkom 1847. godine kao novogodišnji almanah na poklon čitateljima, a za proteklu 1846. godinu. Sadržavala je tekstove poznatih onodobnih dalmatinskih intelektualaca s boravištem u Pokrajini, ali i onih izvan nje.

Izvori

Hrvatski tiskani mediji
Zadarski tisak

Strenna Dalmata


John Patrick Doyle AM (born 9 March 1953) is an Australian actor, writer, radio presenter and comedian best known for his character Rampaging Roy Slaven.

Early life
Doyle was born in Lithgow, New South Wales in 1953 into a music-loving, Catholic household with three sisters, Deanna, Cathy, and Jen, and a brother, Tony. His mother was a business woman and his father a railway fettler. He was an altar boy for a time but lost interest in Catholicism with the introduction of contemporary changes in the Mass among other things. He attended and was a prefect at De La Salle Academy in Lithgow before graduating from the then Newcastle Teachers' College in 1973 with a Diploma of Teaching (Secondary English/History). He completed a Bachelor of Arts degree at the University of Newcastle (NSW) in 1978 before joining the Hunter Valley Theatre Company. Doyle continued to perform while teaching at Glendale High School near Newcastle. After seven years of teaching, he moved to Sydney, where he worked with the Sydney Theatre Company.

Career

Radio
Doyle began his radio career in 1985 when his character "Rampaging" Roy Slaven appeared on Triple J's breakfast show every Friday. Loosely based on classic TV sporting commentators such as Rex Mossop, Doyle created Slaven as a larger-than-life persona, an utterly opinionated, impossibly talented "sporting everyman" who has represented Australia in every field, won innumerable Melbourne Cups on his ageless mount Rooting King, is on intimate terms with every sporting celebrity (including many top racehorses), as well as film and music stars, politicians and other leaders of society around the world, yet who retains the "common touch" and stands for Australian manhood, fairness, and honesty. Slaven is the name of a well known family from Doyle's home town, Lithgow. During that time, he met Flinders University arts graduate and comedian Greig Pickhaver when they worked together as minor characters on the SBS children's series Five Times Dizzy. Pickhaver had similar comedic skills and interests, and had also developed a sporting commentator character called HG Nelson while appearing on the Melbourne radio comedy program Punter To Punter in the early '80s. An amalgam of just about every Aussie sports commentator and race caller who ever lived, HG, like Roy, has seen and done it all and is utterly passionate about truth and honesty in sport.

The team of "Roy and HG" was born when This Sporting Life premiered on Triple J in early 1986. The four-hour (later three-hour) comedy show, improvised live, soon became a cult hit. Over that time Doyle and Pickhaver perfected a unique style that satirises the world of sport and the athletes, the entertainment scene and celebrity in general, in a manner that is simultaneously ruthless and affectionate. As well as their weekly radio show, the duo also made satirical radio "calls" of major annual sporting events including the State of Origin series, the NRL and AFL Grand Finals (known as the Festivals of the Boot, Parts I and II) and the Melbourne Cup, as well as occasional outside broadcasts of TSL performed before live audiences.

In addition to This Sporting Life, Doyle hosted the two-hour mid-afternoon shift on ABC radio station 2BL in Sydney for several years in the late 1980s and early 1990s, earning a loyal following among listeners and demonstrating that he was not only extremely knowledgeable on a huge range of subjects, but was also a superb interviewer. He took over many existing program segments and made them entirely his own, and his regular conversations with guests such as cooking expert Barbara Lowery, Sydney Opera House media liaison officer "Commodore" David Brown (whom he nicknamed "The Salty Sea Dog"), gardening expert Angus Stewart (nicknamed "The Doctor Of The Dirt"), pop music expert and "Sydney Morning Herald" journalist Bruce Elder (nicknamed "The Professor of Pop") and Sydney Morning Herald TV Guide editor Tony Squires, became regular highlights of the show.

Like Graham Kennedy, Doyle specialised in subtly (or blatantly) undercutting the "straight" presentation of such stock segments, and he often veered off on tangents that he found funny or diverting, or introduced ideas which he thought might be likely to get a "rise" from his guest. One memorable thread was his long-running obsession with the source of a supposed "mystery noise" that was reputedly disturbing patrons in the Opera House Concert Hall, and he regularly badgered long-suffering Opera House publicist David Brown for an explanation. The inadequacy of the women's toilets were also a frequent subject of discussion, or more correctly, interrogation, and the "what's on at the Opera House" segments stretched from around 10 minutes to a whole half-hour, through most of which David Brown's characteristic laugh was a highlight.

Although his "Slavenesque" sense of humour often showed through on the 2BL shift, Doyle and Pickhaver were assiduous about keeping their real-life identities and the Roy and HG characters separate (they were rarely photographed) and although Pickhaver often appeared on The Afternoon Programme as HG Nelson, Doyle never performed overtly as Roy, or referred to him in any way. During this period Doyle kept up a hectic work schedule, presenting The Afternoon Programme two hours a day, Monday to Friday, as well as his regular four-hour stint on Saturdays on This Sporting Life and also, at one stage, the first weekly half-hour TV version of the show.

This Sporting Life was added to the National Film and Sound Archive's Sounds of Australia registry in 2013.

In March 2020, Doyle and Pickhaver reprised their roles as Roy Slaven and HG Nelson for their weekly show Bludging on the Blindside.

Television
In 1984, Doyle appeared as English bowler George "Gubby" Allen in the acclaimed Network Ten television miniseries Bodyline.

In the early 1990s, "Roy and HG" successfully transferred to ABC-TV; the first version, also called This Sporting Life, was moderately successful, but suffered from being essentially a TV "talking head" version of the radio show. They reinvented the concept by marrying it with a broad parody-cum-tribute of Australian variety entertainment. The result, Club Buggery ran for two series (one as The Channel Nine Show); it became a cult hit, and the duo won a Logie Award.

After moving to the commercial Seven Network in the late 1990s, they scored record TV ratings and gained international notoriety during the Sydney 2000 Olympics with their hit late-night Olympic commentary show The Dream. The show became so popular that the Australian Olympic Committee included the duo in the Closing Ceremony. They have also appeared on the Seven Network with The Monday Dump and  The Nation Dumps and have repeated their success with The Dream in two subsequent series commentating on the 2002 Winter Olympics in Salt Lake City and the 2004 Olympics in Athens. The two have also appeared together on the television shows The Channel Nine Show and Planet Norwich.

Over the last decade Doyle has also developed a very successful parallel career as a writer of serious television drama. His first major effort as a TV dramatist was the highly acclaimed ABC-TV miniseries Changi, an adventurous exploration of the experiences of a group of young Australian soldiers interned in Changi POW camp during World War II. The series was partly inspired by Hogan's Heroes and was originally conceived as a situation comedy; using the dramatic technique of magic realism, Doyle developed the script into a deeply moving yet often humorous examination of the experiences of young men at war and the effects it has on their later lives.

In 2003, he completed the drama series Marking Time, which examines contemporary racial and cultural tensions in Australian society, seen through the prism of an Australian country town and focusing on the relationship between two teenagers — an Anglo Celtic Australian boy named Hal and an Afghan refugee Muslim girl named Randa.

In 2006, Doyle appeared in Two Men In A Tinnie, a documentary of his own making involving a trip down the Murray-Darling river system of Australia with his longtime friend, biologist Dr. Tim Flannery. The program focuses on the degradation of the once mighty rivers and gives many different insights as to the causes. John and Tim reprised their collaboration in 2008 with Two In The Top End where they explored northern Australia and subsequently in 2012 with Two On The Great Divide where they travelled along the 3500 km long Great Dividing Range, and in 2014 with Two Men in China.

In 2013, he released Building Australia, a miniseries exploring the architecture and history of houses in Australia.

Theatre
In 2008, his play Pig Iron People was produced by Sydney Theatre Company  at the Sydney Opera House Drama Theatre. Another play written by John Doyle, Vere (Faith), produced by Sydney Theatre Company and the State Theatre Company of South Australia, was shown in October and November 2013.

Personal life
Doyle met his wife Deanna, a visual artist, while working with the Hunter Valley Theatre Company, though they both graduated from the Newcastle Teachers' College in 1973. The couple lives in the Sydney suburb of Balmain.

Doyle is the Patron of Autism Spectrum Australia; with his affiliation brought about as a result of his younger sister Jen being diagnosed with autism when she was ten. Doyle's late father suffered from dementia, which inspired his play Vere (Faith). Both of Doyle's parents died in 2012 and his sister Jen died in early 2020.

Honours
Doyle's outstanding contribution to Australia's cultural scene, through theatre, radio and television was recognised with the granting of an honorary Doctorate of Letters from the University of Newcastle in 2001. He delivered the 2005 Andrew Olle Media Lecture. He has also presented the AWGIE Awards a number of times, including in 2012 and 2015 as himself and in 2002 with Pickhaver as Rampaging Roy Slaven and HG Nelson.

Doyle became a Member of the Order of Australia on 14 June 2010 for service to the media as a presenter and entertainer, and as a supporter of a range of charitable organisations, particularly the United Nations Children's Fund in Australia.

|-
! scope="row" | 1981
|
| City of Newcastle
| Newcastle Drama Award
|
| Excellence in theatre
|
|-
! scope="row" | 1989
| This Sporting Life
| AWGIE Awards
| Comedy - Any Medium
|
| With Greig Pickhaver
|
|-
! scope="row" | 1990
| This Sporting Life
| AWGIE Awards
| Comedy - Any Medium
|
| With Greig Pickhaver
|
|-
! scope="row" | 1991
| This Sporting Life
| AWGIE Awards
| Comedy - Any Medium
|
| With Greig Pickhaver
|
|-
! scope="row" | 1992
| This Sporting Life
| AWGIE Awards
| Comedy - Any Medium
|
| With Greig Pickhaver
|
|-
! scope="row" | 1993
| This Sporting Life
| AWGIE Awards
| Comedy
|
| With Greig Pickhaver
|
|-
! scope="row" | 1995
| The World of An
| AWGIE Awards
| Comedy
|
|
|
|-
! scope="row" | 1996
| Club Buggery
| AWGIE Awards
| Comedy Revue/Sketch
|
|
|
|-
! scope="row" | 1998
| Club Buggery
| Logie Awards
| Most Outstanding Achievement in Comedy
| Nominated
| With Greig Pickhaver
|
|-
! scope="row" | 2001
|
| AWGIE Awards
| Fred Parsons Award
|
| With Greig Pickhaver
|
|-
! scope="row" | 2001
| The Dream
| Logie Awards
| Most Outstanding Comedy Program
| Nominated
| With Greig Pickhaver
|
|-
! scope="row" | 2001
| Changi
| Australian Film Institute Awards
| Best Screenplay in a Television Drama
| Nominated
|
|
|-
! scope="row" | 2001
| Changi
| Australian Film Institute Awards
| Best Telefeature of Miniseries
| Nominated
|
|
|-
! scope="row" | 2002
| Changi
| Logie Awards
| Most Outstanding Mini Series or Telemovie
|
|
|
|-
! scope="row" | 2002
| Changi episode Private Bill
| AWGIE Awards
| Miniseries (Original)
|
|
|
|-
! scope="row" | 2002
| Changi episode Seeing is Believing
| AWGIE Awards
| Miniseries (Original)
| Nominated
|
|
|-
! scope="row" | 2004
| Marking Time
| Australian Film Institute Awards
| Best Screenplay in Television
|
|
|
|-
! scope="row" | 2004
| Marking Time
| Australian Film Institute Awards
| Best Telefeature or Mini-Series
|
| With John Edwards
|
|-
! scope="row" | 2004
| Marking Time
| NSW Premier's Literary Awards
| Betty Roland Prize for Scriptwriting
|
|
|
|-
! scope="row" | 2004
| Marking Time - episodes 1 & 2
| AWGIE Awards
| Television Award - Mini-Series (Original)
|
| Episodes 3 & 4 were also nominated
|
|-
! scope="row" | 2004
| Marking Time
| Logie Awards
| Most Outstanding Mini Series or Telemovie
| Nominated
|
|
|-
! scope="row" | 2004
| The Cream
| Logie Awards
| Most Popular Sports Program
| Nominated
| With Greig Pickhaver
|
|-
! scope="row" | 2005
| The Dream in Athens
| Logie Awards
| Most Popular Sports Program
| Nominated
| With Greig Pickhaver
|
|-
! scope="row" | 2006
| Two Men in a Tinnie
| SPAA Awards
| Best Documentary
|
|
|
|-
! scope="row" | 2009
| Two in the Top End
| Logie Awards
| Most Outstanding Factual Program
| Nominated
|
|
|-
! scope="row" | 2013
| Vere (Faith)
| Sydney Theatre Awards
| Best New Australian Work
| Nominated
|
|

Published works

References

External links

People from Lithgow, New South Wales
Triple J announcers
University of Newcastle (Australia) alumni
1953 births
Living people
Members of the Order of Australia
Australian male comedians

John Doyle (comedian)


{{Taksokvir
| boja         =lightgreen
| naziv        = Odstojeća bezbridnjača
| slika        = A natural history of British grasses (1858) (14594208317).jpg
| slika_širina =
| slika_opis   ='P. distans| status       =
| regnum       =Plantae
| divisio      =Tracheophyta
| classis      =Liliopsida
| ordo         =Poales
| familia      =Poaceae
| genus        =Puccinellia| genus_autorstvo =
| species      =P. distans| subspecies   =
| dvoimeno     =Puccinellia distans| dvoimeno_autorstvo = (Jacq.) Parl.
| karta_raspon =
| FCD          = 8158
}}
Odstojeća bezbridnjača (Lat. Puccinellia distans) vrsta trave iz roda bezbridnjača raširena po gotovo cijeloj Euroaziji i dijelovima Sjeverne Amerike.

Takozvane blatna i obična bezbridnjača kako se nazivaju u Hrvatskoj i smatraju ih njezinim podvrstama, kao podvrste nisu priznate. Sinonim blatne bezbridnjače je P. distans ssp. limosa, a obične, P. distans ssp. distans''.

Izvori

Vanjske poveznice

Coleanthinae
Flora Europe
Flora Azije

Odstojeća bezbridnjača


L'équipe d'Iran de hockey sur glace est la sélection nationale de l'Iran regroupant les meilleurs joueurs iraniens de hockey sur glace lors de compétitions internationales. L'équipe est sous la tutelle de la . L'équipe est  au classement IIHF en 2022.

Historique

L'Iran n'est membre de l'IIHF que depuis 2019.

Résultats

Jeux olympiques
Aucune participation

Championnats du monde

 2022 -  de Division IV
 2023 -  de Division IIIB

Jeux asiatiques d'hiver

L'Iran devait participer à l'édition 2017 mais l'équipe a été disqualifiée, la moitié des joueurs n'étant pas éligibles. L'Iran a néanmoins pu disputer tous ses matches, qui ont été considérés comme amicaux et non comptés dans le classement.

Bilan des matchs internationaux

Références

Iran
Hockey sur glace

Équipe d'Iran de hockey sur glace


Margret Neuhaus (* 12. Februar 1930 in Düsseldorf als Margarete Neuhausen) ist eine deutsche Schauspielerin, Hörspiel- und Synchronsprecherin.

Leben
Neuhaus trat u Beginn der 1950er Jahre als Theaterschauspielerin in Hamburg in Erscheinung. Sie spielte am Jungen Theater sowie am Deutschen Schauspielhaus zahlreiche klassische Bühnenrollen wie die "Poly" in Georg Kaisers Napoleon in New Orléans, die die "Tofva" in August Strindbergs Schwanenweiß, die "Agnes" in Jean Anouilhs Lerche, die "Hopp-Majänn" in Hans Müller-Schlössers Schneider Wibbel und die "Varinka" in George Bernard Shaws Die große Katharina. 1955 wechselte sie in das Ensemble des Stadttheaters Bern.

Daneben übernahm sie ab den 1950er Jahren auch Rollen in Film- und Fernsehproduktionen. Margret Neuhaus spielte neben Sonja Ziemann in Ákos von Ráthonyis Schön muß man sein, unter der Regie Géza von Cziffras im Musical Blume von Hawaii, in Aleksander Fords Drama Der Arzt stellt fest...  sowie im Fernsehkrimi Die Tote im Hafenbecken aus der Reihe Stahlnetz.

Außerdem arbeitete sie umfangreich als Sprecherin für Hörspiel und Filmsynchronisation. Sie lieh ihre Stimme unter anderem Brenda de Banzie in Herr im Haus bin ich, Barbara Murray in Der Mann in Schwarz und Eunice Gayson in An der Straßenecke.

Filmografie (Auswahl)
 1951: Schön muß man sein
 1953: Das Chiffontuch
 1953: Blume von Hawaii
 1954: Die Generalprobe
 1958: Stahlnetz: Die Tote im Hafenbecken
 1961: Rosen auf Pump
 1966: Angeklagt nach § 218
 1968: Das höhere Leben
 1970: Die Bestattung des Oskar Lieberherr
 1973: Der Sieger von Tambo

Hörspiele (Auswahl)
 1953: Der Terminkalender; NWDR
 1953: Die grünen Weiden oder Sonntagsschule für Negerkinder; NWDR
 1970: Zinngeschrei; DRS
 1972: Der kleine Muck; DRS
 1976: Nackte Angst; DRS
 1987: Anders singt die Krähe; DRS

Literatur
 Herbert A. Frenzel, Hans Joachim Moser (Hrsg.): Kürschners biographisches Theater-Handbuch. Schauspiel, Oper, Film, Rundfunk. Deutschland, Österreich, Schweiz. De Gruyter, Berlin 1956, , S. 517.

Weblinks

Einzelnachweise

Filmschauspieler
Theaterschauspieler
Hörspielsprecher
Synchronsprecher
Deutscher
Geboren 1930
Frau

Margret Neuhaus


Yasuyuki Kishino (født 13. juni 1958) er en tidligere japansk fodboldspiller og træner.

Han har spillet for flere forskellige klubber i sin karriere, herunder Mitsubishi Motors og Yomiuri.

Han har tidligere trænet Verdy Kawasaki, Sagan Tosu, Yokohama FC og Kataller Toyama.

Eksterne henvisninger

Fodboldspillere fra Japan
Fodboldtrænere fra Japan

Yasuyuki Kishino


HotJava (later called HotJava Browser to distinguish it from HotJava Views) was a modular, extensible web browser from Sun Microsystems implemented in Java. It was the first browser to support Java applets, and was Sun's demonstration platform for the then-new technology. It has since been discontinued and is no longer supported. Furthermore, the Sun Download Center was taken down on July 31, 2011, and the download link on the official site points to a placeholder page saying so.

Origins
In 1994, a team of Java developers started writing WebRunner, which was a clone of the internet browser Mosaic.  It was based on the Java programming language.  The name 'WebRunner' was a tribute to the Blade Runner movie.

WebRunner's first public demonstration was given by John Gage and James Gosling at the Technology Entertainment Design Conference in Monterey, California in 1995. Renamed HotJava, it was officially announced in May the same year at the SunWorld conference.

The parser code was reused by the standard Java libraries.

Usage
HotJava had somewhat limited functionality compared to other browsers of its time.

More critically, HotJava suffered from the inherent performance limitations of Java virtual machine implementations of the day (both in terms of processing speed and memory consumption) and hence was considerably sluggish.

See also

 Comparison of web browsers
 List of web browsers
 Mozilla Grendel

References

External links

HotJava @ Evolt

History has a Lesson for HotJava
History of Java

Discontinued web browsers
Java platform software
Sun Microsystems software

HotJava


An Aponogeton satarensis in uska species han Liliopsida nga ginhulagway ni Sundararagh., A.R.Kulk. ngan Shrirang Ramchandra Yadav. An Aponogeton satarensis in nahilalakip ha genus nga Aponogeton, ngan familia nga Aponogetonaceae. Ginklasipika han IUCN an species komo nangangarat-an. Waray hini subspecies nga nakalista.

Mga kasarigan

Aponogeton

Aponogeton satarensis


L'équipe d'Écosse de rugby à XV effectue du 25 juin au  une tournée au Chili et en Argentine.

En ouverture de la tournée, sous l'appellation d'Écosse A, le groupe dispute un test match face au Chili.

Les Pumas, surnom de l'équipe d'Argentine, remportent la série de test matchs deux victoires à une, s'imposant lors du premier et du troisième affrontement, les écossais remportant quand a eux le deuxième test.

Résultats complets

|}

Résultats des test matchs

Match d'ouverture

Match 1

Match 2

Match 3

Notes et références

Articles connexes
Argentine-Écosse en rugby à XV

2022
Écosse 2022
Écosse 2022
Sport en Écosse en 2022
Sport en Argentine en 2022

Tournée de l'équipe d'Écosse de rugby à XV en 2022


The brown anole (Anolis sagrei), also known commonly as the Cuban brown anole, or De la Sagra's anole, is a species of lizard in the family Dactyloidae. The species is native to Cuba and the Bahamas. It has been widely introduced elsewhere, via the importation and exportation of plants where the anole would lay eggs in the soil of the pots, and is now found in Florida and as far north in the United States as southern Georgia, Texas, Louisiana, Tennessee, Mississippi, Alabama, Hawaii, and Southern California. It has also been introduced to other Caribbean islands, Mexico, and Taiwan.

This species is highly invasive.
In its introduced range, it reaches exceptionally high population densities, is capable of expanding its range very quickly, and both outcompetes and consumes many species of native lizards, like the green anole.  The brown anole's introduction into the United States in the early 1970s has altered the behavior and negatively affected populations of the native Carolina anole (Anolis carolinensis, also known as the green anole), which have since generally been relegated to the treetops.

Etymology
The specific name, sagrei, is in honor of Spanish botanist Ramón de la Sagra.

Description
The first record of the Anolis sagrei in Taiwan was in September 2000 at the Sanjiepu Township of Chiayi County. The source of the invasion was unknown. It was speculated that the egg from this animal is being hidden in potted plants heading to Taiwan and being introduced to Taiwan unintentionally. Wild groups are being discovered in the Ci Sing Tan Scenic Spot of the Hua-lian City in 2008. Monitoring removal plan was being carried out in 2009.

The brown anole is normally a light brown color with darker brown to black markings on its back, and several tan to light color lines on its sides. Like other anoles, it can change color, in this case a darker brown to black. Its dewlap ranges from yellow to orange-red.

Brown anoles are typically 5.0 to 8.5 inches long.
The males can grow as large as their male Carolina anole counterparts, around  long, with some individuals topping . The females are also around the size of female Carolina anoles, which ranges from . The male brown anole's head is smaller than that of the male Carolina                                                                                anole.

The brown anole's tail has a ridge that travels all the way up to behind the head, a feature that the Carolina anole lacks.
Female anolis lizards exhibit heritable polymorphism in their dorsal patterning. A study in Gainesville, Florida reported that one-third of A. sagrei females displayed a male-like chevron dorsal pattern, while other females had a striped dorsal pattern with continuous variation.

Removal
In Taiwan, the investigation had discovered that distribution of this foreign species was increasing, posing potential competitive crowding out effect towards the native species such as the Diploderma swinhonis and the Takydromus formosanus in Taiwan. Therefore, the monitoring removal plan was being carried out in 2009. The current removal methods include manual removal, improving the habitat, capturing with traps, biological control, and drug control. The most effective way of capturing the Anolis sagrei is to capture with bare hands at night.

Habitat and distribution
The native range of the brown anole extends over much of the Caribbean, including Jamaica, Cuba, the Cayman Islands, and other countries. Currently, they are considered an invasive species in parts of Florida in the United States, including the Florida Keys, Dade County, Broward County, and Palm Beach County as of 1985. Today, their range has extended as far as Georgia and to parts of Mexico. It is believed that these lizards were unintentionally brought to the area in cargo shipments for the Caribbean, as well as an intentional release of approximately 100 individuals in 1941. The species is also established in parts of Honduras.

The brown anole tends to live on the ground, avoiding trees and preferring to live in smaller plants and shrubs and is found in both urban and suburban areas. When the weather is warm, the brown anole can be found basking. When it is cold, they prefer sheltered areas.  Brown anoles are less arboreal than the green anoles which are frequently found living in trees, on the ground, or in low vegetation.

Although the brown anole was initially found in the Caribbean and then introduced to southern Florida, the species is now moving north. Specifically, the species has been found in southern Georgia as well as coastal Georgia. Researchers expect that this trend will continue in the coming years and that the brown anole will continue to migrate to other locations in the north. Due to their invasiveness, they are often the dominant reptile species in a given environment.

Conservation
While the brown anole is an invasive species in the United States, they likely do provide some benefits to their ecosystems. Because they eat predominantly arthropods, they may keep populations of spiders at appropriate levels. Some research suggests that local spider populations depend directly on the population of the brown anole.

In habitats they share with the green anole, the brown anole dominates and shrinks the population of the green anole. They also occasionally eat hatchlings of the green anole, further putting pressure on their populations. No concentrated efforts have been made to mitigate the spread of the brown anole populations in the United States.

Additionally, the brown anole has been shown to be responsible for the transmission of parasites among lizard populations in Hawai'i, which are often deadly for these local populations.

Phylogeny
The brown anole belongs to the family and genus, Datyloidae and Anolis, respectively.

The most closely related species to Anolis sagrei is Anolis nelsoni, also called Nelson's anole.

The brown anole has a shorter snout length than the green anole. The green anole, or Anolis carolinensis, is green or light brown patterned.

Territoriality

Male-male competition
Studies suggest that male brown anoles exhibit territoriality over ground below perches on which they rest. When the male anole spots other males in his ground territory, he is very likely to put on displays to attempt to intimidate the competitor. If, however, the competitor presents himself on the same perch as the male or at roughly the same height, the male is much more likely to attack the competitor. So, the male brown anole is thought to use his perch to survey his territory, but is not likely to leave the perch to fight off competitors, as doing so would be costly. Additionally, research shows that the success of an individual male anole in competition with another is dependent on his size relative to his competitor. The size of a male also correlates with the height of his perch; that is, larger males are more often found on higher perches and smaller males on lower ones. Different specific confrontational behaviors are also exhibited by differently sized males; larger ones more often initiate conflict and smaller ones more often nod their heads towards larger anoles. The loss of a male brown anole's tail has been shown to have little to no effect on the size of the territory he protects or dominance patterns between male brown anoles.

Habitat migration
Under certain circumstances, brown anoles leave their current territory and migrate to a new one. Males migrate to new territories in response to male-male competition, with smaller males being more likely to migrate. The distance that a male migrates is negatively correlated with his size relative to other males; large males travel shorter distances to new territories and small males travel longer distances to new territories. Female brown anoles do not show an association between size and probability of migration or migration distance. Instead, females in territories with a high density of other females are more likely to move to territories with lower densities of other females. Generally, individuals, regardless of sex, prefer to remain in their original territory as migrating poses predation risks and energetic costs.

Diet
Brown anoles feed on small arthropods such as crickets, moths, ants, grasshoppers, cockroaches, mealworms, beetles, flies, earwigs, butterflies, spiders, waxworms, amphipods, and isopods. Brown anoles also feed on other types of invertebrates such as earthworms and snails. They may also eat other lizards, such as skinks, geckos, and the Carolina anole, lizard eggs and hatchlings (including members of their species), and their own molted skin and detached tails. If near water, they eat aquatic arthropods or small fish – nearly any prey that will fit in their mouths. Occasionally, individuals will also consume figs and plant material; it might be interpreted as a hydration mechanism or accidental ingestion.

Reproduction
In a given habitat, female brown anoles reproduce in the warmer parts of the year. The brood size of a single female brown anole is one egg, which it lays in damp environments. The female lays its eggs roughly 2 weeks apart from each other, resulting in a total of 15 to 18 eggs in a single breeding season. The breeding season of a female extends slightly longer than that of a male, as the female is capable of storing sperm for a short time. When a juvenile anole is born, usually in June, it is completely independent from its parents. Sexual maturation of both males and females occurs within a year of hatching, so an individual can participate in the mating season following its birth.

When a female anole is prepared for mating, it begins by making itself visible to the male whose territory it is in. When mating occurs, the male grabs on to the back on the females neck with its mouth, so prior to mating, a female will bend its neck such that it is more visible and accessible by the male, indicating that it is ready for procreation. If the male decides to reproduce, it will begin mating with the female, which usually lasts from 30 to 60 minutes. Males indicate that they are available for mating by extending their dewlap and bobbing their head.

Mating
Male anoles have a flap that extends below their neck called a "dewlap". Dewlap extension occurs alongside a number of behaviors exhibited by the brown anole, namely during courtship. In an experiment by Richard Tokarz, an experimental group of male brown anoles underwent a surgery that rendered them unable to extend their dewlaps; a control group of male anoles were subject to the same surgery, but without the final step, so they retained the ability to extend their dewlap. Males and females were then put together in an enclosure; the experimental males took more time to begin mating when in the presence of females and mating took longer. Control males were more quick to mate and mated more quickly.

A separate study suggests that the dominant male in a territory is more influential over the mating partners of a female than female mate choice. During observation, females that mated with multiple males did so because dominance over a territory transferred between males, while the female remained in the same territory. There were no observations of female brown anoles seeking out different males or entering a new territory.

Additionally, female brown anoles are more likely to participate in mating behaviors in the presence of precipitation.

Parental care
An individual egg will hatch four weeks after it was laid. From the moment they are born, the anole is completely independent from its parents. As such, the brown anole displays no reproductive division of labor past the mating event and displays no cooperative brood care. However, female brown anoles have been observed digging holes and positioning eggs within these holes after oviposition. This is thought to allow for additional parental influence on phenotype and offspring survival. The selection of a site to nest by a female and how she lays her eggs within this site is performed in an effort to maximize survival of her offspring. A female will lay one egg at a time and can lay a new egg each week of the reproductive season.

Enemies
Known predators of the brown anole include broad-headed skinks, snakes, birds, and occasionally other species of anoles. More often than not, brown anoles eaten by other anoles are juvenile. Predation by many vertebrates has been observed. Spiders can prey upon young anoles and are one of the few exceptions to this observation.

Antipredator behavior

The coloration of the brown anole allows it to easily blend in with its surroundings, making it difficult for predators to spot. The brown anole has a detachable tail that can be detached if the anole is grabbed by the tail by a predator or used as a distraction, as it twitches after detaching. The tail grows back afterwards, albeit smaller and a duller color. Despite the extensive list of predators, the lizard's alertness and sprint speed make it very difficult for predators to track and capture.

Physiology

Hindlimb length
When raised in terraria with surfaces differing in width (wide or narrow), brown anoles wide-surface terraria grew longer hindlimb than their narrow-surface terraria counterparts. Brown anoles demonstrate phenotypic plasticity in this trait, akin to very rapid evolution.

Toepads
Extreme climate events such as hurricanes can provoke species changes through natural selection. In areas recently affected by hurricanes, anoles with large, strong-gripping toepads were more successful in surviving. In 12 insular populations of Anolis sagrei, and 188 species from across the Neotropics over the past 70 years, the populations that were more frequently affected by hurricanes had proportionately larger toepads.

Dewlap
Nearly all species of anole, including the Anolis sagrei, have a dewlap on their throat. The dewlap can be used as a means of identifying specific species within the Dactyloidae family. This is useful for not only mate selection between male anoles, but also to ensure the female is indeed mating with an individual within their own species. The dewlap of the Anolis sagrei is typically a shade of red or yellow, while the rest of an individual is brown. The extension of the dewlap is controlled by the ceratobranchials II, a bone below the throat. The size and color of a species' dewlap has been shown to vary with the light of their environments and color of their body, respectively; specifically, dimmer environments elicit larger dewlaps and duller body colors elicit brighter dewlap colors. In the brown anole, dewlap color is not dependent on an individual's consumption of lutein and zeaxanthin, pigments typically used as colorants in species that display color on their body. Dewlaps are believed to be involved in mate selection, as well as communication between individual brown anoles.

Shedding
Brown anoles molt in small pieces, unlike some other reptiles, which molt in one large piece. Anoles may consume the molted skin to replenish supplies of calcium. In captivity, the molted skin may stick to the anole if humidity is too low. The unshed layer of skin can build up around the eyes, preventing the lizard from feeding and may lead to starvation. This can be prevented by maintaining high humidity.

Communication
Anoles use visual cues as their primary signaling mode.

References

External links

 Brown Anole at Zachary Taylor Beach, Key West, video of Brown Anole displaying courtship behaviour

Anoles
Reptiles described in 1837
Taxa named by André Marie Constant Duméril
Taxa named by Gabriel Bibron
Reptiles of the United States
Reptiles of Cuba
Reptiles of the Bahamas
Reptiles of the Caribbean

Brown anole


Francisco Javier Luke Bermúdez, conocido por Javi Luke o, simplemente, Luke, es un exfutbolista español que jugaba como delantero.

Trayectoria

Luke comenzó a jugar al fútbol en el equipo de su barrio, el Retuerto Sport. De ahí pasó al C.D. Santurtzi, en Tercera División.

En la temporada 1989-1990, se destapó destacando en el Sestao Sport, en Segunda División, disputando 34 partidos y marcando 8 goles. Ello le valió fichar por el Athletic Club, para la temporada 1990-91. En el conjunto de Lezama militó tres temporadas consecutivas (1990-1993), consiguiendo 18 goles. En la temporada 1993-1994 fue cedido al C. A. Osasuna, regresando de nuevo al año siguiente al Athletic Club.

En el verano de 1995 aceptó una oferta del Albacete Balompié para continuar en Primera División y, a mitad de temporada, marchó como cedido al UD Almería, en Segunda División, en una operación que incluía también la llegada al club manchego de jugadores andaluces en los que estaba interesado. Regresó al Albacete Balompié, que había descendido a Segunda División para la temporada 1996-1997. Ya desvinculado, en verano de 1997, llegó al Burgos CF, para jugar en Segunda División B.Su última temporada como futbolista la disputó en el Barakaldo CF, también en Segunda División B.

Terminó su etapa futbolística en el fútbol INDOOR con los veteranos del Athletic Club. El Retuerto Sport de Barakaldo, el equipo en el que Luke dio sus primeros pasos, organiza anualmente un torneo prebenjamín con varios equipos de pueblos vecinos. Este torneo ha adoptado el nombre de "Javier Luke".

Clubes

Enlaces externos

Futbolistas de Vizcaya
Futbolistas del Sestao Sport Club
Futbolistas del Athletic Club en los años 1990
Futbolistas del Club Atlético Osasuna en los años 1990
Futbolistas del Albacete Balompié
Futbolistas del Burgos Club de Fútbol
Futbolistas del Barakaldo Club de Fútbol
Futbolistas de la Unión Deportiva Almería
Nacidos en Baracaldo

Francisco Javier Luke Bermúdez


Călin Cătălin Chiriță (n. 18 decembrie, 1954, Dănceu, județul Mehedinți) este un inginer român, absolvent al Institutului Politehnic din București, Facultatea de Tehnologia Construcției de Mașini, politician, fost primar în sectorul 5, București între 1996-2000 din partea PNȚ-CD și viceprimar în Primăria Municipiului București în perioada 2000-2004.

Referințe

Vezi și
Lista primarilor sectoarelor bucureștene aleși după 1989

Nașteri în 1954
Politicieni români în viață
Membri PNȚCD
Membri ai Partidului Democrat (România)
Primari ai sectoarelor Bucureștiului
Oameni din județul Mehedinți

Călin Cătălin Chiriță


Fram för lilla Märta er en svensk film fra 1945 af Hasse Ekman. En dansk udgave indspilles i 1946  Op med lille Martha.

 Manuskript Hasse Ekman.
 Instruktion Hasse Ekman.

Medvirkende
 Stig Järrel - Sture Letterström
 Hasse Ekman - Kurre
 Thor Modéen - Fredriksson
 Elsie Albiin - Inga Bergström
 Agneta Lagerfeldt - Barbro Bergström
 Gull Natorp - Lovise Eklund
 Margit Andelius - fröken Wiklund
 Julia Cæsar - Agnes Fallén
 Douglas Håge - Borgmester i Lillköping

Eksterne henvisninger

Svenske film fra 1945
Svensksprogede film
Film instrueret af Hasse Ekman

Fram för lilla Märta


Bofete es un municipio brasileño del estado de São Paulo. Se localiza a una latitud 23º06'08" Sur y a una longitud 48º15'28" Oeste, estando a una altitud de 576 metros. Su población estimada en 2004 era de 8.223 habitantes.

Posee un área de 653,36 km².

Demografía
Datos del Censo - 2000
Población Total: 7.356
 Urbana: 5.231
 Rural: 2.125
 Hombres: 3.859
 Mujeres: 3.497
Densidad demográfica (hab./km²): 11,26

Mortalidad infantil hasta 1 año (por mil): 9,79

Expectativa de vida (años): 74,85

Tasa de fertilidad (hijos por mujer): 3,03

Tasa de Alfabetización: 87,71%

Índice de Desarrollo Humano (IDH-M): 0,791
 IDH-M Salario: 0,707
 IDH-M Longevidad: 0,831
 IDH-M Educación: 0,836
(Fuente: IPEADATA)

Hidrografía
 Río de Santo Inácio
 Río del Pescado

Carreteras
 SP-141
 SP-147
 SP-280

Referencias

Enlaces externos
 Página de la prefectura
 Cámara Municipal de Bofete

Localidades de São Paulo

Bofete


Olaylar

Doğumlar
 Theodoros, Hristiyan aziz, kilise babası, keşiş ve teolog (ö. 826)

Ölümler
 Bayan Çor Kağan, Uygur Kağanlığı kağanı (d. 713)
 İbn-i Mukaffa, İranlı düşünür, bürokrat ve edebiyatçı (d. 720/724)
 Wang Wei, Tang döneminde yaşamış Çinli şair, müzisyen, ressam ve devlet adamı (d. 699)

759


Ćemaluševa džamija (turski: Cemaluşa camii ) poznata i kao Džamija Havadže Kemaludina bila je džamija smještena između ulice Ferhadija i ulice Maršala Tita i nalazila se na uglu istoimene ulice Čemaluša. Tamo stoji današnja stambena i poslovna zgrada koja je također nazvana po Havadži Kemaludinu (jednostavno poznata kao Vakufski neboder).

Povijest
Ćemaluševu džamiju je 1515. godine projektirao i izgradio Havadža Kemaludin, koji je u to vrijeme bio student. Džamija je imala kamenu munaru smještenu s lijeve strane, krov na četiri vode, pokriven šindrom. Lučni prozori bili su uokvireni žbukama i vitrajima. Široki strop iznad mihraba sa stalaktitima bio je ispunjen sitnim komadićima raznobojnog rezbarenog drveta. Abdest je izveden na dvije fontane - muškoj i ženskoj.

Uz džamiju je bilo veliko groblje, ograđeno zidom, koje datira iz vremena osmanskog osvajanja Bosne. Članovi obitelji Hadžimusić, Novo i Dženetić pokopani su u haremu Čemaluša. Ratni veteran Mustaj-beg Dženetić, koji je umro 1874. godine, ostavio je stotinu dukata vakufu u svojoj volji s eksplicitnim ciljem da ga pokopa između nadgrobnih spomenika dva najstarija mučenika.

Nakon dolaska Austrougara, ulica Ćemaluša počela je naglo rasti, a tradicionalne bosanske kuće zamijenjene su zgradama koje su se protezale kroz Ferhadiju.

Ćemaluševu džamiju je srušila 1940. godine vlada Kraljevine Jugoslavije koja je naredila rušenje u lipnju 1939. godine. Reuf Kadić je kasnije projektirao i sagradio Vakufski neboder 1947. godine. Također, na mjestu ženskog mekteba je podignut stambeno-poslovni objekat 1942. godine.

Književnost

 Emir Kadić - Reuf Kadić i počeci moderne arhitekture u Bosni i Hercegovini. Sarajevo, 2010
 Živorad Janković - Muhamed Kadić - život i rad, Akademija nauka i umjetnosti BiH, Sarajevo.
 Alija Bejtić - Ulice i trgovi Sarajeva.
 Nedžad Kurto - Sarajevo 1492-1992, Oko, Sarajevo.
 Predrag Milošević - Arhitektura u Kraljevini Jugoslaviji (Sarajevo 1918-1941). Foča: Prosvjeta, 1997 (monografija)

Izvori

Džamije u Bosni i Hercegovini
Sarajevo

Ćemaluševa džamija


البكتيريا الزرقاء أو الجراثيم الزرقاء أو البكتيريا الخضراء المزرقة هي شعبة من البكتيريا سالبة الغرام القادرة على التمثيل الضوئي، عادة ما تعيش في الماء. نحو ثلثي الأنواع المدروسة قادرة على تثبيت النيتروجين، وهي تشارك بذلك في دورة النيتروجين. تحوي البكتيريا الزرقاء ثلاث صبغات، الأخضر والأزرق والأحمر. الصبغة الخضراء هي الكلوروفيل وتساعدها في عملية التمثيل الضوئي. والصبغة الزرقاء هي التي تعطيها اللون الأزرق، والسبب في ذلك يرجع إلى كثرة وجود الصبغة الزرقاء داخلها. أما الصبغة الحمراء فهي بيتا كاروتين فنستدل على وجودها من طائر الفلامنجو، فعندما يشرب الفلامنجو الماء، تدخل البكتيريا الزرقاء لجسمه، فيظهر اللون الوردي على بعض أجزاء جسمه. والزراقم تعتبر حاليا مجموعة من الجراثيم، لذلك تدعى أيضا بالجراثيم الزرقاء (cyanobacteria) وقد تبين تماما أنها غير وثيقة الصلة بالنباتات فهي لا ترتبط بالنباتات بأي شكل (عكس ما كان متوقعا) ولا بالفطور وبالحيوانات والجراثيم الزرقاء أو الزراقم هي مجموعة متنوعة من البكتيريا موجبة الغرام المتواجدة في مدى من المواقع البيئية المختلفة مثل التربة والخضروات ومياه المجاري والجلد ولطخات الجلد. بعضها مثل الوتدية الخناقية هي مسببات مرضية بينما الأخرى مثل بكتيريا Corynebacterium glutamicum هي ذات أهمية صناعية هائلة. C. glutamicum هي واحدة من أنواع البكتيريا ذات الأهمية في التقنية الحيوية بإنتاج سنوي لأكثر من طُنين من أحماض الأمينية ومركب الغلوتامات الميسر ومركب اللايسين.

المراجع

بكتيريا سلبية الغرام
بكتيريا ضوئية التغذية
تمثيل ضوئي
دورة النيتروجين
شعب البكتيريا
كيمياء بيئية

بكتيريا زرقاء


مقبس أم  ويعرف أيضا باسم (mPGA478MT) وهو مقبس أنتجته شركة إنتل عام 2006 لتستخدمه لسلسلة كور في الحواسيب المحمولة. فهي تستخدمه في جميع سلسلة كور، وإضافة إلى ذلك وحدات كزيون ثنائية اللب. وكذلك هو أول مقبس إستخدمته لوحدات كور 2 والتي إستخدمة من بعده مقبس پي. وإن الوحدات المستخدمة له ليس باستطاعتها استخدام المقابس السابقة مثل مقبس 478 ومقبس 479 ووعلى الرغم من أن عدد الإبر هذا المقبس متوافقة مع عدد الإبر في مقبس پي ولكن شركة إنتل غيرة مكان إبرة واحدة لتمنع من استخدام وحدات المعالجة لمقبس أم أن تركب في مقبس پي.

مراجع

مقابس وحدة المعالجة المركزية

مقبس أم