Beim Eisenbahnunfall auf der Belœil-Brücke in Québec übersah der Lokführer am 29. Juni 1864 ein Signal, das die Belœil-Brücke, eine Drehbrücke über den Rivière Richelieu, sichern sollte. Mindestens 99 Tote und über 100 Verletzte waren die Folge. Dies ist der bis heute schwerwiegendste Eisenbahnunfall in Kanada.

Rahmenbedingungen
Die Bahnstrecke der Grand Trunk Railway von Montreal nach Québec querte auf der Belœil-Brücke in der Nähe des heutigen Mont-Saint-Hilaire den Rivière Richelieu, der hier etwa drei Meter tief und damals eine wichtige Wasserstraße im Güterverkehr zwischen New York und Montreal war. Eisenbahnseitig befand sich in einem Abstand von etwa 1600 Metern ein Signal, das die Brücke sichern sollte. Außerdem bestand die Vorschrift, dass Züge vor einer Drehbrücke anzuhalten waren und sich das Lokomotivpersonal davon überzeugen musste, dass die Brücke befahren werden konnte. Der Lokomotivführer war neu auf der Strecke.

Unfallhergang
Der Zug war mit 350 bis 475 Reisenden besetzt, davon auch zahlreiche Einwanderer aus Deutschland und Polen. Er näherte sich am Unfalltag gegen 1:20 Uhr der für den Schiffsverkehr geöffneten Drehbrücke. Das Lokomotivpersonal ignorierte das "Rot" zeigende, die Brücke sichernde Signal und fuhr ohne Halt weiter. Die Brücke war für den Schiffsverkehr geöffnet, um fünf Frachtkähne und ein Dampfschiff passieren zu lassen. So stürzten Lokomotive und elf Wagen nacheinander in den Fluss, zunächst auf einen Frachtkahn, den sie versenkten, und dann aufeinander, so dass sich die Trümmer der Fahrzeuge stapelten.

Schlussfolgerungen
Die Schuld an dem Unfall wurde dem Lokführer und dem Zugführer gegeben, da diese nicht auf das Signal geachtet hatten.

Siehe auch
 Liste von Eisenbahnunfällen in Kanada

Literatur
 The New York Times, 30. Juni 1864: Fearful Railroad Accident

Einzelnachweise

Beloeil-Brucke
Beloeil-Brucke
Eisenbahnunfall 1864
Montreal (Agglomeration)
Verkehr (Québec)
Grand Trunk Railway

Eisenbahnunfall auf der Belœil-Brücke


Jane Ellen Harrison (9 September 1850 – 15 April 1928) was a British classical scholar and linguist.   With Karl Kerenyi and Walter Burkert, Harrison is one of the founders of modern studies in Ancient Greek religion and mythology. She applied 19th-century archaeological discoveries to the interpretation of ancient Greek religion in ways that have become standard. She has also been credited with being the first woman to obtain a post in England as a 'career academic'. Harrison argued for women's suffrage but thought she would never want to vote herself. Ellen Wordsworth Crofts, later second wife of Sir Francis Darwin, was Jane Harrison's best friend from her student days at Newnham, and during the period from 1898 to her death in 1928.

Life and career
Harrison was born in Cottingham, Yorkshire on 9 September 1850 to Charles and Elizabeth Harrison. Her mother died of puerperal fever shortly after she was born and she was educated by a series of governesses. Her governesses taught her German, Latin, Ancient Greek and Hebrew, but she later expanded her knowledge to about sixteen languages, including Russian.

Harrison spent most of her professional life at Newnham College, the progressive, recently established college for women at Cambridge. At Newnham, one of her students was Eugenie Sellers, the writer and poet, with whom she lived in England and later in Paris and had a relationship with as her partner.  Mary Beard described Harrison as '... the first woman in England to become an academic, in the fully professional sense – an ambitious, full-time, salaried, university researcher and lecturer'.

Between 1880 and 1897, Harrison studied Greek art and archaeology at the British Museum under Sir Charles Newton. Harrison then supported herself lecturing at the museum and at schools (mostly private boy's schools). Her lectures became widely popular and 1,600 people ended up attending her Glasgow lecture on Athenian gravestones. She travelled to Italy and Germany, where she met the scholar from Prague, Wilhelm Klein. Klein introduced her to Wilhelm Dörpfeld who invited her to participate in his archaeological tours in Greece. Her early book The Odyssey in Art and Literature then appeared in 1882. Harrison met the scholar D. S. MacColl, who supposedly asked her to marry him and she declined. Harrison then suffered a severe depression and started to study the more primitive areas of Greek art in an attempt to cure herself.

In 1888, Harrison began to publish in the periodical that Oscar Wilde was editing called The Woman's World on "The Pictures of Sappho." Harrison also ended up translating Mythologie figurée de la Grèce (1883) by Maxime Collignon as well as providing personal commentary to selections of Pausanias, Mythology & Monuments of Ancient Athens by Margaret Verrall in the same year. These two major works caused Harrison to be awarded honorary degrees from the universities of Durham (1897) and Aberdeen (1895).

Harrison was engaged to marry the scholar R. A. Neil, but he died suddenly of appendicitis in 1901 before they could marry.

Harrison became the central figure of the group known as the Cambridge Ritualists. In 1903 her book Prolegomena on the Study of Greek Religion appeared. Harrison became close to Francis MacDonald Cornford (1874–1943), and when he married in 1909 she became extremely upset. She then made a new friendship with Hope Mirrlees, whom she referred to as her "spiritual daughter".

Harrison retired from Newnham in 1922 and then moved to Paris to live with Mirrlees. She and Mirrlees returned to London in 1925 where she was able to publish her memoirs through Leonard and Virginia Woolf's press, The Hogarth Press. She lived three more years, to the age of 77, and died at her house in Bloomsbury. She was buried in St Marylebone Cemetery, East Finchley.

Harrison was an atheist.

Harrison was, at least ideologically, a moderate suffragist. Rather than support women's suffrage by protesting, Harrison applied her scholarship in anthropology to defend women's right to vote.  In responding to an anti-suffragist critic, Harrison demonstrates this moderate ideology:

To this end, Harrison's motto was Terence's homo sum; humani nihil mihi alienum est ("I am a human being; nothing that is human do I account alien.")

Career

Scholarship
Harrison began formal study at Cheltenham Ladies' College, where she gained a Certificate, and, in 1874, continued her studies in the classics at Cambridge University's Newnham College.  Her early work earned Harrison two honorary doctorates, an LLD from University of Aberdeen in 1895, and DLitt from the University of Durham in 1897. This recognition afforded Harrison the opportunity to return to Newnham College as a lecturer in 1898, and her position was renewed continuously until Harrison retired in 1922. She had been a candidate for the Yates Professor of Classical Art and Archaeology at University College London after Reginald Stuart Poole had died in 1895. The hiring committee had recommended Harrison to the position, but that decision was blocked by Flinders Petrie in favor of Ernest Gardner. Petrie argued that while Harrison was an expert on religion, she did not have the knowledge base Gardner did, so he got the job and worked closely with Petrie for 30 years.

Early work
Harrison's first monograph, in 1882, drew on the thesis that both Homer's Odyssey and motifs of the Greek vase-painters were drawing upon similar deep sources for mythology, the opinion that had not been common in earlier classical archaeology, that the repertory of vase-painters offered some unusual commentaries on myth and ritual. Her approach in her great work, Prolegomena to the Study of Greek Religion (1903), was to proceed from the ritual to the myth it inspired: "In theology facts are harder to seek, truth more difficult to formulate than in ritual." Thus she began her book with analyses of the best-known of the Athenian festivals: Anthesteria, harvest festivals Thargelia, , Plynteria, and the women's festivals, in which she detected many primitive survivals, Skirophoria, Stenia and Haloa.

Cultural evolution (or social Darwinism)
Harrison alluded to and commented on the cultural applications of Charles Darwin's work.  Harrison and her generation depended upon anthropologist Edward Burnett Tylor (who was himself influenced by Darwin and evolutionary ideas) for some new themes of cultural evolution, especially his 1871 work, Primitive Culture: researches into the development of mythology, philosophy, religion, language, art, and custom.  After a socially Darwinian analysis of the origins of religion, Harrison argues that religiosity is anti-intellectual and dogmatic, yet she defended the cultural necessity of religion and mysticism.  In her essay The Influence of Darwinism on the Study of Religion (1909), Harrison concluded:

Later life

World War I marked a deep break in Harrison's life.  Harrison never visited Italy or Greece after the war: she mostly wrote revisions or synopses of previous publications, and pacifist leanings isolated her.  Upon retiring (in 1922), Harrison briefly lived in Paris, but she returned to London when her health began to fail. During the last two years of her life Harrison was living at 11 Mecklenburgh Square on the fringes of Bloomsbury.

In literature

In A Room of One's Own (1929), in addition to female authors, Virginia Woolf also discusses and draws inspiration from Harrison. Harrison is presented in the essay only by her initials separated by long dashes, and Woolf first introduces Harrison as "the famous scholar, could it be J---- H---- herself?"

The critic Camille Paglia (see Paglia's 1990 book Sexual Personae (passim), and the long essay  "Junk Bonds and Corporate Raiders: Academe in the Hour of the Wolf" in Paglia's Sex, Art and American Culture: New Essays, 1993) has written of Harrison's influence on her own work. Paglia argues that Harrison's career has been ignored by second-wave feminists, who Paglia thinks object to Harrison's findings and efface the careers of prominent pre–World War II female scholars to bolster their claims of male domination in academe.

Tina Passman, in 1993 in her article "Out of the Closet and into the Field: Matriculture, the Lesbian Perspective, and Feminist Classics", discussed the neglect of Harrison by the academy, and tied that neglect to an unpopularity of lesbian perspectives in the field.

Mary Beard's numerous essays and her book on Harrison's life, (The Invention of Jane Harrison, Harvard University Press, 2000), as well as several other biographies of Harrison, have moved the needle toward greater appreciation of Harrison's achievements, as well as further understanding of the context in which she worked.

Works

Greek topics

Books on the anthropological search for the origins of Greek religion and mythology, include:

Prolegomena to the Study of Greek Religion (1903, revised 1908, 1922)
 Primitive Athens as Described by Thucydides (1906)
Heresy and Humanity (1911)
Themis: A Study of the Social Origins of Greek Religion (1912, revised 1927)
Ancient Art and Ritual (1913)
Epilegomena to the Study of Greek Religion (1921)

Essays and reflections

Alpha and Omega (1915)
Reminiscences of a Student's Life (1925)

See also

 History of feminism
 Life-death-rebirth deity
 List of Bloomsbury Group people

Notes

References

Harrison, Jane Ellen. Alpha and Omega. AMS Press: New York, 1973. ()
 Harrison, Jane Ellen, Prolegomena to the Study of Greek Religion, second edition, Cambridge: Cambridge University Press, 1908. Internet Archive
Peacock, Sandra J. Jane Ellen Harrison: The Mask and the Self. Halliday Lithograph Corp.: West Hanover, MA. 1988. ()
Robinson, Annabel. The Life and Work of Jane Ellen Harrison. Oxford: Oxford University Press, 2002 (). The first substantial biography, with extensive quotes from personal letters.

Further reading

Barnard-Cogno, Camille. "Jane Harrison (1850–1928), between German and English Scholarship," European Review of History, Vol. 13, Issue 4. (2006), pp. 661–676.
Beard, Mary. The Invention of Jane Harrison (Harvard University Press, 2000);
Stewart, Jessie G. Jane Ellen Harrison: a Portrait from Letters 1959. A memoir based on her voluminous correspondence with Gilbert Murray.

External links

, densely packed with information; extensive references
Newnham College Archives of Jane Ellen Harrison holds her personal correspondence; brief biography
Jane Harrison by Theo van Rysselberghe at the NPG

Essays by Harrison at Quotidiana.org
Themis: A Study of the Social Origins of Greek Religion by Jane Ellen Harrison, 1912 – online copy at the University of Chicago Library
Prolegomena to the Study of Greek Religion (2nd ed. 1908)
Epilegomena to the Study of Greek Religion (1921)
Primitive Athens as described by Thucydides (1906)
Introductory Studies in Greek Art (1902)

1850 births
1928 deaths
19th-century English non-fiction writers
19th-century linguists
19th-century British women scientists
19th-century British women writers
19th-century atheists
20th-century English non-fiction writers
20th-century linguists
20th-century British women writers
20th-century atheists
Alumni of Newnham College, Cambridge
Bisexual women writers
Bisexual feminists
British bisexual writers
British women academics
English atheists
English classical scholars
Women classical scholars
English essayists
English suffragists
Fellows of Newnham College, Cambridge
Linguists from England
Women linguists
Mythographers
People from Cottingham, East Riding of Yorkshire
English rhetoricians
Scholars of Greek mythology and religion
British women essayists
19th-century British essayists
20th-century British essayists

Jane Ellen Harrison


Acinaria, rod parožina iz porodice Characeae sa statusom nom. illeg., odnosno po drugom izvoru nom. dub. Od četiri vrste tri su vrste priznate.

Vrste
 Acinaria coccifera Rafinesque priznata
 Acinaria flexuosa Rafinesque nije verificirano
 Acinaria latifolia Rafinesque priznata
 Acinaria salicifolia Rafinesque priznata

Izvori

Charophyceae

Acinaria


First Born é o primeiro álbum de estúdio da dupla musical americana de Hip hop Eyedea & Abilities, lançado pelo selo da gravadora Rhymesayers em outubro de 2001.

Afastando-se dos raps de batalha que Eyedea & Abilities haviam feito anteriormente, First Born foi um introspectivo álbum conceitual refletindo sobre o estado do hip-hop e da vida.

Nathan Rabin do The A.V. Clube disse: "As excursões nobres do álbum ao reino do ser e do nada periodicamente se transformam em uma autoparódia de olhar para o umbigo, mas a entrega apaixonada e as habilidades líricas de Eyedea mantêm o disco fundamentado." uma nota 7,9 de 10, afirmando que "as rimas [de Eyedea] são densas, alfabetizadas, focadas, muitas vezes surpreendentes e sempre divertidas." Em 2015, o "Hip Hop DX" o incluiu na lista dos 30 melhores álbuns de hip hop underground desde 2000.

Descrição
Todas as músicas foram gravadas no home estúdio do Micheal Larsen vulgo Eyedea em Saint Paul, Minneapolis com o DJ Abilities no papel de beatmaker executando a produção dos beats. Enquanto, a mixagem e masterização foi feita por Chris Blood e Emily Lazar. A arte da capa foi criada por M. Ward e o layout por Stress.

Faixas

Desempenho comercial
O disco First Born foi bem recebido por críticos da cena de Underground hip hop dos EUA, sendo que a música Big Shots foi utilizada na trilha sonora do vídeo game "Tony Hawk's Pro Skater 4". Na atualidade, ainda existem beatmakers e produtores musicais que criam remixes de certas músicas do disco First Born. Por exemplo, em 2023, o Emtee Beats lançou no canal oficial da Intercala Records a música The Dive (Emtee Mix).

Formação
 Eyedea
 DJ Abilities

Ligações externas
 First Born
 Gravadora Rhymesayers

Álbuns de hip hop

First Born (Eyedea & Abilities)


Østerfjorden er den østlige del af Søndeledfjorden i Risør kommune  i Agder fylke i Norge. Den går fra Flatholmene i vest til indløbet af Nordfjorden, en anden del af Søndeledfjorden som går på nordsiden af øen Barmen. Østerfjorden grænser til øerne Vardøya og Risøya i syd og indeholder bugterne Vindvikbukta og Sandvikbukta på kysten i nord. Østerfjorden er omkring  4 kilometer lang.

Kilder og henvisninger

Fjorde i Agder
Risør

Østerfjorden


Tomohiko Miyazaki (født 21. november 1986) er en japansk fodboldspiller, som spiller for den japanske fodboldklub Júbilo Iwata.

Referencer

Eksterne henvisninger

Fodboldspillere fra Japan

Tomohiko Miyazaki


Crkva Svih Svetih u mjestu Zagvozdu, zaštićeno kulturno dobro.

Opis dobra
Crkva Svih Svetih u Zagvozdu jednobrodna je građevina, manjih dimenzija, s plitkom kvadratnom apsidom, orijentirana sjever-jug. Izgrađena je u prvoj polovici 17. stoljeća i prema natpisu nad ulazom posvećena 1644. godine. Pročelje završava trokutnim zabatom u čijem vrhu je jednodijelni zvonik "na preslicu", baroknog oblikovanja. Oko crkve bilo je dvadesetak stećaka što upućuje na postojanje srednjovjekovnog groblja, a do danas je sačuvano samo pet stećaka.

Zaštita
Pod oznakom Z-3844 zavedena je kao nepokretno kulturno dobro - pojedinačno, pravna statusa zaštićena kulturnog dobra, klasificirano kao "sakralna graditeljska baština".

Izvori

Zaštićene sakralne građevine u Splitsko-dalmatinskoj županiji
Katoličke crkve u Hrvatskoj
Zagvozd

Crkva Svih Svetih u Zagvozdu


A 3He/4He dilution refrigerator is a cryogenic device that provides continuous cooling to temperatures as low as 2 mK, with no moving parts in the low-temperature region. The cooling power is provided by the heat of mixing of the helium-3 and helium-4 isotopes.

The dilution refrigerator was first proposed by Heinz London in the early 1950s, and was experimentally realized in 1964 in the Kamerlingh Onnes Laboratorium at Leiden University. The field of dilution refrigeration is reviewed by Zu et al.

Theory of operation
The refrigeration process uses a mixture of two isotopes of helium: helium-3 and helium-4. When cooled below approximately 870 millikelvins, the mixture undergoes spontaneous phase separation to form a 3He-rich phase (the concentrated phase) and a 3He-poor phase (the dilute phase). As shown in the phase diagram, at very low temperatures the concentrated phase is essentially pure 3He, while the dilute phase contains about 6.6% 3He and 93.4% 4He. The working fluid is 3He, which is circulated by vacuum pumps at room temperature.

The 3He enters the cryostat at a pressure of a few hundred millibar. In the classic dilution refrigerator (known as a wet dilution refrigerator), the 3He is precooled and purified by liquid nitrogen at 77 K and a 4He bath at 4.2 K. Next, the 3He enters a vacuum chamber where it is further cooled to a temperature of 1.2–1.5 K by the 1 K bath, a vacuum-pumped 4He bath (as decreasing the pressure of the helium reservoir depresses its boiling point). The 1 K bath liquefies the 3He gas and removes the heat of condensation. The 3He then enters the main impedance, a capillary with a large flow resistance. It is cooled by the still (described below) to a temperature 500–700 mK. Subsequently, the 3He flows through a secondary impedance and one side of a set of counterflow heat exchangers where it is cooled by a cold flow of 3He. Finally, the pure 3He enters the mixing chamber, the coldest area of the device.

In the mixing chamber, two phases of the 3He–4He mixture, the concentrated phase (practically 100% 3He) and the dilute phase (about 6.6% 3He and 93.4% 4He), are in equilibrium and separated by a phase boundary. Inside the chamber, the 3He is diluted as it flows from the concentrated phase through the phase boundary into the dilute phase. The heat necessary for the dilution is the useful cooling power of the refrigerator, as the process of moving the 3He through the phase boundary is endothermic and removes heat from the mixing chamber environment. The 3He then leaves the mixing chamber in the dilute phase. On the dilute side and in the still the 3He flows through superfluid 4He which is at rest. The 3He is driven through the dilute channel by a pressure gradient just like any other viscous fluid. On its way up, the cold, dilute 3He cools the downward flowing concentrated 3He via the heat exchangers and enters the still. The pressure in the still is kept low (about 10 Pa) by the pumps at room temperature. The vapor in the still is practically pure 3He, which has a much higher partial pressure than 4He at 500–700 mK. Heat is supplied to the still to maintain a steady flow of 3He. The pumps compress the 3He to a pressure of a few hundred millibar and feed it back into the cryostat, completing the cycle.

Cryogen-free dilution refrigerators
Modern dilution refrigerators can precool the 3He with a cryocooler in place of liquid nitrogen, liquid helium, and a 1 K bath. No external supply of cryogenic liquids is needed in these "dry cryostats" and operation can be highly automated. However, dry cryostats have high energy requirements and are subject to mechanical vibrations, such as those produced by pulse tube refrigerators.  The first experimental machines were built in the 1990s, when (commercial) cryocoolers became available, capable of reaching a temperature lower than that of liquid helium and having sufficient cooling power (on the order of 1 Watt at 4.2 K). Pulse tube coolers are commonly used cryocoolers in dry dilution refrigerators.

Dry dilution refrigerators generally follow one of two designs. One design incorporates an inner vacuum can, which is used to initially precool the machine from room temperature down to the base temperature of the pulse tube cooler (using heat-exchange gas). However, every time the refrigerator is cooled down, a vacuum seal that holds at cryogenic temperatures needs to be made, and low temperature vacuum feed-throughs must be used for the experimental wiring. The other design is more demanding to realize, requiring heat switches that are necessary for precooling, but no inner vacuum can is needed, greatly reducing the complexity of the experimental wiring.

Cooling power
The cooling power (in watts) at the mixing chamber is approximately given by

where  is the 3He molar circulation rate, Tm is the mixing-chamber temperature, and Ti the temperature of the 3He entering the mixing chamber. There will only be useful cooling when

This sets a maximum temperature of the last heat exchanger, as
above this all cooling power is used up only cooling the incident 3He.

Inside of a mixing chamber there is negligible thermal resistance between the pure and dilute phases,  and
the cooling power reduces to

A low Tm can only be reached if Ti is low. In dilution refrigerators, Ti is reduced by using heat exchangers as shown in the schematic diagram of the low-temperature region above. However, at very low temperatures this becomes more and more difficult due to the so-called Kapitza resistance. This is a heat resistance at the surface between the helium liquids and the solid body of the heat exchanger. It is inversely proportional to T4 and the heat-exchanging surface area A. In other words: to get the same heat resistance one needs to increase the surface by a factor 10,000 if the temperature reduces by a factor 10. In order to get a low thermal resistance at low temperatures (below about 30 mK), a large surface area is needed. The lower the temperature, the larger the area. In practice, one uses very fine silver powder.

Limitations
There is no fundamental limiting low temperature of dilution refrigerators. Yet the temperature range is limited to about 2 mK for practical reasons. At very low temperatures both the viscosity and the thermal conductivity of the circulating fluid become larger if the temperature is lowered. To reduce the viscous heating the diameters of the inlet and outlet tubes of the mixing chamber must go as T and to get low heat flow the lengths of the tubes should go as T. That means that, to reduce the temperature by a factor 2, one needs to increase the diameter by a factor 8 and the length by a factor 256. Hence the volume should be increased by a factor 214 = 16,384. In other words: every cm3 at 2 mK would become 16,384 cm3 at 1 mK. The machines would become very big and very expensive. There is a powerful alternative for cooling below 2 mK: nuclear demagnetization.

See also
 Adiabatic demagnetization
 Magnetic refrigeration
 Helium-3 refrigerator
 Refrigerated transport Dewar
 Timeline of low-temperature technology

References

External links
Lancaster University, Ultra Low Temperature Physics - Description of dilution refrigeration.
Harvard University, Marcus Lab - Hitchhiker's Guide to the Dilution Refrigerator.

Cryogenics
Cooling technology

Dilution refrigerator


Papinsaari (en , en , en ) est une municipalité du raïon de Kem en république de Carélie.

Géographie
Papinsaari est situé sur les rives de la baie de Kem de la mer Blanche, à 12 km au nord-est de Kem.
La municipalité de Papinsaari a une superficie de .

Elle est bordée au nord par Kuusema du raïon de Kem, à l'ouest par Sosnavitsa du raïon de Belomorsk au sud et ed l'autre coté de la mer Blanche à l'est par l'oblast d'Arkhangelsk.
Papinsaari comporte 74,5 % de sa superficie d'eau et 25,0 % de forêts.

Démographie
Recensements (*) ou estimations de la population

Bibliographie

Références

Voir aussi

Articles connexes

Liens externes

Village dans la république de Carélie
Raïon de Kem

Papinsaari (raïon de Kem)


Tabăra de refugiați Jabalia (în ) este o tabără de refugiați palestinieni situată la 3 km nord de Jabalia.

Date generale
Tabăra de refugiați Jabalia se află în Guvernoratul Gaza de Nord din Fâșia Gaza. Conform recensământului desfășurat în Gaza, între 25 decembrie 2007 și 8 ianuarie 2008, de către Biroul Central de Statistică Palestinian, tabăra avea o populație de 41.933 de locuitori. La recensământul din 2017, populația taberei era de 49.462 de locuitori. Conform UNRWA, tabăra avea o populație înregistrată de 119.486 de locuitori în 2018. Tabăra se întinde pe doar 1.400 de dunami (1.4 km²), ceea ce o face unul din cele mai dens populate locuri de pe pământ.

Prima Intifada a început în Jabalia, în decembrie 1987. Tabăra de refugiați Jabalia a fost scena multor incidente violente din timpul conflictului israeliano–palestinian. Tabăra Jabalia este considerată un bastion al mișcării integriste Hamas. Jabalia este cea mai mare dintre taberele de refugiați din teritoriile palestiniene.

În timpul conflictului dintre Israel și Gaza din 2014, artileria israeliană a lovit o școală a UNRWA din tabăra Jabalia, ucigând cel puțin 15 palestinieni care se adăpostiseră acolo. Un purtător de cuvânt al Națiunilor Unite a declarat: "Noaptea trecută, copii au fost uciși în timp ce dormeau alături de părinții lor pe podeaua unei clase dintr-un adăpost desemnat de ONU din Gaza. Copii uciși în somn; acesta este un afront pentru noi toți, o sursă de rușine universală. Astăzi lumea este dezonorată".

Persoane notabile
 Izzeldin Abuelaish, medic
 Mahmoud al-Mabhouh, comandant Hamas

Note

Legături externe

 Jabalia, articole de la UNRWA
  Descrierea taberei Jabalia pe pagina UNRWA
 Welcome To Jabalya R.C.

Jabalia
Guvernoratul Gaza de Nord

Tabăra de refugiați Jabalia


An Myriostachya wightiana in uska species han Liliopsida nga syahan ginhulagway ni Christian Gottfried Daniel Nees von Esenbeck ngan Ernst Gottlieb von Steudel, ngan ginhatag han pagkayana nga asya nga ngaran ni Joseph Dalton Hooker. An Myriostachya wightiana in nahilalakip ha genus nga Myriostachya, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Myriostachya

Myriostachya wightiana


Namibtrappe (Eupodotis rueppellii eller Heterotetrax rueppelii) er en fugleart, der lever i Angola og Namibia.

Noter
 Avibase - the world bird database

Eksterne henvisninger

Fugle fra det sydlige Afrika
Trappefugle

Namibtrappe


Pauza (ranije Pauza.hr) je bio servis za naručivanje hrane putem mobilne i internet platforme u Hrvatskoj.

Pauza je nudila dostavu iz preko 300 restorana, a dosad je preko web stranice prošlo više od 3 milijuna narudžbi.
Servis je do sredine 2021. bio prisutan u gradovima: Zagreb, Split, Zadar, Rijeka, Zaprešić, Varaždin, Šibenik, Karlovac, Pula, Velika Gorica, Osijek, Dubrovnik, Makarska, Samobor, Solin, Sisak, Slavonski Brod, Sveta Nedelja, Sesvete i Opatija

Razvoj

 2008. – Pauza.hr je osnovana kao start-up projekt u Zagrebu . Osnivači (founders): Valentin Đurov i Branka Padovan Đurov.
 2015. – Pauza postaje dio svjetske grupacije Delivery Hero koja okuplja servise za online naručivanje hrane u preko 50 zemalja u Europi, Aziji, Bliskom Istoku, Sjevernoj Africi i Južnoj Americi
 2019. – Pauza uvodi uslugu PauzaGO – vlastitu dostavu iz restorana koji inače ne nude dostavu. U ponudi je i dostava iz najpoznatijih svjetskih restorana brze hrane poput McDonald's, KFC i Burger King.
 Od 30. lipnja 2021. Pauza je dio Glova.

Izvori

Vanjske poveznice
Službena web stranica

Hrvatske tvrtke

Pauza


Cloud9 Esports, Inc., ou simplesmente Cloud9, é uma organização de esportes eletrônicos americana com sede em Santa Monica, Califórnia. A empresa foi originalmente fundada como uma equipe profissional de League of Legends por Jack e Paullie Etienne em maio de 2013 e foi incorporada à Cloud9 Esports, Inc. em 6 de setembro de 2016. A Cloud9 recebeu US$ 78 milhões em capital total levantado por meio de financiamento de capital de risco e foi classificada como a quinta organização de esports mais valiosa do mundo em meados de 2022.

Cloud9 manteve divisões em vários esports ao longo de sua existência, estabelecendo oito até 2014. Em 2018, Cloud9 ganhou três campeonatos internacionais: o Campeonato Mundial da 6ª Temporada do Rocket League Championship Series, a final da Overwatch League de 2018 e o ELEAGUE Major: Boston 2018. Atualmente, a empresa opera duas equipes franqueadas: a equipe da League of Legends Championship Series e o London Spitfire da Overwatch League. Eles também operam equipes sem franquia em Apex Legends, Counter-Strike: Global Offensive, Fortnite, Halo, Hearthstone, League of Legends: Wild Rift, Super Smash  Bros., Teamfight Tactics, Valorant, e World of Warcraft.

História

2013: Início
A equipe que se tornaria a Cloud9 se originou depois que a organização de esportes eletrônicos Quantic Gaming liberou todos os seus jogadores de League of Legends. Depois, todos os cinco jogadores formaram sua própria equipe sob o apelido de Team NomNom, e mais tarde foram renomeados para Cloud9 no início de 2013. A Cloud9 foi então readquirida pela Quantic Gaming em 1º de abril de 2013, e mais tarde renomeou a equipe de volta para Cloud9. A equipe então mudou de mãos novamente em maio de 2013, quando os ex-gerentes da Team SoloMid Jack Etienne e Paullie Etienne compraram os contratos dos jogadores por menos de US$ 20.000, criando oficialmente a organização Cloud9. Paullie Etienne foi nomeada diretora de operações, e o pai de Jack Etienne acabou assinando como o primeiro advogado da organização.

2013–2018: Expansão e financiamento
Após o sucesso inicial na divisão de League of Legends da organização, a Cloud9 expandiu sua marca para outros jogos esportivos. A organização entrou no Smite em dezembro de 2013. Em 2014, Cloud9 criou divisões para Dota 2, Super Smash Bros. Melee, Hearthstone, Counter-Strike: Global Offensive, Heroes of the Storm, e Halo. A organização desfez sua divisão de Smite no mesmo ano devido a problemas internos, pouco antes do início da Smite Pro League, mas foi reaberta em janeiro de 2015. Ao longo de 2015 e 2016, Cloud9 estabeleceu várias outras divisões, incluindo Call of Duty, Overwatch, e Vainglory. Em 6 de setembro de 2016, a organização se incorporou à Cloud9 Esports, Inc.

Embora várias de suas divisões fossem dissolvidas, em março de 2017, a empresa tinha dez times em vários títulos e mais de um milhão de fãs gastando 15 milhões de horas coletivas seguindo os jogadores da Cloud9. Naquele mês, a Cloud9 recebeu um total de US$ 28 milhões de financiamento em uma rodada série A liderada pelo Founders Fund, juntamente com outros investidores da Craft Ventures, o ex-executivo do Facebook, Inc. Chamath Palihapitiya, o co-fundador do Reddit Inc. Alexis Ohanian, e o jogador de beisebol Hunter Pence. Em julho de 2017, a Cloud9 criou sua divisão de Rocket League. No mês seguinte, a Activision Blizzard anunciou que a Cloud9 havia comprado uma vaga de franquia com sede em Londres para a próxima Overwatch League (OWL); com a exigência de que todas as organizações no OWL criem entidades de negócios e marcas separadas, a Cloud9 criou a subsidiária sob o nome de London Spitfire. Em novembro de 2017, a Riot Games anunciou que a Cloud9 havia garantido uma vaga na franquia da League of Legends Championship Series (LCS) por US$ 10 milhões, marcando a segunda equipe franqueada própria da empresa.

Em junho de 2018, a Cloud9 anunciou um grande contrato de patrocínio com a Red Bull, que incluía um acordo que colocaria o logotipo da Red Bull nas camisetas da Cloud9. No meio desse negócio, Jack Etienne convidou 30 investidores para uma partida do London Spitfire na Blizzard Arena; quatro meses depois, a Cloud9 anunciou que havia recebido US$ 50 milhões em financiamento de série B em uma rodada liderada pela Valor Equity Partners, juntamente com outros investidores da TrueBridge Capital Partners, Reimagined Ventures e o fundador da Glassdoor, Robert Hohman. Além disso, o fundador e sócio-gerente da Valor Equity Partners, Antonio Gracias, ingressou no conselho de administração da Cloud9 como parte do acordo. O financiamento da rodada seria usado para estabelecer uma sede e uma instalação de treinamento de 20.000 a 30.000 pés quadrados (1.900 a 2.800 m2) em Los Angeles, que deveria ser concluída até o final de 2019. Após o investimento, a Forbes classificou a Cloud9 como a empresa de esportes eletrônicos mais valiosa do mundo, com US$ 310 milhões.

2018–presente: Sucessos, controvérsias e propriedade de liga
Em 2018, em uma época em que muitas equipes de esportes eletrônicos estavam reduzindo significativamente suas operações e focando apenas em alguns jogos selecionados, a Cloud9 alcançou sucesso internacional de alto nível em Counter-Strike, Rocket League, Overwatch e League of Legends. O sucesso da organização levou Jack Etienne a ser nomeado o Shaker of the Year da Game Shakers em dezembro de 2018, um prêmio que homenageia pessoas que causaram um impacto duradouro na indústria de esportes eletrônicos e ajudaram a aumentar a conscientização sobre esportes eletrônicos em todo o mundo. Nos meses seguintes, a Cloud9 fechou acordos de patrocínio com a marca de roupas Puma, a empresa de telecomunicações AT&T e a empresa automotiva BMW, no que foram os primeiros patrocínios das empresas em equipes de esportes eletrônicos. Naquela época, a Cloud9 estabeleceu uma divisão de Apex Legends.

Em novembro de 2019, a Cloud9 foi multada pela Riot Games por violar as regras da League of Legends Championship Series (LCS). Desde julho de 2018, a Cloud9 emitiu ações para sete de seus jogadores da LCS por meio de unidades de ações restritas; a Riot havia criado uma regra em novembro de 2017 que proibia qualquer dono de equipe de estar no elenco da equipe. A Cloud9 foi multada em US$ 25.000 por violação de cada jogador, totalizando US$ 175.000, e teve que pagar dinheiro adicional aos seus jogadores. A Riot estimou a multa total entre US$ 330.000 e US$ 605.000. A Cloud9 foi novamente classificada pela Forbes como a empresa de esportes eletrônicos mais valiosa do mundo em 2019, junto com a Team SoloMid; a empresa foi avaliada em US$ 400  milhões, um valor de US$ 90 milhões de aumento em relação ao ano anterior.

Em fevereiro de 2020, foi anunciado que a Cloud9, juntamente com as organizações de esportes eletrônicos Immortals Gaming Club, New Meta Entertainment, Gen.G Esports, c0ntact Gaming e OverActive Media, havia estabelecido uma liga de Counter-Strike: Global Offensive chamada Flashpoint, a primeira liga profissional de esporte eletrônico de propriedade dos times e operada pelos mesmos. No mês seguinte, a Cloud9 voltou a entrar nas competições de Dota 2 após um hiato de quase três anos. Cloud9 criou sua divisão de Valorant em abril de 2020, e em outubro, eles criaram sua primeira equipe feminina para o Valorant. A Forbes classificou a Cloud9 como a segunda empresa de esportes eletrônicos mais valiosa do mundo, com US$ 350 milhões em 2020, uma queda de 13% em relação a 2019. Em maio de 2022, a Forbes a classificou como a quinta mais valiosa, com um valor de US$ 380 milhões.

Referências

Ligações externas

Times de esportes eletrônicos dos Estados Unidos
Equipes de League of Legends
Equipes de Counter-Strike
Equipes de Valorant

Cloud9


Die Autobahn Artux–Irkeschtam oder Ayi-Autobahn (), chin. Abk. G3013, ist eine geplante regionale Autobahn im Autonomen Gebiet Xinjiang im Westen Chinas. Die 220 km lange Autobahn soll bei Artux von der ebenfalls geplanten Autobahn G30 abzweigen und in westlicher Richtung über den Kreis Ulugqat an die Grenze mit Kirgistan und die kirgisische Grenzstation Irkeschtam führen.

Einzelnachweise

Autobahn in der Volksrepublik China
Straße in Asien
Straße in Xinjiang

Autobahn Artux–Irkeschtam


ආසියානු කලාපයේ දීර්ඝ කාලීන යුධමය වාතාවරණයක් ඇති රටවල් අතරින් ශ්‍රී ලංකාවේ ඒඩ්ස් රෝගය වැලදීමේ ප්‍රවණතාව තවමත් ඉතාම අවම මට්ටමක පවතී. මෙසේ දීර්ඝ කාලීන යුදමය වතාවරණයක් පවතින ඕනෑම රටක සමස්තයක් වශයෙන් ගත් විට ඒඩ්ස් රෝගකාරකය පැතිර යාමේ වැඩි නැඹුරුතාවයක් පෙන්නුම් කරනු ලැබේ. එයට හේතු සාධකය වනුයේ යම් රටක යුදමය අවස්ථාවකදී අදාල ගැටුම් පවතින ප්‍රදේශයන්හී ජනතාව සරණාගතයින් ලෙස විවිධ සරණාගත කදවුරුවල රැදී සිටීමට සිදුවීමෙනි. එය බොහෝ විට රෝග කාරක ව්‍යාප්තවීමට බලපානු ලබන ප්‍රධානතම මෙන්ම ප්‍රබලතම හේතුවකි. මේ අනුව සලකන විට ශ්‍රී ලංකාවට ආසන්නම අසල්වැසි රට වන ඉන්දියාවට යුධමය වාතාවරණය තුල සංක්‍රමණය වන සරණාගතයින් හේතුවෙන් ඉන්දියාව තුල වැඩි වශයෙන් HIV වෛරසය ව්‍යාප්තියක් සිදුවන බව ඒඩ්ස් රෝගය පැතිරීම වැලැක්වීමේ විශේෂ ඒකකයේ ප්‍රධානී වෛද්‍ය නිමල් එදිරිසිංහ මහතා පවසයි.

ඒඩ්ස් රෝගය පැතිරීම වැලක්වීමේ විශේෂ ඒකකයේ තොරතුරු හා දත්ත අනුව ශ්‍රී ලංකාවේ දී පලමුවෙන්ම HIV ආසාදිතයෙකු සොයාගෙන ඇත්තේ 1987 වසරේදීය. ඒ මීට අවුරුදු 20කට ඉහතදීය. දැනට මෙරට ඒඩ්ස් ආසාදිතයන්ගේ ප්‍රමාණය 5000ක් වන අතර එය සමස්ථ ජනගහණයෙන් සියයට 0.1ක් වැනි ඉතාමත් පහල අගයක පවතී. ගණිකා වෘත්තියේ යෙදෙන්නන්ගෙන් හා විදෙස් රටවල සිටින ශ්‍රමිකයින් යළි මෙරටට පැමිණීමේ දී රෝගය මෙරට ප්‍රධාන වශයෙන් ව්‍යාප්ත වීමක් සිදුවේ. නමුත් දීර්ඝකාලීන වශයෙන් යුධ ගැටුම් පැවති කාම්බෝජය සහ වියටිනාමය ආදී රටවල් හා සැසදීමේ දී ශ්‍රී ලංකාවේ මෙම තත්ත්වය ඉතාමත් අවම මට්ටමක පවතින බව ඒඩ්ස් රෝගය පැතිරීම වැළැක්වීමේ විශේෂ ඒකකයට ලැබී ඇති දත්ත අනුව වාර්තා වේ. යුධමය තත්ත්වයක් ඇති රටක ගැටුම් පවතින ප්‍රදේශවල සාමාන්‍යායෙන් රෝගය ව්‍යාප්ත වීම ඉතාම ඉහළ අගයක පවතී. එයට හේතු වනුයේ යුධමය අවස්ථාවක පුද්ගල හෝ කුටුම්භ අතින් ආර්ථික තත්ත්වය කඩා වැටීමක් සිදුවීමය. ඒ හේතුවෙන් ආර්ථික වාසි අත්පත් කර ගැනීම සදහා යුද ගැටුම් පවතින පුදේශවල කාන්තාවන් ගණිකා වෘත්තියේ නියැලීම සිදු කෙරේ. බොහෝ විට මෙම ගණිකා වෘත්තිය සුදි වනුයේ යුද පිටියේ සිටින හමුදා සෙබළුන් සමගින්ය. මෙම ප්‍රදේශයන්හී වඩා ක්‍රමවත් සෞඛ්‍ය පහසුකම් නොමැති වීම රෝග ව්‍යාප්තිය ඉතා ඉහළ යෑමට බලපානු ලබන පුබල සාධකයකි.

විදෙස් රැකියා සහ අධ්‍යාපන කටයුතු සදහා විදෙස් ගතවන හා විදේශයන්හී සිට පැමිණෙන පුද්ගලයන්ගෙන් ඇතැම් අයගෙන් HIV රෝගකාරකය බෝවීමක් සිදු විය හැකිය. ළමා අපයෝජනද මෙම තත්ත්වය සදහා බලපෑම් සිදු කරනු ලබයි. ඇතැම් බටහිර රටවල්වල මත්ද්‍රව්‍ය එන්නත් කිරීම සදහා යොදා ගන්නා එන්නත් කටු මගින් රෝගය සීග්‍ර ලෙසින් ව්‍යාප්ත වීමක් බටහිර රටවල දක්නට ලැබේ. නමුත් මෙම තත්ත්වය දැනට ශ්‍රී ලංකාවේ නොමැත.

ඒඩ්ස් රෝගය පැතිරීම වැලැක්වීමේ විශේෂ ඒකකයට ලැබී ඇති දත්ත අනුව 2007 මැයි වන විට HIV ආසාදිතයන් 872ක් හදුනාගෙන තිබේ. ඉන් සියයට 85දෙනෙකුට සමලිංගික නොවන ඇසුරෙන්ද, සියයට 11ක ප්‍රමාණයක් සමලිංගික ඇසුරෙන්ද, සියයට 01ක ප්‍රතිශතයක් රුධිරය මගින්ද (රුධිරය ලබා දීම මගින්) HIV ආසාදනය වී ඇත. සමස්ථයක් ලෙස ගත් විට ශ්‍රී ලංකාවේ මුළු HIV ආසාදිතයන්ගෙන් සියයට 59ක් පිරිමින් වන අතර ඉතිරි සියයට 41ක ප්‍රමාණය ගැහැණු වේ. ඒ අනුව පිරිමින්ගෙන් ඒඩ්ස් රෝගය ස්ත්‍රියට වැළදීමේ අනුපාතය 1.4:1 ක අගයක් ගනී. 1987 සිට 1991 වසර දක්වා HIV ආසාදනයට ගොදුරු වූ ගැහැණු සංඛ්‍යාව සියයට 21ක් වන අතර 1992 සිට 1996 දක්වා සියයට 34ක් ලෙසත් 1997 සිට 2001 දක්වා සියයට 43ත් 2002 වසරේ සිට 2004 දක්වා එය සියයට 47 දක්වා වැඩි වීමක් සිදුව ඇත. එමෙන්ම වයස් පරතරය අනුව HIV ආසාදනය වැළදීමේ පුවනතාවය වයස අවුරුදු 0 – 14 දක්වා සියයට 03ත්, වයස අවුරුදු 15-49 දක්වා සියයට 08ක් ලෙසත් වයස අවුරුදු 50ට වැඩි HIV ආසාදනය වූ ප්‍රතිශතය සියයට 89ක අගයක පවතී. වයස් පරතරය අනුව ස්ත්‍රි පුරුෂ රෝග ව්‍යාප්තිය සිදු වනුයේ වයස අවුරුදු 0-9ත් අතර ස්ත්‍රී 04කුත් පුරුෂ 10කුත්, වයස අවුරුදු 10-19ත් අතර ස්ත්‍රී 01කුත් පුරුෂ 02කුත්, අවුරුදු 20ත් 29ත් අතර කාලය තුල ස්ත්‍රී 54කුත් පුරුෂ 59කුත්, වයස 30-39දී ස්ත්‍රී 108කුත් පුරුෂ 136 දෙනෙක්ද 40ත් 49 අතර වයස් වලදී ස්ත්‍රී 53කුත් පුරුෂ 95කුත් වයස අවුරුදු 50ට වැඩි අවස්ථාවේදී ස්ත්‍රී 13කුත් පුරුෂ 32කුත් වයස් පරතරය අනුව HIV ආසාදනයට ගොදුරු වී ඇත.

2007 මැයි මාසය වන විට HIV ආසාදිතයන් 872ක් සොයා ගෙන තිබුණු අතර එයින් 220 දෙනෙකුට ඒඩ්ස් රෝගය වැළදී තිබුණි. 2007 ඔක්තෝම්බර් මාසය වන විට රෝගය හේතුවෙන් මිය ගිය සංඛ්‍යාව 162කි. 2007 වසරේ පලමු මාස 03 අවසානයේ දී HIV ආසාදිතයන් 24දෙනෙකු සොයාගෙන ඇති අතර රෝගීන් 112 සදහා මේ වන විට සෞඛ්‍ය අමාත්‍යාංශයෙන් නොමිලේ සායන පවත්වා අවශ්‍ය ප්‍රතිකාර සහ දැණුවත් කිරීමේ වැඩසටහන් ක්‍රියාත්මක කරනු ලබයි.

අනිකුත් යුදමය වාතාවරණයක් ඇති රටවල් හා සැසදීමේ දී ශ්‍රී ලංකාවේ ඒඩ්ස් රෝග ව්‍යාප්තිය අවම මට්ටමක පවත්වා ගැනීමට ප්‍රදාන වශයෙන් ඉවහල් වූ කරුනු කිහිපයක් පෙන්නුම් කල හැකිය. අනියම් ලිංගික සම්බන්ධතා අවම මට්ටමක පැවතීම, ඉතාමත් ඉහල ගුණාත්මක සෞඛ්‍ය පහසුකම් තිබීම, සමාජ රෝග පැතිරීම වැළැක්වීමේ විශේෂ ඒකකයක් පිහිටු වීම, ශ්‍රී ලංකාව තුල සමාජ රෝග සම්බන්ධයෙන් දැනුවත් කිරීමේ විශේෂ වැඩසටහන් ක්‍රියාත්මක කිරීමත් ශ්‍රී ලංකාවේ ස්ත්‍රිය සදහා උසස් සමාජ පිළිගැනීමක් හා ගෞරවයක් හිමිවීම ආදී හේතූන් මත HIV ආසාදනය වීම හෝ ඒඩ්ස් රෝගය පැතිර යාම අවම මට්ටමක පැවතීමට පුබල බලපෑමක් එල්ලකරනු ලබයි.

දත්ත ලබා ගැනීම - ඒඩ්ස් රෝගය පැතිරීම වැලැක්වීමේ විශේෂ ඒකකය
ලිපිය සම්පාදනය - චානක ඉනෝජ්/ක්‍රිස්ටීන් හෙට්ටිආරච්චි
2008. 01. 29

“යුදමය වාතාවරණයකදීත් ශ්‍රී ලංකාවේ ඒඩ්ස් වැලදීමේ ප්‍රවණතාව ඉතාම අවම මට්ටමක”


La televisión en Alemania empezó en Berlín el 22 de marzo de 1935, transmitiendo por 90 minutos durante tres veces a la semana. La televisión alemana tenía aproximadamente 36.5 millones televisores receptores en 2000, convirtiendo al mercado germano en el más grande de Europa. Todos los canales importantes de Alemania son gratuitos.

Historia

La televisión alemana comenzó a transmitir el 22 de marzo de 1935 con la señal de Deutscher Fernseh-Rundfunk, aunque pocos aparatos podían captar la señal. Fueron los Juegos Olímpicos de Berlín de 1936 los que hicieron dar el gran paso a la TV, que transmitió durante esos días hasta ocho horas por día. Acorde con la utilización de las Olimpíadas, la incipiente TV fue utilizada como medio de propaganda del nazismo, tanto antes como durante la Segunda Guerra Mundial.

La destrucción de Alemania a fines de 1945 llevó a la TV a dejar de transmitir, y tardó muchos años volver a ser un actor relevante. La recuperación comenzó en 1948, cuando se permitió transmitir programas de televisión en la zona británica de Berlín, permiso que luego se extendería a toda Alemania, que a partir de ese año se dividió en Alemania Occidental, con influencias de Estados Unidos y sus aliados, y Alemania Oriental, con influencias de la URSS.

La división no impidió el desarrollo de la televisión a ambos lados de la frontera. La era del color llegó a las televisiones de Alemania Occidental en 1967, mientras que en Alemania Oriental no llegó hasta 1972. Para 1980, no había mucha oferta de canales de televisión, ya que el telespectador promedio de Alemania Occidental solo podía escoger entre tres canales estatales únicamente; similar situación se vivía en el lado soviético, en el que había dos canales.

La reunificación trajo como consecuencia directa la eliminación de las señales estatales del Este, y justo con esto, en la década de 1990 se dio un fuerte desarrollo de la televisión privada, acompañando un proceso que se dio en todo el mundo.

Recepción

Canales en abierto

Canales de ámbito nacional
A continuación se muestran los canales ordenados por su cuota de mercado en el año 2016.

ARD Dritte es la suma de todos los canales regionales del emisor público ARD, que se detallan en el siguiente apartado.

Canales regionales

Referencias

Televisión de Alemania

Televisión en Alemania


, mieux connu sous le nom de , est une œuvre de fiction en prose de 1666 de l'écrivaine anglaise Margaret Cavendish, duchesse de Newcastle. La critique féministe Dale Spender le qualifie de précurseur de la science-fiction. Il peut aussi être lu comme une œuvre utopique. Il est souvent considéré comme le premier roman de science-fiction appartenant au genre de la science-fiction féministe ou de la proto science-fiction.

Récit
Comme son titre complet l'indique, Blazing World est une représentation fantastique et satirique d'un royaume utopique dans un autre monde (avec différentes étoiles dans le ciel) qui peut être atteint via le pôle Nord. Selon le romancier Steven H. Propp, .

Le roman décrit l'histoire d'une jeune femme qui entre dans un autre monde nomme . Elle devient l'impératrice d'une société composée de diverses espèces d'animaux parlants. Elle organise ensuite une invasion de retour dans son propre monde avec des sous-marins remorqués par des hommes-poissons,  des hommes-oiseaux larguant des pierres de feu.

 s'ouvre sur un poème écrit par William Cavendish, 1er duc de Newcastle. Le livre de Cavendish a inspiré un sonnet notable de son mari, William Cavendish,  de Newcastle-upon-Tyne, qui célèbre ses pouvoirs imaginatifs. Le sonnet était suivi d'une lettre au lectorat écrite par Margaret Cavendish elle-même. Dans cette lettre, Cavendish divise  en trois parties. La première partie étant « romanesque », la deuxième « philosophique », et la troisième « fantaisiste » ou « fantastique ».

La première section « romantique » décrit une jeune femme kidnappée et devenue de manière inattendue impératrice du monde flamboyant (). La deuxième section « philosophique » décrit les connaissances et l'intérêt de l'impératrice pour les sciences naturelles et la philosophie. Elle discute de ces sujets avec les scientifiques, les philosophes et les universitaires de The Blazing World. Dans la dernière section fantastique, l'impératrice est campée dans le rôle d'une cheffe militaire lors d'une invasion. Elle se pare de bijoux et de pierres spéciales qui lui donnent l'apparence d'une divinité. Lorsque l'impératrice triomphe de la bataille navale, le monde flamboyant est à nouveau décrit comme un empire utopique.

Cavendish termine  avec un épilogue au lectorat. Dans cet épilogue, elle décrit ses raisons d'écrire . Elle compare la création de aux conquêtes d'Alexandre le Grand et de Jules César.

Le livre est initialement publié en tant que pièce d'accompagnement des Observations sur la philosophie expérimentale de Cavendish et fonctionne donc comme une composante fictionnelle de ce qui était par ailleurs une entreprise raisonnée dans la science du . Il a été réimprimé en 1668.

Impact
La chercheuse Nicole Pohl de l'Université d'Oxford Brookes a soutenu que Cavendish était exacte dans sa catégorisation de l'œuvre comme « un texte hermaphrodite ». Pohl souligne les confrontations de Cavendish avec les normes du , en ce qui concerne des catégories telles que la science, la politique, le genre et l'identité. Pohl soutient que sa volonté de remettre en question les conceptions de la société tout en discutant de sujets qui étaient considérés à son époque comme devant être laissés aux esprits masculins, lui permet de s'échapper dans une discussion exceptionnellement neutre sur ces sujets, créant ce que Pohl appelle, « un espace poétique véritablement émancipateur ».

Marina Leslie, professeure à l'université Northeastern, remarque que les lecteurs ont noté que  sert de rupture avec un domaine de l'écriture utopique habituellement dominé par des hommes. Alors que certains lecteurs et critiques peuvent interpréter l'œuvre de Cavendish comme étant limitée par les caractéristiques du genre de l'utopie, Leslie suggère d'aborder les interprétations de l'œuvre tout en se souvenant de Cavendish comme l'une des premières féministes les plus franches de l'histoire, et en particulier dans ses premiers écrits. Leslie soutient qu'en ce sens, Cavendish a utilisé le genre utopique pour discuter de questions telles que « la nature et l'autorité féminines » sous un nouveau jour, tout en élargissant simultanément le genre utopique lui-même.

Delilah Bermudez Brataas étudie l'impact des utopies sur le genre et la sexualité dans sa thèse à l'Université Tufts. Elle souligne qu'au départ, les utopies étaient des mondes sexuellement fluides. Par conséquent, elles ont défié les conventions de genre. Blazing World de Cavendish montre à quel point ces espaces sont sexuels et fluides, principalement lorsque des femmes les écrivent. Brataas développe davantage cette déclaration et décrit l'attrait du genre durant cette période, ce qui fait de l'utopie un genre attrayant pour Cavendish. Les utopies offrent aux femmes un espace qui peut être principalement féminin et leur donne un sentiment d'autonomie. L'écriture d'une utopie a offert à Cavendish l'opportunité de créer son propre monde, un monde sur lequel elle a une entière liberté d'action et aucune limite. Dans son épigraphe, Cavendish rappelle même aux lecteurs qu'elle possède ce monde et suggère qu'ils ne sont pas les bienvenus et qu'ils devraient créer le leur s'ils ne l'aiment pas. Brataas souligne comment ses décisions lors de la construction de ce monde reflètent ses idéaux de genre, tels que des espaces pour l'éducation des femmes en tant que personnes et autorités indépendantes.

Leslie pense également que  incorpore de nombreux genres différents, « qui incluent non seulement le récit de voyage et la romance, mais aussi l'utopie, l'épopée, la biographie, la cabale, la fable lucienne, la satire ménippéenne, l'histoire naturelle et le jeu moral, entre autres »…. Oddvar Holmesland de l'Université d'Édimbourg convient que The Blazing World est créatif dans son genre, écrivant que « le terme hybridation capture bien la méthode de Cavendish de mélanger les genres et catégories établis dans un nouvel ordre, et de présenter son empire fantastique comme versimilaire ».

Sujata Iyengar, professeure à l'Université de Géorgie, souligne l'importance du fait que The Blazing World est clairement fictif, un contraste frappant avec la nature scientifique du travail auquel il est attaché. Iyengar note que l'écriture d'une œuvre de fiction a permis à Cavendish de créer un nouveau monde dans lequel elle pouvait concevoir n'importe quelle réalité possible. Une telle liberté, soutient Iyengar, permet à Cavendish d'explorer des idées de rang, de sexe et de race qui se heurtent directement aux croyances courantes sur la servilité à son époque. Iyengar va jusqu'à dire que la liberté retrouvée de Cavendish dans des mondes fictifs lui donne l'occasion d'explorer des idées qui entrent directement en conflit avec celles sur lesquelles Cavendish écrit dans ses écrits non romanesques.

Jason H. Pearl de l'Université internationale de Floride pense que le roman contient « une interaction et une opposition entre deux formes tributaires: le voyage lunaire, un sous-genre de l'écriture utopique, et la philosophie naturelle, qui a contribué à éclairer les notions de possibilité et de plausibilité dans les représentations du monde naturel ». Cependant, Pearl le considère également comme « une révision du voyage lunaire ... l'une de ses révisions consiste à en ajouter la destination finale  vers la terre, au sens propre et figuré, rendant les diverses possibilités de différence en quelque sorte plus accessibles ».

Catherine Gimelli Martin, professeure à l'université de Memphis, compare The Blazing World à un autre exemple précoce du genre : L'Utopie de Thomas More. Elle décrit l'objectif de Cavendish comme étant la connaissance, tandis que celui de More est l'argent. Contrairement à More, Cavendish utilise l'or dans son monde comme un outil de décoration tout en le dévalorisant complètement. De plus, elle interdit aux roturiers d'utiliser de l'or. Martin suggère que dans The Blazing World, ce système de classe élimine toute compétition pour l'or comme cela est discuté dans L'Utopie.

Monde
Jason H. Pearl a commenté le surréalisme du monde de Cavendish, ainsi que sa similitude avec le nôtre. Il écrit : , et que, , mais croit également que « . Par « passage interstitiel », Pearl fait référence au chemin invisible et inexpliqué que le protagoniste et ses ravisseurs traversent au début de l'histoire pour atteindre le monde de Cavendish.

Opinions politiques
Tout au long de , l'impératrice affirme qu'une société pacifique ne peut être atteinte que par l'absence de divisions sociétales. Pour éliminer la division potentielle et maintenir l'harmonie sociale dans la société imaginée par le texte, Cavendish construit un gouvernement monarchique. Contrairement à un gouvernement démocratique, Cavendish croit que seule une souveraineté absolue peut maintenir l'unité et la stabilité sociales parce que le recours à une seule autorité élimine les séparations de pouvoir. Pour justifier davantage le gouvernement monarchique, Cavendish s'appuie sur des arguments philosophiques et religieux. Elle écrit : .

Les opinions politiques de Cavendish sont similaires à celles du philosophe anglais Thomas Hobbes. Dans son livre de 1651, Léviathan, Hobbes soutient l'idée qu'un gouvernement monarchique est une force nécessaire pour empêcher l'instabilité sociétale et la « ruine ». En tant que contemporain notable de Cavendish, l'influence de Hobbes sur sa philosophie politique est évidente. Dans The Blazing World, Cavendish mentionne même directement son nom tout en cataloguant des écrivains célèbres : « Galileo, Gassendus, Descartes, Helmont, Hobbes, H. More, etc ».

Influence et postérité
Dans les romans graphiques d'Alan Moore relatant les aventures de La Ligue des gentlemen extraordinaires, le monde flamboyant était identifié comme le même royaume idyllique d'où le voyageur extra-dimensionnel Christian, membre de la première Ligue dirigée par Duke Prospero, était arrivé à la fin des années 1680. La ligue s'était dissoute lorsque Christian était revenu dans ce royaume, et c'est là que Prospero, Caliban et Ariel étaient également partis plusieurs années plus tard.

Dans Lombres de China Miéville, un livre de bibliothèque intitulé  est mentionné, suggérant que le voyage entre les deux mondes n'est pas à sens unique.

En 2014, Siri Hustvedt a publié le roman , dans lequel elle décrit les tentatives brillantes mais alambiquées de Harriet Burden pour obtenir la reconnaissance de la scène artistique new-yorkaise dominée par les hommes. Hustvedt demande à Burden de se référer à Margaret Cavendish comme une riche source d'inspiration à de nombreuses reprises. Vers la fin de sa vie, Burden est réconfortée par le travail de Cavendish : « Je suis de retour auprès de ma flamboyante mère Margaret » (p. 348), écrit-elle dans son carnet.

Blazing World a été initialement publié en tant que texte conjoint avec les Observations de Cavendish sur la philosophie expérimentale, qui étaient une réponse directe à Micrographia du scientifique Robert Hooke, publié seulement un an auparavant. Les avancées dans le domaine de la science et de la philosophie au début de la période moderne ont eu une énorme influence sur Cavendish et ont été une composante majeure de sa descriptions d'un nouveau monde, appelé . Cette influence peut être vue directement dans , avec près de la moitié du livre composé de descriptions du , de ses habitants, de ses philosophies et de ses inventions. L'une de ces inventions est un microscope, que Cavendish critique parallèlement à la méthode expérimentale elle-même dans le . Cette intégration des avancées scientifiques pourrait être l'une des raisons pour lesquelles  est considéré par certains comme le premier roman de science-fiction.

En 2021, Carlson Young a sorti le film , qu'elle a réalisé, co-écrit et joué. Le générique du film indique qu'il est « inspiré par Margaret Cavendish et d'autres rêves ».

Références

Annexes

Bibliographie
.

Liens externes
 The Description of a New World, Called The Blazing-World is available on A Celebration of Women Writers
 Une numérisation de la copie de la British Library de The Description of a New World, Called The Blazing-World (édition 1668) est disponible Internet Archive ; les deux copies numériques sont indexées sous le titre de l'édition de 1666 Observations Upon Experimental Philosophy: To which is Added, the Description of a New Blazing World.
 The Blazing World public domain audiobook at LibriVox

Roman de science-fiction britannique
Roman paru en 1666
Pages avec des traductions non relues
Roman de science-fiction féministe
1666 en science-fiction

The Blazing World


Siphonocladales, nekadašnji red tropskih zelenih alga čije su porodice uklopljene u red Cladophorales. Porodice koje su mu pripadale su: Boodleaceae, Siphonocladaceae i Valoniaceae.

Prema istraživanjima sve Siphonocladales imaju jednog zajedničkog kladoforolikog pretka.

Autorstvo: (Blackman & Tansley) Oltmanns, 1904

Izvori

Sistematika

Siphonocladales


Kastamonu ilinin ilçeleri şunlardır:

Kaymakamlar

Hâlen görevde olan Vali ve ilçe kaymakamları aşağıdaki tabloda gösterilmiştir.

Belediyeler

Belediye Başkanları
2019 Yerel seçimleri sonucu seçilerek göreve başlayan ilçe belediye başkanlıklarının bilgileri aşağıdadır.

Belediye Meclisleri
Kastamonu İl Genel Meclisi üye sayısı 45'tir. Kastamonu Belediyesi meclisi üye sayısı 31'dir. İlçe belediyelerinin toplam üye sayısı 214'tür.

Belediye Meclis üyelerinin sayıları ilçenin son nüfus sayımına göre 9 ile 55 üye, İl genel meclisi üye sayılara 100.000 nüfusa kadar 2 ile 5 üye olarak belirlenir.

İl genel meclisi ve belediye meclisi üyelikleri için yapılan seçimlerde, onda birlik baraj uygulamalı nispi temsil sistemi, belediye başkanlığı seçiminde ise çoğunluk sistemi uygulanır İl genel meclisi ve belediye meclisi üye sayıları ilçe nüfusuna göre, kontenjandan kalan sayıların partilere dağılımı ise D'Hondt Sistemine göre belirlenir (Kanun:2972-Madde:23)

İlçeler
 Abana: 32,4 km batısında İnebolu, 2 km güneyinde Bozkurt ilçeleri yer almaktadır.
 Araç: İl merkezine 44 km uzaklıkta bulunan ilçe Kastamonu - Karabük karayolu üzerindedir.
 Azdavay: Kastamonu ilinin kuzeybatısında 1268 m² yüzölçümüne sahip engebeli ve ormanlık arazi ile çevrilidir. İlçe kuzeyde Şenpazar ve Doğanyurt ilçeleri, güneyde Daday ilçesi, batıda Pınarbaşı ilçesi, doğuda Küre ve Ağlı ilçeleri ile çevrilidir. Kastamonu'ya Ağlı-Seydiler üzerinden 74 km'dir. İlçe 49 köy ve 4 mahalle olmak üzere toplam 53 idari birimden oluşmaktadır. İlçeye bağlı Ahat köyü çatak mahallesi sınırları içerisinde Çatak Kanyonu vardır.
 Bozkurt: Karadenize kıyısı vardır. İlçe merkezi sahilde olmayıp, Abana'nın 2 km güneyindedir.
 Cide: İl merkezine uzaklığı 133 km'dir ve Karadeniz kıyısındadır. 12 km kumsalı olan Cide, konumu gereği tarih boyunca İpek Yolu üzerinde önemli bir liman olma özelliğini sürdürmüştür. İlçede ahşap gemi ve yat tersaneleri mevcuttur.
 Daday: İl merkezine uzaklığı 32 km'dir. Atatürk 23 - 31 Ağustos 1925'te "Şapka ve Kıyafet İnkılabı" dolayısıyla Kastamonu'ya geldiğinde ilçeyi ziyaret etmiş ve Köpekçioğlu Konağı'nda misafir edilmiştir. Nüfusu 4800'dür. Eğitim için iki lisesi(Daday Lisesi)-(Daday İmam Hatip Lisesi), bir yatılı ilköğretim bölge okulu (Profesör Doktor Fahri Ecevit Yatılı İlköğretim Bölge Okulu), 2 ilköğretim okulu (Atatürk İlköğretim Okulu)-(Miralay Halit Bey İlköğretim Okulu) vardır.
Doğanyurt: İlçe Batı Karadeniz Bölgesi'nde sahil kesiminde kurulmuş olup, arazisi dağlık ve engebeliktir. İlçe merkezindeki rakım ortalama 5 metre civarındadır. Doğanyurt kuzeyde Karadeniz, batıda Cide ilçesi, doğuda İnebolu ilçesi, güneyinde ise Şenpazar, Azdavay ve Küre ilçeleri ile çevrilidir. İl merkezine İnebolu ilçesi üzerinden 121 km. mesafededir.
 Taşköprü: Kastamonu ya 41 km uzaklıktadır. Denizden yüksekliği 500 m. olan ve Gökırmak Ovasında kurulu bulunan İlçede her sene Eylül ayının ilk haftası uluslararası kültür ve sarımsak festivali düzenlenmektedir. İlçe merkezi, plânlı ve düzenli bir yerleşime sahip olup Tosya'dan sonra en fazla nüfusa sahip ikinci merkezdir. Sarımsağı ve kuyu kebabı ile meşhurudur. Kastamonu-Sinop yolu üzerindedir.
 Devrekâni: İl merkezine uzaklığı 29 km'dir. Eski bir yerleşim merkezi olan Devrekâni höyük ve harabeleri, çeşme ve camileri ile arkeolojik yönden zengindir. 23 - 31 Ağustos 1925 Kastamonu ziyaretlerinde Atatürk 28 Ağustos'ta ilçeyi ziyaret etmiş, Bozkocatepe - Kurukavak Köyünde ormanlık bir alanda bulunan Müftüoğlu Mehmet Bey'in çiftliğinde misafir edilmiştir.
 Hanönü: İl merkezine uzaklığı 69 km'dir. Taşköprü'ye bağlı bir nahiye(bucak) iken ayrı bir ilçe haline getirilmiştir. Kastamonu' nun en önemli yatırlarından, türbesi şehir merkezinde bulunan Şeyh Şaban-ı Veli İlçenin Çındar Köyünde M.1471 yılında doğmuştur. İlçede Mayıs ayı ilk haftasında "Şeyh Şaban-ı Veli Anma Haftası" Ekim ayının ilk haftası Panayır düzenlenmektedir.
 İhsangazi: İl merkezine uzaklığı 37 km'dir. İlçenin İsalar Mahallesinde bulunan Haraçoğlu Camii ve Türbesi tarihi ziyaret yeridir.
 İnebolu: İl merkezine 90 km uzaklıktadır. İlçe merkezi kentsel sit alanıdır. 347 tescilli yapı bulunmaktadır. Abeş Tepesi ve Geriş Tepesi Arkeolojik Sit Alanı olarak tescillidir. İlin önemli ve eski ilçelerinden biridir.
 Küre: İl merkezine uzaklığı 61 km'dir. İlçede bulunan Doğanlar Kalesi M.Ö. 1700 - 1100 yıllarında yapılmıştır. Küre orman içi yayla turizmi için elverişli ve tabii güzellikleri olan bir ilçedir. Yaralıgöz Dağı eteklerindeki kanyon görülmeye değerdir.
 Pınarbaşı: İl merkezine 92 km uzaklıktadır. Ilıca köyünde bulunan Roma Dönemi "Ayazma"da ılık su hala mevcuttur. Ayrıca Dünya'nın en büyük ikinci kanyonu Valla Kanyonu ve yine Dünya'nın en büyük 4. mağarası Ilgarini Mağarası bu ilçededir. Bir de Horma Kanyonu isminde ikinci bir kanyon daha vardır. İlçenin 1987 yılında ilçe olmasına karar verilmiş, 1988 yılında ilçe olmuş ve 1989 yılında ilk belediye teşkilatı kurulmuştur. İlçe merkez nüfusu 1700, köylerle beraber 5174'tür. İlçe de bir konak yani Paşa Konağı vardır ve ilçenin Uzunçam Köyü'ndeki okulun bahçesinde eskiden kalma üzerinde yazılar bulunan bir taş vardır.
 Şenpazar: İl merkezine 100 km uzaklıkta olan ilçe Karadenize 37 km mesafede olup deniz seviyesinden yüksekliği 335 metredir.
 Seydiler: İl merkezine 30 km uzaklıkta Kastamonu-İnebolu yolu üzerinde kurulu bir ilçedir.
 Tosya: İl merkezine uzaklığı 70 km uzaklıktadır. Devrez Çayı ovasında ve E-80 Karayolu üzeridir. Merkez ilçeden sonra en fazla nüfusa sahip ilçe merkezidir. Pirinci ile meşhurudur.

Nüfus

Güncel Nüfus Değerleri (TÜİK 6 Şubat 2023 verileri )

Kastamonu ili nüfusu: 378.115'dir. Bu nüfusun %64,55'i şehirlerde yaşamaktadır (2022 sonu). İlin yüzölçümü 13.064  km2'dir. İlde  km2'ye 29 kişi düşmektedir. (Bu sayı Abana'da 151'dir.) İlde yıllık nüfus artış oranı % 0,67 olmuştur.  Nüfus artış oranı en yüksek ve en düşük ilçeler: Abana (% 4,63)- Küre (-% 2,39)

6 Şubat 2023 TÜİK verilerine göre merkez ilçeyle beraber 20 İlçe, 20 belediye, bu belediyelerde 173 mahalle ve ayrıca 1.054 köy vardır.

Yıllara göre ilçe nüfusları

Konum

İlçe haritaları

Ayrıca bakınız
 Kastamonu ilindeki yerleşim yerleri listesi

Kaynakça

İlçe
Türkiye'nin ilçeleri listeleri

Kastamonu'nun ilçeleri


Gorki Film Stüdyosu (Rusça, Киностудия имени Горького) Moskova'da bulunan Sovyet film stüdyosu. Sovyetler Birliği dağılana dek aralarında klasikleşen, uluslararası ödüller alan filmlerin de bulunduğu 1000'den fazla filme imza atmıştır. Bu

Stüdyo 1915 yılında Kostroma'lı bir girişimci tarafından Rus Film Stüdyosu (Rusça: "Киноателье «Русь»") olarak kurulmuştur.

1936 yılında stüdyo Moskova'daki Butyrskaya Caddesi'ne taşınmıştır. Rus Stüdyosu Moskova Sanat Tiyatrosu'nun oyuncuları ile çalışmış ve özellikle Rus klasiklerini sinemaya uyarlamakla ilgili faaliyet göstermiştir.

1924 yılında stüdyonun adı Dünya işçilerinin kurtuluşu anlamına gelen kelimelerden türetilen Mejrabpom-Rus olarak değiştirilmiştir. (Rusça: Международная рабочая помощь, Kısaltılmış, Rusça: Межрабпром-Русь). Sovyetler Birliği'nin ilk bilimkurgu filmi Aelita 1924 yılında bu stüdyoda çekilmiştir.

Dört yıl sonra stüdyonun adı Mejrabpomfilm (Rusça: Межрабпомфильм) olarak tekrar değiştirilmiştir. Bir sonraki değişiklik ile de 1936 yılında Soyuzdetfilm (Rusça: Союздетфильм) adını almıştır. Stüdyo bu dönemde çocuk filmleri yapmak için uzmanlaşmış dünyanın ilk stüdyosu olmuştur. İlk Sovyet sesli filmi Yaşama Bilet'de bu stüdyoda 1933 yılında çekilmiştir. Üç yıl sonra ise ilk renkli film Grunya Kurnakova gene bu stüdyoda çekilecekdir.

II. Dünya Savaşı sırasında stüdyo Tacikistan'daki Duşanbe şehrine taşınarak oradaki Tadjikfilm Stüdyoları ile birleştirilmiştir.

Moskova'ya dönüşündenden sonra 1948 yılında nihai ismi Maksim Gorki ismini almıştır. 1963-2004 yılları arasında Maksim Gorki Çocuk ve Gençlik Stüdyoları adını kullanmıştır. (Rusça: Центральная киностудия детских и юношеских фильмов им. М. Горького).

Gorki Stüdyolarında 1950'li yıllardan beri yabancı filmlere dublaj yapılmasında da faaliyet göstermiştir. 1975 yılında çocuk magazini Yeralaş bu stüdyoda filme alınmıştır.
Sovyetler Birliği'nin dağılmasından sonra stüdyo yaşam mücadelesine girişmiştir.

Stüdyoda çekilen bazı ünlü filmler

 1924 Аэлита / Aelita (sessiz film), Yönetmen Yakov Protazanov (bilimkurgu)
 1926 Мать / Ana (sessiz film), Yönetmen Vsevolod Pudovkin
 1927 Конец Санкт-Петергбурга / St. Petersburg'un Sonu (sessiz film), Yönetmen Vsevolod Pudovkin
 1931 Путевка в жизнь / Yaşam Bileti (ilk sovyet sesli filmi)
 1934 Три песни о Ленине / Lenin İçin Üç Şarkı, Yönetmen Dziga Vertov
 1936 Груня Корнакова (Соловей-соловушко) / Grunya Kornakova (Solovej-solovushko) (ilk sovyet renkli filmi)
 1964 Морозко / Buz Adam (fantezi filmi)
 1967 Комиссар / Komser (drama)
 1973 Семнадцать мгновений весны / Baharın Onyedi Anı (savaş filmi), Yönetmen Tatyana Lioznova
 1981 Шестой /Altıncı (ostern), Yönetmen Samvel Gasparov
 1985 Гостья из будущего / Gelecekten Gelen Misafir (bilimkurgu)
 1988 Маленькая Вера / Küçük Vera (drama), Yönetmen Vasili Piçul
 1989 Подземелье ведьм / Podzemelye Vedm (bilimkurgu)
 2004 Арье / Arie (drama), Yönetmen Roman Kaçanov

Kaynakça

Dış bağlantılar

 Stüdyonun Google uydu görüntüsü
 imbd'de Sovyet stüdyo
 imbd'de Rus stüdyo)
 Gorki Film Stüdyosu resmi sitesi

Sovyetler Birliği merkezli film yapım şirketleri

Gorki Film Stüdyosu


30879 Hiroshikanai este un asteroid din centura principală de asteroizi.

Descriere
30879 Hiroshikanai este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Geisei de Tsutomu Seki. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,58 ua, o excentricitate de 0,13 și o înclinație de 15,2° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 30001-31000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1992
Centura de asteroizi

30879 Hiroshikanai


Et centrum  er en betegnelse for det fysiske midtpunkt af et objekt.

Cirkler og kugler
Centrum af en cirkel er det punkt, der har samme afstand til alle punkter på periferien. Tilsvarende er centrum af en kugle det punkt, der har samme afstand til alle punkter på overfladen.

Geometri

Centrum (geometri)


Palestine is a non-fiction graphic novel written and drawn by Joe Sacco about his experiences in the West Bank and the Gaza Strip in December 1991 and January 1992.  Sacco's portrayal of the situation emphasizes the history and plight of the Palestinian people, as a group and as individuals.

Publication history
The complete graphic novel, published in 2001 by Fantagraphics Books, collects nine issues of Sacco's Palestine comic book, published by Fantagraphics from 1993 to 1995; the single volume edition includes an introduction by Edward Said. In 1996, Fantagraphics had released a two-part collection of the series — Palestine, a Nation Occupied (collecting Palestine #1-5) and Palestine: In the Gaza Strip (collecting issues #6-9). An expanded edition was released in 2007.

Plot summary
The book takes place over a two-month period in late 1991 / early 1992, with occasional flashbacks to the expulsion of the Arabs, the beginning of the Intifada, the Gulf War and other events in the more immediate past. Sacco spent this time meeting with Palestinians in the West Bank and Gaza Strip and the narrative focuses on the minute details of everyday life in these areas.

In Palestine Sacco positions himself knowingly as the westerner going to the Middle East to confront a reality unfamiliar to his American audience. Sacco does not delude himself that as a "neutral" observer he can remain invisible and have no effect on the events around him, instead accepting his role and concentrating on his personal experience of the situation. Though his goal is to document events and interview Palestinians he is affected by the reality of the occupied territories and cannot help but participate in, and comment on, demonstrations, funerals, roadblocks and encounters with soldiers. Towards the end he becomes even more active as he shares food and lodgings with the Palestinians he interviews and even breaks curfew with them while in the Gaza Strip.

In the book Sacco references Joseph Conrad's Under Western Eyes, Heart of Darkness, and Edward Said's Orientalism to draw links between the situation he is witnessing and colonialism. Towards the end of the book, when challenged by an Israeli that he hasn't experienced their point of view, he responds that the Israeli point of view is what he has internalized his whole life, and although another trip would be necessary to fully experience Israel, that was not why he was there.

Awards
The 1996 two-volume collection of Palestine was awarded the 1996 American Book Award by the Before Columbus Foundation. In 1999, The Comics Journal (like Palestine, also published by Fantagraphics) named Palestine as #27 in the Top 100 English-Language Comics of the Century.

See also
Comics journalism
New Journalism

References

Further reading
 Gadassik, Alla and Sarah Henstra. "Comics (as) Journalism: Teaching Joe Sacco's Palestine to Media Students," in Teaching Comics and Graphic Narratives (Jefferson, N.C.: McFarland & Company, 2012), pp. 243–259.
Stack, Frank. "Pilgrimage: Palestine #1-5," The Comics Journal #166 (Feb. 1994), pp. 51–53.
 Woo, Benjamin. "Reconsidering Comics Journalism : Information and Experience in Joe Sacco's Palestine," The Rise and Reason of Comics and Graphic Literature (Jefferson, NC: McFarland & Co., 2010), pp. 166–177.
Hillary Chute. Disaster Drawn (Cambridge, MA: Harvard University Press, 2016).

External links
Fantagraphics page
Joe Sacco on Footnotes in Gaza and Palestine - Interview on the 7th Avenue Project radio show

1996 graphic novels
Books about Palestinians
Israeli–Palestinian conflict books
Comics by Joe Sacco
Fantagraphics titles
Non-fiction graphic novels
Non-fiction comics

Palestine (graphic novel)


POKEY, an acronym for Pot Keyboard Integrated Circuit, is a digital I/O chip designed by Doug Neubauer at Atari, Inc. for the Atari 8-bit family of home computers. It was first released with the Atari 400 and Atari 800 in 1979 and is included in all later models and the Atari 5200 console. POKEY combines functions for reading paddle controllers (potentiometers) and computer keyboards as well as sound generation and a source for pseudorandom numbers. It produces four voices of distinctive square wave audio, either as clear tones or modified with distortion settings. Neubauer also developed the Atari 8-bit killer application Star Raiders which makes use of POKEY features.

POKEY chips are used for audio in many arcade video games of the 1980s including Centipede, Missile Command, Asteroids Deluxe, and Gauntlet. Some of Atari's arcade systems use multi-core versions with 2 or 4 POKEYs in a single package for more audio channels. The Atari 7800 console allows a game cartridge to contain a POKEY, providing better sound than the system's audio chip. Only two licensed games make use of this: the ports of Ballblazer and Commando.

The LSI chip has 40 pins and is identified as C012294. The USPTO granted U.S. Patent 4,314,236 to Atari on February 2, 1982 for an "Apparatus for producing a plurality of audio sound effects".  The inventors listed are Steven T. Mayer and Ronald E. Milner.

No longer manufactured, POKEY is emulated in software by arcade and Atari 8-bit emulators and also via the Atari SAP music format and associated player.

Features
 Audio
 4 semi-independent audio channels
 Channels may be configured as one of:
 Four 8-bit channels
 Two 16-bit channels
 One 16-bit channel and two 8-bit channels
 Per-channel volume, frequency, and waveform (square wave with variable duty cycle or pseudorandom noise)
 15 kHz or 64 kHz frequency divider.
 Two channels may be driven at the CPU clock frequency.
 High-pass filter
 Keyboard scan (up to 64 keys) + 2 modifier bits (Shift, Control) + Break
 Potentiometer ports (8 independent ports, each with 8-bit resolution)
 High Resolution Timers (audio channels 1, 2, and 4 can be configured to cause timer interrupts when they cross zero)
 Random number generator (8 bits of a 17-bit polynomial counter can be read)
 Serial I/O port
 Eight IRQ interrupts

Versions
By part number:
 C012294 — Used in all Atari 8-bit family computers, including the Atari XEGS, as well as the Atari 5200 console. The suffix on the chip refers to the manufacturer:
C012294B-01 — AMI
C012294-03 — Signetics
C012294-19 — National Semiconductor
C012294-22 — OKI
C012294-31 — IMP
137430-001 — Part number sometimes used in Atari arcade machines for POKEY.
 137324-1221 — Quad-Core POKEY used in Atari arcade machines Major Havoc, I, Robot, Firefox, and Return of the Jedi.

Pinout

Registers
The Atari 8-bit computers map POKEY to the $D2xxhex page and the Atari 5200 console maps it to the $E8xxhex page.

POKEY provides 29 Read/Write registers controlling Sound, Paddle input, keyboard input, serial input/output, and interrupts. Many POKEY register addresses have dual purposes performing different functions as a Read vs a Write register. Therefore, no code should read Hardware registers expecting to retrieve the previously written value.

This problem is solved for some registers by Operating System "Shadow" registers implemented in regular RAM that mirror the values of hardware registers.  During the Vertical Blank the Operating System copies the Shadow registers in RAM for Write registers to the corresponding hardware register, and updates Shadow values for Read registers from the hardware accordingly.  Therefore, writes to hardware registers which have corresponding shadow registers will be overwritten by the value of the Shadow registers during the next vertical blank.

Reading values directly from hardware at an unknown stage in the display cycle may return inconsistent results (an example: reading potentiometers).  Operating System Shadow registers for Read registers would usually be the preferred source of information.

Some Write hardware registers do not have corresponding Shadow registers.  They can be safely written by an application without the value being overwritten during the vertical blank.  If the application needs to know the last value written to the register then it is the responsibility of the application to implement its own shadow value to remember what it wrote.

In the individual register listings below the following legend applies:

Audio
Pokey contains a programmable sound generator; four audio channels with separate frequency, noise and voice level controls.

Each channel has an 8-bit frequency divider and an 8-bit register to select noise and volume.
AUDF1 to AUDF4 – frequency register (AUDio Frequency)
AUDC1 to AUDC4 – volume and noise register (AUDio Control)
AUDCTL – general register, which controls generators (AUDio ConTroL)

POKEY's sound is distinctive: when the four channels are used independently, there is noticeable detuning of parts of the 12-tone equal temperament scale, due to lack of pitch accuracy. Channels may be paired for higher accuracy; in addition, multiple forms of distortion are available, allowing a thicker sound. The distortion is primarily used in music for bass parts.

One of the sound-engines developed for the Atari 8-bit family was called the AMP engine (Advanced Music Processor). This was used by the musician Gary Gilbertson.

Audio Channel Frequency

The AUDF* registers control the frequency or pitch of the corresponding sound channels. The AUDF* values also control the POKEY hardware timers useful for code that must run in precise intervals more frequent than the vertical blank.

Each AUDF* register is an 8-bit value providing a countdown timer or divisor for the pulses from the POKEY clock. So, smaller values permit more frequent output of pulses from POKEY, and larger values, less frequent. The values $0hex/0dec to $FFhex/255dec are incremented by POKEY to range from $1hex/1dec to $100hex/256dec.  The actual audible sound pitch is dependent on the POKEY clock frequency and distortion values chosen. See Audio Channel Control and Audio Control.

AUDF1 $D200 Write
Audio Channel 1 Frequency

AUDF2 $D202 Write
Audio Channel 2 Frequency

AUDF3 $D204 Write
Audio Channel 3 Frequency

AUDF4 $D206 Write
Audio Channel 4 Frequency

Audio Channel Control

The Audio Channel control registers provide volume and distortion control over individual sound channels.  Audio may also be generated independently of the POKEY clock by direct volume manipulation of a sound channel which is useful for playing back digital samples.

AUDC1 $D201 Write
Audio Channel 1 Control

AUDC2 $D203 Write
Audio Channel 2 Control

AUDC3 $D205 Write
Audio Channel 3 Control

AUDC4 $D207 Write
Audio Channel 4 Control

Bit 0-3: Control over volume level, from 0 to F.

Bit 4: Forced volume-only output. When this bit is set the channel ignores the AUDF timer, noise/distortion controls, and high-pass filter.  Sound is produced only by setting volume bits 0:3 . This feature was used to create digital audio via pulse-code modulation.

Bit 5-7: Shift register settings for noises/distortion.  Bit values described below:

Generating random noises is served by reading 8 bits from top of 17-bit shift register.  That registers are driven by frequency 1.79 MHz for NTSC or 1.77 MHz for PAL. Its outputs can by used independently by each audio channels' divider rate.

AUDCTL $D208 Write

Audio Control allows the choice of clock input used for the audio channels, control over the high-pass filter feature, merging two channels together allowing 16-bit frequency accuracy, selecting a high frequency clock for specific channels, and control over the "randomness" of the polynomial input.

"1" means "on", if not described:

Bit 0 $01: (15 kHz), choice of frequency divider rate "0" - 64 kHz, "1" - 15 kHz
Bit 1 $02: (FI2 + 4), high-pass filter for channel 2 rated by frequency of channel 4
Bit 2 $04: (FI1 + 3), high-pass filter for channel 1 rated by frequency of channel 3
Bit 3 $08: (CH4 + 3), connection of dividers 4+3 to obtain 16-bit accuracy
Bit 4 $10: (CH2 + 1), connection of dividers 2+1 to obtain 16-bit accuracy
Bit 5 $20: (CH3 1.79), set channel 3 frequency "0" is 64 kHz. "1" is 1.79 MHz NTSC or 1.77 MHz PAL
Bit 6 $40: (CH1 1.79),  set channel 1 frequency "0" is 64 kHz. "1" is 1.79 MHz NTSC or 1.77 MHz PAL
Bit 7 $80: (POLY 9), switch shift register "0" - 17-bit, "1" – 9-bit

All frequency dividers (AUDF) can be driven at the same time by 64 kHz or 15 kHz rate.

Frequency dividers 1 and 3 can be alternately driven by CPU clock (1.79 MHz NTSC, 1.77 MHz PAL).
Frequency dividers 2 and 4 can be alternately driven by output of dividers 1 and 3.
In this way, POKEY makes possible connecting of 8-bit channels to create sound with 16-bit accuracy.

Possible channel configurations:
 four 8-bit channels
 two 8-bit channels and one 16-bit channel
 two 16-bit channels

Potentiometers
POKEY has eight analog to digital converter ports most commonly used for potentiometers, also known as Paddle Controllers.  The analog inputs are also used for the Touch Tablet controller, and the 12-button, video game Keyboard Controllers. Each input has a drop transistor, which can be set on or off from software. The timers can also be used to support a light pen, by connecting a photodiode to the drop transistor, which captures the timer when the electron beam in the television passes by the pen. The vertical position of the pen had to be read separately.

POT0 $D200 Read
SHADOW: PADDL0 $0270

Paddle Controller 0 Input

POT1 $D201 Read
SHADOW: PADDL1 $0271

Paddle Controller 1 Input

POT2 $D202 Read
SHADOW: PADDL2 $0272

Paddle Controller 2 Input

POT3 $D203 Read
SHADOW: PADDL3 $0273

Paddle Controller 3 Input

POT4 $D204 Read
SHADOW: PADDL4 $02704

Paddle Controller 4 Input

POT5 $D205 Read
SHADOW: PADDL5 $0275

Paddle Controller 5 Input

POT6 $D206 Read
SHADOW: PADDL6 $0276

Paddle Controller 6 Input

POT7 $D207 Read
SHADOW: PADDL7 $0277

Paddle Controller 7 Input

Each input has 8-bit timer, counting time when each TV line is being displayed. This had the added advantage of allowing the value read out to be fed directly into screen coordinates of objects being driven by the paddles.  The Atari Paddle values range from 0 to 228, though the maximum possible is 244.  The Paddle controller reads 0 when turned to its maximum clockwise position, and returns increasing values as it is turned counter-clockwise ending at its maximum value.

The Paddle reading process begins by writing to POTGO which resets the POT* values to 0, the ALLPOT value to $FF, and discharges the potentiometer read capacitors.  The POT* values increment as they are being scanned until reaching the resistance value of the potentiometer.  When the Paddle reading is complete the corresponding bit in ALLPOT is reset to 0.

The Paddle scanning process can take the majority of a video frame to complete.  The Atari Operating System takes care of Paddle reading automatically. The Paddles are read and paddle scanning initiated during the stage 2 vertical blank.  Paddle values are copied to shadow registers.  (Note that Paddle triggers are actually joystick direction input read from PIA.)

A faster mode of scanning the Paddles is possible by setting a bit in SKCTL.  The reading sequence completes in only a couple scan lines, but the value is less accurate.

ALLPOT $D208 Read
Potentiometer Scanning Status

Each bit corresponds to one potentiometer input (the POT* registers).  When paddle scanning is started by writing to POTGO each paddle's bit in ALLPOT is set to 1.  When a paddle's scan is complete the corresponding bit in ALLPOT is reset to 0 indicating the value in the associated POT* register is now valid to read.

POTGO $D20B Write
Start Potentiometer Scan

Writing to POTGO initiates the potentiometer (Paddle) scanning process.  This resets the POT* values to 0, the ALLPOT value to $FF, and discharges the potentiometer read capacitors.  As each potentiometer scan completes the bit corresponding to the potentiometer in ALLPOT is cleared indicating the value of the associated POT* register is valid for reading.

Serial input output port
Contains:
 serial input line
 serial output line
 serial clock output line
 two-way serial clock data line
 registers SKREST, SEROUT, SERIN, SKCTL, SKSTAT

POKEY is a sort of UART. Usually one of the doubled audio channels is used as baud rate generator. The standard baud rate is 19.2 kbit/s, the maximum possible baud rate is 127 kbit/s. A byte put into the SEROUT register is automatically sent over the serial bus. The data frame contains 10 bits: 1 start bit, 8 data bits, 1 stop bit. The voltage levels are 0 V (logical 0) and +4 V (logical 1). It is possible to connect the Atari serial port with an RS-232 port by means of a simple voltage converter.

Each input/output operation causes POKEY's internal shift registers to change value, so when programming for POKEY, it is necessary to re-initialise some values after each operation is carried out.

SKREST $D20A Write
Reset Serial Port Status (SKSTAT).

A write to this register will reset bits 5 through 7 of SKSTAT which are latches to 1.  The latches flag keyboard overrun, Serial data input overrun, and Serial data input frame error.

SEROUT $D20D Write
Serial port data output byte.

This is a parallel "holding" register for the eight bit (one byte) value that will be transferred to the serial shift register for output one bit at a time. When the port is ready to accept data for output a Serial Data Out interrupt informs the Operating System that it can write a byte to this output register.

SERIN $D20D Read
Serial port data input byte.

Like SEROUT, also a parallel "holding" register.  This holds the eight bit (one byte) value assembled by the serial shift register reading the data input one bit at a time.  When a full byte is read a Serial Data In interrupt occurs informing the Operating System that it can read the byte from this register.

SKCTL $D20F Write
Serial Port Control

Bit 0: Enable "debounce" scanning which is intended to eliminate noise or jitter from mechanical switches.  A value of 1 enables POKEY to use an internal comparison register while scanning keys.  A key must be detected in two simultaneous scans before it is identified as pressed, and it must be seen released for two consecutive scans to be considered released.  This should be enabled to maintain normal keyboard handling with the Operating System.

Bit 1: Set to 1 to enable keyboard scanning.  This should be enabled to maintain normal keyboard handling with the Operating System.

Bit 2: Set to 1 to enable fast, though less accurate Potentiometer scanning.  Fast Pot scanning increments the counter on every cycle and returns a usable result within two scan lines.  The Operating System uses the slow Pot Scanning which increments the counter once every 114 cycles (scan line) taking a frame (1/60th second) to produce a result.  The OS reads the Pot values during its Vertical Blank Interrupt (VBI) and copies the result to the potentiometer Shadow registers in RAM.  It then resets POTGO for the next read during the next VBI.

Bit 3: Enable Serial port two-tone mode.  When enabled, 1 and 0 bits output to the SIO bus are replaced by tones set by timers 1 and 2.  This is ordinarily used for writing analog tones representing digital data to cassette tape.

Bit 4-6: Clock Timing Control for serial port operation. Bit values described below:

Bit 7: Forces a known 0 output, so that timer 2 can reset timer 1 in two-tone serial output mode.

SKSTAT $D20F Read
Serial Port Status

KBCODE $D209 Read
SHADOW: CH $02FC

Keyboard Code

Eight IRQ interrupts
BREAK Break (BREAK key interrupt)
K Keyboard (keyboard interrupt)
SIR if Serial Input Ready (read interrupt from serial rail)
ODN if Output Data Needed (write interrupt from serial rail)
XD if eXmitend Data (serial transmission end interrupt)
T1 Timer 1, timer 1 interrupt
T2 Timer 2, timer 2 interrupt
T4 Timer 4, timer 4 interrupt
Interrupts can be set on or off from software by register IRQEN.
IRQSTAT register contains interrupts status.

Keyboard
Six key register of actually pushed keys (K0 K5), which contains values from 00 to 3F. Contains 2 control values. One of them acts as decoder of all 6 values. Second control values is used to decode special key values — CTRL, SHIFT and BREAK.

References

External links
ASMA — Atari SAP Music Archive A collection of POKEY chip-music (SAP) players and SAP music from various Atari 8-bit games.
POKEY chip data sheet scanned to PDF.
POKEY made from small-scale logic chips
Video of Atari 8-bit (using POKEY) emulating Commodore SID chip.

Atari 8-bit family
Computer-related introductions in 1979
Sound chips
Input/output integrated circuits
Integrated circuits

POKEY


La Haye-Centrale (en néerlandais Den Haag Centraal) est une station terminus de la  ligne E du métro de Rotterdam. Elle est située au centre de la ville de La Haye au Pays-Bas.

Elle est intégrée dans pôle multimodale de gare centrale de Rotterdam qui comprend des arrêts du tramway et des bus de La Haye.

Situation sur le réseau

Établie en aérien, la station La Haye-Centrale, est un terminus de la ligne E du métro de Rotterdam. Terminus nord de la ligne D elle est située à Rotterdam CS, en direction du termius sud Slinge.

Elle dispose des deux voies de la ligne encadrées par deux quais latéraux. La fin des voies est à l'extrémité de la station.

Histoire

Première station (2007-2016)
La station de La Haye-Centrale est mise en service le , lors de l'ouverture à l'exploitation de la section de Nootdorp à La Haye-Centrale de l'ancienne ligne de chemin de fer mise aux normes du métro. La station est alors située dans le hall, près des quais, de la gare centrale de La Haye. Au début des années 2010, les Nederlandse Spoorwegen (NS) qui ont besoin de place pour l'accueil des voyageurs, dont le nombre est en hausse, décident de déplacer la station terminus du métro.

Deuxième station (depuis 2016)
Au cours de l'année 2014, le chantier de construction de la nouvelle station du métro débute, elle fait partie du projet RandstadRail. Il s'agit d'une station aérienne située sur un viaduc devant la gare centrale. La voie doit monter de douze mètres pour y accéder. La nouvelle station, terminus de la ligne E du métro de Rotterdam, est mise en service le . La nouvelle station est conçue par le cabinet .

Services aux voyageurs

Accès et accueil
La station est accessible sur la place, devant la gare, elle dispose d'un escalier, un escalier mécanique et un ascenseur pour l'accessibilité des personnes à la mobilité réduite. Elle est équipée d'automates pour l'achat ou la recharge de titres de transport et de tourniquets pour le contrôle.

Desserte
La Haye-Centrale est desservie par les rames de la ligne E du métro de Rotterdam.

Intermodalité
La station est en communication avec la gare centrale de La Haye et l'ensemble des l'ensemble des transports et services situés à proximité. Notamment les trams des lignes 2, 6, 9, 15, 16 et 17 et de nombreux bus. On trouve également un parc couvert et sécurisé pour les vélos, une station de vélos en libre-service OV-fiets, un espace de covoiturage Greenwheels et un parc relais P+R pour les véhicules.

À proximité
 Gare centrale de La Haye

Notes et références

Voir aussi

Articles connexes
 Métro de Rotterdam
 Ligne E du métro de Rotterdam
 Liste des stations du métro de Rotterdam
 Tramway de La Haye
 RET (entreprise)
 Gare centrale de La Haye

Liens externes
 .
 .
 .

Station de la ligne E du métro de Rotterdam
Station de métro mise en service en 2007
Terminus d'une ligne du métro de Rotterdam
Transport à La Haye

La Haye-Centrale (métro de Rotterdam)


Eneadecagonul este un poligon cu 19 laturi și 19 vârfuri.

Note

Poligoane

Eneadecagon


Țarul Ivan își schimbă profesia (titlu original: Иван Васильевич меняет профессию, Ivan Vasilievici meniaet professiu) este un film sovietic SF de comedie din 1973 regizat de Leonid Gaidai. Rolurile principale au fost interpretate de actorii Iuri Iakovlev, Leonid Kuravlev și Aleksandr Demianenko. În Statele Unite a fost comercializat sub titlul Ivan Vasilievich: Back to the Future Filmul este bazat pe piesa de teatru Ivan Vasilievici de Mihail Bulgakov, fiind unul dintre cele mai vizionate filme sovietice în 1973 cu peste 60 de milioane de bilete vândute.

Prezentare

Inginerul Șurik a inventat o mașină a timpului în apartamentul său. Accidental, el trimite doi oameni înapoi în timpul domniei lui Ivan cel Groaznic, în timp ce țarul Ivan este trimis de aceeași mașină în apartamentul lui Șurik.

Note

Legături externe

Vezi și
 Listă de filme SF de comedie
 Listă de filme sovietice din 1973
 Listă de filme cu călătorii în timp

Filme din 1973
Filme sovietice
Filme în limba rusă
Filme în limba germană
Filme regizate de Leonid Gaidai
Filme SF de comedie
Filme SF din anii 1970
Filme de comedie din anii 1970
Filme cu călătorii în timp
Ivan cel Groaznic

Țarul Ivan își schimbă profesia


I pazzi per progetto es una farsa en un acto con música de Gaetano Donizetti y libreto en italiano de Domenico Gilardoni. Se estrenó en el Teatro del Fondo, Nápoles, el 7 de febrero de 1830.

Se representó unas cuantas veces más en Nápoles y Palermo, y luego olvidado hasta 1977, con una nueva revisión editada por el maestro Bruno Rigacci de Florencia. Se representó de nuevo en el Festival Internacional de Ópera de Barga en 1977, logrando un resonante éxito con el público y los críticos.

En la primera representación de 1830 en Nápoles, algunos grandes cantantes de la época, como Boccabadati y Luigi Lablache, lo interpretaron en un acto benéfico, y pese a lo excepcional del reparto la asistencia de público fue realmente muy escasa. La obra, llevada adelante por dos mujeres curiosamente rodeadas por cinco voces pesadas, fue dividida en siete números unidos por recitativos secos o acompañados, reveló el más maduro estilo de farsa del gran compositor de Bérgamo, con los personajes y formas típicas de ese estilo.

En las estadísticas de Operabase aparece con sólo una representación en el período 2005-2010.

Enlaces externos

Óperas de 1830
Óperas de Gaetano Donizetti
Óperas en italiano
Óperas estrenadas en Nápoles

I pazzi per progetto


El 26.º Regimiento Aéreo (26. Flieger-Regiment) fue una unidad de la Luftwaffe de la Alemania nazi.

Historia
Fue formado el 16 de agosto de 1942, a partir del 26.º Regimiento de Instrucción Aérea. En octubre de 1942, los componentes se utilizaron para formar el 27.º Regimiento de Caza de la Luftwaffe, mientras que los restos se convirtieron en el 39.º Regimiento de Caza de la Luftwaffe en marzo de 1943.

Referencias

WW2 - 26. Flieger-Regiment

Luftwaffe (Wehrmacht)
Regimientos Aéreos alemanes de la Segunda Guerra Mundial

26.º Regimiento Aéreo


An Kniphofia pumila in uska species han Liliopsida nga syahan ginhulagway ni William Aiton, ngan ginhatag han pagkayana nga asya nga ngaran ni Carl Sigismund Kunth. An Kniphofia pumila in nahilalakip ha genus nga Kniphofia, ngan familia nga Xanthorrhoeaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Kniphofia

Kniphofia pumila


Mud hen is an alternative name for the American coot (Fulica americana).

Mud hen or mudhen may also refer to:

 Toledo Mud Hens, a minor league baseball team named for the bird
 Hawaiian coot, another species of Fulica
 Hawaiian gallinule, another bird species within the Rallidae
 Project Mudhen, a Central Intelligence Agency project focused on columnist Jack Anderson
 A U.S. Air Force nickname for the F-15E Strike Eagle
 A nickname for the D&RGW K-27 locomotive
 Mud Hen 17, a sailboat named after the American coot
 Lake trout with a particularly dark coloration

See also
 Mud Hen Lake (disambiguation)

Mud hen (disambiguation)


وادي مليز أحد أودية الجمهورية التونسية، يقع  بالشمال الغربي التونسي.

أودية تونس

وادي مليز (وادي)