A laboratory information management system (LIMS), sometimes referred to as a laboratory information system (LIS) or laboratory management system (LMS), is a software-based solution with features that support a modern laboratory's operations. Key features include—but are not limited to—workflow and data tracking support, flexible architecture, and data exchange interfaces, which fully "support its use in regulated environments". The features and uses of a LIMS have evolved over the years from simple sample tracking to an enterprise resource planning tool that manages multiple aspects of  laboratory informatics.

There is no useful definition of the term "LIMS" as it is used to encompass a number of different laboratory informatics components.  The spread and depth of these components is highly dependent on the LIMS implementation itself. All LIMSs have a workflow component and some summary data management facilities but beyond that there are significant differences in functionality.

Historically the LIMyS, LIS, and process development execution system (PDES) have all performed similar functions.  The term "LIMS" has tended to refer to informatics systems targeted for environmental, research, or commercial analysis such as pharmaceutical or petrochemical work. "LIS" has tended to refer to laboratory informatics systems in the forensics and clinical markets, which often required special case management tools.  "PDES" has generally applied to a wider scope, including, for example, virtual manufacturing techniques, while not necessarily integrating with laboratory equipment.

In recent times LIMS functionality has spread even further beyond its original purpose of sample management. Assay data management, data mining, data analysis, and electronic laboratory notebook (ELN) integration have been added to many LIMS, enabling the realization of translational medicine completely within a single software solution. Additionally, the distinction between LIMS and LIS has blurred, as many LIMS now also fully support comprehensive case-centric clinical data.

History
Up  until the late 1970s, the management of laboratory samples and the associated analysis and reporting were time-consuming manual processes often riddled with transcription errors. This gave some organizations impetus to streamline the collection of data and how it was reported.  Custom in-house solutions were developed by a few individual laboratories, while some enterprising entities sought to develop commercial reporting solutions in the form of special instrument-based systems.

In 1982 the first generation of LIMS was introduced in the form of a centralized minicomputer, which offered automated reporting tools. As the interest in these early LIMS grew, industry leaders like Gerst Gibbon of the Federal Energy Technology Center in Pittsburgh began planting the seeds through LIMS-related conferences. By 1988 the second-generation commercial offerings were tapping into relational databases to expand LIMS into more application-specific territory, and International LIMS Conferences were in full swing. As personal computers became more powerful and prominent, a third generation of LIMS emerged in the early 1990s. These new LIMS took advantage of  client/server architecture, allowing laboratories to implement better data processing and exchanges.

By 1995 the client/server tools allowed the processing of data anywhere on the network. Web-enabled LIMS were introduced the following year, enabling researchers to extend operations outside the laboratory. From 1996 to 2002 additional functionality was included, from wireless networking and georeferencing of samples, to the adoption of XML standards and Internet purchasing.

As of 2012, some LIMS have added additional characteristics such as clinical functionality, electronic laboratory notebook (ELN) functionality, as well a rise in the software as a service (SaaS) distribution model.

Technology

Operations

The LIMS is an evolving concept, with new features and functionality being added often. As laboratory demands change and technological progress continues, the functions of a LIMS will likely also change. Despite these changes, a LIMS tends to have a base set of functionality that defines it. That functionality can roughly be divided into five laboratory processing phases, with numerous software functions falling under each:
(1) the reception and log in of a sample and its associated customer data,
(2) the assignment, scheduling, and tracking of the sample and the associated analytical workload,
(3) the processing and quality control associated with the sample and the utilized equipment and inventory,
(4) the storage of data associated with the sample analysis,
(5) the inspection, approval, and compilation of the sample data for reporting and/or further analysis.

There are several pieces of core functionality associated with these laboratory processing phases that tend to appear in most LIMS:

Sample management

The core function of LIMS has traditionally been the management of samples. This typically is initiated when a sample is received in the laboratory, at which point the sample will be registered in the LIMS. Some LIMS will allow the customer to place an "order" for a sample directly to the LIMS at which point the sample is generated in an "unreceived" state. The processing could then include a step where the sample container is registered and sent to the customer for the sample to be taken and then returned to the lab. The registration process may involve accessioning the sample and producing barcodes to affix to the sample container. Various other parameters such as clinical or phenotypic information corresponding with the sample are also often recorded. The LIMS then tracks chain of custody as well as sample location. Location tracking usually involves assigning the sample to a particular freezer location, often down to the granular level of shelf, rack, box, row, and column. Other event tracking such as freeze and thaw cycles that a sample undergoes in the laboratory may be required.

Modern LIMS have implemented extensive configurability as each laboratory's needs for tracking additional data points can vary widely. LIMS vendors cannot typically make assumptions about what these data tracking needs are, and therefore vendors must create LIMS that are adaptable to individual environments. LIMS users may also have regulatory concerns to comply with such as CLIA, HIPAA, GLP, and FDA specifications, affecting certain aspects of sample management in a LIMS solution. One key to compliance with many of these standards is audit logging of all changes to LIMS data, and in some cases a full electronic signature system is required for rigorous tracking of field-level changes to LIMS data.

Instrument and application integration

Modern LIMS offer an increasing amount of integration with laboratory instruments and applications. A LIMS may create control files that are "fed" into the instrument and direct its operation on some physical item such as a sample tube or sample plate. The LIMS may then import instrument results files to extract data for quality control assessment of the operation on the sample. Access to the instrument data can sometimes be regulated based on chain of custody assignments or other security features if need be.

Modern LIMS products now also allow for the import and management of raw assay data results. Modern targeted assays such as qPCR and deep sequencing can produce tens of thousands of data points per sample. Furthermore, in the case of drug and diagnostic development as many as 12 or more assays may be run for each sample. In order to track this data, a LIMS solution needs to be adaptable to many different assay formats at both the data layer and import creation layer, while maintaining a high level of overall performance. Some LIMS products address this by simply attaching assay data as BLOBs to samples, but this limits the utility of that data in data mining and downstream analysis.

Electronic data exchange

The exponentially growing volume of data created in laboratories, coupled with increased business demands and focus on profitability, have pushed LIMS vendors to increase attention to how their LIMS handles electronic data exchanges. Attention must be paid to how an instrument's input and output data is managed, how remote sample collection data is imported and exported, and how mobile technology integrates with the LIMS. The successful transfer of data files in spreadsheets and other formats is a pivotal aspect of the modern LIMS. In fact, the transition "from proprietary databases to standardized database management systems such as MySQL" has arguably had one of the biggest impacts on how data is managed and exchanged in laboratories. In addition to mobile and database electronic data exchange, many LIMS support real-time data exchange with Electronic Health Records used in core hospital or clinic operations.

Additional functions

Aside from the key functions of sample management, instrument and application integration, and electronic data exchange, there are numerous additional operations that can be managed in a LIMS. This includes but is not limited to:

 audit management
 fully track and maintain an audit trail
 barcode handling
 assign one or more data points to a barcode format; read and extract information from a barcode
 chain of custody
 assign roles and groups that dictate access to specific data records and who is managing them
 compliance
 follow regulatory standards that affect the laboratory
 customer relationship management
 handle the demographic information and communications for associated clients
 document management
 process and convert data to certain formats; manage how documents are distributed and accessed
 instrument calibration and maintenance
 schedule important maintenance and calibration of lab instruments and keep detailed records of such activities
 inventory and equipment management
 measure and record inventories of vital supplies and laboratory equipment
 manual and electronic data entry
 provide fast and reliable interfaces for data to be entered by a human or electronic component
 method management
 provide one location for all laboratory process and procedure (P&P) and methodology to be housed and managed as well as connecting each sample handling step with current instructions for performing the operation
 personnel and workload management
 organize work schedules, workload assignments, employee demographic information, training, and financial information
 quality assurance and control
 gauge and control sample quality, corrective and preventive action (CAPA), data entry standards, and workflow
 reports
 create and schedule reports in a specific format; schedule and distribute reports to designated parties
 time tracking
 calculate and maintain processing and handling times on chemical reactions, workflows, and more
 traceability
 show audit trail and/or chain of custody of a sample
 workflows
 track a sample, a batch of samples, or a "lot" of batches through its lifecycle

Client-side options

A LIMS has utilized many architectures and distribution models over the years. As technology has changed, how a LIMS is installed, managed, and utilized has also changed with it. The following represents architectures which have been utilized at one point or another.

Thick-client
A thick-client LIMS is a more traditional client/server architecture, with some of the system residing on the computer or workstation of the user (the client) and the rest on the server. The LIMS software is installed on the client computer, which does all of the data processing. Later it passes information to the server, which has the primary purpose of data storage. Most changes, upgrades, and other modifications will happen on the client side.

This was one of the first architectures implemented into a LIMS, having the advantage of providing higher processing speeds (because processing is done on the client and not the server). Additionally, thick-client systems have also provided more interactivity and customization, though often at a greater learning curve. The disadvantages of client-side LIMS include the need for more robust client computers and more time-consuming upgrades, as well as a lack of base functionality through a web browser. The thick-client LIMS can become web-enabled through an add-on component.

Although there is a claim of improved security through the use of a thick-client LIMS, this is based on the misconception that "only users with the client application installed on their PC can access server side information". This secrecy-of-design reliance is known as security through obscurity and ignores an adversary's ability to mimic client-server interaction through, for example, reverse engineering, network traffic interception, or simply purchasing a thick-client license. Such a view is in contradiction of the "Open Design" principle of the National Institute of Standards and Technology's Guide to General Server Security which states that "system security should not depend on the secrecy of the implementation or its components", which can be considered as a reiteration of Kerckhoffs's principle.

Thin-client

A thin-client LIMS is a more modern architecture which offers full application functionality accessed through a device's web browser. The actual LIMS software resides on a server (host) which feeds and processes information without saving it to the user's hard disk. Any necessary changes, upgrades, and other modifications are handled by the entity hosting the server-side LIMS software, meaning all end-users see all changes made. To this end, a true thin-client LIMS will leave no "footprint" on the client's computer, and only the integrity of the web browser need be maintained by the user. The advantages of this system include significantly lower cost of ownership and fewer network and client-side maintenance expenses. However, this architecture has the disadvantage of requiring real-time server access, a need for increased network throughput, and slightly less functionality. A sort of hybrid architecture that incorporates the features of thin-client browser usage with a thick client installation exists in the form of a web-based LIMS.

Some LIMS vendors are beginning to rent hosted, thin-client solutions as "software as a service" (SaaS). These solutions tend to be less configurable than on-premises solutions and are therefore considered for less demanding implementations such as laboratories with few users and limited sample processing volumes.

Another implementation of the thin client architecture is the maintenance, warranty, and support (MSW) agreement. Pricing levels are typically based on a percentage of the license fee, with a standard level of service for 10 concurrent users being approximately 10 hours of support and additional customer service, at a roughly $200 per hour rate. Though some may choose to opt out of an MSW after the first year, it is often more economical to continue the plan in order to receive updates to the LIMS, giving it a longer life span in the laboratory.

Web-enabled
A web-enabled LIMS architecture is essentially a thick-client architecture with an added web browser component. In this setup, the client-side software has additional functionality that allows users to interface with the software through their device's browser. This functionality is typically limited only to certain functions of the web client. The primary advantage of a web-enabled LIMS is the end-user can access data both on the client side and the server side of the configuration. As in a thick-client architecture, updates in the software must be propagated to every client machine. However, the added disadvantages of requiring always-on access to the host server and the need for cross-platform functionality mean that additional overhead costs may arise.

Web-based
A web-based LIMS architecture is a hybrid of the thick- and thin-client architectures. While much of the client-side work is done through a web browser, the LIMS may also require the support of desktop software installed on the client device. The end result is a process that is apparent to the end-user through a web browser, but perhaps not so apparent as it runs thick-client-like processing in the background. In this case, web-based architecture has the advantage of providing more functionality through a more friendly web interface. The disadvantages of this setup are more sunk costs in system administration and reduced functionality on mobile platforms.

Configurability
LIMS implementations are notorious for often being lengthy and costly. This is partly due to the diversity of requirements within each lab, but also to the inflexible nature of most LIMS products for adapting to these widely varying requirements.  Newer LIMS solutions are beginning to emerge that take advantage of modern techniques in software design that are inherently more configurable and adaptable — particularly at the data layer — than prior solutions.  This means not only that implementations are much faster, but also that the costs are lower and the risk of obsolescence is minimized.

Distinction between a LIMS and a LIS
Until recently, the LIMS and Laboratory Information System (LIS) have exhibited a few key differences, making them noticeably separate entities.

A LIMS traditionally has been designed to process and report data related to batches of samples from biology labs, water treatment facilities, drug trials, and other entities that handle complex batches of data. A LIS has been designed primarily for processing and reporting data related to individual patients in a clinical setting.

A LIMS may need to satisfy good manufacturing practice (GMP) and meet the reporting and audit needs of the regulatory bodies and research scientists in many different industries. A LIS, however, must satisfy the reporting and auditing needs of health service agencies e.g. the hospital accreditation agency, HIPAA in the US, or other clinical medical practitioners.

A LIMS is most competitive in group-centric settings (dealing with "batches" and "samples") that often deal with mostly anonymous research-specific laboratory data, whereas a LIS is usually most competitive in patient-centric settings (dealing with "subjects" and "specimens") and clinical labs. An LIS is regulated as a medical device by the FDA, and the companies that produce the software are therefore liable for defects. Due to this, a LIS can not be customized by the client.

Standards
A LIMS covers standards such as 21 CFR Part 11 from the Food and Drug Administration (United States), ISO/IEC 17025,
ISO 15189, ISO 20387, Good Clinical Practice (GCP), Good Laboratory Practice (GLP), Good Manufacturing Practice (GMP), FDA Food Safety Modernization Act (FSMA), HACCP, and ISBER Best Practices.

See also
 Data management
 List of LIMS software packages
List of ELN software packages
 Scientific management
 Title 21 CFR Part 11
 Virtual research environment

References

Further reading

 Veterinary Lab Management Software Market Analysis

Information systems
Health informatics
Health care software

Laboratory information management system


Nahija Al-Shaddadah je nahija u okrugu Al-Hasakah, u sirijskoj pokrajini Al-Hasakah. Po popisu iz 2004. (prije rata), nahija je imala 58.916 stanovnika. Administrativno sjedište je u naselju Al-Shaddadah.

Izvori

Sirijske nahije
Pokrajina Al-Hasakah

Al-Shaddadah (nahija)


Bjergene i Massif des Écrins udgør kerneområdet i Parc national des Écrins i Frankrig.
Højeste top Barre des Ecrins, ligger i departementet Hautes-Alpes i regionen Provence-Alpes-Côte d'Azur, lige ved grænsen til departementet Isère i regionen Rhône-Alpes.

Bjerge i massivet
 Barre des Écrins 4102 m
 La Meije 3983 m
 Ailefroide 3954 m
 Mont Pelvoux 3946 m
 Pic Sans Nom 3913 m
 Pic Gaspard 3883 m
 Le Râteau 3809 m
 Pic Coolidge 3774 m
 La Grande Ruine 3765 m
 Roche Forio 3730 m
 Les Bans 3669 m
 Les Agneaux 3663 m
 Pic de la Grave 3628 m
 Pic de Neige Cordier 3614 m
 Aiguille du Plat de la Selle 3597 m
 Les Rouies 3589 m
 Olan 3564 m
 La Plaret 3564 m
 Tête de l'Etret 3559 m
 Tête de Gandoliere 3544 m
 L'Encoula 3533 m
 Pointe des Arcas 3478 m
 Roche de la Muzelle 3465 m
 Pointe Guyard 3460 m
 Tête des Fétoules 3459 m
 Le Sirac 3440 m
 Tête du Rouget 3435 m
 Pic de Says 3421 m
 Grande Aiguille de la Bérarde 3419 m
 Aiguille des Arias 3403 m
 Pointe de l'Aiglière 3308 m
 Pointe Swan 3294 m
 Le Jandri 3288 m
 Tetes des Soulaures 3242 m
 Pointe de Rougnoux 3179 m
 Têtes des Vautisse 3156 m
 Pic Combeynot 3155 m
 Aiguille Dibona 3130 m
 Le Vieux Chaillol 3167 m
 Pic des Souffles 3098 m
 Tête de Dormillouse 3084 m
 Pointe des Estaris 3080 m
 Le Rochail 3023 m
 Aiguille de Cedera 2883 m
 Grun de Saint Maurice 2776 m

Glaciers
 Glacier Blanc
 Glacier Noir

Eksterne kilder og henvisninger
 Massif des Écrins
 GR54 Hike in the Écrins

Alperne
Bjerge i Frankrig
Provence-Alpes-Côte d'Azur
Auvergne-Rhône-Alpes

Massif des Écrins


A fost odată un moș ș o babă (titlul original: în ) este un film dramatic sovietic, realizat în 1964 de regizorul Grigori Ciuhrai, protagoniști fiind actorii Ivan Marin, Vera Kuznețova, Liudmila Maksakova, Gheorghi Martîniuk.

Conținut

Distribuție
 Ivan Marin - bătrânul Gheorghi Gusakov
 Vera Kuznețova - bătrâna Natalia Gusakova
 Liudmila Maksakova - Nina, fiica lor
 Gheorghi Martîniuk - Valentin, ginerele lor
 Galina Polskih  - Galya, vecină
 Anatoli Iabbarov - Volodea, sectant
 Viktor Kolpakov - felcer
 Nikolai Kriucikov - Anatoli, director de sovhoz
 Nikolai Sergheev - Nikolai, contabil
 Ghiuli Ciohonelidze - inginer
 Elena Derjavina - Irocika
 Nikolai Barmin - un locuitor din sat

Premii și nominalizări
 Festivalul de la Cannes 1965: Mențiune specială lui Vera Kuznețova pentru interpretare.

Referințe

Bibliografie

Vezi și
 Listă de filme străine până în 1989

Legături externe

Filme din 1964
Filme regizate de Grigori Ciuhrai
Filme în limba rusă
Filme alb-negru
Filme dramatice

A fost odată un moș și o babă


est une peintre d'icônes pour l'Église orthodoxe du Japon. Elle est une des premières artistes indépendantes au Japon, la première femme reconnue comme peintre yōga. Elle a étudié en Russie. Ses tableaux sont visibles dans une quarantaine d'églises au Japon.

Biographie

Rin Yamashita naît en 1857 dans une famille de samouraïs du domaine de Kasama, dans l'actuelle préfecture d'Ibaraki. Sa famille connaît des difficultés financières après la mort de son père en 1863. À , elle s'enfuit de chez elle pour échapper au mariage avec un fermier ; après son retour, elle part l'année suivante pour étudier la peinture à Tokyo. Là, elle étudie d'abord avec les artistes d'ukiyo-e Toyohara Chikanobu et Toyohara Kunichika, puis avec   de l'école Maruyama, avant de se tourner vers   pour l'enseignement du yōga. En 1877, elle entre au , ses frais d'inscription étant payés par l'ancien daimyō de Kasama, pour qui son père avait travaillé. Là, elle étudie sous la direction d'Antonio Fontanesi. L'année suivante, elle se convertit au christianisme orthodoxe, prenant le nom d'Irina. Insatisfaite du successeur d'Antonio Fontanesi, Rin Yamashita abandonne ses études en 1880. En décembre, à l'instigation d'Ivan Dimitrovich Kasatkin, elle quitte Yokohama par bateau pour la Russie, pour suivre une formation de peintre d'icônes. Arrivée à Saint-Pétersbourg en mars, elle entre au couvent de Novodievitchi, notant dans son journal sa tristesse devant la préférence de ses hôtes pour la peinture grecque plutôt qu'italienne ; elle décrit cela comme « Obake-e ». Elle profite de son séjour pour étudier et copier des peintures occidentales exposées au Musée de l'Ermitage. En 1883, elle retourne au Japon via Berlin et Paris, arrivant à Yokohama en avril. Rin Yamashita forme alors un atelier dans un séminaire à Surugadai à Tokyo, sur des terres appartenant à la Cathédrale de la Résurrection de Tokyo, alors en construction. En 1889, elle retourne brièvement à Kasama. En 1905, son frère aîné meurt, suivi de sa mère trois ans plus tard. La Révolution russe cause une situation incertaine pour l'Église et interrompt les possibilités de soutien financier. En 1918, Rin Yamashita quitte Tokyo et retourne chez elle à Kasama, où elle vit pendant les trente années suivantes grâce à ses économies et aux quarante yens qu'elle reçoit de l'Église chaque mois de juin et décembre. En 1937, son jeune frère meurt. Rin Yamashita, qui souffre de cataracte depuis ses 62 ans, décède à l'âge de  le .

Œuvre
Peu d'œuvres de Rin Yamashita portent sa signature, mais une étude détaillée a identifié ses icônes dans plus de quarante églises à travers le Japon. Des peintures, des dessins et d'autres documents relatifs à sa vie et à son art sont exposés au  à Kasama.

Notes et références

Liens externes

  Hakurinkyo
  Liste des églises possédant une icône de Yamashita
  Biographie schématique

Peintre japonais du XXe siècle
Peintre japonais du XIXe siècle
Peintre d'icône
Église orthodoxe du Japon
Peintre japonaise
Naissance en juin 1857
Naissance dans la préfecture d'Ibaraki
Décès en janvier 1939
Décès dans la préfecture d'Ibaraki
Décès à 81 ans

Yamashita Rin


An Paspalum crispulum in uska species han Liliopsida nga ginhulagway ni Jason Richard Swallen. An Paspalum crispulum in nahilalakip ha genus nga Paspalum, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Paspalum

Paspalum crispulum


Ashraf Choudhary  (born 15 February 1949; Sialkot, Punjab) is a Pakistani-New Zealand scientist in agricultural engineering and formerly a member of the Parliament in New Zealand. He is a member of the Labour Party, and was New Zealand's first MP from South Asia and Pakistan.

Early life
Choudhary was born in the Pakistani half of the Punjab region in village Jajay at the home of Chaudhry Muhammad Boota. He comes from a family of agriculture. He attended high school in the town of Sialkot, and then gained a degree in agricultural engineering from University of Agriculture, Faisalabad (UAF) in Faisalabad. He continued his studies abroad, gaining a master's degree in agricultural engineering at the University of Newcastle upon Tyne, England and a PhD in agricultural engineering at Massey University, New Zealand.

Scientific and community work
Choudhary was originally an environmental scientist and taught at Massey University. He has published a large number of scientific papers in his field, and is considered to be an international authority on conservation tillage. His work has a particular focus on agricultural techniques in developing countries. Choudhary has three children.

Before entering Parliament, Choudhary had worked with a number of community organisations, including such groups as the New Zealand Federation of Ethnic Councils and FIANZ – the Federation of Islamic Associations of New Zealand (of which he was president in 1984–85). In his capacity as president of FIANZ he oversaw the first annual halal meat contract with the New Zealand Meat Producers Board in June 1984, with the aid of Mazhar Krasniqi, Hajji Abdul Rahim Rasheed and Dr. Mohammad Hanif Quazi.

Parliamentary politics

Having been a supporter of the Labour Party for some time, Choudhary was elected to Parliament as a Labour Party list MP in the 2002 election. He was sworn in on the Qur'an, which Winston Peters (leader of the New Zealand First party) criticised as breaking "centuries-old tradition." Choudhary, however, responded that the tradition was broken when Premier Julius Vogel was sworn in on the Torah. Because Parliamentary officials did not have a copy of the Qur'an, they obtained a copy from the FIANZ office, which was then donated to the Parliamentary Library for use in the future.

During his time in Parliament, Choudhary served on the Primary Production, Local Government and Environment, and Education and Science select committees. He also came to public attention in 2003, when he abstained in a vote to legalise prostitution. The Muslim community were upset by his decision to abstain from voting since prostitution is seen as a violation of their faith.

In 2011, Choudhary was mentioned in Anders Behring Breivik's manifesto 2083: A European Declaration of Independence where Choudhary was used an example of Muslim's failing to assimilate by not condoning the stoning of homosexuals and those who have extramarital affairs. Choudhary had in 2004 stated that stoning was in line with Qur'an teachings, but had no place in New Zealand. He responded to the inclusion in the manifesto by saying "He is a terrorist and we should condemn what he has done and that is all I really want to say."

Post-parliament career
On 29 September 2011, Choudhary delivered his valedictory speech in Parliament and would retire from politics after the 2011 general election. Since retiring Choudhary has been active in the Pakistani and Indian community circles of Auckland encouraging youth political involvement and supporting blood donor drives.

At the 2016 election and 2019 election local body elections Choudhary was elected to the Otara-Papatoetoe Local Board and Counties Manukau District Health Board.

Honours
In the 2001 New Year Honours, Choudhary was appointed a Companion of the Queen's Service Order for community service.

See also
Islam in New Zealand

References

Further reading

External links
 Interview with Ashraf Choudhary
 PakistanDost biography
 Ashraf Choudhary at TheyWorkForYou

1949 births
Alumni of Newcastle University
Agricultural engineers
Companions of the Queen's Service Order
Living people
Massey University alumni
Academic staff of Massey University
University of Agriculture, Faisalabad alumni
New Zealand Labour Party MPs
New Zealand Muslims
Pakistani emigrants to New Zealand
Pakistani scientists
Pakistani engineers
People from Sialkot
Environmental scientists
Environmental engineers
New Zealand list MPs
Unsuccessful candidates in the 1999 New Zealand general election
Members of the New Zealand House of Representatives
New Zealand people of Punjabi descent
21st-century New Zealand politicians
Counties Manukau District Health Board members

Ashraf Choudhary


An Pitcairnia bifaria in uska species han Liliopsida nga ginhulagway ni Lyman Bradford Smith. An Pitcairnia bifaria in nahilalakip ha genus nga Pitcairnia, ngan familia nga Bromeliaceae.

Mabibilngan ini ha Peru. Waray hini subspecies nga nakalista.

Mga kasarigan

Pitcairnia

Pitcairnia bifaria


Hondúrska karlalandsliðið í knattspyrnu er er fulltrúi Hondúras í knattspyrnu og er stjórnað af knattspyrnusambandi landsins. Liðið hefur í þrígang komist í úrslitakeppni HM:  árin 1982, 2010 og 2014.

Árið 1969 mögnuðust upp átök eftir leik Hondúras og El Salvador og út braust stríð, Fótboltastríðið.

Mið-amerísk knattspyrnulandslið
Karlalandslið í knattspyrnu
Hondúras

Hondúrska karlalandsliðið í knattspyrnu


NGC 67 este o galaxie eliptică situată în constelația Andromeda. A fost descoperită de către astronomul american Reginald Joseph Mitchell în 7 octombrie 1855. NGC 67 aparține grupului NGC 68.

Note

Vezi și
 NGC 66
 NGC 68

Galaxii eliptice
Obiecte NGC
Constelația Andromeda
Obiecte astronomice descoperite în 1855
Obiecte astronomice descoperite de R.J. Mitchell

NGC 67


Syangboche Lufthavn (IATA: SYH, ICAO: VNSB) er en grusbelagt landingsbane ved Namche Bazaar, Nepal.

Landingsbanen er den tætteste af sin slags på Mount Everest og Mount Everest Base Camp. Denne bliver dog ikke brugt af folk, der skal til Mount Everest, da dens høje beliggenhed anses for at være dårlig for akklimatisering. Typisk bliver den brugt til fragt af varer til Namche Bazaar.

Landingsbanen har ikke tilladelse til kommercielle operationer og har få faciliteter. Der er ingen faste flyvninger til lufthavnen. De fleste helikoptere og STOL-fly der lander, er chartret i Katmandu eller Lukla. Flyveturen fra Lukla til Syangboche tager mellem syv og 11 minutter med helikopter.

Referencer

Himalaya
Lufthavne i Nepal

Syangboche Lufthavn


Ömer Lütfi Yasan, (d. 1879, Merzifon - ö. 12 Mart 1956), Türk asker ve siyasetçi.

Harbiye mezunudur. Kuleli Askeri İdadisi, Tıbbiye idadisi Ders Nazırlığı, Erzurum 3.Ordu Menzil Müfettişliği, Yıldırım Ordular Grubu İdare Başkanlığı, Harp Kömür Şubesi Müdürlüğü yapmıştır. Meclis-i Mebûsan III. Dönem Sinop ve IV. Dönem Amasya mebusu ile TBMM  I. Dönem Amasya milletvekili olarak görev yapmıştır. Millî Müdafaa Vekaleti Askeri Levazım Umumiye Reisliği, Nafia Encümen Reisliği yapmıştır. Evli ve üç çocuk babasıdır.

Kaynakça

1879 doğumlular
Merzifon doğumlular
1956 yılında ölenler
1914-1918 Osmanlı Meclis-i Mebusanı Sinop üyeleri
Son Osmanlı Meclis-i Mebusanı (1920) Amasya üyeleri
TBMM 1. dönem Amasya milletvekilleri
Mekteb-i Harbiye'de öğrenim görenler
Kuleli Askerî Lisesinde öğrenim görenler
Osmanlı karacı subayları
Osmanlı siyasetçileri
Yeşil şeritli İstiklâl Madalyası sahipleri
Mekteb-i Erkân-ı Harbiye'de öğrenim görenler
Balkan Savaşları'nda Osmanlı askerleri
I. Dünya Savaşı'nda Osmanlı askerleri
Piyade subaylar

Ömer Lütfi Yasan


End Is Forever is the third studio album by American rock band The Ataris, released on Kung-Fu Records in 2001.  The album features a mix of punk and pop punk similar to the band's previous works along with catchy pop rhythms.  It contains lyrics that span nostalgia, growing up, love, relationships, and singer Kris Roe's childhood.  End is Forever is notable for its many pop culture references and numerous lyrics that Roe describes as having "hidden meanings" encoded within.

Background and production
In April 1999, the Ataris released their second studio album Blue Skies, Broken Hearts...Next 12 Exits. They promoted the album with tours alongside Blink-182, Home Grown, and MxPx. In April 2000, the band released a split album with Useless ID. Between June 15 and July 20, 2000, the band recorded End Is Forever at The Blasting Room in Fort Collins, Colorado, with producers Joey Cape and Jason Livermore. Additional recording was held at Orange Whip and The Crank Lab, both in Santa Barbara, California with additional production from Angus Cooke.

Composition
Musically, the sound of End Is Forever has been described as pop punk, with themes revolving around Roe's relationships, and being lonely while on tour. Roe considered it "a little bit more dynamic" than their previous album, with "a little bit more intricate" song structures, incorporating the use of cello and piano. The opening track "Giving Up on Love" channels the style of the Foo Fighters. "Up, Up, Down, Down, Left, Right, Left, Right, B, A, Start" talks about staying young; its title is a reference to a cheat code from the video game Contra (1987). "Song for a Mix Tape" incorporates country blues guitar licks within its pop-punk chord progression. "How I Spent My Summer Vacation" was originally included on the split with Useless ID; it was re-recorded for inclusion on End Is Forever. "Teenage Riot" features references to "Longview" (1994) by Green Day, and "West End Riot" (1999) by the Living End. "Song #13" is about turning the other cheek when someone says disparaging comments about another person. The album closes with the acoustic song "Hello and Goodbye".

Release
The Ataris appeared on the second leg of the Fat Wreck tour, and performed on the east coast dates of the Warped Tour. In October 2000, the band supported the Vandals on their tour of the UK. On October 8, "Song #13" was made available for free download through the band's MP3.com profile. After initially being planned for released in October 2000, End Is Forever was eventually released on February 20, 2001, through Kung Fu Records. The Ataris held a release show for it at the band's own store Down on Haley; the music video for "Teenage Riot" was filmed at the show. The band toured Australia and then went to the UK. After returning to the US, they went on a tour with Lagwagon, and the Vandals. In April, the band played in Japan, before going to New Zealand, Australia and the UK; One Dollar Short appeared on the Australian dates.

After returning to the US in May, the band supported Blink-182 for a few shows. On June 18, the music video for "Summer Wind Was Always Our Song" was filmed at Down on Haley. At the end of the month, guitarist Marco Peña left the band amid to creative and personal differences; he was replaced by guitar tech John Collura, formerly of the band Beefcake. Following this, the band performed on the Warped Tour until August. Later in the month, the band played three shows in the UK as part of the Extreme 2001 festival. On August 27, the "Summer Wind Was Always Our Song" music video was posted on Kung Fu Records' website. Following the stint, the band played a few European festivals, before embarking on another US tour. In November and December, the band went on a west coast tour with All, before taking a break until early 2002.

Reception

The staff of Chart Attack wrote that End Is Forever "doesn't stray far from previous Ataris releases ... wrap[ing] melodies in chunky guitar riffs, working solid song arrangements with tight stop-start coordination." Modern Fix writer Michael Moriatis said the record was "more mature and definitely more produced, almost to a fault, than previous Ataris' albums." Randy Flame of Ox-Fanzine found the album "[p]erfect both in the songwriting and in the production". Exclaim! Rob Ferraz said the band "serve up a tasty buffet of melancholy pop punk" with End Is Forever. He added, "[i]f you enjoy songs about heartbreak, falling in love and making mixed tapes for that special someone, then this is the record for you." Brian Kruger for Ink19 said the "playing, singing, and production are perfect. Too perfect, in fact. That's what I don't like about The Ataris — they're too bright and shiny".

AllMusic reviewer Vincent Jeffries wrote that the band "offered up the dynamic, dangerously non-punk End Is Forever." He noted that listeners that knew the band's earlier works wouldn't be "surprised by End Is Forever as Roe's quickly developing, gifted writing had always been the outfit's defining factor".  Hocking of Drowned in Sound noted the lyrical themes of "girls, love, broken hearts, teen frustrations and er, girls", before asking, "[w]hich isn't really anything new is it?" He said that "[c]ompared to previous albums this is pretty average and a lot tamer". In a retrospective review, Sputnikmusic staff member Atari said the record was "their most consistent album to date." He added, "[i]t's an underappreciated and often overlooked album". Punk Planet reviewer Kyle Ryan said track three alone was "enough for me to give the Ataris a gold star of cleverness". Though, apart from this, the band managed to "pull [the pop punk sound] off occasionally, but they don't make it work the whole time".

It reached No. 14 on the Billboard Independent Albums chart and No. 24 on the Top Heatseekers chart.

Track listing
All songs by Kris Roe, except "Giving Up on Love" by Roe and Jasin Thomason.

"Giving Up on Love" – 2:53
"Summer Wind Was Always Our Song" – 3:56
"I.O.U. One Galaxy" – 2:00
"Bad Case of Broken Heart" – 1:58
"Up, Up, Down, Down, Left, Right, Left, Right, B, A, Start" – 3:01
"Road Signs and Rock Songs" – 2:45
"If You Really Want to Hear About It..." – 2:45
"Fast Times at Drop-Out High" – 3:39
"Song for a Mix Tape" – 3:08
"You Need a Hug" – 3:49
"How I Spent My Summer Vacation" – 3:22
"Teenage Riot" – 2:58
"Song #13" – 2:25
"Hello and Goodbye" – 2:22

Personnel
Personnel per booklet.

The Ataris
 Kris Roe – guitar, vocals
 Mike Davenport – bass (credited but does not play on the record)
 Marco Peña – guitar (credited but he does not play on the record)
 Chris Knapp – drums

Additional musicians
 Angus Cooke – cello
 Todd Capps – piano, Moog, keyboards
 Zach Boddicker – pedal steel
 Jon Snodgrass – guitar
 Joey Cape – backing vocals

Production and design
 Joey Cape – producer
 Jason Livermore – producer
 Angus Cooke – additional production
 Sergie – artwork
 Kris Roe  – photos, concept
 Dave Viorel – band photos

Charts

References
Citations

Sources

External links

End Is Forever at YouTube (streamed copy where licensed)

2001 albums
The Ataris albums
Kung Fu Records albums
Albums produced by Joey Cape

End Is Forever


Alonso García de Ramón  (* 1552 in Cuenca, Kastilien, Spanien; † 5. August 1610 (nach anderen Angaben: 25. August) in Concepción, Chile) war ein spanischer Offizier, der zweimal (1600/1601 und 1605 bis 1610) als Gouverneur von Chile amtierte.

Leben

Karriere in Europa
García stammt aus Kastilien und trat im Alter von 16 Jahren in die spanische Armee ein. Er diente in verschiedenen Teilen des spanischen Königreiches (bei der Niederschlagung des Maurenaufstands in Andalusien, in Italien, Sizilien und Flandern). Auch an der Seeschlacht von Lepanto nahm er teil und diente der spanischen Krone 1574 auch in Nordafrika und erneut in Flandern.

Karriere in Amerika
Mit Gouverneur Alonso de Sotomayor y Valmediano ging er 1583 nach Chile. García bekleidete das Amt des Maestre de Campo, also des militärischen Stellvertreters des Gouverneurs. Im Arauco-Krieg befehligte er einen Teil der spanischen Truppen im Kampf gegen die aufständischen Mapuche. Dabei verlor er 1587 durch einen Pfeil, der ihn traf, ein Auge.

Im März 1596 wurde er zum Corregidor der Silberminenstadt Potosí berufen und später zum Maestre de Campo in Peru befördert.

Erste Amtszeit als Interims-Gouverneur
Als Francisco de Quiñones Gouverneur war, befand sich die spanische Kolonie in Chile in höchster Bedrängnis, da die revoltierenden Mapuche-Indianer die spärlichen und schlecht ausgerüsteten spanischen Kolonialtruppen mehr und mehr in die Defensive drängten. García hatte den Ruf eines erfahrenen und kompromisslosen Haudegens und genoss das Vertrauen des Vizekönigs von Peru, Luis de Velasco. So wurde er berufen, den Kampf als Gouverneur und Oberbefehlshaber zu übernehmen. Er erreichte Valparaíso am 29. Juli 1610 und war am folgenden Tag schon in Santiago de Chile.

Vor Ort stellte sich die Lage noch prekärer heraus, als sie sich in Lima dargestellt hatte. Rund sechshundert Mann waren gefallen, das war weit über die Hälfte der gesamten Truppenstärke und – auch gemessen an der geringen Zahl an Kolonisten – ein beachtlicher Verlust für die Spanier. Die befestigten Siedlungen Angol und La Imperial hatten aufgegeben werden müssen. Über die Lage in den Vorposten Osorno, Villarrica und auf Chiloé gab es keine Nachrichten.

García schickte sich sofort an, einen Feldzug gegen die Indianer zu starten. Mitten in den Vorbereitungen traf im September 1600 die Nachricht ein, dass König Philipp III. einen neuen regulären Gouverneur für Chile aus Spanien entsandt hatte. Alonso de Ribera de Pareja war in Amerika gänzlich unbekannt und stieß beim Staat des Vizekönigs, aber auch in Offizierskreisen in Chile von Anfang an auf Skepsis und Widerstand. Trotz der Aussicht auf baldige Abberufung machte sich García im November 1600 mit rund vierhundert Mann auf den Feldzug nach Süden, um die schlecht befestigten Städte Concepción und Chillán vor den Indianern zu schützen. In mehreren Scharmützeln fochten die Spanier gegen die Mapuche.

Bruch mit Gouverneur Ribera
Indes war Alonso de Ribera in Concepción angelangt; García traf seinen Nachfolger am 10. Februar 1601 in Hualqui. Zwei Tage später legte García dem neuen Gouverneur einen detaillierten Schlachtplan für den Kampf gegen die Indianer vor. Er sah vor, die spanischen Truppen in drei Teile zu trennen. Einer sollte entlang der Küste das Fort von Arauco entsetzen, das unter indianischer Belagerung stand. Der zweite war für einen Feldzug ins Zentraltal (Valle Central) vorgesehen und sollte dort den bedrängten Städten Villarrica und Osorno zur Hilfe eilen und anschließend eine neue Befestigung in La Imperial errichten. Dem dritten Heeresteil hatte er eine zügige Neubesetzung der Siedlungen von Angol und Santa Cruz zugedacht sowie die Neuerrichtung einer Befestigung am Ufer des Flusses Laja. García schlug Ribera vor, dass er den gewagtesten Teilbefehl, nämlich die Neubesetzung von La Imperial, selbst übernehmen würde.

Ribera war durch diese Initiative wohl überrumpelt; zudem zögerte er, die geringen spanischen Truppen aufzuteilen und so Gefahr zu laufen, die wenigen Kräfte komplett aufreiben zu lassen. Als drei Tage vergangen waren, ohne dass sich Ribera zu einer Entscheidung durchringen konnte, schrieb ihm García eine Notiz, in der er in deutlichen Worten klarmachte, dass Ribera entweder die Befehle im Sinne des vorgelegten Schlachtplanes geben sollte oder ihn, García, von seinen Pflichten entbinden möge. Hierauf reagierte Ribera sofort und berief García von seinem Befehl ab, würdigte seinen Einsatz mit höflichen Worten, aber schickte ihn zur weiteren Verwendung an den Vizekönig von Peru. Der berief ihn zum Corregidor von Quito.

Zweite Amtszeit als Gouverneur
Als König Philipp 1604 im Lichte der nach wie vor ungünstigen militärischen Lage (und angesichts zahlreicher Vorwürfe gegen seine Person und Amtsführung) Alonso de Ribera seines Amtes enthob, ernannte er an seiner Statt Alonso de Sotomayor zum Gouverneur; doch der lehnte ab. So berief der Vizekönig den erprobten Kämpen García erneut zum Oberbefehlshaber in Chile. Dieser ließ Frau und Kinder in Lima zurück und machte sich Ende Januar 1605 auf die Reise. Er erreichte Concepción am 19. März und übernahm den Oberbefehl am 9. April 1605.

Der Arauco-Krieg zog sich auch während Garcías zweiter Amtszeit hin. Friedensverhandlungen unter Federführung des Jesuitenpaters Luis de Valdivia führten zu Hoffnungen und Abkommen, die sich aber bald wieder zerschlugen; die Spanier zerrieben sich in Feldzügen gegen die Guerilla-Taktik der Mapuche, denen die Beschaffenheit des Landes und die Ortskenntnis entgegenkamen. Zudem hatten die Spanier nicht mehr die Alleinstellung der Kavallerie, seit auch die Indianer über Pferde verfügten.

Auch eine massive Aufstockung der spanischen Kräfte um tausend Mann, die frisch aus Peru gekommen waren, konnten am ungünstigen Kriegsverlauf für die Spanier nichts ändern. 1609 wurde unter Garcías Gouvernat die neue Real Audiencia von Chile eingerichtet.

Im (Südhalbkugel-)Herbst des Jahres 1610 zog sich García mit seinen Truppen nach den Feldzügen des Sommers nach Concepción zurück; dort erkrankte er schwer und starb im August 1610. Als interimistischer Nachfolger übernahm der Oidor der frisch errichteten Audiencia, Luis Merlo de la Fuente, den Befehl.

Literatur

Einzelnachweise

Gouverneur (Chile)
Spanier
Geboren 1552
Gestorben 1610
Mann

Alonso García de Ramón


Alison Eastwood (født 22. maj 1972) er en amerikansk skuespiller, filminstruktør, model, designer. Hun er datter af Clint Eastwood.

Opvækst
Eastwood blev født i Carmel, Californien som datter af Maggie Johnson og skuespiller og filminstruktør Clint Eastwood. Hun har en bror, jazzmusikeren Kyle Eastwood, og seks halvsøskende; Kimber Eastwood, Scott Eastwood, Kathryn Eastwood, Francesca Eastwood og Morgan Eastwood.

Eastwood gik på Santa Catalina School i Monterey, og Stevenson School i Pebble Beach. I 1990 i en alder af 18 år, blev hun indskrevet på UC Santa Barbara og studerede skuespil. Hun blev dog aldrig færdig.

Karriere
Eastwood fik nogle professionelle roller i film allerede som barn og teenager, og hun havde sin (ukrediterede) filmdebut i en alder af 7 år i filmen Bronco Billy, der blev instrueret af hendes far. I en alder af 11 år fik hun sin første større rolle i thrilleren Tightrope (1984). Hun arbejdede også som model i Paris, og stod model for flere modemagasiner i både Frankrig og for Vogue i USA. I februar 2003 poserede hun nøgen i Playboy'.

Hun har haft flere filmroller siden sin barndom, inklusive Midnight in the Garden of Good and Evil (1997), Just a Little Harmless Sex (1998), Black and White (1999), Friends & Lovers (1999), If You Only Knew (2000), Power Play (2002), Poolhall Junkies (2003), I'll Be Seeing You (2004) og Once Fallen (2010).

Eastwood havde sin debut som filminstruktør med filmen Rails & Ties fra 2007, hvor Kevin Bacon og Marcia Gay Harden spillede med.

Hun har sit eget tøjmærke kaldet Eastwood Ranch Apparel.

Hun er grundlægger af Eastwood Ranch Foundation, som "yder støtte og finansiel bistand til dyrhjem, redningsgrupper og krisecentre med ansvar for pasning af dyr på livstid eller midlertidig har brug boliger."

Udover at have roller som filmskuespiller, har hun også medvirket i Nat Geo Wild TV programmet Animal Intervention. Hun deltog også i realityshowet Chainsaw Gang'' som en af skulptørernes kærester. Skulptøren, Stacy Poitras, er nu hendes mand, efter de giftede sig 15. marts 2013.

Filmografi

Referencer

Eksterne henvisninger

Skuespillere fra Californien
Filminstruktører fra USA
Modeskabere fra USA
Clint Eastwood

Alison Eastwood


Yared Bayeh Belay (en ), né le  à Baher Dar, est un footballeur international éthiopien qui joue au poste de défenseur central avec le club de Fasil City et en équipe d'Éthiopie.

Biographie

En club

En équipe nationale
Il reçoit sa première sélection en équipe d'Éthiopie le 21 novembre 2015, contre le Rwanda (défaite 0-1). Ce match entre dans le cadre de la Coupe CECAFA des nations 2015. Bayeh joue quatre matchs lors de ce tournoi organisé dans son pays natal, qui voit l'Éthiopie se classer troisième, en battant le Soudan aux tirs au but lors de la « petite finale ».

En janvier 2016, il participe au championnat d'Afrique des nations qui se déroule au Rwanda. Il joue deux matchs lors de cette compétition.

Il inscrit son premier but en équipe nationale le 4 août 2019, contre Djibouti. Ce match gagné 4-3 entre dans le cadre des éliminatoires du championnat d'Afrique des nations 2020.

Il dispute ensuite la Coupe d'Afrique des nations 2021 qui se déroule au Cameroun.

Palmarès

Notes et références

Liens externes

Footballeur international éthiopien
Footballeur éthiopien
Naissance en janvier 1995
Naissance en Éthiopie

Yared Bayeh


Alexandru Mărcuș (n. 4 septembrie 1880, Sângeorz-Băi – d. 23 mai 1954, Sângeorz-Băi) a fost un delegat în Marea Adunare Națională de la Alba Iulia, organismul legislativ reprezentativ al "tuturor românilor din Transilvania, Banat și Țara Ungurească", cel care a adoptat hotărârea privind Unirea Transilvaniei cu România, la 1 decembrie 1918.

Biografie
După finalizarea studiilor școlii primare, Alexandru Mărcuș s-a remarcat ca agricultor. A decedat la 23 mai 1954, în Sângeorz-Băi. .

Activitatea politică

În 1918, a devenit membru al Consiliului Național Român Central, la nivelul localității Sângeorz-Băi. . Alexandru Mărcuș s-a remarcat în cadrul unei adunări populare, organizată la Sângeorz-Băi, la 24 noiembrie 1918 . Adunarea a avut un caracter reprezentativ, deoarece la aceasta au luat parte toți locuitorii din Sângeorz-Băi. Această adunare populară a trimis la Alba Iulia câțiva delegați care au primit mandate, numite credenționale, care prevedeau ca Adunarea Națională de la Alba Iulia să decidă unirea Transilvaniei, Banatului, Crișanei și Maramureșului cu Regatul României. Unul dintre delegații aleși în cadrul acestei adunări populare a fost Alexandru Mărcuș, alături de Nistor Gabor, Alexandru Alexi, Grigore Lupoaie și Al.Alexi. În fruntea acestei delegații au fost preotul Aurel Șorobetea și învățătorul Pompei Demian. . Cei care au semnat actul din 29 noiembrie 1918, de numire a lui Alexandru Mărcuș drept delegat, au fost sublocotenentul Iustin Sohorca   și primarul comunal Gavrilă Oproaie.. Delegația din Sângeorz-Băi, din care făcea parte și Alexandru Mărcuș, avea un caracter reprezentativ, fiind compusă din intelectuali, dar și din țărani.. În calitate de deputat în Adunarea Națională din 1 decembrie 1918, Alexandru Mărcuș a reprezentat, ca delegat supleant, cercul electoral Năsăud..

Note

Bibliografie
 Ioan I. Șerban, Dorin Giurgiu, Ionela Mircea, Nicolae Josan, Dicționarul personalităților Unirii. Trimișii românilor transilvăneni la Marea Adunare Națională de la Alba Iulia, Muzeul Național al Unirii, Alba Iulia, 2003, ISBN 973-8141-90-7
 Dorin Dologa, Sângeorz-Băi și Marea Unire de la 1 decembrie 1918, publicat în Pisanii sângeorzene.Spiritualitate, istorie și tradiție locală, Anul VI, Nr.12(64), decembrie 2017, ISSN 2285-8229
 Teodor Tanco, Numele lui Iustin Sohorca amenințat de uitare, publicat în Pisanii sângeorzene.Spiritualitate, istorie și tradiție locală, Anul VI, Nr.12(64), decembrie 2017, ISSN 2285-8229
 Adrian Onofreiu, Ioan Pintea, Cornelia Vlașin (coord.), Anul 1918 în județul Bistrița-Năsăud.Contribuții documentare, Editura MEGA, Cluj-Napoca, 2018, ISBN 978-606-543-956-6

Lectură suplimentară
 Gelu Neamțu, Mircea Vaida-Voevod, 1 decembrie 1918. Mărturii ale participanților, vol. I-II, Editura Academiei Române, București, 2005, ISBN 973-27-1258-9 (vol. I); ISBN 973-27-1264-3 (vol. II)
 Daniela Comșa, Eugenia Glodariu, Maria M. Jude, Clujenii și Marea Unire, Muzeul Național Transilvania, Cluj-Napoca, 1998
 Florea Marin, Medicii și Marea Unire, Editura Tipomur, Târgu Mureș, 1993
 Silviu Borș, Alexiu Tatu, Bogdan Andriescu, (coord.), Participanți din localități sibiene la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918, Editura Armanis, Sibiu, 2015

Legături externe
  Membrii de drept ai Marii Adunării Naționale de la Alba-Iulia din 1 decembrie 1918, lista publicată în "Gazeta Oficială", Sibiu, nr. 1, 1/14 decembrie 1918
 [http://www.rasunetul.ro/sangeorzenii-si-marea-unire Sângeorzenii și Marea Unire']', pe site-ul publicației Răsunetul.Cotidianul bistrițenilor de oriunde, accesat la 18 noiembrie 2018
 Iustin Sohorca.Etnograf și folclorist,articol scris de Liviu Păiuș și Solomia Păiuș, site accesat la 18 noiembrie 2018
 Monografia școlilor din Sângeorz-Băi, pe site-ul publicației Pisanii sângeorzene.Spiritualitate, istorie și tradiție locală'', accesat la 18 noiembrie 2018

Vezi și
 Lista delegaților la Marea Adunare Națională de la Alba Iulia

Nașteri în 1854
Decese în 1932
Delegați la Marea Adunare Națională de la Alba Iulia
Agricultori români

Alexandru Mărcuș


At the Gates is a Swedish death metal band from Gothenburg, formed in 1990. The band was a major progenitor of Gothenburg-style melodic death metal alongside In Flames and Dark Tranquillity. Prior to their first disbandment in 1996, At the Gates released four albums, ending with and including Slaughter of the Soul (1995), which has been seen as a landmark in the mid-1990s Swedish death metal scene. After reuniting for a one-off tour in 2008, the band reformed once again in 2011, and they have since released three more albums: At War with Reality (2014), To Drink from the Night Itself (2018) and The Nightmare of Being (2021).

History

Early career (1990–1994)
At the Gates were formed in late 1990 by former members of the death and black metal band Grotesque. They recorded a debut EP, Gardens of Grief, for the Dolores record label. The EP led the label Peaceville Records to sign the band, and they released their debut album, The Red in the Sky Is Ours in 1992.

After the recording of their second studio album, With Fear I Kiss the Burning Darkness, founding member and guitarist Alf Svensson left the band in 1993, to pursue tattoo artistry, graphic novel illustration and his solo electronic-opera-black metal project, Oxiplegatz. He was soon replaced by former House of Usher guitarist Martin Larsson, who the band knew from underground tape trading. The band continued touring Europe, and were filmed for a Headbangers Ball special feature in Nottingham, England in July 1993.

Success and breakthrough (1994–1996)
In 1994, At the Gates released their third album, Terminal Spirit Disease, which was hailed as a breakthrough album.

The band continued touring and in 1995 released their most commercially and critically successful album: Slaughter of the Soul, on Earache Records. The album is regarded as their strongest death metal effort, compared to previous albums. This album firmly rooted the band as one of the leaders of the Swedish metal scene, the "Gothenburg sound" of melodic death metal. The band received international attention for the album, gaining them several U.S. tours and heavy rotation of the music video for "Blinded by Fear" on MTV in the United States, but despite this international success, the Björler brothers departed in 1996. The remaining members decided it would be impossible to continue without them, so the band broke up.

Post-breakup (1996–2007)
When At the Gates broke up in 1996, drummer Adrian Erlandsson, bassist Jonas Björler, and guitarist Anders Björler formed The Haunted. Tomas Lindberg went on working with different bands including Skitsystem, The Crown, Lock Up, and Nightrage. Erlandsson left in 1999 to join Cradle of Filth. In 2001, Peaceville Records released an At the Gates retrospective called Suicidal Final Art.

Reunion (2007–2008)

On 18 October 2007, At the Gates announced several reunion shows for mid-2008, including Getafe Electric Festival, Roskilde Festival, Ruisrock, Wacken Open Air, Graspop Metal Meeting, Sweden Rock Festival, Gods of Metal, Hellfest Summer Open Air and Bloodstock Open Air, as well as a tour of Japan with The Dillinger Escape Plan, Into Eternity, Pig Destroyer, and Mayhem in May 2008. Throughout July 2008, they toured the US and Canada on what was dubbed the "Suicidal Final Tour", and played their final UK show at Bloodstock Open Air on Sunday on 17 August 2008. They finished their last show in Athens, Greece, with guest The Ocean on 21 September 2008. The band's performance at Wacken Open Air in 2008 is available on The Flames of the End DVD boxed set, which also includes clips of songs from other venues and a documentary that covers the history of the band in its entirety.

At War with Reality (2014–2016)

On 21 January 2014, At the Gates released a video on YouTube showing a distorted video with lines of text on it, followed by text saying "2014", possibly hinting toward possible lyrics for an upcoming album. On 27 January, the band revealed on Facebook via a new cover photo and profile picture, that their confirmed fifth record would be titled At War with Reality and would be released in the fall of 2014 through Century Media.

When asked whether At War with Reality is At the Gates' final album or if the band will continue recording, Tomas Lindberg replied, "We can't say really. We have no plans of stopping but we've broken promises before so it's best not to say anything." In numerous recent interviews members of the band have expressed interest in doing a follow-up album. At the Gates concluded the touring cycle for At War with Reality in August 2016 with a festival appearance at Elb Riot in Hamburg, Germany.

To Drink from the Night Itself and The Nightmare of Being (2017–present)
On 8 March 2017, in an official statement released by the band, they announced that Anders Björler had departed from the band. Despite Anders' departure, they went on to confirm that they were working on a follow-up to 2014's At War with Reality, which they were aiming to record and release in 2018. In September 2017, Jonas Stålhammar was announced as the new guitarist to take the place of Björler on a permanent basis, but he had joined too late to be involved in the writing process of the new album. They entered the studio to begin recording the album in November 2017, titled To Drink from the Night Itself, which was released through Century Media Records on 18 May 2018.

At the Gates released their seventh studio album, The Nightmare of Being, on 2 July 2021. While the album remains rooted in the Gothenburg metal tradition, it also features a wider range of musical styles, influences, and instrumentation. The ideas in the album are influenced by the writings of horror philosophers such as Thomas Ligotti and Eugene Thacker.

On 23 July 2022, At the Gates announced the departure of Stålhammar. On 5 October, the band announced that original guitarist Anders Björler had rejoined the band. They are now working on their 8th studio album following the return of Björler.

Musical style and legacy
At the Gates' musical style has been described as melodic death metal and death metal. The band's early work presented a "progressive, complex way of crafting songs of dextrous[sic] melodic fluidity and variation", which would influence progressive death metal, but also the black metal of Darkthrone's Transilvanian Hunger, for instance. Most of this material was composed by Alf Svensson, who, according to guitarist Anders Björler, fused the Swedish melancholy of Nordic folk music with death metal and classical music.

The style of later At the Gates "would inspire the whole Gothenburg region", but as Svensson had left the band, the commercial breakthrough Slaughter of the Soul was composed of more traditional song structures: "[...] a stripped-down, no-frills melodic death album that hit all the basic points of the style".

Awards
At the Gates were nominated for a Swedish Grammy (Grammis) for Slaughter of the Soul in 1996, but didn't win.
They won the Swedish Grammy (Grammis) in February 2015 for the 2014 comeback album At War with Reality.
The band were also awarded the Metal Hammer Golden Gods Inspiration Award in June 2015.

Members

Current members
 Tomas Lindberg − vocals (1990–1996, 2007–2008, 2010–present)
 Adrian Erlandsson − drums (1990–1996, 2007–2008, 2010–present)
 Anders Björler − lead guitar (1990–1996, 2007–2008, 2010–2017, 2022–present)
 Jonas Björler − bass (1990–1992, 1993–1996, 2007–2008, 2010–present), drums (1990)
 Martin Larsson − rhythm guitar (1993–1996, 2007–2008, 2010–present)

Former members
Alf Svensson − rhythm guitar (1990–1993)
Björn Mankner − bass (1990)
Cliff Lundberg − bass (1992)
Jonas Stålhammar − lead guitar (2017−2022)

Session and touring musicians
 Jesper Jarold − violin (1991–1992)
 Tony Andersson − bass (1992)
 Dirk Verbeuren – drums (2019)
 Ola Englund – bass (2019)
 Patrik Jensen – lead guitar (2022)
 Daniel Martinez – lead guitar (2022)

Timeline

Discography

Studio albums
 The Red in the Sky Is Ours (1992)
 With Fear I Kiss the Burning Darkness (1993)
 Terminal Spirit Disease (1994)
 Slaughter of the Soul (1995)
 At War with Reality (2014)
 To Drink from the Night Itself (2018)
 The Nightmare of Being (2021)

References

External links

Earache Records artists
Musical groups established in 1990
Musical groups disestablished in 1996
Musical groups disestablished in 2008
Musical groups reestablished in 2007
Musical groups reestablished in 2010
Swedish melodic death metal musical groups
Articles which contain graphical timelines
Swedish musical quintets
Swedish heavy metal musical groups

At the Gates


Os Jogos Olímpicos de Inverno de 2022 são transmitidos por uma série de emissoras ao redor do mundo. Como nos anos anteriores, a Olympic Broadcasting Services (OBS) vai produzir o feed mundial para as emissoras locais utilizarem em suas coberturas. Na maioria das regiões, os direitos de transmissão foram comercializados junto com os dos Jogos Olímpicos de Inverno de 2014, tendo como exemplo o Grupo Globo e a NBCUniversal, que garantiram os direitos de transmissão de todas as versões dos Jogos Olímpicos até 2032. Pela Europa, os jogos serão transmitidos pelo Eurosport até 2024. Na China, país sede, os jogos serão transmitidos pela emissora pública CCTV.

T
transmissoras_dos_Jogos_Olímpicos_de_Inverno_de_2022
Jogos Olímpicos de Inverno de 2022

Lista de transmissoras dos Jogos Olímpicos de Inverno de 2022


Tapas est un film espagnol réalisé par José Corbacho et Juan Cruz, sorti en 2005.

Synopsis
Les destins croisés d'habitants de Barcelone autour d'un bar à tapas : un couple composé d'une femme et d'un jeune homme, une dame âgée qui deale de la drogue et s'occupe de son mari en phase terminale, le propriétaire du bar et sa femme dont il est séparée ainsi que deux immigrants chinois.

Fiche technique
 Titre : Tapas
 Réalisation : José Corbacho et Juan Cruz
 Scénario : José Corbacho et Juan Cruz
 Musique : Pablo Sala
 Photographie : Guillermo Granillo
 Montage : David Gallart
 Production : Julio Fernández
 Société de production : Castelao Producciones, El Terrat, Filmax, MR Films, Moro Films, Televisió de Catalunya, Televisión Española et Tusitala Producciones Cinematográficas
 Pays : ,  et
 Genre : Comédie dramatique
 Durée : 94 minutes
 Dates de sortie :
 :

Distribution
 Ángel de Andrés López : Lolo
 María Galiana : Conchi
 Elvira Mínguez : Raquel
 Rubén Ochandiano : César
 Alberto de Mendoza : Mariano
 Darío Paso : Opo
 Alberto Jo Lee : Mao
 Amparo Moreno : Rosalía
 Blanca Apilánez : Carmen
 Anna Barrachina : Águeda
 Pilar Arcas : Luz

Distinctions
Le film a été nommé pour deux prix Goya qu'il a remporté : prix Goya de la meilleure actrice dans un second rôle pour Elvira Mínguez et prix Goya du meilleur nouveau réalisateur.

Notes et références

Liens externes

Film espagnol sorti en 2005
Film argentin sorti en 2005
Film mexicain sorti en 2005
Comédie dramatique espagnole
Comédie dramatique argentine
Comédie dramatique mexicaine
Film choral espagnol
Film choral argentin
Film choral mexicain
Film se déroulant à Barcelone
Premier long métrage sorti en 2005

Tapas (film)


Moartea obosită (în ) este un film de groază german din 1921 regizat de Fritz Lang Rolurile principale sunt interpretate de actorii Lil Dagover, Walter Janssen și Bernhard Goetzke.

Moartea obosită este o povestea romantică-tragică a unei tinere care își recuperează soțul din ghearele morții.

Distribuție
 Lil Dagover
 Walter Janssen
 Bernhard Goetzke
 Rudolf Klein-Rogge

Legături externe

Der müde Tod on SilentEra.com.

Note

Vezi și
Listă de filme de groază din anii 1920
Listă de filme fantastice înainte de 1930

Filme din 1921
Filme de groază înainte de 1950
Filme de groază
Filme regizate de Fritz Lang
Filme mute
Filme despre moarte
Filme de dragoste
Filme fantastice înainte de 1950

Moartea obosită


COR est un groupe allemand de punk hardcore, originaire de Rügen.

Biographie
Le groupe est fondé sur l'île de Rügen en 2002 par l'ancien batteur de Tonnensturz et Troopers Friedemann Hinz et les anciens membres de Sumatra Johannes Hinz, Christian Jungnickel et Matthias Arndt. Depuis sa création, le groupe a donné plusieurs centaines de concerts, dont une tournée avec Tendencia à Cuba. En 2015, le documentaire Actitud Es Lo Que Cuenta - Cuba Cor Libre traite de la tournée à Cuba et des circonstances qui l'accompagnent. En termes de contenu, le groupe traite principalement de la critique sociale.

Discographie
 2002 : Viva la homosapiens (autoproduction)
 2003 : Flüstern und Schreien (autoproduction)
 2003 : Respekt (Puke Music)
 2004 : Baltic Sea for Life (split-album avec Crushing Caspers, Puke Music)
 2005 : Freistil, Kampfstil, Lebensstil (BADDOG Records, Puke Music)
 2006 : Tsunami (Rügencore Records, Puke Music)
 2007 : Prekariat (Rügencore Records)
 2009 : Seit ich die Menschen kenne, liebe ich die Tiere! (Rügencore Records)
 2010 : Herztier (Rügencore Records)
 2012 : Snack Platt orrer stirb! (Rügencore Records)
 2015 : Lieber tot als Sklave (Rügencore Records)
 2017 : Leitkultur (Rügencore Records)
 2020 : Friedensmüde (Rügencore Records)

Références

Liens externes

Source de la traduction

Groupe allemand de punk hardcore
Groupe allemand de crossover thrash
Groupe musical formé en 2002
Groupe musical allemand des années 2000
Groupe musical allemand des années 2010
Groupe musical allemand des années 2020

COR (groupe)


Grkokatoličko sjemenište u Zagrebu je središnja odgojna ustanova Križevačke eparhije i najstarija ustanova grkokatoličke Crkve u Hrvatskoj koja potječe još iz Marčanske eparhije. Ova grkokatolička bogoslovija jedno je od najstarijih katoličkih sjemeništa (seminarium maius) istočnog obreda u svijetu.

Povijest
Grkokatoličko sjemenište u Zagrebu na Gornjem gradu osnovao je godine 1681. marčanski vladika Pavao Zorčić, kupivši od plemenite obitelji Patačić kuću i preuredivši je za sjemenište, gdje se nalazila i kapela za bogoslužja. Od početka u sjemeništu su živjeli i obrazovali se ne samo srednjoškolci nego i svećenički kandidati.

Godine 1766. sjemenište je teško stradalo u požaru. Preostala je samo prizemna prostorija u istočnomu dijelu, danas dvorana. Od 1768. do 1774. vladika Bazilije Božićković (1759. – 1785.) od temelja je gradio novu zgradu na dva kata. U njemu se nalazila i kapela sv. Bazilija Velikoga na mjestu današnje konkatedrale. Značajni rektor ovog doba je bio Atanasije Gvozdanović, koji je kasnije bio rektor Kraljevskog grkokatoličkog sjemeništa u Beču (Barbareum).

Godine 1828., u vrijeme križevačkoga vladike Konstantina Stanića (1814. – 1830.), dograđen je sjeverni dio Sjemeništa i u njegovoj visini crkva sv. Bazilija Velikoga, posvećena 1830. godine. Grkokatoličko sjemenište aktivno je sudjelovalo u Hrvatskom narodnom preporodu. Veliki rektori ovog doba su bili Tadija Smičiklas i Anton Franki.

U Velikom potresu u Zagrebu 1880. strada sjemenište i crkva sv. Bazilija Velikoga. Vladika Ilija Hranilović (1850. – 1889.) obnavlja sjemenište i gradi novu crkvu sv. Ćirila i Metoda po planovima Hermanna Bolléa. Rektor Andrija Segedi uglazbio je žumberački narodni napjev Božanskih liturgija po prvi put.

Krajem 20. st. dograđuje se zapadna zgrada i započeta je temeljita obnova sjemeništa i konkatedrale sv. Ćirila i Metoda. Sjemenište je bilo teško oštečeno pri Velikom potresu u Zagrebu 2020. te je privremeno bilo zatvoreno zbog temeljite obnove.

Rektori
 Đuro Germiniković  (1688.-?)
 P. Teodor Strahinić OSBM (oko 1700.)
 Grgur Jugović (1702.-?)
 Franjo Novak (1710.-?)
 Teofil Pašić (1738. – 1739.)
 Simeon Bulić (1742.-?)
 Ignacije Latković (1772. – 1776.)
 Atanazije Gvozdanović (1776. – 1779.)
 Silvestar Bubanović (1780. – 1781.)
 Janko Rajaković (1781. – 1782.)
 Konstantin Stanić (1782. – 1785.)
 Antun Tumara (1800. – 1807.)
 Tomo Čučić (laik, 1794. – 1796.)
 Gabre Smičiklas (1809. – 1810.)
 Konstantin Poturičić (1810. – 1812.)
 Simeon Čučić (1812. – 1821.)
 Bazilije Božičković (1830. – 1831.)
 Nikola Malić (1831. – 1837.)
 Janko Goleš (1837. – 1846.)
 Janko Predović (1846. – 1849.)
 dr. Petar Stić (1849. – 1851.)
 Pavao Bratelj (1851. – 1860.)
 Bazilije Poturičić (1860. – 1861.)
 Marko Stanić (1861. – 1866.)
 Tomo Vidović (1866. – 1871.)
 prof. Gabro Smičiklas (1871. – 1877.)
 ak. prof. dr. Tadija Smičiklas (1877. – 1882.)
 Vladimir Laboš (1882. – 1885.)
 prof. dr. Anton Franki (1885. – 1891.)
 Andrija Segedi (1891. – 1897.)
 dr. Dane Šajatović (1897. – 1902.)
 vl. dr. Dionizije Njaradi (1902. – 1914.)
 dr. Tomo Severović (1914. – 1924.)
 dr. Ivan Djuro Višošević OSBM (1924. – 1956.)
 Ivan Krstitelj Pavković (1956. – 1990.)
 vl. Nikola Kekić (1990. – 2019.)
 dr. Robert Rapljenović (2019. – 2020.)
 Daniel Vranešić (2020.-)

Galerija

Literatura

 Jubilarni šematizam Križevačke eparhije, Zagreb 1962, 12-13.

 Ivan Kr. Pavković: Iz galerije rektora grkokatoličkog sjemeništa u Zagrebu, Žumberački krijes 1981., Zagreb, 1980., 78-79.

 Sonja Prijić: Povijest i obnova sklopa Grkokatoličkog Sjemeništa i crkve sv. Ćirila i Metoda na Gornjem Gradu u Zagrebu. Diplomski rad na Odsjeku za povijest umjetnosti Sveučilišta u Zagrebu, 2013.

 Janko Šimrak: Spomenica o 250-godišnjici grkokatoličkog sjemeništa u Zagrebu (1681. – 1931.), Zagreb : Tiskara Narodne prosvjete, 1931.

Izvori

Vanjske poveznice
 Križevačka eparhija o Eparhijskom sjemeništu

Bogoslovije
Grkokatolička Crkva u Hrvatskoj
Katoličke škole
Visokoškolske ustanove

Grkokatoličko sjemenište u Zagrebu


El diámetro nominal de tubos representa el tamaño estándar para tuberías de presión.  En Estados Unidos se usa un sistema denominado en pulgadas, mientras en Europa denominan en milímetros según que define la norma ISO 6708.

El tamaño de tubos se especifica mediante dos números adimensionales: el diámetro nominal (NPS, del inglés Nominal Pipe Size) y la cédula (SCH, del inglés schedule). El valor del NPS en pulgadas se relaciona con el diámetro interior para schedule standard, es decir un tubo de 1" schedule std tiene un diámetro interior de 25,4mm, pero solo hasta los 12 pulgadas. Para NPS 14 y más grande, el NPS es igual al diámetro exterior en pulgadas. El espesor de la pared aumenta con una mayor SCH, manteniendo el diámetro exterior constante para un determinado NPS.

El SCH corresponde a la norma ASTM.

Referencias

Ingeniería mecánica
Estándares mecánicos

Diámetro nominal


est une chanson extraite du  studio de Madonna, , dont elle est la douzième piste. Le titre est écrit et produit par Madonna et Mirwais Ahmadzaï. Il sort le  en tant que  pour  via le label , devant ainsi le quatrième  de l'album. De plus, deux EP contenant plusieurs remixes avaient déjà été publiés pour accompagner la chanson. C'est un titre influencé par la  et la  qui s'inspire des œuvres précédentes de Madonna, notamment la chanson  (1990), les albums  (1992) et  (2005).

Contexte et composition
En 2017, Madonna déménage à Lisbonne au Portugal, à la recherche d'une académie de football de premier plan pour son fils David, désireux de devenir joueur professionnel. Installée en ville, elle commence à rencontrer des artistes, des peintres et des musiciens, qui l'invitent à des « séances de salon ». Lors de ces séances, ils apportent de quoi manger, s'assoient autour de la table et les musiciens commencent à jouer des instruments, chantant du fado et de la samba. Se retrouvant , la chanteuse décide de créer un album : . Le , Madonna révèle la sortie d'un album intitulé . Pour cet album, elle travaille avec Mirwais, son collaborateur de longue date, qui avait déjà travaillé sur ses albums  (2000),  (2003) et  (2005), ainsi que Mike Dean, producteur de  (2015) et Diplo.

 est écrit et composé par Madonna et Mirwais, qui s'occupent également de la production. La chanson tire son titre d'une citation de Pablo Picasso, et est décrite comme une chanson disco et , avec une  et une ligne de basse . Le titre puise son influence dans les œuvres précédentes de Madonna, telles que  Vogue (1990),  (1992) et  (2005). Tout au long de la chanson, Madonna répète l'accroche  et, avec un ton , elle répète la phrase .  inclut également un échantillon de claquement de doigts, tiré de la chanson Vogue. Selon le magazine , lorsque Madonna chante , l'artiste . Paul Nolan, de , considère  comme le .

Sortie et accueil
Le , sort sous format numérique et streaming un EP comprenant trois remixes de la chanson par Honey Dijon via Interscope Records. Par la suite, un EP supplémentaire comprenant des remixes de Chris Cox, Endor, DJLW, DJ Kue et Offer Nissim, est publié le  par le même label. En Italie, Universal Music Group sort  en tant que quatrième single de Madame X le .

À sa sortie, la chanson reçoit des critiques généralement positives de la part des critiques musicaux.

 Sal Cinquemani de Slant Magazine l'a qualifiée de « fumante » et a comparé la chanson à Vogue et Erotica, concluant que « ce n'est pas tant une chanson qu'une humeur. C'est de la musique en bas, la ligne de basse lointaine gronde sous vos pieds alors que vous vous glissez dans une cabine de salle de bain pour une bosse rapide ou une baise. ».
 El Hunt de NME, a également comparé la chanson à Vogue et l'a considérée comme « un album remarquable ».
 Jeremy Halliger, écrivant pour Variety, a déclaré que la chanson était « un pur bonheur disco des années 90, la seule fête non-stop de l'album ».
 Mark Savage de la BBC a estimé qu'il « met à jour les grooves deep house de l'ère Erotica ».
 Ben Beaumont-Thomas de The Guardian, fait l'éloge de son son influencé par la house et compare la chanson à Deeper and Deeper (1992).
 Jaime Tabberer de Gay Star News, a estimé qu'« une fois que ça commence, le stomper disco 'I Don't Search I Find' est une classe à part entière », et l'a décrit comme « un numéro de Confessions qui s'est retrouvé criminellement sur le plancher de la salle de coupe ».
 Daniel Megarry de Gay Times considéré comme le deuxième meilleur morceau de Madame X; « Si Justify My Love, Rescue Me et les meilleurs morceaux de Confessions on a Dance Floor avaient un enfant d'amour, ce serait ce [...] Paradis absolu. ».
 Mike Wass d'Idolator a écrit que « le fait que quelque chose d'aussi fou que 'I Don't Search I Find' existe même est un miracle pour commencer. ».
 Dans sa critique de Madame X, Alexandra Pollard de The Independent décrit le morceau comme « un croisement entre Feeling Good de Nina Simone, un morceau house des années quatre-vingt-dix, et une chanson orchestrale de Bond».
 Nicolas Hautman de Us Weekly l'a considéré comme « « l'une des chansons de danse les plus féroces des années 90 qu'elle ait faites... depuis la décennie 1990 ».
 Louise Bruton de l'Irish Times a déclaré à propos de la performance de Madonna qu'« elle nous rappelle qu'elle obtient toujours ce qu'elle veut ».
 Robbie Barnett du Washington Blade a écrit : « Si Music and American Life avait un bébé avec Confessions on a Dance Floor comme belle-mère, ce serait le trésor mid-tempo I Don't Search I Find », le comparant au single de Madonna (de 1991) Rescue Me.
 Le New York Post a considéré « I Don't Search I Find » comme la huitième meilleure chanson de 2019.
 Sur une note plus critique, Jonny Coleman du Hollywood Reporter a déclaré que « même si c'est une arnaque claire de Vogue, c'est la chose la plus proche [sur l'album] sur laquelle vous pouvez réellement imaginer des êtres humains dansant ».
 Le plus négatif était Rich Juzwiak de Pitchfork, qui a rejeté la chanson comme un « entraînement vaguement structuré qui sonne comme s'il avait été extrait de The Rain Tapes».

Accueil commercial et performances live
Aux États-Unis, « I Don't Search I Find » est devenu la  de Madonna dans le classement Dance Club Songs de Billboard, où il a fait ses débuts à la . Il a finalement atteint le sommet, faisant de Madonna le premier acte de l'histoire à marquer au moins 50 chansons numéro un sur un seul classement Billboard, ainsi que sur cinq décennies. Madonna a exprimé sa gratitude dans une déclaration à Billboard; « la danse est mon premier amour [...] donc chaque fois qu'une de mes chansons est célébrée dans les clubs et reconnue dans les charts, je me sens comme à la maison ». La même semaine, la chanson a culminé à la  du classement US Dance/Electronic Songs. Au Royaume-Uni, « I Don't Search I Find » est entré dans le classement des ventes de singles à la  le . Il a atteint la cinquième position sur le classement des ventes de chansons numériques en Grèce et a culminé à la  en Slovaquie.

« I Don't Search I Find » a été présenté sur la tournée Madame X Tour (en 2019-2020) de Madonna. Il a été inclus dans le deuxième acte du concert et mettait en vedette la chanteuse jouant « en mode agent secret ». Elle était flanquée de danseurs sosies déguisés en « détectives noirs », portant des perruques blondes et des trench-coats, qui finissent par la maîtriser et l'interroger. La performance a été saluée par Celia Almeida du Miami New Times, qui a exprimé que Madonna « incarnait son personnage de femme fatale Madame X dans une scène d'interrogatoire qui rappelait le clip noir de Michael Jackson pour Smooth Criminal ».

Le , la chanteuse a fait une apparition surprise lors d'une « fête de la fierté » à la Boom Boom Room de l'hôtel The Standard de New York et a interprété la chanson au sommet du bar du salon. Elle portait un haut en maille transparente, un short en cuir, un corset Jean Paul Gaultier vintage, une perruque bleue et de longs gants roses sans doigts. Elle a également interprété ses titres Vogue et Hung Up lors de cette soirée surprise.

Versions

Crédits

 Madonna – scénariste, chant, producteur
 Mirwais – scénariste, producteur

Crédits issus des notes de pochette de l'album .

Classement hebdomadaires

Notes et références

Liens externes

Chanson interprétée par Madonna
Single publié par Interscope Records
Chanson écrite par Madonna
Chanson écrite par Mirwais Ahmadzaï
Single musical sorti en 2020

I Don't Search I Find


An Secale segetale in uska species han Liliopsida nga syahan ginhulagway ni Peter Mikhailovich Zhukovsky, ngan ginhatag han pagkayana nga asya nga ngaran ni Roman Julievich Roshevitz. An Secale segetale in nahilalakip ha genus nga Secale, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Secale

Secale segetale


Michio Yasuda (født 10. november 1949) er en japansk fodboldspiller.

Japans fodboldlandshold

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Eksterne henvisninger

Japan National Football Team Database

Fodboldspillere fra Japan

Michio Yasuda


An Nervilia taiwaniana in uska species han Liliopsida nga ginhulagway ni Shao Shun Ying. An Nervilia taiwaniana in nahilalakip ha genus nga Nervilia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Nervilia

Nervilia taiwaniana


Parashqevi Qiriazi, također poznata kao Paraskevi D. Kyrias (Bitola, 2. lipnja 1880.  –  Tirana, 17. prosinca 1970.) bila je albanska učiteljica iz obitelji Kyrias koja je svoj život posvetila albanskom pismu i podučavanju pisanog albanskog jezika. Bila je sudionica Kongresa u Manastiru, koji je odlučio o obliku albanskog pisma, i osnivačica Yll' i Mengjesit, udruge žena. Parashqevi je također bio sudionica Pariške mirovne konferencije 1919. kao član albansko-američke zajednice. Bila je sestra Sevasti Qiriazi, ravnateljice prve albanske škole za djevojke u Korçi, otvorene 1891.

Životopis
Parashqevi je rođena u Monastiru (danas Bitola, u Manastirskom vilajetu, Osmansko Carstvo (današnja Sjeverna Makedonija). Kada je imala 11 godina, počela je pomagati svom bratu Gjerasimu Qiriaziju i sestri Sevasti Qiriazi u podučavanju pisanog albanskog za djevojčice u prvoj školi za djevojčice u Albaniji, Ženskoj školi (alb. Shkolla e Vashave)  otvorenoj 15. listopada 1891.

Kasnije je studirala na Robert Collegeu u Istanbulu. Nakon što je diplomirala, otišla je u Korçë da bi zajedno sa svojom sestrom Sevasti radila kao učiteljica u Mësonjëtorji, prvoj albanskoj školi otvorenoj 1887.

Sudjelovala je na Monastirskom kongresu 1908. kao jedina žena.

Godine 1909. izdala je abecedarij za pučke škole. Iako je monastirski kongres donio odluku o novom alfabetu, u njezinu su abecedaru i dalje bile prisutne dvije verzije alfabeta, što pokazuje koliko je konsenzus kongresa još uvijek bio krhak. No, uz abecedarij, objavila je i neke vrlo poznate stihove o obrani novog albanskog pisma.

Također je poznata po tome što je organizirala nastavu za djecu i večernje škole u drugim selima u južnoj Albaniji te po tome što je pomogla u organiziranju lokalnih knjižnica.

Pridonijela je osnivanju udruge Yll' i Mëngjesit 1909. i kasnije, kada je emigrirala u SAD, nastavila je izdavati istoimeni časopis od 1917. do 1920. Časopis je izlazio svakih petnaest dana i uključivao je članke o albanskoj politici, društvu, povijesti, filologiji, književnosti i folkloru.

Godine 1914. otišla je iz Albanije u Rumunjsku zajedno sa svojom sestrom kao posljedica grčke okupacije grada.

Kasnije je otišla u Sjedinjene Države i postala članica albansko-američke zajednice, u ime koje je sudjelovala na Mirovnoj konferenciji u Parizu 1919. godine zastupajući prava Albanaca.

Vratila se u Albaniju 1921., nakon čega je sa zanimanjem pratila tamošnja politička zbivanja, ne gubeći iz vida nacionalne težnje. Postala je jedna od osnivačica i direktorica Ženske ustanove nazvane "Kyrias", po svojoj obitelji, u Tirani i Kamëzu, u suradnji sa svojom sestrom Sevasti i šogorom Kristom Dakom.

U listopadu 1928. godine, na inicijativu Ministarstva unutarnjih poslova, u Tirani je osnovana organizacija " Gruaja Shqiptare " ("Albanka"), s planovima za stvaranje ogranaka diljem zemlje i dijaspore. Nastao je pod pokroviteljstvom kraljice majke i sestre kralja Zoga, princeze Sanije. Organizacija je imala za cilj promicanje obrazovanja, higijene i dobrotvornih aktivnosti, te podizanje albanskih žena na višu kulturnu razinu. Kao dobro obrazovana žena, Parashqevi je uspjela zauzeti vodeću poziciju u njemu. Između 1929. i 1931. organizacija je izdavala svoj časopis Shqiptarja, koji je sadržavao mnoge članke koje su napisale Parashqevi i njezina sestra Sevasti. Časopis se protivio konzervativnom načinu razmišljanja, zagovarajući ženski pokret i njegove zahtjeve.

Parashqevi je bila čvrsti antifašist tijekom cijelog Drugog svjetskog rata, počevši od talijanske invazije 1939. godine. Zbog njezinih antifašističkih stavova, pronacističke jedinice pod vodstvom Xhaferra Deve poslale su je zajedno sa sestrom u logor Anhaltelager Dedinje kraj Beograda.

Preživjela je i vratila se u Tiranu nakon rata, ali su ona i sestrina obitelj tada bili suočeni s daljnjim progonima. Zbog svoje prošlosti povezanosti sa Zogom, Kristo Dako je posthumno ocrnjen od strane komunističkog režima, a obitelji Kyrias bile su protjerane iz Tirane. Dva Parashqevijeva nećaka (Sevastijevi sinovi) bit će zatvoreni, a na kraju je jedan umro u zatvoru.

Objavljeni radovi
Parashqevi Qiriazi napisala je sljedeća djela:

 "The Albanian Girls' School at Kortcha". Life and Light for Woman XXXV, nr. 8 (Boston: Woman's Board of Missions, August 1905).
 "The Development of Schools in the Turkish Empire and an Ideal System of Education for Albania", in Albania, the Master Key to the Near East (Boston: E.L. Grimes, 1919), p. 248-266. (Ponovno  objavljeno 2020, IAPS, ).
 Abetare për shkollat e para. (Manastir: Bashkimi i Kombit, 1909.).

Ostavština

 Parashqevi Qiriazi i njezina sestra Sevasti Qiriazi u Albaniji su kolokvijalno poznate kao "sestre Qiriazi". Smatraju se "majkama albanskog obrazovanja".
 Nekoliko obrazovnih institucija i organizacija u Albaniji i na Kosovu nosi njihovo ime.
 U 2017. koledž koji nosi ime Qiriazi otvoren je na posjedu izvornog Kyrias instituta (1922. – 1933.) u Kamëzu, Albanija.
 Albansko-američka ženska organizacija (AAWO) u New Yorku nosi ime sestara.

Poveznice
 kongres u Monastiru

Izvori

Dodatna literatura

 Toska, Teuta. Parashqevi Qiriazi dhe viti i saj 1919. Tirana: ISSHP, 2020,  (winner of the Academy of Sciences of Albania's 2022 "Aleks Buda" prize).
 Kyrias-Dako, Sevasti. My Life: The autobiography of the pioneer of female education in Albania. Tiranë: IAPS, 2022, .
 Hosaflook, David. Lëvizja Protestante te shqiptarët, 1816–1908. Skopje: Instituti i Trashëgimisë Shpirtërore e Kulturore të Shqiptarëve, 2019,  (winner of the Academy of Sciences of Albania's 2021 "Trinity of Albanology: Meyer-Pedersen-Jokl" prize – 2nd prize).
 Quanrud, John and David Hosaflook. "Were the Kyrias siblings, Kristo Dako, and the Kortcha Girls School Protestant? A response to the re-emergence of a communist-era narrative". IAPS, 2023 (or in Albanian – https://instituti.org/vellezerit-dhe-motrat-qiriazi-kristo-dako-dhe-shkolla-e-vashave-e-korces-a-ishin-protestante
 Hosaflook, David. Precious Alphabet, Precious Fatherland: the Unknown Origin of Albania's Alphabet Hymn. Skopje: ITSHKSH and ISSHP, 2018. https://www.academia.edu/37829263/Precious_Alphabet_Precious_Fatherland_the_Unknown_Origin_of_Albanias_Alphabet_Hymn

Životopisi, Albanija
Feministice

Parashqevi Qiriazi


Le Conseil supérieur de la Marine (CSM) était un organisme ayant pour rôle de conseiller le Ministre de la Marine français. Créé le 5 décembre 1889, il était composé du Chef d'État-major de la Marine, du directeur du Matériel, du directeur de l'Artillerie, ainsi que des amiraux de la Marine.

Sa création s'inscrit en parallèle de la création du Conseil supérieur de la guerre, le 27 juillet 1872, ainsi que de celle du Conseil supérieur de l'Air, en 1931.

Références

Histoire militaire de la France
Marine française

Conseil supérieur de la Marine


كان كولينز وهون هما أول من وصفا الكوزميد  في عام 1978 على أنه نوعاً من البلازميد (الذي يُستخدم غالباً كناقل وراثي في عملية الاستنساخ) يشتمل على سلاسل الكروموسومات، والتي تمثل سلاسل الحمض النووي (دنا) من عاثية لامدا . ونلاحظ أن الكوزميدات تُستخدم لبناء المكتبات الوراثية {{إنج| Library (biology)]].

هذا وللكوزميدات القدرة على حمل ما بين 37 و 52 زوجاً قاعدياً، في حين لا تكون البلازميدات العادية قادرة على حمل سوى 1- 12 زوجاً قاعدياً. فهي قادرة على التنسخ مثل البلازميدات لو كان لها أصلٌ مناسبٌ للتنسخ: فعلى سبيل المثال SV40 ori في خلايا الثدييات، ColE1 ori لتنسخ الحمض النووي (دنا) مزدوج الضفيرة أو f1 ori لتنسخ الحمض النووي (دنا) أحادي الضفيرة في بدائيات النوى. كما أنها غالباً ما تحتوى مورثاً (جيناً) للانتقاء مثل مقاومة المضادات الحيوية، ومن ثم يمكن تحديد الخلايا الناقلة للعدوى من خلال التصفيح أو التبسيط على وسيطٍ يحتوي على مضادٍ حيويٍ. إلا أن تلك الخلايا التي لا تستعمر الكوزميد لن تكون قادرةً على النمو.

و على عكس البلازميدات، يمكن حزم الكوزميدات في قفيصات عاثية، والتي تسمح بانتقال المورثات الأجنبية الغريبة إلى داخل أو بين الخلايا عبر عملية تنبيغٍ (transduction). كما تصبح البلازميدات غير مسمتقرة بعد دمج كمٍ معينٍ من الدنا داخلها، وذلك بسبب أن حجمها المتزايد يكون أكثر توصيلاً للتأشيب الجيني. وللتغلب على تلك الظاهرة، يتم استخدام تنبيغ العاثيات بدلاً من ذلك. ويمكن تحقيق ذلك بواسطة النهايات المتماسكة (cohesive ends)، والمعروفة أيضاً بمواقع cos. وبهذه الطريقة، تصبح الكوزميدات شبيهة لاستخدام عاثية لامبدا كناقل، إلا أنه تم إلغاء وفقط كل جينات لامبدا باستثناء تسلسل cos.

و تقدر سلاسل cos بـ ~200 زوجاً قاعدياً طولاً والتي تعتبر ضرورية لعملية الحزم (packaging). هذا بالإضافة إلى أنها تشتمل على موقع cosN حيث يتم رصد الدنا في كل ضفيرة، بغض النظر عن كونها 12 زوجاً قاعدياً، بواسطة الترميناز (terminase). وهذا يتسبب في أن يصبح الكوزميد الدائري خطي ذو نهايتين لزجتين أو متماسكتين لاصقتين للإثني عشر زوجاً قاعدياً. حيث يجب أن يكون الحمض النووي (الدنا) خطياً ليتناسب ضمن رأس العاثية. هذا ويمسك cosB بالترميناز في أثناء رصد وفصل الضفائر. في حين يُمسك الترميناز بموقع  cosQ  الخاص بالكوزميد التالي (بسبب أن عملية تكرار الدائرة الدوارة غالباً ما تُسفِر عن متسلسلات خطية (concatemer))، وذلك كله بعد أن يتم حزم الكوزميد السابق، لمنع التدهور أو التفسخ بواسطة صورة الديوكسي ريبونيوكلياز (deoxyribonuclease) الخلوية.

سمات الكوزميدات واستخداماتها
في الغالب تكون الكوزميدات بلازميدات ذات بكتيريا oriV، وهي عبارة عن مؤشر لانتقاء المضاد الحيوي وموقع استنساخ، إلا أنها تحمل موقعي cos أو أكثر من لامبداالعاثيات. وهنا نلاحظ أن الكوزميدات المكوكية أو الثديية (المرتبطة بمؤشرات انتقاء الثدييات و SV40 oriV) تصبح متاحة اعتماداً على الهدف المحدد لكوزميدات مدى المضيف واسعة النطاق التجريبية. وتتنوع السعة التحميلية للكوزميدات اعتماداً على حجم الناقل نفسه إلا أنها غالباً ما تتراوح بين 40 و 45 كيلوبايت. وتتضمن اجراءات الاستنساخ إنتاج زراعين ناقلين والذين يرتبطان فيما بعد بالدنا الأجنبي. وغالباً ما يتم إجراء عملية اختيار مقابل دنا الكوزميد واسع المجال (wildtype cosmid DNA) عبر أقصاء الحجم. إلا أنه على الرغم من ذلك، غالباً ما تُشَكِّل الكوزميدات مستعمرات وليس لويحات (plaques). كما أن كثافة الاستنساخ تكون أقل بكثير بما يتراوح بين 105 و 106 وحدة تشكل المستعمرة (colony-forming unit) لكل µg من الدنا المرتبط.

و بعد بناء مكتبات الكوزميد أو اللمبدا المؤتلفة (recombinant lambda)، يتم انتقال الحمض النووي (دنا) كله إلى داخل مضيف بكتريا الإشريكية القولونية الملائم عبر أسلوب يُطلق عليه التعبئة داخل المعمل. فمستخلصات عملية التعبئة الضرورية يتم اشتقاقها من ليسوجينات الإشريكية القولونية E.coli cI857 (سام- جام- الحمراء (red- gam- Sam) ودام Dam (تجمع الرأس) وإيم Eam (تجمع الذيل) على التوالي). فهذه المستخلصات ستحدد وتعبيء الجزيئات المؤتلفة معملياً، منتجةً إما جسيمات عثيات بالغة (ناقلات قائمة على اللامبدا) أو بلازميدات مؤتلفة موجودة داخل قشور العثيات (الكوزميدات). فهذه الفروق تنعكس في تكرارات حدوث العدوى المختلفة التي يتم ملاحظتها لصالح ناقلات الإحلال - لامبدا. وهذا يُعوض قدرتها التحميلية المنخفضة قليلاً. كما يتم تخزين مكتبة العثية ومسحها بصورةٍ أسهل من مكتبات الكوزميدات (المستعمرات).

الدنا المستهدف: يجب أن يتم قطع الدنا الجينومي المقرر استنساخه إلى مدى أحجام مناسبة للقطع المقيدة. وغابلاً ما يتم تنفيذ تلك العملية من خلال التقييد الجزئي المتبوع إما بالتجزئة الحجمية أو بعملية نزع الفوسفات dephosphorylation (غالباً ما يكون فوسفات أمعاء العجل الصغير) لتجنب هروب الكروموسوم، مثل ربط الأجزاء أو القطع الغير مرتبطة جسدياً.

مراجع

انظر أيضا
 هندسة وراثية.
 فوزميد.

استنساخ
تقنيات مخبرية
علم الأحياء الجزيئي
هندسة وراثية

كوزميد


Alberto Corbacho De la Cruz, (nacido el 1 de octubre de 1984 en Palma de Mallorca, Islas Baleares, España) es un jugador de baloncesto español, que ocupaba la posición de Alero en las filas del Club Baloncesto Culleredo de Primera Nacional.

Trayectoria
Formando en las categorías inferiores del San José Obrero de Palma de Mallorca, donde coincide con Rudy Fernández. En el año 2003 ficha por las categorías inferiores del CB Málaga, siendo sus primeras siete temporas un jugador destacado en la Liga LEB. Es un jugador especializado en el tiro exterior, su gran facilidad para armar el brazo y salir de bloqueos y tirar le hacen ser uno de los mayores especialistas en tiro triple de la Liga ACB. En la temporada 2012-13 consigue el récord de promedio de triples por partido para un jugador español, consiguiendo 3.2 triples por partido, metiendo 111 de 280 intentados, con un porcentaje de acierto del 40%. También es de destacar lo fiable que se muestra en los tiros libres, rondando un increíble promedio del 95 % durante las temporadas 2011-12 y 2012-13, siendo el líder estadístico en acierto durante estos dos años. Durante la temporada 2013-14 anota 106 triples y tiene un promedio de 12 puntos por partido, al igual que temporadas anteriores, se muestra muy fiable en la línea de tiros libres, con un porcentaje de 96%. La temporada siguiente sigue con promedios muy similares, con 12 puntos por partido, 98 triples en total, y 94 % de acierto en el tiro libre. Después de 5 exitosos años en Santiago de Compostela, para la temporada 2015-16 ficha por el Saski-Baskonia, teniendo un menor protagonismo en cancha y en el juego (38 triples durante la temporada ACB, y un promedio de 4 puntos por partido), pero siendo partícipe de la clasificación del equipo en la Final Four del año 2016. Para la temporada 2016-17 vuelva al Obradoiro, pero en el primer partido de la temporada se lesiona de gravedad con una rotura del tendón rotuliano de la rodilla izquierda.
Tras dos temporadas en Obradoiro ficha por el Delteco GBC por una temporada.

En noviembre de 2021 se retira de la práctica activa del baloncesto, cuando militaba en el Menorca Basquet
Jugó 226 partidos en la ACB -Obradoiro, Baskonia y Gipuzkoa-, con un promedio de 19:38 minutos, 9'2 puntos (37'5% de acierto en triples y 93'7% en tiros libres), 1'4 rebotes y 0'9 asistencias.

En febrero de 2022, decide regresar a las canchas para jugar en el Club Baloncesto Culleredo de Liga EBA.

Referencias

Enlaces externos
 Ficha de Alberto Corbacho en la web de la ACB

Baloncestistas de España
Baloncestistas de la Liga ACB
Baloncestistas de la Liga LEB
Baloncestistas del Club Baloncesto Ciudad de Huelva
Baloncestistas del Basket Zaragoza 2002
Baloncestistas del Club Bàsquet L'Hospitalet
Baloncestistas del Club Baloncesto Breogán
Baloncestistas del Obradoiro Club Amigos del Baloncesto
Baloncestistas del Saski-Baskonia
Baloncestistas del San Sebastián Gipuzkoa Basket Club
Baloncestistas del Club Bàsquet Menorca
Deportistas de las Islas Baleares
Nacidos en Palma de Mallorca

Alberto Corbacho