Elektromanyetik tayf veya elektromanyetik spektrum (EMS), evrenin herhangi bir yerinde fizik kurallarınca mümkün kılınan tüm elektromanyetik radyasyonu ve farklı ışınım türevlerinin dalga boyları veya frekanslarına göre bu tayftaki rölatif yerlerini ifade eden ölçüt. Herhangi bir cismin elektromanyetik tayfı veya spektrumu, o cisim tarafından çevresine yayılan karakteristik net elektromanyetik radyasyonu tabir eder.

Elektromanyetik tayf, dalga boylarına göre atomaltı değerlerden başlayıp (bkz. Gama ışını veya X-ışını) binlerce kilometre uzunlukta olabilecek radyo dalgalarına kadar birçok farklı radyasyon tipini içerir. Elektromanyetik tayf teoride sonsuz ve sürekli olsa da, pratikte kısa dalga boyu (yüksek frekans) ucunun limitinin Planck uzunluğuna, uzun dalga boyu (alçak frekans) ucunun limitinin ise evrenin tümünün fiziksel büyüklüğüne eşit olduğu düşünülmektedir.

Genişliği

Elektromanyetik tayf binlerce kilometreden atomaltı uzunluklara kadar geniş bir yelpazedeki dalga boylarında ışınımları kapsar. 30 Hz ve altındaki frekansların (uzun-dalga) radyoastronomide bazı nebulalar tarafından üretildiği ve bu yapıların araştırılmasında kullanıldığı, 2,9 * 1027 Hz değeri civarında frekanslara sahip ışınımların da çeşitli kozmik kaynaklardan yayıldığı bilinmektedir.

Boşlukta, belirli bir dalga boyundaki (λ) elektromanyetik enerjinin bu dalga boyu ile orantılı bir frekansı (f) ve foton enerjisi (E) bulunmaktadır. Bu yüzden elektromanyetik tayf bu üç değerden herhangi biri kullanılarak ifade edilebilir. Değerler birbirine aşağıdaki formüller ile bağlıdır:

frekans x dalga boyu veya , ve  veya

Burada;  m/s (ışık hızı) ve  de Planck sabiti 'dir.

Buna göre;

 Yüksek frekanslı elektromanyetik dalgalar yüksek enerjiye ancak kısa dalga boyuna,
 Düşük frekanslı elektromanyetik dalgalar ise düşük enerjiye ancak uzun dalga boyuna

sahiptirler. Görünür ışık veya başka bir elektromanyetik türü belli bir madde içerisinde yaratılır veya içerisinden geçerse (örneğin atmosfer), bu ışınımın dalga boyu artacak, dolayısıyla frekansı düşecektir. Bu değişiklikten dolayı, ışınımların elektromanyetik tayf değerleri ile ilgili rakamsal bilgiler verilirken genellikle söz konusu ışınımlar uzaydaki (boşluk) sayısal değerleri ile ifade edilir.

Spektroskopi ile insan gözünün algılayabildiği 400 ile 700 nm'lik dalga boyları arasındaki görünür ışık bandı dışındaki diğer ışınım aralıkları da algılanabilir. Normal bir laboratuvar spektroskobu 2 ile 2500 nm arasındaki dalga boylarını kolayca algılayabilir. Cisimlerin, gazların ve hatta yıldız ve galaksilerin fiziksel özellikleri ile ilgili birçok veri, bunlardan yayılan elektromanyetik ışınımın bir spektroskop yardımıyla analiz edilerek öğrenilebilir. Örneğin hidrojen atomları 21,12 cm'lik dalga boyunda spesifik bir radyo dalgası yayar. Söz konusu ışınım algılandığında, mesela uzak bir gezegenin atmosferinde hidrojen gazı da bulunduğu anlaşılabilir. Bu, teknik astrofizik araştırmalarda yaygın olarak kullanılmaktadır.

Elektromanyetik radyasyon başlıca yedi kategoride incelenir. Bunlar düşük frekanstan yüksek frekansa doğru radyo dalgaları, mikrodalga, kızıl ötesi, görünür ışık, mor ötesi, X-ışınları ve Gama ışınlarıdır.

Tayf kategorileri
Yukarıda verilen sınıflandırma genelde doğru olsa da, söz konusu kategoriler arasında kesin sınır çizgileri yoktur ve bazı durumlarda aslında belirli bir kategoride yer alan bir ışınım, bir başka kategorinin dalga boyu aralığında bulunabilir. Örneğin, bazı az enerjili gama ışınları aslında bazı yüksek enerjili X-ışınlarından daha uzun dalga boyuna sahiptir. Bunun sebebi, "gama ışını" teriminin nükleer bozunum veya başka bir atomaltı işlem sonucu oluşan fotonlar için kullanılırken X-ışınlarının atom çekirdeğine yakın yüksek enerjili iç elektronların orbital değişimleri sonucu oluşmasıdır. Sonuç itibarıyla X-ışınları ile gama ışınları arasındaki belirleyici fark dalga boylarında değil, söz konusu ışınımları yaratan kaynaklardadır. Ancak gama ışınları genellikle X-ışınlarından daha yüksek frekanslı ve dolayısıyla daha yüksek enerjilidir ve bu yüzden kendi kategorilerinde değerlendirilir.

Radyo dalgaları

Radyo dalgaları binlerce kilometreden yaklaşık bir milimetreye kadar dalga boylarındadır ve sahip oldukları rezonansa uygun antenler ve modülasyon teknikleri kullanarak analog veya sayısal veri aktarımı kanalları olarak değerlendirilebilirler. Televizyon, cep telefonu, MRI, kablosuz bilgisayar ağları ve benzeri uygulamalar radyo dalgalarını kullanır.

Radyo dalgalarının veri taşıma özellikleri dalga yüksekliği, frekans ve faz belirli bir bant aralığında modüle edilerek belirlenir. Elektromanyetik spektrumun bu bölümünün kullanımı birçok ülkede çeşitli resmî kuruluşlar tarafından kısıtlanmakta ve denetlenmektedir. Elektromanyetik radyasyon bir iletkene empoze edildiğinde, iletkenin yüzeyindeki atomların elektronlarını daha enerjik kılarak iletken yüzeyinde küçük bir elektrik akımı oluşmasını sağlar. Radyo antenlerinin çalışma ilkesi bu etkiye dayanır.

Mikrodalga
Mikrodalgalar tipik olarak uygun çap ve şekilde metal dalga kılavuzu tüpler kullanabilecek kadar kısadırlar ve magnetron veya klistron tüpler kullanarak istenen faz ve frekansta üretilebilirler. Mikrodalga üretimi TED ve IMPATT gibi katı yapılı diyotlar kullanılarak da yapılabilir. Çeşitli frekanslardaki mikrodalga enerjisi bazı materyaller tarafından emilebilir ve bu süreç sonucunda ısı açığa çıkar. Mikrodalga fırınlar su moleküllerinin bu özelliğini kullanır. Wi-Fi gibi kablosuz sinyal aktarımında da düşük yoğunluklu mikrodalga kullanılır. Mikrodalga fırınlar bu yüzden çalışır durumda ve yeterince yakın mesafede olduklarında cep telefonu ve diğer bazı elektronik cihazları etkileyebilirler.

Terahertz ışınım

Terahertz (THz) radyasyon, elektromanyetik tayfta uzak kızıl ötesi ile mikrodalgalar arasındaki frekans bandında bulunur. Yakın zamana kadar spektrumun bu bölgesi büyük oranda ihmal edilmişti ancak günümüzde bu milimetre altı bant özellikle haberleşme, doku gösterimi ve savunma teknolojilerinde kullanılmaktadır. Bu bandın askerî amaçlı uygulaması şimdilik düşman askerleri üzerine yansıtılan terahertz ışınımı suretiyle derilerinde yanma hissi yaratarak bu tehditleri etkisizleştirme uygulaması ile sınırlıdır. Aynı ışınım söz konusu hedeflerin elektronik ekipmanını da iş göremez hâle getirecektir.

Kızıl ötesi ışınım

Kızıl ötesi radyasyon yaklaşık olarak 300 GHz ile 400 THz frekansları ve 1 mm ile 750 nm arasındaki dalga boylarını kapsar. Üç ana kategoride incelenir:

 Uzak kızıl ötesi, 300 GHz (1 mm λ) ile 30 THz (10 μm λ) arasındadır. Bu bandın alt bölümleri için mikrodalga da denilebilir. Bu radyasyon tipik olarak spin yapan gaz molekülleri, sıvılarda moleküler akışkanlık ve katılarda fotonlar tarafından emilir. Dünyanın atmosferindeki yaklaşık %1 su buharı tarafından emilen uzak kızıl ötesi ışınım, atmosferin saydam olmasında büyük rol oynamaktadır. Astronomide 200 μm ile birkaç mm arasındaki dalga boylarına genellikle milimetre altı denir ve "uzak kızıl ötesi" tanımı 200 μm'nin altındaki dalga boyları tarafından kullanılır.

 Orta kızıl ötesi, 30 THz (10 μm λ) ile 120 THz (2,5 μm λ) arasında bulunur. Sıcak cisimler bu sıklıkla bu aralıkta ışınım yayarlar. Orta kızıl ötesi ışınım normal moleküler titreşim tarafından emilebilir. Bu frekans aralığına bazen parmak izi bandı da denir.
 Yakın kızıl ötesi, 120 THz (2500 nm λ) ile 400 THz (750 nm λ) arasındadır. Görünür ışığa benzer fiziksel işlemler tarafından üretilir ve benzer optik kurallara tabidir.

Görünür ışık

İnsan gözünün ışık veya renk olarak algıladığı aralığa denk gelen elektromanyetik enerjidir. Beyaz ışık bir prizmadan geçirildiğinde bileşenleri olan diğer dalga boylarına ayrılabilir. Her dalgaboyu farklı bir frekansa sahiptir ve göz tarafından farklı bir renk olarak algılanır.

Mor ötesi ışınım

Dalga boyu görünür ışıktan daha kısadır. Oldukça enerjik olduğu için mor ötesi (UV) ışınım kimyasal bağları bozup çeşitli molekülleri iyonize edebilir veya katalizör etkisi gösterebilir. Güneş yanıkları mor ötesi radyasyonun insan derisi üzerindeki yıkıcı etkisine örnek olarak verilebilir. Bazı durumlarda kanserojen etki yapabilir. UV ışınım ayrıca etkin bir mutajendir ve hücrelerin DNA yapısını bozarak kontrolsüz mutasyona sebep olabilir. Dünya'ya Güneş'ten gelen UV radyasyonunun büyük bir kısmı yüzeye ulaşmadan önce atmosferdeki ozon tabakası tarafından emilir.

X-ışınları

X-ışınları, mor ötesi ışınlardan daha kısa dalga boyuna, dolayısıyla daha yüksek frekans ve enerjiye sahiptir. Çeşitli materyallerin içinden geçebildikleri için tıpta organ ve kemiklerin görüntülenmesinde sıkça kullanıldığı gibi, ayrıca yüksek-enerji fizik ve gökbilim uygulamalarında da kullanım alanı bulmuştur. X-ışınlarının bir başka adı Röntgen ışınlarıdır.

Gama ışınları
Gama ışınları 1900 yılında Villiard tarafından bulunmuştur. Bilinen en enerjik elektromanyetik radyasyon türü olan gama ışınları nükleer aktivite ve çeşitli kozmik kaynaklar tarafından üretilirler.

Ayrıca bakınız
 Uydu bantları
 Radyasyon
 Işık
 Frekans
 Dalga boyu
 Ozon tabakası
 Spektroskopi
 Elektronik savaş

Kaynakça

Elektromanyetik spektrum


Kızılkale, Tunceli ilinin Mazgirt ilçesine bağlı bir köydür.

Tarihçe
Yerleşiminden 1530 yılı tahririnde, "Kızıl-kal'a" adıyla Çemişgezek sancağının Mazgird nahiyesine bağlı bir köy olarak bahsedilmektedir. Yerleşim o tarihten günümüze köy statüsünü sürdürmektedir. Köyden bazı kaynaklarda "Dırban" adıyla da bahsedilirken, Belh'ten gelerek 1160-1230 yılları arasında Dersim Bölgesinde yaşamış Pir Cemal Abdal'ın ölümünden sonra torunlarından çoğunun köye yerleştiği belirtilmektedir. Türkiye Cumhuriyetinin kuruluşuyla da Kızılkale adını kullanan yerleşim, Mazgirt'e bağlı köy statüsünü sürdürmektedir.

Coğrafya
Tunceli iline 54 km, Mazgirt ilçesine 41 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar
 Yerelnet

Mazgirt belde ve köyleri

Kızılkale, Mazgirt


"Blank Space" je pjesma američke pjevačice Taylor Swift za njen peti studijski album 1989. (2014.). Napisali su je Swift, Max Martin i Shellback. Pjesma je postala singl 10. studenog 2014., nakon "Shake It Off" te je ujedno i druga pjesma na albumu. Pjesma je elektro-pop pjesma s tekstovima koji satiraju medijsku percepciju Taylor Swift i njezinih ljubavnih odnosa.

U roku od tri tjedna, "Blank Space" dosegao je broj jedan na US Billboard Hot 100 te je srušio vodeći "Shake It Off". Swift je postala prva žena u povijesti Hot 100-a koja je uspjela postići najbolja mjesta te jedina koja je supjela srušiti sama sebe na ljestvicama. Od kritičara je dobila univerzalnu pohvalu. Pjesma je također na vrhu ljestvice u Kanadi, Južnoj Africi i Australiji. Također je bila u prvih deset u brojnim zemljama, kao što su Austrija, Češka, Njemačka, Novi Zeland, Španjolska i Ujedinjeno Kraljevstvo. To je jedan od najprodavanijih singlova svih vremena.

Prateći glazbeni spot pjesme režirao je Joseph Kahn i snimao se tri dana u Dvorcu Oheka u Huntingtonu u New Yorku. Pjesma je dobila svoju prvu televizijsku izvedbu na 2014. American Music Awards.

O pjesmi
"Blank Space" je elektro-pop pjesma koju mnogi kritičari uspoređuju s pjesmama umjetnice Lorde. Pjesmu je napisala Swift zajedno s Martinom i Shellbackom.

Pjesma je bila nominirana na 58. Grammy Awards za rekord godine, pjesmu godine i najbolju solo izvedbu.

Glazbeni video
Prateći glazbeni spot režirao je Joseph Kahn, a snimljen je tijekom tri dana u rujnu na dvije različite lokacije na Long Islandu; 12 sati u prvom danu, 18 sati na drugom. Većina scena u spotu prikazuje Swift snimljenu su u Dvorcu Oheka u Huntingtonu u New Yorku, dok su neke unutrašnje scene snimljene u Woolworth Mansionu. Spot je premijerno prikazan 10. studneog 2014. na Swiftinom YouTube kanalu.

Ljestvice

Izvori

Singlovi iz 2014.
Skladbe Taylor Swift

Blank Space (pjesma Taylor Swift)


La tortolita azulada (Claravis pretiosa) es una especie de ave, la única del género columbiforme Claravis de la familia de los y colúmbidos. Es nativa de
América Central y del Sur (residente desde el norte de Argentina, el noroeste de Perú  y en Trinidad , hasta el sureste de México). Su hábitat consiste en bosques y sabanas. No tiene subespecies reconocidas.

Historia taxonómica

Claravis fue propuesto en el año 1899 por Harry Church Oberholser, para reemplazar al género Peristera Swainson, 1827 el cual ya estaba ocupado por un gasterópodo descrito en el año 1815 por C. S. Rafinesque. La especie tipo es Columba cinerea Temminck, 1811, hoy Claravis pretiosa (Ferrari-Pérez, 1886).

El género incluyó varias especies hasta que dos estudios efectuados mediante análisis filogenéticos moleculares demostraron que Claravis no era monofilético, al comprender dos linajes, uno de ellos incluía una única especie, (Claravis pretiosa) y al ser la especie tipo del género Claravis este pasó a ser monotípico, creándose para incluir a las restantes un nuevo género: Paraclaravis.

Galería

Referencias

Enlaces externos

Animales descritos en 1886
Aves de América Central
Aves de América del Sur
Columbidae
Géneros monotípicos de aves

Claravis pretiosa


Msgr. dr. Josip Srebrnić (2. veljače 1876. – 21. lipnja 1966.), hrvatski povjesničar, katolički svećenik i biskup Krčke biskupije.

Životopis

Djetinjstvo, mladost, zaređenje

Josip Srebrnić rođen je 2. veljače 1876. u slovenskom selu Solkanu blizu Nove Gorice kao prvorođenac od sedmoro djece u seljačkoj obitelji Jožefa i Terezije rođ. Šuligoj. Gimnaziju je pohađao u Novoj Gorici, a u Beču je studirao zemljopis i povijest i tamo doktorirao 1902., iste godine kad je odlučio postati katolički svećenik. Gorički nadbiskup Jordan poslao ga je u rimski zavod Germanicum, gdje je započeo studij na papinskom sveučilištu Gregorijani. Za svećenika je zaređen u Rimu 28. listopada 1906. Godinu kasnije ponovno je doktorirao, ovaj put u Rimu, iz skolastičke filozofije i bogoslovlja.

Iz Slovenije u Hrvatsku

Vrativši se u Sloveniju, djelovao je u matičnoj biskupiji dok ga nisu u jesen 1919. pozvali u Ljubljanu kao profesora povijesti na Bogoslovnom fakultetu. Iste godine u travnju se naglo razbolio tadašnji krčki biskup Antun Mahnić, koji je 1920. i umro u Zagrebu. Krčka biskupija otada čeka da se imenuje novi biskup, što se dogodilo tek 15. rujna 1923., kada je tu titulu dobio upravo Josip Srebrnić. Njega samoga ta vijest je zatekla dok se s grupom mladih vjernika nalazio na vrhovima Triglava, najveće slovenske planine. Jedan od njegovih prijatelja je u tome vidio providnosni, biblijski čin. Srebrnić se trebao spustiti s visina planine na nizinu otoka i poći na otok Krk među Hrvate, što je on sam prokomentirao riječima "odsada sam među Hrvatima Hrvat". On nije nalazio problem da kao rođeni Slovenac bude biskup među Hrvatima, jer njemu, kao ni biskupu Mahniću, pitanje narodnosti nije predstavljalo nikakvu prepreku pred duhovnim stvarnostima.

Biskupsko djelovanje

Kao krčki biskup, Josip Srebrnić se unutar Jugoslavenske biskupske konferencije uporno, neprestano i neumorno zalagao za slobodu i prava svih Hrvata i Slovenaca koji su živjeli pod okupacijom fašističke Italije. 1942. je u Rimu prosvjedovao zbog slovenskih logoraša na Rabu, a na Krku se kod talijanskih vlasti zauzimao za prava hrvatskog stanovništva na otoku.

Međutim, iako je bio veliki borac za prava Hrvata i Slovenaca, te protivnik fašističkim i nacističkim okupatorima hrvatskog teritorija, biskup Srebrnić bio je i veliki protivnik NOP-a. Sam predsjednik AVNOJ-a, dr. Ivan Ribar, posjetio je Srebrnića dvaput tijekom ratnih zbivanja u Jugoslaviji, a drugi put pratio ga je i Svetozar Rittig. Ribar ga je pokušavao nagovoriti da pruži podršku NOP-u i pošalje nekoliko svojih svećenika za vjerske referente na oslobođeno područje. No, njegovi posjeti i nagovaranja nisu imali nikakvog učinka u biskupovu približavanju partizanima, upravo suprotno. 1944. biskup Srebrnić upućuje krčkim svećenicima okružnicu kojim oštro osuđuje NOP i zabranjuje svaku suradnju s njime. Pozivao se na encikliku Divini Redemptoris pape Pija XI. iz 1937., kojom je Katolička Crkva osudila komunizam. Svoju okružnicu započinje ovim riječima:

Na njegovu okružnicu Rittig je odgovorio knjižicom na 14 stranica "Odgovor krčkom biskupu na njegovu osudu NOP-a", a jedan od njegovih glavnih argumenata su kako je sam partizanski poglavar Josip Broz Tito na svečanosti 30. studenog 1943. u Jajcu izjavio:

Zatvaranje, kasne godine i smrt

Po završetku Drugog svjetskog rata komunistički vrh na čelu s Titom prognao je Srebrnića u Sušak kao političkog zatočenika. 1949. imenovan je administratorom Riječke nadbiskupije, koja je tada bila podijeljena na hrvatski i slovenski dio. Umro je 21. lipnja 1966. u gradu Krku.

Biskupski grb i geslo

Srebrnićev biskupski grb odiše originalnošću i pomalo odudara od heraldičkih zakonitosti. Preko sredine grba s lijevog gornjeg ugla spušta se ukoso, u obliku dijagonale, vijugava zelena rijeka. Ona označava prolaznost ljudskog života i ispraznost vremenitih stvari. Na lijevoj strani grba nalazi se prepoznatljiv obris Triglava s brdom Kredarica, gdje se nalaze planinski dom i crkvica. To je ujedno i simbol njegove domovine Slovenije i mjesto gdje ga je zateklo imenovanje za krčkog biskupa. Na desnoj strani pri dnu je valovito more, iznad kojega svijetli zvijezda Danica. Simbol je to i Zvijezde mora, Marije, ali i jutarnje zvijezde Danice, glasnice novog dana. Ta je zvijezda simbolizirala i katoličko akademsko društvo "Danica" u Ljubljani, koje je prvo pokrenulo đačko gibanje u Sloveniji, a kojeg je Srebrnić bio član, predsjednik i na kraju počasni član kao biskup.

Kao geslo svoje nove biskupske službe uzeo je latinsku biblijsku izreku Fortis in fide (hrv. "(Budite) čvrsti u vjeri"), inače preporuku svetog Pavla. Biskup Srebrnić je to geslo posvjedočio svojim životom - bio je čvrst u katoličkoj vjeri.

Izvori

Hrvatski biskupi
Krčki biskupi
Životopisi, Krk

Josip Srebrnić


Entropija (njem. Entropie) može značiti:
 entropija (oznaka S) je pojam koji je uveo 1865. Rudolf Clausius, a predstavlja termodinamičku funkciju stanja sustava kojoj beskonačno mala (infinitezimalna) promjena dS između dva beskonačno bliska ravnotežna stanja termodinamičkog sustava iznosi:

gdje je:  - toplina razmijenjena u povratnom (reverzibilnom) procesu kojim sustav prelazi iz jednog stanja u drugo, a  - apsolutna temperatura.
 entropija (informatika), u informatici, je mjera neodređenosti informacija; postupci obrade informacija u kojima se gubi dio informacija; analogni su termodinamičkim postupcima u kojima se entropija povećava.
 entropija (komunikacija), u komunikacijama, prosječna vrijednost količine informacija koje odašilje izvor ili koje prolaze komunikacijskim kanalom.
 entropija (umjetnost), u povijesti umjetnosti (R. Arnheim), označuje stupanj neuređenosti kakva zatvorenog sustava, proces njegove razgradnje ili termičke smrti. Kao književni motiv susreće se u djelima T. Pynchona.
 entropija (geologija), u geologiji, je mjera za stupanj uniformnosti taložnih stijena. Visoku entropiju imaju sedimenti jednolična sustava, dok taložine s izraženom mješavinom čestica imaju nisku entropiju.
 softverska entropija je pojam kojim se opisuje entropija koja nastaje u softverskim sustavima kada ih se izmijeni.

Izvori

Entropija (razdvojba)


Elisabet Reinsalu (født Elisabet Tamm, 26. april 1976 i Tallinn Estiske SSR, Sovjetunionen) er en estisk skuespiller.

Eksterne henvisninger

Børneskuespillere fra Estland

Elisabet Reinsalu


Cosimo Fanzago (Clusone, 12. listopada 1591. - Napulj, 13. veljače 1678.) bio je talijanski arhitekt i kipar, općenito se smatra najvećim takvim umjetnikom baroknog razdoblja u Napulju, u Italiji.

Biografija

Fanzago je rođen u Clusoneu (sadašnja pokrajina Bergamo) u obitelji ljevača bronce i arhitekata. Godine 1608., nakon kratkog boravka u Chietiju, preselio se u Napulj. Ovdje se (prema onome što je napisao 1612.) školovao za mramornog kipara (maestro di scultura di marmo) i zidara kod toskanskog kipara Angela Landija. Njegovo prvo važno djelo bio je nadgrobni spomenik Marija Carafe, rođaka kardinala Carafe. Njegov arhitektonski debi bio je dizajn San Giuseppe dei Vecchi a San Potito (dovršen 1669.).

Prema eseju o Fanzagovom životu grofa Fogaccia, u Napulju je dobio potporu benediktinaca, medinskog potkralja, princa Caracciola i kartuzijanaca, te je ubrzo otvorio vlastitu radionicu.

Navodno je simpatizirao Masaniellovu pobunu, a nakon povratka kraljevske vlasti, Fanzago je osuđen na smrt i morao je pobjeći u Rim, gdje je radio jedno desetljeće. Vratio se u Napulj i projektirao prvobitni tlocrt crkve Santa Maria Egiziaca a Pizzofalcone (izgrađena 1651. – 1717.). Ova crkva prikazuje tlocrt grčkog križa i nalikuje hibridu suvremenih baroknih remek-djela Berninija (kupola podsjeća na Sant'Andrea al Quirinale) i Borrominija (nacrt podsjeća na Sant'Agnese).

Projektirao je i crkvu Santa Teresa a Chiaia. Njegova posljednja velika crkva bila je Santa Maria Maggiore, izgrađena između 1653. i 1675. godine. Fanzago je umro u dobi od 87 godina. Jedan od njegovih učenika bio je Lorenzo Vaccaro.

Glavna djela u Napulju
Njegovi radovi u Napulju uključuju:

 Guglia di San Gennaro: zavjetni toranj u čast zaštitnika Napulja. Imitira velike prijenosne efemerne ukrase uobičajene u vjerskim procesijama
 model za druga dva istaknuta tornja, u čijem je planiranju pomogao (na Piazza del Gesù Nuovo i Piazza San Domenico Maggiore). Bio je to takozvani "stup kuge"; to jest, toranj izgrađen u znak zahvalnosti što je bio pošteđen od nedavne epidemije.

 Opsežan rad na Certosa di San Martino, uključujući spektakularno središnje dvorište s velikim portalima i poprsjima kartuzijanskih svetaca. Crkva i klaustri smatraju se njegovim remek-djelom. Kartuzijanci su za 33 godine rada Fanzagu isplatili 57.000 dukata. Između 1660. i 1700. napuljskim sudovima vijugala je tužba zbog navodnog premalog plaćanja redovnika.
 Pročelja ili detalji pročelja brojnih crkava, kapela i građanskih zgrada, uključujući Santa Maria degli Angeli (u blizini Botaničkog vrta), anonimna djela unutar Napuljske katedrale, Chiesa dell'Ascensione a Chiaia (1622.); pročelje Santa Maria della Sapienza (1638–41); brončana vrata kapele kraljevske riznice; i izvorni dizajn crkve San Francesco Saverio (sada San Ferdinando, preko puta trga od Kraljevske palače);
 Kapela Cacace i kapela Svetog Ante u San Lorenzo Maggiore.
 Oltari unutar crkava, kao što su Santa Maria la Nova, Santi Severino e Sossio, Santa Maria di Costantinopoli i crkva San Pietro a Maiella (gdje se sada nalazi glazbeni konzervatorij).
 Javne fontane, uključujući Fontanu del Gigante u blizini Santa Lucije i fontanu Sebeto u Mergellini.
 Villa Donn'Anna u Posillipu.
 Brojna djela izvan Napulja, uključujući unutar benediktinske opatije Montecassino i San Nicola u Veneciji.

Reference

Vanjske poveznice

 Web galerija umjetnosti
 Jusepe de Ribera, 1591.-1652., cjeloviti katalog izložbe iz Muzeja umjetnosti Metropolitan, koji uključuje materijal o Cosimu Fanzagu (vidi indeks)
Talijanski kipari
Životopisi, Napulj
Talijanski arhitekti

Cosimo Fanzago


Robert Dale "Bob" Price (* 7. September 1927 in Reading, Lyon County, Kansas; † 24. August 2004 in Pampa, Texas) war ein US-amerikanischer Politiker. Zwischen 1967 und 1975 vertrat er den Bundesstaat Texas im US-Repräsentantenhaus.

Werdegang
Bob Price besuchte die öffentlichen Schulen seiner Heimat und studierte danach bis 1951 an der Oklahoma State University. Zwischen 1951 und 1955 diente er in der United States Air Force. Während des Koreakrieges flog er 27 Kampfeinsätze. Für seine militärische Leistungen wurde er mit der Air Medal ausgezeichnet. Nach seiner Militärzeit bewirtschaftete Price seine inzwischen erworbene Ranch in Texas. Gleichzeitig begann er als Mitglied der Republikanischen Partei eine politische Laufbahn. In den Jahren 1964, 1966 und 1968 war er Delegierter auf den regionalen Parteitagen der Republikaner in Texas. Im August 1968 nahm er auch an der Republican National Convention in Miami Beach teil, auf der Richard Nixon als Präsidentschaftskandidat nominiert wurde.

Bei den Kongresswahlen des Jahres 1966 wurde Price im 18. Wahlbezirk von Texas in das US-Repräsentantenhaus in Washington, D.C. gewählt, wo er am 3. Januar 1967 die Nachfolge von Walter E. Rogers antrat. Nach drei Wiederwahlen konnte er bis zum 3. Januar 1975 vier Legislaturperioden im Kongress absolvieren. Seit 1973 vertrat er als Nachfolger von Graham B. Purcell den 13. Distrikt seines Staates. In seine Zeit als Kongressabgeordneter fielen unter anderem der Vietnamkrieg, der Höhepunkt der Bürgerrechtsbewegung und die Watergate-Affäre. Diese Affäre schadete der Republikanischen Partei und ihren Mandatsträgern. Viele wurden im Jahr 1974 nicht wiedergewählt. Dazu gehörte auch Bob Price.

1976 bewarb er sich erfolglos um seine Rückkehr in den Kongress. Zwischen 1978 und 1980 saß er im Senat von Texas. In den Jahren 1988, 1990 und 1992 versuchte Price jeweils erfolglos, die Nominierung seiner Partei für die Kongresswahlen erringen. Er starb am 24. August 2004 in Pampa und wurde in Midland beigesetzt. Mit seiner Frau Martha hatte er drei Kinder.

Weblinks

Mitglied des Repräsentantenhauses der Vereinigten Staaten für Texas
Mitglied des Senats von Texas
Mitglied der Republikanischen Partei
US-Amerikaner
Geboren 1927
Gestorben 2004
Mann

Bob Price


82092 Kalocsa este un asteroid din centura principală de asteroizi.

Descriere
82092 Kalocsa este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Piszkesteto de Krisztián Sárneczky și Alíz Derekas. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,42 ua, o excentricitate de 0,17 și o înclinație de 2,5° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 82001-83000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2001
Centura de asteroizi

82092 Kalocsa


L'Union nationale des écrivains d'Ukraine (), est une association socio-professionnelle et culturelle d'écrivains, de poètes, de prosateurs, de dramaturges, de critiques littéraires et de traducteurs ukrainiens.

Présentation
L'Union des écrivains de la RSS d'Ukraine est fondée en 1934 lors du premier Congrès national des écrivains soviétiques les  à Kharkiv sous le nom d'Union des écrivains de la RSS d'Ukraine à partir de l'Union des écrivains soviétiques qui est créée la même année. Sa première assemblée générale se tient le  à Kiev.

La Seconde Guerre mondiale oblige l'Union des écrivains ukrainiens à s'éloigner des lieux du conflit. En juillet et août 1941, la majeure partie du personnel de l'Union des écrivains d'Ukraine arrive à Oufa. Lors de l'évacuation, Maxime Rylski, Nathan Rybak, , ,  participent à l'organisation de la publication d'œuvres d'écrivains ukrainiens dans la série "Devant et derrière", dans les journaux et magazines littéraires en ukrainien. En janvier 1943, presque tous les écrivains ukrainiens se trouvent à Oufa. L'arrivée n'était pas fortuite. Un plénum solennel de l'Union des écrivains d'Ukraine dédié au  de l'établissement de la RSS d'Ukraine a lieu ici. Des écrivains sont venus de tous les fronts, des unités de guérilla, des villes les plus proches au plus lointaines.

En 1991, dès le début la période post-communiste, l'Union des écrivains d'Ukraine déclare son indépendance de toute structure soviétique (1991).

En 1997, l'Union des écrivains d'Ukraine reçoit le statut d'Union "nationale" des écrivains d'Ukraine.

Aujourd'hui, l'Union nationale des écrivains d'Ukraine compte plus de 1 800 membres, dont 84 écrivains vivant à l'étranger. La majorité de ses membres écrivent en ukrainien, tandis que d'autres écrivent en russe, moldave, yiddish, hongrois, grec, etc. Les organisations régionales de l'Union sont situées dans chaque oblast d'Ukraine et dans les grandes villes.

L'organe suprême de l'Union nationale des écrivains d'Ukraine est le Congrès des écrivains ukrainiens, qui se réunit tous les cinq ans. Dans l'intervalle, l'Union est gérée par le Conseil et un Présidium. Les fonctions exécutives sont déléguées au Secrétariat.

L'Union nationale des écrivains d'Ukraine a créé des prix littéraires spéciaux pour honorer les meilleures œuvres dans les domaines correspondants, parmi lesquels le prix Lessia Oukraïnka, le prix Ivan Franko, le prix Pavlo Tytchyna, le prix Maxime Rylski et d'autres prix littéraires.

Le siège de l'Union est situé au 2 rue Bankova à Kiev, l'ancienne résidence de Trepov et plus tard de Liebermann.

Membres notables
Oles Hontchar
Maria Kapnist
Olexandr Kornitchouk
Maxime Rylski
Pavlo Zahrebelnyï

Voir aussi
Prix international Oles-Hontchar que remet l'Union.

Liens externes

Histoire culturelle de l'Ukraine
Association fondée en 1934
Association ou organisme ayant son siège en Ukraine

Union nationale des écrivains d'Ukraine


Agim Sali Zeka (n. 6 septembrie 1998) este un fotbalist albanez care joacă pe postul de extremă dreapta pentru Fortuna Sittard, împrumutat de la clubul francez Lille B și pentru echipa națională de fotbal a Albaniei sub 21 de ani.

Cariera pe echipe
Zeka și-a început cariera de tineret la FC Prishtina. El a trecut prin toate categoriile de vârstă și la 2 februarie 2016 a semnat din postura de jucător liber de contract cu KF Skënderbeu Korçë.

Skënderbeu Korçë
A debutat ca fotbalist profesionist pentru Skënderbeu Korçë la 28 septembrie 2016 în meciul de Cupa Albaniei împotriva lui Butrinti Sarande, în care a fost integralist. Apoi a jucat alte două meciuri din Cupa Albaniei în următoarea rundă, în ambele meciuri împotriva lui Apolonia Fier. În perioada octombrie-noiembrie a fost titular, jucând 3 meciuri în Superliga Albaniei sub antrenorul Andrea Agostinelli.

Lille
La 31 ianuarie 2017, Zeka a semnat un contract cu echipa franceză Lille OSC pe patru ani și jumătate, jucând inițial pentru Lille B în Campionatul Amator de fotbal al Franței. Lille i-a plătit 300.000 de euro lui Skënderbeu Korçë, care a păstrat și 20% dintr-un viitor transfer. A debutat în Franța, la 4 februarie 2017, împotriva lui L'Entente, jucând ca titular până în minutul 62, când a fost înlocuit de Imad Faraj.

A debutat în sezonul 2017-2018 împotriva lui Furiani-Agliani pe 12 august 2017, jucând ca titular sub comanda antrenorului Patrick Collot și înlocuindu-l în minutul 72 pe Romain Jamrozik într-un meci încheiat la egalitate, scor 1-1. El a marcat primul său gol în a treia etapă a [./https://en.wikipedia.org/wiki/2017%E2%80%9318_Championnat_National_2 Championnat National 2] 2017-2018 și a intrat pe teren în minutul 64 în timpul celui de-al doilea meci care s-a jucat pe 26 august 2017 împotriva lui Sedan Ardennes și care s-a încheiat la egalitate, scor 1-1.

Împrumutul la Varzim
La 9 ianuarie 2018, Zeka a fost împrumutat la Varzim în cea de-a doua divizie portugheză LigaPro, până la sfârșitul sezonului 2017-2018. El a primit tricoul cu numărul 22 și a debutat pe 14 ianuarie împotriva lui Vitória de Guimarães II, intrând în minutul al 82-lea într-o înfrângere cu 2-1.

Împrumutul la Leixões
La 8 august 2018 Zeka a fost împrumutat la Leixões în cea de-a doua divizie portugheză LigaPro.

Împrumut la Fortuna Sittard
La 28 ianuarie 2018 Zeka a fost împrumutat la Fortuna Sittard până la sfârșitul sezonului 2018-2019.

Cariera internațională

Albania U17
Zeka a fost chemat la echipa națională de fotbal a Albaniei, sub conducerea antrenorului Dzemal Mustedanagić, pentru a participa la calificările la Campionatului European de juniori sub 20 de ani al UEFA din 2015, în meciurile care s-au jucat în perioada 8-13 octombrie 2014. A jucat în toate cele 3 meciuri, unul ca titular și două ca rezervă, în care care a înscris un gol împotriva lui San Marino U17.

Albania U19
El a fost chemat la echipa națională de fotbal a Albaniei sub 19 ani de antrenorul Arjan Bellaj pentru a participa la meciurile din calificările pentru Campionatul European sub 19 ani UEFA din 2017 din perioada 6-11 octombrie 2016. El a jucat ca titular în meciul de deschidere împotriva Republicii Irlanda U19 și a fost înlocuit în minutul 70 cu Xhonatan Lajthia. El a înscris de două ori împotriva Germaniei U19 în minutele 72 și 90 + 2, dar nu a fost suficient, deoarece Albania U19 a pierdut cu 3-2, cur Germania U19 marcând toate cele 3 goluri în prima repriză. În ultimul meci împotriva Gibraltarului U19 a marcat singurul gol al partidei în minutul 8, Albaniei U19 câștigând meciul cu 1-0.

Albania U21
În urma accidentării a 3 jucători la echipa națională Albania sub 21 de ani, Qazim Laçi, Leonardo Maloku și Emanuele Ndoj, pentru meciul amical împotriva echipei Franței U21 la 5 iunie 2017 și pentru primul meci din grupele de calificare împotriva Estoniei U21 la 12 iunie 2017, antrenorul Alban Bushi i-a convocat pe Zeka și Regi Lushkja ca înlocuitor. În meciul de deschidere al calificărilor împotriva Estoniei U21, Zeka a intrat pe teren în minutul 64 în locul lui Valdrin Mustafa, dar după 3 minute a fost eliminat prin primirea unui cartonaș roșu pentru un fault asupra lui Märten Kuusk.

El a primit prima sa convocare pentru echipa U-20 a Albaniei din partea aceluiași antrenor al echipei de sub 21 de ani Alban Bushi pentru meciul amical cu Georgia de pe 14 noiembrie 2017. El a debutat împotriva echipei sub 20 de ani a Georgiei, jucând în toate cele 90 de minute, ratând un penalty în prima repriză, în meciul pierdut cu 3-0.

Statistici privind cariera

Club

 Până pe data de 14 ianuarie 2018

Goluri la națională

 Până pe 13 octombrie 2014. Golul marcat de Zeka pentru naționala Albaniei U17.

 Începând cu data de 11 octombrie 2016. Golurile marcate de Zeka pentru Albania U19.

Referințe

Legături externe

Atacanți
Mijlocași
Fotbaliști albanezi
Oameni în viață
Nașteri în 1998

Agim Zeka


.mv Maldivler için internet ülke kodu üst seviye alan adıdır. (CcTLD)

Maldivler'de iletişim
Maldivler medyası
İnternet ülke alan kodları
1996 tanıtımları

.mv


غواصة فئة فانغارد هي فئة غواصات تعد أضخم الغواصات التي أنتجتها المملكة المتحدة. تبلغ حمولتها، وهي غائصة، 15.900 طن؛ وهي ضعف حمولة الغواصات من فئة،Resolution Class، التي حلت بدلاً منها. ولقد دخلت أول هذه الغواصات الخدمة في عام 1993، وبدأت في فبراير عام 2002، إجراءات العمرة الرئيسية لها.
تستطيع الغواصة من هذه الفئة حمل 16 صاروخ Trident II، أو Trident D5 الذي يحمل الاسم الرمزي UGM–133 A، وهو صاروخ إستراتيجي، ينطلق من الغواصات Submarine Launched Ballistic Missile SLBM. ويحمل كلّ صاروخ من هذه الصواريخ العديد من الرؤوس الحربية، التي يوجه كلّ رأس منها إلى هدف مستقل؛ وتبلغ قوة كلّ رأس منها 120 كيلو طن. وحدد عدد الرؤوس النووية التي تحملها الغواصة الواحدة بثمانية وأربعين رأسا فقط. يبلغ مدى صاروخ Trident II حوالي 11 ألف كم، ويطير بسرعة تزيد على سرعة الصوت.

زودت الغواصات من فئة Vanguard بأربعة أنابيب لقذف الطوربيد عيار 533 مم. وتحمل الغواصة الطوربيدات من نوعَي Tigerfish وSpearfish. يبلغ وزن طوربيد Tigerfish 134 كجم، وهو موجة بالسلك، ويبلغ مداه 29 كم؛ بينما يبلغ مدى طوربيد Spearfish 65 كم. الغواصات من هذه الفئة مزودة بالنظام 2066 2071 لإطلاق الأجسام الخداعية، لتضليل الأسلحة الموجهة ضد الغواصة. كما تحمل نظام المعاونة الإلكترونية UAPMK 3؛ إضافة إلى نظام السونار المركب 2054، ونظام السونار المتطور من النوع 2046. وهي كذلك مزودة ببيريسكوب يحتوي على كاميرا تلفزيونية وجهاز تصوير حراري. وتستخدم الغواصة راداراً ملاحياً من النوع 1007. تحصل الغواصة على الطاقة اللازمة لها من مفاعل نووي من النوع PWR-2. وهو يوفر للغواصة طاقة تكفي للدوران حول العالم 20 مرة، بدون إعادة تنشيط لقلب المفاعل. أمّا القوة الدافعة، فتمتثل في محركَين من النوع التوربيني، لهما محور مشترك.

المواصفات العامة والفنية

الأبعاد الخارجية
 الطول: 149.9 م.
 العرض: 12.8 م.
 الارتفاع: 12 م.

الأوزان
 حجم الإزاحة : 16 طن (بالغوص)

الأداء
السرعة، وهي غاطسة: 45كم/ س.

القوة المحركة
 المفاعل النووي: PWR . 2.
 المحرك: محركان من النوع التوربيني، الذي يعمل بقوة ضغط البخار، لهما محور مشترك.
 قدرة كلّ محرك: 27.500 حصان.
 تغوص من 5\7 كم تحت اعماق المحيطات

التسليح
 صاروخ : Trident I 16 صاروخاً.
 قاذف طوربيد 533 مم: 4 قواذف، يمكنها إطلاق صواريخ Harpoon المضادة للسفن.

الطاقم
 الضباط والدرجات الأخرى: 135 فرداً.

طالع أيضاً
 المشروع 705 ليرا

مراجع

برنامج ترايدنت النووي
سفن حربية
سفن عقد 1990
طرازات غواصات
غواصات الدفع النووي
ف
غواصات صواريخ بالستية

غواصة فانغارد


Scutellaria havanensis est une espèce herbacée appartenant à la famille des Lamiaceae, et originaire d'Amérique centrale et de la région Caraïbe.

Il est appelé Havana Skullcap en anglais.

Description
Scutellaria havanensis est une plante herbacée à feuilles simples opposées.

Répartition
On rencontre Scutellaria havanensis au Mexique, en Amérique centrale, en Floride et aux Antilles.

Diagnose
En 1760, Jacquin propose la diagnose suivante :

Notes et références

Liens externes

Espèce d'Angiospermes (nom scientifique)
Lamiaceae

Scutellaria havanensis


The , also referred to as Evas, are fictional biomechanical humanoid mechas introduced in the anime television series Neon Genesis Evangelion, produced by Gainax and directed by Hideaki Anno, and in the manga of the same name written and illustrated by Yoshiyuki Sadamoto. In addition to the original animated series, Evangelions appear in its derivative works, including spin-off manga, video games, visual novels, the original video animation Petit Eva: Evangelion@School, and in the Rebuild of Evangelion movies, with considerably different roles and guises.

In the original animated series, the Evangelion are giant humanoids which the research center Gehirn and the special agency Nerv research to fight beings called Angels. They have mechanical components as well as a basic organic structure derived from Adam and Lilith; for this reason they have eyes, epidermis, internal organs and nails similar to those of humans and have been classified as cyborgs rather than mecha in the traditional sense. Those assigned to pilot an Evangelion are called Children, which an organization called the Marduk Institute selected. Their designs, inspired by the oni of Japanese folklore, Ultraman, Iczer-One, Devilman and other sources, caused problems during the production of the animated series, but have received positive reception from critics and audiences and used for merchandise.

Conception

Hideaki Anno, director and principal screenwriter of Neon Genesis Evangelion, initially sought to create what he called "a simple work featuring robots". He began by focusing on vague images and ideas rather than defined concepts, thinking that other staff members would then contribute adding details. According to King Records' Toshimichi Ōtsuki, producer of the series, at the beginning of production, the idea was to create a series about an Ultraman in armor, the protagonist of the franchise of the same name. The staff took inspiration from an old project by Gainax; for the project, Anno came up with the idea of a female pilot in the wake of the original video animation Fight! Iczer One, starting from the image of a girl in a capsule-shaped cockpit full of liquid – prototypes of the Eva-00 pilot Rei Ayanami and the Entry Plug – but without having a precise plot in mind. Other images became the basis of Evangelion, such as skyscrapers emerging from the top of mountains, robots carrying batteries, people dragging large cables, and a city in the mountains named Tokyo-2 in Nagano Prefecture. During production, moreover, it was decided to have teenagers pilot the mechas and follow the tradition of other robot anime, but Anno did not initially think to give a reason regarding their ages. An explanation came to mind to the character designer of the series, Yoshiyuki Sadamoto. While watching a documentary on the Japanese TV station NHK named  the artist learned of the existence of A10 nerves. Sadamoto then pitched new ideas for the anime, such as being able to explain the age of the pilots, who are all teenagers without mothers.

Sadamoto tried to create something along the lines of Space Pirate Captain Harlock's Arcadia, a spaceship with a computer that contains the soul of its creator, Tochirō Ōyama. Anno compared the interface system of the Eva to a modern version of Gō Nagai's Mazinger, a giant robot whose cockpit is located in the head of the robot. The staff thus conceived the Evas as custodians of the soul of the pilot's mother, controlled through a psychic link with her son. The Nerv was inspired by the Solo Ship from Space Runaway Ideon, whose crew faces hostile aliens of the Buff Clan and other humans, with mecha that go out of control and communicate only with children.

In a preliminary draft during the early planning stages of the animated series, staff suggested the existence of two ancient prehistoric civilizations that appeared on Earth before humans, both of whom were equipped with advanced technologies. The Evangelions in the original scenario would have been created by the first civilization, known as the First Ancestral Race, and would have rebelled against their creators, causing their extinction. The Second Ancestral Race would have created a weapon known as the Longinus Spear in an attempt to defeat the humanoids, scattering warriors named Angels in a state of hibernation around the globe as a countermeasure in case anyone tried to reactivate the Evangelions. The Eva units were conceived from the beginning as living beings and dangerous androids rather than simple weapons; the scenario was designed to contain elements similar to those in video games or role-playing games, such as the weapons of the units being hidden in the buildings of Tokyo-3. In the last episodes, there should have been a lunar battle against twelve Angels, an idea that was later abandoned and recycled for the clash between Eva-02 and the Eva series, introduced in the 1997 theatrical conclusion. The American continent and the Eva-06 would vanish, while the ancient remains of a ruin named Arqa would be revealed.

In the second half of the story, there would be preparations to invade an enemy stronghold along the lines of a role-playing game. One of the preliminary drafts of the twenty-fourth episode, written by screenwriter Akio Satsukawa, also introduced a prototype mini Evangelion, a five-meter mecha named αーTYPEーEVA000 (also known as α Eva). When the α Eva goes berserk, it would have attacked with animal fury the Angel Kaworu Nagisa, who would have dodged his blows in a scene inspired by the legend of the samurai Benkei on the Gojo Bridge; at the end of the fight, the Evangelion would have swallowed the Angel Tabris and Rei Ayanami, to be then violently disemboweled by the Prog-Knife of Shinji Ikari's Eva-01. In another proposal there were two units called 05 and 06, both manufactured in Germany, while the Evangelion after 01 would be equipped with a power system known as a positron engine.

Two years before airing, Gainax published a project presentation document to find backers entitled , which included the initial unit designs. In the Proposal, the Evangelion were described as humanoids made of artificial metal muscles and replicas of Adam, indicated in the document as an artificial giant left by the First Ancestral Race, which would have left for the globe the enemies of the series, the Apostolos. The document also describes robotic anime on one page as a "compensation for the complexes and various suppressions that children hold, a means of resistance, compensatory behavior". For the main character of the series, Shinji, Anno himself was used as a model, linking the act of piloting the mecha with his work; according to Kazuya Tsurumaki, assistant director of Neon Genesis Evangelion, while "Shinji was summoned by his father to ride a robot, Anno was summoned by Gainax to direct an animation". Moreover, during the development of the series, the director included scenes in which the mecha are mutilated and lose their limbs. The mutilations of the Evas became a product of his personal experience. Anno's father Takuyo injured his left leg in an accident with a power saw and was forced to wear a prosthesis for life; following the accident, Hideaki developed a certain attraction to deformity, believing that he could not love "anything perfect". He also compared this to Tetsujin 28-go, in which a robot loses an arm. In the twentieth episode of the series, he also introduced the concept of cannibalism. He added a scene in which Eva-01 devours an Angel in an attempt to disgust and scare a young viewer; he stated, "What would be ideal is that kids who watch it start to vomit". Cannibalism, according to Yūichirō Oguro, curator of extra contents of Evangelion's home video editions, would negatively depict the act of eating meat, and could also be influenced by Anno's personal experience, who has been vegetarian since childhood and had already transposed this detail of his life in his fictional works.

Design and inspirations

The design of the Evangelion was conceived and edited by Anno and Ikuto Yamashita, the official mecha designer of the series. The director took inspiration from the demons of Japanese folklore, the oni, and wanted to give them a modern look that differed from other mecha, such as the Gundams of the Mobile Suit Gundam series, giving them a more human-demonic nature than strictly robotic. He commissioned Yamashita to create "a demon", "a giant barely under the control of humankind". Yamashita thus drew inspiration for the design of the machines from Gulliver's Travels, with the idea of representing an enormous power restrained, a giant that resembled a relief in a wall. Since the delivery of the preparatory sketches, Yamashita's drawings caused such a stir that even Neon Genesis Evangelion's staff members were divided, causing problems for Gainax. Toshimichi Ōtsuki introduced Neon Genesis Evangelion to a well-known toy company, but a representative of the company told him that a robot with such a design could never sell, especially because the lower limbs were considered too skinny. Anno, after the episode, decided to create a different series compared to the other mecha anime, all financed by private toy companies; moreover, to avoid any possible interference from the financial backers, he designed mecha that were difficult to reproduce in toy form to have more artistic freedom and revolutionize the genre, which he said had been stagnant for a long time and caged in a ready-made model.

For the appearance and role of the humanoids, the authors took inspiration from Mazinger Z, Shutendoji, and Devilman. Believing that the power was "something very scary", Anno insisted on the threatening aspect of the units, trying to make the Evangelion look like "an anti-hero, something terrifying". Before deciding on the final design he drew a preliminary draft of the Eva similar to a Devilman. In the sketch the Eva had a curved back, a narrow waist, and a flat, thick chest, which resembled the "demonic" face of the Mazinger. In his original proposal, the Evangelion would have had a dark and gloomy color, except for the eyes, which he left white and circled in red, just like Mazinger Z. The intention was to inspire terror and make children understand how scary real life could be.

Another source of inspiration was a male character in the video game Cho Aniki named El&Topo, on which Yamashita based Eva-02's appearance. In the design stages, he changed his mind about their appearance several times; for example, in preliminary sketches, he thought about giving 01 a single oblique protrusion on the left side of the head or two frontal horns, which were later abandoned in favor of the final design. Anno and animator Yoh Yoshinari also made some sketches of the Eva-01. Yoshinari tried to animate the units using rulers, as in the case of the second episode, in which he tried to draw almost the entire face and shoulders of 01 in such a way. Sadamoto at first colored it white, creating an image he said was similar to an RX-78 Gundam or an Ingram from Patlabor. While working on the Evas' design, he also worked on a project called Suzuka Hachitai, in which he designed suits similar to the Evangelions' plugsuits.

For the movements, the director asked to recreate "the noise that the bundles of wires would make if they were contracting like muscles", treating them as if they were living beings. For this reason, all the sounds normally used in other mecha anime were avoided; for example, to reproduce the sound of the Prog-Knife, Anno and Toru Noguchi, the sound effects editor, reworked the metallic noise of a real cutter. To give the Eva's cockpit the image of a mother's womb, Anno asked Shiro Sagisu, who was responsible for the series' soundtrack, to compose a melody that would accentuate the feeling of nostalgia.

Characteristics
In the world of Neon Genesis Evangelion, Evangelion, or Evas, are multi-purpose machines that represent mankind's most advanced battle tools. They are costly weapons designed to fight and destroy Angels. Their development, which the special agency Nerv conducts in secret, began after a catastrophe known as the Second Impact. From a scientific point of view, their tasks constitute the E project, placed under the direction and responsibility of Dr. Ritsuko Akagi. The Evangelion are giant humanoids clad in thick protective armor, with constitution identical to a human being's, except for size. Each Evangelion is equipped with a nervous system, a skeleton, nails and a circulatory system. In a section of Nerv's headquarters called Terminal Dogma, there are skeletons of bodies believed to be precursors to the Eva-00, or the remains of failed experiments that occurred during its creation; the experimental models have two or more optical sensors and a visible spine. The original living bodies are implanted with mechanical components, which are used to control them or provide them with greater efficiency and functionality. As in humans, the signals of the central nervous system are transmitted by electrical impulses, with the peripheral system and the movements of an Evangelion being transmitted by electric currents. For the first three examples, designed in Japan, the traditional Chinese numbering system is adopted, while later prototypes follow Arabic numbering.

The Evas have regenerative capabilities and can produce a protective shield called an AT Field. They can move through the power provided by an external cable called an Umbilical Cable, which gives them the electrical energy needed to operate their circuits. In the absence of the cable, they can operate using the energy stored in a special internal battery, for a time limit ranging from sixty seconds to five minutes. When inactive, the units are housed in giant structures called "cages" and held in place by an anchoring structure, composed of various blocks and groups of safeties. Another characteristic element of the Angels and Evangelions is a red sphere called a core, located at their chest.

The units have different equipment that varies depending on the situation. The basic one is called type B (Basic), consisting only of a cutter-like weapon called a Progressive Knife. Other assets include type D (Dive), specifically for diving; and type F (Fly) for flight. The Evangelion's piloting system synchronizes with its pilot via neural connection, and so they act in sync. The pilot of an Evangelion unit, designated by the English term Child, is housed in a cylindrical capsule called an Entry Plug, which is inserted into the area corresponding to the humanoid's spine, at the cervical vertebrae.

The cockpit of the Entry Plug is filled with a special liquid called LCL, which promotes the neural connection between the Evangelion and its pilot. The main nerve responsible for synchronizing the two entities is called the A10 nerve. It seems that the subjects suitable to pilot an Evangelion are limited to 14-year-old children without a mother, and that Evangelions, originally devoid of a soul, have the souls of people. It is also believed that the souls of the mothers of their respective pilots are housed in the mechas. Once the neural connection is successfully established, the Children can command the humanoid at will, thinking that they are acting with their own body, through a system known as neural interface. However, its maintenance can be jeopardized if it is damaged during an operation, which causes corresponding psychological disorders in the pilot. Moreover, a state commonly referred to as Berserk is theorized, during which an Evangelion enters an uncontrollable and seemingly instinctual destructive rage. Their height is never specified in the series, though Newtype magazine provided an estimate of forty meters. According to Hiroyuki Yamaga, a member of Gainax, it was decided during production to make the units taller than Ultraman, who is forty-five meters tall. In the Proposal, their height is also determined forty meters, while in the Rebuild of Evangelion saga their height is explicitly around seventy meters, eighty with vertical supports.

Original series

Evangelion Unit-00
, also known as Prototype, is the first Evangelion unit that Nerv made. It was conceived as a machine dedicated not to combat, but to the study of feasibility and practical functionality of its basic technology, which is why it lacks equipment characteristic of subsequent units. It was conceived in the headquarters of Tokyo-3, and the biological starting material used for its creation belongs to the first Angel, Adam. It is distinguished from later models by its initial dark yellow coloration, typical of military prototypes, and a less sophisticated external and internal architecture. Its main organ of visual sensory perception is represented by a round optical lens at the center of its face. Its pilot is Rei Ayanami, who joins the organization as the First Child. Due to its function as a prototype, the unit suffers from instability, which causes it to act out of control in activation and synchronization experiments. In one of the experiments, it destroyed the anchor structures and Nerv's second experimental room, injuring its pilot. Its first effective activation occurs after the simultaneous presence of two Evangelion units is necessary during the Angel Ramiel's attack. In the course of the operation, it suffers structural damage so severe that it requires extensive repairs.

Eva-00 is later used in the fight against the Angel Matarael after being repaired. The repairs to Eva-00 mainly concern its armor and equipment, while its internal structure is essentially unchanged. The repaired Eva-00 has a predominantly blue coloration and is equipped with vertical supports resembling those fitted to Eva-01 and 02. It also has shoulder-height vertical supports, which are equipped with a special propulsion system allowing it to slow down and cushion falls. Its presence is beneficial to the defense of Tokyo-3 and the elimination of Angels. It is destroyed during the fight against the sixteenth Angel, Armisael, after Rei activates the self-destruct mechanism.

In the Rebuild of Evangelion saga, Eva-00 is orange in color and wields a special shield called the Enchanted Shield of Virtue, which Yamashita designed. In the second chapter of the saga, Evangelion: 2.0 You Can (Not) Advance (2009), the tenth Angel swallows it.

Evangelion Unit-01

, or Test Type, is the experimental model of the Evangelion series and the second specimen to be built in the Nerv headquarters, studied under the direct supervision of Dr. Yui Ikari. It differs from all previous and subsequent specimens, as the biological matter that forms its basis comes from the second Angel, Lilith. In addition to its predominantly purple coloration, it is characterized by a long horn that extends from the center of the forehead and a binocular viewer. It is the first humanoid to be used in an actual war operation. The unit acts out of control on several occasions and takes on a decisive role in wartime operations. The living humanoid at the base of Unit-01 is characterized by brown-colored organic tissues and a red blood-like body fluid. The unit's mouth is normally secured with bolts, and its actual biological body is covered, like the other units, by a special constrictive armor. The unit has positive operational results and the greatest tactical experience out of all the units that Nerv produced.

The first activation experiment of Unit-01 was carried out in 2004 in the Laboratory for Artificial Evolution and conducted by a research center called Gehirn. Yui was designated as the experiment's test subject; during the experiment, her synchrony rate reached 400%, a percentage at which the subject dissolves into the Evangelion. The case was dismissed as an accident, and her soul remained within the unit. Although the origin of the accident is never clarified within the series, it may have been the consequence of Yui's choice. The second activation attempt occurs eleven years later in 2015, when the Third Child and its new pilot, Shinji Ikari, is brought aboard. Shinji, despite the low probability of success and lack of training, manages to achieve a 41.3% sync rate on the first attempt. The success of the procedure might have been determined by Yui's will, who in some situations intervenes in defense of her son and moves the Eva of her own will.

In the Rebuild of Evangelion installments, Eva-01 has some aesthetic differences, particularly in the chest and coloring. During the battle against the tenth Angel, the color of its stripes changes from green to orange and it sports a halo of light.

Evangelion Unit-02
, or Production Model, is the first Evangelion specimen researched and designed for mass production and combat. Although the conception and construction of the machine took place in Japan, the assembly and activation experiments, as well as the training of its pilot, the Second Child Asuka Langley Soryu, are performed in Germany. The biological material used for its creation belongs to Adam. Dr. Kyōko Zeppelin Sōryū, a member of Gehirn's German section, played a decisive role in the unit's development and activation. She offered herself as a guinea pig in the experiment to activate the Evangelion, from which she emerged psychologically distraught. It is speculated that a part of her soul, or her "maternal side", remained locked inside 02. In contrast to the first two units, it has four eyes, a feature that is abandoned in later models. Additional features that distinguish 02 from other units are its internal fluids being blue instead of red and having additional mechanical details.

On the shoulders, it has two vertical supports that differ from the Eva-01. The left contains an improved version of the Progressive Knife, while the right contains the Needle Gun, a firearm capable of firing spikes. The unit is predominantly red and differs from previous units in the conformation of the head, shoulder, and chest components. Two of its main features are the ability to bend its torso and a greater resemblance to a human being, while there are no substantial differences in its performance compared to Eva-01. In 2015, Asuka and 02 left Wilhelmshaven for Tokyo-3, along with the United Nations fleet. During the transport, Eva-02's first real battle took place in the Pacific Ocean, in which it managed to defeat the Angel Gaghiel. Starting from the fight against the thirteenth Angel, Bardiel, the unit starts to record failures in the operations, hurting Asuka's pride. Following Asuka's mental breakdown, Nerv is forced to request the help of a new Child, Kaworu Nagisa, who becomes its new pilot.

In the Rebuild of Evangelion movies, Eva-02 has a different design. During the production, the staff decided to change the unit's head, giving it two small horn-like protrusions located on top of the forehead, designed by Takeshi Honda. Throughout the film, Eva-02 is piloted by Mari Makinami, who activates a new mode called The Beast. After activating The Beast Mode, the Eva becomes quadrupedal and unleashes sticks on its shoulders and back and has a jaw with sharp fangs and a green light emitting from its eyes.

Evangelion Unit-03
 is a mass-production model built at Nerv's U.S. first division. Due to an accident that occurred at the second division with Eva-04, command over 03 passed to Japan as instructed by the U.S. government. Following the government's decision, the unit is airlifted over the Pacific Ocean to the organization's headquarters. The 03 is almost identical in appearance to the Eva-02, except it is predominantly dark blue, and the shape of its head is closer to Unit 01's. 03's face has more brutal features and lacks the characteristic frontal bulge of the Eva-01. Additional details that distinguish it from the other units are its elongated shoulders, slightly forward-leaning posture, and gait. Once it arrives in Japan, preparations begin for its activation experiment to take place in the city of Matsushiro, Nagano Prefecture, where Nerv's second experimentation site is located. Once its designated pilot, the Fourth Child Toji Suzuhara, boards, the unit goes out of control, opens its jaws, and destroys the fences containing it. It is later revealed that the unit is infected by Bardiel, a parasitic Angel that takes control of its body during its flight to Japan headquarters. After the incident, Gendo Ikari, the supreme commander of Nerv, identifies it as the thirteenth Angel and gives the order to annihilate it. Eva-03 faces Units 00 and 02 in combat, defeating them without difficulty. In a second encounter, it fights with Eva-01, who breaks its limbs and annihilates it. In the Rebuild of Evangelion saga, Eva-03 is piloted by Asuka instead of Suzuhara.

Evangelion Unit-04
 is a Production Model built in the United States at the American Nerv Second Division, located in Nevada. Due to an accident that occurred during a test of experimental insertion of the S2 engine, the unit disappears with the second division and all objects within a radius of 89 kilometers. Its appearance is never shown in the original animated series, but is believed to be silver-white. Official action figures have been produced of the unit, designed and conceived by Yamashita. Its basic appearance is identical to Unit 03's.

Mass Production Units (05-13)
The  includes units 05 through 13, built at various Nerv branches at the behest of the Seele organization to carry out a plan known as the Human Instrumentality Project. All units are equipped with the S2 engine as a power source and a replica of the Lance of Longinus. Their basic structure is identical the Nerv-owned Eva, except for the vertical supports normally placed on the shoulders of the other units. Another different element is the head, which is devoid of optical sensors, and the area in which the cockpit is inserted. Due to the S2 element, the units also have strong regenerative capabilities and unlimited uptime. All nine Eva Series possess the same shape and coloring, mostly white, and large folding wings located on the back of the trunk, which allow them to fly. The Production Models do not require pilots; instead they have a Dummy Plug, Entry Plug simulators in which the personality of the Fifth Children, Kaworu Nagisa, is inscribed.

In the movie The End of Evangelion, the Seele sends all nine specimens against Eva-02. The Evas, despite suffering extensive damage from the 02 during the fight and being seemingly defeated, manage to reactivate through the S2 engine, scarring the enemy's body and devouring its flesh. During the Human Instrumentality Project, the Mass Production Models merge with the Angel Lilith and stab themselves with their lances. At the end of the feature film, once Instrumentality is rejected by Shinji and Lilith is dismembered, the units turn into stone statues and plummet to Earth. Their design by Takeshi Honda is reminiscent of features commonly associated with angels from the Old Testament.

Rebuild of Evangelion

During the production of the Rebuild of Evangelion installments, Yamashita made changes to the armaments and the colors of Eva-00 and the other Evangelions, based on his old sketches for the original series at Anno's request. In the saga, an international agreement called the Vatican Treaty is also mentioned, which forbids a nation from having more than three Eva units. Throughout the films, in addition to the various units already present in the classic series, other Evangelion units are introduced:
, whose full name is , is a unit that appeares in Evangelion 2.0 You Can (Not) Advance. It was designed by Yamashita and underwent changes during the production of the film. Unlike the other Evangelions, its walking is not done through two lower limbs, but utilizing a special wheeled system, and it has a spear-shaped arm. The components of the unit were made in computer graphics, except for the close-ups of the head, to avoid errors in movements. In combat it faces the third Angel of the Rebuild, giving signs of berserk; both the Eva and the Angel, at the end of the battle, come out destroyed, annihilating each other.
The , known as , is an Evangelion unit featured in the film Evangelion: 2.0 You Can (Not) Advance. It is built on the Moon base Tabgha, placed under the control of the Seele. During the film, it descends from the Moon and is piloted by Kaworu, sporting a halo of light similar to that of 01.
The Mark.07 is an Evangelion unit that appears in Evangelion: 3.0+1.0 Thrice Upon a Time. It has beige-colored armor, dark-colored vertical supports, and a head similar to a humanoid skull. During the film, Asuka's Eva-02 and Mari's Eva-08 clash against an army of hundreds of Mark.07s at the epicenter of Second Impact in Antarctica. During the production, Yamashita sketched the units with a different color scheme.
 is an Evangelion unit introduced in the preview of Evangelion: 3.0 You Can (Not) Redo featured at the end of the credits of Evangelion 2.0. Throughout the film, it is piloted by Mari Illustrious Makinami; it has eight optical sensors. It is predominantly pink, with small inserts of yellow and green. Its full official nomenclature is .
 is an Evangelion unit introduced in the brief preview of Evangelion: 3.0+1.0 present at the end of the Evangelion 3.0 film. Its armor is half red and half pink. This specimen is believed to be the result of a fusion between two previous units, 02 and 08. It does not appear in the film.
The Mark.09 is an Evangelion unit introduced in Evangelion 3.0. Its armor is predominantly yellow, with small white inserts. Throughout the film, its color scheme changes to black and red. It is piloted by Rei Ayanami and is known by the epithet "Adams' Vassel".
The  is a black, red, and white Evangelion unit that appeares in 3.0+1.0. In the course of the film it attacks Mari's Unit 08, which devours its head in the clash. The unit was unveiled by Anno at the 2020 Bonbori Matsuri festival on August 6, 2020.
The Mark.11 is an Evangelion that appears in 3.0+1.0. It is devoured by Mari's 08 during the overlapping of its own Eva. The unit is black, blue and white.
The Mark.12 appeares in 3.0+1.0. The unit is mostly black and white, and is devoured by Mari's Eva-08.
 is a unit that appears in the Evangelion 3.0 film. Its armor is predominantly purple. It has four eyes and four upper limbs. It is piloted by Shinji Ikari and Kaworu Nagisa and can be activated through two Entry Plugs. Since it cannot generate an AT Field, it is equipped with four drones called RS Hoppers.
The  is an Eva presented in an anti-universe by Gendo to Shinji; Shinji's consciousness sees it in the form of a black crucified Lilith, who during Instrumentality breaks free and transforms into a giant Rei Ayanami. Commander Ikari tries to unleash the Additional Impact in this way to carry out the deicide, replace the Angels and transform everyone into Evangelion, rewriting reality and the consciences of humanity.

The Eva units used by Gendo in Evangelion 3.0+1.0 have been compared by the website Otaku Voice to the Four Horsemen of the Apocalypse. Rebuild also features a mechanical simulator of Evangelion, used by Shinji during a training in the first chapter; its design was compared by Shinji Higuchi of Gainax to the God Warrior of Nausicaä of the Valley of the Wind (1984) and to the movements of the Destroid Monster, a machine from Superdimensional Fortress Macross.

Other media
New units are introduced in video games based on Neon Genesis Evangelion. In Meitantei Evangelion, published in 2007 for PlayStation 2, there is an Evangelion unit called  that is piloted by Kaworu. It also appears in the video game Shin Seiki Evangelion – Battle Orchestra, in which another Evangelion called  is introduced, built at Seele's request. In the Neon Genesis Evangelion 2 video game, the Eva-01 has new equipment, called . It includes the , a special constricting cover that uses new technology for AT Field use; included in the armor is an  and a . The equipment also includes a special anti-phase weapon called  and the Progressive Dagger. Despite its great attack and defense power, the Type-F equipment weighs thrice than the standard armor, is difficult to maneuver and suffers from instability.

In the spin-off Petit Eva: Evangelion@School super-deformed versions of Evangelions are shown: the eldest, , similar to Eva-01, is a schoolmate of Shinji and the other characters at the Nerv municipal academy, and its language is understood only by Shinji and the other units; its brother, , who attends the Angel school; , its younger sister, can speak in human language, is initially mostly yellow and then takes on a blue tint; and , the most anthropomorphic, clumsy, and Asuka-like unit who claims to be German but often uses Japanese mixed with English when speaking. Mari and her Provisional Unit 05 also appear on one cover.

Rebuild's Provisional Unit 05 was used in a pachinko game titled , released in 2010, while Eva-04 appeared in another pachinko game called . In Neon Genesis Evangelion: Campus Apocalypse, the Eva are not mecha, but individual wieldable weapons used in combat by Shinji and the other characters. They are the manifestations of the deeper inner self of the protagonists; Rei has a spear, Asuka a whip, Kaworu a sword, and Shinji a gun. On February 6, 2015, Studio Khara, producer of the Rebuild of Evangelion film tetralogy, released the twelfth short film in the Japan Animator Expo series, Evangelion: Another Impact (Confidential). It introduces an Evangelion unit called Unit Nul, which breaks free during a secret activation test and goes berserk; the purpose and means of its construction are not clear. Its design was handled by Atsushi Takeuchi, who had previously worked for the Star Wars franchise. A transformable train called 500 Type Eva, piloted by Shinji and inspired by the train of the same name dedicated to Neon Genesis Evangelion, also appears in an episode of the 2018 anime Shinkansen Henkei Robo Shinkalion.

Neon Genesis Evangelion: Anima

Set three years after the events of the concluding film The End of Evangelion, the light novel introduces equipment that never appeared in the original animated series. Among other things, Eva-01 features Type-F and CGB equipment, including new vertical supports and a special sensor placed near the horn on its forehead. A new Evangelion mount called  is also introduced, which operates via a secure internal N2 technology reactor. Anima also features a further evolution of the Eva-01 called .
The  are yellow and white Evangelions built from the remains of the Eva-00 and Eva Series. The Evangelions are equipped with S2 engines and piloted by different clones of Rei Ayanami: Rei Quatre, Rei Cinq and Rei Six.
The  is an evolution of the Eva-02 from the classic series and is predominantly red. The unit's visors and armor are different, given the extensive damage the unit suffered after fighting with the nine serial Eva. The Evangelion is equipped with a special cross-shaped rectenna, located on the back of the torso, which uses microwaves and provides the unit with electricity. Type II is equipped with new mounts that can penetrate Armaros' AT Field, which include a new Pallet Rifle and Magorox blade. The new 02 is equipped with the UX-1 Allegorica, which gives the unit the ability to fly and stability, through which it can also operate on the regolith of the lunar soil.
The  are new Eva models, similar to the Mass Production Models that appeared in The End of Evangelion to take down Asuka. Unlike the mass units, they do not have a Super-Solenoid engine, but a new energy engine called QR Signum.
The  is a white-colored Eva, similar to the 02, equipped, like the Carriers, with the QR Signum. Its main weapon is a huge cruciform spear. Its name comes from Heurtebise, the angel present in the works of Jean Cocteau and associated with the image of a bright mirror.
  is a giant Evangelion that appears on the Moon. It is accompanied by a pair of units called , known to the Japanese Nerv as . Its name comes from the fallen angel of the same name in religious tradition who is said to have revealed the secret name of God to humans. Its face, similar to that of the Eva-01, features two horns aligned at forehead height, originally envisioned by Yamashita for the design of the 01.
 is a red-colored hybrid of human and Evangelion, and is the result of Asuka merging with her Evangelion-02 Allegorica following the lunar battle against Armaros. It has the mind of an unconscious small child who is unable to communicate.

Cultural references and interpretations

The staff named the mecha after the Greek word ευ-αγγέλιον (euangelion), "gospel", "good news", shortened to Eva, to allude to Eve. According to Animerica, the name would be related to their task as protectors of humanity. Similar to the biblical Eve, born from the rib of the first man Adam, the Evangelions were conceived as copies of the first Angel Adam. Anno said in an interview that he chose it because it sounded "complicated". On another occasion, he claimed to have chosen the word "good news" as the title of the series because of the belief that it would bring "blessing" and happiness. Yūichirō Oguro, curator of extra content of the home video editions of the series, linked the name to the last scene of Neon Genesis Evangelion: The End of Evangelion, in which there is a sequence in which Yui Ikari, kept inside the Eva-01, blesses her son Shinji by telling him that "any place can be a paradise". The units are also linked with other religious references. In a conversation in the twenty-third episode, Seele claims that eight Eva units have been prepared up to that point and that four more remain; according to the series' filmbooks, the number is a reference to the twelve apostles. In the theme song, A Cruel Angel's Thesis, Unit 01 is depicted with twelve wings of light, referring to the iconography of Satan and taking a cue from the manga Devilman. For the image of the out-of-control Unit 01, which in the nineteenth episode walks on four legs and devours the flesh of an Angel, staff took inspiration from the Buddhist figures of the preta. The scene in which Eva-01 is first introduced in the first episode has also been compared to Tadao Nagahama's Combattler V, while for Carl Gustav Horn, editor of the North American edition of the manga, the Eva units can be "possibly connected to the legend of the Golem, a giant artificial man which does its creator's bidding".

Eva's berserk mode has been compared to the berserker warriors, as they entered a state of fury that made them fierce and insensitive to pain. After the fight against Zeruel, Unit 01 acquires mankind's fruit of knowledge, science and rationality, and the Angel's fruit of life, the S2 engine, becoming a God. An official pamphlet on the series has compared this to the Book of Genesis, which says that whoever eats the two fruits will become like God. In The End of Evangelion Eva-01 is also inflicted with stigmata, becomes the tree of life and is defined as an ark that can save mankind, in reference to the story of Noah. Moreover, the Umbilical Bridge, the anchoring structure of an Evangelion unit, took inspiration from a technical term used by NASA to define the service structure, or umbilical tower, that connects the Space Shuttle to the launch pad. Eva's Umbilical Cable has also been similarly likened to a cable intended to connect the main body of the Space Shuttle to the auxiliary engines, the umbilical cord of the fetus and Emperor Neo from Nadia: The Secret of Blue Water, which is powered by a cable that terminates in a similar socket.

Eva's pilots are called Children. According to writers Kazuhisa Fujie and Martin Foster, the choice of the word may refer to the expression "children of God" mentioned in the New Testament. The term remains in the plural even in the case of a single subject in the Japanese version, which for the filmbooks of the series constitutes a reference to the various clones of Rei Ayanami. According to Gualtiero Cannarsi, the choice to keep the term in the plural is an homage to Tomino's Ideon series. Critics have noted how mecha-related terms such as Umbilical Cable, Children, the name Eva itself, and LCL, similar to amniotic fluid, are related to motherhood. Others, including Oguro, have associated the cockpit with the image of a womb. Critic Mariana Ortega noted how Asuka in the fourteenth episode compares Eva to a mother's womb and breast, and Shinji in the twentieth episode curls up in a fetal position inside the cockpit; according to her, the mother figure in Evangelion thus becomes literally and metaphorically cannibalistic.

The , the main synchronization nerve of the Evangelion neural interface system, has been compared by official material to real nerves that are connected to emotions such as anxiety, fear, happiness, and pleasure, and play an important role in relation to the emotional perception of love. The term nerve is improper, since it is a simplification used in the operative language of Nerv; the acronym A10 indicates the ventral tegmental area, otherwise called area A10. According to Protoculture Addicts magazine, "when humans fall in love or feel close to their family, the part of the brain labeled A-10 comes into play. Strangely, the pilots of Evas have to use this part of their brains to merge with their Eva. That makes them warriors of love, with the power of love to protect their loved ones". According to Yoshiyuki Sadamoto, character designer of the series, "the power of love drives this weapon of mass destruction".

Critics have analyzed Evangelion units, noting how they are organic entities and not machines, and classified them as cyborgs instead of robots. Anno said in 1996 that the Evangelions are not really robots, but giants, describing them as modified humans who move via artificial muscles. During an event in 2021, he also described Evangelion as a , surprising Shinji's voice actress Megumi Ogata. American writer Susan J. Napier has interpreted the Angels as a representation of the Other and the Evas as a metaphor for the Self that Shinji is called upon to confront in his own personal growth process. Critics and official publications compared the red core in the center of the chest and the limit of operation of the units to Ultraman. Comic Book Resources's Timothy Donohoo similarly compared the Evangelions to the Ideon from Yoshiyuki Tomino's series of the same name; Donohoo noted how both mecha have a divine nature, seemingly unlimited energy sources, and the ability to read the emotions of their pilots, trying to protect them. Carl Gustav Horn traced influences to Super Robot 28 and Giant Robo. The Entry Plug and Type D equipment, used by Asuka in the tenth episode of the series, have also been juxtaposed with the works of Kenji Yanobe. The Evangelion has been interpreted as a metaphor for the series, produced through emotional efforts by Anno during a difficult time in his life; the constant questions of Shinji, the director's alter ego, who continually wonders why to board the Eva-01 and must make himself emotionally independent from the humanoid, have been interpreted as a symbolic representation of the author's relationship with his work. In the last two episodes Shinji wonders what the reason is for piloting the Eva. According to Sadamoto, the episodes would not focus on him, but on Anno, the true protagonist of the episodes, while mangaka Kentaro Takekuma interpreted the act of boarding the Eva as a metaphor for the production of an anime.

Cultural impact

Popularity and critical reception

Yamashita's mecha design was praised by John Beam of Animation Planet magazine and Martin Theron, a reviewer for the Anime News Network website, who stated, "The mecha designs [presented in Neon Genesis Evangelion] are among the most distinctive ever produced for an anime series, with sleek, lithe appearances that look monstrous, fearsome, and nimble rather than boxy and knight-like." Comic Book Resources appreciated the Eva-01, which was described as one of the most iconic mechas outside of the Gundam franchise. The same website listed the Eva-13 among the top ten mechas of the 2010s. For Hajime Isayama, author of Attack on Titan, the design of the mechas is "cool in a way unlike anything that came before it". He particularly praised how Anno directed the animation of the laser beams; according to him, the series is also "jam-packed with the joy of animated expression". Manga author Katsuhiro Otomo did similar statements.

Screen Rant praised the mechas and fights, especially those against Israfel, Zeruel, and the Eva Series. According to Erroll Maas, writer for TheGamer, due to the "immense popularity" of the series the Eva-01 became an "internationally recognizable" mecha. In 2010, Yahoo! Japan conducted a survey on Evangelion and its eponymous mecha. Fans of the series were asked if they would enjoy building a 1:1 scale model of an Evangelion and which units they would take as a model. In the first question, the answer was almost unanimously in the affirmative; in the second question, Unit 01 was chosen, with 78% of the total votes. A similar result was recorded in 2016, when the website Charapedia asked its users which machine that appeared in a Japanese animation series they wished to use or pilot; the Eva-01 was the second most popular answer, with almost four hundred preferences.

Merchandise

According to the writer Kazuhisa Fujie and the Italian researcher Guido Tavassi, at first the toys and the various products on Neon Genesis Evangelion made little money, outclassed by the sales of Rei Ayanami's action figures, "and even Bandai was reluctant to market the models of the too unusual and disturbing mecha". Within a year from the first airing, there was an upsurge of interest in Evangelion, and, after some initial hesitation, Bandai launched "at full speed" to produce toys and models of the series. The mecha's image was used for consumer goods such as Adidas shoes, wine bottles and snacks, bags, sportswear and access-dateries, sweatshirts, gloves, underwear, children's clothes and tamagotchi models. Evangelion units were also used in various video games based on the original animated series, as well as some media detached from the Evangelion franchise, such as in the video games Keri hime sweets, Summons Board, Puyopuyo!! Quest, Puzzle & Dragons, and Super Robot Wars.

To celebrate the release of the film Evangelion 1.0: You Are (Not) Alone in 2007, Studio Akiyama put a giant figure of Eva-01 about two meters high at the price of one million yen (about ten thousand U.S. dollars) on sale. In 2010, the formation of a Japanese car team called Evangelion RT-01 apr Corolla for the Super GT championship was announced. At the team's first official competition, the group's Toyota Corolla Axio was repainted with the Evangelion RT-01's color scheme; the two racers, Kōki Saga and Kosuke Matsuura, competed wearing two reproductions of the suit used by Shinji. Over the next two years, the first car was joined by a repainted Porsche 911 GT3 RS emulating the design of Unit 02 and two Kawasaki Ninja ZX-10R motorcycles with the features of 01 and 02. In November 2014, the Japanese car company Mitsuoka Motors auctioned off a Mitsuoka Orochi inspired by the Eva-01 design, selling for a final price of 16 million yen (approximately $130,000); the event received enough media attention that the company's president, Akio Mitsuoka, entered into an agreement with the car's owner to display it at the Mitsuoka Gallery Azabu in Tokyo for an entire week. In 2015, it was announced that a high-speed train inspired by the design of the Eva-01 would be built, with both Yamashita and Anno being involved in its construction. The train went into operation in November; West Japan Railway Company later decided to extend service until spring 2018. A new Eva-01 themed train was produced in 2020 and departed from Nagoya's Chubu Centrair International Airport.

Reproductions

In 2010, a faithful reproduction of the bust of Eva-01 was unveiled in the Fuji-Q HighLand amusement park, along with a full-scale model of the Entry Plug. Between 2011 and 2015, projects to build a 1:1 scale replica of the Eva-02 boss in The Beast mode, a hotel room inspired by the Unit 00 Entry Plug, and a roller coaster designed and built based on the 01 design were announced. However, due to the 2011 Tōhoku earthquake and tsunami, work on the 02 statue was postponed indefinitely.

In 2015, a limited-time event dedicated exclusively to Neon Genesis Evangelion was inaugurated at the Expasa service area in Ashigara, Shizuoka Prefecture, where a six-meter-tall statue of Eva-01, the largest in the world, was displayed. In 2016, the record was passed to a giant reproduction of 01 with a to-scale model of Longinus' spear in his hands, built in Shanghai. The statue was built by Khara, the Heitao Interactive company, and the Shanghai Character License Administrative Corporation. At 24.8 meters high, it entered the Guinness World Records in a special category as "the largest Evangelion in the world". In 2020, Nagoya promoted an event named Evangelion Chukyo Area Project to celebrate the release of Evangelion 3.0+1.0, the last installment of Rebuild; a golden statue of Eva-01 was unveiled at Chūbu-Centrair Airport along with a six-meter-high reproduction of the unit at the city's Global Gate Complex. To coincide with the release of the feature film, a special Evangelion-themed event was held at the Tokyo Sky Tree in 2021, during which the lights of the tower were illuminated in the colors of the Evangelion units from the Rebuild.

Legacy

According to scholar Guido Tavassi, the "revolutionary" mecha design can be counted among the innovations introduced by Neon Genesis Evangelion, "which, on the one hand, brings the Eva units closer to the human figure, but on the other hand proposes a complete abstraction of the forms of the enemies, the Angels, with a choice that will have an enormous impact on the design of subsequent series of the genre". Maya Phillips, a writer for The New Yorker magazine, credited Evangelion with redefining the mecha genre and the relationship between pilot and fighting machine. The Evas, according to Phillips, introduce more ambiguity compared to the mecha of the past, being difficult to classify and halfway between Nagai's super robots and Gundam-like real robots; according to the writer, the anime, although indebted to the past series, "was perhaps the first to imagine the human as machine, and vice versa". The new element for Phillips is the frightening and dangerous nature of the humanoids, unknown until then to mainstream anime.

Eva-01's design inspired Nobuhiro Watsuki for the appearance of the giant Fuji, one of the characters in his work Rurouni Kenshin. Neon Genesis Evangelion's influence has also been traced by critics to the mecha designs of series that came later, such as Brain Powerd, Gasaraki, Dual! Parallel Trouble Adventure, Devadasy and Reideen, a 2003 remake of the 1975 series Brave Raideen.

The fight sequence between Asuka's Eva-02 and the nine Eva Series present in End was an inspiration for animators such as Yoshimichi Kameda and Yokota Takumi, character designer of Love Live! Nijigasaki High School Idol Club. The design of the Digimon Argomon bears similarities to Eva-01, particularly for its color scheme. The Edge of Spider-Geddon also introduces mechas called SP//dr and Ven#m, which are visually similar to Evangelion units. Possible homages to the series' mechas have also been traced in Heroes of the Storm's Genji, D.Va's mecha from Overwatch, the Sentinels from the Marvel comic book Mystique, an episode of the US cartoon Invader Zim, the final form of Carnage Kabuto from One-Punch Man and Alexandrite from Steven Universe. According to USgamer, there is also a mention of Type D equipment in the Gold Saucer in Final Fantasy VII. Pacific Rim has also been compared to Evangelion by critics; giant robots with aesthetic similarities to Evangelion units appear in the film, piloted via a neural connection aided by a special liquid that is similar to LCL. Guillermo del Toro and Travis Beacham, director and screenwriter of the feature film, respectively, have stated that they were not directly influenced by Neon Genesis Evangelion, saying that they only saw the series after they had already conceived Pacific Rim. In 2016, actress Ayame Goriki cosplayed as Eva-01 in a preview of the first episode of Rental no koi, a Japanese television drama that aired in January 2017. A group of researchers from Tokyo Medical and Dental University in 2021 published a study on a liquid capable of delivering oxygen to mice and pigs through the anus; the technique was dubbed by Takanori Takebe, author of the study, as the "EVA method" (enteral ventilation via anus) after the Eva units.

Notes

References

Clone characters in Neon Genesis Evangelion
Fictional cyborgs
Neon Genesis Evangelion
Fictional mecha
Animated characters introduced in 1995

Evangelion (mecha)


As eleições no território federal do Amapá em 1986 ocorreram em 15 de novembro como parte das eleições gerais em 23 estados e no território federal de Roraima. No presente caso, a Emenda Constitucional Número 22 determinou a eleição de quatro deputados federais para representar cada um dos territórios federais então existentes.

Resultado da eleição para deputado federal
Conforme o Tribunal Superior Eleitoral, foram apurados 61.613 votos nominais (80,92%), 8.227 votos de legenda (10,81%), 1.471 votos em branco (1,93%) e 4.827 votos nulos (6,34%), resultando no comparecimento de 76.138 eleitores. Somando este número (90,15%) às 8.321 abstenções (9,85%), chegaremos a 84.459 eleitores inscritos.

Aliança Liberal-Trabalhista

Chapa do PMDB

Chapa do PT

Chapa do PTB

Chapa do PCB

Chapa do PDS

Amapá
1986

Eleições no Território Federal do Amapá em 1986


Edmundo Prati Mattje (Paysandú, 17 de abril de 1889 - Montevideo, 24 de noviembre de 1970) fue un escultor uruguayo.

Biografía
Edmundo Prati nació en Paysandú, hijo de Michelangelo Prati, ítalo-austríaco y de Carolina Mattje, germano-brasileña, junto a un hermano gemelo, Eriberto Prati, también artista. Michelangelo provenía de Caldonazzo, cerca de Trento, entonces bajo dominio austríaco.

Con poco más de un año fue llevado junto a su hermano gemelo a Caldonazzo, donde se criarían al cuidado de las tías paternas, en el viejo molino familiar, único bien sobreviviente a la quiebra de su abuelo, Domenico Prati (1808-1867). Sus padres, luego del nacimiento de su tercer hijo, Alfredo, volverían a Brasil a explotar una hacienda en las cercanías de Uruguaiana R. S. dejando a los mellizos en un ambiente más propicio para su futura formación.

Lo más importante para la vida futura de ambos artistas fue la convivencia en muchas oportunidades con los hermanos de su padre, Eugenio (1842-1907) y Giulio (1860-1940), ambos grandes pintores académicos, formados, el primero en las Academias de Venecia y Florencia, y el segundo en la Academia de Brera en Milán. También convivieron con otro primo pintor, 15 años mayor, Romualdo Prati (1874-1930), quien haría una carrera destacada en Brasil, París y Roma. Era común que se reunieran en el molino junto a otros amigos artistas a trabajar en sus pinturas, estimulando así la formación artística de los pequeños. Realizaban figuras en arcilla, y cuando tenían solo 10 años, su tío Eugenio incluyó algunas de estas en una de sus muestras de pintura.

Al no poder asistir a Brera o Venecia, por su situación económica, se formaron como pintores decoradores en el Taller de De Vigili (la antigua formación de "aprendiz obrero", en Trento) asistiendo también a los cursos nocturnos de la Escuela de Artes y Oficios.

Fue alumno de la Academia de Milán. Preparó un diseño para albergar al parlamento uruguayo. Es famoso por sus monumentos de tipo heroico (Al General José Artigas, Salto, Al General San Martín, Montevideo, los fundadores de ellos la Patria).

Prati fundó la revista de arte David. En 1937 recibió el Gran Premio de Escultura en el Primer Salón Anual de Bellas Artes, celebrado en Montevideo.

Principales obras
 Monumento al Gral. José Gervasio Artigas, Plaza Artigas, Salto.
 Monumento al Libertador Gral. José de San Martín, Plaza Soldados Orientales de San Martín, Montevideo (en colaboración con Antonio Pena).
 Los últimos charrúas, en el parque El Prado, Montevideo (en colaboración con Gervasio Furest y Enrique Lussich).
 Monumento al Dr. Luis Alberto de Herrera, Montevideo (en colaboración con V. Habegger y Jorge Durán Mattos).
 Monumento a Franklin Delano Roosevelt en el Parque de los Aliados (actual Parque Batlle), Montevideo.
 Estatua monumental del Dr. José Irureta Goyena, Pocitos, Montevideo.
 Estatua monumental El Sembrador, Paysandú.
 Estatua monumental a José Garibaldi, Dolores, Soriano.
 Altorrelieves para el Salón de los Pasos Perdidos (Montevideo) del Palacio Legislativo.(Entradas al Senado y Cámara de Diputados)

Referencias

Enlaces externos

Escultores de Uruguay
Escultores del siglo XX
Ítalo-uruguayos
Nacidos en Paysandú

Edmundo Prati


La Eredivisie 1983/84 fue la 28.ª edición de la Eredivisie. El campeón fue el Feyenoord de Róterdam, conquistando su 7.ª Eredivisie y el 12.º título de campeón de los Países Bajos.

El máximo goleador fue Marco van Basten (Ajax), con 28 goles.

Tabla de posiciones

PJ = Partidos jugados; PG = Partidos ganados; PE = Partidos empatados; PP = Partidos perdidos; Pts = Puntos; GF = Goles a favor; GC = Goles en contra; Dif = Diferencia de goles

[1] Feyenoord también ganó la Copa de los Países Bajos, obteniendo así el doblete. Feyenoord participará en la Copa de Europa, por lo que el finalista, Fortuna Sittard, podría jugar en la Recopa de Europa.

Enlaces externos
 RSSSF
 Lista de goleadores de la Eredivisie

Temporadas de la Eredivisie
Fútbol en 1983
Fútbol en 1984

Eredivisie 1983-84


José Manuel Martínez Aguirre (Tequila, Jalisco, 15 de junio de 1934 - Guadalajara, 4 de octubre de 2001) fue un ingeniero, empresario y político mexicano, miembro del Partido Acción Nacional.

José Manuel Martínez estudió Ingeniería Civil en la Universidad de Guadalajara durante el periodo de 1951-1956, graduándose con la tesis "Concreto preesforzado". En 1959, se casó con Elia Montes Guerrero.

Durante su vida se desempeñó dentro del área de su especialización, y además ejerció como director de Obras Públicas, presidente del Consejo de Colaboración Municipal del Ayuntamiento de Tequila y presidente de la Agrupación de Exalumnos Jesuitas entre 1987 y 1988.

Trayectoria política
En 1969 se adhirió al Partido Acción Nacional y fue elegido diputado federal en el año de 1988 a la LIV Legislatura por el XIV Distrito Electoral Federal de Jalisco, cuyo periodo concluyó en 1991.

Fue víctima del cáncer y falleció en Guadalajara el 4 de octubre de 2001.

Referencias

Nacidos en Tequila
Alumnado de la Universidad de Guadalajara
Ingenieros civiles de México
Empresarios de Jalisco
Miembros del Partido Acción Nacional
Diputados de la LIV Legislatura de México
Fallecidos en Guadalajara (México)

José Manuel Martínez Aguirre


عشق آباد، وهي عاصمة تركمانستان.
 عشق آباد، وهي مسرحية تونسية من إنتاج فضاء التياترو.
 عشق آباد 2، وهي مسرحية تونسية من إنتاج فضاء التياترو.
 عشق آباد، وهي معزوفة للموسيقار وعازف العود التونسي أنور ابراهم.

صفحات توضيح أسماء أماكن

عشق آباد (توضيح)


José González Espaliú "Pepe Espaliú" (Córdoba, 26 de octubre de 1955-ibídem, 2 de noviembre de 1993) fue un artista español.

Biografía
Hombre muy polifacético, cultivó diversas facetas como la pintura, la escultura, la poesía o las acciones públicas (performance). El último tramo de su obra está muy marcada por el sida, dándole una fuerza y una expresividad desbordantes, buscando entre otras cosas que todos nos comprometiéramos con la causa.

Su formación se desarrolló en Barcelona y París, donde siguió los cursos que impartió el psicoanalista Jacques Lacan. Otras influencias son las de Jean Genet y de Yalal ad-Din Rumi, el fundador de la orden de los derviches giróvagos.

Aunque muy polifacético, toda su obra se desarrolla entre los años 1986 y 1993. Debido a su intensidad, fue uno de los artistas españoles con mayor proyección internacional en la segunda mitad de los años 80, con exposiciones en Ámsterdam, Venecia, Nueva York y París.

En 2003, a los diez años de su muerte, se realizó una exposición retrospectiva en Sevilla. El 28 de octubre de 2010 se inauguró el Centro de Arte Pepe Espaliú, de Vimcorsa, con una colección de más de 40 piezas que recogen sus inquietudes artísticas en pintura, performances y escultura. La Real Academia Española de Roma expuso obra realizada en su último año de vida, cuando, becado por la misma, estuvo viviendo un año en Roma. La muestra, realizada veintiséis años después, fue organizada por Acción Cultural Española y comisariada por Xose Prieto Souto y Rosalía Benet.

Referencias

Enlaces externos

Pintores de España del siglo XX
Escultores de España del siglo XX
Pintores gais
Personas homosexuales de España
Pintores de Córdoba (España)
Escultores de Córdoba (España)
Diagnosticados con VIH positivo
Nacidos en Córdoba (España)
Fallecidos en Córdoba (España)
Artistas LGBT de España

Pepe Espaliú