الطيرة هي قرية فلسطينية مهجرة كانت تقع على المنحدرات الغربية لجبل الكرمل، هجرت عام 1948.

القرية قبل عام 1948
هي إحدى القرى الفلسطينية المحتلة التي تقع في محافظة حيفا كانت القرية تنتشر على المنحدرات الغربية السفلى لجبل الكرمل, مشرفة على السهل الساحلي، وكانت طريق فرعية تصلها بالطريق العام الساحلي، إلى الشمال الغربي منها، وكانت الطيرة من أهم قرى قضاء حيفا، فهي أكثرها سكانا، وثانية كبرى القرى في القضاء (بعد إجزم) من حيث المساحة. وقد أطلق الصليبيون عليها اسم سان يوهان دو تير. في سنة 1596 كانت الطيرة قرية ناحية شفا (لواء اللجون) وعدد سكانها 286 نسمة، يؤدون الضرائب على عدد من الإنتاج والمستغلات كالماعز وخلايا النحل وكروم العنب. في أواخر القرن التاسع عشر، كانت الطيرة قرية ذات منازل مبنية بالحجارة والطين وكانت تقع على سفح جبل تتميز تلاله القريبة من القرية بكهوف، وتحيط بها بساتين الزيتون. وكان عدد سكانها 1200 نسمة تقريبا، وكانوا يزرعون 60 فدانا (الفدان= 100-250 دونما). وقد أخذ اقتصاد القرية يتدهور بعد سنة 1872, في إثر التجنيد الإجباري الثقيل الوطأة الذي فرضه العثمانيون. لكن القرية عادت فازدهرت لاحقا. وقد بنى سكانها (5240 مسلما و30 مسيحيا، في أواسط الأربعينات) منازلهم الحجرية كالعناقيد. وكان شكل القرية مصلبا، وفيها مدرستان ابتدائيتان: أحداهما للبنين، والأخرى للبنات. يمر بها 8 أودية منها وادي الفلاح، وقد اشتملت أراضيها على بضعة ينابيع، واعتمد اقتصادها على الحبوب والخضروات والفاكهة. في سنة 1943، فاق إنتاج الطيرة من الزيتون والزيت ما أنتجته أية قرية أخرى في قضاء حيفا، وكان فيها ثلاث معاصر زيتون آلية. وقد غرس فيها أيضا الكثير من شجر اللوز، وهذا ما أدى إلى تلقبها بطيرة اللوز. في 1944\1945, كان ما مجموعه 16219 دونما مخصصا للحبوب، و3543 دونما مرويا أو مستخدما للبساتين. كما اشتغل بعض سكانها بتربية الدواجن. وكان في أراضي الطيرة خمس خرب، إحداها، وهي خربة الدير(147245), تضم بقايا دير سان بروكادوس. وبعض الكهوف التي كانت آهلة سابقا، ونفقا من الحجارة المعقودة. وكان إلى الجنوب من القرية موقع أثري مكشوف يعود تاريخه إلى العصر الحجري الوسيط، وقد نقب لاحقا.

احتلال القرية
في 12 كانون الأول\ ديسمبر 1947, أغارت مليشيا الإرغون بالقنابل على الطيرة، في أثناء الجولة الأولى من القتال. وقد تم ذلك في عيد الحانوكاه عند اليهود، واقترن بست هجمات أخرى شنتها المليشيا نفسها في أماكن عدة من فلسطين. ويذكر ((تاريخ الهاغاناه)) أن الغارة أدت إلى مقتل 13 شخصا في الطيرة، وكشفت صحيفة فلسطين عن وجود أطفال وشيوخ في جملة الضحايا. وجاء تقريبا، وأنها اقتربت من منزل منفرد في طرف القرية وقذفته بالقنابل. ثم إن المهاجمين أطلقوا نيرانهم على المنازل قبل أن ينسلوا عائدين عبر بساتين الزيتون، إلى حيث كانت شاحنة في انتظارهم. وذكرت صحيفة ((نيويورك تايمز)), توكيدا للهجوم، وقوع عشرة جرحى فضلا عن مقتل ثلاثة عشر شخصا وتدمير منزل واحد وإصابة عدة منازل أخرى بأضرار.
وخلال الأسابيع اللاحقة، تعرضت القرية لهجمات أصغر ففي 5 شباط\ فبراير 1948، شن هجوم استمر ساعة وثلاثين دقيقة، ولم يسفر عن وقوع ضحايا، استنادا إلى بلاغ رسمي بريطاني جاء فيه أنه لم يصدر عن القرية أية ردة فعل. وفي الصباح الباكر من 22 نيسان \ أبريل، شن هجوم كبير على الطيرة، ترافق مع هجوم الهاغاناه على حيفا. وكان هدف الهجوم، في الظاهر منع التعزيزات العربية من الوصول إلى حيفا. لكن المحاولة الأولى للاستيلاء على القرية تمت بعد أيام قليلة من سقوط حيفا. ويذكر المؤرخ الإسرائيلي بني موريس أن الهجوم وقع في الساعة الواحدة والدقيقة الأربعين من صباح 25 نيسان\ أبريل، وأن مدافع الهاون والرشاشات استخدمت فيه. لكن سرعان ما حضرت وحدة بريطانية إلى مكان الاشتباك، وتوقف إطلاق النار. وفي زعم موريس أن البريطانيين ساعدوا في إجلاء بعض النساء والأطفال، وفي إيصالهم إلى مأمنهم. وهو يضيف أن الهجوم استؤنف صباح اليوم التالي بعد أن غادر البريطانيون، واستمر إلى أن وصلت وحدة بريطانية أخرى في وقت لاحق من النهار، ونظمت عملية إجلاء أخرى. وجاء في صحيفة ((نيورك تايمز)) أن القرية ((قصفت قصفا شديدا)) بمدافع الهاون. ونقلت الصحيفة ادعاء الهاغاناه أن الطيرة كانت (قاعدة عربية رئيسية). وفي 5 أيار \ مايو، بذل مسعى ثالث لنقل مزيد من السكان إلى أماكن آمنة، فنقل نحو 600 شخص إلى جنين ونابلس، استنادا إلى موريس.
استمرت الهجمات نحو أسبوع. وفي 13 أيار\ مايو، شن لواء ألكسندر وني التابع للهاغاناه هجوما مني بالفشل. ويذكر ((تاريخ الهاغاناه)) أن المحاولة باءت بالفشل، والسبب الأساسي في هذا الفشل كان عدم توفر معلومات دقيقة عن نظام العدو الدفاعي في القرية. وقد أدى ذلك إلى إلغاء عملية احتلال قلقيلية، كما كان مقررا في خطة دالت.
سقطت القرية أخيرا، بحسب ما جاء في (تاريخ الهاغاناه), في 16 تموز\ يوليو خلال معارك الأيام العشرة التي فصلت بين هدنتي الحرب. ويشير كلام هذا المصدر إلى أن احتلال الطيرة (وغيرها من القرى في قضاء حيفا، مثل كفر لام والصرفند) كان بليغ الدلالة إذا استعين فيه أول مرة بنيران القوات البحرية لمساندة القوات البرية. وكان الهجوم على الطيرة جزءاً من عملية بحرية أوسع نطاقا، أسفرت عن احتلال كفر لام والصرفند في الوقت نفسه. فقد قصفت السفينة الحربية، إيلات القرية قبل أن تتحرك القوات البرية لاحتلالها. أما السكان الذين كانوا لا يزالون فيها، والذين صمدوا تحت الحصار مدة تنوف على الشهرين، فقد طردوا في معظمهم إلى مثلث جنين- نابلس - طولكرم، أو احتجزوا في مخيمات أسرى الحرب، وذلك استنادا إلى بني موريس.
ويبدو أن بعض سكان الطيرة لجأ إلى قرية عين غزال المجاورة إذا ذكر الأمين العام لجامعة الدول العربية أن 28 شخصا من لاجئي الطيرة أحرقوا أحياء هناك في أواخر تموز\ يوليو. غير أن وسيط الأمم المتحدة، الكونت فولك برنادوت، صرح أن مراقب الأمم المتحدة زار المنطقة في 28 تموز\ يوليو ولم يجد (أي دليل يدعم ادعاء وقوع المجزرة). ويورد موريس الزعيم الإسرائيلي أن الأجساد المحروقة في عين غزال إنما هي جثث وجدت في حال متقدمة من التعفن فأحرقها الجنود الإسرائيليون. وهو يضيف أن ليس هناك دلائل تشير إلى المكان الذي جاء هؤلاء الأشخاص منه، أو إلى كيفية موتهم.

القرية اليوم
تحتل مستعمرة إسرائيلية موقع القرية جزئيا. ولا يزال بعض منازلها ماثلا للعيان. كمنزل عرسان الذيب. المقبرة في حال مزرية من الإهمال، وفيها شواهد حجرية عدة مكسرة. ولا تزال بقايا مقامين مرئية، ويستعمل بناء المدرسة التلامذة الإسرائيليون والعرب منهم واليهود، وينتشر بعض الغابات وبعض المساكن على القسم الجبلي من الأراضي المحيطة. أما السهل فيستعمل للزراعة.

المستوطنات الصهيونية على اراضي القرية
أنشأ الصهيونيين مستعمرة هحوتريم في حزيران\ يونيو 1948, جنوبي موقع القرية. وبعد عام، أقيمت مستعمرتا طيرت كرميل  مغاديم: الأولى في موقع القرية، والثانية أبعد منها قليلا على أراضي القرية. وفي سنة 1952، بنيت مستعمرة كفار غليم على أراضي القرية، ثم ألحقت بها مستعمرة بيت تسفي في سنة 1953.

إحصائيات وحقائق

ملكية الأرض

استخدام الأراضي عام 1945

التعداد السكاني

وكان في البلدة مجلس قروي يدير الشؤون الاجتماعية والعامة وكان هناك مدرستين أيضاً واحدة للبنين والأخرى للبنات.

معرض صور

انظر أيضاً
قائمة المدن والقرى الفلسطينية التي طرد منها سكانها خلال حرب 1948

مراجع

قرى فلسطينية أخليت من سكانها في الحرب العربية الإسرائيلية 1948
قرى فلسطينية أخليت من سكانها قبل الحرب العربية الإسرائيلية 1948
قضاء حيفا
مقالات تتضمن معلومات من موقع فلسطين في الذاكرة

الطيرة (حيفا)


85308 Atsushimori este un asteroid din centura principală de asteroizi.

Descriere
85308 Atsushimori este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Kuma Kogen de Akimasa Nakamura. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,29 ua, o excentricitate de 0,18 și o înclinație de 5,2° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 85001-86000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1994
Centura de asteroizi

85308 Atsushimori


Suðurnesjabær est une ville en Islande située sur la côté ouest de la Reykjanesskagi dans la région de Suðurnes.

Le municipalité est créée le 10 juin 2018 après la fusion de Sandgerði et Garður. En novembre 2018, les habitants de la commune sont invités à voter pour le nom de la commune fusionnée. Le nom Suðurnesjabær (Ville de la Péninsule du Sud) a reçu le plus de voix (75,3% des voix).

Géographie

Articles connexes
 Localités d'Islande

Références

Localité en Suðurnes
Municipalité en Suðurnes
Ville portuaire en Islande

Suðurnesjabær


Agrilus colombianus é uma espécie de inseto do género Agrilus, família Buprestidae, ordem Coleoptera.

Foi descrita cientificamente por Gory, 1841.

Referências

colombianus

Agrilus colombianus


Las Américas International Airport (, or AILA)  is an international airport located in Punta Caucedo, near Santo Domingo and Boca Chica in the Dominican Republic. The airport is run by Aeropuertos Dominicanos Siglo XXI (AERODOM), a private corporation based in the Dominican Republic, under a 25-year concession to build, operate, and transfer (BOT) six of the country's airports. Las Américas usually receives a wide variety of long-, mid-, and short-haul aircraft. Santo Domingo's other airport, La Isabela, is much smaller and used by light aircraft only.

The airport is the second-busiest in the country, after Punta Cana International Airport, and one of the largest in the Caribbean, handling 3.5 million passengers in 2015. It is also the busiest cargo hub in the Caribbean and Central America, with 355,000,000 lbs of cargo transported in 2019.

History
Las Américas Airport opened in 1959 as the official airport of Ciudad Trujillo, the capital of the Dominican Republic, with the city subsequently changing its name to Santo Domingo. The official name of the airport was changed in 2002 to "Aeropuerto Internacional Las Américas- José Francisco Peña Gómez (AIJFPG)" but is known as "Las Américas International Airport", or locally, "Las Américas Airport, AILA or "El Aeropuerto".

In 1954, U.S. based Delta Air Lines (which was known as "Delta C&S" at the time following its acquisition and merger with Chicago and Southern Air Lines) was serving the Dominican Republic on a daily basis via the then-named General Andrews Airport in Ciudad Trujillo with nonstop flights to San Juan, Puerto Rico and Port au Prince, Haiti operated with Convair 340 twin prop aircraft. The eastbound Delta flights operated a daily routing of Houston - New Orleans - Havana, Cuba - Port au Prince - Ciudad Trujillo - San Juan and the westbound Delta flights operated a daily routing of San Juan - Ciudad Trujillo - Port au Prince - Havana - New Orleans.  Also during the mid-1950s, U.S. based Pan American World Airways (Pan Am) was serving Ciudad Trujillo with nonstop flights to New York City, Miami and Port au Prince operated with Douglas DC-6 four engine propliners (which the airline called the "Super-6 Clipper"). In 1960, locally-based Dominicana de Aviacion, the former flag carrier of the Dominican Republic, was operating scheduled international passenger service nonstop between the airport and Miami with Douglas DC-4 four engine propliners and also nonstop between the airport and San Juan, Puerto Rico with Douglas DC-3 and Curtiss C-46 twin prop aircraft.

By the early and mid-1960s, several airlines were operating international jet service from the airport including Pan Am with Boeing 707 service nonstop to New York City, Miami, San Juan, Puerto Rico, Kingston, Jamaica and Curacao as well as direct, no change of plane 707 service to Montego Bay, Caracas, Port of Spain, Georgetown, Guyana and Paramaribo while Brazil-based VARIG was operating Sud Aviation Caravelle and Convair 990 jetliner flights nonstop to New York City and Miami as well as direct, no change of plane jet service to Port of Spain, Belem, Fortaleza, Recife, Rio de Janeiro, Sao Paulo and Porto Alegre.

By 1976, the airport was being served by American Airlines with nonstop Boeing 707 and Boeing 747 flights from New York City, Dominicana de Aviacion with nonstop Boeing 727-100, Boeing 727-200, Boeing 707-399C, Boeing 747 and McDonnell Douglas DC-10 (leased aircraft) service from New York City, Miami and San Juan, Puerto Rico, Eastern Airlines with nonstop Boeing 727-100 service from San Juan, Puerto Rico as well as direct, no change of plane 727 flights from Cleveland and Miami, Pan Am with nonstop Boeing 707 service from Port au Prince as well as direct, one stop 707 service from Miami, ALM Antillean Airlines with nonstop and direct one stop McDonnell Douglas DC-9-30 service from Curacao, Viasa with nonstop Douglas DC-8 service from Curacao and direct one stop DC-8 flights from Caracas, and locally-based Aerovias Quisqueyana with nonstop Boeing 707 and Douglas DC-8 service from Miami and San Juan, Puerto Rico.  Also in 1976, Aerovias Quisqueyana was operating nonstop Boeing 707 transatlantic service from the airport to Madrid with this flight also providing direct one stop service to Rome.

According to the Official Airline Guide (OAG), in 1996 a number of European based airlines were operating transatlantic flights from the airport including Air France with nonstop Boeing 747 service to Paris, Alitalia with nonstop Boeing 767-300 service to Rome, Condor Airlines with nonstop Boeing 767-300 service to both Cologne/Bonn and Frankfurt, Iberia Airlines with nonstop McDonnell Douglas DC-10 service to Madrid, LTU International Airways with nonstop McDonnell Douglas MD-11 service to Dusseldorf, Martinair with nonstop Boeing 767-300 service to Amsterdam, and TAP Air Portugal with direct one stop Airbus A310 service to Lisbon.  Airline service from the airport to South America in 1996 included nonstop Boeing 727-200 flights to Bogota operated by ACES Colombia as well as nonstop McDonnell Douglas DC-10 flights to Lima operated by Iberia Airlines in addition to direct, no change of plane Boeing 737-200 flights also to Lima operated by Copa Airlines via a stop at this air carrier's hub in Panama City, Panama.
Also according to the OAG, other airlines operating flights into the airport in 1996 included American Airlines with nonstop Airbus A300-600R, McDonnell Douglas DC-10 and McDonnell Douglas MD-11 service from New York City as well as nonstop Airbus A300-600R and Boeing 727-200 service from Miami in addition to direct one stop Airbus A300-600R service from both Boston and Orlando, Continental Airlines with nonstop Boeing 727-200 service from Newark, Trans World Airlines (TWA) with nonstop Boeing 767-200 and Lockheed L-1011 service from New York City, and locally-based APA International Air with nonstop Airbus A300 service from both New York City and Miami.

Las Américas was the hub for Dominicana de Aviación, APA International Air, PAWA Dominicana, and a number of other, smaller airlines. Currently SAP Air is based there.

Las Américas also has served as a hub for airlines such as Aeromar Líneas Aéreas Dominicanas, Aero Continente Dominicana and Queen Air.

Recently, the expressway leading from Santo Domingo to the airport (roughly 20 km east of the city center) was expanded and modernised. The airport was also modernised, and two more terminals were added, including 20 more gates. The new expressway crosses a new suspension bridge which spans the Ozama River, connecting traffic into the city's Elevated Freeway and Tunnel system onto the city's main street, Av. 27 de Febrero. A more scenic route following the coastal shore provides beautiful views of the Caribbean Sea and of the city. This secondary road crosses the Ozama River by means of a floating bridge, connecting traffic onto the Av. George Washington (el Malecón) which leads into the heart of the colonial city.

Addition of northern terminal
On 18 April 2007, a new terminal was completed and opened for operations. It can accommodate four Boeing 747s simultaneously. This new terminal has four gates with boarding bridges, an air-conditioning system, and maintenance facilities for aircraft.

Runway
Las Américas Airport's runway direction is north–south (designated 17–35). This runway is the largest in the country, and one of the largest in the Caribbean. With a length of 3,355 m, it is able to support a Boeing 747. The runway of SDQ was last renovated in June 2008. The old taxi-way was also renovated and converted into a full runway while the old runway was being renovated, then it was converted back into a taxiway after the normal runway was finished. The runway accommodated the Antonov An-225 to supply goods after the 2010 Haiti earthquake.

Concourses
Las Américas has five gates on the main satellite concourse (A), A2 through A6. Other gate facilities are for the flights departing from a parking in the taxiway. back in the 1960s and 70s the airport used to be much smaller, The original building was half the size of today's newest structure but with a still modern look.

Concourse B has four gates (B1 through B4) and remote stand (P8). Terminal B now features a co-branded Copa Club operated jointly by United Airlines and Copa Airlines, and a Private Lounge exclusive to members and business people.

The average number of daily flights in and out of Las Américas ranges between 68 and 84. JetBlue is the largest airline operating at Las Américas.

Airlines and destinations

Passenger

Cargo

Statistics

Accidents and incidents
 On February 15, 1970, a Dominicana de Aviación DC-9 flying to Luis Muñoz Marín International Airport in San Juan, Puerto Rico, crashed, killing all 102 people on board. See the Dominicana DC-9 air disaster.
 On 30 January 1975, Douglas DC-3 HI-222 of LANSA crashed on take-off, killing one of the 30 people on board. The aircraft was on an international scheduled passenger flight to Mais Gate Airport, Port-au-Prince, Haiti.
 On December 15, 2021 a Gulfstream IV business jet, registered as HI1050, departed Santo Domingo's La Isabella International Airport, en route to Orlando, Florida, before diverting to Las Americas International airport where the aircraft crashed during an attempted landing. Nine casualties were reported with no survivors. The incident is pending investigation.
 November 12, 2001: Two months after the September 11 attacks, American Airlines Flight 587, an Airbus A300, crashed in the Belle Harbor neighborhood of New York City shortly after takeoff from John F. Kennedy International Airport due to separation of the vertical stabilizer after the first officer overused the rudder while trying to counter wake turbulence from a Boeing 747-400 ahead of them. All 260 people aboard the plane and five people on the ground were killed in the second-deadliest aviation accident on US soil, behind only Flight 191.

See also
 List of the busiest airports in Dominican Republic
 List of the busiest airports in the Caribbean

References

External links

 Aeropuerto Internacional Las Américas-JFPG

Airports in the Dominican Republic
Buildings and structures in Santo Domingo Province
Airports established in 1959
1959 establishments in the Dominican Republic

Las Américas International Airport


Lasse Sørensen (født 21. oktober 1999 i Vejen, Danmark) er en dansk fodboldspiller der spiller som midtbanespiller for Stoke City.

Lasse Sørensen (fodboldspiller, født 1999)


Toksicitet, fra græsk toxikon, "pilegift", er den grad hvortil et stof kan skade en organisme, og derfor en måde at måle stoffets giftighed. Giftstoffer af biologisk oprindelse kaldes ofte toksiner.

Et centralt punkt indenfor toksikologi er toksicitet afhænger af dosering. Selv stoffer, der normalt ikke betragtes som giftige kan have en giftvirkning i meget høje doser. Eksempelvis kan vand forårsage vandforgiftning. En anvendt målemetode er LD50, der beskriver den dosering, som ville slå halvdelen af de testede individer ihjel.

Toksikologi

Toksicitet


17th Congress may refer to:

 17th Congress of the All-Union Communist Party (Bolsheviks) (1934)
 17th Congress of the Philippines (2016–2019)
 17th National Congress of the Chinese Communist Party (2007)
 17th National Congress of the Kuomintang (2005)
 17th United States Congress (1821–1823)

17th Congress


Niederösterreich Mitte steht für:
 Niederösterreich Mitte (Region), das "fünfte Viertel" von Niederösterreich
 Regionalwahlkreis Niederösterreich Mitte, für die Wahlen zum Nationalrat

Niederösterreich Mitte


منصورة  هي إحدى القرى اللبنانية من قرى قضاء البقاع الغربي في محافظة البقاع.

المراجع

مدن لبنان

منصورة (البقاع)


August and Everything After is the debut studio album by American rock band Counting Crows, released September 14, 1993, on Geffen Records.  The album was produced by T Bone Burnett and featured the founding members of the band: Steve Bowman (drums), David Bryson (guitar), Adam Duritz (vocals), Charlie Gillingham (keyboards), and Matt Malley (bass).  Among the several session musicians used for the album was multi-instrumentalist David Immerglück, who later joined the band as a full-time member in 1999, as well as Burnett, who also provided additional guitar work.

Four singles were released from the album, the highest charting of which was "Mr. Jones", which peaked at number 5 on the Billboard US Radio Songs Chart and number 2 on several genre-specific Billboard charts. The album itself was well received by critics and has gone multi-platinum in several countries, including the U.S. where it has sold over seven million copies, and peaked at number 4 on the Billboard 200 album chart.

The album cover depicts handwritten lyrics to a song called "August and Everything After", but the band decided against featuring the song on the album; it was not until over a decade later that it was played as part of one of their live concerts. The song "August and Everything After" was released on January 24, 2019, as an Amazon Original.

On September 18, 2007, a two-disc deluxe edition of the album was issued. The first disc contains the original album, remastered by Adam Ayan at Gateway Mastering, with six demos added as bonus tracks. The second disc is taken from the band's penultimate performance during the August tour, recorded at Élysée Montmartre in Paris, France, on December 9, 1994.

The album August & Everything After: Live at Town Hall was released on August 29, 2011, featuring live recordings of the songs from this album. More than 6 million copies of the album have been sold by February 2002 in the US.

Track listing

Original release

2007 deluxe edition bonus disc

Personnel
Counting Crows
 Steve Bowman – drums, vocals
 David Bryson – guitars, vocals
 Adam Duritz –  vocals, piano, harmonica
 Charlie Gillingham – piano, Hammond B3, accordion, Chamberlin, vocals
 Matt Malley – bass, guitar, vocals

Additional personnel
 T Bone Burnett – guitar, producer
Stephen Marcussen – mastering at Precision Mastering, Los Angeles, CA
Adam Ayan – 2007 Deluxe Edition mastering at Gateway Mastering, Portland, Maine
 Bill Dillon – guitar, guitorgan
 Denny Fongheiser – percussion, drums on track 3
 David Immerglück – guitars, mandolins, pedal steel guitar, mandocello, vocals
 Gary Louris – backing vocals
 Maria McKee – backing vocals
 Mark Olson – backing vocals

Charts

Weekly charts

Year-end charts

Decade-end charts

Certifications

References

External links

1993 debut albums
Albums produced by T Bone Burnett
Counting Crows albums
Geffen Records albums

August and Everything After


The Teaching Company, doing business as Wondrium, is a media production company that produces educational, video and audio content in the form of courses, documentaries, series under two content brands – Wondrium and The Great Courses. The company distributes their content globally through a mix of Direct to Consumer models such as their streaming service Wondrium.com and TheGreatCourses.com, as well distribution through third party platforms like Audible, Amazon and Roku.

Wondrium, founded by Tom Rollins in 1990, is currently owned by Brentwood Associates PE and is headquartered in Chantilly, Virginia.

History
In 1990, the company was founded by Thomas M. Rollins, former Chief Counsel of the United States Senate Committee on Labor and Human Resources. Rollins had been inspired by a 10-hour videotaped lecture series by Irving Younger he watched to prepare for an exam while at Harvard Law School. He never forgot the series and wanted to share the experience with others. He began recruiting professors and experts to record lectures, with the first courses covering psychology, political theory, and Shakespeare.

By 2000, the company was well-established, with about $20 million (USD) in annual revenue.

In October 2006, the company was acquired by Brentwood Associates, a private equity investment firm. The company's catalog grew from 20 million to almost 70 million and digitized 6,000 hours of content. Sales increased more than 35% the first year and then continued to grow at a double-digit pace. In 2013, indirect distribution channels, including Audible.com, Amazon Instant Video, Comcast Video on Demand, and Netflix were added.

In 2015, the company introduced its online subscription service, The Great Courses Plus, which gave lifelong learners streaming access to the majority of The Great Courses content library through a web browser or iOS, Android, Roku, Apple TV, or Fire TV app.  A year later it introduced The Great Courses Signature Collection, a subset of Great Courses content offered as a subscription video service through their party platforms like Comcast, Amazon Channels, Apple TV, and Roku Channels.

In 2016, the firm was earning $150 million annually in revenue.

In April 2021, the company announced the rebranding of its global streaming platform from the Great Courses Plus to Wondrium. Along with the rebranding, the company announced 1,000 hours of new content from licensing agreements with Kino Lorber, MagellanTV, and Craftsy.

As of 2021, content included over 7,500 hours of content in the format of documentary and independent films, docuseries, short-form series, featurettes, courses, and tutorials. There are over 1,200 titles with more than 26,000 lectures.

Content
Wondrium produces video and audio content under its two brands: Wondrium and The Great Courses. Both brands focus on educational content with the promise of learning outcomes. The Wondrium line of content, while also educational focused, focuses on learning experiences outside of the influence of traditional University curriculum and takes other content forms outside of courses such as documentaries, docuseries, and travelogues. The Great Courses line of content typically features University level experts and professors presenting in-depth learning across multiple lectures. Courses are developed by the experts and the Wondrium production team. Many of the programs' episodes are around thirty minutes.

The production quality of the courses is "a cut above" free courses offered on YouTube, according to a report in The New York Times. Chief executive Paul Suijk described the company as the "Netflix of learning."

Content covers different subjects and categories such as science, math, economics, literature, language, history, religion, philosophy, fine arts, music, better living, health, wellness, how-to courses, personal enrichment, hobbies and leisure, and travel. The company has partnerships with the Culinary Institute of America, the Smithsonian Institution, the Mayo Clinic, National Geographic, Penguin Random House, Scientific American, and others. Self-described fans include Bill Gates and George Lucas, who delivered taped opening remarks to a Great Courses conference in 2015.

As of December 2019, the company lists the following categories and numbers of courses:

 Better Living (187)
 Economics & Finance (27)
 Fine Arts (31)
 High School (39)
 History (229)
 Literature & Language (109)
 Mathematics (48)
 Music (36)
 Philosophy & Intellectual History (120)
 Professional (75)
 Religion (83)
 Science (191)

Professors & experts
Most programs are delivered by an expert in the respective field. The lectures often involve computer graphics and animations; some offer an optional PDF guidebook to serve as a custom-made textbook for the course.

The following experts and university professors, among others, have authored courses.

 Jonathan Adler
 Gregory S. Aldrete
 Patrick Allitt
 Stephen Alvarez
 Dorsey Armstrong
 Kenneth R. Bartlett
 Edwin Barnhart
 Edward N. Beiser
 Arthur T. Benjamin
 Jonah Berger
 Ira Block
 Bob Brier
 Edward B. Burger
 Sean M. Carroll
 Phillip Cary
 Thomas Childers
 David Christian
 Eric H. Cline
 Jodi Cobb
 William R. Cook
 Anne Curzan
 Philip Daileader
 Dennis Dalton
 Leo Damrosch
 Daniel Drezner
 William Dunham
 Malcolm David Eckel
 Sylvia Earle
 Bart D. Ehrman
 John Esposito
 Brian M. Fagan
 J. Rufus Fears
 Alexei Filippenko
 Jane Friedman
 Sylvester James Gates
 Eamonn Gearon
 Steven L. Goldman
 Anthony A. Goodman
 Robert Greenberg
 Annie Griffiths
 Patrick Grim
 Allen C. Guelzo
 Richard J. Haier
 James Hall
 Ken Hammond
 Kenneth W. Harl
 Donald J. Harreld
 Robert Hazen
 Craig Heller
 Kathleen Higgins
 James Hynes
 Peter H. Irons
 Luke Timothy Johnson
 Ed Kashi
 Douglas Kellner
 Eileen Kennedy-Moore
 Alan Charles Kors
 Joseph Koterski
 Richard Kurin
 Edward Larson
 Mark Leary
 Seth Lerer
 Amy-Jill Levine
 Allan Lichtman
 Don Lincoln
 Jodi Magness
 Clancy Martin
 John McWhorter
 John Medina
 Michael Melford
 Andrew B. Newberg
 Ashton Nichols
 Steven Novella
 Sherwin B. Nuland
 Joseph Nye
 Robert A. Oden
 Pamela Radcliff
 Mark Ravina
 Richard Restak
 Daniel N. Robinson
 Rick Roderick
 Jeffrey Rosen
 David B. Ruderman
 Robert Sapolsky
 Joel Sartore
 Benjamin Schumacher
 John Searle
 Jeremy Shearmur
 Michael Shermer
 Tom Shippey
 Seth Shostak
 Ronald K. Siegel
 Jeremy Silman
 Jennifer Simonetti-Bryan
 Robert C. Solomon
 Richard B. Spence
 Michael Starbird
 Jonathan Steinberg
 David R. Stone
 Steven Strogatz
 Michael Sugrue
 James Tanton
 Timothy Taylor
 David Thorburn
 Neil deGrasse Tyson
 Elizabeth Vandiver
 Indre Viskontas
 Irwin Weil
 Arnold Weinstein
 Eric R. Williams
 Gary K. Wolfe
 Richard Wolfson
 Molly Worthen
 Michael E. Wysession
 Michael Yamashita
 David Zarefsky
In 2022, Wondrium ordered three seasons of a new speaker series called "Wondrium Insights." Its speakers included:

 Sugar Ray Leonard
 Diana Nyad
 Mary Lambert
In February 2023, Wondrium announced several new instructors and programs:
 "The Banjo: Music, History and Heritage" led by Grammy-winning musician Rhiannon Giddens
 "Elevate Your Everyday Cooking with Curtis Stone" taught by Michelin-starred chef Curtis Stone
 "The Power of Storytelling" (working title) with NPR host Ari Shapiro leading the instruction
 "Road Trip: Searching for Psychedelic Truth" led by TV producer/host Selema Masekela

Audio-only titles available through Audible
While many Wondrium titles are available through Audible under The Great Courses brand, the company also produces a line of audio only titles exclusively for the Audible Originals brand. As of 2022 the company has produced over 75 of those titles including:

 The Life and Times of Beethoven
 Falling in Love with Romance Movies
 Raising Curious Kids

Distribution

Wondrium distributes and monetizes their content through a number of ways, including direct to consumer models and through partnership with third party distributors.

Wondrium
Wondrium is the company's direct to consumer subscription streaming service that offers most of what Wondrium and The Great Courses produces as well as additional licensed non-fiction content from select partners. This streaming service is distributed globally. In 2021, it offered about 7,500 hours of content with three pricing options: a monthly plan, a quarterly plan, and an annual plan. It is available on mobile, web, and platforms such as Apple TV, Roku, Amazon Fire TV, iOS, and Android. Wondrium offers both video streaming and audio streaming.

The Great Courses Signature Collection
The Great Courses Signature Collection is the second streaming subscription service offered by the company that is distributed by third parties, including Comcast, Roku Channels, Amazon Channels, YouTube, and Apple TV and focuses specifically on The Great Courses line of content. It contains a limited portion of the total count Wondrium and The Great Courses produces and releases relative to the Wondrium streaming service. This collection consists of more than 300 courses on subjects such as philosophy, ancient and modern history, photography, professional development, science and cooking.

Audible
In 2013, courses were made available through Audible under The Great Courses brand. In 2019, the two companies announced their plan to create new audio-only nonfiction titles. The first three titles were Conspiracies and Conspiracy Theories: What We Should Believe - and Why, Medieval Myths and Mysteries, and No Calculator? No Problem!: Mastering Mental Math.

Great Courses (TheGreatCourses.com)
These titles are available to purchase digitally, audio or video, or through DVD. Customers can choose from over 1,200 titles in subject categories including the arts, science, literature, self-improvement, history, music, philosophy, theology, economics, mathematics, business, professional advancement, photography, and cooking.

True History
True History is a Free Ad-Supported Television (FAST) channel. It features over 650 hours of nonfiction programming from Wondrium, and is available through SelectTV (FreeCast) Roku, Xumo, and others.

Wondrium Journeys
Wondrium Journeys are immersive vacations "designed to bring the company's vast collection of travel courses, videos, documentaries, and series to life." The first vacation was a 9-day, 8-night trip inspired by the company's course Exploring the Mayan World.

Reception
An article in Forbes said that Wondrium has a "smorgasbord of online educational videos. Where MasterClass emphasizes glitz and glamor, Wondrium streams classes and documentaries that will make [users] feel like [they] are in a fascinating and engaging college lecture hall."

Another review in PCMag, said that the courses are "ideal for couch-side edutainment." It continued with, "Wondrium's sweet spot is content catering to your curiosity…The instructors are professionals in their fields…What you don't get on Wondrium are unvetted amateurs uploading courses to the platform. Sites such as Teachable let anyone develop and upload a course. While you may find rather instructive content on Teachable or even YouTube for that matter, there's no guarantee of the quality. Wondrium doesn't have that issue at all. All the content is professionally created and produced."

The Norwalk Reflector shared that, "Wondrium is a new streamer which offers lectures from the best professors across the U.S. (voted by students NOT administrators). They are talking about their favorite subjects, and unlike some of the droning teachers we might have had in the past, these are completely engrossing."

In a gift guide, ZDNet recommended The Great Courses Plus for anyone with a "passion for and curiosity to learn new things." It described the collection as "a huge library of college-level courses taught by some of the world's greatest professors from prestigious universities and institutions around the globe."

CNet said, "Wondrium (formerly known as The Great Courses Plus) is more geared toward actual learning than skill development. Sure there are still plenty of amazing courses available about hobbies and trades like baking and woodworking, but there's also so much more. For example, courses that are designed to teach you about history, not how to be a historian."

Regional Emmy Award

Going to the Devil: The Impeachment of 1868 (Nominee, 2020)

Buzzies Award

 Mind-Blowing Science - Season 1 (Nominee, 2021: Science/Long-form)
 John Lewis: Witness to History  (Nominee, 2021: History/Short-format)
 Black Inventors: Hair Care and Madame C.J. Walker (Winner: Best History Program/Content - one-off or series -short-format)

Webby Award

 John Lewis: Witness to History (Winner, 2021: People's Choice Documentary in History)

AIBs Award

 Solving for Zero (Winner, 2022: Science and Technology - TV/Video)

References

Bibliography

External links
Wondrium
The Great Courses

Alternative education organizations
Companies based in Fairfax County, Virginia
High school course levels
Education companies established in 1990
1990 establishments in Virginia
Adult education in the United States
Subscription video streaming services
2006 mergers and acquisitions
Subscription video on demand services
American educational websites
Educational technology companies of the United States
Virtual learning environments

Wondrium


An Digitaria fuscescens in uska species han Liliopsida nga syahan ginhulagway ni Jan Svatopluk Presl, ngan ginhatag han pagkayana nga asya nga ngaran ni Johannes Jan Theodoor Henrard. An Digitaria fuscescens in nahilalakip ha genus nga Digitaria, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Digitaria (Poaceae)

Digitaria fuscescens


Johann Ludwig I Petri  (n. 1714, Eisenach – d. 1794, Zweibrücken) a fost un însemnat peisagist al secolului al 18-lea.

În jurul anului 1740 a fost grădinarul curții Nassau-Saarbrücken, Saarbrücken, iar în anul 1742 a fost directorul peisagist în Zweibrücken.

Nepotul său a fost Ernst August Bernhard Petri (1744-1809), peisagist.

Opere

 Hofgarten Zweibrücken
 Tschifflik Zweibrücken
 Castelul Jägersburg
 Jagdschloss Herschweiler Pettersheim
 Castelul Schwetzingen
 Castelul Carlsberg

Nașteri în 1714
Decese în 1794

Johann Ludwig Petri


An Rhynchospora carrillensis in uska species han Liliopsida nga ginhulagway ni Gómez-laur.. An Rhynchospora carrillensis in nahilalakip ha genus nga Rhynchospora, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Rhynchospora

Rhynchospora carrillensis


Decermilo Portekiz'de Sátão belediyesine bağlı olan, 4,39 km2 yüzölçümüne sahip, 215 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Portekiz'in freguesiaları
Sátão

Decermilo


القيمة الاحتمالية أو قيمة P (الحرف الاتيني P يرمز إلى الكلمة اللاتينية probare، هو مصطلح إحصائي، وتعني بالعربيّة الاحتماليّة). تُستخدَم هذه القيمة لاختبار الفرضيّة إحصائيًّا. هي احتماليّة الحصول على نتائج على الأقل قريبة من أطراف النتائج الحقيقيّة التي لُوحِظت خلال التجربة، مفترضًا بأنّ الفرضيّة الصفريّة صحيحة. بلغة أبسط، تساعد القيمة الاحتماليّة في التمييز بين النتائج التي نتجت عن صدفة لعينة ما من المجموعة الكلية، والنتائج ذات الأهمية الإحصائيّة. استخدام القيمة الإحصائيّة في الاختبار الإحصائيّ للفرضيّات هو أمر شائع في العديد من حقول البحث، مثل الفيزياء والاقتصاد والتمويل والعلوم السياسيّة وعلم النفس  وعلم الأحياء والعدالة الجنائية وعلم الجرائم وعلم الاجتماع. التفسير الخاطئ للقيمة الاحتماليّة هو موضوع مثير للجدل في الأبحاث المعتمدة على الدليل.

انظر أيضًا
 اختبار فرضية إحصائية

مراجع

اختبار الفرضيات

قيمة احتمالية


කෙන්යාවේ ක්‍රිකට් සංගමයේ ශත සංවත්සර තරඟාවලිය (සමීර් කුසලානය ලෙසද හැඳින්වේ) යනු 1996-97 තරගවාරයේ කෙන්යාවේ පැවති කණ්ඩායම් හතරක එක්දින ක්‍රිකට් තරගාවලියකි.

සංචිත

ලකුණු වගුව

කණ්ඩායම් අධියර

1 වන තරගය

2 වන තරගය

3 වන තරගය

4 වන තරගය

5 වන තරගය

6 වන තරගය

අවසාන තරගය
අවසන් මහා තරගය දකුණු අප්‍රිකාව සහ පාකිස්තානය අතර නයිරෝබි හි ජිම්කානා සමාජ ක්‍රීඩාංගණයේදී පැවැත්විණි. පාකිස්තානය අවසන් මහා තරගයට සුදුසුකම් ලබා තිබුණේ ශ්‍රී ලංකාව ශුද්ධ ලකුණු අනුපාතයකින් පරාජය කරමිනි.

කාසියේ වාසිය දිනාගත් සයීඩ් අන්වර් පළමුවෙන් පන්දුවට පහරදීමට තෝරා ගත්තේය. ඔවුන් 46 වැනි ඕවරයේදී ලකුණු 203 ක් ලබා සියල්ලන් දැවී ගියේය. ඩොනල්ඩ් සහ ක්‍රූක්ස් කඩුලු 3 බැගින් ලබා ගත්හ. පාකිස්තානය වෙනුවෙන් ඉජාස් අහමඩ් ලකුණු 47 ක් රැස් කළේය. පළමු කඩුල්ල සඳහා ලකුණු 77 ක් රැස් කළ දකුණු අප්‍රිකානුවන් තරගයේ 39 වැනි ඕවරයේදී ජයග්‍රාහී ලකුණ වාර්තා කලේය. ගැරී කර්ස්ටන් පන්දු 127 කදී නොදැවී ලකුණු 118 ක් රැස් කළේය. තරගයේ වීරයා ලෙස කර්ස්ටන් නම් කරන ලදී.

යොමුව

බාහිර සබැඳි

 ක්‍රිකට් ලේඛනාගාරය

ක්‍රිකට්
ශ්‍රී ලංකාව තුළ ක්‍රිකට්

සමීර් කුසලානය 1996


فيروسات رونية  هي عائلة من الفيروسات تضم الجنس:

فيروس أوكا  وهو جنس من عائلة الفيروسات الرونية من رتبة الفيروسات العشية، تصيب القشريات، خاصة القريدس، وتشمل نوع الفيروس المرتبط بالخيشوم

وصلات خارجية
 نطاق فيروسي فيروسات رونية

أجناس الفيروس
فيروسات إيجابية ذات الرنا أحادي السلسلة

فيروسات رونية


Catterall ist ein Ort und eine Civil parish in Lancashire, England.

Catterall wird im Domesday Book als Catrehala erwähnt. Die Bedeutung oder Herkunft des Namens ist unklar, dass er auf eine Katze (engl. cat) hindeutet, ist eine unbestätigte Behauptung.

Die Flüsse Wyre, Calder und Brock fließen durch die Civil parish und bilden teilweise deren Grenze. Der River Calder mündet bei Catterall in den Wyre.

Bis 1891 betrieb Wasser aus dem Calder Druckereien und Lederindustrie in Catterall, doch dann erhielt der lokale Wasserversorger – die Fylde Water Company – durch einen Beschluss des Parlaments die Erlaubnis Wasser aus dem Oberlauf des Calder für die Trinkwasserversorgung zu entnehmen. Als Folge stand nicht mehr genug Wasser für die Maschinen zur Verfügung und die Betrieben mussten schließen.

Die Lancaster and Preston Junction Railway eröffnete 1840 den Bahnhof Garstang and Catterall in Catterall. Von dem heute geschlossenen Bahnhof, der später dann an der West Coast Main Line lag, steht heute nur noch das Haus des Stationsvorstehers.

Quellen
 Ron Greenall, Some aspects of the history and development of Catterall auf der Webseite der Civil parish.

Weblinks

 Catterall Parish Council

Ort in Lancashire
Borough of Wyre

Catterall (Lancashire)


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Der Gerichtsbezirk Imst ist ein dem Bezirksgericht Imst unterstehender Gerichtsbezirk im Bundesland Tirol. Er ist neben dem Gerichtsbezirk Silz einer von zwei Gerichtsbezirken im politischen Bezirk Imst.

Geschichte
Der Gerichtsbezirk geht im Wesentlichen auf das Gebiet des Landgerichtes Imst zurück, das aus den heutigen Gemeinden Arzl im Pitztal, Berwang, Gramais, Imst, Imsterberg, Jerzens, Karres, Karrösten, Mils bei Imst, Namlos, Nassereith, Pfafflar, St. Leonhard im Pitztal, Tarrenz und Wenns bestand.

Seine heutige Form bekam der Gerichtsbezirk im Wesentlichen durch eine 1849 beschlossene Kundmachung der Landes-Gerichts-Einführungs-Kommission, die die damals elf Gemeinden Arzl, Imst, Imsterberg, Jerzens, Karrösten, Mils, Nassereith, Pfafflar, Pitzthal, Tarrenz und Wens zum Gerichtsbezirk Imst zusammenschloss.

Das Gebiet des Gerichtsbezirks Imst wurde im Zuge der Trennung der politischen von der judikativen Verwaltung
ab 1868 gemeinsam mit dem Gerichtsbezirk Silz zum politischen Bezirk Imst zusammengefasst.

Im Jahre 1900 umfasste der Gerichtsbezirk 661,60 km².

Per 1. April 1907 kam die Gemeinde Karres an den Gerichtsbezirk Imst.

Durch eine Verordnung der Bundesregierung musste der Gerichtsbezirk hingegen die Gemeinden Gramais und Pfafflar per 20. September 1947 an den Gerichtsbezirk Reutte abtreten,
nachdem die nationalsozialistische Verwaltungsreform beide Gemeinden bereits 1938 dem Bezirk Reutte zugeschlagen hatte.

Die Ortschaft Piller der Gemeinde Fließ (Gerichtsbezirk Landeck), die 1938 der Gemeinde Wenns zugeschlagen wurde und damit Teil des Gerichtsbezirks Imst geworden war, wurde nach dem Zweiten Weltkrieg wieder aus dem Gerichtsbezirk Imst ausgeschieden und wieder mit der Gemeinde Fließ vereinigt.

Gerichtssprengel
Der Gerichtssprengel umfasst mit den elf Gemeinden Arzl im Pitztal, Imst, Imsterberg, Jerzens, Karres, Karrösten, Mils bei Imst, Nassereith, St. Leonhard im Pitztal, Tarrenz und Wenns rund ein Drittel des Bezirks Imst, wobei der Gerichtsbezirk die nordwestlichen Bezirksteile einnimmt.

Siehe auch
 Gerichtsorganisation in Österreich
 Liste österreichischer Gerichte

Literatur
 Österreichische Akademie der Wissenschaften: Historisches Ortslexikon. Statistische Dokumentation zur Bevölkerungs- und Siedlungsgeschichte, Tirol. Datenbestand: 30. Juni 2011 (PDF; 1,3 MB)

Weblinks
 Gerichtssuche in der Gerichtsdatenbank des Bundesministeriums für Justiz

Einzelnachweise

Bezirk Imst
Silz
Imst
Gegründet 1849

Gerichtsbezirk Imst


Nidrí (En griego: Νυδρί) es un pueblo en el este de la isla de Léucade. Está conectada con Vasiliki y Chora y con el continente con la GR-42. Está en uno de los fiordos más grandes fuera de Noruega y está muy cerca de las islas de Madouri, Skorpios, Skorpidi y Sparti. La ciudad cuenta con un puerto y es famosa por sus hoteles, restaurantes, clubes nocturnos, tabernas y, especialmente, por su cercanía a Skorpios, la isla que compró el multimillonario Aristóteles Onassis.

En la zona se realizaron excavaciones arqueológicas dirigidas por Wilhelm Dörpfeld a principios del , que sacaron a la luz un numeroso grupo de 33 túmulos circulares con importantes ajuares funerarios. Dörpfeld creía que la isla de Léucade debía identificarse con la homérica Ítaca y el arqueólogo iba en busca del palacio de Odiseo pero los estudios posteriores revelaron que el grupo de tumbas halladas en Nidrí pertenecían a un periodo mucho más antiguo (2900-2200 a. C.)

Referencias

Localidades de la periferia de Islas Jónicas
Yacimientos arqueológicos de Islas Jónicas

Nidrí


Christine Guldbrandsen (Bergen, 19 de marzo de 1985) es una cantante noruega conocida por su participación en el Festival de la Canción de Eurovisión 2006. Por su voz es comparada a menudo con las sopranos Sissel Kyrkjebø y Hayley Westenra. Ha lanzado tres álbumes en Escandinavia, Surfing in the Air, Moments y Christine. Su álbum "Colors" fue lanzado el 8 de abril de 2011. Canta mayormente en noruego e inglés, pero también ha cantado canciones en sueco, finlandés, italiano y latín.

Biografía

Inicios
Guldbrandsen comenzó a cantar a los 3 años en un coro. Guldbrandsen fue descubierta a los 13 por Kjetil Fluge. En 2000, cuando Guldbrandsen tenía 15, cantó en el "Kulturbyåpningen" en Bergen. Entre el público estaba la Sony Music Entertainment. Tras la actuación la Sony Music dio a Guldbrandsen su primer contrato discográfico. Trabajó con Kjetil Fluge, Atle Halstensen y Erlend Fauske en el estudio Sounds Familiar de Bergen. En 2001, con 16, Christine escribió la letra de la canción "Fly Away", escrita en recuerdo de su padre fallecido ese año.

Carrera
Su álbum debut de 2003, Surfing in the Air, se convirtió en un gran éxito en Noruega, y fue lanzado en Finlandia. El álbum vendió 30.000 copias y recibió un disco de oro.

En diciembre de 2004, Christine Guldbrandsen, tras casi un año de trabajo, lanzó un segundo álbum titulado Moments que fue llamado "El difícil segundo álbum de Christine Guldbrandsen", por las continuas revisiones. Aun así, entró en las listas de éxitos noruegas VG-lista Topp 40.

Festival de Eurovisión
En 2006 Christine representó a Noruega en el Festival de la Canción de Eurovisión 2006, que se celebró en Atenas, tras haber ganado el Melodi Grand Prix. La canción que interpretó fue Alvedansen (La danza de los elfos), era una canción inspirada en el folclore nórdico. Fue cantada en noruego, y trataba de una elfa que invitaba a bailar a quien la escuchaba. Con esta canción consiguió la 14.ª posición.

Carrera posterior
En 2007, lanzó su tercer álbum, Christine y en 2008 actuó en Los miserables como Cosette en Bergen, en 100 representaciones, cosechando un gran éxito. En 2011 lanzó su cuarto álbum, titulado "Colors".

Discografía

Álbumes
 Surfing in the Air, 2003
 Moments, 2004
 Christine, 2007
 Colors, 2011

Sencillos
 Surfing in the Air, 2004
 The Far End, 2004
 Because of You, 2005
 Alvedansen, 2006
 Dansekjolen, 2007
 Elf Dance, 2008
 Break My Chains, 2011

Referencias

Enlaces externos
 Página oficial de Christine Guldbrandsen

Cantantes femeninas de Noruega
Cantantes en noruego
Representantes de Noruega en Eurovisión
Participantes en Eurovisión 2006
Participantes en el Melodi Grand Prix 2006
Artistas ganadores del Melodi Grand Prix

Christine Guldbrandsen


Bereterretxen khantoria (lit. Canto de Bereterretxe) é uma balada folclórica basca escrita no dialeto Zubero. Foi preservado na tradição oral e foi registrado por Jean Salaberri pela primeira vez por escrito, no livro Chants populaires du Pays Basque (1870). A balada teria sido originada no século XV, e os especialistas situam os acontecimentos descritos no canto entre 1434-1449.

Origem

Existem várias hipóteses sobre a origem da música.

Segundo Salaberri em Chants populaires du Pays Basque, ele foi morto por ordem do conde de Iruri. De acordo com Salaberri, Bereterretxe matou o conde por fazer algo errado ou para obter o amor de Margarita de Ezpeldoi. Deve-se dizer que o primeiro conde de Iruri foi Arnaud Jean du Peyré do século XVII, capitão da guarda-costas do rei francês Luís XIII e que foi apresentado por Alexandre Dumas no livro Os Três Mosqueteiros.

O historiador Jean Jaurgain de Ozaz não concordava com esta hipótese. No livro Quelques légendes poétiques du pays de Soule (1899) ele menciona que a mãe de Beretxerretxe se chamava Marisanz de Bustanobi, nome muito comum na região de Zubero do século XV. Usando esses dados como argumento, ele conclui que a música deve ser do século XV. Segundo ele, o conde que aparece no canto era de Louis Beaumont, conde de Lerin. Ele foi governador de Maule e tenente do duque de Gloucester de 1434 em diante. Jaurgain, portanto, coloca o assassinato de Bereterretxe no contexto das guerras familiares. Por outro lado, Juan Carlos Gerra aponta que a variante recebida por Salaberri parecia velha, a estrutura da primeira estrofe é ainda mais, e menciona que seria contemporânea das canções de Aramaio, Arrasate e Sandailia. Ele concordou com Jaurgain que os eventos ocorreram entre 1434 e 1449.

Segundo Henri Gavel, como o tom do canto é semelhante ao canto gregoriano, Berreterretxe não poderia ter sido assassinado pelo conde de Iruri, que morava no castelo de Maule em 1634. Trata-se de um argumento muito fraco, pois a melodia da música gravada em determinado momento não ajuda a situar o acontecimento no tempo.

Melodia

O canto
A balada fala de uma morte violenta e trágica: por ordem de Luis Beaumont, líder da família Beaumond e conde de Lering, o cavaleiro agaramontiano Bereterretxe foi morto. A narrativa se passa, portanto, no período sangrento das batalhas das guerras familiares . Segundo Jaurgaine, a canção foi composta entre 1434 e 1449, já que o Conde de Leringo era nessa época senhor do castelo de Maule .

Variações
Uma vez que há muito foi preservado na tradição oral, várias variantes diferentes foram registradas por escrito.

A primeira variação foi publicada por Salaberri no livro Chants populaires du Pays Basque, em 1870. Resurreccion Maria Azku coletou mais duas variações em Ligi e Santa Grazi, e as publicou no livro Cancionero Popular Vasco em 1923. Gavel publicou em 1924 na pesquisa Khantoria de Bereterretx, ele criou uma variante fictícia combinando as variantes coletadas em Santa Grazi, Iruri e Atharrat .

Além disso, Jon Miranda publicou uma estrofe desconhecida que ouviu de seu pai na EGAN em 1961.

Temas
O tema principal da balada na imagem de Lakarra, Biguri e Urgell é a traição:(...) parece que o assunto dessa balada, grosso modo, é a traição; de facto, o Conde quebra todas as regras de comportamento que um cavaleiro deve seguir na guerra: ataca o inimigo desarmado no escuro e com o predomínio da força, precisamente numa noite em que o uso de armas é duplamente proibido ("Tregua domini " e "Pax domini"). Ele também engana sua vítima para que saia de casa, sua única proteção. Essa violação da retidão é cumprida quando ele zomba da mãe derrotada, dirigindo-se a ela com desprezo.Segundo Begoña Durruty, as metáforas do primeiro dístico revelam que a própria natureza do Lorde Conde é traiçoeira e falsa:A madeira de amieiro é macia; não tem coração como o carvalho; Os carpinteiros sabem disso muito bem. Não tem força. O carvalho representa a força da velha tradição basca de dar uma promessa; Alders, por outro lado, é uma palavra falsa. A relação simbólica entre a castanha e o osso também é da mesma linha (...) a castanha é um símbolo da traiçoeira natureza macia; falta de osso, falta de nobreza ou patrimônio. Os filhos de Aito (ou filhos dos avós) são verbos, segundo os antigos costumes bascos; portanto, as palavras falsas do conde aumentam o insulto à confissão (. . . ) Lakarra, Biguri e Urgell acrescentam que o tema da vingança também é importante: Margarita leva o sangue de Bereterretxe nas mãos, por exemplo, e é mencionado o número de forros do "Ezpeldoi bukhata". Em suas palavras, o número de atorar pode ser comparado ao dos assassinos de Bereterretxe. Na mesma linha, Durruty diz que se referiria ao número de seguidores ou amigos de Bereterretxe.

Influência e obras derivadas
O canto de Bereterretxe é conhecido em todo o País Basco e teve um impacto significativo na cultura basca.

No ano de1964, o músico Mikel Laboa adaptou uma versão do canto de Bereterretxe. Em 1990, o escritor Iñaki Mendiguren adaptou as primeiras palavras da balada , Haltza es es ervi, para dar nome ao seu primeiro romance. Em 1994, Itxaro Borda publicou o romance Bakean utzi arte, com a detetive Amaia Ezpeldoi como personagem principal, e desde então a detetive Ezpeldoi apareceu em vários romances e contos de Borda.

Em 2017, Begoña Durruty publicou uma adaptação em quadrinhos Bereterretxen kanthoria .

\\\ref

Ligações externas

 "Bereterretxen khantoria" Comic Wikipedia

Composições em ré menor
Século XV

Canto de Bereterretxe


කොටස් වෙළඳපල බිඳ වැටීම

ධනවාදයේ අවසානය කොටස් වෙළඳපල කෙරෙහි අවධානය යොමු කරන විට න්‍යායාත්මකව විග්‍රහ කිරීමේ දී කොටසක ඉපයීමේ හැකියාව,කොටසක වෙළඳපල මිල හා ආයෝජනයේ විශ්වාස මට්ටම මත රඳා පවතින බව පොදුවේ පිළිගන්නා කරුණකි.මූල්‍ය අර්බුදය හේතු වෙන් ආයෝජකයන්ට ආයෝජන පිළිබඳ විශ්වාසය පහල වැටුණු අතර තම තැන්පතු ආපසු ලබා ගැනීම හේතුවෙන් කොටස් වෙළඳපල බිඳ වැටුණි.උදාහරණයක් වශයෙන් නදර්න් රොක් සමාගමේ තත්‍වය දැක්විය හැක.මෙම සමාගම බ්‍රිතාන්‍ය බැංකු වලින් ණය මුදලක් ලබා ගැනීමට යාම නිසා තැන්පත් කරුවන් සැක කලේ ඔවුන් බංකොලොත්බාවයට පත්ව ඇති බවයි.එම නිසා ඔවුන් තමන්ගේ තැන්පතු ඉවත් කර ගත් අතර කොටස් මිල පහල යාමට එය හේතු විය.බෙයාර් ස්ටීමන් සමාගමේ අවුරුද්දකට පෙර කොටසක මිල ඩොලර් 150කි.මූල්‍ය අර්බුදයේ බලපෑම හේතුවෙන් එය ඩොලර් 2 දක්වා පහත වැටුණි.
විනිමය වෙළඳපල බිඳ වැටීම
විනිමය වෙළඳපල තත්‍වය විග්‍රහ කිරීමේ දී විදේශ විනිමය අවප්‍රමාණය වීම ප්‍රධාන සාධකයක් ලෙස සැලකිය හැකිය.නමුත් විනිමය අවප්‍රමාණය වීම ඩොලරයට සාපේක්‍ෂව සළකන විට අනෙකුත් රටවල විශාල වශයෙන් සිදුවී ඇත.උදාහරණයක් ලෙස ඩොලරයට වඩා යුරෝ,ස්ටාර්ලින්,පවුම් වැනි මුදල් වල අවප්‍රමාණය වීම දැක්විය හැකිය.මෙයට ප්‍රධාන හේතුව ලෙස ආර්ථික විද්‍යාඥයින් දක්වන්නේ ඩොලරය ප්‍රධාන ගණුදෙනු මාධ්‍යයක් ලෙස ලොව පුරා පිළිගැනීමට ලක් වී තිබීමයි.අනෙක් අතට යුරෝපීය රටවල මුදල් විශාල වශයෙන් අවප්‍රමාණය වී තිබෙන්නේ එම රටවල ගෙවුම් ශේෂය ප්‍රාග්ධන ගිණුම මත විශාල වශයෙන් රඳා පැවතීමයි.ආයෝජන ගලා ඒම මත ප්‍රාග්ධන ගිණුමේ ශේෂය තීරණය වීමත් ඒ මත විනිමය අනුපාතය තීරණය වීමත් මෙයට ප්‍රධාන හේතුවයි.
තුන්වන ලෝකයට වන බලපෑම
කෙසේ වුවද වර්තමානය වන විට මෙම ලෝක ආර්ථික අර්බුදය දියුණු රටවලට මෙන්ම තුන්වන ලෝකයේ රටවලටද ව්‍යාප්ත වී ඇත.විශේෂයෙන්ම මෙම රටවල කෘෂි අපනයන,ඇඟළුම්,සංචාරක වැනි ක්‍ෂෙත්‍ර දැඩි අර්බුදයකට ලක්වෙමින් පවතී.ලෝක ආර්ථික අර්බුදය හමුවේ ඛනිජ තෙල් මිල පහළ යාම ඇතැම් විට වාසි සහගතය.නමුත් මෙම තත්‍වය ගල්ෆ් කලාපයේ රටවල ආදායම අඩු වීමට හේතු වන බැවින් තුන්වන ලෝකයේ රටවල ශ්‍රම අපනයනට එය අහිතකර ලෙස බලපානු ඇත.එමෙන්ම විදේශ ආයෝජන,ණය ආධාර සම්බන්ධයෙන්ද දියුණු වෙමින් පවතින රටවලට අහිතකර තත්‍වයක් ඇති කරයි.

කොටස් වෙළඳපල බිඳ වැටීම


Lyndon Township ist der Name folgender Townships in den Vereinigten Staaten:

 Lyndon Township (Illinois)
 Lyndon Township (Michigan)

Lyndon Township


ටිමූරීය කලාව යනුවෙන් හැඳින්වෙන්නේ ටිමූරීය අධිරාජ්‍ය (1370-1507) යුගයේ සම්භවය වූ කලා සම්ප්‍රදායයයි. ටිමූරීය කලාව එහ දක්නට ලැබෙන පර්සියානු සහ චීන කලා ශෛලීන් නිසා ප්‍රසිද්ධියට පත්ව ඇත. එසේම එහි මධ්‍ය ආසියාවේ අනෙක් ශිෂ්ටාචාරයන්ට අයත් කලාවන්ගේ ද ආභාසය දක්නට ලැබේ. ටිමූරීය අධිරාජ්‍යයේ පරිහානියෙන් පසුව, ශිෂ්ටාචාරයේ කලාව බටහිර සහ මධ්‍ය ආසියාවේ වෙනත් සංස්කෘතීන්ගේ කලාවන්ට අවශෝෂණය විය.

ඉතිහාසය
ටිමූරීය අධිරාජ්‍යය ස්ථාපනය කරන ලද්දේ කොර ටිමෝර් නම් අධිරාජයා විසින් 1370දී ඉල්ඛානේට් අනුප්‍රාප්ති රාජ්‍ය ගණනාවක් යටත් කරගැනීමෙන් පසුවයි. නගරයක් යටත් කරගැනීමෙන් පසුව, ටිමූරීයයෝ එහි වූ ප්‍රාදේශීය කලා ශිල්පීන් හුදකලා කොට සමර්කාන්ඩ්හි ටිමූරීය අගනුවර වෙත රැගෙන ගියෝ ය. මුල්කාලීන 15වන සියවසේ දී ටිමූරීයයන් විසින් පර්සියාව ආක්‍රමණය කිරීමෙන් පසුව, එම සංස්කෘතියේ පැවති බොහෝ කලා ලක්ෂණ එවකට පැවති මොංගෝල කලාව සමග මුසු විය. දිවියේ පසුකාලීනව ටිමෝර් විසින් ඉස්ලාමය වැළඳගැනීම නිසා, සමර්කාන්ඩ් නගරය ඉස්ලාමික කලාවේ මධ්‍යස්ථානයක් බවට පත් විය. 15වන සියවසේ මැද කාලයේ දී, අධිරාජ්‍යයේ අගනුවර හේරාට් වෙත මාරු වූ අතර, එය ටිමූරීය කලාවේ තීරණාත්මක අවස්ථාවක් විය. සමර්කාන්ඩ් සේම පර්සියානු කලා ශිල්පීන් සහ විද්වතුන් හේරාට්හි ස්ථාපිත වෙමින් එය සංස්කෘති‍යේ සහ කලාවේ නව මධ්‍යස්ථානයක් බවට පත් විය. නොබෝ කලකින්ම, බොහෝ ටිමූරීයයෝ පර්සියානු සංස්කෘතිය වැළඳ ගත්හ.

චිත්‍ර කලාව
ටිමූරීය කලාව තුළ සම්ප්‍රදායික පර්සියානු "ග්‍රන්ථයේ කලාව" නම් සංකල්පය අනුගමනය කරන්නට වූ අතර, එය ප්‍රගමනයට ද ලක් විය. ටිමූරීය කලාවේ දී අධිරාජ්‍යයේ කලා ශිල්පීන් විසින් සිතුවම් කළ කඩදාසි (පාර්ච්මන්ට් මෙන් නොව) අත්ලිපි නිර්මාණය කරන ලදී. මෙම සිතුවම් ඒවායේ ඇති වර්ණවලින් පොහොසත් බව සහ අලංකාර මෝස්තර හේතුවෙන් ප්‍රසිද්ධියට පත් විය. මෙම අත්ලිපිවල ඇතුළත් ක්ෂුද්‍රරූපී සිතුවම්වල ඇති ගුණාත්මක භාවය හේතුවෙන් මෙට්‍රොපොලිටන් කලා කෞතුකාගාරයේ සූසන් යෝමන් සඳහන් කොට ඇත්තේ "හේරාට් [අත්ලිපි සිතුවම්] ගුරුකුලය නිතරම පාහේ පර්සියානු චිත්‍ර කලාවේ උච්ච ස්ථානය ලෙස සැලකේ" යනුවෙනි. සිතුවම්කරණය අත්ලිපි සඳහා පමණක් සීමා නොවී ය. බොහෝ ටිමූරීය චිත්‍ර ශිල්පීහු අලංකෘත බිතු සිතුවම් නිර්මාණකරණයේ ද නියැළුණහ. මෙම බිතු සිතුවම් අතුරින් බොහෝමයක්, පර්සියානු සහ චීන චිත්‍ර කලා සම්ප්‍රදායයන්ගේ ආභාසය ලද භූමි දර්ශන සිතුවම් වේ. මෙම සිතුවම්කරණය සඳහා වු තේමාවන් වෙනත් සංස්කෘතීන්ගෙන් උකහා ගත් ඒවා වුව ද, ටිමූරීය බිතු සිතුවම් ක්‍රමිකව තමන්ටම ආවේණික සිතුවම් සම්ප්‍රදායයක් ලෙස වර්ධනය විය. මොංගෝල චිත්‍ර කලා සම්ප්‍රදායයන් සම්පූර්ණයෙන්ම ගිලිහී ගියේ නැත. එයට හේතුව 15වන සියවසේ ටිමූරීය කලාවේ දක්නට ලැබෙන අතිශයින් ශෛලීකෘත මිනිස් රූ මෙම සංස්කෘතියේ ආභාසය ලබා තිබීමයි.

ලෝහ කර්මාන්තය, සෙරමික්, සහ කැටයම්

ටිමූරීය අධිරාජ්‍යය තුළ ගුණාත්මයෙන් ඉහළ ලෝහ කෘති රැසක් නිර්මාණය විය. මෙහි දී වානේ, යකඩ, පිත්තල, සහ ලෝකඩ යන ලෝහ වර්ග මාධ්‍යයන් ලෙස බහුලව භාවිතා විය. ටිමූරීය රිදී-එබ්බවූ වානේ නිරන්තර පැසසුමට ලක් වූයේ එහි ඇති ඉහළ ගුණාත්මකභාවය හේතුවෙනි. ටිමූරීය අධිරාජ්‍යයේ බිඳ වැටීමෙන් පසුව, ඇතැම් ඉරානියානු සහ මෙසපොතේමියානු සංස්කෘතීන් ටිමූරීය ලෝහ කර්මාන්තයේ ආභාසය ඉදිරියට පවත්වාගෙන ගියේ ය.

චීන ශෛලියේ ආභාසය රැගත් සෙරමික් නිර්මාණ ටිමූරීය කලා ශිල්පීන් විසින් නිර්මාණය කොට තිබේ. ජේඩ් කැටයම් කලාව ද ටිමූරීය කලාව තුළ පැවතී ඇත.

උරුමය
පසුකාලීන 15වන සියවසේ ටිමූරීය අධිරාජ්‍යයේ පරිහානියෙන් අනතුරුව, ඔටෝමාන්වරුන්, සෆාවිද් රාජවංශය, සහ මූඝල් අධිරාජ්‍යය විසින් ටිමූරීය කලා සම්ප්‍රදායයන් තම සංස්කෘතීන් තුළට උකහා ගන්නා ලදී.

ගැලරිය

ආශ්‍රේයයන්

ටිමූරීය අධිරාජ්‍යය
ආසියානු කලාව
පර්සියානු කලාව

ටිමූරීය කලාව


Rob Oliver (Owosso, 25 de março de 1977) é um animador, roteirista e diretor de televisão estadunidense. Atualmente é diretor técnico da série animada Os Simpsons. Ele trabalha para a DPS Film Roman, empresa que atualmente produz a animação para o seriado. Foi contratado pouco depois de um ano após graduar-se na Escola Secundária de Owosso em 1995. Oliver recebeu quatro indicações e venceu um Prêmio Emmy do Primetime na categoria Melhor Programa Animado por seu trabalho em Os Simpsons.

Créditos

Episódios de Os Simpsons
Oliver dirigiu os seguintes episódios:
 "The Boys of Bummer" (2007)
 "Funeral for a Fiend" (2007)
 "The Good, the Sad and the Drugly" (2009)
 "Rednecks and Broomsticks" (codirigido com Bob Anderson, 2009)
 "Holidays of Future Passed" (2011)
 "Adventures in Baby-Getting" (2012)
 "Treehouse of Horror XXIV" (2013)
 "Blazed and Confused" (2014)
 "Sky Police" (2015)
 "Puffless" (2015)
 "Barthood" (2015)
 "The Burns Cage" (2016)
 "The Town" (2016)
 "The Nightmare After Krustmas" (2016)
 "Kamp Krustier" (2017)
 "The Serfsons" (2017)
 "Gone Boy" (2017)
 "Forgive and Regret" (2018)
 "My Way or the Highway to Heaven" (2018)
 "Mad About the Toy" (2019)
 "E My Sports" (2019)
 "Marge the Lumberjill" (2019)
 "Thanksgiving of Horror" (2019)
 "Better Off Ned" (2020)
 "I, Carumbus" (2020)
 "Sorry Not Sorry" (2020)
 "Yokel Hero" (2021)
 "The Star of the Backstage" (2021)
 "Mothers and Other Strangers" (2021)
 "My Octopus and a Teacher" (2022)
 "Treehouse of Horror XXXIII" (2022)
Ele também foi Diretor Adicional de Sequência em Os Simpsons: O Filme

Ligações externas

Nascidos em 1977
Naturais do Michigan
Animadores dos Estados Unidos
Diretores de televisão dos Estados Unidos
Pessoas vivas

Rob Oliver


NGC 6743 je zvjezdana skupina u zviježđu Liri.

Izvori

Vanjske poveznice

  Hartmut Frommert: Revidirani Novi opći katalog
  Izvangalaktička baza podataka NASA-e i IPAC-a
  Astronomska baza podataka SIMBAD
   VizieR
 DSS-ova slika NGC 6743
  Auke Slotegraaf: NGC 6743 Deep Sky Observer's Companion
   DSO-tražilica
  Courtney Seligman: Objekti Novog općeg kataloga: NGC 6700 - 6749

6743

NGC 6743


Vincenzio Leonio, né à Spolète le  et mort à Rome le , est  un littérateur italien.

Biographie
Vincenzio Leonio naquit en 1650 d'une famille noble de Spolète. Après avoir étudié le droit à Macerata, il se rendit à Rome, où il exerça la profession d'avocat ; mais cette carrière ne lui fit point abandonner celle des lettres. Il fut au contraire un des premiers à rappeler le bon goût dans la poésie italienne, en contribuant à la fondation de l'Académie d'Arcadie établie en 1690, uniquement dans la vue d'extirper le mauvais goût et la bizarrerie qui s'étaient glissés dans la langue poétique. Mais ses conseils et les ouvrages de ses élèves contribuèrent, plus encore que l'établissement de l'académie, à cette heureuse révolution. Ses poésies, après avoir été publiées dans diverses collections, ont été réunies dans le grand recueil Delle rime e delle prose degli Arcadi. On trouve quelques-unes de ses élégies dans l'Arcadum Carmina, pars prior, Rome, 1757. Leonio avait rassemblé un grand nombre d'observations, de recherches et de notices pour un Traité complet de la poésie pastorale, qu'il se proposait de publier. Cet ouvrage, que la mort ne lui permit pas d'achever, existe en manuscrit dans la bibliothèque de Campello, à Spolète. On a inséré dans le tome 2 Delle vite degli Arcadi illustri l'éloge du prélat Giovanni Ciampini, par Leonio. Ce littérateur mourut à Rome, le 26 juin 1720, dans les sentiments de religion les plus édifiants.

Bibliographie

Liens externes

Écrivain italien du XVIIe siècle
Écrivain italien du XVIIIe siècle
Naissance en février 1650
Naissance à Spolète
Décès en janvier 1720
Décès à Rome
Membre de l'Académie d'Arcadie
Décès à 69 ans

Vincenzio Leonio


Le centre pénitentiaire de Mata-Utu est un centre pénitentiaire français situé dans la localité de Mata-Utu, dans le royaume coutumier d'Uvea, sur l'archipel et la collectivité d'outre-mer de Wallis-et-Futuna. Avec une capacité de , elle est le plus petit établissement pénitentiaire de France.

L'établissement dépend du ressort de la direction des services pénitentiaires d'outre-mer. Au niveau judiciaire, il relève du tribunal de première instance de Mata-Utu et de la cour d'appel de Nouméa.

Histoire
Le centre pénitentiaire, dans sa configuration actuelle, est construit en , dans d'anciens locaux de la gendarmerie. Ayant à son ouverture le statut de maison d'arrêt, l'établissement dispose alors d'une capacité de 6 places (au lieu de 3 en 2023).

À sa création et contrairement aux autres établissements pénitentiaires français, l'établissement n'est pas géré par l'administration pénitentiaire mais conjointement par l'administration supérieure de Wallis-et-Futuna et par la gendarmerie nationale, sur le domaine de laquelle elle est implantée.

À l'ouverture de l'établissement, des gardes territoriaux de Wallis-et-Futuna et non des surveillants pénitentiaires assurent sa surveillance, l'encadrement étant assuré par des gendarmes. Ces gardes sont par la suite intégrés dans le corps des surveillants et surveillants principaux de l'administration pénitentiaire le  tandis que leur hiérarchie reste externe. Cette ambivalence dans la répartition des responsabilités entre l'administration supérieure, la gendarmerie  et la direction de l'Administration pénitentiaire entraîne des difficultés dans l'organisation et le fonctionnement de l'établissement et provoque parfois des tensions.

La situation administrative de l'établissement évolue le , date à laquelle la responsabilité de l'établissement est officiellement transférée à la direction de l'Administration pénitentiaire. Un chef d'établissement est nommé et affecté le même jour dans l'établissement, suivi par l'affectation d'un conseiller pénitentiaire d'insertion et de probation, l'établissement n'en disposant pas jusque là. L'établissement devient en outre un centre pénitentiaire en .

Le centre pénitentiaire, qui n'est plus aux normes attendues pour un établissement pénitentiaire, doit être remplacée par un nouvel établissement pénitentiaire à l'horizon -, le bail pour le lieu d'implantation du nouvel établissement ayant également été signé à l'occasion du transfert de responsabilité de l'établissement vers l'administration pénitentiaire.

Description
Situé à Mata-Utu, le centre pénitentiaire est le seul établissement pénitentiaire de l'archipel mais également le plus petit établissement pénitentiaire de France. Il dépend du ressort de la direction des services pénitentiaires d'outre-mer et, au niveau judiciaire, relève du tribunal de première instance de Mata-Utu et de la cour d'appel de Nouméa.

Constituée d'un bâtiment unique situé sur un terrain d'environ 120 m², le centre pénitentiaire dispose de 3 cellules et a une capacité d'accueil de 5 places mais, comme c'est également le cas pour le centre pénitentiaire de Saint-Pierre-et-Miquelon, il arrive que qu'elle n'accueille aucun détenu durant certaines périodes. Elle accueille essentiellement des détenus hommes majeurs, les autres catégories de détenus étant incarcérées au centre pénitentiaire de Nouméa.

Au , l'établissement accueillait 4 détenus pour une capacité de 3 places, soit un taux d'occupation de 133.3%.

Notes et références

Voir aussi

Articles connexes

 Administration pénitentiaire en France
 Mission des services pénitentiaires de l'outre-mer
 Justice à Wallis-et-Futuna

Liens externes

Mata-Utu
Bâtiment à Mata Utu
Prison à Wallis-et-Futuna

Centre pénitentiaire de Mata-Utu


Diese Liste zeigt die Fernstraßen in Eswatini auf. Es gibt zwei Typen von Straßen, zum ersten die Fernstraßen beginnend mit MR und zum zweiten die Distriktstraßen beginnend mit einem D.

Nationalstraßen

Weblinks
 Ministry of Public Works & Transport, Roads Department auf www.gov.sz (englisch)
 Ministry of Public Works & Transport, Road Transportation auf www.gov.sz (englisch)

Fernstrassen Eswatini
!
Nationalstraße in Eswatini

Liste der Fernstraßen in Eswatini


An Arisaema muratae in uska species han Liliopsida nga ginhulagway ni Guy Gusman ngan J.T.Yin. An Arisaema muratae in nahilalakip ha genus nga Arisaema, ngan familia nga Araceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Arisaema

Arisaema muratae


Cantus firmus (latinski: čvrsta, utvrđena melodija) je naziv za temeljni napjev u srednjovjekovnoj i renesansnoj višeglasnoj glazbi. Obično je preuzet iz već postojećeg repertoara, tj. iz liturgijskog pjevanja ili iz koje poznate svjetovne skladbe, pa cantus firmus postaje osnovicom nove skladbe, oko koje se kontrapunktski razvijaju ostali glasovi. U višeglasnim misama cantus firmus opetuje se poput glavne teme u različitim misnim stavcima: npr. mnogobrojne mise na poznati napjev L'Hommé armé.

Izvori

Glazba
Glazbena teorija
Srednjovjekovna glazba

Cantus firmus


Zhetikara (en kazajo Жітіқара ауданы) es uno de los 16 distritos en los que se divide la provincia de Kostanay, Kazajistán.

Población

Según el Censo de 1999, tenía 56.497 habitantes. Para el Censo de 2009 se había registrado un importante descenso de la población y se contabilizaron 50.441 habitantes.

Referencias

Provincia de Kostanay

Zhetikara


An Pelexia sinuosa in uska species han Liliopsida nga ginhulagway ni Dariusz Lucjan Szlachetko. An Pelexia sinuosa in nahilalakip ha genus nga Pelexia, ngan familia nga Orchidaceae.

Mabibilngan ini ha Colombia. Waray hini subspecies nga nakalista.

Mga kasarigan

Pelexia

Pelexia sinuosa


Postcolonial feminism is a form of feminism that developed as a response to feminism focusing solely on the experiences of women in Western cultures and former colonies. Postcolonial feminism seeks to account for the way that racism and the long-lasting political, economic, and cultural effects of colonialism affect non-white, non-Western women in the postcolonial world. Postcolonial feminism originated in the 1980s as a critique of feminist theorists in developed countries pointing out the universalizing tendencies of mainstream feminist ideas and argues that women living in non-Western countries are misrepresented.

Postcolonial feminism argues that by using the term "woman" as a universal group, women are then only defined by their gender and not by social class, race, ethnicity, or sexual preference. Postcolonial feminists also work to incorporate the ideas of indigenous and other Third World feminist movements into mainstream Western feminism. Third World feminism stems from the idea that feminism in Third World countries is not imported from the First World, but originates from internal ideologies and socio-cultural factors.

Postcolonial feminism is sometimes criticized by mainstream feminism, which argues that postcolonial feminism weakens the wider feminist movement by dividing it. It is also often criticized for its Western bias which will be discussed further below.

History

The history of modern feminist movements can be divided into three waves. When first-wave feminism originated in the late nineteenth century, it arose as a movement among white, middle-class women in the global North who were reasonably able to access both resources and education. Thus, the first wave of feminism almost exclusively addressed the issues of these women who were relatively well off. The first-wavers focused on absolute rights such as suffrage and overturning other barriers to legal gender equality. This population did not include the realities of women of color who felt the force of racial oppression or economically disadvantaged women who were forced out of the home and into blue-collar jobs. However, first-wave feminism did succeed in getting votes for women and also, in certain countries, changing laws relating to divorce and care and maintenance of children.

Second-wave feminism began in the early 1960s and inspired women to look at the sexist power struggles that existed within their personal lives and broadened the conversation to include issues within the workplace, issues of sexuality, family, and reproductive rights. It scored remarkable victories relating to Equal Pay and the removal of gender based discriminatory practices. First and second-wave feminist theory failed to account for differences between women in terms of race and class—it only addressed the needs and issues of white, Western women who started the movement. Postcolonial feminism emerged as part of the third wave of feminism, which began in the 1980s, in tandem with many other racially focused feminist movements in order to reflect the diverse nature of each woman's lived experience. Audre Lorde contributed to the creation of Postcolonial Feminism with her 1984 essay "The Master's Tools Will Never Dismantle the Master's House". Chandra Talpade Mohanty's essay "Under Western Eyes" also came out in 1984, analyzing the homogenizing western feminist depiction of the "third world woman." These works, along with many others, were foundational to the formation of postcolonial feminism.

Many of the first key theorists of postcolonial feminism hail from India and were inspired by their direct experiences with the effects that colonization had left in their society. When colonizers came to India, an importance that was not as prevalent before was placed on gender. Many women lost power and economic autonomy as men gained much more of it, and this had a lasting effect even after India gained independence

In efforts to move away from 'grand narratives' stemmed from 'globalization', postcolonial theory was formed as a scholarly critique of colonial literature. By acknowledging the differences among diverse groups of women, postcolonial feminism addresses what some call the oversimplification of Western feminism as solely a resistance against sexist oppression. Postcolonial feminism, in contrast, also relates gender issues to other spheres of influence within society.

Theory
Postcolonial feminism is a relatively new stream of thought, developing primarily out of the work of the postcolonial theorists who concern themselves with evaluating how different colonial and imperial relations throughout the nineteenth century have impacted the way particular cultures view themselves. This particular strain of feminism promotes a wider viewpoint of the complex layers of oppression that exist within any given society.

Postcolonial feminism began simply as a critique of both Western feminism and postcolonial theory, but later became a burgeoning method of analysis to address key issues within both fields. Unlike mainstream postcolonial theory, which focuses on the lingering impacts that colonialism has had on the current economic and political institutions of countries, postcolonial feminist theorists are interested in analyzing why postcolonial theory fails to address issues of gender. Postcolonial feminism also seeks to illuminate the tendency of Western feminist thought to apply its claims to women around the world because the scope of feminist theory is limited. In this way, postcolonial feminism attempts to account for perceived weaknesses within both postcolonial theory and within Western feminism. The concept of colonization occupies many different spaces within postcolonial feminist theory; it can refer to the literal act of acquiring lands or to forms of social, discursive, political, and economic enslavement in a society.

In Audre Lorde's foundational essay, "The Master's Tools Will Never Dismantle the Master's House", Lorde uses the metaphor of "the master's tools" and "the master's house" to explain that western feminism is failing to make positive change for third world women by using the same tools used by the patriarchy to oppress women. Lorde found that western feminist literature denied differences between women and discouraged embracing them. The differences between women, Lorde asserts, should be used as strengths to create a community in which women use their different strengths to support each other.

Chandra Talpade Mohanty, a principal theorist within the movement, addresses this issue in her seminal essay "Under Western Eyes". In this essay, Mohanty asserts that Western feminists write about Third World women as a composite, singular construction that is arbitrary and limiting. She states that these women are depicted in writings as victims of masculine control and of traditional culture without incorporating information about historical context and cultural differences with the Third World. This creates a dynamic where Western feminism functions as the norm against which the situation in the developing world is evaluated. Mohanty's primary initiative is to allow Third World women to have agency and voice within the feminist realm.

In the article "Third World Women and the Inadequacies of Western Feminism", Ethel Crowley, sociology professor at Trinity College of Dublin, writes about how western feminism is lacking when applied to non-western societies. She accuses western feminists of theoretical reductionism when it comes to Third World women. Her major problem with western feminism is that it spends too much time in ideological "nit-picking" instead of formulating strategies to redress the highlighted problems. The most prominent point that Crowley makes in her article is that ethnography can be essential to problem solving, and that freedom does not mean the same thing to all the women of the world.

Relationship to Western feminisms
Postcolonial feminism began as a criticism of the failure of Western feminism to cope with the complexity of postcolonial feminist issues as represented in Third World feminist movements. Postcolonial feminists seek to incorporate the struggle of women in the global South into the wider feminist movement. Western feminists and feminists outside of the West also often differ in terms of race and religion, which is not acknowledged in Western feminism and can cause other differences. Western feminism tends to ignore or deny these differences, which discursively forces Third World women to exist within the world of Western women and their oppression to be ranked on an ethnocentric Western scale.

Postcolonial feminists do not agree that women are a universal group and reject the idea of a global sisterhood. Thus, the examination of what truly binds women together is necessary in order to understand the goals of the feminist movements and the similarities and differences in the struggles of women worldwide. The aim of the postcolonial feminist critique to traditional Western feminism is to strive to understand the simultaneous engagement in more than one distinct but intertwined emancipatory battle.

This is significant because feminist discourses are critical and liberatory in intent and are not thereby exempt from inscription in their internal power relations. The hope of postcolonial feminists is that the wider feminist movement will incorporate these vast arrays of theories which are aimed at reaching a cultural perspective beyond the Western world by acknowledging the individual experiences of women around the world. Ali Suki highlights the lack of representation of women of color in feminist scholarship comparing the weight of whiteness similar to the weight of masculinities. This issue is not due to a shortage of scholarly work in the global South but a lack of recognition and circulation. This reinforces Western hegemony and supports the claim of outweighed representation of white, Western scholars. Most available feminist literature regarding the global South tends to be written by Western theorists resulting in the whitewashing of histories.

Feminist postcolonial theorists are not always unified in their reactions to postcolonial theory and Western feminism, but as a whole, these theorists have significantly weakened the bounds of mainstream feminism. The intent of postcolonial feminism is to reduce homogenizing language coupled with an overall strategy to incorporate all women into the theoretical milieu. While efforts are made to eliminate the idea of the Third World "other", a Western Eurocentric feminist framework often presents the "other" as victim to their culture and traditions. Brina Bose highlights the ongoing process of "alienation and alliance" from other theorists in regards to postcolonial feminism; she emphasizes, "...the obvious danger both in 'speaking for' the silent/silenced as well as in searching for retaliatory power in elusive connections..." There is a tendency throughout many different academic fields and policy strategies to use Western models of societies as a framework for the rest of the world. This critique is supported in other scholarly work including that of Sushmita Chatterjee who describes the complications of adding feminism as a "Western ideological construct to save brown women from their inherently oppressive cultural patriarchy."

Relationship to postcolonial theory
The postcolonial feminist movements look at the gendered history of colonialism and how that continues to affect the status of women today. In the 1940s and 1950s, after the formation of the United Nations, former colonies were monitored by the West for what was considered social progress. The definition of social progress was tied to adherence to Western socio-cultural norms. The status of women in the developing world has been monitored by organizations such as the United Nations. As a result, traditional practices and roles taken up by women, sometimes seen as distasteful by Western standards, could be considered a form of rebellion against colonial rule. Some examples of this include women wearing headscarves or female genital mutilation. These practices are generally looked down upon by Western women, but are seen as legitimate cultural practices in many parts of the world fully supported by practicing women. Thus, the imposition of Western cultural norms may desire to improve the status of women but has the potential to lead to conflict.

In order to understand the postcolonial feminist theory, one must first understand the postcolonial theory. In sociology, postcolonial theory is a theory that is preoccupied with understanding and examining the social impacts of European colonialism, its main claim is that the modern world as it is now is impossible to understand without understanding its relation with and history of imperialism and colonial rule. Postcolonialism can provide an outlet for citizens to discuss various experiences from the colonial period. These can include: "migration, slavery, oppression, resistance, representation, difference, race, gender, place and responses to the influential discourses of imperial Europe." Ania Loomba critiques the terminology of 'postcolonial' by arguing the fact that 'post' implicitly implies the aftermath of colonization; she poses the question, "when exactly then, does the 'postcolonial' begin?" Postcolonial feminists see the parallels between recently decolonized nations and the state of women within patriarchy taking "perspective of a socially marginalized subgroup in their relationship to the dominant culture." In this way feminism and postcolonialism can be seen as having a similar goal in giving a voice to those that were voiceless in the traditional dominant social order. While this holds significant value aiding new theory and debate to arise, there is no single story of global histories and Western imperialism is still significant. Loomba suggests that colonialism carries both an inside and outside force in the evolution of a country concluding 'postcolonial' to be loaded with contradictions.

Race and religion

Postcolonial feminism has strong ties with indigenous movements and wider postcolonial theory. It is also closely affiliated with black feminism because both black feminists and postcolonial feminists argue that mainstream Western feminism fails to adequately account for racial differences. Racism has a major role to play in the discussion of postcolonial feminism. Postcolonial feminists seek to tackle the ethnic conflict and racism that still exist and aims to bring these issues into feminist discourse. In the past, mainstream Western feminism has largely avoided the issue of race, relegating it to a secondary issue behind patriarchy and somewhat separate from feminism. Until more recent discourse, race was not seen as an issue that white women needed to address.

In her article "Age, Race, Class and Sex: Women Redefining Difference", Lorde succinctly explained that, "as white women ignore their built-in privilege and define woman in terms of their own experiences alone, then women of Color become 'other'..." which prevents the literary work produced by women of color from being represented in mainstream feminism.

Postcolonial feminism attempts to avoid speaking as if women were a homogeneous population with no differences in race, sexual preference, class, or even age. The notion of whiteness, or lack thereof, is a key issue within the postcolonial feminist movement. This is primarily due to the perceived relationship between postcolonial feminism and other racially based feminist movements, especially Black feminism and indigenous feminisms. In Western culture, racism is sometimes viewed as an institutionalized, ingrained facet of society. Postcolonial feminists want to force feminist theory to address how individual people can acknowledge racist presumptions, practices, and prejudices within their own lives attempting to halt its perpetuation through awareness.

Vera C. Mackie describes the history of feminist rights and women's activism in Japan from the late nineteenth century to present day. Women in Japan began questioning their place in the social class system and began questioning their roles as subjects under the Emperor. The book goes into detail about iconic Japanese women who stood out against gender oppression, including documents from Japanese feminists themselves. Japan's oppression of women is written about displaying that women from yet another culture do not live under the same circumstances as women from western/white cultures. There are different social conducts that occur in Asian countries that may seem oppressive to white feminists; according to Third World feminist ideologies, it is ideal to respect the culture that these women are living in while also implementing the same belief that they should not be oppressed or seen in any sort of sexist light. Chilla Bulbeck discusses how feminism strives to fight for equality of the sexes through equal pay, equal opportunity, reproductive rights, and education. She also goes on to write about how these rights apply to women in the global South as well but that depending on their country and culture, each individual's experience and needs are unique.

"False consciousness" is perpetuated throughout mainstream feminism assuming that people in the global South don't know what is best for them. Postcolonial framework attempts to shed light on these women as "full moral agents" who willingly uphold their cultural practices as a resistance to Western imperialism. For example, representation of the Middle East and Islam focuses on the traditional practice of veiling as a way of oppressing women. While Westerners may view the practice in this way, many women of the Middle East disagree and cannot understand how Western standards of oversexualized dress offer women liberation. Such Eurocentric claims have been referred to by some as imperial feminism.

Colonial and postcolonial race influence
The U.S., where Western culture flourishes most, has a majority white population of 77.4% as of the 2014 U.S. census. They have also been the majority of the population since the 16th century. Whites have had their role in the colonialism of the country since their ancestors settlement of Plymouth Colony in 1620. Although they ruled majority of the U.S. since their settlement, it was only the men who did the colonizing. The women were not allowed to have the same freedoms and rights that men had at the time. It was not until the victory of World War I that the Roaring Twenties emerged and gave women a chance to fight for independence. It is also the reason that first-wave feminist were able to protest. Their first major accomplishment was the ratification of the Nineteenth Amendment. Some of the women that led the first-wave feminist movement were Susan B. Anthony and Elizabeth Cady Stanton. Anthony, Stanton, and many other feminist fought for the equality of rights for both women and African Americans; however, their accomplishments only benefited white middle-class women. The majority of equality achieved through first and second wave feminism and other movements still benefits mainly the white population. The lack of acknowledgement and acceptance of white privilege by white people is a main contributor to the inequality of rights in the United States. In the book Privilege Revealed: How Invisible Preference Undermines, Stephanie M. Wildman states, "The notion of privilege... has not been recognized in legal language and doctrine. This failure to acknowledge privilege, to make it visible in legal doctrine, creates a serious gap in legal reasoning, rendering law unable to address issues of systemic unfairness." White privilege, oppression, and exploitation in the U.S. and Western influenced countries are main contributors to the formation of other feminist and philosophical movements such as black feminism, Islamic feminism, Latinx philosophy, and many other movements.

Relationship to Third World feminism
Depending on feminist literature, Third World and postcolonial feminism can often be used interchangeably. In a review upon other scholars work of the two terms, Nancy A. Naples highlights the differences; "Third World" nations, termed as such by North America and Europe, were characterized as underdeveloped and poor resulting in a dependency of "First World" nations for survival. This term started being widely used in the 1980s but shortly after began to receive criticism from postcolonial scholarship. Naples defines the term 'postcolonial' as, "...typically applied to nations like India where a former colonial power has been removed." Both terms can be argued as problematic due to the reinforced idea of "othering" those from non-Western culture.

Though postcolonial feminism was supposed to represent the evolution of Third World into a more reformed ideology, Ranjoo Seodu Herr argues for Third World Feminism to be reclaimed highlighting the importance of the local/national,"...in order to promote inclusive and democratic feminisms that accommodate diverse and multiple feminist perspectives of Third World women on the ground."

The term is also in relation with other strands of feminism, such as Black feminism and African feminism.

Double colonization
Double colonization is a term referring to the status of women in the postcolonial world. Postcolonial and feminist theorists state that women are oppressed by both patriarchy and the colonial power, and that this is an ongoing process in many countries even after they achieved independence. Thus, women are colonized in a twofold way by imperialism and male dominance.

Postcolonial feminists are still concerned with identifying and revealing the specific effects double colonization has on female writers and how double colonization is represented and referred to in literature. However, there is an ongoing discussion among theorists about whether the patriarchal or the colonial aspect are more pressing and which topic should be addressed more intensively.

The concept of double colonization is particularly significant when referring to colonial and postcolonial women's writing. It was first introduced in 1986 by Kirsten Holst Petersen and Anna Rutherford in their anthology "A Double Colonization: Colonial and Postcolonial Women's Writing", which deals with the question of female visibility and the struggles of female writers in a primarily male's world. As Aritha van Herk, a Canadian writer and editor, puts it in her essay "A Gentle Circumcision": "Try being female and living in the kingdom of the male virgin; try being female and writing in the kingdom of the male virgin."

Writers that are usually identified with the topic of double colonization and critique on Western feminism are for example Hazel V. Carby and Chandra Talpade Mohanty. "White Woman Listen!", an essay composed by Carby, harshly critiques Western feminists who she accuses of being prejudiced and oppressors of black women rather than supporters. In this context she also talks about "triple" oppression: "The fact that black women are subject to the simultaneous oppression of patriarchy, class and "race" is the prime reason for not employing parallels that render their position and experience not only marginal but also invisible".

Mohanty's argument in "Under Western Eyes: Feminist Scholarship and Colonial Discourses" goes into the same direction. She blames Western feminists of presenting women of color as one entity and failing to account for diverse experiences.

Postcolonial feminist literature
With the continued rise of global debt, labor, and environmental crises, the precarious position of women (especially in the global south) has become a prevalent concern of postcolonial feminist literature. Other themes include the impact of mass migration to metropolitan urban centers, economic terrorism, and how to decolonize the imagination from the multiple binds of writing as a woman of color. Pivotal novels include Nawal El Saadawi's The Fall of the Iman about the lynching of women, Chimamanda Adichie's Half of a Yellow Sun about two sisters in pre and post war Nigeria, and Giannina Braschi's United States of Banana about Puerto Rican independence. Other major works of postcolonial feminist literature include novels by Maryse Condé, Fatou Diome, and Marie Ndiaye, poetry by Cherríe Moraga, Giannina Braschi, and Sandra Cisneros, and the autobiography of Audre Lorde (Zami: A New Spelling of My Name).

Maria Lugones' "Toward a Decolonial Feminism" is another piece of postcolonial feminist literature that explores gender norms in relation to the Indigenous people of the United States and the oppression that came with Christianity and the bourgeoisie.

Further reading
 Olive Senior: The Two Grandmothers (belletristic)
 Shirley Geok-lin Lim: Between Women (poetry)
 Chandra Talpade Mohanty: Feminism Without Borders: Decolonizing Theory, Practicing Solidarity (novel)

Critiques
As postcolonial feminism is itself a critique of Western feminism, criticism of postcolonial feminism is often understood as a push back from Western feminism in defense of its aims. One way in which the Western feminist movement criticizes postcolonial feminism is on the grounds that breaking down women into smaller groups to address the unique qualities and diversity of each individual causes the entire movement of feminism to lose purpose and power. This criticism claims that postcolonial feminism is divisive, arguing that the overall feminist movement will be stronger if women can present a united front.

Another critique of postcolonial feminism is much the same as the critiques that postcolonial feminism has for Western feminism. Like Western feminism, postcolonial feminism and Third World feminism are also in danger of being ethnocentric, limited by only addressing what is going on in their own culture at the expense of other parts of the world. Colonialism also embodies many different meanings for people and has occurred across the world with different timelines. Chatterjee supports the argument that postcolonial perspective repels "Holistic perspectives of the grand narrative of enlightenment, industrial revolution, and rationality render 'other' histories and people invisible under hegemonic constructions of truth and normalcy." Generalizing colonialism can be extremely problematic as it translates into postcolonial feminism due to the contextual 'when, what, where, which, whose, and how' Suki Ali mentions in determining the postcolonial.

Sara Suleri is a common critic of postcolonial feminism, in her work "Woman Skin Deep: Feminism and the Postcolonial Condition" she questions whether the language used in feminism and ethnicity were not so similar, if racial identity and feminism would be connected or "so radically inseparable" from each other. She also states that postcolonial feminism is "not matched with any logical or theoretical consistency" because it reduces sexuality to "the literal structure of the racial body" which is not consistent with postcolonial feminism's stance on the removal of oppressive labels and categorization.

While postcolonial discourse has brought significant expansion of knowledge regarding feminist work, scholars have begun to rework and critique the field of postcolonial feminism developing a more well-rounded discourse termed transnational feminism. Where postcolonial theory highlighted representation and the "othering" of experience of those in the global South, transnational feminism aids in understanding "new global realities resulting from migrations and the creation of transnational communities."

Postcolonial feminism is also criticized for the implications behind its name. The term "postcolonial", consisting of the prefix "post-" and suffix "colonial", insinuates that the countries it is referring to have left the era of colonialism and are progressing from it. This way of thinking promotes the idea that all developing countries underwent colonizing and began the process of decolonizing at the same time when countries referred to as "postcolonial" have actually endured colonization for different time frames. Some of the countries that are called "postcolonial" can in fact still be considered colonial. Another issue with the term "postcolonial" is that it implies a linear progression of the countries it addresses, which starkly contrasts the goal of postcolonial theory and postcolonial feminism to move away from a presentist narrative.

See also

 Chicana feminism
 Coloniality of gender
 Feminationalism
 Global feminism
 Gypsy feminism
 History of feminism
 Imperial feminism
 Indigenous feminism
 Intersectionality
 Islamic feminism
 Latinx philosophy
 Postfeminism
 Purplewashing
 Sex segregation and Islam
 Transnational feminism
 Womanism

References

External links

Gould, Rebecca Ruth (2014) "Engendering Critique: Postnational Feminism in Postcolonial Syria," Women's Studies Quarterly Vol. 42, No. 3/4
Lugo-Lugo. Carmen R (2000) https://public.wsu.edu/~amerstu/dis/content/12-00/1a.html

Feminism
Feminist movements and ideologies
Feminist theory
Multicultural feminism
Feminism and history
Intersectional feminism

Postcolonial feminism


Nurmahal (en punyabí: ਨੂਰਮਹਿਲ ) es una ciudad de la India en el distrito de Jalandhar, estado de Punyab.

Geografía
Se encuentra a una altitud de 242  a 131 km de la capital estatal, Chandigarh, en la zona horaria UTC +5:30.

Demografía
Según estimación 2010 contaba con una población de 13 741 habitantes.

Gallery
Mughal period monuments ,Srai Nurmahal Jalandhar,Punjab,India

Referencias

Enlaces externos

Localidades de Punyab (India)

Nurmahal