ك.ف.م  هي برمجية حرة تعمل على نظام لينكس، ومُررت إلى نظام فري بي إس دي و على شكل ملحق للنواة، تقوم بمهمة مراقب للأجهزة الافتراضية يعمل على إنشاء وإدارة و تشغيل الآلات الافتراضية.

دُمجت في نواة لينكس ابتداءً من النسخة 2.6.20 التي صدرت في فبراير 2007.

انظر أيضاً
 أوبن ستاك
 كلاود ستاك
 كيمو

المصادر والمراجع

برمجيات حرة
برمجيات حرة بلغة سي
برمجيات ريد هات
برمجيات لينكس
برمجيات محاكاة افتراضية
برمجيات محاكاة افتراضية مجانية
برمجيات محاكاة حرة
مزايا نواة لينكس

آلة افتراضية معتمدة على النواة


Decompression Illness (DCI) comprises two different conditions caused by rapid decompression of the body. These conditions present similar symptoms and require the same initial first aid. Scuba divers are trained to ascend slowly from depth to avoid DCI. Although the incidence is relatively rare, the consequences can be serious and potentially fatal, especially if untreated.

Classification
DCI can be caused by two different mechanisms, which result in overlapping sets of symptoms. The two mechanisms are:
 Decompression sickness (DCS), which results from metabolically inert gas dissolved in body tissue under pressure precipitating out of solution and forming bubbles during decompression. It typically afflicts underwater divers on poorly managed ascent from depth or aviators flying in inadequately pressurised aircraft.
 Arterial gas embolism (AGE), which is perfusion blockage caused by gas bubbles in the arterial bloodstream. In the context of DCI these may form either as a result of bubble nucleation and growth by dissolved gas into the blood on depressurisation, which is a subset of DCS above, and leakage from venous circulation to arterial circulation via patent foramen ovale or other shunt, or by gas entering the blood mechanically as a result of pulmonary barotrauma. Pulmonary barotrauma is a rupturing of lung tissue by expansion of breathing gas held in the lungs during depressurisation. This may typically be caused by an underwater diver ascending while holding the breath after breathing at ambient pressure, ambient pressure escape from a submerged submarine without adequate exhalation during the ascent, or the explosive decompression of an aircraft cabin or other pressurised environment. Other forms of lung overpressure injury such as pneumothorax require distinctly different treatment to AGE.

In any situation that could cause decompression sickness, there is also potentially a risk of arterial gas embolism, and as many of the symptoms are common to both conditions, it may be difficult to distinguish between the two in the field, and first aid treatment is the same for both mechanisms.

Signs and symptoms

Below is a summary comparison of the signs and symptoms of DCI arising from its two components: Decompression Sickness and Arterial Gas Embolism. Many signs and symptoms are common to both maladies, and it may be difficult to diagnose the actual problem. The dive history can be useful to distinguish which is more probable, but it is possible for both components to manifest at the same time following some dive profiles.

Causes
Decompression sickness is caused by the formation and growth of inert gas bubbles in the tissues when a diver decompresses faster than the gas can be safely disposed of through respiration and perfusion.

Arterial gas embolism is caused by gas in the lungs getting into the pulmonary venous circulation through injuries to the capillaries of the alveoli caused by lung overpressure injury. These bubbles are then circulated to the tissues via the systemic arterial circulation, and may cause blockages directly or indirectly by initiating clotting.

Mechanism
The mechanism of decompression sickness is different from that of arterial gas embolism, but they share the causative factor of depressurisation.

Decompression sickness

Depressurisation causes inert gases, which were dissolved under higher pressure, to come out of physical solution and form gas bubbles within the body. These bubbles produce the symptoms of decompression sickness. Bubbles may form whenever the body experiences a reduction in pressure, but not all bubbles result in DCS. The amount of gas dissolved in a liquid is described by Henry's Law, which indicates that when the pressure of a gas in contact with a liquid is decreased, the amount of that gas dissolved in the liquid will also decrease proportionately.

On ascent from a dive, inert gas comes out of solution in a process called "outgassing" or "offgassing". Under normal conditions, most offgassing occurs by gas exchange in the lungs. If inert gas comes out of solution too quickly to allow outgassing in the lungs then bubbles may form in the blood or within the solid tissues of the body. The formation of bubbles in the skin or joints results in milder symptoms, while large numbers of bubbles in the venous blood can cause lung damage. The most severe types of DCS interrupt — and ultimately damage — spinal cord function, leading to paralysis, sensory dysfunction, or death. In the presence of a right-to-left shunt of the heart, such as a patent foramen ovale, venous bubbles may enter the arterial system, resulting in an arterial gas embolism. A similar effect, known as ebullism, may occur during explosive decompression, when water vapour forms bubbles in body fluids due to a dramatic reduction in environmental pressure.

Arterial gas embolism

When a diver holds their breath during an ascent the reduction in pressure will cause the gas to expand and the lungs will also have to expand to continue to contain the gas. If the expansion exceeds the normal capacity of the lungs, they will continue to expand elastically until the tissues reach their tensile strength limit, after which any increase in pressure difference between the gas in the lungs and the ambient pressure will cause the weaker tissues to rupture, releasing gas from the lungs into any permeable space exposed by the damaged tissue. This could be the pleural space between the lung and the chest walls, between the pleural membranes, and this condition is known as pneumothorax. The gas could also enter the interstitial spaces within the lungs, the neck and larynx, and the mediastinal space around the heart, causing interstititial or mediastinal emphysema, or it could enter the blood vessels of the venous pulmonary circulation via damaged alveolar capillaries, and from there reach the left side of the heart, from which they will be discharged into the systemic circulation. On the way out through the aorta the gas may be entrained in blood flowing into the carotid or basilar arteries. If these bubbles cause blockage in blood vessels, this is arterial gas embolism. Sufficient pressure difference and expansion to cause this injury can occur from depths as shallow as .

Diagnosis

Definitive diagnosis is difficult, as most of the signs and symptoms are common to several conditions and there are no specific tests for DCI. The dive history is important, if reliable, and the sequence and presentation of symptoms can differentiate between possibilities. Most doctors do not have the training and experience to reliably diagnose DCI, so it is preferable to consult a diving medicine specialist, as misdiagnosis can have inconvenient, expensive and possibly life-threatening consequences. Prior to 2000, there was a tendency to under-diagnose DCI, and as a result a number of cases did not get the treatment that could have produced a better result, while since 2000, there has been a swing to over-diagnosis, with consequent expensive and inconvenient treatments, and expensive inconvenient and risky evacuations that were not necessary. The presence of symptoms of pneumothorax, mediastinal or interstitial emphysema would support a diagnosis of arterial gas embolism if symptoms of that condition are also present, but AGE can occur without symptoms of other lung overpressure injuries. Most cases of arterial gas embolism will present symptoms soon after surfacing, but this also happens with cerebral decompression sickness.

Numbness and tingling are associated with spinal DCS, but can also be caused by pressure on nerves (compression neurapraxia). In DCS the numbness or tingling is generally confined to one or a series of dermatomes, while pressure on a nerve tends to produce characteristic areas of numbness associated with the specific nerve on only one side of the body distal to the pressure point. A loss of strength or function is likely to be a medical emergency. A loss of feeling that lasts more than a minute or two indicates a need for immediate medical attention. It is only partial sensory changes, or paraesthesias, where this distinction between trivial and more serious injuries applies.

Large areas of numbness with associated weakness or paralysis, especially if a whole limb is affected, are indicative of probable brain involvement and require urgent medical attention. Paraesthesias or weakness involving a dermatome indicate probable spinal cord or spinal nerve root involvement. Although it is possible that this may have other causes, such as an injured intervertebral disk, these symptoms indicate an urgent need for medical assessment. In combination with weakness, paralysis or loss of bowel or bladder control, they indicate a medical emergency.

Prevention
Almost all arterial gas embolism is avoidable by not diving with lung conditions which increase the risk and not holding the breath during ascent. These conditions will usually be detected in the diving medical examination required for professional divers. Recreational divers are not all screened at this level. Complete emptying of the lungs is not recommended in emergency swimming ascents as this is thought to increase the risk by collapsing small air passages and trapping air in parts of the lung. Rate of ascent is not usually an issue for AGE.

Decompression sickness is usually avoidable by following the requirements of decompression tables or algorithms regarding ascent rates and stop times for the specific dive profile, but these do not guarantee safety, and in some cases, unpredictably, there will be decompression sickness. Decompressing for longer can reduce the risk by an unknown amount. Decompression is a calculated risk where some of the variables are not well defined, and it is not possible to define the point at which all residual risk disappears. Risk is also reduced by reducing exposure to ingassing and taking into account the various known and suspected risk factors. Most, but not all, cases are easily avoided.

Treatment

Treatment for the Decompression Sickness and the Arterial Gas Embolism components of DCI may differ significantly, but that depends mostly on the symptoms, as both conditions are generally treated based on the symptoms. Refer to the separate treatments under those articles.

Urgency of treatment depends on the symptoms. Mild symptoms will usually resolve without treatment, though appropriate treatment may accelerate recovery considerably. Failure to treat severe cases can have fatal or long term effects. Some types of injuries are more likely to have long lasting effects depending on the organs involved.

First aid
First aid is common for both DCS and AGE:
 Monitor the patient for responsiveness, airway, breathing and circulation, resuscitate if necessary.
 Treat for shock.
 Lay the patient on their back, or for drowsy, unconscious, or nauseated victims, on their side.
 Administer 100% oxygen as soon as possible.
 Seek immediate medical assistance, locate a hospital with hyperbaric facilities and plan for possible transport.
 Allow the patient to drink water or isotonic fluids only if responsive, stable, and not suffering from nausea or stomach pain. Administration of intravenous saline solution is preferable.
 Record details of recent dives and responses to first aid treatment and provide to the treating medical specialist. The diving details should include depth and time profiles, breathing gases used and surface intervals.

Prognosis

The outcome for cerebral arterial gas embolism largely depends on severity and the delay before recompression. Most cases which are recompressed within two hours do well. Recompression within six hours often produces improvement and sometimes full resolution. Delays to recompression of more than 6 to 8 hours are not often very effective, and are generally associated with delays in diagnosis and delays in transfer to a hyperbaric chamber.

Epidemiology
Roughly 3 to 7 cases per 10,000 dives are diagnosed, of which about 1 in 100,000 dives are fatal.

References

Sources

 Diving First Aid Manual, John Lippmann and Stan Bugg, DAN SEAP Membership Edition
 The Diving Emergency Handbook, John Lippmann and Stan Bugg,

Diving medicine

Decompression illness


Nevinnomyssk (, ) er en by i den russiske kraj Stavropol  i Kaukasus  med  indbyggere, beliggende omkring 55 km syd for byen Stavropol ved floden Kuban.

Historie

Nevinnomyssk var i 1825 som en Kosak-bosættelse (stanitsa) beliggende i nærheden af en skanse, der var oprettet i 1784 som en af ni skanser i den såkaldte Azov-Mosdoker defensive linje i det nordlige Kaukasus-afsnit af den russiske grænse. Da skansen var bygget en halvø på Kuban-bredden, der kaldtes "Nevinnoj". Derfor fik bosættelsen senere navnet "Nevinnomysskaja".

Siden i 1800-tallet blev en stor del af de kaukasiske områder russiske, og Nevinnomysskaja mistede hurtigt sin betydning som grænsepost; I stedet udvikledes landbruget, begunstiget af den frugtbare jord og det relativt milde klima. I slutningen af århundredet blev den første fabrik bygget, og i 1875 blev byen forbundet med det russiske jernbanenet med konstruktion af linjen til Vladikavkaz.

I 1939 fik Nevinnomysskaja bystatus og ændrede navn til Nevinnomyssk. I 1936 indledtes opførelsen af en stor vandingskanal til landbruget i Stavropol kraj. Imidlertid blev kanalbyggeriet først afsluttet i 1948, fordi byen var besat af de nazistiske styrker under Anden Verdenskrig fra august 1942 til januar 1943. Besættelsen resulterede i betydelig ødelæggelser.

I 1950'erne og 1960'erne blev et stort antal industrivirksomheder bygget i Nevinnomyssk. I løbet af denne tid blev byens befolkning næsten fordoblet. I midten af 1970'erne oversteg indbyggertallet 100.000.

Befolkningsudvikling

Note: Data fra folketællinger

Økonomi og trafik

Nevinnomyssk betragtes som en industriby, især med kemiske industri, der spiller en vigtig økonomisk rolle. Nevinnomyssk betragtes samtidigt som en af de mest forurenede byer i Stavropol kraj. Udover kemiske fabrikker har byen også andre fabrikationsanlæg og et termisk kraftværk.

Nevinnomyssk ligger ved Kavkaz-motorvejen , mellem Stavropol og Mineralnyje Vody, der ud over har byen en jerbanestation på jernbanen Rostov ved Don - Grosnyj.

Referencer

Eksterne henvisninger

Byer i Moskva oblast
Etableret i 1917

Nevinnomyssk


Imperium ist ein 2012 erschienener Roman des Schweizer Schriftstellers Christian Kracht. Er erzählt die Geschichte des deutschen Aussteigers August Engelhardt, der sich nach Deutsch-Neuguinea aufmacht, um dort eine Kokosplantage zu betreiben. Als fanatischer Vegetarier verehrt Engelhardt die Kokosnuss als eine göttliche Frucht und strebt danach, seine Ideologie des Kokovorismus missionarisch zu verbreiten.

Inhalt

Erster Teil

August Engelhardt reist Anfang des 20. Jahrhunderts in die damalige Kolonie Deutsch-Neuguinea, um dort eine Kokosplantage zu kaufen. Sein erklärtes Ziel: sich als bekennender Vegetarier ausschließlich von der Kokosnuss zu ernähren.

Im wilhelminischen Deutschen Reich erfährt er für seine Ansichten und Pläne außerhalb eines engen Bewundererkreises nur Ablehnung. Als Nudist wird Engelhardt mehrfach verhaftet und verlacht. Er bricht daraufhin mit einer Summe Geldes in die Südsee auf und beabsichtigt dort, eine Gemeinschaft von Sonnenjüngern zu gründen. Auf der Überfahrt, bei einem Halt in Ceylon, begegnet er dem Tamilen Govindarajan, in dem er einen geistigen Verbündeten sieht. Govindarajan lockt ihn aber auf einem gemeinsamen Ausflug in eine Tempelhöhle und beraubt ihn eines Großteils seiner finanziellen Reserven.

Ungeachtet des Verlustes reist Engelhardt weiter und kauft der Großgrundbesitzerin Emma Kolbe die für sie wertlose Insel Kabakon zur Bewirtschaftung als Kokosnuss-Plantage ab. Auf der Insel stellt Engelhardt Eingeborene als Arbeiter ein und erntet Kokosnüsse mit der Absicht, sie ins Deutsche Reich zu exportieren. Da Engelhardt weder über Geld noch Mittel verfügt, die Insel zu bezahlen, noch, die Arbeiter zu entlohnen, beleiht er die Gewinne seines Handels auf Jahre, da Geld für ihn keine Bedeutung hat.

Schon bald kündigt sich Aueckens, ein Jünger aus Deutschland, an, der beabsichtigt, sich Engelhardts Kult anzuschließen. Nach anfänglicher Euphorie und philosophischen Gesprächen entfernen sich die beiden Charaktere jedoch immer mehr. Als Aueckens schließlich Engelhardts Arbeiter Makeli vergewaltigt, kommt er zu Tode. Die Erzählung schildert ambivalent verschiedene Szenarien hinsichtlich der Todesursache, jedoch mit einer bevorzugten Implikation: Engelhardt greift zu einer Kokosnuss und erschlägt Aueckens. Der Mord wird als Unfall getarnt und bald vergessen.

Zweiter Teil

Auf der Suche nach Gleichgesinnten reist Engelhardt auf die Fidschi-Inseln, um den ebenfalls ausgewanderten Mittenzwey aufzusuchen. Mittenzwey, der vorgibt, Lichtesser zu sein, wird von Engelhardt als Lügner enttarnt. Auch Govindarajan trifft er in der Gemeinschaft an, verzichtet aber auf Vergeltung des Raubes und öffentliche Bloßstellung Mittenzweys und reist zurück nach Kabakon.

Als der hypochondrische Klavier- und Violinenspieler Max Lützow zur Gemeinde stößt, beginnt eine Lebensgemeinschaft der beiden Kokosnuss-Jünger. Während Engelhardt weitere in Deutsch-Guinea seinetwegen gestrandete Jünger abweist, erlaubt er Lützow schon bald, mit ihm unter einem Dach zu leben.

Dritter Teil

Nach kaum einem Jahr entzweien sie sich dennoch, und Lützow kommt unmittelbar nach seiner Hochzeit mit Emma Forsayth bei einem Unfall im Hafen von Rabaul ums Leben. Da Engelhardts exzentrische Lebensweise beim Gouverneur der Kolonie Albert Hahl nach anfänglicher Sympathie auf Unbehagen stößt, engagiert dieser den Kapitän Slütter zur Ermordung des Einsiedlers. Als Slütter auf Engelhardt trifft, sieht er davon ab, ihn zu erschießen, und lässt ihn laufen. Auch Engelhardts treuer Arbeiter Makeli verlässt die Gemeinschaft.

Mit Beginn des Ersten Weltkrieges endet die kurze Geschichte von Kabakon als Kokosnuss-Plantage; die Kolonie wird von australischen Soldaten besetzt und Engelhardt mit einem kläglich niedrigen Betrag enteignet. Er lehnt das Geld ab und verschwindet.

Erst nach Ende des Zweiten Weltkriegs taucht Engelhardt auf der weit abgelegenen Insel Kolombangara völlig abgemagert und verwirrt auf und wird von amerikanischen Soldaten auf eine ihrer Basen verbracht. Ein Journalist des US-Militärs nimmt Engelhardts Geschichte auf. Die Geschichte endet mit der Hollywood-Verfilmung von Engelhardts Leben.

Analyse

Mit Imperium lehnt sich Kracht an das Genre des Historien- und Abenteuerromans an. Beide Gattungen werden jedoch als Referenzrahmen ständig verschoben und ironisch ad absurdum geführt. In der historischen Rückschau haben beispielsweise Figuren wie August Engelhard, Max Lützow oder der Gouverneur Albert Hahl existiert und standen in Kontakt miteinander. Nur sind im Roman die Details ihres Zusammenspiels frei erfunden. Kracht sagt darüber im Interview mit dem ARD-Magazin Druckfrisch: "Es ist eigentlich ein großes Spiel mit auftauchenden Figuren, die eintauchen und wieder auftauchen." Auch das Abenteuer des Romans, dessen Handlung sich wie im Robinson Crusoe auf einer Insel entfaltet, nimmt im weiteren Verlauf immer absurdere Züge an. Bei Defoe findet der Protagonist auf dem Eiland seinen christlichen Glauben und treibt es zu einer wirtschaftlichen Blüte. Bei Kracht versteigt er sich dort immer tiefer in die absurde Ideologie des Kokovorismus, gerät zunehmend in eine verlotterte Misswirtschaft und endet als verwahrloster Kannibale.

Einige Figuren des Romans wie Kapitän Slütter und Pandora entlehnte Kracht der "Südseeballade" um Corto Maltese von Hugo Pratt. Andere Figuren wie Herr November sowie das Titelbild des Romans wurden aus Frank le Galls Comic-Reihe Theodor Pussel entnommen.

Rezeption

Georg Diez schreibt 2012 anlässlich des Erscheinens des Romanes Imperium im Magazin Der Spiegel, Christian Kracht sei der Céline seiner Generation. Imperium sei "durchdrungen von einer rassistischen Weltsicht". An Krachts Beispiel "könne man sehen, wie antimodernes, demokratiefeindliches, totalitäres Denken seinen Weg findet hinein in den Mainstream." Dieser Einschätzung wurde umgehend widersprochen – etwa durch Jan Küveler in der Welt, der kontert: "Nun muss man in Diez indes einen Wegbereiter der Ironiefreiheit erkennen. Denn die meisten Zitate, die Diez für sein denunziatorisches Pamphlet böswillig aus dem Zusammenhang reißt, sind allenfalls Beweis für Krachts Humor." Felicitas von Lovenberg spricht in der Frankfurter Allgemeinen Zeitung von dem "Versuch, eine literarische Neuerscheinung durch eine ganz und gar unliterarische Lesart zu vernichten." Auch der Soziologe Manfred Clemenz konstatiert bei Diez' Kritik ein falsches Literaturverständnis.

Der Diez'schen Einschätzung des Romans steht eine Mehrheit positiver Rezensionen des Romans gegenüber, unter anderem durch Felicitas von Lovenberg
und Julia Encke in der FAZ, Richard Kämmerlings in der Welt oder Erhard Schütz im Freitag.
Am deutlichsten wird Lothar Schröder für die Rheinische Post: "Dieser Vorwurf ist intellektuell beschämend. Er ist irrwitzig und obendrein ungerecht einem Buch gegenüber, das seit Kehlmanns Vermessung der Welt zu den besten, geistreichsten und eloquentesten deutschen Romanen zählt."

Helge Malchow, Kiepenheuer & Witsch, Verleger von Christians Krachts Imperium, erhält im Spiegel die Gelegenheit, auf Diez' Rezension an selber Stelle zu antworten: "So wird aus Literaturkritik der Versuch der Ausgrenzung eines der begabtesten deutschsprachigen Schriftsteller, und aus einer Buchbesprechung wird eine Denunziation, gegen die das Opfer sich nun rechtfertigen muss. McCarthy reloaded."

Antonia Baum sieht Christian Kracht für die Frankfurter Allgemeine Sonntagszeitung in der "Hölle der Ironie" gefangen, und das nicht erst mit Imperium, sondern seit den späten "achtziger Jahren" beim Magazin Tempo in "deren Büroräumen der damalige Volontär Kracht seinen ersten Roman schrieb." Krachts "Lustigsein" ist für Baum ein "verzweifeltes", "genauso verzweifelt, wie diejenigen, die das alles lesen und verstehen müssen und die dann, aus Ehrfurcht vor dem Großschriftsteller Kracht, vielleicht eben einfach lachen und sich verbeugen, statt zu sagen, dass sie etwas nicht verstanden haben."

Sabine Vogel verteidigt den Roman in der Frankfurter Rundschau gegen den Vorwurf der "Nazigesinnung". Allerdings urteilt sie, dass "Krachts gespreizte Manieriertheit", die offenbar Thomas Mann imitiere, ziemlich bald nervt: "Da ist der schnöde Heizer ein ′Demiurg gegen die Impertinenz der Weltenunordnung' und das ′Ektoplasma wird in geordnete Schranken' geleitet. Dass Krachts Engelhardt dann auch noch von ′Nordmännern' deliriert und Kindern, ′deren blondes Haar zu Kränzen auf ihren Häuptern verflochten war'", sei "grauenhafter Rollenprosa-Kitsch". Ihr Fazit lautet: "[…] um mit der Gestelztheit der Kracht'schen Diktion zu sprechen: man kommt nicht umhin zu sagen, dass der Roman ein recht hanebüchener Schmarrn ist."

Kracht reagierte auf die Vorwürfe von Diez in der Sendung Druckfrisch mit dem Satz "Ich kann beim besten Willen kein Hakenkreuz entdecken." Er zitierte damit den Titel eines Kunstwerks von Martin Kippenberger.

Auszeichnungen

 2012: Grosser Literaturpreis von Stadt und Kanton Bern
 2012: Wilhelm-Raabe-Literaturpreis
 2016: Helen-und-Kurt-Wolff-Übersetzerpreis für die englische Übersetzung von Daniel Bowles

Adaptionen

 Am Thalia-Theater in Hamburg wurde das Stück in der Fassung von Jan Bosse am 26. April 2015 uraufgeführt.
 Am 25. Februar 2016 feierte eine Bühnenfassung unter der Regie von Jan-Christoph Gockel am Wiener Schauspielhaus Premiere.
 Im Theater am Rand in Zollbrücke im Oderbruch inszenierten Thomas Rühmann und Tobias Morgenstern den Roman unter dem Titel "Kabakon oder Die Retter der Kokosnuss" als Theaterspektakel auf sechs Bühnen. Premiere war am 6. September 2019

Literatur

Ausgaben

 Christian Kracht: Imperium. Kiepenheuer & Witsch, Köln 2012, ISBN 978-3-462-04131-6 (Erstausgabe).

Imperium wurde bislang ins Spanische, Koreanische, Türkische, Dänische, Russische, Rumänische, Kroatische, Ungarische, Hebräische, Englische, Mazedonische, Estnische,
Schwedische, Italienische, Norwegische und Tschechische übersetzt.

Sekundärliteratur

 Hannah Gerlach: Relativitätstheorien: Zum Status vom 'Wissen' in Christian Krachts Imperium. In: Acta Germanica/German Studies in Africa: Jahrbuch des Germanistenverbandes im Südlichen Afrika/Yearbook of the Association for German Studies in Southern Africa 41, 2013, S. 195–210.
 Robin Hauenstein: 'Ein Schritt zurück in die exquisiteste Barbarei'-Mit Deutschland in der Südsee: Christian Krachts metahistoriographischer Abenteuerroman Imperium. In: Germanica 55, 2014, S. 29–45.
 Matthias M. Lorenz: Coppola und Conrad: Intertextualität als Rassismuskritik in Imperium und Ich werde hier sein im Sonnenschein und im Schatten. In: Acta Germanica/German Studies in Africa: Jahrbuch des Germanistenverbandes im Südlichen Afrika/Yearbook of the Association for German Studies in Southern Africa 42, 2014, S. 66–77.
 Rebecca McMullan: Island in the Sun: Pre-modern Nostalgia and Hyperreality in Christian Kracht's Imperium. In: Germanistik in Ireland: Yearbook of the German Studies Association of Ireland 9, 2014, S. 75–87.
 Charlotte Pastiche: Interpretation und Analyse für den Unterricht. Christian Kracht: Imperium. Norderstedt 2020, ISBN 978-3-7519-5946-9.
 Catherine Repussard: Ein bisschen Südsee und ein gutes Maß Lebensreform: Das Rezept für das beginnende 21. Jahrhundert? Marc Buhls Paradies des August Engelhardt (2011) und Christian Krachts Imperium (2012). In: Recherches Germaniques 42, 2012, S. 77–98.

Einzelnachweise

Literarisches Werk
Literatur (20. Jahrhundert)
Literatur (Deutsch)
Literatur (Schweiz)
Roman, Epik
Christian Kracht

Imperium (Kracht)


Friday the 13th: A New Beginning es una película de terror estadounidense del año 1985 dirigida por Danny Steinmann y protagonizada por Melanie Kinnaman, John Shepherd y Shavar Ross. Es la quinta entrega de la franquicia de Viernes 13, que dio inicio en 1980. La película está ambientada en un centro de rehabilitación, donde Tommy Jarvis -quien mató a Jason Voorhees cuando era un niño- teme de nuevo por su vida cuando un nuevo asaltante enmascarado inicia una serie de brutales asesinatos. La película cuenta con una pequeña aparición de Corey Feldman, quien se encargó de interpretar el papel de Tommy en el filme anterior.

A New Beginning presenta un alto número de asesinatos. Más allá de su contenido altamente violento, la película también se ha hecho conocida por sus escenas de sexo, así como por el frecuente uso de drogas. El libro de Peter Bracke, Crystal Lake Memories: The Complete History of Friday the 13th, detalla que detrás de las escenas, la producción estuvo plagada de un fuerte consumo de drogas.

Rodada en California en 1984 con un presupuesto de 2,2 millones de dólares, A New Beginning se estrenó en teatros el 22 de marzo de 1985 y recaudó 22 millones de dólares en la taquilla estadounidense. Inicialmente, la cinta planeaba establecer una nueva trilogía de películas con un villano diferente para la serie pero, tras una decepcionante recepción por parte de los fanáticos y un fuerte descenso en los ingresos de taquilla comparada con sus antecesoras, el asesino Jason Voorhees fue traído de vuelta para la siguiente entrega, Jason Lives, y ha sido el principal antagonista de la serie desde entonces. Además de los escasos ingresos de taquilla, la mayoría de los críticos le dieron reseñas negativas, haciendo énfasis en los excesivos niveles de violencia y en la vacuidad del guion.

Argumento
Varios años después de la muerte de Jason Voorhees, un adolescente Tommy Jarvis es atormentado por las pesadillas del asesino en masa, lo que causa que sea internado en numerosos hospitales psiquiátricos. Finalmente es trasladado a un campamento para adolescentes huérfanos, rebeldes y con problemas mentales, el cual es administrado por el Dr. Matt Letter y su asistente Pam Roberts. Allí, Tommy conoce a otros adolescentes internados, los amantes Eddie Kelso y Tina McCarthy, el tartamudo Jake Patterson, la gótica Violet Moraine, la seria Robin Brown, el comensal compulsivo Joey Burns y el joven Reggie Winter, cuyo abuelo George Winter trabaja como cocinero del campamento. El grupo no es del agrado de su vecina Ethel Hubbard, ya que Eddie y Tina se han acostumbrado a tener relaciones sexuales en su propiedad. Por esta razón, Matt prohíbe al grupo aventurarse fuera del campamento.

Victor Faden, otro paciente del campamento, sufre un ataque de locura provocado por la impertinencia de Joey y lo mata brutalmente con un hacha, lo que lleva a su arresto. Esa noche, dos engrasadores Vinnie y Pete son asesinados por un asaltante desconocido después de que su auto se descompone, y una mesera y su novio mueren a la noche siguiente. El alguacil plantea la hipótesis de que Jason Voorhees ha vuelto a la vida y es el causante de los asesinatos, mientras que el propio Tommy se convierte en un sospechoso.

A la mañana siguiente, unos desobedientes Eddie y Tina van al bosque y tienen relaciones sexuales. Son descubiertos por el granjero de Ethel, Raymond Joffroy, quien es asesinado poco después por el asesino. Después de regresar de lavarse en el arroyo, Eddie descubre que Tina ha sido asesinada y poco después es asesinado por el asesino. Mientras tanto, Reggie le ruega a su abuelo que visite a su hermano Demon, que acaba de regresar a la ciudad, y Pam se ofrece a acompañarlo mientras lleva a Tommy. Mientras Pam y Reggie disfrutan de unas enchiladas con Demon y su novia, Tommy conoce al hijo de Ethel, Junior, y se pelea con él, pero luego huye al bosque después de darse cuenta de sus acciones. Después de que Pam y Reggie se van a buscar a Tommy, Demon tiene un caso grave de diarrea por las enchiladas y corre hacia la letrina. Mientras usaba la letrina, él y su novia son asesinados por el mismo asesino. Tras el regreso de Pam y Reggie al campamento, son advertidos de la desaparición del abuelo de Matt y Reggie. Pam va a buscarlos y Reggie va con Violet, Jake y Robin. En ese momento, Ethel y Junior son asesinados, al igual que Jake, Robin y Violet después de que Reggie se duerme. Reggie se despierta justo cuando Pam regresa y descubren los cadáveres del trío en la habitación de Tommy. Momentos después, el asesino, aparentemente siendo Jason Voorhees resucitado, irrumpe en la casa y entra a la habitación.

Después de una larga persecución en la que Pam y Reggie encuentran los cadáveres del abuelo de Reggie y Matt, Jason es golpeado por un tractor y luego atraído a un granero. Tommy regresa y es atacado por Jason, pero se defiende. Finalmente, Tommy lanza a Jason desde la ventana del desván a una grada de tractor, matándolo instantáneamente. En el proceso, la máscara de hockey del asesino se quita, revelando que en realidad es Roy Burns, uno de los paramédicos que llegaron a la escena después del asesinato de Joey. Más tarde, la policía identifica a Roy como el padre de Joey y determina que se volvió loco después de la muerte de su hijo y buscó venganza inspirado en las historias de las matanzas de Jason. Mientras se recupera en el hospital, Tommy tiene otra alucinación de Jason, pero se enfrenta a sus miedos y lo hace desaparecer. Luego oye que Pam se acerca y rompe la ventana para que parezca que se ha escapado. Cuando Pam entra corriendo, Tommy aparece detrás de la puerta con la máscara de hockey de Roy y empuñando un cuchillo de cocina.

Reparto

Producción
A New Beginning fue publicitada bajo un título falso, Repetition, y muchos de los actores de la película no se dieron cuenta de que se trataba de una entrega de la saga de Viernes 13 hasta después de haber sido elegidos en sus papeles. Entre el desconocido reparto se encontraba el actor principal John Shepherd, que pasó varios meses como voluntario en un hospital mental estatal para prepararse para el papel, y que se sintió "realmente decepcionado" al descubrir que Repetition era en realidad la quinta entrega de la saga de Viernes 13. El actor Dick Wieand declaró: "no fue hasta que vi la película ya realizada que me di cuenta de la basura que era. Es decir, conocía la reputación de la serie, pero siempre esperas que la tuya salga mejor", y el director Danny Steinmann afirmó: "prácticamente filmé una maldita película porno en el bosque", refiriéndose a la cantidad de escenas de sexo que fueron rodadas y que fueron reducidas en la versión final.

De acuerdo con las notas del DVD Friday the 13th: Return to Crystal Lake, Corey Feldman no pudo aparecer en plenitud en la película como resultado de su participación en el filme de corte infantil Los Goonies, que se estrenó el mismo año que A New Beginning. Feldman filmó las escenas de su cameo un domingo, ya que ese era su día libre. El material fue filmado en el patio trasero de la casa de su familia en Los Ángeles con una máquina de lluvia.

Se trata de la única entrega de la serie que presenta un diseño de máscara de hockey con dos triángulos azules apuntando hacia abajo, a diferencia de la variante más común de tres triángulos rojos, con los dos inferiores apuntando hacia arriba. También es la segunda película en la que el asesino principal no es Jason Voorhees, al igual que en la primera cinta de la saga, Friday the 13th de 1980, en la que la madre de Jason, Pamela Voorhees, es la responsable directa de la matanza.

Estreno
La película se estrenó el 22 de marzo de 1985, en 1759 pantallas. Debutó en la primera posición en su fin de semana de apertura con una recaudación de más de ocho millones de dólares, superando a la secuela de comedia sexual adolescente Porky's Revenge, a la película biográfica Mask, a la cinta de artes marciales de Berry Gordy The Last Dragon y a la película de corte infantil Disney Baby: Secret of the Lost Legend. A New Beginning logró recaudar 22 millones de dólares en la taquilla estadounidense, situándose en el número 41 de la lista de las películas más taquilleras de 1985.

Recepción
En el sitio web Rotten Tomatoes, el filme cuenta con un escaso 16% de aprobación basado en 19 revisiones, con una calificación promedio de 3.18 sobre 10.

Gene Siskel del Chicago Tribune criticó la película por la falta de originalidad que se percibe en el guion: "La nueva película no es realmente nueva. El mismo asesino -un tipo con una máscara de hockey y un machete- sigue persiguiendo a un montón de jóvenes, la mayoría de ellos internos de un hospital psiquiátrico", añadiendo que "hay poco suspense". La crítica en la revista Variety rezó que: "La quinta película de Viernes 13 reitera una crónica de matanzas con aún menos variación que sus predecesoras". Vincent Canby del New York Times escribió: "Vale la pena reconocerla sólo como un artefacto más de nuestra cultura".

Una reseña de la revista británica de cine Films and Filming criticó su redundancia en comparación con las secuelas anteriores, señalando: "Los bosques son realmente espeluznantes, especialmente cuando hay una de esas tormentas gigantescas. Y espera a ver lo que pasa cuando Jason inserta a este pobre tipo en un retrete".

Henry Edgar del Daily Press escribió: "Si te gustan las otras entregas de esta serie, te gustará esta. Si no es así, aléjate. Jason tiene sus propios seguidores y parece dispuesto a continuar el derramamiento de sangre para siempre". Steve Davis de The Austin Chronicle criticó la violencia excesiva y redundante de la película, señalando que presenta "los mismos gritos, las mismas persecuciones interminables, los mismos pechos, la misma sangre, la misma hacha, la misma falta de explicación y el mismo final preparado para otra secuela. ¿Existe un patrón que surge aquí? En resumen: lo mismo de siempre". Scott Meslow de GQ calificó la película como "la entrega más sangrienta y desquiciada" de la serie, señalando los 22 asesinatos que se muestran en pantalla. Leonard Maltin le otorgó cero estrellas de calificación, afirmando: "Un título ingenioso para entregar más gore, tan espantoso y asqueroso como siempre".

Escribiendo para la revista Slant, Jeremiah Kipp escribió: "Hay más trama que de costumbre, involucrando al sobreviviente de Jason, Tommy Jarvis, preguntándose si el amontonamiento de cadáveres se puede achacar a Jason, a un imitador o a él mismo. El tono es crudo, grosero y lascivo, con escenas de asesinatos combinadas con más escenas de desnudos que de costumbre".

Véase también
 Películas de Viernes 13

Referencias

Enlaces externos

Películas de asesinos en serie
Películas slasher de Estados Unidos
Friday the 13th
Cine de terror de los años 1980
Películas de Paramount Pictures
Secuelas de películas

Friday the 13th: A New Beginning


Zirakpur (en panyabí: ਜ਼ੀਰਕਪੁਰ ) es una ciudad de la India en el distrito de Sahibzada Ajit Singh Nagar, Estado de Panyab.

Geografía
Se encuentra a una altitud de 304  a 13 km de la capital estatal, Chandigarh, en la zona horaria UTC +5:30.

Demografía
Según estimación 2010 contaba con una población de 28 411 habitantes.

Referencias

Enlaces externos

Localidades de Punyab (India)

Zirakpur


Marko Saaresto () este membrul fondator, vocalistul și compozitorul principal al trupei finlandeze de rock alternativ, Poets of the Fall. Saaresto a lucrat ca și grafic designer înainte de a forma trupa la sfârșitul anului 2002. Sam Lake, prietenul lui Saaresto și scriitorul seriei de jocuri video Max Payne, i-a oferit lui Saaresto un loc de muncă unde să compună un single pentru jocul Max Payne 2: The Fall of Max Payne . Saaresto a scris single-ul împreună cu chitaristul Olli Tukiainen și a fost asistat de producția inginerului Remedy, Markus Kaarlonen . Cântecul " Late Goodbye " a devenit un hit cultural și i-a propulsat pe cei de la Poets of the Fall în lumea muzicii. De atunci, Saaresto a mers în turneu în peste 15 țări cu Poets of the Fall. Este un cântăreț în clasă și are o gamă de vocal -bass-baritone.

Începutul vieții
Saaresto s-a născut în Helsinki, Finlanda . Saaresto s-a implicat activ în muzică de la o vârstă fragedă și a scris câteva dintre piesele sale în perioada adolescenței. Melodia "Change", din cel de-al patrulea album al trupei # 1, Twilight Theater, a fost scrisă de Saaresto în 1990. "Maybe Tomorrow is a Better Day" de pe albumul Carnival of Rust este chiar mai veche, datând din 1988. Saaresto a susținut un curs de grafic design și a lucrat ca și grafic designer până la vârsta de 30 de ani.

Cariera muzicală

Cariera timpurie
Saaresto a format o trupa numită Playground în 2001 și a scris mai multe melodii cu aceștia. Piesele au fost compilate într-un album, dar ei nu au găsit nici o casă de discuri dispusă să îi distribuie și, prin urmare, au renunțat. Membrii principali ai celor de la Playground au fost Saaresto și chitaristul de jazz Olli Tukianen. Într-o seară târzie la începutul lui 2002, Saaresto a fost abordat de Sam Lake, scriitorul seriei de jocuri video Max Payne, pentru a scrie single-ul principal pentru cea de-a doua parte din seria Max Payne 2: The Fall of Max Payne . Saaresto a fost de acord. Lake i-a dat lui Saaresto un poem pe care el îl scrisese și i-a cerut să scoată o melodie pe baza lui. Saaresto l-a modificat, iar împreuna cu fostul coleg de la Playground, Tukiainen, au scris cel mai cunoscut single Late Goodbye . Pentru ai asista la producție, Lake le-a oferit serviciile muzicianului industrial Markus 'Captain' Kaarlonen . Împreună au înregistrat melodia și, după eliberarea jocului, piesa a câștigat statutul de cult. Mii de solicitări au fost făcute de jucători din întreaga lume pentru a deține o copie fizică a melodiei. Apoi au decis să creeze oficial formația și au numit "Poets of the Fall".

Cu succesul imens al piesei sale, Saaresto a decis să-și creeze propria casă de discuri, Insomniac, și să o distribuie sub această casă de discuri în asociere cu o alta mai mare. "Late Goodbye" a fost lansat la 30 iunie 2004 și a urcat pe locul 14 în topurile finlandeze. Poets of the Fall a scris și înregistrat "Lift" și l-a lansat ca single la 9 septembrie 2004. Lift a crescut și mai mult, atingând un maxim de # 8 în topuri. Cu câteva melodii care au fost scrise, Poets of the Fall au decis să lanseze primul lor album de studio, Signs of Life . A fost lansat pe 19 ianuarie 2005 în Finlanda și a ajuns numărul 1 într-o săptămână de la lansare. Acesta a rămas în topuri peste 50 de săptămâni. Signs of Life a fost un mare succes comercial, câștigând premiul Emma pentru cel mai bun album de debut  clasându-se pe locul 7 în concursul Albumul Anului la RadioCity.  Signs of Life a fost certificat de platină de către IFPI, iar Poets of the Fall câștigat premiul "Cea mai bună trupă nouă" la Emma Gaala. Melodiile "Stay" și "Illusion and Dream" au fost folosite ca single-uri radio-promo. Două videoclipuri muzicale au acompaniat albumul, unul pentru Late Goodbye și unul pentru Lift, regizat de Stobe Harju . Saaresto a imaginat și a proiectat atât filme, cât și vedete în ele.

Note

Nașteri în 1970
Oameni în viață
Pages with unreviewed translations

Marko Saaresto


Ulrich Hebenstreit (* 3. August 1947 in Kloster Schöntal) ist ein deutscher Jurist. Er war bis 2012 Richter am Bundesgerichtshof (BGH).

Ausbildung
Das Abitur legte Hebenstreit 1966 am Gymnasium Mühlacker (heute Theodor-Heuss-Gymnasium Mühlacker) ab. Danach war er zwei Jahre Soldat auf Zeit.

Von 1969 bis 1974 absolvierte er sein Studium der Rechtswissenschaft mit Schwerpunkt Handels-, Gesellschafts-, Wettbewerbs- und Kartellrecht an der Universität Tübingen. Parallel zum anschließenden Referendariat war er wissenschaftlicher Mitarbeiter von Klaus J. Hopt am Lehrstuhl für Zivil-, Wirtschafts- und Internationales Privatrecht. Nach der Zweiten Juristischen Staatsprüfung 1976 in Baden-Württemberg trat er in den Justizdienst dieses Landes ein.

Berufslaufbahn
Zunächst war Hebenstreit Richter am Landgericht Stuttgart (Schwurgericht, Wirtschaftsstrafkammer und Berufungsstrafkammer), dann Staatsanwalt bei der Staatsanwaltschaft Stuttgart. Von 1981 bis 1983 war er an das Bundesministerium der Justiz abgeordnet, wo er im Bereich Familienrecht tätig war. Anschließend kehrte er als Richter an das Landgericht Stuttgart zurück (Zivilkammer, Wirtschaftsstrafkammer und kleine Strafkammer) und war zeitweilig an die Generalstaatsanwaltschaft Stuttgart abgeordnet. 1990 wurde er zum Richter am Oberlandesgericht Stuttgart befördert, wo er sowohl für Revisionen als auch erstinstanzliche Verfahren zuständig war. Ab 1992 war Hebenstreit Vorsitzender Richter am Landgericht Stuttgart (Wirtschaftsstrafkammer, Kammer für Steuerberatersachen) und nichtständiges Mitglied des Dienstgerichtshofs des Landes Baden-Württemberg, letzteres bis 1995. Zudem war er von 1996 bis 2000 Mitglied des Präsidiums des Landgerichts Stuttgart.

Hebenstreit wurde im Jahr 2000 zum Richter am Bundesgerichtshof ernannt und war seitdem Mitglied des 1. Strafsenates. Zudem war er bis 2008 Ermittlungsrichter beim BGH, von 2007 bis 2009 Mitglied des Präsidiums des Bundesgerichtshofes sowie ab 2009 Baubeauftragter des BGH. Seit dem 1. Oktober 2012 ist er nach dem Erreichen der Altersgrenze als Berufsrichter pensioniert, war aber weiterhin von Mai 2012 bis Juli 2021 stellvertretendes Mitglied im Verfassungsgerichtshof für das Land Baden-Württemberg.

Politik
Von 1998 bis 2000 war Hebenstreit Mitglied des Gemeinderats der Stadt Ludwigsburg, von 1994 bis 1999 Mitglied der Regionalversammlung des Verbands Region Stuttgart und im Jahr 2000 Mitglied des Kreistages des Landkreises Ludwigsburg.

Nebenberuf
Von 1991 bis 2000 war Hebenstreit stellvertretender Vorsitzender des Berufsgerichts der Bezirkszahnärztekammer Stuttgart. In dieser Zeit war er zudem Prüfer in Juristischen Staatsprüfungen und zeitweise Lehrbeauftragter an der Hochschule für öffentliche Verwaltung und Finanzen Ludwigsburg.

Ehrenamt
Hebenstreit ist seit 1998 Vorsitzender des Vereins "Freundeskreis Jevpatorija e.V." Ludwigsburg (Jewpatorija ist eine Partnerstadt von Ludwigsburg). Seit 2001 ist er außerdem Vorsitzender des "Sozialberatung Ludwigsburg e.V. – Treffpunkt Information Beratung", einer Organisation für Straffälligenhilfe und Kriminalprävention. Seit 2009 ist er Mitglied im Stiftungsrat der Bürgerstiftung Ludwigsburg.

Privatleben
Er ist in zweiter Ehe verheiratet und hat aus erster Ehe zwei erwachsene Töchter.

Einzelnachweise

Richter (Bundesgerichtshof)
Richter (Oberlandesgericht Stuttgart)
Richter (Landgericht Stuttgart)
Träger des Bundesverdienstkreuzes am Bande
Deutscher
Geboren 1947
Mann

Ulrich Hebenstreit


Robert Hopkins ist der Name folgender Personen:

* Robert Hopkins (Fußballspieler) (* 1961), englischer Fußballspieler
 Robert E. Hopkins (1886–1966), US-amerikanischer Drehbuchautor

Siehe auch:
Rob Hopkins (* 1968), britischer Autor und Umweltaktivist

Robert Hopkins


The Faubourg Marigny neighborhood of New Orleans, Louisiana is one of the most active on Mardi Gras Day, with many elaborate costumers strolling the streets. This part of town is relatively little visited by tourists compared to other areas with active celebrations.

The informal walking krewes "Society of Saint Anne" and "The Pair-O-Dice Tumbers" parade through the neighborhood and surrounding areas, as do many smaller groups and individual revelers in costume.  In 2008, WWL-TV personality and Carnival historian Professor Carl Nivale made the Marigny his new base of operations for The Compleat Carnival Compendium & Mardi Gras Manual.

See also
 Faubourg Marigny
 French Quarter Mardi Gras costumes
 New Orleans Mardi Gras

Mardi Gras in New Orleans

Faubourg Marigny Mardi Gras costumes


Den hollandske Dronnings Ankomst mm. er en film med ukendt instruktør.

Handling
Fraklipsagtige scener fra den hollandske dronning Wilhelmina's ankomst i september 1922. Dronningen modtages på Hovedbanegården og kører med eskorte i åben karet gennem byen til Amalienborg. Ildebrand. Tagbrand et eller andet sted. Den hollandske dronning besøger (Amagermuseet?) gård på Amager. Tilsyneladende Nyborg riddere. Optog forberedes foran Nyborg Slot. Ryttere iklædt middelalderdragter samles til hest. Optoget starter. Borgere, også iklædt dragter, deltager i optoget til fods.

Referencer

Eksterne henvisninger

Danske film fra 1922
Dokumentariske optagelser
Stumfilm fra Danmark

Den hollandske Dronnings Ankomst mm.


The Mother of Us All (título original en inglés; en español, La madre de todos nosotros) es una ópera en dos actos con música de Virgil Thomson y libreto en inglés de Gertrude Stein. Es la crónica de la vida de Susan B. Anthony, una de las principales figuras en la lucha por el voto femenino en los EE. UU. En un estilo a la moda, reúne personajes, ficticios y no ficticios, de diferentes épocas de la historia estadounidense.

Historia
Se estrenó el 7 de mayo de 1947 en el Branders Matthews Hall de la Universidad de Columbia con la soprano Dorothy Dow como Susan B. Anthony.

Esta ópera rara vez se representa en la actualidad; en las estadísticas de Operabase no aparece entre las óperas representadas en el período 2005-2010.

Personajes

Grabación
Virgil Thomson: The Mother of Us All (Karen Beck, Sondra Stowe, Jimmie Lu Null, William Lewis, Steven Loewengart, Thomas Parker, Marla McDaniels, D'Artagnan Petty, Stephen Bryant, Ashley Putnam, et al.; director: Raymond Leppard; coro y orquesta de la Ópera de Santa Fe. Grabado en Santa Fe, Nuevo México, 1977. Discográfica: New World Records

Referencias
Notas

Fuentes
Virgil Thomson: Composer on the Aisle. Anthony Tommasini. W. W. Norton. ISBN 0-393-31858-3
Licencia

Óperas estrenadas en Nueva York
Óperas de Virgil Thomson
Óperas en inglés
Óperas de 1947

The Mother of Us All


جمعان الرويعي (21 يونيو 1969 -)، ممثل ومخرج بحريني.

حياته الفنية
ولد في المنامة وتزوج من الفنانة العراقية المقيمة في البحرين آلاء شاكر وانجب منها بنت اسمها علياء لكنهما انفصلا لاحقاً، وفي عام 2010 حصل على جائزة كأفضل مخرج عن المسلسلين وعد لزام وأيام الفرج.

أعماله

التمثيل

من المسلسلات
 البيت العود (1993)
 فرجان لول(1994)
 حسن ونور السناء (1994)
 اولاد ابوجاسم (1994)
 ملفى الأياوديد (1995)
 بحر الحكايات (1997)
 سعدون (1998)
 زهور وجدران (1998)
 نيران (2000)
 طعم الأيام (مسلسل) 2001
 السديم 2002
 عويشة (2003)
 يوم اخر (2003)
 غصات الحنين (2004)
 دروب (2005)
 قيود الزمن (2006)
 عيون الحب (2008)
 اخر صفقة حب (2009)
 بقايا الامس (2009)
 كنة الشام وكناين الشامية (2012)
 حزاوينا خليجة (2016)
 اشوفكم على خير (2017)
 جديمك نديمك 2019 (2019)
 عذراء (2019)
 حكايات ابن الحداد 2020
 كف ودفوف (2021)
 دار غريب (2021)

من الأفلام
 حنين.
 حكايات بحرينية.
 مريمي الراقصة
 المسباح

من المسرحيات
 ليلة عرس رشدان.
 الشفت

الإخراج

من المسلسلات
 وعد لزام.
 متعب القلب.
 أيام الفرج.
 كنة الشام وكناين الشامية.
 شارع 90.
 أشوفكم على خير
 شباب البومب
 دبي لندن دبي
 برايحنا
 حزاوينا خليجية
 بعض حلقات المسباح

روابط خارجية

المراجع

أشخاص على قيد الحياة
مخرجو أفلام عرب
مخرجون بحرينيون
ممثلو تلفزيون بحرينيون
ممثلون وممثلات بحرينيون
مواليد 1389 هـ
مواليد 1969

جمعان الرويعي


بهاء الدين رفيق الحريري (1966 - )، رجل أعمال وفاعل خير لبناني. هو الابن الأكبر لرئيس الوزراء اللبناني الأسبق رفيق الحريري من زوجته الأولى العراقية نضال بستاني. يدير قسم من أعمال عائلته المتوزعة في مختلف القطاعات الاستثمارية وفي عدة بلدان حول العالم.

تابع دراسته في مدرسة الفرير في الرميلة، وبعد تخرجه من جامعة بوسطن توجه إلى السعودية ليعمل في مجال الهندسة والعمارة في «شركة سعودي أوجيه» التابعة للعائلة، وتدرج في كل الوظائف التابعة للشركة إلى أن تسلم مهمة التدقيق وأصبح مديرًا للتدقيق في الشركة، ثم تركها لينشئ عمله الخاص لكنه بقي يساهم في الجانب التنفيذي. وهو أيضاً رئيس شركة العبدلي في الأردن لبناء الوسط التجاري في عمّان. كما أسس «شركة هورايزون للمشاريع الإعمارية» في لبنان. وهو الراعي الفخري للنادي الرياضي اللبناني. وكان قد عمل في إدارة مصرفين مهمين تابعين لعائلته وهما البنك العربي وبنك البحر المتوسط، كما أنه يشارك في رئاسة جريدة المستقبل اللبنانية.

التبرعات
تبرع بهاء الحريري بمليون دولار لحملة الجامعة اللبنانية الأمريكية للتلقيح ضد فيروس كورونا.

الحياة الشخصية
تزوج ثلاث مرات: مرتان من لبنانيتين، قمر هلال شهاب من صيدا ثم دينا البابا من طرابلس ولها منه بنتان هما بهية ودانة وابن هو رفيق وبعد طلاقه تزوج في 2014 من السعودية حسناء أبو سبعة (من والد سعودي وأم بريطانية) واُقيم حفل زفافهما في منتجع «إدن روك» في أنتيب في جنوب فرنسا.

مراجع

آل الحريري
أبناء رؤساء
أشخاص على قيد الحياة
أصحاب أعمال سعوديون
أصحاب أعمال لبنانيون
خريجو جامعة بوسطن
سعوديات في القرن 20
سعوديات في القرن 21
سعوديون من أصل لبناني
سيدات أعمال سعوديات
سيدات أعمال لبنانيات
شخصيات أعمال سعودية في القرن 20
شخصيات أعمال سعودية في القرن 21
عائلة رفيق الحريري
فاعلو خير لبنانيون
لبنانيون مغتربون في سويسرا
مسلمون سنة لبنانيون
مليارديرات سعوديون
مليارديرات لبنانيون
مواليد 1966
مواليد 1967
مواليد في لبنان

بهاء الحريري


An Platystele calymma in uska species han Liliopsida nga ginhulagway ni Carlyle August Luer. An Platystele calymma in nahilalakip ha genus nga Platystele, ngan familia nga Orchidaceae.

Mabibilngan ini ha Panamá. Waray hini subspecies nga nakalista.

Mga kasarigan

Platystele

Platystele calymma


En el banco, el término banco nacional conlleva varios significados:

 un banco privado ordinario que opera a nivel nacional (en oposición a nivel regional o incluso local o internacional).
 en los Estados Unidos, un operativo ordinario banco privado dentro de una estructura normativa específica, que puede o no puede operar a nivel nacional, bajo la supervisión de la Oficina del Contralor de la Moneda.

En el pasado, el término "banco nacional" se ha utilizado como sinónimo de "banco central", pero ya no se usa en este sentido en la actualidad. Algunos bancos centrales pueden tener las palabras "Banco Nacional" en su nombre, por el contrario, si un banco se denomina de este modo, no se considera automáticamente un banco central. Por ejemplo, el Nacional-Bank AG en Essen, Alemania, es un banco comercial de propiedad privada, al igual que el Banco Nacional de Canadá de Montreal, Canadá. Por otro lado, el Banco Nacional de Etiopía es el banco central de Etiopía, y Banco Nacional de Camboya es el banco central de Camboya.

Enlaces externos
 ¿Hace falta una banca pública?, expansion.com
 Alexander Hamilton: for the bank (February 23, 1791)
 James Madison Debates the Constitutionality of a National Bank

Bancos
Términos bancarios

Banco Nacional


Agathelpis, biljni rod iz porodice strupnikovki. Postoji nekoliko vrsta koje rastu po jugu Afrike.

Vrste
 Agathelpis adunca E.Mey.
 Agathelpis brevifolia E.Mey.
 Agathelpis mucronata E.Mey.

Izvori

Strupnikovke

Agathelpis


Volta ao Alentejo 2017 var den 35. udgave af det portugisiske landevejscykelløb i regionen Alentejo. Løbet foregik i perioden 22. til 26. februar 2017. Løbet var en del af UCI Europe Tour 2017 og var i kategorien 2.1. Den samlede vinder af løbet blev Carlos Barbero fra .

Hold og ryttere

Etaperne

1. etape

2. etape

3. etape

4. etape

5. etape

Trøjernes fordeling gennem løbet

Resultater

Eksterne henvisninger

UCI Europe Tour 2017
2017

Volta ao Alentejo 2017


Vera er en britisk krimiserie. Tv-serien er baseret på værker af forfatter Ann Cleeves og har Brenda Blethyn i hovedrollen som Vera Stanhope.

Medvirkende
Brenda Blethyn som DCI Vera Stanhope
Kenny Doughty som 	DS Aiden Healy
David Leon som DS Joe Ashworth
Jon Morrison som DC Kenny Lockhart
Cush Jumbo som DC Bethany Whelan
Wunmi Mosaku som DC Holly Lawson
Clare Calbraith som DC Rebecca Shepherd
Kingsley Ben-Adir som Dr. Marcus Sommer
Paul Ritter som Dr. Billy Cartwright
Riley Jones som DC Mark Edwards
Sonya Cassidy som Celine Ashworth

Eksterne henvisninger

Krimiserier fra Storbritannien
Britiske tv-serier fra 2010'erne
Britiske tv-serier fra 2020'erne
Tv-programmer fra ITV

Vera (tv-serie)


En matemática, la curva mariposa algebraica es una curva algebraica plana de grado seis, dada por la ecuación

La curva mariposa tiene una singularidad simple con invarianza delta tres, lo que significa que es una curva de género siete. Las únicas curvas planas de género siete son singulares, puesto que siete no es un número triangular, y el mínimo grado para tal curva es seis, así que la curva mariposa aparte de su aspecto es posiblemente interesante como ejemplo.

La curva mariposa tiene número de rama y multiplicidad dos, y por lo tanto la singularidad del enlace tiene dos componentes, en la foto a la derecha.

El área de la curva mariposa algebraica es dada por (con la función gamma )

y su longitud de arco s por

Véase también
 Curva mariposa (trascendente)

Referencias

Enlaces externos
  Sequence for the area of algebraic butterfly curve
  Sequence for the arc length of algebraic butterfly curve

Curvas

Curva mariposa (algebraica)


The Arch of Constantine () is a triumphal arch in Rome dedicated to the emperor Constantine the Great. The arch was commissioned by the Roman Senate to commemorate Constantine's victory over Maxentius at the Battle of Milvian Bridge in AD 312. Situated between the Colosseum and the Palatine Hill, the arch spans the Via Triumphalis, the route taken by victorious military leaders when they entered the city in a triumphal procession.  Dedicated in 315, it is the largest Roman triumphal arch, with overall dimensions of  high,  wide and  deep.  It has three bays, the central one being  high and  wide and the laterals  by  each. The arch is constructed of brick-faced concrete covered in marble.

The three bay design with detached columns was first used for the Arch of Septimius Severus in the Roman Forum (which stands at the end of the triumph route) and repeated in several other arches now lost.

Though dedicated to Constantine, much of the sculptural decoration consists of reliefs and statues removed from earlier triumphal monuments dedicated to Trajan (98–117), Hadrian (117–138) and Marcus Aurelius (161–180), with the portrait heads replaced with his own.

History
The arch, which was constructed between 312 and 315, was dedicated by the Senate to commemorate ten years (a decennia) of Constantine's reign (306–337) and his victory over the then reigning emperor Maxentius (306–312) at the Battle of Milvian Bridge on 28 October 312, as described on its attic inscription, and officially opened on 25 July 315. Not only did the Roman senate give the arch for Constantine's victory, they also were celebrating decennalia: a series of games that happened every decade during the Roman Empire. On these occasions they also said many prayers and renewed both spiritual and mundane vows. However, Constantine had actually entered Rome on 29 October 312, amidst great rejoicing, and the Senate then commissioned the monument. Constantine then left Rome within two months and did not return until 326.

The location, between the Palatine Hill and the Caelian Hill, spanned the ancient route of Roman triumphs (Via triumphalis) at its origin, where it diverged from the Via sacra. This route was that taken by the emperors when they entered the city in triumph. This route started at the Campus Martius, led through the Circus Maximus, and around the Palatine Hill; immediately after the Arch of Constantine, the procession would turn left at the Meta Sudans and march along the Via sacra to the Forum Romanum and on to the Capitoline Hill, passing through both the Arches of Titus and Septimius Severus.

During the Middle Ages, the Arch of Constantine was incorporated into one of the family strongholds of ancient Rome, as shown in the painting by Herman van Swanevelt, here. Works of restoration were first carried out in the 18th century,  the last excavations have taken place in the late 1990s, just before the Great Jubilee of 2000. The arch served as the finish line for the marathon athletic event for the 1960 Summer Olympics.

Controversy
There has been much controversy over the origins of the arch, with some scholars claiming that it should no longer be referred to as Constantine's arch, but is in fact an earlier work from the time of Hadrian, reworked during Constantine's reign, or at least the lower part. Another theory holds that it was erected, or at least started, by Maxentius, and one scholar believed it was as early as the time of Domitian (81–96).

Symbolism
Whatever the faults of Maxentius, his reputation in Rome was influenced by his contributions to public building. By the time of his accession in 306 Rome was becoming increasingly irrelevant to the governance of the empire, most emperors choosing to live elsewhere and focusing on defending the fragile boundaries, where they frequently founded new cities.

These factors contributed to Maxentius' ability to seize power. In contrast to his predecessors, Maxentius concentrated on restoring the capital; his epithet was conservator urbis suae (preserver of his city). Thus, Constantine was perceived as the deposer of one of the city's greatest benefactors, and needed to acquire legitimacy. Much controversy has surrounded the patronage of the public works of this period. Issuing a damnatio memoriae, Constantine set out to systematically erase the memory of Maxentius. Consequently, there remains considerable uncertainty regarding the patronage of early fourth century public buildings, including the Arch of Constantine, which may originally have been an Arch of Maxentius.

Sculptural style

Constantine's Arch is an important example, frequently cited in surveys of art history, of the stylistic changes of the 4th century, and the "collapse of the classical Greek canon of forms during the late Roman period", a sign the city was in decline, and would soon be eclipsed by Constantine's founding of a new capital at Constantinople in 324. The contrast between the styles of the re-used Imperial reliefs of Trajan, Hadrian and Marcus Aurelius and those newly made for the arch is dramatic and, according to Ernst Kitzinger, "violent", that where the head of an earlier emperor was replaced by that of Constantine the artist was still able to achieve a "soft, delicate rendering of the face of Constantine" that was "a far cry from the dominant style of the workshop". It remains the most impressive surviving civic monument from Rome in Late Antiquity, but is also one of the most controversial with regards to its origins and meanings.

Kitzinger compares a roundel of Hadrian lion-hunting, which is "still rooted firmly in the tradition of late Hellenistic art", and there is "an illusion of open, airy space in which figures move freely and with relaxed self-assurance" with the later frieze where the figures are "pressed, trapped, as it were, between two imaginary planes and so tightly packed within the frame as to lack all freedom of movement in any direction", with "gestures that are "jerky, overemphatic and uncoordinated with the rest of the body". In the 4th century reliefs, the figures are disposed geometrically in a pattern that "makes sense only in relation to the spectator", in the largesse scene (below) centred on the emperor who looks directly out to the viewer.  Kitzinger continues: "Gone too is the classical canon of proportions. Heads are disproportionately large, trunks square, legs stubby ... "Differences in the physical size of figures drastically underline differences of rank and importance which the second-century artist had indicated by subtle compositional means within a seemingly casual grouping. Gone, finally are elaboration of detail and differentiation of surface texture. Faces are cut rather than modeled, hair takes the form of a cap with some superficial stippling, drapery folds are summarily indicated by deeply drilled lines."

The commission was clearly highly important, if hurried, and the work must be considered as reflecting the best available craftsmanship in Rome at the time; the same workshop was probably responsible for a number of surviving sarcophagi.  The question of how to account for what may seem a decline in both style and execution has generated a vast amount of discussion.  Factors introduced into the discussion include: a breakdown of the transmission in artistic skills due to the political and economic disruption of the Crisis of the Third Century,influence from Eastern and other pre-classical regional styles from around the Empire (a view promoted by Josef Strzygowski (1862–1941), and now mostly discounted), the emergence into high-status public art of a simpler "popular" or "Italic" style that had been used by the less wealthy throughout the reign of Greek models, an active ideological turning against what classical styles had come to represent, and a deliberate preference for seeing the world simply and exploiting the expressive possibilities that a simpler style gave. The sculptors of Constantine's time were more interested in symbolism: both symbolism for religion as well as symbolism for history. One factor that cannot be responsible, as the date and origin of the Venice Portrait of the Four Tetrarchs show, is the rise of Christianity to official support, as the changes predated that.

The stylistic references to the earlier arches of Titus and Septimius Severus, together with the incorporation of spolia from the times of other earlier emperors may be considered a deliberate tribute to Roman history.

Iconography
The arch is heavily decorated with parts of older monuments, which assume a new meaning in the context of the Constantinian building. As it celebrates the victory of Constantine, the new "historic" friezes illustrating his campaign in Italy convey the central meaning: the praise of the emperor, both in battle and in his civilian duties. The other imagery supports this purpose: decoration taken from the "golden times" of the Empire under the 2nd century emperors whose reliefs were re-used  places Constantine next to these "good emperors", and the content of the pieces evokes images of the victorious and pious ruler.

Another explanation given for the re-use is the short time between the start of construction (late 312 at the earliest) and the dedication (summer 315), so the architects used existing artwork to make up for the lack of time to create new art. It could be that so many old parts were used because the builders themselves did not feel the artists of their time could do better than what had already been done by different people. As yet another possible reason, it has often been suggested that the Romans of the 4th century truly did lack the artistic skill to produce acceptable artwork, and were aware of it, and therefore plundered the ancient buildings to adorn their contemporary monuments. This interpretation has become less prominent in more recent times, as the art of Late Antiquity has been appreciated in its own right. It is possible that a combination of those explanations is correct.

Attic

On the top of each column, large sculptures representing Dacians can be seen, which date from Trajan. Above the central archway is the inscription, forming the most prominent portion of the attic and is identical on both sides of the arch. Flanking the inscription on both sides are four pairs of relief panels above the minor archways, eight in total. These were taken from an unknown monument erected in honour of Marcus Aurelius. On the north side, from left to right, the panels depict the emperor's return to Rome after the campaign (adventus), the emperor leaving the city and saluted by a personification of the Via Flaminia, the emperor distributing money among the people (largitio), and the emperor interrogating a German prisoner. On the south side, from left to right, are depicted a captured enemy chieftain led before the emperor, a similar scene with other prisoners (illustrated below), the emperor speaking to the troops (adlocutio), and the emperor sacrificing a pig, sheep and bull (suovetaurilia). Together with three panels now in the Capitoline Museum, the reliefs were probably taken from a triumphal monument commemorating Marcus Aurelius' war against the Marcomanni and the Sarmatians from 169–175, which ended with Marcus Aurelius' triumphant return in 176. On the largitio panel, the figure of Marcus Aurelius' son Commodus has been eradicated following the latter's damnatio memoriae.

From the same time period the two large (3 m high) panels decorating the attic on the east and west sides of the arch show scenes from Trajan's Dacian Wars. Together with the two reliefs on the inside of the central archway, these came from a large frieze celebrating the Dacian victory. The original place of this frieze was either the Forum of Trajan, or the barracks of the emperor's horse guard on the Caelius.

Main section
The general layout of the main façade is identical on both sides of the arch, consisting of four columns on bases, dividing the structure into a central arch and two lateral arches, the latter being surmounted by two round reliefs over a horizontal frieze. The four columns are of Corinthian order made of Numidian yellow marble (giallo antico), one of which has been transferred into the Basilica di San Giovanni in Laterano and was replaced by a white marble column. The columns stand on bases (plinths or socles), decorated on three sides. The reliefs on the front show Victoria, either inscribing a shield or holding palm branches, while those to the side show captured barbarians alone or with Roman soldiers. Though Constantinian, they are modelled on those of the Arch of Septimius Severus (and the destroyed Arcus novus), and may be considered as a "standard" item.

The pairs of round reliefs above each lateral archway date to the times of Emperor Hadrian. They display scenes of hunting and sacrificing: (north side, left to right) hunt of a boar, sacrifice to Apollo, hunt of a lion, sacrifice to Hercules. On the south side, the left pair show the departure for the hunt (see below) and sacrifice to Silvanus, while those on the right (illustrated on the right) show the hunt of a bear and sacrifice to Diana. The head of the emperor (originally Hadrian) has been reworked in all medallions: on the north side, into Constantine in the hunting scenes and into Licinius or Constantius I in the sacrifice scenes; on the south side, vice versa. The reliefs, c. 2 m in diameter, were framed in porphyry; this framing is only extant on the right side of the northern façade.  Similar medallions, of Constantinian origin, are located on the small sides of the arch; the eastern side shows the Sun rising, on the western side, the Moon. Both are on chariots.

The spandrels of the main archway are decorated with reliefs depicting victory figures with trophies (illustrated below), those of the smaller archways show river gods. Column bases and spandrel reliefs are from the time of Constantine.

Constantinian frieze

The horizontal frieze below the round reliefs are the main parts from the time of Constantine, running around the monument, one strip above each lateral archway and including the west and east sides of the arch. These "historical" reliefs depict scenes from the Italian campaign of Constantine against Maxentius which was the reason for the construction of the monument. The frieze starts at the western side with the Departure from Milan (Profectio). It continues on the southern, face, with the Siege of Verona (Obsidio) on the left (South west), an event which was of great importance to the war in Northern Italy. On the right (South east) is depicted the Battle of Milvian Bridge (Proelium) with Constantine's army victorious and the enemy drowning in the river Tiber. On the eastern side, Constantine and his army enter Rome (Ingressus); the artist seems to have avoided using imagery of the triumph, as Constantine probably did not want to be shown triumphant over the Eternal City. On the northern face, looking towards the city, are two strips with the emperor's actions after taking possession of Rome. On the left (North east) is Constantine speaking to the citizens on the Forum Romanum (Oratio), while to the right (North west) is the final panel with Constantine distributing money to the people (Liberalitas).

Inner sides of the archways
In the central archway, there is one large panel of Trajan's Dacian War on each wall. Inside the lateral archways are eight portraits busts (two on each wall), destroyed to such an extent that it is no longer possible to identify them.

Inscriptions
The main inscription on the attic would originally have been of bronze letters. It can still be read easily; only the recesses in which the letters sat, and their attachment holes, remain. It reads thus, identically on both sides (with abbreviations completed in parentheses):

To the Emperor Caesar Flavius Constantinus, the greatest, pious, and blessed Augustus: because he, inspired by the divine, and by the greatness of his mind, has delivered the state from the tyrant and all of his followers at the same time, with his army and just force of arms, the Senate and People of Rome have dedicated this arch, decorated with triumphs.

The words instinctu divinitatis ("inspired by the divine") have been greatly commented on. They are usually read as sign of Constantine's shifting religious affiliation: The Christian tradition, most notably Lactantius and Eusebius of Caesarea, relate the story of a vision of God to Constantine during the campaign, and that he was victorious in the sign of the cross at the Milvian Bridge. The official documents (esp. coins) still prominently display the Sun god until 324, while Constantine started to support the Christian church from 312 on. In this situation,  the vague wording of the inscription can be seen as the attempt to please all possible readers, being deliberately ambiguous, and acceptable to both pagans and Christians.
As was customary, the vanquished enemy is not mentioned by name, but only referred to as "the tyrant", drawing on the notion of the rightful killing of a tyrannical ruler; together with the image of the "just war", it serves as justification of Constantine's civil war against Maxentius.

Two short inscriptions on the inside of the central archway transport a similar message: Constantine came not as conqueror, but freed Rome from occupation:
 (liberator of the city) —  (founder of peace)

Over each of the small archways, inscriptions read:

They give a hint on the date of the arch: "Solemn vows for the 10th anniversary – for the 20th anniversary" and "as for the 10th, so for the 20th anniversary". Both refer to Constantine's decennalia, i.e. the 10th anniversary of his reign (counted from 306), which he celebrated in Rome in the summer of 315. It can be assumed that the arch honouring his victory was inaugurated during his stay in the city.

Works modeled on or inspired by the Arch of Constantine
Brandenburg Gate (1770) – Potsdam, Prussia
Arc de Triomphe du Carrousel (1806) – Paris
Marble Arch (1828) – London
Arcade du Cinquantenaire (1905) – Brussels
Union Station (1908) – Washington, D.C.
American Museum of Natural History, east façade (1936) – New York City
Bond University (1989) – Gold Coast, Australia
Kedleston Hall – Derbyshire, England
Church of Saint-Denis, façade – Paris
Arch of triumph – Pyongyang, North Korea
Pitzhanger Manor – Ealing, London.
Siegestor – Munich

See also

List of Roman triumphal arches
List of ancient monuments in Rome

Notes

Citations

References

 Review: Art Bulletin 1979

Further reading

Books

 Bonamente, Giorgio (ed.) 1992. Costantino il Grande dall'Antichità all'Umanesimo; Atti del 2. colloquio sul Cristianesimo nel mondo antico, Università di Macerata, 18-20 dicembre 1990

 Contents

Articles and chapters

  (Full text available on line)
  in
 Patrizio Pensabene (1992). Il reimpiego nell'età costantiniana a Roma, in Bonamente, Giorgio 1992 Pt. 2 p. 749-768

External links
1960 Summer Olympics official report. Volume 1. p. 80.
1960 Summer Olympics official report. Volume 2, Part 1. p. 118.
The Arch of Constantine, a detailed article "for scholars and enthusiasts"
Inscriptions illustrated and discussed
Google Maps satellite image
Guided tour of the Arch of Constantine on Roma Interactive
High-resolution 360° Panoramas and Images of Arch of Constantine | Art Atlas

Constantine
Cultural depictions of Constantine the Great
Rome R. XIX Celio
315 establishments
Buildings and structures completed in the 4th century
4th-century Roman sculptures
4th-century inscriptions
Venues of the 1960 Summer Olympics
Olympic athletics venues
Terminating vistas
Roman sculpture portraits of emperors

Arch of Constantine


Jared Scott Fogle (født 23. august 1977) i USA også kendt som "the Subway Guy" er en amerikansk tidligere talsmand for Subway.

Efter at have opnået et betydeligt vægttab ved at spise sandwiches fra Subway blev Fogle frontfigur i restaurantkædens reklamekampagner fra 2000 til 2015. Fogle oprettede sin egen organisation, hvor han rådgav om vægttab til overvægtige børn. Han medvirkede i flere tv-programmer, bl.a. Saturday Night Live og Dr. Phil og i spillefilmene Supersize Me og Jack and Jill.

I 2015 erkendte han sig skyldig i at have betalt for sex med mindreårige og for at være i besiddelse af børnepornografi, i hvilken forbindelse Subway afbrød forbindelsen til Fogle. Fogle modtog en dom på 15 år og 8 måneders fængel uden mulighed for prøveløsladelse før end efter 13 år.

Referencer

Eksterne henvisninger

Personer fra Indianapolis
Skuespillere fra Indiana

Jared Fogle


Borena Alanijska, gruz. ბორენა, bila je sestra alanijskog kralja Durgulela Velikog, te druga supruga gruzijskog kralja Bagrata IV., koji je vladao od 1027. do 1072. godine.

Srednjovjekovna gruzijska povijesna tradicija pruža vrlo malo informacija o Boreni. Bagrat ju je oženio u ranim 1030.-im godinama, nakon smrti svoje prve žene Elene Argir, nećakinje bizantskog cara Romana III. Argira. To je bio samo jedan u nizu brakova između srednjovjekovne gruzijske dinastije Bagrationi i njihovih prirodnih saveznika, kraljevske kuće Alanije. Čini se da je Borena zadržala kontakte sa svojim alanskim precima, jer gruzijske kronike svjedoče da je Bagrat IV. prilikom posjeta Durgulela, ugostio ga zajedno sa svojom suprugom Borenom. Posljednji spomen Borene bijaše njena nazočnost Bagratovoj smrti 1072. godine.

Bagrat IV. i Borena bijahu roditelji Đure II. Gruzijskog, budućeg nasljednika gruzijskog prijestolja i Marije Alanijske.

Izvori

Povijest Gruzije 1008. – 1490.
Životopisi, Gruzija
Plemstvo

Borena Alanijska


Akdam, Adana ilinin Ceyhan ilçesine bağlı bir mahalledir.

Tarihçe
Anavarza antik kentine çok yakın olması nedeniyle tarihi çok eskilere dayanmaktadır. Akdam, Avcılar, İnceyer ve Kürtmahmutlu köyleri bir dönem Akdam adı altında birleşmiş, daha sonra Kürtmahmutlu Akdam adını korurken asıl Akdam mahallesine Yeşildam adı verilmiştir. Köy şu anda Akdam ismiyle köy statüsünü sürdürmektedir.

Coğrafya
Adana il merkezine 80 km, Ceyhan ilçesine 35 km uzaklıktadır.

Nüfus

Altyapı bilgileri

Kaynakça

Dış bağlantılar

 Yerelnet

Ceyhan'ın mahalleleri

Akdam, Ceyhan


Sayı ya da numara, bir çokluğu belirtmek için kullanılan soyut birimdir.
Sayılar matematiğin harfleridir.

Sayıların sınıflandırılması, sayı sistemi

Sayı sistemi, matematikte herhangi bir sayılar kümesidir.
Sayılar kümeler halinde sınıflandırılabilir:

Sayma sayılar

Sayma sayıları boştan farklı bir kümenin elemanlarını azlık veya çokluk yönünden nitelemekten ziyade onların içindeki eleman miktarına göre verilen bir temsilciler kümesi olarak tanımlanır. Temsilcilere verilen isme kanonik temsilci denir. Her sayma sayısı aynı zamanda bir kanonik temsilcidir. Sayma sayılarına sıfırın dahil olmamasının sebebi boş kümenin içinde temsil edecek bir elemanın olmamasıdır.

Doğal sayılar

Doğal sayılar 0'dan başlayarak sonsuza kadar giden sayılardır. Matematikte doğal sayılar kümesi  ile gösterilir. Doğal sayılar ismi bu sayıların doğada görüp tanıdığımız sayılar olduğu fikrinden ileri gelmektedir. Doğal sayılar kümesi "0" ve pozitif tüm tam sayıların olduğu kümedir.

Tam sayılar

Tam sayılar eksi sonsuzdan artı sonsuza kadar giderler. Yani "0"ın iki yanından sonsuza kadar uzanırlar. Tam sayılar kümesi  ile gösterilir.

Pozitif tam sayılar
Başında "+" işareti bulunan veya bir şey bulunmayan tam sayılar pozitif tam sayılar adını alırlar. Sayı ekseninde (sayı doğrusunda) 0'ın sağ yanında yer alırlar. Tüm sayma sayıları pozitif tam sayılardır. Pozitif tam sayılar kümesi  ile gösterilir ve aşağıdaki gibi tanımlıdır:

Negatif tam sayılar
Başında "-" işareti olan tam sayılar negatif tam sayılar adını alırlar. Sayı ekseninde 0'ın sol yanında yer alırlar. Negatif tam sayılar kümesi  ile gösterilir. Cebirde çıkarma işlemi bu sayıların diğer tam sayılarla toplanması olarak ifade edilir.

Sıfır
Tam sayıdır. Sıfır (0) negatif veya pozitif bir tam sayı değildir. Bir uzlaşma noktasıdır. Bu iki kümeden herhangi birinde yer almaz. Ancak tam sayılar aşağıdaki gibi de tanımlanabilir:

Sıfırın doğal sayı kabul edilmediği (akademik) çevreler azımsanmayacak kadar fazladır. Sıfırı dahil eden çevreler doğal sayılar kümesini  sembolü ile gösterirler, sıfırı dahil etmeyen çevrelerse sıfırın dahil olmadığı sayma sayıları kümesini  ile gösterirler.

Rasyonel (oranlı) sayılar

Oranlı sayılar veya rasyonel sayılar, tam sayılar kullanılarak oluşturulan oranlara denk gelen büyüklüklere denir. Yani, a ve b tam sayı ve sıfır olmamak üzere a/b şeklindeki sayılara rasyonel sayı denir. Rasyonel sayılar Q ile gösterilir. Rasyonel sayılar kesir veya ondalıklı sayı şeklinde ifade edilebilir: 1/3, 4,25 vb.

İrrasyonel (oransız) sayılar

Oransız sayılar veya irrasyonel sayılar ise a/b şeklinde yazılamayan sayılardır. Q' kümesi ile gösterilirler. Bu kümenin en bilinen üyesi pi sayısıdır. Hiçbir oranlı sayı oransız sayılar kümesine dahil değildir. Aynı şekilde hiçbir oransız sayı da oranlı sayılar kümesine dahil değildir.

Örnek
 ,
 ,

Gerçek sayılar

İrrasyonel sayılar kümesi ile rasyonel sayılar kümesinin birleşimi gerçek sayılar kümesini oluşturur. Bu kümeye reel sayılar veya gerçek sayılar da denir. Geometride karşılaşılan bazı büyüklüklerin anlamlandırılabilmesi için Klasik Yunan Dönemi'nde, yaygın inanca göre Pisagor ve öğrencileri tarafından sayı kavramına dahil edilmişlerdir. Anlatılanlara göre Pisagor doğadaki tüm büyüklüklerin rasyonel sayılarla ifade edilebileceğini söylemekteydi. Fakat bulduğu hipotenüs eşitliğinin bir sonucu olarak  gibi bir değerlerle karşılaştı. Uzun yıllar boyu bu tür sayıların uzun kesirlerle ifade edilebileceğini iddia etti ve göstermeye çalıştıysa da, öğrencilerinden birinin bunun gibi sayıların kesinlikle kesirli bir biçimde gösterilemeyeceğini ispat etmesiyle ikna oldu ama hayatı boyu bunun bir sır gibi gizlenmesi için çalıştı ve doğada gerçek sayıların yeri olmadığını söylemeye devam etti.

Gerçel sayılar, katsayıları tam sayılar ya da rasyonel sayılar olan polinomlar kümesinin çözümlerini göstermek için kullanılırlar. Bu bakımdan gerçel sayılar kümesi, tam sayı katsayılı polinomlar kümesi in bir cisim genişlemesidir.

Gerçek sayılar kümesi  harfi ile ifade edilir.

Karmaşık sayılar

Tüm cebirsel denklemleri çözebilmek için reel sayılar tekrar genişletilirse karmaşık sayılar veya kompleks sayılar kümesi elde edilir. Karmaşık sayıların sembolü dir. Rönesans döneminde gerçekleşen cebirsel denklemlerin çözüm metotlarındaki ilerlemelerin bir uzantısı olarak sayı kavramına eklenmişlerdir. Gerçek olmayan sayılar fikri reel sayılar kümesinde karşılığı olmayan -1 sayısının karekökünden gelmektedir. Bu sayı "i" sembolü ile gösterilir ve karesi -1 olarak kabul edilir.

Sınıflama özeti
Matematiksel notasyonda yukarıdaki bütün semboller büyük harfle ve kalın olarak yazılır.

Bir tablo olarak sayılar için şöyle sınıflandırma yapılabilir:

Diğer Tip Sayılar
Bu sayılara ek olarak matematikte, kümeler teorisinin uğraş alanında olan ordinal sayılar ve kardinal sayılar da sayı kavramının genişletilmesiyle elde edilmişlerdir. Bütünleme tekniğinin değişik bir uygulanmasıyla elde edilen p-sel sayılar ve reel sayılara sonsuz küçükler ve büyüklerin eklenmesiyle elde edilen sürreel sayılar da sayı kavramının parçaları olarak düşünülürler.

Sayı (dilbilim)
Dilbilim alanında sayılar ya da sayı adları, biçimbilimsel (morfolojik) olarak bağımsız bir sözcük kategorisidir.

Türkçede sayı türleri
 asal sayılar (iki, üç ,beş, yedi ...)
 sıra sayıları (onuncu, yüzüncü ...)
 üleştirme sayıları (ikişer, onar ...)
 kesir sayıları (beşte bir ...)

Sayı sıfatı
Dilbilimde, sayı kavramı içeren sıfatlara sayı sıfatı denir (örneğin on yıl, ikinci gün, birer kişi dizimlerindeki on, ikinci, birer sözcükleri).

Kaynakça

Sayı


Ramón Freire Serrano (født 23. november 1787, død 9. december 1851) var en statsleder fra Chile, der nød stor popularitet hos befolkningen lige indtil Den Chilenske Konføderationskrig. Han var leder af det liberale parti Pipiolo.

Referencer

Politikere fra Chile

Ramón Freire


Cortinarius balteatus (Elias Magnus Fries, 1818 ex Elias Magnus Fries, 1838) din încrengătura Basidiomycota în familia Cortinariaceae și de genul Cortinarius, denumită în popor buza vacii, este o  ciupercă comestibilă nu prea  răspândită care coabitează, fiind o simbiontă micoriza (formează micorize pe rădăcinile arborilor). Buretele se dezvoltă în România, Basarabia și Bucovina de Nord solitar sau în grupuri mici pe terenuri mai calcaroase sau argiloase în păduri de conifere, preponderent sub molizi, dar de asemenea pe lângă brazi argintii. Timpul apariției este deja din primăvară până toamna târziu în noiembrie.

Taxonomie

Specia a fost pomenită pentru prima dată sub denumirea de renumitul savant suedez Elias Magnus Fries Agaricus balteatus în volumul 2 al lucrării sale Observationes mycologicae din 1818. El însuși a redenumit specia 20 de ani mai târziu sub numele actual (2018), de verificat în cartea sa Epicrisis systematis mycologici, seu synopsis hymenomycetum.

În anul 1891, micologul german Otto Kuntze a dat speciei numele Gomphos balteatus în volumul 2 al operei sale Revisio generum plantarum:vascularium omnium atque cellularium multarum secundum leges nomenclaturae internationales cum enumeratione plantarum exoticarum in itinere mundi collectarum, care a fost folosit sinonim între sfârșitul secolului al XIX-lea și anii 20 al celui ulterior.

Celelalte încercări de redenumire mai noi (vezi în infocasetă) nu au fost folosite niciodată și sunt de acea neglijabile.

Epitetul specific este derivat din cuvântul latin (= centură, cordon).

Descriere

 Pălăria: are un diametru între 5 și 15 cm, este compactă, la început boltită semisferic cu marginea răsucită spre interior, dar devine în  scurt timp convexă și apoi deseori plată precum adâncită în centru la bătrânețe,  purtând inițial fragmente ale vălului parțial în formă de cortină albă, formată din fibre foarte fine ca păienjeniș între marginea pălăriei și picior. Cuticula este netedă, în tinerețe vâscoasă, dar repede uscată și mată până lucioasă. Coloritul variază între brun-roșcat și brun de nucă, mereu cu nuanțe slabe violacee care însă sunt puternice în jurul marginii (tipic pentru acest soi). Tot acolo se poate descoperi de asemenea și nu rar o bordură albicioasă (rest al valului parțial).  La umezeală devine din nou vâscoasă până unsuroasă.
 Lamelele: stau destul de dens, sunt înalte, cu puține lamele scurte intercalate precum aderate până slab decurente la picior, fiind la început de culoare albicioasă și învăluite de sus menționata cortină, apoi ruginie până maronie cu nuanțe violacee spre marginea pălăriei.
 Piciorul: are o lungime de 5 până la 9 cm și o lățime 2 până la 3 (4) cm, este consistent, gros, cilindric precum adesea ori îngroșat în centru cu baza subțiată, ori bulbos spre bază, fiind inițial ușor pâslos, plin, apoi umplut pe interior cu un țesut spongios, în final neted și parțial gol pe dinăuntru. Coloritul este albicios, însă acoperit mai târziu de pulberea sporilor și căpătând astfel un aspect brun-gălbui. Nu poartă un inel.
 Carnea: albă cu tonuri foarte ușoare liliacee care nu se colorează la tăiere, mirosul fiind în stadiu tânăr ușor fructuos, uni spun cu nuanțe de ciocolată, devenind însă cu maturitatea mai neplăcut, amintind de pământ umed. Gustul este mereu plăcut.
 Caracteristici microscopice: are spori elipsoidali în formă de migdale și fin verucoși, colorați brun-gălbui, cu o mărime de 10–11 × 5–5,6 microni, pulberea având același colorit.
 Reacții chimice: carnea se decolorează sub aburi de amoniac galben până galben-maroniu, cu Hidroxid de potasiu brun cu margine gălbuie, aproape ca de paie și cu tinctură de Guaiacum albastru.

Confuzii
Acest burete poate fi confundat cu divers specii ale genului, de exemplu cu Cortinarius alboviolaceus (necomestibil, în tinerețe cu lamele gri-violete, miros și gust de cartofi cruzi), Cortinarius caerulescens (necomestibil), Cortinarius camphoratus (necomestibil), Cortinarius collinitus (comestibil), Cortinarius crassus (comestibil), Cortinarius cumatilis (comestibil), Cortinarius cyanites (necomestibil, în tinerețe cu lamele albastru-violete, la bătrânețe brun-violete, miros dulcișor și gust amar), Cortinarius iodes (comestibil, cu cuticulă mucoasă, în tinerețe cu lamele violete, carnea fiind albă, miros și gust neostentativ), Cortinarius glaucopus (comestibil), Cortinarius infractus (necomestibil, extrem de amar), Cortinarius largus (necomestibil, se dezvoltă în păduri de foioase), Cortinarius percomis (comestibil), Cortinarius purpurascens (comestibil), Cortinarius salor (comestibil, cu cuticulă mucoasă, în tinerețe cu lamele violete, carnea fiind albicioasă până gri-brună cu nuanțe de albastru, miros și gust neostentativ), Cortinarius traganus otrăvitor), Cortinarius variicolor (necomestibil]], Cortinarius violaceus (comestibil, pălăria, lamelele și carnea albastru-violet, miros de lemn de cedru și gust plăcut), dar de asemenea cu Lepista nuda (comestibilă, cu cuticulă brun-violetă, picior violet-cenușiu, carne roz-violacee; miros parfumat ca de viorele și gust destul de plăcut) sau Lepista personata (comestibilă, pălărie pal gri-maronie, lamele albuie până gri-albăstruie, miros și gust plăcut)

Specii asemănătoare în imagini

Valorificare
Buza caprei este o ciupercă destul de gustoasă, atât timp cât este tânără, deci apoi capătă un miros neplăcut. De acea câțiva autori o declară necomestibilă. Ea poate fi preparată asemănător deliciosului Cortinarius varius.

Note

Bibliografie
 Marcel Bon: "Pareys Buch der Pilze", Editura Kosmos, Halberstadt 2012, ISBN 978-3-440-13447-4
 Giacomo Bresadola: "Iconographia Mycologica, vol. XIII, Editura Società Botanica Italiana, Milano 1930
 Bruno Cetto: vol. 1-7 (vezi sus)
 Rose Marie Dähncke: "1200 Pilze in Farbfotos", Editura AT Verlag, Aarau 2004, ISBN 3-8289-1619-8
 Ewald Gerhard: "Der große BLV Pilzführer" (cu 1200 de specii descrise și 1000 fotografii), Editura BLV Buchverlag GmbH & Co. KG, ediția a 9-a, München 2018, ISBN 978-3-8354-1839-4
 Jean-Louis Lamaison & Jean-Marie Polese: "Der große Pilzatlas", Editura Tandem Verlag GmbH, Potsdam 2012, ISBN 978-3-8427-0483-1
 Hans E. Laux: "Der große Pilzführer, Editura Kosmos, Halberstadt 2001, ISBN 978-3-440-14530-2
 Meinhard Michael Moser: "Röhrlinge und Blätterpilze - Kleine Kryptogamenflora Mitteleuropas" ediția a 5-ea, vol. 2, Editura Gustav Fischer, Stuttgart 1983.

Legături externe

Cortinarius
Micoriză
Ciuperci comestibile
1818 în știință

Cortinarius balteatus


Avant les Actes d'Union de 1707, les barons du Sheriffdom d'Edinburgh (aussi appelé "Edinburgh principal" pour le distinguer d'"Edinburgh within the constabulary of Haddington"et désormais connu sous le nom de Midlothian) élisaient des commissaires pour les représenter au Parlement monocaméral d'Écosse et à la Convention des États. Le nombre de commissaires est passé de deux à quatre en 1690.

Après 1708, l'Edinburghshire a envoyé un membre à la Chambre des communes de Grande-Bretagne et plus tard à la Chambre des communes du Royaume-Uni.

Liste des commissaires du comté
 1594: James Foulis de Colinton

Sources
 Return of Members of Parliament (1878), Part II.
 Joseph Foster, Members of Parliament, Scotland (1882).
 Archives des parlements d'Écosse.

Références

Article connexe
 Liste des circonscriptions au Parlement d'Écosse au moment de l'Union
 Midlothian (circonscription du Parlement écossais)

Circonscription du Parlement d'Écosse (jusqu'en 1707)
Politique dans le Midlothian
Histoire du Midlothian

Edinburghshire (circonscription du Parlement d'Écosse)


Neak Pean (or Neak Poan)  (, "the entwined serpents") at Angkor, Cambodia is an artificial island with a Hindu temple on a circular island in Jayatataka Baray, which was associated with Preah Khan temple, built during the reign of King Jayavarman VII. It is the "Mebon" of the Preah Khan baray (the "Jayatataka" of the inscription).

Etymology
Some historians believe that Neak Pean represents Anavatapta, a mythical lake in the Himalayas whose waters are thought to cure all illness. The name is derived from the sculptures of snakes (Nāga) running around the base of the temple structure, neak being the Khmer rendering of the Sanskrit naga. "They are Nanda and Upananda, two nagas traditionally associated with Lake Anavatapta."

History
Neak Pean was originally designed for medical purposes (the ancients believed that going into these pools would balance the elements in the bather, thus curing disease); it is one of the many hospitals that Jayavarman VII built. It is based on the ancient Hindu belief of balance. Four connected pools represent Water, Earth, Fire and Wind. Each is connected to the central water source, the main tank, by a stone conduit "presided over by one of Four Great Animals (maha ajaneya pasu) namely Elephant, Bull, Horse, and Lion, corresponding to the north, east, south, and west quarters....The stone conduits in the little pavilions are fashioned to represent the heads of the Four Great Animals...the only exception being that on the east, which represents a human head instead of a bull's." Originally, four sculptures stood on the floor of the lake. The only remaining statue is that of the horse Balaha, a form of the bodhisattva Avalokitesvara, saving sailors from the ogresses of Tamradvipa. The temple on the lake was originally dedicated to Avalokitesvara. Willetts believed that "this is Jayavarman as he would have wished to have appeared to his people"

Zhou Daguan refers to Neak Pean in his visit to Angkor in the late 13th century.

Gallery

See also

 Angkor
 Traditional Cambodian medicine

References

Buddhist temples in Siem Reap Province
Angkorian sites in Siem Reap Province
12th-century Buddhist temples

Neak Pean


De syv porte er en dansk børne- og billedbog fra 1955 med eventyr af Sven Møller Kristensen, illustrationer af Arne Ungermann og melodier til sange (med noder) af Bernhard Christensen .

Referencer

Børnebøger
Litteratur fra Danmark
Litteratur i 1955

De syv porte