In geometry, the Minkowski sum of two sets of position vectors A and B in Euclidean space is formed by adding each vector in A to each vector in B:

The Minkowski difference (also Minkowski subtraction, Minkowski decomposition, or geometric difference) is the corresponding inverse, where  produces a set that could be summed with B to recover A.  This is defined as the complement of the Minkowski sum of the complement of A with the reflection of B about the origin.

This definition allows a symmetrical relationship between the Minkowski sum and difference. Note that alternately taking the sum and difference with B is not necessarily equivalent. The sum can fill gaps which the difference may not re-open, and the difference can erase small islands which the sum cannot recreate from nothing.

In 2D image processing the Minkowski sum and difference are known as dilation and erosion.

An alternative definition of the Minkowski difference is sometimes used for computing intersection of convex shapes. This is not equivalent to the previous definition, and is not an inverse of the sum operation. Instead it replaces the vector addition of the Minkowski sum with a vector subtraction. If the two convex shapes intersect, the resulting set will contain the origin.

The concept is named for Hermann Minkowski.

Example
For example, if we have two sets A and B, each consisting of three position vectors (informally, three points), representing the vertices of two triangles in , with coordinates

and

then their Minkowski sum is

which comprises the vertices of a hexagon.

For Minkowski addition, the ,  containing only the zero vector, 0, is an identity element: for every subset S of a vector space,

The empty set is important in Minkowski addition, because the empty set annihilates every other subset: for every subset S of a vector space, its sum with the empty set is empty:

For another example, consider the Minkowski sums of open or closed balls in the field  which is either the real numbers  or complex numbers  If  is the closed ball of radius  centered at  in  then for any   and also  will hold for any scalar  such that the product  is defined (which happens when  or ). If  and  are all non-zero then the same equalities would still hold had  been defined to be the open ball, rather than the closed ball, centered at  (the non-zero assumption is needed because the open ball of radius  is the empty set). The Minkowski sum of a closed ball and an open ball is an open ball. More generally, the Minkowski sum of an open subset with  other set will be an open subset.

If  is the graph of  and if and  is the -axis in  then the Minkowski sum of these two closed subsets of the plane is the open set  consisting of everything other than the -axis. This shows that the Minkowski sum of two closed sets is not necessarily a closed set. However, the Minkowski sum of two closed subsets will be a closed subset if at least one of these sets is also a compact subset.

Convex hulls of Minkowski sums
Minkowski addition behaves well with respect to the operation of taking convex hulls, as shown by the following proposition:
For all non-empty subsets  and  of a real vector space, the convex hull of their Minkowski sum is the Minkowski sum of their convex hulls:

This result holds more generally for any finite collection of non-empty sets:

In mathematical terminology, the operations of Minkowski summation and of forming convex hulls are commuting operations.

If  is a convex set then  is also a convex set; furthermore

for every . Conversely, if this "distributive property" holds for all non-negative real numbers, ,  then the set is convex.

The figure to the right shows an example of a non-convex set for which

An example in  dimension is:  It can be easily calculated that  but  hence again

Minkowski sums act linearly on the perimeter of two-dimensional convex bodies: the perimeter of the sum equals the sum of perimeters. Additionally, if  is (the interior of) a curve of constant width, then the Minkowski sum of  and of its  rotation is a disk. These two facts can be combined to give a short proof of Barbier's theorem on the perimeter of curves of constant width.

Applications
Minkowski addition plays a central role in mathematical morphology. It arises in the brush-and-stroke paradigm of 2D computer graphics (with various uses, notably by Donald E. Knuth in Metafont), and as the solid sweep operation of 3D computer graphics.  It has also been shown to be closely connected to the Earth mover's distance, and by extension, optimal transport.

Motion planning
Minkowski sums are used in motion planning of an object among obstacles. They are used for the computation of the configuration space, which is the set of all admissible positions of the object.  In the simple model of translational motion of an object in the plane, where the position of an object may be uniquely specified by the position of a fixed point of this object,  the configuration space are the Minkowski sum of the set of obstacles and the movable object placed at the origin and rotated 180 degrees.

Numerical control (NC) machining
In numerical control machining, the programming of the NC tool exploits the fact that the Minkowski sum of the cutting piece with its trajectory gives the shape of the cut in the material.

3D solid modeling
In OpenSCAD Minkowski sums are used to outline a shape with another shape creating a composite of both shapes.

Aggregation theory
Minkowski sums are also frequently used in aggregation theory when individual objects to be aggregated are characterized via sets.

Collision detection
Minkowski sums, specifically Minkowski differences, are often used alongside GJK algorithms to compute collision detection for convex hulls in physics engines.

Algorithms for computing Minkowski sums

Planar case

Two convex polygons in the plane
For two convex polygons  and  in the plane with  and  vertices, their Minkowski sum is a convex polygon with at most  +  vertices and may be computed in time O( + ) by a very simple procedure, which may be informally described as follows. Assume that the edges of a polygon are given and the direction, say, counterclockwise, along the polygon boundary. Then it is easily seen that these edges of the convex polygon are ordered by polar angle. Let us merge the ordered sequences of the directed edges from  and  into a single ordered sequence . Imagine that these edges are solid arrows which can be moved freely while keeping them parallel to their original direction. Assemble these arrows in the order of the sequence  by attaching the tail of the next arrow to the head of the previous arrow. It turns out that the resulting polygonal chain will in fact be a convex polygon which is the Minkowski sum of  and .

Other
If one polygon is convex and another one is not, the complexity of their Minkowski sum is O(nm). If both of them are nonconvex, their Minkowski sum complexity is O((mn)2).

Essential Minkowski sum
There is also a notion of the essential Minkowski sum +e of two subsets of Euclidean space. The usual Minkowski sum can be written as

Thus, the essential Minkowski sum is defined by

where μ denotes the n-dimensional Lebesgue measure. The reason for the term "essential" is the following property of indicator functions: while

it can be seen that

where "ess sup" denotes the essential supremum.

Lp Minkowski sum

For K and L compact convex subsets in , the Minkowski sum can be described by the support function of the convex sets:

For p ≥ 1, Firey defined the Lp Minkowski sum  of compact convex sets  K and  L in  containing the origin as

By the Minkowski inequality, the function h is again positive homogeneous and convex and hence the support function of a compact convex set. This definition is fundamental in the Lp Brunn-Minkowski theory.

See also

 , an inequality on the volumes of Minkowski sums

  (a.k.a. Quermassintegral or intrinsic volume)

Notes

References

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External links

 Minkowski Sums, in Computational Geometry Algorithms Library
 The Minkowski Sum of Two Triangles and The Minkowski Sum of a Disk and a Polygon by George Beck, The Wolfram Demonstrations Project.
 Minkowski's addition of convex shapes by Alexander Bogomolny: an applet
 Wikibooks:OpenSCAD User Manual/Transformations#minkowski by Marius Kintel: Application
 Application of Minkowski Addition to robotics by Joan Gerard

Abelian group theory
Affine geometry
Binary operations
Convex geometry
Digital geometry
Geometric algorithms
Hermann Minkowski
Sumsets
Theorems in convex geometry
Variational analysis

Minkowski addition


Guillaume prince de Stolberg-Wernigerode, nom complet Frédéric-Guillaume-Henri prince de Stolberg-Wernigerode, (né le  à Hanovre et mort le  à Posen) est un diplomate allemand.

Biographie
Guillaume de Stolberg-Wernigerode est le troisième fils du comte Othon de Stolberg-Wernigerode (1837-1896) et de la princesse  (1837-1907). Dès sa naissance, il porte le titre de comte avec le titre d'altesse et à partir de 1890, lorsque son père est élevé au rang de prince par l'empereur Guillaume II, il détient le titre de prince avec le titre d'altesse sérénissime. Le 10 janvier 1910, il épouse la princesse Elisabeth (dite Edda)  (1883-1966), fille du prince  (1840-1908) et de la princesse Marie de Battenberg (1852-1923) au . De ce mariage naissent le fils Louis-Christian (1910-1945) et la fille Anne (1912-1914). Louis-Christian épouse la comtesse impériale Anne  en 1937 et a quatre enfants.

Guillaume de Stolberg-Wernigerode reçoit son doctorat et entre dans le service diplomatique. Il est d'abord troisième secrétaire de l'ambassade de l'Empire allemand à Saint-Pétersbourg, puis chargé d'affaires au Luxembourg puis deuxième secrétaire de l'ambassade de l'Empire allemand à Londres. À partir de 1908, il est conseiller et premier secrétaire de l', à partir de 1911, il occupe ce poste à l'. Enfin, en 1919 et 1920, il est .

Guillaume de Stolberg-Wernigerode est protestant. Il meurt à Posen en 1931 à l'âge de soixante ans. Sa tombe se trouve au cimetière du château de Nöschenrode.

Bibliographie
 : Otto Fürst zu Stolberg-Wernigerode. In: Mitteldeutsche Lebensbilder. 1. Band: Lebensbilder des 19. Jahrhunderts. Selbstverlag der Historischen Kommission, Magdeburg 1926.
 : Graf Otto zu Stolberg-Wernigerode. Deutscher Standesherr und Politiker der Bismarckzeit. Ausgewählte Dokumente. Verlag Jüttners Buchhandlung, Wernigerode 1993, .

Liens externes

Ambassadeur d'Allemagne en Autriche
Ambassadeur d'Allemagne en Italie
Récipiendaire de l'ordre de l'Aigle noir
Naissance en juillet 1870
Naissance à Hanovre
Naissance dans la province de Hanovre
Décès en janvier 1931
Décès à Posen
Décès à 60 ans

Guillaume de Stolberg-Wernigerode (diplomate)


Suraiya Jamal Sheikh (15 June 1929 – 31 January 2004), mononymously known as Suraiya, was an Indian actress and playback singer who worked in Hindi films. In a career spanning from 1936 to 1963, Suraiya acted in over 67 films and sang 338 songs. Regarded among the finest and greatest actresses in the history of Indian cinema, Suraiya was the most celebrated actress between the mid- to late 1940s and early 1950s and was paid more than her male counterparts.

Apart from being a great actress, Suraiya was also a renowned playback singer, who mostly sang for herself. She sang her first song in 1942 for Nai Duniya, when she was only 12 years old. Suraiya made her first appearance as a child artist with the film Madame Fashion (1936), directed by Jaddan Bai. She made her acting debut in 1941, with Taj Mahal in which she played the role of Mumtaz Mahal. Suraiya went onto establish herself as one of the leading actresses in Hindi cinema with films such as - Ishaara (1943), Tadbir (1943), Phool (1945), Anmol Ghadi (1946), Omar Khaiyyam (1946), Parwana (1947), Dard (1947), Vidya (1948), Pyar Ki Jeet (1948), Dillagi (1949), Badi Behen (1949), Shair (1949), Dastan (1950),  (1950), Diwana (1952), Mirza Ghalib (1954), Bilwamangal (1954) and Mr. Lambu (1956).

In her heydays, Suraiya was known as Malika-e-Husn (queen of beauty) and Malika-e-Adakari (queen of acting). Suraiya's final film release was Rustam Sohrab (1963), after which she took retirement due to poor health. Suraiya received the Screen Lifetime Achievement Award in 1996, for her contribution to Indian cinema.

Early life

Suraiya was born as Suraiya Jamal Sheikh on 15 June 1929 in Lahore to Aziz Jamal Sheikh and Mumtaz Sheikh. She was one year old, when her family moved to Mumbai (then called Bombay) to reside at 'Krishna Mahal' at Marine Drive. Soon they were joined by her maternal uncle, M. Zahoor, who became a well known villain in the 1930s Bombay film industry. She attended New High School, now known as J.B. Petit High School for Girls, in the Fort district of Bombay. Suraiya's childhood friends included Raj Kapoor and Madan Mohan, with whom she used to sing in children's radio programmes at All India Radio.

Career

As an actress
Suraiya made her debut as a child actor in Jaddan Bai's Madame Fashion in 1936 as Miss Suraiya. Later, she got a prominent role with the help of her uncle, M. Zahoor. During a holiday from school in 1941, she accompanied him to Bombay's Mohan Studios to see the shooting of the film Taj Mahal, which was being directed by Nanubhai Vakil. Vakil noticed the charm and innocence of young Suraiya and selected her to play the role of Mumtaz Mahal.

While she was singing for children's programs for All India Radio (AIR) in Bombay, as a six-year old, Raj Kapoor and Madan Mohan were her co-artists. In fact, they first introduced her to AIR. Both were associated with her later as an adult, as her hero and as her music director respectively in films. At AIR, Zulfiqar Ali Bukhari was at that time the station director at the Bombay radio station. As soon as music director Naushad Ali heard Suraiya's voice, he chose her to sing (at age 13) for Mehtab in Abdul Rashid Kardar's film Sharda (1942). He became Suraiya's mentor and she sang some of the best songs of her career under his baton. Later, he gave hit after hit when Suraiya became a full-fledged singing star in Anmol Ghadi (1946), Dard (1947), Dillagi (1949) and Dastaan (1950).

As a child artist, she acted and also sang in Tamanna (1942), Station Master (1942), and Hamari Baat (1943). Devika Rani, who headed the Bombay Talkies production company, seeing her  blooming brilliance as an actress and as a singer signed her on a five-year contract at Rs. 500 per month with her role in Hamari Baat (1943). In the film she had a duet dance and her song with Arun Kumar, " Bistar Bicha Diya Hai Tere Ghar Ke Samne" became very popular.

This five-year contract was revoked by Devika Rani on Suraiya's request, when K. Asif offered Suraiya Rs. 40,000 for his film 'Phool'. As an adult, Suraiya initially played as Prithviraj's sister in K. Asif's Phool as Shama, with Prithviraj Kapoor as hero. At the age of 14 in 1943, Suraiya appeared as a heroine in J.K. Nanda's film Ishara, opposite Prithviraj Kapoor.

Suraiya played a heroine in the film Tadbir (1945) on the recommendation of K. L. Saigal, who liked her voice during a rehearsal of a song for Jayant Desai's film Samrat Chandragupt (1945) in which she was acting. He recommended her to Desai, opposite himself in Tadbir (1945). She went on to co-star with K. L. Saigal in Omar Khayyam (1946) and Parwana. Although by then she had a few hit songs, the four solo songs which she sang in Parwana for music director Khwaja Khurshid Anwar made her a genuine singer-film star.

Suraiya acted as a co-star in Mehboob Khan's Anmol Ghadi (1946) with Noor Jehan as the lead actress and Surendra as the hero and in Dard (1947) with Munawwar Sultana as the lead actress and Nusrat as the hero. When Pyar Ki Jeet (1948) was released, with her as the heroine and Rehman as the lead actor, it caused large crowds outside Suraiya's house that had to be controlled by posting an inspector and four constables. Along with this, Suraiya also acted in the movie Gajre (1948). During the premiere of Badi Behen (1949), again with Rehman as her lead actor, there was a very large crowd outside the cinema hall and the police had to baton-charge when Suraiya was walking into the hall. People even pulled at her clothes, so that after that, Suraiya stopped going to the premieres of her films.

In the late 1940s, Suraiya started working with Dev Anand, who was relatively new. While shooting the their first film together Vidya (1948), she became romantically involved with him. The two of them were paired in seven films together, some of which were successful. They were - Vidya (1948), Jeet (1949), Shair (1949),  (1950), Nili (1950), Do Sitare (1951) and Sanam (1951).

From the late 1940s to the early 1950s, Suraiya was the highest-paid and most popular star of the Indian cinema. In Mirza Ghalib (1954), which won the 1954 National Award for Best Feature Film in India, Suraiya shone both as an actress and as a singer for her rendition of Ghalib's lover, 'Chaudvin'. Jawaharlal Nehru, commented on seeing the film, "Tumne Mirza Ghalib kii ruuh ko zindaa kar diyaa," ("You have brought the soul of Mirza Ghalib back to life").

After Mirza Ghalib, she acted in movies such as Bilwamangal (1954), Waris (1954), Shama Parwana (1954), Kanchan (1955), which was released in 1949 as Amar Kahani and re-released as Kanchan, Inam (1955), Mr. Lambu (1956), Trolly Driver (1958), Miss 1958 (1958), Maalik (1958) and Shama (1961). In the mid-fifties, Suraiya told Lata Mangeshkar once that she would soon be cutting down on her films. Lata told her not to do so. She also worked with then newcomer Shammi kapoor in Shama Parwana (1954). Rustam Sohrab (1963) was her last film. Suraiya in an interview said that during the shooting of the film, she suffered from low blood pressure, which was the reason for her giving up her acting career.

Her film Jaanwar in the early 1950s with Dilip Kumar as the leading star (and K. Asif as director), was left incomplete by her, as she refused to act in the film, because of rough behaviour by Dilip Kumar during the shooting of the film, when he tore her blouse and bruised her back so badly that it took a month to heal. Later, director-producer K. Asif wanted a kissing scene. Suraiya knew that censors would not pass it. When she asked Asif how he would get it through the censors, he could not satisfy her and she withdrew from the film. There was another story also, that Dilip Kumar and K. Asif were hand in glove to exploit and humiliate Suraiya, because Suraiya had earlier ignored Dilip Kumar's plea to act with her. So they did some torrid scene and kept on repeating it for four days. Fed up with this ghastly behaviour of the two, Suraiya refused to act for them and withdrew from the film. In 1953, she refused the film Anarkali as heroine, a role which went to Bina Rai.

Two other of her films were left incompleted, one of which was Pagalkhana (also, in early 50s), with Bharat Bhushan as lead actor, which was abandoned by the producer director P.L. Santoshi after eight reels, because of financial constraints. The other was an English version of Wajid Ali Shah, starring Suraiya and Ashok Kumar in 1953, being filmed by British film director Herbert Marshall, was shelved after being made for some time. A number of her films were announced with advertisements in film magazines, but were partially made or did not take off. These were Palken with Shekhar, to be produced and directed by Devendra Goel, for Goel Cine Corporation; Gumrah by Globe Pictures, Bombay; Nigah by CB Films; Sanwri by Kundi Art Productions, produced and directed by Niranjan and Ching Chow to be produced by Nigaristan (producers of Moti Mahal).

As a singer
Suraiya's first song as a child-singer was "Boot karun main polish babu" (as a playback singer) in the film Nai Duniya (1942), composed by Naushad. She went on to sing playback for actress Mehtab for Sharda (1942), Kanoon (1943) and Sanjog (1942–43) for Naushad and A.R. Kardar (director-producer), when her principal, Miss P.F. Puttack, took a strong view of her truancy from school, and her 'adventure' came to an abrupt halt. When Mehtab first saw baby Suraiya, she was hesitant to have her as her playback singer, but on hearing her, she wanted Suraiya to sing all her songs in her films.

Even in later years, in 1946, Mehtab was so attached to Suraiya's singing, that she requested Suraiya to record disc versions of her songs in her film Shama (1946), produced by Sohrab Modi, when Suraiya had become a busy heroine and had left singing playback in films for Mehtab. Suraiya then sang for Mehtab, in her own disc versions which were recorded by Shamshad Begum in the film.

Suraiya debuted with Manna Dey in his first Hindi film song, and their only duet 'Jago ayee usha' in Tamanna in 1942, was directed by his uncle, the famous K. C. Dey. Again in 1942, Suraiya paired with Rajkumari in Station Master ( with music director Naushad) for the  song 'Sajan ghar aye'. Suraiya acted in both these films.

In 1943, Suraiya sang a song "Ek Tu Hoo, Ek Main Hoon", music composed by Naushad, in the film Kanoon, which was the first song in Bombay music industry, which had characteristics of Latin American music.

The song "Bistar Bicha Liya Hai Tere Dar Ke Samne Ghar Hum Ne Le Liya hai Tere Ghar ke Samne", which Suraiya sang in duet with Arun Kumar for the film Hamari Baat (1943) was a major success.

A few years later, the singer-actor, K.L. Saigal was so impressed by the singing of the 16-year-old Suraiya, that he agreed to have her opposite him in the film Tadbir as a heroine and a singer in 1945. The music was directed by Lal Mohammad in the film. "Rani khol de dawar milne ka din aa gaya" is a memorable song from the film, she sang it with Saigal. Saigal again opted for Suraiya as his heroine and a singer in the films Omar Khayyam (1946) (with music director Lal Mohammad)  and Parwana (1947) (with music director Khurshid Anwar). Parwana was Saigal's last film and was released after his death.

Later, Suraiya continued to work with music director Naushad in a few films, and in 1946, she appeared with actress Noor Jehan in Anmol Ghadi as a co-star, with Naushad as the music director. She sang three songs in the film which became popular, of which 'Man leta hai angdai' went viral throughout the country. The musical film Dillagi (1949), under Kardar's direction, with Naushad's music, became a silver jubilee hit, with Suraiya becoming a national rage with her songs and acting. In a span of 22 years, she gave a number of hits. She sang about 51 songs for Naushad.

In her honey-rich voice, songs like "Woh paas rahein, ya door rahein", "Tere naino ne chori kiya", "Tu mera chaand, main teri chandni", "Yaad karun tori batiya" and the rare classical number "Man mor hua matwala" became an all-time favourite, along with "Nain dewane, ek nahin mane".

Khurshid Anwar was the music director in three films of Suraiya, viz. Ishara (1943), Parwana (1947) and Singaar (1949). Suraiya sang 13 songs in these films.

With the music director duo, Husnlal Bhagatram, Suraiya sang in 10 films and recorded the most songs (58, excluding 6 repeat songs for the film Kanchan) for any music director from 1948 to 1958. The films were Pyar Ji Jeet (1948), Aaj Ki Raat (1948), Naach (1949), Balam (1949), Bari Behen(1949), Amar Kahani(1949), Sanam (1951), Shama Parwana(1954), Kanchan (1955) and Trolley Driver (1955). Her song "O, door janewale, wada na bhul jana" in Pyar Ki Jeet in 1948 became a hit all over India.

Suraiya did only three films with music composer Sachin Dev Burman Vidya (1948) (with Dev Anand),  (1949) (with Dev Anand) and Lal Kunwar (1952), as she was associated with other composers, and S.D. Burman came late into the scene in Bombay. Yet, most of their songs are memorable. "Man mor hua matwala" (in ), "Nain Deewane", "Layi khushi ki dunia" (with Mukesh in 'Vidya') and "Preet sataye teri yaad na" in Lal Kunwar being some of them.

Ghulam Mohammad gave music for the National Award-winning film Mirza Ghalib (1954), in which she sang memorable songs of Mirza Ghalib. Kajal, Shair and Shama were other films for which he composed music for Suraiya.

Other directors who composed music for her in her film songs, include C. Ramchandra in the film Dewana, Roshan in the film Masuka, K. Dutta (in the films, Rang Mahal and Yateem), Krishen Dayal (in the film, Lekh for songs, such as, "Dil ka qarar lut gaya" and "Badra ki chaon tale"), S. Mohinder (in Nilli), Sardul Kwatra (in Goonj), Madan Mahan (in Khubsoorat), Roshan (in Mashuqa for songs, such as, "Mera bachpan wapas aya"), S.N.Tripahi (in Inaam), O.P. Nayyar (in Mr. Lamboo) and N. Dutta (in Miss 58). The music for her film, Main kya karoon (1945) was composed by Nino Mujamdar, for the film Shakti by Ram Prashad. Hansraj Behl composed music for the films Khilari (songs, such as, "Chahat ka bhulana mushkil hai" and Dil nashad na ro"), Shaan (songs, such as, "Tarap ae dil"), "Rajput", "Moti Mehal" and "Resham". Her music director in the film Shokian (songs, such as, "Ratoon ki neend chheen li") was Jamal Sen and Bilo C. Rani directed music in the film Bilwamangal (songs, such as, "Parwano se preet sekh le"), Shyam Sunder gave music for her films, Char Din and Kamal ke Phool. Sajjad Husain was her music director in two films, viz. 1857 and Rustom Sohrab.

Personal life

Suraiya had a love affair with Dev Anand for four years from 1948 to 1951. Dev Anand nicknamed Suraiya "Nosey", while to Suraiya, Dev Anand was "Steve", a name chosen from a book Dev Anand had given her. Suraiya also called Anand "Devina" and he called her "Suraiyana", while faking an Italian accent. Kamini Kaushal, who worked with Suraiya and Dev Anand in Shair (1949), said in an interview to Filmfare in January 2014, that Suraiya would pass on her letters to her to be delivered to Dev Anand, when her grandmother started keeping an eye on their love-affair. During the shooting of Jeet (1949), both Anand and Suraiya, had made plans for marriage and elopement, but at the last minute, an assistant director, jealous of their marriage, informed Suraiya's grandmother, who dragged her home from the scene. In the 'Star and Style' interview, Suraiya said that she gave in only when both her grandmother and her maternal uncle threatened to get Dev Anand killed.

During the shooting of the film  (1950), Dev Anand again proposed to her and gave her an engagement diamond ring worth rupees 3000. Suraiya's maternal grandmother, was fiercely opposed to Suraiya marrying Anand. She was also supported by Suraiya's maternal uncle Zahoor and some film persons, viz. composer Naushad, director-producer A.R. Kardar, lyricist Naqshab (Nadira's first husband) and  director M. Sadiq.
Her grandmother had opposed the relationship, mainly because they were Muslims and Dev Anand was a Hindu. The covert reason was that Suraiya was the only earning member of the family. Suraiya and Anand were stopped from acting together after their last film in 1951 by her grandmother. Thereafter, Suraiya remained unmarried by her own choice for the rest of her life.

In an interview with Stardust, in June 1972, Suraiya revealed that she lacked the courage to resist her family and that Anand truly loved her. Anand wanted her to be bold and marry him in a civil court, but she refused. Dev Anand went on to marry Kalpana Kartik two years later in 1954 in a hurried simple marriage, but as he said in his auto-biography, Suraiya was his first true love. When Suraiya died in 2004, Dev Anand hid from the media in his terrace,  because he wanted to be away from the media.

Later life and death
In 1963, Suraiya retired from acting career, supposedly due to two reasons. Her father Aziz Jamal Sheikh died that year, and because of her health problems. Suraiya lived with her mother Mumtaz Begum after her father's death. Her friends in the industry were Paidi Jairaj, Nimmi, Nirupa Roy and Tabassum, with whom she met occasionally. In 1979, Suraiya gave an interview to Raju Bhartan for The Illustrated Weekly of India, gaining limelight. After her mother's death in 1987, Suraiya became lonely. Suraiya lived in Krishna Mahal, Marine Drive, since the early 1940s. She possessed several apartments in Worli, Mumbai and property in Lonavala, near Pune.

In December 1998, Suraiya then over 68 years old, while in New Delhi to receive the Sahitya Academy Award during Mirza Ghalib's bi-centenary celebrations, talked in a low voice and declined to sing, saying she had left "mosiqui (music) years ago". Tabassum, who worked with Suraiya said, "It's sad that she had shut her doors to the world in her last days. But she'd talk comfortably with me on the phone. I remember our last conversation. I asked her: "Aapa kaisi hain?" (Elder sister, how are you?") She replied in verse: "Kaisi guzar rahi hai sabhi poochte hai mujhse, kaise guzaarti hoon koi nahin poochta."( "Everybody asks me 'how are you', but nobody asks me how I spend my days and nights.") (As told to Farhana Farook in 2012).

Suraiya died at Mumbai's Harkishandas Hospital on 31 January 2004 aged 75, after being admitted there for a week previously suffering from various ailments, including hypoglycemia, ischaemia and insulinoma. Among her visitors were Sunil Dutt, Naushad and Pratap A. Rana.  Actor Dharmendra, who was her ardent fan, attended her funeral. She was buried at Badakabarastan in Marine Lines, Mumbai. During the last six months of her life, Suraiya lived with her lawyer, Dhimant Thakkar and his family. After her death, Suraiya's property at Worli and her house at Marine Drive went into legal dispute, as she did not leave behind an explicit will. In 2006, Mumbai High Court granted her Pakistani cousin, Mehfooz Ahmed (maternal uncle M. Zahoor's son) the right to administer the estate. In 2008, Ahmed, who never met her for over 40 years before her death, got the right to the rented house at Krishna Mahal, valued at 7.5 crores rupees, as a tenant by the High Court judgement (according to Mumbai's old rent control laws) over her family lawyer. The cousin had no objection to the house being sold.

Reception and legacy

Suraiya is regarded as one of the greatest actors of Indian cinema. She is noted for her simple roles, sweet voice and beauty. One of the highest paid actress of mid- to late 1940s, Suraiya appeared in Box Office Indias "Top Actresses" list from 1944 to 1950, and topped the list for three years (1948-1950). In 2022, she topped Outlook Indias "75 Best Bollywood Actresses" list. In 2013, Suraiya was voted as the 'Best On Screen Beauty with the Most Ethnic Look', on the completion of 100 years of the Indian cinema. On her films, Suraiya said, "Most of my roles were simple, but the audiences loved them. I was lucky to have got simple, melodious and easy to pick up songs to sing, and work with the best composers of the day like Naushad, Husnlal-Bhagatram and Anil Biswas."

Suraiya was known  as the first superstar singer-actress of Indian films. She was widely successful as an actress and singer and was called "Singing Star". In the early fifties, her singing made a significant mark in people's lives, so much so that fruit sellers sold watermelons in her name, "Le lo babuji bade meethein hai, Suraiya ke khet ke hai." (These watermelons are as sweet as Suraiya's voice). Actor Dharmendra admitted to being a big fan of the actress. He remembers walking miles to see Suraiya's Dillagi 40 times. Music director Naushad found Suraiya's voice as the voice of the girl next door. He said, "It was an unsophisticated and charming voice and very effortless." Journalist Rauf Ahmed added Suriya on his "Biggest stars in Hindi filmdom" list and noted, "A singing sensation of her time, Suraiya was the first female star. No one has been able to emulate her."

Arushi Jain of Indian Express said that she was the highest-paid actor, earning more than her male counterparts. She noted, "Indian audiences of a certain vintage will remember Suraiya as a mesmerising face, a soulful voice and a graceful performer during 1940-1950s." Asjad Nazir of Eastern Eye termed her "screen queen" and said, "The biggest music and film star in India created the kind of mania with fans not seen before, with unprecedented crowds gathering to catch a glimpse of her." Dinesh Raheja of Rediff.com noted, "What gave Suraiya an edge over contemporaries like Kamini Kaushal and Nargis was her ability to sing her own songs. Suraiya's dastaan, ajeeb but fascinating, continues to thrive on lore, speculation and memories." Pran Nevile of The Hindu termed her an "unforgettable singing legend" and noted, "In her heyday, she turned a legend and the highest paid artiste of her time. During the mid-forties, she dominated the film world with her music."

In 1946, Suraiya's film Anmol Ghadi celebrated 'Silver Jubilee' (25 weeks continuous run in one or more cinema halls) in Bombay (now 'Mumbai') and other cities of India. In 1951, the inaugural issue of the film news-weekly Screen featured Suraiya on its cover. When Suraiya's film Mirza Ghalib was awarded the President's gold medal for the Best Feature Film of 1954 during the 2nd National Film Awards, the then Prime Minister, Jawaharlal Nehru, praised her and said tha Suraiya brought Mirza Ghalib to life (Tumne Mirza Ghalib ki rooh ko zindaa kar diyaa). Suraiya thought his praise was more worthy than an Oscar. In November 1956, Suraiya was sent as a part of delegate, consisting of Raj Kapoor, Nargis and Kamini Kaushal to the Soviet Union by the Government of India, where her films were screened. In 1998, she was specially honoured for perpetuating Mirza Ghalib's memory by her acting and songs by the then Prime Minister, Atal Behari Vajpayee during the Mirza Ghalib bi-centenary celebrations in New Delhi. In April 2003, Suraiya was honoured and awarded a memento by the Dadasaheb Phalke Academy and Screen World Publication at a special function on the 134th birth anniversary of Dada Phalke.

Filmography

Honours and tributes
On her death, Dilip Kumar said, "She was a caring girl, very affectionate, particularly with junior artistes... Suraiya will be sorely missed, even though she had been a recluse for decades." Dev Anand said "I felt sad on her death. I did not go to her funeral because I would have been reminded of the past. I cried from a distance." Anand later wrote about his days with Suraiya in his autobiography, "Romancing With Life" in 2007.

In May 2013, a postage stamp, bearing her image in various roles, was released by the India Post of the Government of India to honour her on the occasion of the 100 years of Indian Cinema. Suraiya's songs, as a tribute to her, are played every year on her birth anniversary, 15 June and her death anniversary on 31 January by Radio Ceylon. In 2016, Bhaichand Patel wrote about Suraiya in his book "Bollywood's Top 20: Superstars of Indian Cinema". In 2023, an exhibition at Kiran Nadar Museum of Art in Noida, named "Sitaare Zameen Par", had portraits of Suraiya that were captured by JH Thakkar.

Giving tribute to Suraiya, The Tribune wrote, "The screen goddess and singing star, Suraiya Jamal Sheikh, had the world at her feet. Her career spanned a little over two decades but she left behind a vast repertoire of songs and films for audiences to delight in." Outlook wrote after her death, "She evoked the kind of hysteria [in the late 1940s] that can be compared only with Rajesh Khanna in his heyday from 1969 to 1972. Ask any old-timer and they would confirm that people bunked offices, schools and colleges, even shops closed on the opening day of her films, to see her films first day, first show." The Hindu wrote about Suraiya: "What can you say about a lady, who was courted by Dev Anand, respected by Pandit Jawaharlal Nehru, but feared by Lata Mangeshkar! That she was beautiful, talented, adored by millions, but died a lonely single woman? Or, that she was the best ever superstar singer-actress of Indian films, yet walked away to a self-imposed exile at the height of her glory? Yes, Suraiya was all this, plus 'a riddle, wrapped in a mystery, inside an enigma' who resolutely shunned screen and media once she departed from the arc lights."

Accolades

References

Further reading

External links

 Suraiya Songs

1929 births
2004 deaths
20th-century Indian actresses
Indian women playback singers
Indian film actresses
Actresses in Hindi cinema
20th-century Indian singers
People from Gujranwala
Singers from Mumbai
Indian women ghazal singers
Indian ghazal singers
Punjabi people
20th-century Indian women singers
Actresses from Punjab, India
Women musicians from Punjab, India
Singers from Punjab, India

Suraiya


Die Liste der Realschulen in München führt alle bestehenden öffentlichen und privaten Realschulen in der bayerischen Landeshauptstadt München auf.

Legende
 Name/Koordinaten: Name der Realschule sowie Lagekoordinaten. Mit einem Klick auf die Koordinaten lässt sich die Lage der Schule auf verschiedenen Karten anzeigen.
 Namensherkunft: Herkunft des Namens der Schule
 Jahr: Gründungsjahr
 Wahlpflichtfächergruppe: Die jeweiligen Wahlpflichtfächergruppe der Realschule (siehe auch Realschule#Bayern):
 Wahlpflichtfächergruppe I: mathematisch-naturwissenschaftlicher Zweig
 Wahlpflichtfächergruppe II: wirtschaftlich-kaufmännischer Zweig
 Wahlpflichtfächergruppe IIIa: Zweig mit Fremdsprachenschwerpunkt Französisch
 Wahlpflichtfächergruppe IIIb: Zweig mit Fächern im musisch-gestaltenden, hauswirtschaftlichen oder sozialen Bereich
 Träger: Träger der Schule: Freistaat Bayern (Kultusministerium), Stadt München (Referat für Bildung und Sport), Kirchlich (Erzbistum München und Freising) oder Privat
 M: Reine Mädchenschulen sind in dieser Spalte durch ein M gekennzeichnet
 Schüler: Anzahl der Schüler im Schuljahr 2011/2012
 Stadtteil: Stadtteil, in dem die Schule liegt (siehe auch Liste der Stadtteile Münchens)
 B: Stadtbezirk, in dem die Schule liegt (siehe auch Liste der Stadtbezirke Münchens)
 Datei: Zeigt das Gebäude der Schule

Liste

Anmerkungen

Siehe auch
 Liste der Gymnasien in München
 Liste der Hauptschulen in München

Weblinks

 Schulsuche des Bayerischen Staatsministeriums für Unterricht und Kultus
 Bayerisches Realschulnetz: Realschulen in Oberbayern-West
 Realschulen auf dem Stadtportal muenchen.de

Einzelnachweise

!
Munchen, Realschule
Realschulen Munchen

Liste der Realschulen in München


සැප්තැම්බර් 11 කුමන්ත්‍රණය පිළිබඳ අදහස් පළමුවෙන් ඉදිරිපත් වූයේ ඛාලිඩ් ෂෙයික් මොහොමඩ් ගෙනි. ඔහු පළමුවෙන් මෙම අදහස බින්ලාඩන්ට ඉදිරිපත් කරන ලද්දේ 1996 දීය. එම අවස්ථාවේ බින් ලාඩන් සහ අල් - ඛයි - ඩාව සිටියේ සංක්‍රාන්තීය සමයකයි. ඔවුන් සුඩානයේ සිට ඇෆ්ගනිස්ථානය වෙත ආපසු ස්ථාන ගත වෙමින් සිටියහ. බින්ලාඩන්ගේ එක්සත් ජනපද පහර දීම සම්බන්ධයෙන් 1998 දී අප්‍රිකානු තානාපති කාර්යාලයට එල්ල කළ බෝම්බ ප්‍රහාරය වැදගත් කඩ ඉමක් විය. 1998 අග හෝ 1999 මුලදී සැලසුම සංවිධානය කරමින් ඉදිරි ක්‍රියා මාර්ග ගන්නා ලෙස බින් ලාඩන්, මොහොමඩ්ට අනුමැතිය දුන්නේය. 1999 වසන්තයේදී ඛාලිඩ් ෂෙයික් මොහොමඩ්, ඔසාමා බින් ලාඩන් සහ ඔහුගේ දෙවැනියා වූ මොහොමඩ් අටෙෆ් සම්බන්ධ කරගනිමින් රැස්වීම් මාලාවක් පැවැත්වූහ. බින් ලාඩන් නායකත්වය සැපයූ කුමණ්ත්‍රනය සඳහා මූල්‍ය ආධාර ද සැපයුවේය. මේ සඳහ‍ා සහභාගි වන්නන් තේරීමද බින් ලාඩන් සහභාගී විය. තෝරා ගන්නන් පිරිස අතරට ධාන ගුවන්යානා පැහැර ගන්නා හැටියට මොහොමඩ් අට්ටා ද ඇතුළත් විය. අල්ඛයිඩා සාමාජිකයින් 27  කට වැඩි කණ්ඩායමක් සැප්තැම්බර් 11 ප්‍රහාරයට සහභාගී වීම සඳහා එක්සත් ජනපදයට ඇතුළු වීමට උත්සාහ ගත්හ. ඉලක්ක තෝරා ගැනීම ගුවන් යානා පැහැර ගන්නන්ට ප්‍රවාහන පහසුකම් සැපයීම වැනි ක්‍රියා කාරී උදව් මොහොමඩ් විසින් සපයන ලදී. ඉලක්කයක් වශයෙන් තෝරා ගැනීමට ඉඩ තිබුණු ලොස් ඇන්ජලිස් හි U S  බෑන්ක් ටවර් ගොඩනැගිල්ල වැනි ස්ථාන ප්‍රතික්ෂේප කරමින් බින්ලාඩන්, මොහොමඩ් නැමැත්තා තම පාලනය යටතේ තබා ගත්තේය.

එක්සත් ජනපද රාජ්‍ය විසින් එක්සත් ජනපදයට එල්ල වන ත්‍රස්තවාදී ප්‍රහාර පිළිබඳ ජාතික කොමිෂම පිහිටුවන ලද අතර එය පොදුවේ හඳුන්වන ලද්දේ 9/11 කොමිෂම වශයෙනි. එම කොමිෂම එහි වාර්තාව 2004 ජුලි 22 දින එළි දැක්වූ අතර අල් ඛයිඩා සාමාජිකයින් විසින් ප්‍රහාරය සැලසුම් කොට ක්‍රියාත්මක කරන ලද බව හෙළි කළේය. මෙම ප්‍රහාරය සැළසුම් කොට ක්‍රියාත්මක කිරීම සඳහා එය සැළසුම් කළ පුද්ගලයින් ඩොලර් 400,000 සිට 500,000 දක්වා මුදල් ප්‍රමාණයක් වැය කර ඇති බවත් එම මුදල් ලැබුනේ කොහෙන්ද කෙසේද යන්න හෙළි නොවූ බවත් කොමිෂම විස්තර  කළේය.

සැප්තැම්බර් 11 ප්‍රහාරය - පහර දීම් සැලසුම් කිරීම


Sjá aðgreiningarsíðuna fyrir aðrar merkingar San Salvador.

San Salvador er höfuðborg og stærsta borg El Salvador og samnefndrar sýslu innan landsins. Borgin er stjórnsetur og menningar-, mennta- og efnahagsmiðstöð landsins. Alls búa 2.404.097 manns á stórborgarsvæði San Salvador, sem nær yfir borgina sjálfa og 13 af sveitarfélögum hennar. Á þéttbýlissvæðinu búa 1.600.000 manns.

San Salvador er mikilvæg fjármálamiðstöð Mið-Ameríku. Borgin hýsir ríkisstjórn El Salvador, löggjafarþing El Salvador, hæstarétt El Salvador og fleiri ríkisstofnanir auk híbýla forseta El Salvador. San Salvador er staðsett á salvadorska hálendinu og er umkringd eldfjöllum þar sem jarðskjálftar eru tíðir. Kaþólska erkibiskupdæmið í El Salvador er staðsett í San Salvador ásamt miðstöðvum fleiri kristinna kirkjudeilda, þar á meðal höfuðstöðvum evangelista, mormóna, baptista og hvítasunnukirkjunnar. Í San Salvador er næststærsti söfnuður Gyðinga í Mið-Ameríku og lítill söfnuður múslima.

Ýmsir alþjóðlegir íþrótta-, stjórnmála- og samfélagsviðburðir hafa verið haldnir í San Salvador. Árin 1935 og 2002 voru Miðameríku- og Karíbahafsleikarnir haldnir þar, Mið-Ameríkuleikarnir árin 1977 og 1994 og fegurðarsamkeppnin Ungfrú Alheimur árið 1975. Árið 2008 hélt borgin 18. leiðtogafund spænsku- og portúgölskumælandi ríkja, mikilvægasta þjóðfélagspólitíska viðburð þessara menningarsvæða.

Tilvísanir

Borgir í El Salvador
Höfuðborgir

San Salvador


Pitelová este o comună slovacă, aflată în districtul Žiar nad Hronom din regiunea Banská Bystrica. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 622 de locuitori.

Istoric
Localitatea Pitelová este atestată documentar din 1264.

Note

Legături externe

Localități din Slovacia

Pitelová


سلمان بن سعود بن ناصر العمران من مواليد الرياض لاعب نادي الهلال السابق ومدرس تربية رياضية في إحدى مدارس الرياض المتوسطة حالياً وهو شقيق لاعب النصر السابق بندر العمران المدرب في أكاديمية برشلونة في الرياض.

يُعد سلمان العمران من أفضل لاعبي الوسط في جهه اليسار، مثل شباب الهلال وحقق معه الكثير من البطولات المحلية والخارجية ثم التحق بالفريق الأول ومثله في الكثير من المشاركات المحلية والخارجيه وحقق معه الكثير من البطولات والتي كانت من ابرزها البطولة العربية أبطال الدوري العاشره عام 1415 هـ و البطولة الاسيويه أبطال الكأس عام 1417 هـ.

اعتزاله

تعرض لإصابة الرباط الصليبي مما أجبره على الاعتزال وتفرغه لمهنة التدريس.

لاعبو دوري المحترفين السعودي
لاعبو كرة قدم سعوديون
لاعبو نادي الهلال (السعودية)

سلمان العمران


Joanna Gash  (born 21 July 1944) is a former Australian politician who served as a member of the House of Representatives representing the Division of Gilmore for the Liberal Party from 1996 to 2013. In 2012, Gash was directly elected as the Mayor of the City of Shoalhaven, a local government area in the south-eastern coastal region of New South Wales. In 2016, Gash lost the direct election for Mayor of the City of Shoalhaven to Amanda Findley. She was elected as a Ward 2 Councillor for the City of Shoalhaven.

Personal life
Gash was born in Groningen in the Netherlands, and emigrated to Australia when she was six. She was educated at Institute of Administration in Sydney. Before entering politics she was a Regional Manager with the Tourism Commission of New South Wales, a guest house co-proprietor, and a Councillor of the Wingecarribee Shire Council. She was for many years a scripture and Sunday School teacher and spent many weekends at the Church of England Camps at the Port Hacking River (Camp Howard).

Political career
Gash was elected to Federal Parliament at the 1996 federal election. In January 2012, she announced that she would not be contesting the next federal election. At the same time, she announced her intention to stand for the mayoral position at the Shoalhaven City Council elections, due to be held in September 2012. Gash was successful, winning the directly elected role with 63.19% of the vote. She also led a ticket that saw nine other Councillors elected to the thirteenmember Shoalhaven City Council. Following her election as mayor, there was criticism about her constitutional ability to hold office as a federal Member of Parliament and to hold an office of profit under the crown, as Mayor. Gash vigorously defended her position.

She sought re-election as mayor of City of Shoalhaven at the 2016 NSW Local Council Elections, but lost her position following a massive swing, which saw her lose about half of the vote she won at the 2012 election. Amanda Findley of the Australian Greens was elected as mayor, with Gash being elected as a Ward 2 councillor.

In the 2019 federal election contest for the seat of Gilmore, which she formerly represented, Gash, together with her successor Ann Sudmalis, endorsed the National Party candidate Katrina Hodgkinson over the Prime Minister Scott Morrison's "captain's pick" candidate for the Liberal Party, Warren Mundine. The seat was the only one gained by the Labor Party in the election.

Honours and awards
In 2017, Gash was appointed a member of the Order of Australia for significant service to the Parliament of Australia, to local government, and to the community of the Shoalhaven.

References

External links

1944 births
Living people
Liberal Party of Australia members of the Parliament of Australia
Members of the Australian House of Representatives
Members of the Australian House of Representatives for Gilmore
Dutch emigrants to Australia
People who lost Dutch citizenship
Naturalised citizens of Australia
Politicians from Groningen (city)
Women members of the Australian House of Representatives
Mayors of places in New South Wales
Women mayors of places in New South Wales
21st-century Australian politicians
21st-century Australian women politicians
20th-century Australian politicians
Members of the Order of Australia
20th-century Australian women politicians

Joanna Gash


سمكة البلطي الإماراتية، سمكة بلطي وادي الوُريعة أو سمكة بلطي بسام خلف Emirati Tilapia، Wadi Al Wurayah Tilapia or Bassam Khalaf's Tilapia  واسمها العلمي Oreochromis mossambicus bassamkhalafi  Khalaf,
2009

سمكة البُلطي الإماراتية من أسماك المياه العذبة والتي تتبع عائلة البُلطيات أو المُشطيات Cichlidae، وهي إحدى سُلالات أسماك البُلطي الشائعة، والتي تعيش في برك وادي الوُريعة، في إمارة الفجيرة، بدولة الإمارات العربية المتحدة. وهي من الأسماك التي تم تصنيفها حديثاً.

الاكتشاف والتسمية العلمية
تم اكتشاف نويع أو سُلالة جديدة من أسماك المياه العذبة من برك وادي الوُريعة، التابعة لإمارة الفجيرة، وهي أول منطقة جبلية محمية في الإمارات العربية المتحدة. ولقد تم اكتشاف سمكة البُلطي الإماراتية أثناء رحلة علمية قام بها عالم الحيوان الفلسطيني الألماني د. نعمان (نورمان) علي خلف اليافاوي إلى جبال الحجر ووادي الوُريعة، حيث لاحظ وجود هذه الأسماك في البرك الجبلية. وقد تم إعطاء السمكة المُكتشفة الاسم العلمي الجديد « أوريوكروميس موزمبيقي بسام خلف » Oreochromis mossambicus bassamkhalafi  Khalaf,
2009. وقد تم اختيار اسم النُويع «بسام خلفي» bassamkhalafi باللغة اللاتينية، تكريماً وتخليداً للسيد «بسام علي طاهر خلف» (والد مُكتشف السمكة) (1938 - 2006) والذي كان له أكبر الأثر في مسيرة إبنه العِلمية.

الصفات الخارجية
تمتاز سمكة البُلطي الإماراتية بلونها الزيتي مع وجود اللون المُصفر واللون الأزرق الرمادي مع لمعة فضية. ويصل طول الأسماك البالغة من 25 - 30 سنتيمتر.

الغذاء
تتغذى سمكة بلطي وادي الوريعة على تشكيلة متنوعة من الغذاء مثل الدياتومات والطحالب والنباتات المائية وكذلك الحيوانات اللافقارية وصغار السمك والمُخلفات.

التعايش مع الأسماك الأخرى
تعيش سمكة البُلطي الإماراتية في برك وادي الوُريعة بإمارة الفجيرة مع سمكة الكهوف العمياء الإماراتية ذات الاسم العلمي « جارا بريمي وريعي» Garra barreimiae wurayahi Khalaf,
2009.

الانتشار
انتشار هذه السُلالة محدود في برك وادي الوُريعة بإمارة الفجيرة، ولذلك يجب حمايتها من خطر الانقراض.

المعلومات الغذائية
يحتوي كل 100غ من سمك البلطي بحسب وزارة الزراعة الأميركية على المعلومات الغذائية التالية:
 السعرات الحرارية: 96
 الدهون: 1.70
 الدهون المشبعة: 0.58
 الكاربوهيدرات: 0
 الألياف: 0
 البروتينات: 20.08
 الكولسترول: 50

المراجع
 المعلومات الغذائية عن سمك البلطي
 كتاب الغزال: النشرة الفلسطينية لعلم الأحياء. رحلة عِلمية في ربوع فلسطين والبلاد العربية وأوروبا بين الأعوام 1983-2004. تأليف: د. نعمان علي بسام خلف اليافاوي. الطبعة الأولى، ربيع الآخر 1425 هجرية، يوليو (تموز) 2004 ميلادية. بون - باد جودسبرج، ألمانيا. 452 صفحة. (باللغات العربية والإنجيليزية والألمانية). ISBN 3-00-014121-9
 كتاب العلوم المائية العربية. رحلة عِلمية مائية عربية في ربوع فلسطين والبلاد العربية وأوروبا بين الأعوام 1980-2005. تأليف: د. نعمان علي بسام خلف اليافاوي. الطبعة الأولى، أغسطس (آب) 2005 ميلادية. باد - ريلشينغن، ألمانيا. 376 صفحة. (باللغات العربية والإنجيليزية والألمانية). ISBN 3-00-014835-3

وصلات خارجية
 نُويع جديد من أسماك البُلطي الشائعة من برك وادي الوُريعة بإمارة الفجيرة، دولة الإمارات العربية المتحدة: أوريوكروميس موزمبيقي بسام خلفي (بسام خلف) خلف، 2009.
 سمكة البُلطي الإماراتية في قائمة تصنيف الحيوانات العالمية (BioLib).

أسماك المياه العذبة
حيوانات الإمارات
كائنات حية مائية

سمكة البلطي الإماراتية


La Cartamina es un pigmento rojo natural derivado del cártamo (Carthamus tinctorius) Es utilizado como colorante textil y alimentario. Como aditivo, es conocido como Rojo Natural 26.

El cártamo ha sido cultivado desde tiempos remotos, y la cartamina ha sido utilizada como colorante en el Antiguo Egipto. Tuvo una amplia aplicación para la tinción de lana, en la industria de tapetes en países europeos y para elaborar cosméticos para geishas y artistas del teatro kabuki en Japón, donde el color era conocido como beni (紅). Ha competido con el colorante sintético fucsina como colorante de seda.

Se compone de dos chalconas; los enlaces conjugados son los responsables del color. La cartamina es biosintetizada a partir de una chalcona (2,4,6,4'-tetrahidroxichalcona) y de 2 moléculas de glucosa para dar el pigmento amarillo cártamo A y con una molécula adicional de glucosa, amarillo cártamo B. El siguiente paso es la formación de la precartamina y finalmente se forma  la molécula de cartamina por descarboxilación.

Referencias

Biomoléculas
Flavonoides
Pigmentos

Cartamina


Philippe Herreweghe (Gante, 2 de mayo de 1947) es un director de orquesta belga.

Biografía
Estudió en la Universidad de Gante, etapa en la que combinó estudios de medicina y psiquiatría con su formación musical en el Conservatorio de la ciudad donde, Marcel Gazelle, el habitual acompañante al piano de Yehudi Menuhin, fue su profesor. Al tiempo, comenzó a ejercer como director de orquesta y en 1970 fundó el Collegium Vocale de Gante, y abandonó la medicina. Muy pronto, Nikolaus Harnoncourt y Gustav Leonhardt lo invitaron a él y a su Collegium Vocale a unirse a ellos en la grabación de todas las cantatas de Bach. En 1977 fundó La Chapelle Royale, especializada en la interpretación de la música barroca francesa del .

Además de la dirección de los conjuntos creados por él, Herreweghe es director de la Orchestre des Champs Elysées, que tiene su sede en París y, desde 1999, primer director de la "Real Filarmonía de Flandes", con sede en Amberes. En 1992 asumió la dirección artística del Festival de música antigua de Saintes.

En 2010 fundó su propia compañía discográfica: "phi". La primera grabación estuvo dedicada a la Sinfonía n.º 4 de Gustav Mahler.

Discografía selecta
J. S. Bach Trauerode Kantaten BWV 198, 78 (1988)
J. S. Bach Ich hatte viel Bekümmernis Kantaten 21, 42 (1990)
J. S. Bach Magnificat BWV 243 & Kantate BWV 80 (1990)
J. S. Bach Cantates pour basse Kantaten BWV 82, 56, 158 (1991)
J. Brahms Ein deutsches Requiem (1996)
J. S. Bach Cantates pour alto Kantaten BWV 170, 54, 35 (1998)
J. S. Bach Messe in h-moll BWV 232 (1998)
J. S. Bach Matthäus-Passion BWV 244 (1999)
J. S. Bach Wir danken dir, Gott Kantaten BWV 120, 119, 29 (2000)
J. S. Bach Jesu, deine Passion Kantaten BWV 22, 23, 127, 159 (2009)
G. Mahler Symphonie 4 (2010)
L. van Beethoven The 9 Symphonies (2011)
W. A. Mozart The last symphonies 39, 40 & 41 Jupiter (2013)

Bibliografía
Stephan Moens: "Philippe Herreweghe", collection «Parcours Musique», Verlag: Versant Sud, Louvain-la-Neuve 2009, ISBN 2930358459

Enlaces externos
 Collegium Vocale Gent
 Orchestre des Champs Élysées
 Interview in Partituren. Abgerufen am 10. Oktober 2010.
 Rezension von "Johannes-Passion" in der "Die Zeit" vom 16. April 2003
Multimedia
 Herreweghe dirige la Pasión según San Mateo de Bach

Directores de orquesta de Bélgica
Flamencos del siglo XX
Flamencos del siglo XXI
Nobles de Bélgica del siglo XXI
Directores de grupos de música antigua
Músicos clásicos del siglo XX de Bélgica
Músicos clásicos del siglo XXI de Bélgica
Nacidos en Gante

Philippe Herreweghe


Sheikh Khalid bin Faisal bin Sultan Al Qassimi (18 de febrero, 1972 en Abu Dhabi) es un piloto de rally de los Emiratos Árabes Unidos que actualmente compite en el Campeonato Mundial de Rally. Fue campeón del Campeonato de Rally de Oriente Medio en 2004.

Trayectoria

Resultados

Referencias

Enlaces externos

 Khalid Al-Qassimi. juwra.com

Pilotos de rally de los Emiratos Árabes Unidos
Pilotos de Ford World Rally Team
Pilotos de Citroën
Pilotos del Rally Dakar
Pilotos del Campeonato Mundial de Rally

Khalid Al Qassimi


Antigorite (ou antigorita) é um mineral monoclínico com estrutura lamelar do grupo dos filossilicatos pertencente ao subgrupo serpentina com a fórmula química ideal (Mg,Fe2+)3Si2O5(OH)4. Este mineral é o polimorfo de alta pressão da serpentina, sendo um constituinte comum em serpentinites metamorfizadas. A antigorite, e os seus polimorfos do subgrupo serpentina, jogam um importante papel na dinâmica das zonas de subducção devido à sua relativa fraqueza e alto peso percentual de água (até 13 % em peso de H2O). O mineral recebeu o nome da sua localidade tipo, a serpentinite de Geisspfad, em Valle Antigorio, na região fronteiriça entre a Itália e a Suíça. Diversas variedade de antigorite são como pedra semi-preciosa em joias, entalhes e esculturas.

Descrição
A antigorite lamelada ocorre em massas duras e plissadas. Geralmente é um mineral verde escuro, mas também pode ser amarelado, cinza, castanho ou preto. Tem uma dureza de 3,5–4 na escala de Mohs, com brilho gorduroso. Os cristais monoclínicos apresentam clivagem micácea e fundem-se com dificuldade. O nome «antigorite» é desirvado no topónimo da localidade tipo do mineral, a serpentinite de Geisspfad, de Valle Antigorio, na região fronteiriça entre a Itália e a Suíça.

A antigorita é usada como pedra semipreciosa ou para entalhes quando se apresenta pura e translúcida, embora muitos cristais tenham máculas negras de magnetite suspensas no seu interior. Os tipos de antigorite mais utilizados como gemas são a bowenite e a williamsite. A bowenite, cujo epónimo é George T. Bowen, de Rhode Island (a localidade do tipo da variedade), o mineralogista que primeiro analisou o mineral, é translúcida, com coloração de verde-claro a escuro, muitas vezes manchada com máculas brancas turvas e veios mais escuros. É a serpentina com uso mais comum em esculturas e joias, e é considerada o mineral do estado de Rhode Island, Estados Unidos. Um cabochon de bowenite foi incluído no famoso "Our Mineral Heritage Brooch", oferecido em 1967 a Lady Bird Johnson. A williamsite é muito translúcida e tem uma coloração verde-maçã médio a profundo. Um tanto semelhante ao jade, o williamsite é frequentemente cortado em cabochão e para confecção de missangas.

Ocorrência
A antigorite ocorre em ambientes de baixa temperatura e alta pressão (ou alta deformação), incluindo regimes extensionais e de compressão tectónica. A antigorite, tal como os restantes minerais do subgrupo serpentina, é de ocorrência frequente nas fácies ultramáficas de xisto verde das zonas de subducção, sendo  visíveis na superfície da Terra por meio de exumação secundária. As serpentinites que contêm antigorite são geralmente altamente deformados e apresentam distintas texturas, indicativas da região dinâmica onde foram formadas. As serpentinites de antigorite apresentam frequentemente minerais associados de magnetite, clorite e carbonatos. As olivinas sob ação hidrotermal, metamorfismo de baixo grau e meteorização são transformadas em antigorite, cuja ocorrência é frequentemente associada a talco e carbonatos.

 3Mg3SiO4 (olivina) + H2O + SiO2 → 2Mg3Si2O5OH4 (serpentina)
 2Mg3Si2O5OH4 (serpentina) + CO2 → 2Mg3Si4O10OH2 (talco) + 3MgCO3 (magnesite) + H2O

Propriedades físicas
A antigorite lamelada ocorre em massas duras e plissadas. Geralmente é de cor verde-escuro, mas também pode ser amarelada, cinza, castanha ou preta. Tem uma dureza na escala de Mohs de 3,5–4 e seu brilho é vítreo a oleoso. Antigorite tem uma gravidade específica de 2,5-2,6. Os cristais monoclínicos mostram clivagem micácea, uma propriedade característica dos filossilicatos, e fundem-se com dificuldade.

As rochas serpentiníticas compostas principalmente por antigorite são em geral milonites. Os grãos de antigorita que compõem essas rochas são muito finos (da ordem de 1 a 10 mícrons) e são fibrosos, o que define uma textura na rocha causada pela orientação preferencial da treliça cristalina.

Estrutura cristalina
As serpentinas magnesianas (antigorite, lizardite, crisótilo) são filossilicatos trioctaedrais hidratados, com estrutura assente em torno de uma camada octaédrica-tetraédrica 1:1. A antigorite é monoclínica no grupo espacial Pm. Embora as serpentinas magnesianas tenham composições semelhantes, apresentam estruturas cristalográficas significativamente diferentes, que são dependentes de como as folhas tetraédricas de SiO4 se encaixam nas folhas octaédricas.

A composição básica da antigorite tem uma proporção menor de catiões octaédricos para tetraédricos (em relação à lizardite e crisótilo), permitindo que a estrutura compense o desajuste dimensional das folhas por meio da inversão periódica das camadas de tetraedros curvos e, posteriormente, da sua polaridade.

Os polissomas da antigorite são definidos pelo número de tetraedros individuais (denotados como o valor m) que abrangem um comprimento de onda da direção da curvatura. As folhas de tetraedros permitem que os cristais fibrosos planos se separem paralelamente ao plano 001 (basal), dando à antigorite uma clivagem perfeita.

Variedades de antigorite
A antigorite ocorre em diversas variedades, sendo as mais conhecidas a bowenite, muito utilizada em artes decorativas, e a gimnite, uma forma amorfa.

Bowenite
A bowenite é uma variedade de antigorite, uma serpentina especialmente dura (dureza de 5,5 na escala de Mohs), de cor verde-maçã clara a escura, muitas vezes manchada com máculas brancas turvas e veios mais escuros. É a serpentina mais utilizada em escultura e em joalharia. O nome «retinalite» é por vezes é aplicado à bowenite amarela. O mineral proveniente da Nova Zelândia é comercializado sob o nome de .

Embora não seja uma designação oficial, a bowenite é o mineral do estado de Rhode Island, Estados Unidos, onde também se situa a localidade tipo da variedade. Um cabochon feito de bowenite, apresentado como parte do famoso Our Mineral Heritage Brooch, foi oferecido em 1967 a Lady Bird Johnson, ao tempo primeira-dama dos Estados Unidos.

Williamsite é um nome varietal americano para antigorite de coloração verde-óleo que frequentemente tem inclusões de cristais pretos de cromite ou magnetite. Um pouco semelhante ao jade fino, a williamsite é cortada em cabochons e missangas. É encontrado principalmente em Maryland e Pennsylvania.

Gimnite
A gimnite (ou gymnite) é uma forma amorfa de antigorite. Foi encontrada pela primeira vez nas Bare Hills de Maryland, e foi designada recorrendo ao termo grego clássico, , que significa "despido" ou "nu" (usando assim como epónimo o nome das Bare Hills ou Colinas Despidas).

Referências

Ver também
 Subgrupo serpentina
 Serpentinite
 Metamorfismo das zonas de subducção — Minerais hidratados de uma placa em subducção

Minerais de ferro
Minerais de magnésio

Antigorite


Anglo-Amerika, töre ve alışkanlıklarının kökeni Kuzey Avrupa'ya dayanan, İngilizce konuşulan Kuzey Amerika kültür bölgesi. ABD'nin büyük bölümü ile (Fransızca konuşulan kesimleri dışında) Kanada'dan oluşur. Bu bölge, İspanyol mirasının ve geleneklerinin çok güçlü olduğu Latin Amerika'nın dışında, Kuzey Amerika üstünde yer alan coğrafi bölgeyi tanımlamak için de kullanılır. Anglo sözcüğü, İngilizce konuşan bir beyaz Kuzey Amerikalıyı Latin Amerikalı soyundan gelen (Hispanik) birinden ayıran bir anlam kazanmıştır.

Kuzey Amerika
Amerika'daki bölgeler
Amerika Birleşik Devletleri'nde kültür
Kanada'da kültür
İngilizce kültür

Anglo-Amerika


O Instituto da Mãe do Bom Conselho (em latim : Istituto Mater Boni Consilii) é uma congregação religiosa católica tradicionalista sedeprivacionista com sede na Itália.

Aderindo à Tese de Cassiciacum do teólogo francês Michel-Louis Guérard des Lauriers, o instituto ensina que, embora Francisco seja um papa devidamente eleito, a menos que retifique as mudanças doutrinárias trazidas pelo Concílio Vaticano II, ele não tem autoridade para ensinar ou governar, e é apenas papa materialiter sed non formaliter, isto é, materialmente, mas não formalmente.

História
Após o evento do Concílio Vaticano II e a nova orientação do magistério eclesiástico, o arcebispo francês Marcel Lefebvre fundou a Fraternidade Sacerdotal São Pio X (FSSPX), para preservar as tradições da Igreja Católica em oposição ao modernismo católico e às influências do Concílio. Desde então, surgiu para os católicos tradicionalistas a questão de como considerar os papas que sucederam Papa Pio XII.

Dois professores do Seminário de São Pio X em Ecône, um dos quais era o dominicano Michel-Louis Guérard des Lauriers (autor do famoso Breve exame crítico do Novus Ordo Missae , e mais tarde bispo da linha Thục), orientaram os fiéis sobre isso problema de autoridade na Igreja Católica.

Em 1979, a Fraternidade declarou intolerável que seus membros professassem a ilegitimidade de Papa João Paulo II , considerado por ela um autêntico Pontífice: posteriormente, por esse motivo, sacerdotes e seminaristas foram expulsos. A própria FSSPX, em 1984, impôs aos seus ordenados a assinatura de uma Declaração especial de fidelidade à posição da Fraternidade na qual se declarava que Papa João Paulo II é legítimo Sumo Pontífice, para rezar por ele e recusar quanto deveria desviar-se. da doutrina católica tradicional, em questões como liberdade religiosa, ecumenismo, etc. uma vez que tais reformas seriam prejudiciais à Igreja.

Seguindo a posição da FSSPX, que é o reconhecimento oficial da autoridade eclesiástica legítima com a conseqüente obrigação de desobedecer habitualmente àqueles que são considerados legítimos pontífices (isto é, os papas que apoiam o Concílio Vaticano II), em dezembro de 1985 quatro sacerdotes italianos (Dom Francesco Ricossa, Dom Giuseppe Murro, Dom Franco Munari, bispo posteriormente consagrado, e Dom Curzio Nitoglia), insatisfeitos com esta posição, deixaram a Fraternidade e colocaram-se sob a proteção da Nossa Senhora do Bom Conselho fundando o Instituto Mater Boni Consilii, primeiro em Nichelino (com seminário em Orio) e posteriormente em Verrua Savoia, ainda na província de Turim.

Em setembro de 1986 , Dom Ricossa e Dom Munari foram a Raveau ao encontro do bispo, o teólogo Mons. Michel Guérard des Lauriers e suas dúvidas foram esclarecidas compartilhando sua posição teológica sobre a situação da Igreja Católica do Concílio Vaticano II conhecida como a Tese de Cassiciacum ou Sedeprivacionismo ; esta tese afirma que a Sé Apostólica é considerada materialiter ocupada, mas formaliter vacate pelo menos desde 7 de dezembro de 1965  (data da publicação da declaração conciliar Dignitatis humanæ, sobre a liberdade religiosa). Esta tese, portanto, difere da posição da FSSPX.

Em maio de 1987 , portanto, os fundadores do IMBC redigiram uma retratação em Multa Pública da divulgação dos ensinamentos que professavam no passado quando pertenciam à FSSPX.

Consagrações
Em 16 de janeiro de 2002 em Verrua Savoia, Itália ordenou Geert Stuyver sem a aprovação papal, pelas mãos de Robert McKenna sem mandato papal. Geert Stuyver de origem flamenga e residente na Bélgica , oferece rituais e consagrações do seminário do Instituto.

Obras, objetivos e raízes do Instituto Madre do Bom Conselho
O Instituto está empenhado em dar os sacramentos e celebrar as missas de São Pio V  segundo as rubricas de São Pio X  sem mencionar o nome do papa no cânon (non una cum). O Instituto possui o seminário de San Pietro martire em Verrua Savoia para a formação de sacerdotes e religiosos, realiza periodicamente os exercícios espirituais de Santo Inácio , várias conferências, organiza peregrinações  , dedica-se à publicação, escreve periodicamente a revista Sodalitium. está presente na Itália, França, Argentina, Hungria, Holanda e na Bélgica, onde reside o bispo Geert Stuyver, que administra crismas e ordens sagradas.

Teve os bons votos e a simpatia do bispo Michel-Louis Guérard des Lauriers que aprovou o seu propósito.

Referências

Ver Também

 Catolicismo tradicionalista
 Michel-Louis Guérard des Lauriers

Instituto Madre do Bom Conselho


L100 Orbital Mass Accelerator est un projet de l'entreprise américaine SpinLaunch fondée en 2014 par Jonathan Laney. C'est un système de lancement spatial partiellement sans fusée à l'étude depuis 2015 constitué d'un accélérateur géant, une centrifugeuse électrique d'environ  de diamètre, verticale et scellée sous vide qui pourrait réduire de quatre fois la consommation de carburant et les coûts de 10 fois par rapport aux lancements de fusées traditionnels, tout en lançant plusieurs charges utiles en orbite chaque jour.

Le L100 Orbital Mass Accelerator utilise un dispositif en fibre de carbone pour éjecter un projectile à des vitesses allant jusqu'à , plusieurs fois la vitesse du son, avant de le relâcher à travers un tube de lancement en direction du ciel.

Le projet abouti est en cours de développement pour lancer des satellites pesant jusqu'à . La chambre à vide mesure  de diamètre. La société affirme que les progrès de l'électronique doivent permettre aux composants des satellites de supporter  à l'intérieur de la chambre de lancement à rotation rapide. Les tests ont prouvé que les satellites sont capables de supporter de telles conditions.

Le , la société SpinLaunch a effectué son premier vol d'essai à Spaceport America au Nouveau-Mexique en lançant avec succès un prototype de véhicule à partir de son accélérateur suborbital qui a atteint des vitesses supersoniques et a été récupéré pour être réutilisé par la suite. SpinLaunch prévoit d'effectuer d'autres vols d'essai en 2022 avec différents véhicules et à différentes vitesses de lancement. Les premiers lancements clients sont prévus fin 2024. SpinLaunch a signé un partenariat avec la NASA.

Liens externes
 Sur Futura Science
 Sur Trust My Science
 Sur CNet
 Sur Presse Citron
 Sur Science Post

Notes et références

Propulsion spatiale

L100 Orbital Mass Accelerator


Le mesem est une langue huon parlée dans la province de Morobe en Papouasie-Nouvelle-Guinée.

Écriture

Notes et références

Bibliographie

Voir aussi

Liens externes

Langue en Papouasie-Nouvelle-Guinée

Mesem


Podocarpus sprucei er sígrænt tré frá Ekvador og Perú.

Tilvísanir

Gagnviðarætt

Podocarpus sprucei


Stenbjerghav (dansk) eller Steinberghaff (tysk) er en landsby beliggende ud ved Gelting Bugt ved Flensborg Yderfjord i det nordøstlige Angel i Sydslesvig. Administrativt hører Stenbjerghav under Stenbjerg Kommune i Kreis Slesvig-Flensborg i den nordtyske delstat Slesvig-Holsten. I kirkelig henseende hører Stenbjerghav til Stenbjerg Sogn. Sognet lå i Ny Herred (Flensborg Amt, Slesvig/Sønderjylland), da området tilhørte Danmark.

Stenbjerghav er første gang nævnt 1632 (Flensborg Amts Regnsk.). Stednavnet er sammensat af Stenbjerg og -hav. Det anføres, at beboerne her ved ksysten tidligere hed strandinger. Stedet er i dag især kendt som et badested med et badehotel og en mindre lystbådehavn. I ældre tider var det et vigtigt sted for bådebyggeri.

Skibsbyggeriet
Fra 1748 til 1810 blev bygget i alt 87 skibe med tilsammen 2.876 kommercelæster. Heraf var 3 fregatter.

Litteratur
 Knud Klem: "Skibsbyggeriet i Danmark og Hertugdømmerne i 1700-årene. Om skibsbygning og handelskompagnier i den florissante periode. Bind II" (Handels- og Søfartsmuseet på Kronborg: Søhistoriske Skrifter XIV; København 1986; ; s. 206-207)
 Hans Diederichsen Rühmann: "Stenbjerghav ved Flensborg Fjord - engang storleverandør af sejlskibe" (Maritim Kontakt XVI; København 1993; ; s. 43-80)

Noter

Byer i Kreis Slesvig-Flensborg
Byer i Angel

Stenbjerghav


Auf Kuhlmannsberge ist ein Naturschutzgebiet im niedersächsischen Flecken Aerzen im Landkreis Hameln-Pyrmont.

Das Naturschutzgebiet mit dem Kennzeichen NSG HA 128 ist 7 Hektar groß. Es liegt direkt südlich des Aerzener Ortsteils Grießem innerhalb des Naturparks Weserbergland Schaumburg-Hameln und stellt einen Bereich mit Halbtrockenrasen und Trockengebüsche sowie Grünland und alten Streuobstbeständen an ost- und südostexponierten Hängen des Fleizberges unter Schutz. Das Naturschutzgebiet schützt damit Reste der früheren Bewirtschaftungsformen auf flachgründig anstehendem Kalkverwitterungsgestein im Pyrmonter Bergland.

Das Gebiet steht seit dem 5. Mai 1988 unter Naturschutz. Zuständige untere Naturschutzbehörde ist der Landkreis Hameln-Pyrmont.

Weblinks

Naturschutzgebiet im Landkreis Hameln-Pyrmont
Schutzgebiet (Umwelt- und Naturschutz) in Europa
Geographie (Aerzen)

Auf Kuhlmannsberge


Museu de História Natural de Xangai (; chinês de Xangai: Zånhae Zyzoe Pohvehguoe) é um museu voltado a ciência e história natural fundado em 1956, no Shanghai Cotton Exchange Building, uma construção no estilo clássico britânico construído em 1923, no distrito de Huangpu. Por falta de espaço para abrigar a coleção, um novo prédio para abrigar o acervo foi construído localizado no  distrito de Jing'an.

Edifício
O prédio ocupa um espaço de mais de 44.000 m2 e foi construído seis níveis. As formas arquitetônicas do edifício imitam a natureza.

Coleção
O museu tem uma coleção de 290.000 peças. A maior peça em exposição é um esqueleto de dinossauro de 140 milhões de anos, que tem mais de quatro andares de altura. O museu também tem duas múmias e vários embriões humanos

Ligações externas

Museus de história natural
Fundações na China em 1956
Museus fundados em 1956
Museus de Xangai

Museu de História Natural de Xangai


النزف  هو فقدان الدم عن طريق خروج الدم من الأوعية الدموية إلى خارج الدورة الدموية. استمرار هذه الحالة يؤدي إلى نقص في كمية الدم المتوفرة في الدورة الدموية. يقسم النزف من ناحية الموقع إلى نزف داخلي ونزف خارجي. كما يقسم النزف من ناحية كمية الدم المفقود في الوحدة الزمنية إلى نزف حاد ونزف مزمن.

إن الاستنزاف هو عملية فقدان الدم، بدرجة تؤدي إلى الوفاة. ليس من الضروري أن يفقد الشخص كل الدم بالمعنى الحرفي كي تحدث الوفاة. فتبعًا لكل من العمر والصحة ومستوى اللياقة البدنية للفرد، يمكن أن يموت الشخص إذا فقد نصف أو ثلثي دمه؛ ويعتبر فقدان ما يقرب من ثلث حجم الدم خطيرًا جدًا. ويمكن لجرح عميق أن يستلزم الخياطة ودخول المستشفى، خاصة عندما يكون مصحوبًا بـصدمة، أو اعتلال مشترك في الأوردة أو الشرايين أو أي نوع آخر من الاعتلالات. والاسم الشائع لهذه الحالة هو «النزف حتى الموت». والكلمة نفسها مأخوذة من اللاتينية: ex («فاقد») وsanguis («الدم»).

أنواع النزف
في حالة النزف يقسم النزف إلى نزف مبرر ونزف غير مبرر.

نزف مبرر هو النزف الذي له سبب واضح يبرره، وهو بالتالي لا يكشف خللاً في تخثر الدم. ومثاله النزف عند قطع اليد بسكين حاد وإصابة أحد الشرايين. بمعنى أن كون المريض ينزف هنا لا يعنى أن نظام تخثير الدم عنده فيه مشاكل مرضية. ومثاله أيضاً نزف المعدة المصابة بالقرحة، فالقرحة قد تجرح وعاءً دموياً في داخل المعدة، مما يجعل النزف مبرراً.

نزف غير مبرر هو النزف الذي يحدث بعد إصابات طفيفة، مثل خدش للجلد، أو قطع طفيف للإصبع، والذي يظهر أنه غير طبيعي (مبالغ). ومن الأمثلة أيضاً النزف الذي يحدث دون سبب على الإطلاق، كأن يبدأ النزف من الأغشية المخاطية من دون سبب ظاهر، وينزف مثلا في الجلد دون وجود إصابة تشرح هذا النزف. انظر الصورة، هنا نزف بسبب التهاب تحسسي يؤذي الأوعية الدموية والشعيرات الدموية في الجلد، فيتسبب بخروج الدم منها.

خلل في تخثر الدم وهذا النزف عادة مايدل على خلل ما في نظام تخثر الدم وله أسباب عديدة منها نقص في بعض الفيتامينات مثل فيتامين كاف، أو أمراض الكبد المتقدمة، أو بسبب العلاج الكيميائي الذي يقلل من الصفائح الدموية، وقد يكون النقص ناتجاً عن
المرض السرطاني مثل سرطان الدم الذي يوثر على عدد الصفائح الدموية، ويؤثر على عوامل التخثر.

ومن أسباب خلل تخثر الدم المرض الوراثية مرض الناعور وهناك أسباب مكتسبة، مثل تناول عقاقير مميعة للدم مثل أسبرين أو مضادات فيتامين كاف وغيرها من مميعات الدم. في هذه الحالة لابد من إعطاء مضاد دواء لإبطال مفعول هذه الأدوية وإيقاف النزف.

أسباب النزيف
تتعدد أسباب نزيف الدم فمنها أسباب مرضية مثل مرض الهيموفيليا أو نتيجة عن القيام بعمليات جراحية، وقد تكون أسباب النزيف بعض الجروح سواء الجروح السطحية أو الجروح الغائرة، ولنا أن نعلم أن الجروح الغائرة لا تنزف كميات كبيرة من الدم حيث أن الأنسجة لديها القدرة على الالتئام السطحي بسهولة لمنع خروج الدم من الجسم.

مضاعفات النزف
فقدان كميات كبيرة من الدم تتسبب بالوفاة ولكن حتى ولو تم تعويض الدم المفقود، وبالتالي انقاذ حياة المريض، فإن فقدان كميات كبيرة من الدم يسبب ارهاقاً لأنظمة التخثير والتجلط في الجسم، وبالتالي إلى الاستهلاك المفرط لعوامل التخثير، هذا سيسبب بنفسه نزفاً من جديد، مما يعني أننا ندور في حلقة مفرغة. لذا كان لابد حين التعويض عن الدم المفقود بنقل الدم، أيضاً نقل عوامل تخثير إلى المريض ونقل صفائح دموية للتعويض عن الاستهلاك المفرط لها وإلا فإن فرص إيقاف النزف ستتضاءل.

نزف داخلي
النزف الداخلي هو النزف الذي يصيب أعضاءً داخلية في جسم الإنسان، فيكون مصدر النزف لا يُرى من خارج جسم الإنسان. من الأمثلة على النزف الداخلي: نزف المعدة الذي تسببه القرحة المعوية، نزف معوي، نزف رئوي، نزف دماغي... الخ

خطورة النزف الداخلي تكمن في أنه أصعب للتعرف عليه من النزف الخارجي، وإذا ما كان هناك شك بنزف داخلي فإنه بحاجة إلى فحوصات طبية للوصول إلى موقعه، والتعرف على مصدره.

أخطار النزف الداخلي

يعتبر النزف الداخلي بسبب كونه غير مرئي أكثر خطراً على حياة المريض من النزف الخارجي الذي يقود المريض بسبب المنظر المنفر للدم إلى العلاج مباشرة. بينما النزف الداخلي يعتبر مختفياً، وبالتالي قد لا تتم ملاحظته. وخطر النزف الداخلي يعتمد على حدة النزف، فالنزف الداخلي الحاد يشكل خطراً مباشراً على حياة المريض وذلك لأنه يفقد المريض كميات من الدم الذي هو سائل الحياة الضروري. ويمكن أن ينزف المريض حتى الموت دون أن يكون ظاهراً عليه إلا في المراحل الأخيرة. وهذا مايجعل النزف الداخلي يحتاج إلى علاج طبي في مستشفى مجهز بغرف عمليات. ولا مكان لعلاج النزف الداخلي الحاد في العيادات الطبية.

كما أن النزف الدماغي يمكن أن يؤدي من خلال الضغط على خلايا الدماغ إلى الوفاة، دون أن يرافقه فقدان كميات كبيرة من الدم.

أعراض النزف الداخلي
 الوهن العام، وتغير لون الجلد (يصبح باهتاً) وتصبب العرق المرافق لهبوط في ضغط الدم كلها دلائل على نقص حاد في كمية الدم، وقد تكون أعراض نزف داخلي حاد!
 اختلاف لون البراز وتحوله إلى أسود اللون، أو اللون الغامق إذا كان من المعدة، أو الإسهال الغامق اللون إذا كان من الأمعاء، فيكون قريباً من اللون البني الغامق جداً ويميل إلى السيولة.
 القيء الأسود أو المائل إلى السواد، وهو أيضاً دلالة على نزف المعدة ونزف المريء.

السبب في تغيرّ لون الإخراجات في حالة النزف المعوي إلى الإسوداد هو في أكسدة اليحمور بفعل عصارة المعدة فيتغير لون الدم من اللون الأحمر إلى الأسود.

 فقر الدم وفقر الدم يمكن ملاحظته في جميع حالات النزف المزمنة، أما في النزف الحاد، فيظهر فقر الدم في حالة ما كان النزف مستمراً لساعات، أما النزف الحاد جداً فلا تعطي نسبة الدم أي دليل عليه، إذ أن النزف يكون أسرع من تأقلم الدم عليه!!
وفقر الدم لا يعني بالضرورة أن سببه نزفاً فهناك أسباب أخرى لفقر الدم غير النزف مثل نقص التغذية وأمراض الدم المزمنة... الخ. راجع فقر الدم
 القيء أو الغثيان، أو اختلال التوازن وفقدان الوعي، وكلها أعراض قد تدُل على النزف دماغي، وبخاصة إذا سبقها حادثٌ ما رافقه إصابة للرأس أو الجمجمة.

تشخيص النزف الداخلي
حتى يتم تشخيص النزف الداخلي لابد من معرفة الأعراض دواعي الشك في وجود النزف الداخلي أصلاً. فلو كان هناك شك في وجود نزف دماغي، فلابد من فحص المريض من قبل طبيب مباشرة، يقوم الطبيب بفحص الوظائف الدماغية، فإذا كانت نتيجة الفحص تساند الشك في وجود نزف دماغي، فإنه لابد من تصوير طبقي للجمجمة والدماغ. وإذا كان هناك شك في نزف معوي، فإنه يتم إجراء فحص مخبري للبراز والقيء، فإذا أثبت الفحص المخبري وجود الدم فلابد من إجراء تنظير داخلي علوي وسفلي للجهاز الهضمي وهكذا دواليك.

نزف خارجي
النزف الخارجي هو فقدان الدم من مكان ظاهر للعيان، وهو غالباً ما يكون بسبب جرح أو إصابة نجمت عن حادثٍ ما. وغالباً ما يرافق هذا الجرح إصابة لشريان ما، حيث أن إصابة الوريد لا تتسبب بشكل عام في نزف يذكر وذلك لأن تخثر الدم سرعان ما يوقف نزول الدم.
لذا يمكن القول أنه حتى يسمى نزول الدم بنزف خارجي، لابد في غالب الحال من إصابة شريان ما. أما نزول الدم (بعد سحب الدم من الوريد مثلاً) فمن المبالغة بمكان تسميته بنزف.

خطر النزف الخارجي
يتمثل خطر النزف الخارجي بأنه من الصعب أن يتوقف نزول الدم وفقدانه، دون تدخل خارجي، وذلك لأن ضغط الدم في الأوعية الدموية، يعيق عملية تخثر الدم، وبالتالي يستمر النزف.

علاج النزف الخارجي
علاج النزف الخارجي هو علاج الجروح، وهو يعتمد بحسب المنطقة المصابة، وحجم الإصابة.
في حالة الجرح في الأطراف: يتم تنظيف الجرح بالماء النظيف أو بالمواد المعقمة المخصصة للجروح لدقيقة واحدة فقط، ثم يتم الضغط على الجرح مباشرة بقطعة قماش نظيفة أو قطن طبي ـ في حالة توفره ـ بشكل متواصل حتى ينقطع النزف.

أخطاء شائعة
 لا تكرر مسح الجرح وإزالة الدم بشكل متواصل، إن هذا يعيق عملية تخثر الدم، إذ أن أحد شروط تخثر الدم هو وقوف الدم عن الجريان، إن عملية مسح الدم المتواصل قد تجعل من الجرح الطفيف نزفاً كبيراً! الضغط على الجرح لابد أن يكون بشكل متواصل وثابت لمدة لاتقل عن عشرة دقائق في الجروح الكبيرة.
 لا تكرر رفع قطعة القماش عن الجرح كل بضعة ثوانٍ بحجة التأكد من توقف النزف من عدمه، التزم الصبر والتأني واستمر بالضغط لعشرة دقائق مثلاً. ولا حاجة بعدها من التأكد من وقوف النزف، إذا كان الجرح لا يقطر دماً فقد توقف النزف، ثبت حينها القماش أو القطن الطبي بحسب الحاجة.
 تجنب تدليك الجرح، التدليك يساهم في النزف لا في إيقافه.
 لا تبالغ في غسيل الجرح، الماء هو أحد العوامل المساهمة في النزف، كذلك لا تمص العضو المصاب (الإصبع مثلاً) ولا تضع عليه لعاباً أو أية مواد أخرى.
 استخدم الماء النقي فقط، إذا لم يتوفر الماء النقي لا تستخدم سوائل قذرة أخرى في التنظيف، لأنه في هذه الحالة يصار إلى إضافة تلوث جديد غير الحاصل بسبب الإصابة.
 إذا توفر معقم طبي تأكد من أن المعقم مخصص لعلاج الجروح، معقمات الجلد (كالكحول الطبي مثلاً تسبب ألماً وحرقة).
 لا تربط العضو المصاب قبل الجرح لتوقف وصول الدم إليه عن طريق الأحزمة والأربطة المطاطية، لأن ذلك يؤدي إلى إيقاف وصول الأكسجين والدم إلى كامل العضو، ويساهم في حدوث التهاب للجرح المصاب. اكتفي بالضغط على المنطقة المصابة.

النزف الخارجي المستعصي
 استمر النزف الخارجي برغم الضغط عليه، فإنه قد يعني إصابة شريان مهم، أو كون الجرح في هذه الحالة معقد، هنا لابد من عرض المريض على الطبيب أو الممرض المتخصص في الحوادث. كما أن هناك جروحاً في الوجه أو الرأس لايمكن علاجها بالطريقة السابقة، في كل هذه الحالات لابد من الاستشارة الطبية.

العلاج المتقدم: يقوم هنا الطبيب المعالج، أو الممرض المختص بتضميد الجرح بطريقة محترفة، وقد يقوم بعمل غرز (قطب الجرح) وذلك لإيقاف تدفق الدم. وهذا هو الهدف الرئيسي للقطب، كما أنه يساهم في تجنب نشوء تشوهات نتيجة الجرح.

نزف حاد
هو النزف الذي يفقد خلاله المريض كمية كبيرة من الدم في وقت قصير نسبياً.

وكلما زادت كمية الدم المفقود كلما زاد الخطر على حياة المريض، ومن الأمثلة على النزف الحاد: الحوادث التي تصيب المريض وتقطع بها مسارات شريان أو أكثر، أو تلك التي تصيب المرضى الذين يتناولون مميع الدم أو أولئك الذين يعانون من أمراض تخثر الدم، حيث قد تتسبب جروح بسيطة بنزف معقد.

معالجة النزيف الحاد
معالجة النزيف الحاد تلخص بنقطتين:
 ايقاف النزيف بأسرع وقت ممكن.
 العناية المركزة بالمريض خاصة في الحالات الحرجة.

إيقاف النزيف
يعتمد إيقاف النزيف على التعرف على مصدره، النزيف الخارجي معرفة مصدره سهلة، أما النزيف الداخلي فلابد من فحوصات طبية للتعرف على مصدره، وحين التعرف على مصدر النزيف يمكن حينها جراحياً إيقاف النزيف، إما بإجراء عملية جراحية، أو بواسطة المناظير. ويعتمد العلاج على السبب، فلو كان النزيف متوزعاً من مناطق معددة في الجسم بسبب خلل في تخثر الدم فلا بد من علاج هذا الخلل بالأدوية، وتعويض عوامل التخثير في الدم.
لهذا فإن النزيف الحاد هو حالة طوارئ طبية لابد من علاجها في مستشفى مؤهل بقسم طوارئ.

العناية المركزة
ويقصد بها هنا إسناد الوظائف الحيوية للمصاب ومراقبة معطياته الطبية، مثل ضغط الدم، درجة الحرارة، نسبة الحموضة، نسبة الهيموغلوبين في الدم...الخ.

أما إسناد المريض فيكون:
 تعويض المريض عن السوائل التي يفقدها وكميات الدم المفقودة، وذلك قد يتطلب نقل الدم للمريض المصاب.
 تعويض المريض عن عوامل التخثر التي يفقدها في حالة النزف الحاد جداً، وذلك ليتمكن الدم من التخثر وبالتالي المساعدة على وقف النزف.
 يمكن في بعض الحالات الحرجة أن يُنقل المريض إلى قسم العناية المركزة لتثبيت حالته الصحية.

نزف مزمن
هو النزف البطيء الذي يُفقد المريض كميات قليلة من الدم في الوحدة الزمنية، ولكن على مدار الأيام يصير مجموع ما فقده المريض هائلاً يقضي على مقدرة الجسم على التعويض. وهذا يقود المريض إلى الإصابة بفقر الدم. وهو ما يسمى بالاستنزاف.

يكون علاج هذا النزف بالكشف عن مصدره أو سببه (راجع أسباب النزف)، وانظر أيضاً فقر الدم.
هذا النزف أو الاستنزاف نادراً ما يؤدي إلى وفاة، لكونه بطيء، ولكن المرض الكامن خلفه يمكن أن يكون خطيراً مثل السرطانات أو أمراض الكبد.

ذبح الحيوانات في صناعة اللحوم
يستخدم الاستنزاف كوسيلة من وسائل الذبح. قبل عمل قطع مميت، يمكن جعل الحيوان يفقد إحساسه بالألم بطرق عدة، ومنها استخدام ترباس لتقييد الحيوان أو الكهرباء أو المواد الكيميائية. فدون وجود وسيلة تهدئة مسبقة أو صعق أو تخدير، فإن طريقة الذبح هذه قد تسبب درجة عالية من التوتر،  على الرغم من أن هناك دراسات أخرى تتعارض مع هذه النتائج. يتم وضع ترباس تقييد الحيوان عند جمجمة الحيوان لكي يخترقها ويدمر نسيج المخ، مما يؤدي إلى عجِز الحيوان وبالتالي يمكن إجراء عملية الذبح. يتم استخدام الكهرباء غالبًا مع الخنازير والدواجن، والخراف الأليفة، في حين يتم استخدام المواد الكيميائية مع الماشية المصابة.

حينما يصبح الحيوان عاجزًا عن الحركة، يتم إدخال سكين مدببة بالكامل عبر الجلد وراء نقطة الفك تحديدًا وتحت عظام الرقبة. وعند هذه النقطة، يتم سحب السكين للأمام ويُقطع الوريد الوداجي والشريان السباتي والقصبة الهوائية. ولإتمام الذبح، ينبغي أن يتدفق الدم بحرية مع موت الحيوان في غضون دقائق قليلة. في بعض الأحيان، يتم تكرار نفس الإجراء على الجانب الآخر من الرقبة وقطع الوريد والشريان في الجانب الآخر.

بخلاف التكلفة الأولية لشراء ترباس تقييد الحيوان، فإن استخدام هذه الطريقة غير مكلف على الإطلاق؛ حيث يكون الحيوان غير قادر على الحركة طول فترة الذبح. ورغم أمان هذه الطريقة للقائم بالذبح، إلا أنها محظورة في الشريعة الإسلامية.

يلزم استخدام الذبح عن طريق الاستنزاف في تعاليم الشريعة الإسلامية، فيما يعرف باسم الذبح الحلال، كما يَحظر استخدام السكين المدببة ذات الحدين. بدلاً من ذلك، يتم استخدام سكينة ذات نهاية مربعة الشكل بحيث تكون أعرض مرتين على الأقل من رقبة الحيوان؛ فهذه السكين تساعد على أن تتم عملية الاستنزاف بشكل أسرع من استخدام السكين المدببة، حيث يتم قطع الأوعية الدموية الأربعة الكبيرة في آن واحد.

أشارت دراسة أجريت عام 1978 في جامعة هانوفر للطب البيطري إلى أن هذه الطرق التقليدية، عند استخدامها في الذبح كما هو منصوص عليها من قِبل التشريعات الدينية، حققت نتائج تدل على أن "...الشعور بالألم والمعاناة لهذه الدرجة قد ارتبط بصفة عامة بهذا النوع من الذبح..." وأن "[فقدان الوعي بالكامل]" يحدث بصفة عامة خلال وقت أقل من طريقة الذبح باستخدام ترباس التقييد."

في الإسلامية والشريعة اليهودية، يحرم استخدام ترباس تقييد الحيوان وغيرها من أساليب شلل ما قبل الذبح بصفة عامة، كما أن تناول الحيوانات التي وجدت ميتة يعتبر من أكل الجيفة والحيوانات المصعوقة التي يتم ذبحها فيما بعد تندرج تحت هذا التصنيف.

سمحت مؤخرًا مختلف جهات الأطعمة الحلال باستخدام نظام آمن ضد العطل تم تطويره حديثًا لصعق الرأس فقط باستخدام رأس مطرقة على شكل فطر «عيش الغراب» تسبب ضربة غير قاتلة، حيث ثبت إمكانية إعادة الحيوان مرة أخرى للوعي بعد هذه الصدمة.

سبب وفاة الإنسان
الاستنزاف هو سبب غير شائع نسبيًا ومثير للوفاة في البشر.

يمكن للإصابة الجرحية أن تسبب الاستنزاف إذا لم يتم إيقاف النزيف. وهذا هو السبب الأكثر شيوعًا للوفاة في ساحات المعارك. يمكن أن تتضمن الأسباب الغير ميدانية كلاً من القتل بإطلاق النار أو الطعن؛ وحوادث السيارات؛ والانتحار عن طريق قطع الشرايين، وعادةً الموجودة في الرسغ؛ والبتر الجزئي أو الكلي للأطراف بواسطة المناشير الدائرية والمناشير الجنزيرية.

يمكن أيضًا أن يتطور النزيف الداخلي عند المرضى ليصبح كارثيًا، مثل النزيف من القرحة الهضمية، أو النزيف بعد الولادة، أو النزيف الطحالي، والذي يمكن أن يسبب الاستنزاف حتى بدون نزيف خارجي. وهناك سبب آخر للاستنزاف في المجال الطبي، وهو أم الدم (تمدد الأوعية الدموية). إذا حدث انفجار لأم الدم البهرية الانشطارية خلال الطبقة الخارجية من جداره، فيمكن أن يؤدي هذا إلى النزف الهائل والاستنزاف في غضون دقائق. ويعد هذا سببًا شائعًا نسبيًا للوفاة المفاجئة غير المتوقعة للمرضى الذين يبدون بخير. كذلك، يمكن أن تسبب إصابة الكبد والكليتين والطحال نزيفًا داخليًا شديدًا، بالرغم من أن التجويف البطني يمكن أن يظهر داكنًا كما لو كان مصابًا بكدمات. وبنفس الطريقة، يمكن أن تسبب إصابة الرئتين النزيف للخارج، وبدون الملاحظة الطبية يمكن أن يملأ الدم الرئتين مسببًا الغرق، أو خلال الغشاء البلوري مسببًا الاختناق، تمامًا قبل ظهور الاستنزاف. علاوةً على ذلك، يمكن أن تتسبب الإصابة الخطيرة في تمزق الأوعية الدموية الكبرى بدون إصابة خارجية تدل على التهتك الداخلي.
ويمكن أن يعاني متعاطو الكحوليات ومرضى الكبد من الاستنزاف. كذلك، فإن الأوردة رفيعة الجدار التي تكون منخفضة الضغط الموجودة تحت الجزء الأسفل من الغشاء المخاطي للمريء المعروفة باسم الدوالي المريئية قد تتقرح أو تتمزق («متلازمة مالوري-ويز») أثناء القيء العنيف بسبب الكحول مما يؤدي إلى نزيف شديد وأحيانًا الاستنزاف. فضلاً عما سبق، يؤدي اعتلال وظائف الكبد إلى تقليل وجود عوامل التجلط (معظمها يتكون في الكبد)، مما يجعل أي تمزق للأوعية الدموية يتسبب في فقدان دم مميت.

انظر أيضًا
 تخثر الدم
 فقر دم
 صفيحة دموية
 رعاف

مراجع

وصلات خارجية
 شبكة ميدلاين
 لأفضل صحة

أساليب الانتحار
أسباب الموت
أعراض
طب نقل الدم
طوارئ طبية

نزف


El Astillero, İspanya'nın on yedi özerk bölgesinden, ülkenin kuzey sahilinde Kantabria Denizi olarak da anılan Atlas Okyanusu'nun Fransa ile İspanya arasındaki bölümüne kıyısı bulunan, Kantabria otonom bölgesine bağlı belediye. El Astillero belediyesinin nüfusu 2002 yılı nüfus sayımlarına göre 14.202 kişidir.

El Astillero


Search/Retrieve Web service (SRW) is a web service for search and retrieval.  SRW provides a SOAP interface to queries, to augment the URL interface provided by its companion protocol Search/Retrieve via URL (SRU). Queries in SRU and SRW are expressed using the Contextual Query Language (CQL).

Standards for SRW, SRU, and CQL are promulgated by the United States Library of Congress.

The SRW service and SRU protocol were both created by as part of the ZING (Z39.50 International: Next Generation) initiative as successors to the Z39.50 protocol.

Example usage

See also
 Z39.50

Implementations
refbase
RefDB
Te Ara: The Encyclopedia of New Zealand

External links
SRU: Search/Retrieve via URL
SRW: Search/Retrieve Web Service
CQL: Contextual Query Language

Web services
Library science terminology

Search/Retrieve Web Service


ඩිස්කවරි කමියුනිකේෂන්ස් යනු, සිල්වර් ස්ප්‍රිං, මේරිලන්ඩ් පාදක කොට ගෙන ඇති ජනසන්නිවේදන සමාගමකි.

ඩිස්කවරි කමියුනිකේෂන්ස්


Lorenz Karall (Veliki Borištof, 10. kolovoza 1894.  Vujbrštof, općina Matrštof, 17. ožujka 1965.), hrvatski odvjetnik i političar (Kršćansko-socijalna stranka, Domovinska fronta, Austrijska narodna stranka). Od 4. siječnja 1946. do 22. lipnja 1956. bio je predsjednik zemaljske vlade (Landeshauptmann) Gradišća.

Karall je bio član hrvatske manjine i urednik Hrvatski Novina. Od 1927. Karall je bio zastupnik za Kršćansko-socijalnu stranku u Parlamentu Gradišća; 1930. – 1934. pripadao je zemaljskoj vladi Gradišća. U razdoblju "Austrofašizma" 1934. – 1938. bio je član Državnog vijeća.

Nakon Drugog svjetskog rata priključio se Austrijskoj narodnoj stranci, od 1946. do 1956. bio je prvi izabrani (ukupno drugi) predsjednik zemaljske vlade Gradišća u Drugoj Austrijskoj Republici. 1956. napušta aktivnu politiku, 1956. – 1960. bio je prvi predsjednik zemaljskog Parlamenta Gradišća, do 1963. ostao je predsjednik (Parteiobmann) Narodne stranke Gradišća.

Vanjske poveznice
 Karall, Lorenz, austria-forum.org

Gradišćanski Hrvati
Austrijski političari

Lorenz Karall


James Springer White (poznat kao starješina White; Palmyra, 4. kolovoza 1821. – Battle Creek, 6. kolovoza 1881.), bio je suosnivač Crkve adventista sedmog dana i suprug Ellen White. Godine 1849. pokrenuo je prvi subotnji adventistički časopis pod naslovom The Present Truth, 1855. premjestio je na novo središte advenstistički pokret, u mjesto Battle Creek, u Michigan. Godine 1863. odigrao je ključnu ulogu u formalnoj organizaciji denominacije. Kasnije je odigrao veliku ulogu u razvoju adventističke obrazovne strukture počevši od 1874. s formiranjem Battle Creek Collegea.

Godine 1865. doživio je paralitički moždani udar, zbog čega se povukao iz službe i graciozno proživio ostatak svojih dana. Umro je 1881. godine u dobi od 60 godina.

Izvori

Vanjske povezice
 Životopis na www.whiteestate.org

Adventisti sedmog dana

James Springer White


Dinamička meteorologija se bavi utvrđivanjem zakonitosti atmosferskih procesa (pojava). Procese u atmosferi objašnjava zakonima fizike pomoću matematike.

Dinamika atmosfere
Zračna se masa Zemljine atmosfere neprestano giba s obzirom na površinu Zemlje. Dva su osnovna razloga gibanju zraka u atmosferi: vrtnja ili rotacija Zemljine kugle i nejednoliko zagrijavanje njene površine i atmosfere.

Zbog Zemljine vrtnje u višim slojevima atmosfere djeluju na čestice zraka Coriolisova sila i sila centrifugalnog ubrzanja, a u prizemnom sloju djeluju još i sile trenja između zračnog omotača i Zemljine površine, te između čestica zraka. Rezultat je djelovanja tih sila uglavnom vodoravno strujanje zraka. Zbog zakrivljenosti Zemljine površine i gibanja Zemlje s obzirom na Sunce, kao i nejednakog zagrijavanja podloge, ukupna se atmosfera nejednoliko zagrijava, što uzrokuje poremećaj gradijenta tlaka, pa nastaju strujanja zraka koja nastoje izjednačiti razlike tlaka.

Nadalje, strujanje zraka ne ovisi samo o silama koje djeluju u atmosferi, nego i o trenutnom stanju atmosfere. To stanje može biti barotropsko (to jest gustoća zraka je funkcija jedino tlaka), ili baroklinsko (to jest gustoća zraka ovisi, osim o tlaku, i o drugim termodinamskim uvjetima).

Zbog mnogobrojnosti i međusobnosti utjecaja čimbenika koji uzrokuju i utječu na gibanje atmosfere, mehanizam strujanja zraka u atmosferi vrlo je složen i može se samo približno opisati matematičkim izrazima.

Gibanje zraka zbog djelovanja vanjskih i unutrašnjih sila te gradijenta temperature određeno je zakonima mehanike fluida i zakonima termodinamike.

Izvori

Meteorologija

Dinamička meteorologija


Prema grčkoj mitologiji, kralj Koin Makedonski (grč. Κοῖνος, Koinos, eng. Coenus of Macedon) bio je drugi kralj drevne kraljevine Makedonije.

Prema staromakedonskom povjesničaru Marsiji (grč. Μαρσύας), čovjek zvan Knopis je došao na dvor kralja Karana, koji je bio otac Koina. Karanova supruga, kraljica Makedonije, bila je trudna s Karanom te mu je rodila sina.

Karan je sina htio nazvati imenom svoga oca – Kararon ili Kiraron. Kraljica je, pak, htjela svoje dijete nazvati po svojem ocu i izbio je sukob između nje i kralja, njenog muža.

Karan je potom pitao Knopisa za ime princa, a Knopis je rekao: "Niti jedno!" Stoga je dječak nazvan Koin(os) ("zajednički").

Koina je naslijedio sin, kralj Tirima.

Izvori

Literatura
Charles Alexander Robinson (1953). The history of Alexander the Great.
Antički makedonski vladari

Koin Makedonski


Liga Campionilor EHF Feminin 2016-17 a fost a 24-a ediție a Ligii Campionilor EHF Feminin, competiția celor mai bune cluburi de handbal feminin din Europa, organizată și supervizată de Federația Europeană de Handbal.

Repartizarea echipelor
13 echipe au fost calificate direct în faza grupelor.  Alte 12 s-au înfruntat în trei turnee de calificări, iar câștigătoarele celor trei turnee au avansat în faza grupelor. Selectarea celor 12 echipe s-a făcut după cum urmează:
campioanele Austriei, Belarusului, Croației, Italiei, Olandei, Poloniei, Slovaciei, Sloveniei, Spaniei și Turciei;
vicecampioanele Norvegiei și Germaniei, țări care au avut dreptul la două echipe participante în sezonul 2016-2017 al Ligii Campionilor, conform coeficienților EHF;

Note:
DT = Deținătoarea titlului;
(loc 1,2) = Locul ocupat de echipă în campionatul național respectiv;

Tragerile la sorți
Tragerile la sorți pentru turneele de calificare au avut loc la Viena, în Austria, iar pentru faza grupelor la Glostrup, în Danemarca.

Etapa calificărilor

12 echipe au luat parte la barajele de calificare. Ele au fost trase la sorți în trei grupe de câte patru echipe, unde au jucat o semifinală și o finală sau un meci pentru locurile 3-4. Câștigătoarele barajelor de calificare s-au calificat în faza grupelor. Tragerea la sorți a avut loc pe 29 iunie 2016, în Viena, Austria.

Turneul 1 de calificare
Turneul 1 de calificare s-a desfășurat la Drammen, în Norvegia.

Turneul 2 de calificare
Turneul 2 de calificare s-a desfășurat la San Sebastián, în Spania.

Turneul 3 de calificare
Turneul 3 de calificare s-a desfășurat la Ljubljana, în Slovenia.

Faza grupelor

Tragerea la sorți a avut loc pe 1 iulie 2016, la ora 13:00.

În fiecare grupă echipele vor juca una împotriva celeilalte după sistemul fiecare cu fiecare, în meciuri tur și retur.

Grupa A

Grupa B

Grupa C

Grupa D

Grupele principale

În această fază au avansat primele trei echipe din fiecare grupă preliminară. Fiecare echipă și-a păstrat punctele și golaverajul obținute în meciurile directe contra celorlalte echipe calificate din grupă.

În fiecare grupă principală echipele au jucat una împotriva celeilalte după sistemul fiecare cu fiecare, în meciuri tur și retur.

Echipele calificate
 FC Midtjylland Håndbold
 Team Esbjerg
 Metz Handball
 Thüringer HC
 FTC-Rail Cargo Hungaria
 Győri Audi ETO KC
 ŽRK Vardar
 ŽRK Budućnost Podgorica
 Larvik HK
 CSM București
 GK Astrahanocika
 RK Krim

Grupa 1

Grupa a 2-a

Fazele eliminatorii

În această fază au avansat primele patru echipe din fiecare grupă principală.

Sferturile de finală

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La sfârșitul partidelor a fost aleasă echipa ideală a sferturilor de finală:

Echipele calificate în Final 4
 CSM București
 ŽRK Budućnost
 ŽRK Vardar
 Győri Audi ETO KC

Final four
Jocul de pariuri sportive TIPPMIX, un produs al sponsorului principal, Loteria Națională a Ungariei (Szerencsejáték Zrt.), a dat numele ediției din 2017 a competiției, care s-a desfășurat sub titulatura oficială TIPPMIX EHF FINAL4. Tragerea la sorți pentru distribuția în cele două semifinale a avut loc pe 18 aprilie 2017, la Budapesta, de la ora locală 13:00, și a fost transmisă în direct pe canalul ehfTV, pe canalul YouTube al ehfTV și pe pagina de Facebook a Ligii Campionilor EHF. La tragerea la sorți au participat și patru handbaliste, câte una de la fiecare echipă calificată în Final4: Line Jørgensen (CSM București), Tamara Mavsar (ŽRK Vardar), Anita Görbicz (Győri Audi ETO KC) și Katarina Bulatović (ŽRK Budućnost).

Rezultatul tragerii la sorți a fost identic cu cel din sezonul trecut: CSM București a întâlnit în semifinale ŽRK Vardar, iar Győri Audi ETO KC a întâlnit ŽRK Budućnost Podgorica.

Premiile competiției

All-Star Team
Echipa ideală și celelalte premii ale ediției 2016-2017 a Ligii Campionilor au fost anunțate pe 5 mai 2017.

Alte premii
MVP:
Cel mai bun antrenor:
Cea mai bună tânără jucătoare:
Cea mai bună apărătoare:

Clasamentul marcatoarelor
Actualizat pe 7 mai 2017

Note

Legături externe

Sezoanele Ligii Campionilor EHF Feminin
2016 în handbal
2017 în handbal

Liga Campionilor EHF Feminin 2016-2017


Palmafoss Station (Palmafoss stoppested) er en tidligere jernbanestation på Hardangerbanen, der ligger i Voss kommune i Norge.

Stationen åbnede som holdeplads 1. april 1935, da banen blev taget i brug. Den blev nedgraderet til trinbræt 1. august 1958. Persontrafikken på banen blev indstillet 1. juli 1985, og 1. marts 1988 blev strækningen mellem Palmafoss og Granvin nedlagt. De nordligste 3,4 km fra Voss på Bergensbanen overlevede dog som sidespor for godstrafik.

I 2016 blev den tidligere station ombygget, da der blev etableret en beredskabsterminal. Hvis Bergensbanen af en eller anden grund skulle blive spærret, vil det være muligt at omlæsse gods mellem godstog og lastbiler her. Ombygningen omfattede etablering af en læssevej til tunge køretøjer, en ny hal til erstatning for to gamle og en total fornyelse af banen fra Voss.

Stationsbygningen blev opført i 1935 efter tegninger af NSB Arkitektkontor.

Litteratur

Eksterne henvisninger

Noter

Stationer på Hardangerbanen
Jernbanestationer i Norge uden persontrafik
Etableret i 1935
Jernbanestationer i Hordaland

Palmafoss Station


بورت أو برانس  هي عاصمة وأكبر مدينة في البلد الكاريبي هايتي، تأسست عام 1749. البنية التحتية للمدينة صممت لمعيشة نحو 50.000 نسمة في وقت يقيم بها حاليا أكثر من مليون نسمة ويزيد العدد عن مليونَي نسمة في المنطقة الكبرى للمدينة.

ينحدر أغلب سكان العاصمة من العرق الأفريقي، كذلك يلاحظ تواجد أقلية بارزة من المنحدرين من عرقية المولاتو السمر "Mulatto" والذين يديرون الكثير من النشاطات الاقتصادية في المدينة.

تنتشر العشوائيات في المدينة وخصوصا على التلال مشكلة مساحات واسعة منها، حيث تعتبر البلاد أفقر أمة في نصف الكرة الأرضية الغربي.
وبالنسبة لاقتصاد المدينة فهو يعتمد على إنتاج القهوة والسكر إضافة للصناعات التحويلية كالصابون النسيج والاسمنت.

المناخ
يظهر الجدول التالي التغييرات المناخية على مدار السنة لبورت أو برانس:

توأمة
لبورت أو برانس اتفاقيات توأمة مع كل من:
 ميامي
 مونتريال
 باتون روج

أعلام

 فرانسوا دوفالييه
 ميشال مارتيلي
 بول ماغلوار
 جان كلود دوفالييه
 ألكسندر بيتيون
 لويس يوجين روي
 ميكائيل جان
 ليزلي بمانيجات
 هادي عنابي
 جان جاك ديسالين

مراجع

أماكن ساحلية مأهولة في هايتي
أماكن مأهولة أسست في 1749
أماكن مأهولة في هايتي
الإدارة الغربية (هايتي)
بلديات هايتي
تأسيسات سنة 1749 في الإمبراطورية الاستعمارية الفرنسية
عواصم أمريكا الشمالية
عواصم دول الكاريبي
مدن موانئ في الكاريبي

بورت أو برانس