සජිවන ක්‍රමෝපායන් - Stop motion

Stop motion සජිවනය ලෙස හැදින්වෙන්නේ චලිතයක් හැගවීමට සැබෑ වස්තුන් භෞතිකමය වශයෙන් මානනය කොට එක් විටකදී එක් රාමුවක් පමණක් වන පරිදි ඡායාරැප ගත කොට නිර්මාණය කිරිමට දරන උත්සාහයයි. Stop motion සජීවිකරණයේ විවිධ ආකාර කිහිපයක්ම ඇත. සාමාන්‍යයෙන් ඒවා නම් කර ඇත්තේ සජිවිකරණයේදී යොදා ගන්නා ලද මාධ්‍ය අනුවය.

[-clay animation යොදා ගත්  clay animation දැන්වීමක්}

•	clay animation බොහෝ විටි කෙටියෙන් හදුන්වන්නේ claymation ලෙසය.  stop motion සජිවිකරණය සදහා මෙම ක්‍රමයේදි භාවිතා කරනුයේ මැටි හෝ සමාන රෑපි අාහන්‍ය ද්‍රව්‍යයකි. මැටි‍යෙන් සාදා ගන්නා පිළිරැව ඇතුලත ආමේචරයක් හෝ වයර් රාමුවක් තිබිය හැක. ඉදිරියට විස්තර ඉදිරිපත් වන puppel- animation හි මෙන්ම මෙහිදිද ආමේචරයෙන් පිළිරැවේ විවිධ ඉරියව් පාලනය කරයි. මෙම පිලිරෑ  Bruce Bick ford  චිත්‍රපටයේ පරිදි සම්පුර්ණයෙන්ම මැටියෙන් වුවද සාදා ගත හැකි. මෙසේ clay animation යොදා ගත් චිත්‍රපට වලට උදාහරණ ලෙස  The Gumby Show (us, 1957-1967), Morph shorts (එංගලන්තය-1977-2000) , Wallace and Gromu't shorts(එංගලන්තය- 1989-1995 සහ 2000?) , Jan Svankmejer's Dimensions of Dialogue (චෙකලොවේකියාව, 1982), The amation Mr. Bickford (එක්සත් ජනපදය, 1987) සහ The trap door (එංගලන්තය 1984)
•	Cutout animation යනු ද්විමාන හෝ දෙි කැබලි වැනි ද්විමාන ද්‍රව්‍ය චලනය කිරිමෙනි. උදාහරණයක් වන්නේ Terry gilliam ගේ Monty Pytheon's flying crrus (එංගලන්තය, 1969-1974) La planete sauvage (fantastic planet) (ප්‍රංශ, චෙකොලොවේකියාව, 1973) Skazka Skazok (Tale of tales) (රැසියාව, 1979)  South park (එක්සත් ජනපදය, 1997) හි නියමු වැඩසටහන
•	Silhouette animation යනු outout animation හි එක් ප්‍රබේදයකි. මෙහි චරිත දිස්වන්නේ කලු පැහැති අදුරැ සේයාවක් ලෙසය. උදාහරණ වන්නේ  The advanture of Prince Achmed (Weber Republic,1926) සහ  Princes of princesses (ප්‍රංශය, 2000)
•	Graphic animation හි යොදාගනුයේ අදිනා නොලද තුනි දෘෂ්‍ය චිත්‍රපට ද්‍රව්‍යයයන්. (ඡායාරෑප, ප්‍රවෘත්ති පත්‍ර, සගරා ආදි) මේවා රාමුවෙන් රාමුවට මානනය කරන්නේ චලිතය ඇති කිරිමටය. වෙනත් අවස්ථා වලදි චිත්‍රක නිශ්චලව පිහිටන අතර  stop-motion කැමරා චලනය කිරිමෙන් තිරයේ දිස්වෙන ක්‍රියා නිර්මාණය කර ගත හැක.
•	 model animation හෙවත් ආකෘති සජීවනය ලෙස හැදින්වෙන්නේ සජිවි ලෝකයේ අභිනයන් සමග අන්තර්ක්‍රියා ඇති කර ගනිමින් හා එහි කොටසක් වශයෙන් සැලකිය හැකි  stop-motion  සජිවන නිර්මාණයන්ය. සජීවි රංගන ශිල්පින්. දර්ශන පසුතල ආදිය සමග stop motion චරිත සහ වස්තුන් හොදින් මුසු කිරිම සදහා intercutting, matle ආවරණ, විභින්න තිරය යොදා ගනි උදාහරණ ලෙස ray harryhausen ගේ Jason and the Argonauts (1961) සහ Willis O'Brien ගේ  King kong (1933) චිත්‍රපට සැලකිය හැක.
•	Go motion  යනු model animation හි එක්තරා ප්‍රබේදයකි. මෙහිදි සාම්ප්‍රදායික  stop- motion සජිවනයේ අන්තර්ගත නොවන චිත්‍රපට රාමු අතර motion blur  ඇති කිරිමට විවිධ ක්‍රම යොදා ගනි. මෙම ක්‍රමවේදය සොයාගන්නා ලද්දේ Industrial light and magic සහ phil tippett විසින් The Wmpire strikes Back (1980) චිත්‍රපටයේ විශේෂ ආචරණ දර්ශන නිර්මාණයේදිය.
•	 object animation හෙවත් වස්තු සජිවනය යනු stop motion animal සදහා විශේෂයෙන්ම සදාගත් වස්තුන් භාවිතා නොකොට සාමාන්‍ය අජීවි වස්තුන් භාවිතයයි. උදාහරණයක් ලෙස ගත හැකි brickfilm චිත්‍රපටයේ යොදා ගනු ලැබුවේ LEGO වැනි ප්ලාස්ටික් සෙල්ලම් බේලොක්ය.
•	Pixilation හි සැබැ මිනිසුන් stop-motion චරිත ලෙස යොදා ගැනේ. මෙමගින් බොහෝ විස්මයාකාර ආචරණ ඇති කල හැක. එනම් අතුරැදහන් විම්, නැවත මතුවිම්, පොලොව හරහා ලිස්සා යා‍ම් ආදිය,  Norman mclarenගේ  Veignbours (canada, 1952) මේ සදහා එක් උදාහරණයකි.
•	 Puppet සජිවිනයේදී  mode සජිවනයට වඩා වෙනස් වන්නේ මෙහි  stop-motion රෑකඩ  (puppets) යොදා ගන්නා බැවිනි. මෙම රෑකඩ තුල ආමේචරයක් ඇති අතර එමගින් ඔවුන් නිශ්චලව තබා ගැනීම සහ යම් යම් සන්ධි වල චලනයන් සිමා කරයි. උදාහරණයක් ලෙස කිව හැක්කේ LeRoman de Ronard (The tale of the fox) (ප්‍රංශය 1937) Jiri Trnka ගේ  The night more before christmas (එක්සත් ජනපදය, 1993) සහ Robot chicken (එක්සත් ජනපදය 2005 – present)
•	 pupation යනු  George pal විසින් වැඩි දියුණු කරන ලද ක්‍රමවේදයන් යොදා ගනිමසින් නිර්මාණය කරන ලද  puppet-animated (රෑකඩ සජීවිකරණ) චිත්‍රපට පෙළකි. මෙහිදි, එක් රෑකඩයක් සියලු රාමු තුල වෙනස් කරමින් හැසිරවීම වෙනුවට වෙනස් රෑකඩ එක් එක් රාමු සදහා යොදා ගනි.

සජිවන ක්‍රමෝපායන් - Stop motion


El Castillo de Hohenwerfen es una enorme fortificación situada en un promontorio perteneciente a la montaña Hochkönig, en la ribera del río Salzach, dominando la ciudad de Werfen en Austria. Está datado en el .

Historia
La primera fortificación fue construida entre 1075 y 1078 durante la controversia de la investidura imperial, por orden del arzobispo Gebhard de Salzburgo como un baluarte estratégico. Gebhard era aliado del papa Gregorio VII y opuesto al rey Rodolfo de Rheinfelden. Había tres grandes castillos  para proteger el Arzobispado de Salzburgo de las fuerzas del rey Enrique IV: este de Hohenwerfen, la Fortaleza de Hohensalzburg en Salzburgo y el Castillo de Petersberg en Friesach (Carintia).

El arzobispo Gebhard fue expulsado en 1077 y no pudo regresar a Salzburgo hasta 1086, para morir en el Castillo de Hohenwerfen dos años más tarde.

Películas  y videojuegos

 Partes del castillo como del pueblo de Werfen fueron escenarios de la película de 1968 El desafio de las aguilas.
 Algunas partes propias del castillo se utilizaron en la película francesa Recién casados.
 Los exteriores del Castillo de Hohenwerfen se utilizaron en la miniserie El décimo reino.
 Aparece en el último episodio de la primera temporada de la serie The man in the high castle.
 Aparece en el FPS Call of Duty: Black Ops 3 como un escenario del popular modo de juego zombies, llamándose el mapa Der Eisendrache (El dragón de hierro), en el cual aparece severamente modificado, pero ciertas partes de la estructura se mantienen fiel al castillo real
Es el castillo donde se rodó la serie de TV "La tía de Frankenstein" en los años '80.

Véase también
 Castillo
 Palacio

Referencias

Galería de imágenes

Bibliografía
 Nicole Riegel: Die Bautätigkeit des Kardinals Matthäus Lang von Wellenburg (1468–1540), Münster (Westf.) 2009. ISBN 9783930454754
 Patrick Schicht, Bollwerke Gottes. Der Burgenbau der Erzbischöfe von Salzburg Wien 2010, ISBN 978-3-85161-031-4

Enlaces externos
 Sitio web oficial con información sobre el castillo

Castillos de Austria
Arquitectura de Austria del siglo XI
Edificios y estructuras del estado de Salzburgo

Castillo de Hohenwerfen


An Trisetum antarcticum in uska species han Liliopsida nga syahan ginhulagway ni Johann Reinhold Forster, ngan ginhatag han pagkayana nga asya nga ngaran ni Carl Bernhard von Trinius. An Trisetum antarcticum in nahilalakip ha genus nga Trisetum, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Trisetum

Trisetum antarcticum


Luiz Antonio de Assis Brasil (Porto Alegre, 1945) es un escritor, docente universitario y periodista brasileño.

Biografía
Nació en 1945 en Porto Alegre y pasó su infancia en Estrela, Río Grande del Sur. Con su familia retornó a su ciudad natal en 1957. Cinco años después comenzó a estudiar violonchelo.

En 1963 finalizó el Curso Clásico en el colegio jesuita Anchieta de Porto Alegre. Dos años más tarde ingresó al curso de Derecho de la Pontificia Universidad Católica de Río Grande del Sur (PUCRS) y pasó a formar parte de la Orquesta Sinfónica de Porto Alegre como violonchelista durante 15 años. Se graduó de abogado en 1970 y ejerció la profesión durante dos años. En 1975 ingresó como docente a la PUCRS e inició sus colaboraciones en la prensa con artículos históricos y literarios.

En 1976 presentó su primera novela, Um quarto de légua em quadro, en la 32.ª Feria del Libro de Porto Alegre, por la que recibió el Premio «Ilha de Laytano». También en 1976 inició su trayectoria como administrador cultural al asumir como Jefe de Sección de Actividades Artísticas en la Prefectura de Porto Alegre. En 1981 asumió la dirección del Centro Municipal de Cultura de la misma ciudad y a partir de 1983 ejerció como Director del Instituto Estatal del Libro del estado de Río Grande del Sur.

En 1984 fue becado por el Instituto Goethe en Rothenburg ob der Tauber, Baviera, Alemania. En 1985 comenzó a administrar la Oficina de Creación Literaria del Programa de Posgraduación en Letras de la PUCRS, en actividad hasta hoy, y que recibiera el Premio «Fato Literário», de RBS/Banrisul en 2005, al completar 20 años de actividades ininterrumpidas.

Publicó en 1985 As virtudes da casa, según el autor su libro con mayor carga emocional. O homem amoroso (1986) es una novela con fuerte acento autobiográfico. En Cães da província (1987) adoptó como personaje al dramaturgo José Joaquim de Campos Leão, más conocido como «Qorpo Santo», y evocó los crímenes de la Rua do Arvoredo. Por esta novela le fue otorgado el título de Doctor en Letras, el Premio Literario Nacional del Instituto Nacional del Libro de Brasil y fue designado como integrante del jurado del Instituto Nacional del Libro.

En 1988 recibió de la Cámara Municipal de Porto Alegre el Premio Érico Veríssimo por el conjunto de su obra. Videiras de cristal, que recrea la revuelta de los Muckers, fue publicado en 1990. Um castelo no pampa es una trilogía que se divide en Perversas famílias (1992 - ganador del Premio Pegaso de Literatura, en Colombia), Pedra da memória (1993) y Os senhores do século (1994).

Fue elegido patrono de la 43.ª Feria del Libro de Porto Alegre en 1997. Al año siguiente fue conferencista invitado por la Universidad Brown (Providence, Estados Unidos) y en 2000 participó del programa Distinguished Brazilian Writer in Residence, de la Universidad de Berkeley, California.

En 2001 recibió el Premio Machado de Assis de la Fundación Biblioteca Nacional por O pintor de retratos. En 2003, por A margem imóvel do rio, recibió el premio Portugal Telecom de Literatura Brasileña, el Açorianos de Literatura y fue finalista del Premio Jabuti donde recibió mención de honor.

Varios de sus trabajos han sido publicados en otros idiomas: O homem amoroso (l'Homme Amoureux, l'Harmattan, París, 2003), Les temps des Cérises, o Breviário das terras do Brasil (Bréviaire des Terres du Brésil, Francia, 2005) y Concerto campestre (Concierto Campestre, Akal, Madrid, 2003).

Música perdida (2006) obtuvo en 2007 la Copa de Literatura Brasileña y fue nominada al Premio Jabuti. En 2006 participó del programa oficial del Ministerio de Cultura de Brasil, dictando conferencias en Alemania (Tübingen, Leipzig, Berlín). En 2008 publicó Ensaios íntimos e imperfeitos, una colección de pequeños textos de carácter poético y ensayístico.

El 3 de enero de 2011 asumió la Secretaria de Estado de Cultura (Sedac) de Río Grande del Sur a solicitud del gobernador estatal Tarso Genro.

Mantiene una columna quincenal del diario Zero Hora de Porto Alegre y dicta conferencias en la Universidad de París-Sorbonne y en la Universidad de Toronto.

Adaptaciones al cine
Varias de sus obras han sido adaptadas al cine:

 Videiras de cristal, con el título de A paixão de Jacobina. (2002)
 Concerto campestre, con el mismo título. (2004)
 Um quarto de légua em quadro, con el título de Diário de um novo mundo. (2005)
 Manhã transfigurada, con el mismo título. (2008)

Obra
 Um quarto de légua em quadro (1976)
 A prole do corvo (1978)
 Bacia das almas (1981)
 Manhã transfigurada (1982)
 As virtudes da casa (1985)
 O homem amoroso (1986)
 Cães da província (1987)
 Videiras de cristal (1990)
 Perversas famílias (1992)
 Pedra da memória (1993)
 Os senhores do século (1994)
 Concerto campestre (1997)
 Anais da Província-Boi (1997)
 Breviário das terras do Brasil (1997)
 O pintor de retratos (2001)
 A margem imóvel do rio (2003)
 Música perdida (2006)
 Ensaios íntimos e imperfeitos (2008)
 Figura na sombra (2012)

Referencias

Enlaces externos
 Sitio oficial de Luiz Antonio de Assis Brasil
 Sobre la obra de Luiz Antonio de Assis Brasil

Escritores de Brasil
Novelistas de Brasil
Ensayistas de Brasil
Académicos de Brasil
Violonchelistas de Brasil
Abogados de Brasil
Escritores en portugués
Alumnado de la Pontificia Universidad Católica de Río Grande del Sur
Profesores de la Pontificia Universidad Católica de Río Grande del Sur
Nacidos en Porto Alegre

Luiz Antonio de Assis Brasil


Muhammed Bahaüddin Nakşibendi (; 1317, Kasr-ı Arifan, Buhara, Özbekistan - 1389, Kasr-ı Arifan), Nakşibendi tarîkatının isim babası, büyük mutasavvıf evliya. Şah-ı Nakşibend veya Bahaddin lakapları ile anılır. Silsileyi sadat'te Muhammed Baba Semmasi ile Seyyid Emir Külâl'ın talebesidir.

Eserleri
 Evrad
 Tuhce
 Hediyye

Ayrıca bakınız
Silsile-i saâdât

Kaynakça

Mutasavvıflar
İslam alimleri
Nakşibendi
Evliyalar
1317 doğumlular
1389 yılında ölenler
Buhara doğumlular

Muhammed Bahâeddîn


Dong Bin (; * 22. November 1988 in Hengyang) ist ein chinesischer Leichtathlet, der sich auf den Dreisprung spezialisiert hat.

Sportliche Laufbahn
Erste internationale Erfahrungen sammelte Dong Bin im Jahr 2006, als er bei den Juniorenweltmeisterschaften in Peking mit einer Weite von 15,60 m in der Qualifikation ausschied. 2009 startete er bei der Sommer-Universiade in Belgrad und belegte dort mit 16,26 m den elften Platz. 2010 siegte er dann bei den Hallenasienmeisterschaften in Teheran mit neuem Meisterschaftsrekord von 16,73 m. Im Jahr darauf belegte er bei den Asienmeisterschaften in Kōbe mit 16,36 m den fünften Platz und erreichte anschließend bei den Studentenweltspielen in Shenzhen mit 16,32 m Rang acht. 2012 verteidigte er bei den Hallenasienmeisterschaften in Hangzhou mit 17,01 m seinen Titel und wurde anschließend bei den Hallenweltmeisterschaften in Istanbul mit einem Sprung auf 16,75 m Achter. Zudem qualifizierte er sich in diesem Jahr erstmals für die Teilnahme an den Olympischen Spielen in London und klassierte sich dort mit 16,75 m im Finale auf dem zehnten Platz.

2013 verbesserte er in Nanjing den chinesischen Hallenrekord auf 17,16 m und erreichte im Sommer bei den Weltmeisterschaften in Moskau mit 16,73 m im Finale Rang neun. 2014 nahm er erstmals an den Asienspielen im südkoreanischen Incheon teil und gewann dort mit einer Weite von 16,95 m die Silbermedaille hinter seinem Landsmann Cao Shuo. 2015 belegte er bei den Asienmeisterschaften in Wuhan mit 16,65 m den vierten Platz und schied anschließend bei den Weltmeisterschaften in Peking mit 16,44 m in der Qualifikation aus. 2016 steigerte er in Nanjing seine Hallenbestleistung auf 17,41 m und stellte damit auch einen neuen Asienrekord auf. Anschließend siegte anschließend mit einer Weite von 17,33 m bei den Hallenweltmeisterschaften in Portland vor dem Deutschen Max Heß und dem Franzosen Benjamin Compaoré. Während der Freiluftsaison erreichte er Rang zwei beim Diamond League Meeting in Doha und siegte mit 17,24 m bei der World Challenge in Peking. Bei den Müller Anniversary Games wurde er Dritter und nahm im August erneut an den Olympischen Spielen in Rio de Janeiro teil und gewann dort mit neuer Bestleistung von 17,58 m im Finale die Bronzemedaille hinter den US-Amerikanern Christian Taylor und Will Claye.

2017 wurde er mit 17,27 m Dritter beim Prefontaine Classic und belegte im Jahr darauf bei den Hallenweltmeisterschaften in Birmingham mit einer Weite von 16,84 m den achten Platz.

2015 wurde Dong chinesischer Meister im Dreisprung.

Persönliche Bestleistungen
 Dreisprung: 17,58 m (−0,2 m/s), 16. August 2016 in Rio de Janeiro
 Dreisprung (Halle): 17,41 m, 29. Februar 2016 in Nanjing (Asienrekord)

Weblinks

Einzelnachweise

Dreispringer (China)
Olympiateilnehmer (China)
Teilnehmer der Olympischen Sommerspiele 2012
Teilnehmer der Olympischen Sommerspiele 2016
Teilnehmer an den Asienspielen (Volksrepublik China)
Universiadeteilnehmer (China)
Teilnehmer der Sommer-Universiade 2009
Teilnehmer der Sommer-Universiade 2011
Weltmeister (Dreisprung)
Asienmeister (Dreisprung)
Chinesischer Meister (Leichtathletik)
Chinese
Mann
Geboren 1988

Dong Bin


Nicole Oresme (;  – 11 July 1382), also known as Nicolas Oresme, Nicholas Oresme, or Nicolas d'Oresme, was a French philosopher of the later Middle Ages. He wrote influential works on economics, mathematics, physics, astrology, astronomy, philosophy, and theology; was Bishop of Lisieux, a translator, a counselor of King Charles V of France, and one of the most original thinkers of 14th-century Europe.

Life
Nicole Oresme was born  in the village of Allemagnes (today's Fleury-sur-Orne) in the vicinity of Caen, Normandy, in the diocese of Bayeux. Practically nothing is known concerning his family. The fact that Oresme attended the royally sponsored and subsidised College of Navarre, an institution for students too poor to pay their expenses while studying at the University of Paris, makes it probable that he came from a peasant family.

Oresme studied the "arts" in Paris, together with Jean Buridan (the so-called founder of the French school of natural philosophy), Albert of Saxony and perhaps Marsilius of Inghen, and there received the Magister Artium. He was already a regent master in arts by 1342, during the crisis over William of Ockham's natural philosophy.

In 1348, he was a student of theology in Paris.

In 1356, he received his doctorate and in the same year he became grand master (grand-maître) of the College of Navarre.

In 1364, he was appointed dean of the Cathedral of Rouen.  Around 1369, he began a series of translations of Aristotelian works at the request of Charles V, who granted him a pension in 1371 and, with royal support, was appointed bishop of Lisieux in 1377. In 1382, he died in Lisieux.

Scientific work

Cosmology

In his Livre du ciel et du monde Oresme discussed a range of evidence for and against the daily rotation of the Earth on its axis. From astronomical considerations, he maintained that if the Earth were moving and not the celestial spheres, all the movements that we see in the heavens that are computed by the astronomers would appear exactly the same as if the spheres were rotating around the Earth. He rejected the physical argument that if the Earth were moving the air would be left behind causing a great wind from east to west.  In his view the Earth, Water, and Air would all share the same motion.  As to the scriptural passage that speaks of the motion of the Sun, he concludes that "this passage conforms to the customary usage of popular speech" and is not to be taken literally. He also noted that it would be more economical for the small Earth to rotate on its axis than the immense sphere of the stars.  Nonetheless, he concluded that none of these arguments were conclusive and "everyone maintains, and I think myself, that the heavens do move and not the Earth."

Critiques of astrology
In his mathematical work, Oresme developed the notion of incommensurate fractions, fractions that could not be expressed as powers of one another, and made probabilistic, statistical arguments as to their relative frequency. From this, he argued that it was very probable that the length of the day and the year were incommensurate (irrational), as indeed were the periods of the motions of the moon and the planets.  From this, he noted that planetary conjunctions and oppositions would never recur in quite exactly the same way. Oresme maintained that this disproves the claims of astrologers who, thinking "they know with punctual exactness the motions, aspects, conjunctions and oppositions… [judge] rashly and erroneously about future events."

Oresme's critique of astrology in his Livre de divinacions treats it as having six parts. The first, essentially astronomy, the movements of heavenly bodies, he considers good science but not precisely knowable.
The second part deals with the influences of the heavenly bodies on earthly events at all scales. Oresme does not deny such influence, but states, in line with a commonly held opinion, that it could either be that arrangements of heavenly bodies signify events, purely symbolically, or that they actually cause such events, deterministically. Mediaevalist Chauncey Wood remarks that this major elision "makes it very difficult to determine who believed what about astrology".

The third part concerns predictiveness, covering events at three different scales: great events such as plagues, famines, floods and wars; weather, winds and storms; and medicine, with influences on the humours, the four Aristotelian fluids of the body. Oresme criticizes all of these as misdirected, though he accepts that prediction is a legitimate area of study, and argues that the effect on the weather is less well known than the effect on great events. He observes that sailors and farmers are better at predicting weather than astrologers, and specifically attacks the astrological basis of prediction, noting correctly that the zodiac has moved relative to the fixed stars (because of precession of the equinoxes) since the zodiac was first described in ancient times.
These first three parts are what Oresme considers the physical influences of the stars and planets (including sun and moon) on the earth, and while he offers critiques of them, he accepts that effects exist. The last three parts are what Oresme considers to concern (good or bad) fortune. They are interrogations, meaning asking the stars when to do things such as business deals; elections, meaning choosing the best time to do things such as getting married or fighting a war and nativities, meaning the natal astrology with birth charts that forms much of modern astrological practice. Oresme classifies interrogations and elections as "totally false" arts, but his critique of nativities is more measured. He denies that any path is predetermined by the heavenly bodies, because humans have free will, but he accepts that the heavenly bodies can influence behaviour and habitual mood, via the combination of humours in each person. Overall, Oresme's skepticism is strongly shaped by his understanding of the scope of astrology. He accepts things a modern skeptic would reject, and rejects some things — such as the knowability of planetary movements, and effects on weather — that are accepted by modern science.

Sense perception
In discussing the propagation of light and sound, Oresme adopted the common medieval doctrine of the multiplication of species, as it had been developed by optical writers such as Alhacen, Robert Grosseteste, Roger Bacon, John Pecham, and Witelo.  Oresme maintained that these species were immaterial, but corporeal (i.e., three-dimensional) entities.

Mathematics

Oresme's most important contributions to mathematics are contained in Tractatus de configurationibus qualitatum et motuum. In a quality, or accidental form, such as heat, he distinguished the intensio (the degree of heat at each point) and the extensio (as the length of the heated rod). These two terms were often replaced by latitudo and longitudo. For the sake of clarity, Oresme conceived the idea of visualizing these concepts by plane figures, approaching what we would now call rectangular coordinates. The intensity of the quality was represented by a length or latitudo proportional to the intensity erected perpendicular to the base at a given point on the base line, which represents the longitudo. Oresme proposed that the geometrical form of such a figure could be regarded as corresponding to a characteristic of the quality itself. Oresme defined a uniform quality as that which is represented by a line parallel to the longitude, and any other quality as difform. Uniformly varying qualities are represented by a straight line inclined to the axis of the longitude, while he described many cases of nonuniformly varying qualities. Oresme extended this doctrine to figures of three dimensions. He considered this analysis applicable to many different qualities such as hotness, whiteness, and sweetness. Significantly for later developments, Oresme applied this concept to the analysis of local motion where the latitudo or intensity represented the speed, the longitudo represented the time, and the area of the figure represented the distance travelled.

He shows that his method of figuring the latitude of forms is applicable to the movement of a point, on condition that the time is taken as longitude and the speed as latitude; quantity is, then, the space covered in a given time. In virtue of this transposition, the theorem of the latitudo uniformiter difformis became the law of the space traversed in case of uniformly varied motion; thus Oresme published what was taught over two centuries prior to Galileo's making it famous.  Diagrams of the velocity of an accelerating object against time in On the Latitude of Forms by Oresme have been cited to credit Oresme with the discovery of "proto bar charts".

In De configurationibus Oresme introduces the concept of curvature as a measure of departure from straightness, for circles he has the curvature as being inversely proportional to radius and attempts to extend this to other curves as a continuously varying magnitude.

Significantly, Oresme developed the first proof of the divergence of the harmonic series. His proof, requiring less advanced mathematics than current "standard" tests for divergence (for example, the integral test), begins by noting that for any n that is a power of 2, there are n/2 − 1 terms in the series between 1/(n/2) and 1/n.  Each of these terms is at least 1/n,  and since there are n/2 of them they sum to at least 1/2.  For instance, there is one term 1/2, then two terms 1/3 + 1/4 that together sum to at least 1/2, then four terms 1/5 + 1/6 + 1/7 + 1/8 that also sum to at least 1/2, and so on.  Thus the series must be greater than the series 1 + 1/2 + 1/2 + 1/2 + ..., which does not have a finite limit. This proves that the harmonic series must be divergent.  This argument shows that the sum of the first n terms grows at least as fast as . (See also Harmonic series)

Oresme was the first mathematician to prove this fact, and (after his proof was lost) it was not proven again until the 17th century by Pietro Mengoli.

He also worked on fractional powers, and the notion of probability over infinite sequences, ideas which would not be further developed for the next three and five centuries, respectively.

On local motion
Oresme, like many of his contemporaries such as John Buridan and Albert of Saxony, shaped and critiqued Aristotle's and Averroes's theories of motion to their own liking. Taking inspiration from the theories of forma fluens and fluxus formae, Oresme would suggest his own descriptions for change and motion in his commentary of Physics. Forma fluens is described by William of Ockham as "Every thing that is moved is moved by a mover," and fluxus formae as "Every motion is produced by a mover." Buridan and Albert of Saxony each subscribed to the classic interpretation of flux being an innate part of an object, but Oresme differs from his contemporaries in this aspect. Oresme agrees with fluxus formae in that motion is attributed to an object, but that an object is "set into" motion, rather than "given" motion, denying a distinction between a motionless object and an object in motion. To Oresme, an object moves, but it is not a moving object. Once an object begins movement through the three dimensions it has a new "modus rei" or "way of being," which should only be described through the perspective of the moving object, rather than a distinct point. This line of thought coincides with Oresme's challenge to the structure of the universe. Oresme's description of motion was not popular, although it was thorough. A Richard Brinkley is thought to be an inspiration for the modus-rei description, but this is uncertain.

Political thought

Oresme provided the first modern vernacular translations of Aristotle's moral works that are still extant today. Between 1371 and 1377 he translated Aristotle's Ethics, Politics and Economics (the last of which is nowadays considered to be pseudo-Aristotelian) into Middle French. He also extensively commented on these texts, thereby expressing some of his political views. Like his predecessors Albert the Great, Thomas Aquinas and Peter of Auvergne (and quite unlike Aristotle), Oresme favours monarchy as the best form of government. His criterion for good government is the common good. A king (by definition good) takes care of the common good, whereas a tyrant works for his own profit. A monarch can ensure the stability and durability of his reign by letting the people participate in government. This has rather confusingly and anachronistically been called popular sovereignty. Like Albert the Great, Thomas Aquinas, Peter of Auvergne and especially Marsilius of Padua, whom he occasionally quotes, Oresme conceives of this popular participation as rather restrictive: only the multitude of reasonable, wise and virtuous men should be allowed political participation by electing and correcting the prince, changing the law and passing judgement. Oresme, however, categorically denies the right of rebellion since it endangers the common good. Unlike earlier commentators, however, Oresme prescribes the law as superior to the king's will. It must only be changed in cases of extreme necessity. Oresme favours moderate kingship, thereby negating contemporary absolutist thought, usually promoted by adherents of Roman law. Furthermore, Oresme doesn't comply to contemporary conceptions of the French king as sacred, as promoted by Évrart de Trémaugon in his Songe du vergier or Jean Golein in his Traité du sacre. Although he heavily criticises the Church as corrupt, tyrannical and oligarchical, he never fundamentally questions its necessity for the spiritual well-being of the faithful.

It has traditionally been thought that Oresme's Aristotelian translations had a major influence on King Charles V's politics: Charles' laws concerning the line of succession and the possibility of a regency for an underage king have been accredited to Oresme, as has the election of several high-ranking officials by the king's council in the early 1370s. Oresme may have conveyed Marsilian and conciliarist thought to Jean Gerson and Christine de Pizan.

Economics
With his Treatise on the origin, nature, law, and alterations of money (De origine, natura, jure et mutationibus monetarum), one of the earliest manuscripts devoted to an economic matter, Oresme brings an interesting insight on the medieval conception of money. Oresme's viewpoints of theoretical architecture are outlined in Part 3 and 4 of his work from De moneta, which he completed between 1356 and 1360. His belief is that humans have a natural right to own property; this property belongs to the individual and community. In Part 4, Oresme provides a solution to a political problem as to how a monarch can be held accountable to put the common good before any private affairs. Though the monarchy rightfully has claims on all money given an emergency, Oresme states that any ruler that goes through this is a "Tyrant dominating slaves". Oresme was one of the first medieval theorists that did not accept the right of the monarch to have claims on all money as well as "his subjects' right to own private property."

Psychology
Oresme was known to be a well rounded psychologist. He practiced the technique of "inner senses" and studied the perception of the world. Oresme contributed to 19th and 20th century psychology in the fields of cognitive psychology, perception psychology, psychology of consciousness, and psychophysics. Oresme discovered the psychology of unconscious and came up with the theory of unconscious conclusion of perception. He developed many ideas beyond quality, quantity, categories and terms which were labeled "theory of cognition".

Posthumous reputation
Oresme's economic thought remained well regarded centuries after his death. In a 1920 Essay on Medieval Economic Teaching, Irish economist George O'Brien summed up the favorable academic consensus over Oresme's Treatise on the origin, nature, law, and alterations of money:
The merits of this work have excited the unanimous admiration of all who have studied it. Roscher says that it contains 'a theory of money, elaborated in the fourteenth century, which remains perfectly correct to-day, under the test of the principles applied in the nineteenth century, and that with a brevity, a precision, a clarity, and a simplicity of language which is a striking proof of the superior genius of its author.' According to Brants, 'the treatise of Oresme is one of the first to be devoted ex professo to an economic subject, and it expresses many ideas which are very just, more just than those which held the field for a long period after him, under the name of mercantilism, and more just than those which allowed of the reduction of money as if it were nothing more than a counter of exchange.' 'Oresme's treatise on money,' says Macleod, 'may be justly said to stand at the head of modern economic literature. This treatise laid the foundations of monetary science, which are now accepted by all sound economists.' 'Oresme's completely secular and naturalistic method of treating one of the most important problems of political economy,' says Espinas, 'is a signal of the approaching end of the Middle Ages and the dawn of the Renaissance.' Dr. Cunningham adds his tribute of praise: 'The conceptions of national wealth and national power were ruling ideas in economic matters for several centuries, and Oresme appears to be the earliest of the economic writers by whom they were explicitly adopted as the very basis of his argument…. A large number of points of economic doctrine in regard to coinage are discussed with much judgment and clearness.' Endemann alone is inclined to quarrel with the pre-eminence of Oresme; but on this question, he is in a minority of one.

Selected works in English translation
 Nicole Oresme's De visione stellarum (On seeing the stars): a critical edition of Oresme's treatise on optics and atmospheric refraction, translated by Dan Burton, (Leiden; Boston: Brill, 2007, )
 Nicole Oresme and the marvels of nature: a study of his De causis mirabilium, translated by Bert Hansen, (Toronto: Pontifical Institute of Mediaeval Studies, 1985, )
 Questiones super quatuor libros meteororum, in SC McCluskey, ed, Nicole Oresme on Light, Color and the Rainbow: An Edition and Translation, with introduction and critical notes, of Part of Book Three of his Questiones super quatuor libros meteororum (PhD dissertation, University of Wisconsin, 1974, Google Books)
 Nicole Oresme and the kinematics of circular motion: Tractatus de commensurabilitate vel incommensurabilitate motuum celi, translated by Edward Grant, (Madison: University of Wisconsin Press, 1971)
 Nicole Oresme and the medieval geometry of qualities and motions: a treatise on the uniformity and difformity of intensities known as Tractatus de configurationibus qualitatum et motuum, translated by Marshall Clagett, (Madison: University of Wisconsin Press, 1971, )
 Le Livre du ciel et du monde.  A. D. Menut and A. J. Denomy, ed. and trans. (Madison: University of Wisconsin Press, 1968, )
 De proportionibus proportionum and Ad pauca respicientes.  Edward Grant, ed. and trans. (Madison: University of Wisconsin Press, 1966, )
 The De moneta of N. Oresme, and English Mint documents, translated by C. Johnson, (London, 1956)

See also
 List of multiple discoveries
 Science in the Middle Ages
 Oresme (crater)
 List of Roman Catholic scientist-clerics

Notes

References

  (covers Oresme's monetary theory).

External links

 (SPC) MSS BH 100 COCH Volume of works by Nicole Oresme, Maffeo Vegio, and Jordanus von Osnabrück at OPenn
 .
 .
 Oresme biography
 Article on Oresme's monetary theory
 The De Moneta of Nicholas Oresme and English Mint Documents (pdf)
 Tractatus de Origine, Natura, Jure et Mutationibus Monetarum (Latin)

1320s births
1382 deaths
14th-century Normans
University of Paris alumni
14th-century French mathematicians
14th-century French philosophers
14th-century French Roman Catholic bishops
Bishops of Lisieux
Medieval French mathematicians
14th-century writers in Latin
14th-century French writers
Catholic clergy scientists
Medieval physicists
People from Calvados (department)

Nicole Oresme


Ragdoll Productions Limited, or simply Ragdoll, formerly known as Ragdoll Video Limited, is a British television production company founded in 1984 by Anne Wood, who had previously worked for Yorkshire Television and TV-am. It is located in Stratford-upon-Avon, Warwickshire, and has produced a number of children's programmes, most notably Pob's Programme, Teletubbies, Rosie and Jim, Brum, Boohbah, Tots TV, and In the Night Garden..., most of which are now owned by WildBrain.

History
Ragdoll Productions was founded in 26 July 1984 by Anne Wood, who produced shows for the ITV network. Their first show Pob's Programme, premiered on Channel 4 the next year. The company at first produced puppet-based programmes, and their mascot was originally a female rag doll that was based on one that belonged to Wood's daughter.

In 2000, Ragdoll dropped their rag doll mascot for a more simplistic logo, which is still used as of 2023, with the company also adopting its current name by that point. During that year, the company started to move away from puppet-based shows (which started with Teletubbies in 1997), by making animated cartoons. Ragdoll still produced live-action shows, but would use costumes and animatronics instead of puppets.

Ragdoll sold their programmes through The Itsy Bitsy Entertainment Company in the United States, but in October 2001, Ragdoll parted ways with the company following a failure to reach an agreement with Itsy Bitsy's majority owner, the Handleman Group. Ragdoll then started to sell their programmes on their own from then-on.

In January 2002, Teletubbies: Everywhere, a spin-off of Teletubbies, was announced to air on CBeebies within its launch window. On 14 June, a new series titled Boohbah was announced and was pre-sold to CITV and GMTV for a 2003 delivery. The show later saw an international roll-out.

At MIPTV 2005, Ragdoll announced a new series titled Blurrfect and that CITV had acquired broadcasting rights. The series would premiere in autumn 2005. By September 2005, the series was renamed Blips, and soon premiered on 29 September 2005 as part of the CITV's autumn schedule. On 13 October, Ragdoll unrevealed two new series that were pre-sold to the BBC: In the Night Garden... and Tronji, for a 2007 delivery. In October 2005, Ragdoll subsidiary The Ragdoll Foundation announced that Five's Milkshake! block had commissioned a series of six short films titled What Makes Me Happy?, which would air daily from 19 December.

In September 2006, Ragdoll formed a joint venture with BBC Worldwide called Ragdoll Worldwide, to sell and license the company's programmes outside of the UK and North America. In the Night Garden... and Tronji would be the first two programmes created as part of the venture, while existing programmes were handled by BBC Worldwide, which managed the international broadcast sales and the UK and international licensing of all Ragdoll properties (including Blips, Boohbah, Brum, Tots TV, Rosie and Jim, and Open a Door), with Ragdoll retaining all British broadcast rights. A new subsidiary, Ragdoll USA Inc., part of the new joint venture, would manage Ragdoll's distribution in North America.

In January 2013, Ragdoll opted to end their agreement with BBC Worldwide and put up Ragdoll Worldwide for sale. On 16 September, Canadian studio DHX Media (now as "WildBrain") purchased the venture from both companies for £17.4 million (or USD$24 million) The deal included the rights to Ragdoll's programming, but did not include the rights to Pob's Programme and Playbox, which were kept by Ragdoll Ltd., the owners of the Ragdoll Productions company itself.

In 2018, the company co-produced a short film with Disney UK for the Hope Works initiative, titled What Shall We Do With The Angry Monster?.

In 2021, Ragdoll formed a deal with British distribution company Cake Entertainment for them to distribute their new series, B.O.T. and the Beasties, for CBeebies.

Pre-Ragdoll productions
The following are some of Ragdoll's productions before the company was founded, accompanied by a brief description and vital statistics:

 Puzzle Party - first broadcast in 1977. Hosted by Gyles Brandreth and featuring characters Gnigel and Gnu, the show was one of Anne Wood's earliest TV shows for BBC.
 The Book Tower - first broadcast in 1979, hosted by Tom Baker and Stephen Moore.
 Ragdolly Anna - first broadcast in 1982, based on the children's books by Jean Kenward.
 Roland Rat - first broadcast in 1983.

Ragdoll's productions
All of the following shows (except Pob's Programme, Playbox, Storytime, and B.O.T. and the Beasties) are now owned by WildBrain (formerly known as "DHX Media").

The Ragdoll Shop
The Ragdoll Shop in Stratford-upon-Avon in Warwickshire was a store that consisted of themed play areas based on Ragdoll properties and an area where merchandise was sold. The store first opened in 1992, and traded until 2005, because of expansion limits and failure to find a new larger venue.

The building that formerly housed the shop is now a optometrist's practice named Dr. CP Grey's. The picture of Rosie and Jim waving can still be seen in the black window at the top of the building.

References

External links
Ragdoll's Website
History of Ragdoll

WildBrain
British animation studios
Television production companies of the United Kingdom
Mass media in Warwickshire
Mass media companies established in 1984
Companies based in Warwickshire
1984 establishments in the United Kingdom

Ragdoll Productions


Acaena exigua este o specie de plante pe cale de dispariție din familie Rosaceae, cunoscută sub numele comun de liliwai. Era endemică în Hawaii, unde erau întâlnite în insula Kauai și în vestul insulei Maui. Aceasta nu a mai fost văzută din anul 1957 și a fost considerată dispărută până în 1997, când un exemplar a fost descoperit într-o mlaștină îndepărtată din munții de pe Maui. Planta a murit în 2000, iar specia este acum considerată dispărută.

Referințe

Legături externe
USDA Plants Profile
The Nature Conservancy

Rosaceae
Flora din SUA

Acaena exigua


known in Europe and Japan as  is a 1996 platform game in the Sonic the Hedgehog series for the Sega Genesis and Sega Saturn. As Sonic the Hedgehog, the player embarks on a journey to save the Flickies, birds enslaved by Doctor Robotnik. The player must guide Sonic through a series of themed levels to collect Flickies and defeat Robotnik. Though it retains game mechanics from prior Sonic games, Sonic 3D Blast is differentiated by its 2D isometric perspective, with pre-rendered 3D models converted into sprites.

The concept for Sonic 3D Blast originated during the development of Sonic the Hedgehog 3 (1994). Most of the programming was outsourced to the British studio Traveller's Tales, as the Japanese Sonic Team staff was preoccupied with Nights into Dreams (1996). Development lasted eight months, and the team drew inspiration from Donkey Kong Country (1994) and Sonic Labyrinth (1995). Sonic 3D Blast was developed alongside the Saturn game Sonic X-treme. When X-treme was canceled, Sega commissioned a port of 3D Blast featuring improved graphics for the Saturn.

Both versions were published by Sega in November 1996, with a Windows port released the following year. Sonic 3D Blast was the final Sonic game for the Genesis, and has been re-released through Sonic compilations and digital distribution platforms. Though commercially successful, it received mixed reviews. Criticism was directed at its isometric gameplay, controls, and pace, although the visuals and soundtrack were praised. An unofficial director's cut version, featuring adjusted gameplay elements and improved controls, was released by the Genesis version's lead programmer, Jon Burton, in 2017.

Gameplay

Sonic 3D Blast is a platform game presented from an isometric perspective. Players control Sonic the Hedgehog, whose goal is to save the Flickies, collect the seven Chaos Emeralds, and defeat Doctor Robotnik and his robot army. Sonic retains most of his abilities from prior games: he can jump and spin in mid-air to defeat robots or hop on platforms, perform a spin-dash on the ground to gain speed, and collects rings as a form of health. Sonic can also collect power-ups, such as elemental shields, speed shoes, or invincibility, by breaking television monitors containing them.

The game is split into several levels called zones. Every zone has three acts: two standard levels, where the player must collect Flickies by defeating robots in order to proceed; and a boss fight against Robotnik, without any Flicky-collecting involved. In normal levels, once the player collects all five Flickies from each section of an act, Sonic is either further advanced into the act or taken to the next act. If Sonic and the following Flickies are hit by an obstacle or enemy, the Flickies and the rings Sonic collected will scatter. Each individual Flicky's color determines its behavior: blue, pink and orange Flickies make an effort to find Sonic, while green and red Flickies wander off at random; the latter even jumping about, making them harder to recollect. Sonic starts the game with four lives; if he is hit with no Flickies or rings in his possession, he will lose a life. Losing all lives results in a game over. Lives can be replenished by collecting a 1-up, and continues are obtained by collecting ten Sonic-shaped medals.

As with previous games, Sonic 3D Blast includes "special stages", in which the player collects Chaos Emeralds. Obtaining all seven Emeralds allows the player to play the final boss battle and discover the true ending of the game. To access these stages, the player must find one of Sonic's friends (either Tails or Knuckles the Echidna) hidden within a level, and stand next to them with at least 50 rings collected. Doing so allows the player to exchange the rings in order for the chance to play the game's special stage. During special stages, the camera shifts to behind Sonic as he runs down a preset path and must collect rings while avoiding obstacles that, when run into, make him lose rings. A certain number of rings need to be obtained at certain checkpoints to continue through the stage, and ultimately be able to make it to the end in order to receive a Chaos Emerald. Collecting all seven Chaos Emeralds also allows the "Final Fight" level to be played, consisting of a final boss fight and the good ending of the game.

Plot
Doctor Robotnik discovers mysterious birds called Flickies that live on an island in an alternate dimension. He learns that they can travel anywhere using large rings, so he decides to exploit them by turning them into robots to help him search for the Chaos Emeralds. Sonic arrives at the island only to discover the presence of Robotnik, and he is tasked with saving the Flickies and defeating his nemesis.

Sonic travels through the island, saving the Flickies and clashing with Robotnik in his various machines. If the player collects all the Chaos Emeralds, Sonic proceeds into a black void, where he engages in a final battle with Robotnik, who pilots a large robot. Sonic manages to destroy the robot's weapons and defeats Robotnik, freeing the Flickies. If the player fails to collect the Emeralds, Robotnik escapes with it in his possession.

Development

Sonic 3D Blast was the final Sonic the Hedgehog game produced for the 16-bit Sega Genesis, and was developed as a swan song for the system. Sega had discontinued support for the Genesis in 1995, but produced the game because games typically sell for one to two years after their platforms' discontinuation. The basic concept was conceived by members of Sonic Team during the development of Sonic the Hedgehog 3 (1994), but most of the programming was done by the British studio Traveller's Tales because Sonic Team was developing Nights into Dreams (1996) at the time. According to founder Jon Burton, Traveller's Tales had just finished developing a Toy Story game and wanted to start developing games for 32-bit systems such as the Saturn and PlayStation. Sega, impressed with their work on Toy Story and Mickey Mania, approached them with 3D Blast; as Sonic was extremely popular at the time, the concept "got their attention". In retrospect, Burton stated that he believed the game was commissioned because Sonic X-treme, in development for the Saturn at the time, was struggling, and Sega wanted to bring Sonic into the 3D era of gaming.

The game was developed from scratch in eight months, beginning in July 1995. It was originally titled Sonic Spindrift. Burton, who served as lead programmer, implemented an exception handler where, should an error occur, the game would greet the player with a secret level select screen instead of crashing; this was done so the game could easily pass Sega's approval process for publishing games. Burton also gave the game a unique full motion video intro sequence, and used compression methods to make the video fit in the 4MB cartridge and appear higher resolution. The game makes use of some pre-rendered 3D models converted into sprites. The team decided to use 3D instead of 2D because they thought "it was time for something new." Inspiration for the isometric viewpoint was drawn from Sonic Labyrinth (1995) and Super Mario RPG (1996). The item collection was influenced by the 1984 Flicky game, and the graphics were inspired by Donkey Kong Country (1994). Sonic Team provided Traveller's Tales with game, level, and character designs. Burton remembered the partnership with Sega fondly, recalling that he greatly enjoyed "making a machine do something you haven't seen it do". Towards the end of development, Traveller's Tales began to expand its scope, and Burton passed the rest of programming to his employees.

Sega also commissioned a version of the game for the Sega Saturn in case Sonic X-treme was canceled. This cancellation did indeed occur, so Sonic 3D Blast was safely released in time for Christmas 1996 in its stead. The game was ported in seven weeks, during development of the Sega Genesis version. While it does feature graphical changes, such as weather effects and higher resolution textures, the game largely plays the same as the original version. It features a higher quality opening video and improved graphics. Sonic Team filled in for development of the special stage in the Saturn version of the game, which includes polygonal graphics as opposed to sprites only. This version is also compatible with the Saturn's analog control pad. The team attempted to rework X-treme into bonus stages in the Saturn version. However, they were unable to properly transfer Sonic's model from X-treme into 3D Blast, so the feature was scrapped.

The soundtrack for the Genesis version, which features 24 tracks in total, was primarily composed by Jun Senoue and Tatsuyuki Maeda, with Masaru Setsumaru and Seirou Okamoto composing the final boss and staff roll themes respectively. The Saturn version features a different soundtrack by Richard Jacques and features a vocal ending theme titled "You're My Hero", performed by Debbie Morris. The musical styles on the soundtrack were described by Sega Saturn Magazine as both traditional Sonic music and "hardcore techno".

Release
Sonic 3D Blast was released for the Genesis in North America and Europe in November 1996. The launch coincided with the release of the Game Gear game Sonic Blast, which also features pre-rendered 3D graphics. The Saturn version of Sonic 3D Blast was released in North America later that year and in Europe in February 1997. In Japan, only the Saturn port was released, on October 14, 1999. A port of the Sega Saturn version was released for Windows in Europe on September 11, 1997, and worldwide later that year.

The Genesis version of the game is available in several Sonic-themed compilations. These include Sonic Mega Collection for the GameCube; Sonic Mega Collection Plus for the PlayStation 2, Xbox, and Windows; and Sonic's Ultimate Genesis Collection for the PlayStation 3 and Xbox 360. It was also re-released for the Wii's Virtual Console in 2007 and on Steam in 2010. In October 2022, it was released again as one of the games included on the Sega Genesis Mini 2.

Reception

Contemporary

Reception to the Genesis version of Sonic 3D Blast was generally positive upon its original release. While Dan Jevons of Mean Machines Sega was initially skeptical of the first 3D Sonic game appearing on the Genesis, he proclaimed Sonic 3D Blast to be "a legitimate addition to the Sonic series, and a smart game in its own right". He and Angus Swan of the same publication were grateful for the change in gameplay style, which they said added depth to the structure of the series formula. They additionally praised the music, controls, and sense of inertia in Sonic's movement. Ed Lomas of Computer and Video Games considered Sonic 3D Blast to be "the first essential Mega Drive game in years", and remarked that the new gameplay style would appeal to all fans of the series, as well as those who "couldn't be bothered with running right all the time". Although Art Angel of GamePro considered the levels cleverly designed, he was initially frustrated by the isometric perspective, which he felt steepened the learning curve for the controls; Dan Hsu of Electronic Gaming Monthly experienced a similar adjusting period. Shawn Smith and Sushi-X, also of Electronic Gaming Monthly, admired the size of the levels, though Hsu wished for a map due to becoming sidetracked on occasion, and found the level designs too similar. Lomas and Electronic Gaming Monthlys Crispin Boyer observed a lack of secret locations to discover in relation to previous Sonic entries, which the former felt lowered the replay value. Jevons and Swan regarded the difficulty as somewhat low for experienced gamers, with Art Angel likewise finding the game easy to beat upon mastering the controls, whereas Lomas deemed it to be harder and longer than most other Sonic titles.

The graphics were widely praised, with Lomas finding the game's rendered intro and fluid animation impressive for the console. Art Angel additionally noted that the sprites and animations never glitch regardless of the action's intensity. Smith and Hsu deemed the game the pinnacle of the Genesis's capabilities in terms of its color palette and sense of 3D. While the Mean Machines Sega reviewers and Lomas found the checkerboard floor patterns repetitive, Lomas deemed them necessary for judging difficult sections correctly. Art Angel approved of the eclectic music selection, which he described as ranging from techno pop to contemporary jazz, and the Mean Machines Sega reviewers cited the remixes for the second act of each stage as a positive point. Mike Wallis, an employee of Sega at the time, recalled in an interview that the Genesis version was successful for the company, eventually selling over 700,000 copies. Electronic Gaming Monthly named Sonic 3D Blast a runner-up for Genesis Game of the Year (behind Vectorman 2).

Reception to the Saturn version was mixed. Though Lee Nutter of Sega Saturn Magazine compared the gameplay unfavorably to previous Sonic games, he found it had a great deal of fun to offer and praised it as being more challenging than any previous Sonic game. GameSpot's Jeff Gerstmann appreciated this version's superior handling of certain animations. Entertainment Weekly, however, noted the game's unusually similar presentation on two platforms with differing expectations, claiming that "while 3D Blast is super by 16-bit standards, it falls flat on Sega Saturn, where 32-bit games with far more sophisticated 3-D graphics and gameplay are the norm." Smith and Hsu of Electronic Gaming Monthly agreed that the Saturn version is overly similar to the Genesis version, though Hsu added, "that's a compliment to the Genesis, not a rip on the Saturn". Hsu and Boyer both also said that the game's controls are considerably improved with the Saturn's analog controller, though Sushi-X found it of little help. The Saturn version was also a commercial success and was one of the system's better-selling games, according to Wallis.

The staff of GameSpot saw the PC version as similar to the others, but pointed out some slowdown effects while the camera scrolled, attributing these to its wide colour palette.

Retrospective

Critical opinions of the game have lessened over time. Reviewers generally disapproved of Sonic 3D Blasts gameplay style, some finding its isometric perspective limiting. Lucas M. Thomas of IGN lamented that "the sense of speed and intense action that Sonic's name was built on is absent here, replaced by, essentially, a looping, lazy fetchquest". Austin Shau of GameSpot echoed this concern, calling the gameplay "an exercise in tedium". Besides the game's goals, Shau and Thomas criticized the controls, particularly in the area of Sonic's overly slow-paced movement and slippery deceleration. Thomas did admit that the game "has its moments" of quick-footed vigor, but characterized these as few and far between, and Shau summarized that, while not unsalvageable in isolation, the game's elements violently clashed and customers would be "spending 800 Wii points for a vat of oil and water". Damien McFerran of Nintendo Life stated that its repetition was broken only by its boss battles and special stages, the latter of which Shau wrote off as "childishly easy". However, reflecting on its complaints years earlier upon the game's inclusion in Sonic Mega Collection Plus, Jeremy Parish of 1UP.com called the game "much better than you might be led to believe". Brett Alan Weiss of AllGame voiced a similar opinion, feeling it was a "nice departure" from the style of the side-scrolling Sonic games.

Reviewers remained positive about the game's presentation. McFerran greatly enjoyed the game's visuals and welcomed the graphical improvements of the Saturn version: "the CGI visuals are stunning considering the hardware, the animation is excellent and the level design is colourful and varied". Thomas praised the game's "valiant" pre-rendered graphics, especially taking its limited hardware into account. Shau stated that the graphics and sound were the only areas in which the game bore a welcome resemblance to its Genesis predecessors, and particularly appreciated the return of the ring-scattering sound effect and similar music. Z-Roc of Game Revolution praised the rounded, cartoon-like graphics, referring to them as "some of the sharpest graphics we have ever seen." Weiss wrote that the visuals, though not an improvement from other games artistically, were well-produced and high-quality. Thomas gave the music a subscore of 7.5/10, the highest of any element of the game, and noted that its themes would be memorable to players.

Some journalists have called Sonic 3D Blast one of the worst games in the Sonic franchise. USgamer and Complex wrote that the game did not feel like a true Sonic game, the latter exclaiming it was "offensive" to call it 3D. PC Gamer described it as "the first sign that Sonic in 3D was just plain not going to work". The game is remembered as a black sheep in the franchise.

Legacy
Archie Comics published a comic book adaptation of Sonic 3D Blast for a 48-page special in December 1996, written by Mike Gallagher. A loose adaptation of the game also appeared in issues 104 through 106 (May through July 1997) of Sonic the Comic.

Senoue re-arranged two of his musical pieces from the Genesis version for Sonic Adventure (1998), saying he wanted the Japanese market to hear them as the Genesis version was not released in Japan. He also used a cut theme as the boss theme in Sonic the Hedgehog 4: Episode I.

After Sonic 3D Blast, Traveller's Tales and Sonic Team collaborated again on the Saturn racing game Sonic R (1997). Sonic 3D Blast was one of Traveller's Tales earliest games; the studio later became known for their work on video games based on the Lego toy line, through which it would revisit the Sonic franchise as part of the 2015 crossover game Lego Dimensions. In 2017, Burton released an unofficial director's cut patch for the Mega Drive version of Sonic 3D Blast, with improved controls and additions such as a level editor, a password save system, time attack challenges, and the ability to transform into Super Sonic.

Notes

References

External links
Official website (archived)
Official Saturn website

1996 video games
Platformers
Sega Genesis games
Sega Saturn games
Sega video games
Single-player video games
Sonic the Hedgehog video games
Traveller's Tales games
Video games developed in the United Kingdom
Video games scored by Jun Senoue
Video games scored by Tatsuyuki Maeda
Video games scored by Masaru Setsumaru
Video games scored by Richard Jacques
Video games set on fictional islands
Video games with isometric graphics
Video games with pre-rendered 3D graphics
Virtual Console games
Windows games
Video games developed in Japan

Sonic 3D Blast


Ekaterina Valeryevna Makarova (rusă: Екатери́на Вале́рьевна Мака́рова; n. 7 iunie 1988) este o jucătoare profesionistă de tenis din Rusia. A câștigat 3 turnee de Grand Slam, două la dublu alături de Elena Vesnina și unul la dublu mixt alături de Bruno Soares. În 2008 a reușit să câștige alături de echipa Rusiei Fed Cup.

Grand Slam

Dublu: 4 finale (2 titluri; 2 înfrângeri)

Dublu mixt: 2 finale (1 titlu; 1 înfrângere)

Referințe

Nașteri în 1988
Nașteri pe 7 iunie
Jucătoare de tenis ruse
Ruși în viață

Ekaterina Makarova


Naohiko Minobe (født 12. juli 1965) er en tidligere japansk fodboldspiller og træner.

Han har spillet for flere forskellige klubber i sin karriere, herunder Gamba Osaka og Kyoto Purple Sanga.

Han har tidligere trænet Kyoto Sanga FC, Tokushima Vortis og AC Nagano Parceiro.

Eksterne henvisninger

Fodboldspillere fra Japan
Fodboldtrænere fra Japan

Naohiko Minobe


Alonzo Church (14 Haziran 1903 - 11 Ağustos 1995), matematiksel mantığa ve teorik bilgisayar biliminin temellerine büyük katkılarda bulunan Amerikalı bir matematikçi ve mantıkçıydı. En çok, Entscheidungsproblem, Frege-Church ontolojisi ve Church-Rosser teoreminin çözülemezliğini kanıtlayan lambda kalkülüs, Church-Turing tezi ile tanınır. Ayrıca dil felsefesi üzerinde çalıştı (bkz. Church 1970).

Hayatı
Alonzo Church, 14 Haziran 1903'te, babası Samuel Robbins Church'un Columbia Bölgesi Belediye Mahkemesi yargıcı olduğu Washington, DC'de doğdu. Aile daha sonra, babasının görme yetersizliği nedeniyle bu pozisyonunu kaybetmesinin ardından Virginia'ya taşındı. Aynı zamanda Alonzo Church ile aynı isme sahip olan amcasının da yardımıyla, Ridgefield, Connecticut'deki özel Ridgefield Erkek Okulu'na katıldı. 1920'de Ridgefield'den mezun olduktan sonra Church, istisnai bir öğrenci olduğu Princeton Üniversitesi'ne girdi. Lorentz dönüşümleri üzerine ilk makalesini yayınladı ve 1924'te matematik diplomasıyla mezun oldu. Yüksek lisans çalışması için Princeton'da kaldı ve Oswald Veblen yönetiminde üç yıl içinde matematikte doktora derecesi aldı.

1925'te Mary Julia Kuczinski ile evlendi. Çiftin üç çocuğu vardı: Alonzo Church, Jr. (1929), Mary Ann (1933) ve Mildred (1938).

Doktora derecesini aldıktan sonra, kısa bir süre Chicago Üniversitesi'nde öğretim görevlisi olarak ders verdi. 1927-1928'de Harvard Üniversitesi'ne, ertesi yıl Göttingen Üniversitesi ve Amsterdam Üniversitesi'ne katılmasını sağlayan iki yıllık Ulusal Araştırma Bursu aldı.

1929-1967 yılları arasında yaklaşık kırk yıl boyunca Princeton'da felsefe ve matematik öğretmenliği yaptı. 1967–1990 yılları arasında Los Angeles, Kaliforniya Üniversitesi'nde öğretmenlik yaptı. 1962'de Stockholm'de ICM'de Genel Konuşmacı olarak görev yaptı.

Şerefine düzenlenen ve John Corcoran tarafından organize edilen uluslararası bir sempozyumla bağlantılı olarak, 1969'da Case Western Reserve Üniversitesi'nden, 1985'te Princeton Üniversitesi'nden ve Buffalo Üniversitesi, New York Eyalet Üniversitesi'nden onursal Doktora derecesi aldı.

Son derece dindar bir kişi olan Church, Presbiteryen kilisesinin ömür boyu üyesidir. 1995'te öldü ve Princeton Mezarlığı'na gömüldü.

Matematiksel çalışmaları
Church aşağıdaki önemli başarılarla tanınır:

 Birinci dereceden matematiksel bir teoride keyfi önermelerin doğruluğunu belirlemek için bir karar prosedürü talep eden Entscheidungsproblem'in karar verilemez olduğunun kanıtı. Bu, Church teoremi olarak bilinir.
 Peano aritmetiğinin karar verilemez olduğunun kanıtı.
 Church-Turing tezi olarak bilinen şeyi dile getirmesi.
 Journal of Symbolic Logic'in kurucu editörüydü ve gözden geçirme bölümünü 1979'a kadar düzenledi.
 Lamda kalkülüsü icat etti.

Lambda kalkülüs, Entscheidung probleminin çözülemezliğini gösteren 1936 tarihli makalesinde ortaya çıktı. Bu sonuç, Alan Turing'in mekanik yollarla çözülemeyen bir problemin varlığını da gösteren Sonlanma problemi üzerine çalışmasından önce geldi. Church ve Turing daha sonra Turing'in sonlandırma probleminde kullanılan lambda kalkülüs ve Turing makinesinin yetenekler açısından eşdeğer olduğunu gösterdi ve ardından çeşitli alternatif "hesaplama için mekanik işlemler" gösterdi. Bu Church-Turing tezi ile sonuçlandı.

Spesifikasyonlardan otomatik olarak bir denetleyici uygulaması oluşturma çabaları onun fikirlerinden kaynaklanmaktadır.

Lambda kalkülüs, genel olarak LISP programlama dilinin ve fonksiyonel programlama dillerinin tasarımını etkiledi. Church kodlaması onun onuruna verilmiştir.

Onun onuruna, Alonzo Church Mantık ve Hesaplamaya Olağanüstü Katkılar Ödülü, 2015 yılında, Hesaplama Makineleri Derneği Mantık ve Hesaplama Özel İlgi Grubu (ACM SIGLOG), Avrupa Teorik Bilgisayar Bilimi Derneği (EATCS), Avrupa Birliği Bilgisayar Bilimleri Mantığı (EACSL) ve Kurt Gödel Derneği (KGS) tarafından kurulmuştur. Ödül, son 25 yıl içinde yayınlanan alana olağanüstü bir katkı sağlamak içindir ve Turing Ödülü, Paris Kanellakis Ödülü veya Gödel Ödülü gibi başka bir büyük ödülle henüz tanınmamış olmalıdır.

Felsefi çalışmaları

Öğrencileri
Church'in doktora öğrencilerinin çoğu, aralarında C. Anthony Anderson, Peter B. Andrews, George A. Barnard, David Berlinski, William W. Boone, Martin Davis, Alfred L. Foster, Leon Henkin, John G. Kemeny, Stephen C. Kleene, Simon B. Kochen, Maurice L'Abbé, Isaac Malitz, Gary R. Mar, Michael O. Rabin, Nicholas Rescher, Hartley Rogers, Jr., J. Barkley Rosser, Dana Scott, Raymond Smullyan ve Alan Turing. Church'un öğrencilerinin daha eksiksiz bir listesi Matematik Şecere Projesi  aracılığıyla edinilebilir.

Kitapları
 Alonzo Church, Introduction to Mathematical Logic (Matematiksel Mantığa Giriş) ()
 Alonzo Church, The Calculi of Lambda-Conversion ()
 Alonzo Church, A Bibliography of Symbolic Logic, 1666–1935 (Sembolik Mantığın Bir Bibliyografyası, 1666–1935) ()
 C. Anthony Anderson and Michael Zelëny, (eds.), Logic, Meaning and Computation: Essays in Memory of Alonzo Church (Mantık, Anlam ve Hesaplama: Alonzo Church Anısına Yazılar) ()

Ayrıca bakınız
 Church-Turing-Deutsch ilkesi
 Daha yüksek mertebeden mantık
 Bilgisayar bilimindeki öncüler listesi
 Modern Platonculuk
 Evrensel küme

Notlar

Kaynakça
 Enderton, Herbert B., Alonzo Church: Life and Work. Introduction to the Collected Works of Alonzo Church, MIT Press, not yet published.
 Enderton, Herbert B., In memoriam: Alonzo Church , The Bulletin of Symbolic Logic, vol. 1, no. 4 (Dec. 1995), pp. 486–488.
 Wade, Nicholas, Alonzo Church, 92, Theorist of the Limits of Mathematics  (obituary), The New York Times, September 5, 1995, p. B6.
 Hodges, Wilfred, Obituary: Alonzo Church , The Independent (London), September 14, 1995.
 Alonzo Church interviewed by William Aspray on 17 May 1984. The Princeton Mathematics Community in the 1930s: An Oral-History Project, transcript number 5.
 Rota, Gian-Carlo, Fine Hall in its golden age: Remembrances of Princeton in the early fifties . In A Century of Mathematics in America, Part II, edited by Peter Duren, AMS History of Mathematics, vol 2, American Mathematical Society, 1989, pp. 223–226. Also available  here.

Dış bağlantılar

 Princeton University Library, Manuscripts Division, The Alonzo Church Papers, 1924–1995: finding aid. (Princeton Üniversitesi Kütüphanesi, El Yazmaları Bölümü Alonzo Church Makaleleri, 1924–1995)
 A bibliography of Church's reviews for The Journal of Symbolic Logic, with a link to each  (The Journal of Symbolic Logic dergisi için Church'un incelemelerinin her birine bağlantı içeren bir kaynakça)

Alonzo Church, 92, Theorist Of the Limits of Mathematics  New York Times obituary (Alonzo Church, 92, Matematiğin Sınırları Teorisyeni New York Times ölüm ilanı)
OBITUARY: Alonzo Church  from The Independent
In memoriam: Alonzo Church (1903–1995)  by Irving H. Anellis, Modern Logic Vol. 5, No. 4 (1995).
In memoriam: Alonzo Church 1903–1995  by H. B. Enderton, The Bulletin of Symbolic Logic Vol. 1, No.5 (1995).

1903 doğumlular
1995 yılında ölenler
20. yüzyıl Amerikalı filozofları
20. yüzyıl Amerikalı matematikçileri
Amerikalı Presbiteryenler
Amerikalı mantıkçılar
Harvard Üniversitesinde öğrenim görenler
Kaliforniya Üniversitesi, Los Angeles öğretim üyeleri
New Jersey'de defnedilenler
Princeton Mezarlığı'na defnedilenler
Princeton Üniversitesi öğretim üyeleri
Princeton Üniversitesinde öğrenim görenler
Resim aranan kişiler
Washington (eyalet) doğumlu bilim insanları

Alonzo Church


O besouro-das-rosas (nome científico: Cetonia aurata), também denominado por besouro-dourado ou besouro-bronze, é uma espécie de besouro escarabionídeos pertencente à família dos cetonídeos, que inclui os besouros conhecidos popularmente como carochas. Com distribuição no paleoártico, são encontrados desde sul ao centro da Europa e, na parte mais ao sul do Reino Unido. Se tratam de uma espécie detritívora saprófaga benéfica. Esta espécie recebe esse nome devido aos hábitos alimentares de seus representantes, que se alimentam de néctar, pólen e flores, especialmente de rosas. Sua aparência se trata de um besouro de coloração estruturalmente esverdeada e metálica, além de um escutelo distinguivelmente triangular, em formato de V. O escutelo se caracteriza como uma área entre os élitros; esta pode apresentar várias linhas e marcações brancas, pequenas e irregulares. O lado inferior deste besouro possui uma tonalidade acobreada, enquanto a parte superior é, às vezes, bronzeado, acobreado, violeta, azul ou preto, ou cinzento.

Cetonia aurata não deverá ser confundido com sua contraparte norte-americana Macrodactylus subspinosus, nem com o raramente observado escaravelho-nobre, Gnorimus nobilis, este que se assemelha intrissecamente ao besouro-das-rosas. Uma das maneiras principais de identificar um Cetonia aurata se dá pela observação do escutelo, que no escaravelho-nobre possui o formato de um triângulo equilátero, ou seja, que possui todos os seus lados idênticos em comprimento, ao que no besouro-das-rosas aparenta um triângulo isósceles, possuindo apenas dois de seus três lados iguais.

Descrição

Os besouros-das-rosas são coleópteros polífagos escarabioídeos de em torno de 20 milímetros de comprimento, de coloração verde-metálica na maioria de seu corpo, com uma coloração mais bronzeada a enegrecida nas partes superiores, ao que se exibe mais bronzeado nas partes inferiores. Os besouros-das-rosas são capacitados de voo rápido, se erguendo com seus élitros voltados para baixo. Sua alimentação consiste de pólen, néctar e flores, principalmente de rosídeas. Estes podem ser encontrados nas rosas em dias mais quentes e ensolarados, começando em maio, até junho ou julho e, ocasionalmente, em setembro, embora sejam conhecidas observações em outubro. Tais coleópteros se distribuem geograficamente de maneira quase exclusiva nas partes austrais e centrais do continente europeu, assim como na parte mais ao sul do Reino Unido, onde, em algumas datas, parecem estar muito mais concentrados. Estes também podem ser observados no sul da Ásia Oriental, nas localidades mais interiores e nas ilhas periféricas de Hongue Congue. Se trata de uma espécie beneficamente saprófaga (detritívora).

Ciclo de vida
Durante seu estágio de larva, estes se caracterizam por uma estrutura corporal em formato de C, com um corpo esbranquiçado firme, enrugado e peludo, adicionado de pés pequenos. Os imaturos realizam invernagem independentemente do lugar onde se alimentam, que pode ser em compostos, esterco, matéria orgânica de folhagens, ou partes de madeira em decomposição. Estas larvas crescem rapidamente e terão realizado a muda duas vezes antes do final do outono. Possuem uma expectativa de vida que se estende aos dois anos de idade. Realizam a pupação em junho ou julho. Alguns besouros que ao atingir a maturidade sexual podem emergir somente no outono, porém sua emergência ocorrerá principalmente na primavera, período no qual ocorre a reprodução destes besouros. Após o acasalamento, as fêmeas dos besouros irão colocar os ovos em matéria orgânica em decomposição, antes de morrer.

Coloração
A coloração metálica esverdeada apresentada por estes besouros se cria estruturalmente, sendo causada ao refletir uma luz polarizada, em sua maioria, circularmente; que na maioria dos escarabídeos este é circularmente polarizado em seu lado esquerdo. Como resultado, quando visto através de um polarizador circular à direita, o besouro parece incolor. Existem também cores diferentes além do verde comum; há também cobre, cinza e preto. Muitos espécimes exibem manchas brancas, enquanto alguns têm pouquíssimas ou nenhuma. Foi descrito como um polarizador elíptico de banda estreita à esquerda.

Subespécies
São reconhecidas as seguintes sete subespécies:

 Cetonia aurata aurata
 Cetonia aurata pallida
 Cetonia aurata pisana
 Cetonia aurata jingkelii
 Cetonia aurata pokornyi
 Cetonia aurata sicula
 Cetonia aurata viridiventris

Ver também

 Besouro (desambiguação)
 Escaravelho

Ligações externas

 Fotografias  e outros

 , um vídeo de 23 segundos publicado no YouTube demonstrando a variação na coloração brilhante do besouro

Coleópteros descritos em 1761
Espécies descritas por Lineu
Cetonia
Cetoniidae
Coleópteros da Europa
Coleópteros da Ásia
Scarabaeoidea

Cetonia aurata


Big Sandy Creek peut désigner :
 la Big Sandy Creek, un affluent de l'Arkansas, dans le Colorado ;
 la Big Sandy Creek, un affluent de l'Illinois, dans l'Illinois ;
 la Big Sandy Creek, un affluent de la Milk, dans le Montana ;
 la Big Sandy Creek, un affluent de la Sabine, au Texas ;
 la Big Sandy Creek, un affluent de la Trinity, au Texas ;
 la Big Sandy Creek, un affluent de la Village Creek, au Texas ;
 la Big Sandy Creek, un affluent de la Cheat, en Virginie-Occidentale ;
 la Big Sandy Creek, un affluent de la Green River, dans le Wyoming.

Voir aussi

Big Sandy Creek


Tales from the Thousand Lakes drugi je studijski album finskog heavy metal sastava Amorphis. Album je 12. srpnja 1994. godine objavila diskografska kuća Relapse Records.

Snimanje i objava
Tales from the Thousand Lakes bio je sniman tijekom rujna 1993. godine u studiju Sunlight Studio u Stockholmu, Švedskoj. Na ovom su Amorphisovom albumu prvi put bili predstavljeni čisti vokali koje je izveo gostujući glazbenik Ville Tuomi. Nakon snimanja albuma Tuomi je nastupio s grupom na nekoliko koncerata. Kasper Mårtenson bio je prvi klavijaturist u povijesti skupine te je skladao sve klavijaturističke dionice na albumu. Napustio ju je ubrzo nakon objave albuma.

Tales from the Thousand Lakes objavile su 12. srpnja 1994. diskografske kuće Relapse Records (u SAD-u), Nuclear Blast (u Europi) i Spinefarm Records (u Finskoj). Nuclear Blast je također 1. rujna 1994. objavio album u vinilnoj inačici. Singl "Black Winter Day" izvorno je trebao biti objavljen prije samog albuma, no objava je bila odgođena, pa je stoga bio objavljen tek 1. studenog 1994.

Glazbeni stil i tekstovi
Na ovom albumu Amorphis spaja žanrove death i doom metala s elementima narodne glazbe. Grupa je postala poznata kao jedan od prvih death metal sastava koji se počeo služiti čistim vokalima, sintesajzerom i klavirom. Neki su kritičari izjavili kako je upotreba takve vrste vokala bila "neprikladna", no drugi su pak komentirali kako album čini "savršeni spoj čistih i death metal vokala".

Tales from the Thousand Lakes konceptualni je album; tekstovi pjesama utemljeni su na finskom nacionalnom epu, Kalevali.

Popis pjesama

Recenzije
Tales from the Thousand Lakes mnogi kritičari smatraju najboljim i najvažnijim Amorphisovim albumom. Obožavateljska stranica Thousand Tales - The Gathering o albumu je komentirala: "[...] Amorphis je objavio Tales from the Thousand Lakes, jednu od velikih prekretnica u žanru death metala. Smatra se kako je ovaj kultni album jedan od prvih melodičnih death metal albuma koji je izašao puno prije nego što se razvila göteborška glazbena scena".

Jason Anderson, glazbeni kritičar sa stranice AllMusic, dodijelio je albumu četiri od pet zvjezdica te je komentirao: "Hrabriji od The Karelian Isthmusa te konceptualno nadmoćniji kasnijim pokušajima u progresivnom a opet radijski orijentiranom metalu iz 1990-ih, Tales from the Thousand Lakes baš bi mogao biti Amorphisov najbolji album. Ovaj je album žestok, ali ipak nikad ne pada u isprazne ekstreme tipične za žanr melodičnog death metala. Gitare i bubnjevi u obilatoj su ponudi te rijetka pozornost aranžmanu i produkciji stvarno čini ovaj CD posebnim. Grleni vokalni rad nije za svakog obožavatelja metala, ali neo-prog instrumentalne dionice i općenita žestina trebale bi impresionirati one koji se gnušaju grlenih ispada. U mogućem pokušaju da se poveća pristupačnost sastava, Tomi Koivusaari kratko pjeva, što zapravo i ne uspijeva. Ovi su trenutci zbunjenosti međutim kratkotrajni te se ne bi reklo da oštećuju ovo glazbeno izdanje. Suptilno dodavanje klavijatura lijep je detalj -- Amorphisova očaranost tim instrumentom u budućnosti će ublažiti kasnije albume. Stoga, iako je Tales from the Thousand Lakes najavio prijelaz ka kasnijim, inferiornijim albumima, novo i staro precizno je uravnoteženo na ovom Relapseovom albumu iz 1994."

Ville Lamminaho, član finskog death metal sastava Noumena, izjavio je kako je Tales from the Thousand Lakes "jedan od najboljih albuma svih vremena koji je definirao cijeli žanr". Godine 2001., nakon što se nekoliko Amorphisovih albuma našlo na finskim ljestvicama top 10 albuma, Tomi Koivusaari u intervjuu je izjavio da je "The Tales ... bio prodan u više primjeraka nego bilo koji drugi Amorphisov album". Album je širom svijeta do 2002. godine bio prodan u više od 250.000 primjeraka.

Osoblje

Amorphis
Tomi Koivusaari – vokali, ritam gitara
Esa Holopainen – solo gitara
Olli-Pekka Laine – bas-gitara
Jan Rechberger – bubnjevi
Kasper Mårtenson – klavijature, Moog orgulje
Dodatni glazbenici
Ville Tuomi – vokali

Ostalo osoblje
Sjlvain Bellemare – naslovnica
Dangerous Dave Shirk – mastering
Inna Aarniala – fotografija
John Vihervä – fotografija
Darius Ramazani – fotografija
Tomas Skogsberg – produkcija, inženjer zvuka
Matthew Jacobson – izvršna produkcija
Bill Yurkiewicz – izvršna produkcija

Izvori

Albumi iz 1994.
Albumi sastava Amorphis

Tales from the Thousand Lakes


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පේරුව නමින් හැඳින්වෙන ප්‍රාන්ත-මට්ටමෙහි ප්‍රභින්න පරිපාලන කොට්ඨාශ පහක් වෙතින් නිව්යෝර්ක් නගරය සමන්විත වෙයි: මෑන්හැට්න්, ද බ්‍රොන්ක්ස්, ක්වීන්ස්, බෲක්ලීන්, සහ ස්ටෑට්න් අයිලන්ඩ්.

නිව්යෝර්ක් නගරයෙහි පේරුව


Eulenbach ist der Name folgender Ortschaften:
 Eulenbach (Gemeinde Vitis), Ortschaft und Katastralgemeinde in der Marktgemeinde Vitis, Bezirk Waidhofen an der Thaya, Österreich

Eulenbach ist der Name folgender Fließgewässer:
 Eulenbach (Aspeler Bach), rechter Zufluss des Aspeler Bachs (zur Mosel) nah dem Arkenwälderhof, Ortsgemeinde Niederfell, Landkreis Mayern-Koblenz, Rheinland-Pfalz
 Eulenbach (Eulenbach), rechter Zufluss des Eulenbach (Swist) in Rheinbach, Rhein-Sieg-Kreis, Nordrhein-Westfalen
 Eulenbach (Fischbach, Gültlingen), rechter Zufluss des Fischbachs (zum Agenbach, zur Nagold) in Gültlingen, Stadt Wildberg, Landkreis Calw, Baden-Württemberg
 Eulenbach (Fischbach, Romberg), rechter Oberlauf des Fischbachs (zum Fußenauer Kanal, zur Dornbirner Ach) bis Romberg, Stadt Dornbirn, Bezirk Dornbirn, Vorarlberg
 Eulenbach (Freiberger Mulde), rechter Zufluss der Freiberger Mulde in Sachsen, Deutschland
 Eulenbach (Hambach), rechter Zufluss des Hambachs (zum Schwollbach) in Oberhambach, Landkreis Birkenfeld, Rheinland-Pfalz
 Eulenbach (Hanfbach), linker Zufluss des Hanfbachs vor Hanfmühle, Stadt Hennef (Sieg), Rhein-Sieg-Kreis, Nordrhein-Westfalen
 Eulenbach (Langbach), linker Zufluss des Langbachs (zum Kyll) an der Landesgrenze bei Losheim, Gemeinde Hellenthal, Kreis Euskirchen, Nordrhein-Westfalen und Birkenhof, Ortsgemeinde Scheid, Landkreis Vulkaneifel, Rheinland-Pfalz
 Eulenbach (Lauter), rechter Zufluss der hier noch Wieslauter genannten Lauter bei Bobenthal, Landkreis Südwestpfalz, Rheinland-Pfalz
 Eulenbach (Swist), linker Zufluss der Swist gegenüber Morenhoven, Gemeinde Swisttal, Rhein-Sieg-Kreis, Nordrhein-Westfalen
 Eulenbach (Traunbach), linker Zufluss des Traunbachs bei Neubrücke, Gemeinde Hoppstädten-Weiersbach, Landkreis Birkenfeld, Rheinland-Pfalz
 Eulenbach (Tröbesbach), linker Zufluss des Tröbesbachs nach Waltenrieth, Markt Moosbach, Landkreis Neustadt an der Waldnaab, Bayern
 Eulenbach (Zürichsee), westlicher Zufluss des Zürichsees bei Grützen, Gemeinde Freienbach, Bezirk Höfe, Kanton Schwyz

Siehe auch:
 Eulengraben
 Obereulenbach

Eulenbach


باكوا (Ba gua) أو باكو هو رمز للمعاني التي توجد في مجالات مختلفة من الثقافة الألفية الصينية: من الطاوية، إلى تقنيات الفنغ شوي، وفنون الدفاع عن النفس.

با تعني ثمانية، اما كوا فتعني تريكرام (رسوم بيانية). أي باكوا تعني ثمانية تريكرامات.عموما الشكل يمثل تاجيتو (Taijitu) مركزي، وتحيط به ثمانية تريكرامات من أي تشينغ (كتاب التغييرات)، كل نقطة مصطفة مع اتجاه سماوي، لتشكل مثمن منتظم. الخطوط التي تشكل التريكرامات تتميز بنوعين:
 الخطوط الكاملة: تمثل الأقطاب الإيجابية يانغ.
 الخطوط المقطعة: تمثل الأقطاب السلبية، يين.
كل تريكرام يتكون من ثلاثة خطوط، مجمعه في ثماني مجموعات مختلفة. كل تريكرام يمكن دمجة أيضا مع واحد من الاخرين، مما أدى إلى أربع وستين مجموعة من ستة خطوط. هذه أربعة وستون اساكرام هي أساس الكتاب الصيني أوراكل: تمثل كل ما يمكن من شروط الحياة الإنسانية. وهناك أسطورة تقول إن نظام التريكرام والإزيكرام وضعت من قبل تشو جونج: نسيب ومستشار أول امبراطور من اسرة تشو.

هناك نصين للباكوا، يختلفان في ترتيب التريكرام، وبذلك في مناطق النفوذ المختلفة. الأولى من هذه النسختين تسمى ترتيب التسلسل السماوية الأول، والثانية ترتيب التسلسل السماوية الثاني.

مراجع

رمزية
طاوية
علم الكون الروحاني
كتاب التغيرات
كلمات وعبارات صينية

باكوا


Wilbury House est une maison de campagne néo-palladienne dans la paroisse de Newton Tony, Wiltshire dans le sud-ouest de l'Angleterre, à environ  au nord-est de Salisbury. C'est un bâtiment classé Grade I, et le parc et le jardin environnants sont classés Grade II.

Histoire

Elle est construite vers 1710 par et pour William Benson, un écuyer de campagne, dans le style d'Inigo Jones . La façade sud est basé sur l'abbaye d'Amesbury de John Webb en 1661 où Benson a été locataire . La conception originale de la maison est présentée dans Vitruvius Britannicus en 1715.

Vers 1740-1750, le portique est modifié et un étage supérieur est ajouté . Des baies semi-octogonales à un étage sont ajoutées aux deux extrémités du bâtiment vers 1760. Fulke Greville (1717–1806) est ensuite propriétaire et la maison est revendue après le décès de la propriétaire, Lady St Just, en 1996. Elle est soigneusement restaurée pour la famille Guinness en 2006 .

Pevsner décrit la conception originale de Benson comme "la première maison, non pas néo-palladienne, mais néo-Inigo-Jones en Angleterre". et Historic England déclare que la maison a "un intérieur d'époque exceptionnel du début du ".

La maison est le lieu de tournage de Pendersleigh, la maison de campagne où Maurice rend visite à son ami Clive, dans le film Maurice de 1987 . Lady Maria St. Just, actrice et fiduciaire de la succession de Tennessee Williams, est une amie de Merchant and Ivory. En 1979, ils ont été invités le week-end à Wilbury Park, ce qui fait une impression sur James Ivory, et il choisit cet endroit pour le film.

Bibliographie

 Hussey, Christophe. Maisons de campagne anglaise : début de l'époque géorgienne, 1715-1760 . 1955. pp. 16–17. Country Life Limited, Londres.
 Kidd, Charles; Williamson, David (éditeurs). Peerage et baronetage de Debrett . 1990. p. P1081. Debrett's Peerage Limited, Londres.
 Manuel de Kelly pour les classes titrées, débarquées et officielles,  édition annuelle . 1969. p. 1733. Kelly's Directories Ltd, Londres.
 Bulletin de la société irlandaise géorgienne . Été 2004, p. 6. Société géorgienne irlandaise, Dublin.
 Colvin, Dictionnaire biographique Howard des architectes britanniques, 1600-1840 . 1995. p. 122. Presse universitaire de Yale, New Haven
 Pym, Jean. Paysage anglais de Merchant Ivory: chambres, vues et attitudes anglo-saxonnes . 1995. p. 60. New York : Harry N. Abrams, Inc

Références

Liens externes

Monument classé de Grade I dans le Wiltshire

Wilbury House


An Agropyropsis lolium in uska species han Liliopsida nga syahan ginhulagway ni Benedict Balansa, ngan ginhatag han pagkayana nga asya nga ngaran ni Aimée Antoinette Camus. An Agropyropsis lolium in nahilalakip ha genus nga Agropyropsis, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Agropyropsis

Agropyropsis lolium


Mevlud Dudić (Tutin, 1966.), bošnjački je teolog, trenutačni muftija Mešihata Islamske zajednice u Sandžaku i Srbiji.

Osnovnu je školu završio u Tutinu, a srednju Alaudin medresu u Prištini. Na Islamskom teološkom fakultetu u Sarajevu diplomirao je 1989. godine. Magistar postaje 2005. godine obranom rada na temu Nastanak i razvoj medrese u Novom Pazaru na Međunarodnom sveučilištu u Novom Pazaru. Na istom sveučilištu doktorirao je 2007. godine na temu Uloga sibjan-mekteba u očuvanju islama u Sandžaku. U listopadu 2013. god. imenovan je muftijom beogradskim, a na izborima za muftiju Mešihata Islamske zajednice u Sandžaku i Srbiji u izabran je u siječnju 2014. godine.

Povezani članci
 Muftija
 Islamska zajednica u Srbiji

Izvori

Vanjske poveznice
 Mevlud ef. Dudić na islamskazajednica.ba

Bošnjačke muftije
Islamska zajednica u Srbiji
Bošnjaci u Srbiji

Mevlud Dudić


Megalastrum, biljni rod porodice rebračevki (Dryopteridaceae), kojemu pripada 99 priznatih vrsta papratnica iz reda osladolike.

Rod je neotropski, od Meksika i Antila do Urugvaja i Argentine, osim triju vrsta koje se javljaju u Africi, Madagaskaru i Maskarenima. Sve vrste su kopnene i rastu u vlažnim šumama, većina nastanjuje srednje uzvisine (800-2000 m). Rod je uglavnom rijedak ili ga nema u nizinskim područjima, kao što su bazeni Amazone i Konga.

Vrste

 Megalastrum abundans (Rosenst.) A. R. Sm. & R. C. Moran
 Megalastrum acrosorum (Hieron.) A. R. Sm. & R. C. Moran
 Megalastrum adenopteris (C. Chr.) A. R. Sm. & R. C. Moran
 Megalastrum aequatoriense A. Rojas
 Megalastrum albidum R. C. Moran, J. Prado & Labiak
 Megalastrum alticola M. Kessler & A. R. Sm.
 Megalastrum andicola (C. Chr.) A. R. Sm. & R. C. Moran
 Megalastrum angustum R. C. Moran, J. Prado & Labiak
 Megalastrum apicale R. C. Moran & J. Prado
 Megalastrum aquilinum (Thouars) Sundue, Rouhan & R. C. Moran
 Megalastrum aripense (C. Chr. & Maxon) A. R. Sm. & R. C. Moran
 Megalastrum atrogriseum (C. Chr.) A. R. Sm. & R. C. Moran
 Megalastrum aureisquama M. Kessler & A. R. Sm.
 Megalastrum biseriale (Baker) A. R. Sm. & R. C. Moran
 Megalastrum bolivianum M. Kessler & A. R. Sm.
 Megalastrum brevipubens R. C. Moran, J. Prado & Labiak
 Megalastrum canescens (Kunze ex Mett.) A. R. Sm. & R. C. Moran
 Megalastrum caribaeum (Desv.) R. C. Moran, J. Prado & Labiak
 Megalastrum ciliatum M. Kessler & A. R. Sm.
 Megalastrum clathratum R. C. Moran, J. Prado & Sundue
 Megalastrum connexum (Kaulf.) A. R. Sm. & R. C. Moran
 Megalastrum costipubens R. C. Moran & J. Prado
 Megalastrum crenulans (Fée) A. R. Sm. & R. C. Moran
 Megalastrum ctenitoides A. Rojas
 Megalastrum decompositum R. C. Moran, J. Prado & Sundue
 Megalastrum dentatum A. Rojas
 Megalastrum eugenii (Brade) A. R. Sm. & R. C. Moran
 Megalastrum falcatum A. Rojas
 Megalastrum fibrillosum (Baker) R. C. Moran, J. Prado & Sundue
 Megalastrum fimbriatum R. C. Moran, J. Prado & Sundue
 Megalastrum fugaceum R. C. Moran, J. Prado & Sundue
 Megalastrum galapagense R. C. Moran, J. Prado & Sundue
 Megalastrum galeottii (M. Martens) R. C. Moran & J. Prado
 Megalastrum gilbertii (Clute) R. C. Moran, J. Prado & Labiak
 Megalastrum glabrius (C. Chr. & Skottsb.) Sundue, Rouhan & R. C. Moran
 Megalastrum glabrum R. C. Moran & J. Prado
 Megalastrum gompholepis R. C. Moran & J. Prado
 Megalastrum grande (C. Presl) A. R. Sm. & R. C. Moran
 Megalastrum haitiense (Brause) A. R. Sm. & R. C. Moran
 Megalastrum heydei (C. Chr.) R. C. Moran & J. Prado
 Megalastrum hirsutosetosum (Hieron.) A. R. Sm. & R. C. Moran
 Megalastrum honestum (Kunze) A. R. Sm. & R. C. Moran
 Megalastrum inaequale (Kaulf. ex Link) A. R. Sm. & R. C. Moran
 Megalastrum inaequalifolium (Colla) A. R. Sm. & R. C. Moran
 Megalastrum indusiatum R. C. Moran, J. Prado & Labiak
 Megalastrum insigne R. C. Moran, J. Prado & Sundue
 Megalastrum intermedium R. C. Moran & J. Prado
 Megalastrum kallooi (Jermy & T. G. Walker) A. R. Sm. & R. C. Moran
 Megalastrum lanatum (Fée) Holttum
 Megalastrum lanuginosum (Kaulf.) Holttum
 Megalastrum lasiernos (Spreng.) A. R. Sm. & R. C. Moran
 Megalastrum littorale R. C. Moran, J. Prado & Labiak
 Megalastrum longiglandulosum R. C. Moran & J. Prado
 Megalastrum longipilosum A. Rojas
 Megalastrum lunense (Christ) A. R. Sm. & R. C. Moran
 Megalastrum macrotheca (Fée) A. R. Sm. & R. C. Moran
 Megalastrum marginatum M. Kessler & A. R. Sm.
 Megalastrum martinicense (Spreng.) R. C. Moran, J. Prado & Labiak
 Megalastrum masafuerae Sundue, Rouhan & R. C. Moran
 Megalastrum mexicanum R. C. Moran & J. Prado
 Megalastrum microsorum (Hook.) Stolze
 Megalastrum miscellum R. C. Moran, J. Prado & Sundue
 Megalastrum molle A. R. Sm.
 Megalastrum mollicomum (C. Chr.) A. R. Sm. & R. C. Moran
 Megalastrum nanum R. C. Moran, J. Prado & Sundue
 Megalastrum nigromarginatum R. C. Moran, J. Prado & Sundue
 Megalastrum obtusum R. C. Moran, J. Prado & Sundue
 Megalastrum oellgaardii R. C. Moran, J. Prado & Sundue
 Megalastrum oppositum (Kaulf. ex Spreng.) Li Bing Zhang & Yi F. Duan
 Megalastrum oreocharis (Sehnem) Salino & Ponce
 Megalastrum oreophilum R. C. Moran, J. Prado & Sundue
 Megalastrum organense R. C. Moran, J. Prado & Labiak
 Megalastrum palmense (Rosenst.) A. R. Sm. & R. C. Moran
 Megalastrum peregrinum Sundue, Rouhan & R. C. Moran
 Megalastrum peruvianum R. C. Moran, J. Prado & Sundue
 Megalastrum platylobum (Baker) A. R. Sm. & R. C. Moran
 Megalastrum pleiosoros (Hook. fil.) A. R. Sm. & R. C. Moran
 Megalastrum polybotryoides R. C. Moran, J. Prado & Sundue
 Megalastrum praetermissum R. C. Moran, J. Prado & Sundue
 Megalastrum pubescens A. Rojas
 Megalastrum pubirhachis R. C. Moran, J. Prado & Sundue
 Megalastrum pulverulentum (Poir.) A. R. Sm. & R. C. Moran
 Megalastrum reductum A. Rojas
 Megalastrum retrorsum R. C. Moran, J. Prado & Labiak
 Megalastrum rhachisquamatum R. C. Moran, J. Prado & Sundue
 Megalastrum rupicola M. Kessler & A. R. Sm.
 Megalastrum skutchii (Lellinger) A. R. Sm. & R. C. Moran
 Megalastrum sparsipilosum R. C. Moran & J. Prado
 Megalastrum spectabile (Kaulf.) A. R. Sm. & R. C. Moran
 Megalastrum squamosissimum (Sodiro) A. R. Sm. & R. C. Moran
 Megalastrum subincisum (Willd.) A. R. Sm. & R. C. Moran
 Megalastrum substrigosum R. C. Moran, J. Prado & Labiak
 Megalastrum subtile R. C. Moran, J. Prado & Sundue
 Megalastrum taafense Rouhan, Sundue & R. C. Moran
 Megalastrum tepuiense R. C. Moran, J. Prado & Sundue
 Megalastrum umbrinum (C. Chr.) A. R. Sm. & R. C. Moran
 Megalastrum vastum (Kunze) A. R. Sm. & R. C. Moran
 Megalastrum villosum (L.) Holttum
 Megalastrum wacketii (Rosenst. ex C. Chr.) A. R. Sm. & R. C. Moran

Izvori

Elaphoglossoideae

Megalastrum


كيهانشين  أو منطقة أوساكا الكبرى هي منطقة سكانية مدنية تشمل المناطق المدنية من مدينتي أوساكا في محافظة أوساكا، وكوبه في محافظة هيوغو، وكيوتو في محافظة كيوتو. ويبلغ عدد سكان المنطقة (حتى عام 2000) حوالي 18.644.000 نسمة موزعة على مساحة 11،170 كيلومتر مربع  وتعد ثاني أكبر التجمعات السكانية في اليابان بعد منطقة طوكيو الكبرى، التي تضم على ما يقرب من 15 ٪ من سكان اليابان.

الناتج المحلي الإجمالي لهذه المنطقة (أوساكا وكوبه) هو 341 مليار دولار، مما يجعلها واحدة من أكثر مناطق العالم إنتاجا وتجاري في هذا السياق باريس ولندن.

اسم كيهانشين هي كلمة منحوتة من أوائل كانجي أسماء المدن كيوتو (京都) وأوساكا (大阪)، وكوبه (神戸) ولكنها تقرأ بالقراءة أون-يومي (القراءة الصينية) بدلا من قراءة كون-يومي (القراءة اليابانية) التي تستخدم في أسماء المدن أوساكا وكيوتو وكوبه.

مناطق العمالة الرئيسية
يعرف مكتب الإحصاء الياباني بأن مجموعة البلديات التي هي في معظمها أو كلها في غضون مسافة 50 كلم من بلدية مكتب أوساكا تتبع لهذه المنطقة، وفي عام 2000، بلغ عدد سكان هذه المنطقة 16.566.704

منطقة عمالة أوساكا
يبلغ عدد سكان منطقة أوساكا الحضرية (حتى 2015) حوالي 12.078.820  نسمة وتتكون من المدن التالية :

 المدن الرئيسية : أوساكا، هيغاشي-أوساكا، كادوما، موريغوتشي
 المدن المحيطة:
 محافظة أوساكا (المحافظة بأكملها)
 محافظة هيوغو (جنوب شرق) : أماغاساكي، نيشينوميا، أشيا، إيتامي، تاكارازوكا، كاوانيشي، ساندا
 محافظة نارا (الجزء الشمالي) : نارا، تينري، ياماتوتاكادا، ياماتوكورياما، كاشيهارا، ساكوراي، غوسه، إكوما، كاشيبا، كاتسوراغي
 مدن أخرى : ناباري (ميه)، ياواتا (كيوتو)، هاشيموتو (واكاياما)

منطقة عمالة كيوتو
يبلغ عدد سكان منطقة عمالة كيوتو (حتى 2015) حوالي 2.801.044 نسمة ، وتتألف من المدن التالية :

 المدن الرئيسية : كيوتو
 المدن المحيطة:
 محافظة كيوتو (الجزء الجنوبي) : أوجي، كان، جويو، موكو، ناغاوكاكيو، كيوتانابه
 محافظة شيغا (الجزء الجنوبي الغربي) : أوتسو، كوساتسو

منطقة عمالة كوبه
يبلغ عدد سكان منطقة عمالة كوبه (حتى 2015) 2.565.501 نسمة ، وتتألف من المدن التالية :

 المدن الرئيسية : كوبه
 المدن المحيطة:
 محافظة هيوغو (الجزء الجنوبي) : أكاشي، كاكوغاوا، تاكاساغو، ميكي، أواجي

منطقة عمالة هيميجي
يبلغ عدد سكان منطقة عمالة هيميجي (حتى 2015) حوالي 773.389 نسمة ، وتتألف من المدن التالية :

 المدن الرئيسية : هيميجي
 المدن المحيطة:
 محافظة هيوغو (الجزء الجنوبي الغربي) : أيوي، تاتسونو

منطقة عمالة واكاياما

يبلغ عدد سكان منطقة عمالة واكاياما (حتى 2015) من 569.758 نسمة ، وتتكون من المدن التالية :

 المدن الرئيسية : واكاياما
 المدن البعيدة
 محافظة واكاياما (الجزء الشمالي الغربي) : كاينان

المنطقة الحضرية الرئيسية

يعرف مكتب اليابان للإحصاء المنطقة الحضرية الكبرى (大都市圏) بوصفه مجموعة من البلديات التي فيها ما لا يقل عن 1.5 ٪ من السكان المقيمين الذين تتراوح أعمارهم بين 15 وما فوق يذهبون إلى المدرسة أو العمل في مدينة كبيرة مجاورة  وإذا كانت العديد من المدن المركزية متجاورة وتتداخل حدودها فتتجمع لتشكل منطقة متعددة النوى. في تعداد عام 2000، عينت مدن أوساكا وكوبه، وكيوتو كمدن مركزية لتعريف منطقة كيهانشين.

حيث تتكون هذه المنطقة من مزيج من المناطق المدنية التي تتمركز حول مدن أوساكا ز كوبه، وكيوتو وهيميجي بالإضافة إلى عدة مدن صغير (وخصوصا تلك التي تقع في جنوب محافظة شيغا) والتي لا تشكل جزءا من المدن الأربعة المركزية السابقة الذكر.

اعتبارا من عام 2000، كامل كيهانشين المنطقة التي يبلغ عدد سكانها 18.643.915 على مساحة 11،169 كيلومتر

مدن

المدن الرئيسية
المدن الأساسية التي تشكل كيهانشين هي مدن مختارة من قبل الحكومةتمت تسمية تلك المدن الثلاث من المدن الكبرى الخاصة مع طوكيو في العام 1889. كوبي عينت كسادس أكبر المدن المختارة في عام 1922، واعتمدت نظام الأحياء في عام 1931.

المدن الرئيسية في كيهانشين هي :

 أوساكا (2.65 مليون نسمة)
 كوبي (1.53 مليون نسمة)
 كيوتو (1.46 مليون نسمة)
 ساكاي (830،000 نسمة)

المدن خارج المدن الرئيسية

المدن أخرى في محافظات أوساكا، هيوغو، كيوتو ونارا هي :

المصدر : تعداد 2005 stat.go.jp

مدن أخرى
في المنطقة الحضرية الكبرى يتضمن التعريف المستخدم من قبل مكتب الإحصاءات اليابانية أيضا المدن التالية في محافظات ميه، محافظة شيغا، شيغا، واكاياما :

محافظة ميه

 ناباري

محافظة شيغا

محافظة واكاياما

 هاشيموتو
 إيواده

المناطق الحدودية
تحد منطقة كيهانشين المناطق المدنية من هيكونه - ناغاهاما (حوالي 340،000) إلى الشمال الشرقي، إغا (ما يقارب 50،000) إلى الشرق، هيميجي-أكو (حوالي 800،000) إلى الغرب، واكاياما الكبرى (حوالي 570،000 شخص) إلى الجنوب، وفوكوتشي-ياما (حوالي 150،000) إلى الشمال. وإذا ما أدرجت هذه المناطق ضمن منطقة كيهانشين، سيرتفع عدد سكان كيهانشين إلى حوالي 19-20 مليون نسمة.

النقل

الطيران
يعد مطار كانساي الدولي المطار الرئيسي في المنطقة، وهو عبارة عن جزيرة اصطناعية مستطيلة الشكل تقع قبالة الشاطئ في خليج أوساكا ويخدم مدن أوساكا والمدن المحيطة بها من نارا، وكوبه، وكيوتو. يرتبط المطار بالمدينة بواسطة الحافلات والقطارات التي توصل الركاب إلى وسط المدينة والضواحي الرئيسية.

كما أن مطار أوساكا الدولي يقع على الحدود بين مدينتي إيتامي وتويوناكا، ولا يزال يخدم العديد من الرحلات الداخلية.

مطار كوبه، ويقع في جنوب الجزيرة المستصلحة لجزيرة الميناء ويخدم الرحلات الداخلية في المقام الأول.

السكك الحديدية
يوجد في أوساكا شبكة واسعة جدا من خطوط السكك الحديدية، والتي يمكن مقارنتها بنظيرتها في منطقة طوكيو الكبرى. تشمل محطات السكك الحديدية الرئيسية في المدينة، محطة أوميدا، نامبا، تينوجي، كيوباشي، يودوباشي.

القطارات عالية السرعة
تشغل شركتي جيه آر وسط اليابان وجي آر غرب اليابان قطارات عالية السرعة على خط شينكانسن توكايدو-سانيو. محطة شين أوساكا محطة هي محطة الشينكانسن الرئيسية في أوساكا. هذه المحطة تتصل بمحطة أوساكا مغ محطة أوميدا بخط جيه آر كيوتو وخط مترو الأنفاق وميدوسوجي. تقف جميع قطارات الشينكانسين بما فيها نوزومي عند محطة شين أوساكا وتوفر بذلك فرص الوصول إلى غيرها من المدن الكبرى في اليابان، مثل كيوتو، وناغويا، ويوكوهاما وطوكيو إلى الشرق، وكوبه، وأوكاياما، وهيروشيما، وكيتاكيوشو وفوكوكا إلى الغرب.

مترو أنفاق البلدية
يعد مترو أنفاق بلدية أوساكا جزء من نظام النقل المعقد في مدينة أوساكا. يعد مترو أنفاق بلدية أوساكا في المرتبة الثامنة على مستوى العالم من حيث عدد الركاب السنوي والذي يصل إلى أكثر من 912 مليون شخص سنويا (ربع عدد المسافرين على قطارات أوساكا الكبرى والبالغ عددهم سنويا 4 مليارات راكب)، على الرغم من كونها فقط 8 خطوط من بين أكثر من 70 خط للسكة الحديدية في المنطقة.

الاقتصاد
يوجد في كيهانشين أحد أكبر مناطق الاقتصاد في العالم.

منطقة كيهانشين 2006

 متوسط سعر الصرف لعام 2006 (1 دولار أمريكي = 116.30 ين)

المصدر

الناتج المحلي الإجمالي 2006
كيهانشين وأعلى 20 بلدا

الناتج المحلي الإجمالي (تعادل القوة الشرائية) 2005

انظر أيضًا
 طوكيو الكبرى
 منطقة كانساي

المراجع

منطقة كانساي

كيهانشين


An Hypolytrum amplum in uska species han Liliopsida nga ginhulagway ni Carl Sigismund Kunth. An Hypolytrum amplum in nahilalakip ha genus nga Hypolytrum, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Hypolytrum

Hypolytrum amplum


Nogomet na OI 2016. u Riju održavo se od 3. kolovoza do 19. kolovoza. Utakmice su se odigravale u Rio de Janeiru, Belo Horizonteu, Brasíliji, Salvadoru, São Paulu i Manausu. U svih šest gradova su se održavale utakmice tijekom Svjetskog prvenstva 2014.

Muški turnir

Osvajači odličja

Izvor

Vanjske poveznice
Službene stranice OI 2016./nogomet

Nogomet na Olimpijskim igrama
nogomet
Međunarodna nogometna natjecanja u Brazilu

Nogomet na OI 2016.