A top-bar hive is a single-story frameless beehive in which the comb hangs from removable bars. The bars form a continuous roof over the comb, whereas the frames in most current hives allow space for bees to move up or down between boxes. Hives that have frames or that use honey chambers in summer but which use management principles similar to those of regular top-bar hives are sometimes also referred to as top-bar hives. Top-bar hives are rectangular in shape and are typically more than twice as wide as multi-story framed hives commonly found in English-speaking countries. Top-bar hives usually include one box only, and allow for beekeeping methods that interfere very little with the colony. While conventional advice often recommends inspecting each colony each week during the warmer months, heavy work when full supers have to be lifted, some beekeepers fully inspect top-bar hives only once a year, and only one comb needs to be lifted at a time.

There is no single opinion leader or national standard for horizontal hives, and many different designs are used. Some will accept the various standard frame sizes.

General information
Although the two most well-known styles of long top-bar hives are named "Kenyan"  and "Tanzanian", the Kenyan hive was actually developed in Canada, and the so-called Tanzanian hive is not the same as the top-bar hive that was developed in Tanzania.

The design of top-bar hives has its origins in the work done in 1965 by Tredwell and Paterson.  A tub shaped top-bar hive was trialled in Rhodesia in the 1960s by Penelope Papadopoulou. Long top-bar hives began to appear in the 1960s and were first referred to as "grecian" hives also known as the "Anástomo" wicker skep. Similar "long" top-bar hives were also developed in the early 1970s by other authors. The David Hive (1972) was similar to the Kenyan top-bar hive, except that the comb was not cut from the bars at harvest time but reused after extraction. Also in 1972, William Bielby designed a top-bar hive that featured catenary curved comb.

Design
Although guidebooks for use in Africa often give precise dimensions for the Kenyan hive, and encourage beekeepers to keep their equipment of uniform and thus interchangeable sizes, one of the main selling points of the KTBH among proponents from English speaking countries is the fact that it can be made to practically any size and shape, as long as the top bars have an appropriate width.

The angle of the sloped sides is most commonly recommended to be 30 degrees. The width of the top bars is the sum of comb thickness and one measure of beespace. This helps ensure that bees build exactly one comb per top bar. Most top-bar hive plans freely available on the internet show hives of roughly 1 meter long and between 30 cm and 50 cm wide and high.

In English speaking countries, the top-bar hive is usually mounted on a set of legs that lift the hive to a height that is comfortable for beekeepers. In African countries, the height of the hive is often also determined by the type of animal the hive is meant to be protected from.

Top Bars

A top-bar hive has bars from which the honey bees attach and hang wax comb, an array of hexagonal (six sided) cells.

A beekeeper can make top bars from any plain wood. The top bars are usually 1¼ inches to 1⅜ inches (32–35 mm) wide, depending on local conditions and the type of bee to be housed. Combs can be handled individually. The depth of the bar and the length of the bar can be whatever the beekeeper wants, but usually between 17" and 20". The depth of the top bar hive should be 12" or less. If deeper, the weight of the comb filled with honey tends to cause it to fall off the bar into the bottom of the hive. The bees will lose access to this during the winter cluster in the hanging combs, thus increasing their likelihood of starving.

It is important to give the bees a clear starting point to build comb on each top bar. Some TBH beekeepers fashion their top bars with a V-shaped bottom to guide the comb building. Alternatively, some use a table saw to cut two closely spaced slots along the long axis of each new top bar. Either type of guide, wax line or grooves, gives bees a place to hold on to with their hooked feet. This allows a substantial "drape" of bees to form, which is the beginning of comb building.

Entrance

Top hives have entrances that are a small slot or a number of holes of an inch in diameter or thereabouts, which more closely mimics what honey bees prefer in nest cavities.

The brood nest will be established nearest the entrance. If the entrance is at the narrow end of the hive, the honey storage will be deep in the hive beyond the brood nest combs. Typically inspections will then begin with either the beginning of the brood nest at the front, or with the end of the honey storage at the rear. If the entrance is placed in the center of the long wall, the brood nest will be at the center, and the honey storage will be on either side. As it is not possible to safely remove a bar from the middle of the occupied combs, due to possible side attachments, this means the inspection can begin on either side of the honey storage and there are fewer before the brood nest is reached.

The entrance should not be placed high on the hive as this will allow the escape of winter heat (but see ) for an alternative perspective).

The bees will be able to keep a top bar hive cool enough with only three holes of 1 inch diameter. They do so by both lining up to fan cool air into the hive and exhaust warm air, and by evaporation – essentially air-conditioning the hive. It is possible to have too small of an entrance, such as a 4-inch slot of only 3/8 or 1/2 inch, and this did result in combs falling from the bars in the heat. It also resulted in much traffic back up at the entrance.

It is suggested that bees in a Kenyan hive will have much less tendency to adhere comb to the sides of the hive. Once adhered comb is freed from the side (leaving a beespace) the bees tend to not rejoin the comb, so this is not a significant problem for either hive. It is important in either type that end access or some free space without comb is available so adhered comb may be freed.

Comparisons with hive systems using vertical "supers" and conventional frames

The initial costs and equipment requirements are typically much less than other hive designs. Scrap wood can often be used to build a good hive, and top bars are easy to make out of scrap timber. Horizontal hives do not require the beekeeper to lift super boxes; all usual checks and manipulation can be done while lifting only one comb at a time and with minimal bending. In areas where large land animals (such as ratels and bears) present a threat to beehives, single-box hives may be suspended out of reach. Elsewhere, they are commonly raised to a level that allows the beekeeper to inspect and manipulate them in comfort. Since no seasonal storage of honey collection boxes ("supers") is needed, nor is a centrifugal extractor commonly used, the equipment budget and storage space requirements are greatly reduced. Time and money may not need to be spent wiring foundation into frames.

A top bar hive can also be rapidly converted to two or even three mini hives, called a nucleus hive, by placing bee-tight dividers within the hive, and allowing access to independent entrances. This may avoid the need to purchase and store such nucleus hives.

Disadvantages include (usually) unsupported combs that cannot be spun in most honey extractors. It is not usually possible to expand the hive if additional honey storage space is required. Most horizontal hives cannot easily be lifted and carried by one person.

Hive management
It is recommended that new or recycled empty bars be placed at each side of the brood chamber just before spring build-up as it is easier for the bees to make new comb than to move honey stores to make room for new brood. This will also ensure the maintenance of a well built honey barrier between the brood and higher grade stores. To prevent the buildup of old comb in the brood chamber it may be advantageous to add new bars only on the entrance side of the brood chamber just past the pollen stores. This will cause a collection of older honey in re-used comb, which may be removed and used to produce a somewhat lesser quality of honey, as it will have additional flavors from the propolis used to strengthen and protect the brood comb. Such honey may be especially appropriate for making mead and root beer, as additional flavors will predominate. The progressive removal of brood comb appears, as noted above, consistent with control of AFB. The use of follower boards to selectively control the amount of interior space available to the bees can be helpful, particularly in young hives or when dealing with newly captured swarms.

The recent introduction of sliding 'follower boards'  to enclose the colony within the hive body has enabled more flexible management of top bar hives and facilitated quicker inspections with minimal disturbance to the bees.  (Follower boards are adjustable solid panels, which effectively reduce the size of the interior space within the hive box that is accessible to the bees.)

Queen exclusion
Natural queen exclusion occurs more frequently in top-bar hives, because the brood nest is separated from the honey section by at least a full bar of honey comb, and not just a few centimetres of honey as may be the case in a multi-storey framed hive. And the more honey is gathered, the further the brood nest becomes from newly created comb.

However, some commercial top-bar beekeepers have found that artificial queen excluders are sometimes necessary to keep the queen from laying eggs in the honey section of the hive.

Hive inspection
A top-bar hive is inspected by lifting the bars of comb individually. Some beekeepers start their inspection at any one of the bars, and can be completed over several sessions. Others start at either the front of the hive, against the wall or divider, or at the rear of the combs. This way the beekeeper can see and cut any side attachments before moving the first comb. Side attachments can be cut with a conventional hive tool; using a specially-made tool long enough to reach the bottom of the hive, but with a narrow "leg" at the bottom, is more efficient. More than one bar can be separated from the side walls at a time. The use of smoke is commonly recommended.

Inspection of the combs can be carried out with far less disturbance to the bees than is the case with multi-storey hives, since only a small amount of the hive is exposed at any one time. Some hives incorporate a viewing glass window in the side of the hive that allows for observation without opening the hive itself, since in theory the combs do not get attached to the sloping sides.

The top-bars rest freely on the hive walls without spacers, which means that the top-bars can be slid easily along the length of the hive during the inspection, without altering the sequence of the combs, and non-inspected bars need not be lifted out of the way to gain access to other bars.

As part of the "natural beekeeping" concept, some beekeepers recommend opening the brood area only once a year.

Harvesting honey
The most popular method of harvesting honey from a top-bar hive is by cutting the comb from the top-bar, crushing the comb and straining the honey. This results in honey with a higher pollen content than honey that is extracted by flinging out without crushing the comb. Top-bar hive comb can be extracted by flinging motion e.g. in a hobbyist or commercial rotary extractor, but it can be problematic, because (a) if no foundation was used, the comb will break more easily during rotary movement, (b) top-bar hives combs may use irregular or non-standard sizes that do not fit into commercially available extractors, (c) if the comb is not uniformly flat, it may be difficult to uncap the cells, which is required for rotary extraction and (d) not all rotary extractors have cages or mesh to prevent loose pieces of comb from falling into the drum.

Honey can also be harvested from top-bar comb as cut comb.

Owing to the fact that crushing and straining is the most common method for honey harvesting in this type of hive, beeswax is often a by-product of top-bar hive beekeeping.

Philosophy
Top-bar hives are popular with some beekeepers who believe it is a more natural form of beekeeping. Their building does not usually require such precise measurements as modern multi-story hives.

Tub shaped top-bar hive

Although modern "long" top-bar hives originated in the middle of the twentieth century, initially for use in development projects, a "tub shaped" top-bar hive has been in use for centuries in some regions such as Greece. An example of the tub shaped top-bar hive is the so-called Greek hive that was first described in the 17th century and has been used in Crete until recently. Tub shaped top-bar hives are usually small enough to be portable, and allow beekeeping methods that involve periodic merging and splitting of colonies.

Bee hives that conform to the general description of top-bar hives have existed for many centuries. The earliest known possible mention of a bee hive with removable top-bars is in Giovanni di Bernardo Rucellai's didactic poem Le Api, written in 1539.

The travelling pair George Wheler and Jacques Spon witnessed a beekeeping method using woven tub shaped top-bar hives in Greece in 1676. Spon briefly mentioned this in his memoirs, but Wheler gave a detailed description and a drawing of such a hive in his work Journey Into Greece, published in 1682.  The dimensions of that hive (including the supposed width of the top-bars and the angle of the hive sides) are variously indicated in modern citations of Wheler's work, but that is pure fiction, since Wheler himself mentioned no dimensions in his book.

The beekeeper Zuanne Papadopoli described tub shaped top-bar beekeeping in clay pots that were used prior to 1669 in Crete. He wrote about it in his memoirs in 1696.

In 1790, Abbot Della Rocca from Syros also wrote about tub shaped top-bar bee hives used in Crete during his time.

Although there is evidence that beekeeping was commonly practiced in Crete since the Late Minoan I period (1600–1450 BC), the most common method of beekeeping in that region is using clay or woven long, cylindrical hives.

Thomas Wildman described tub shaped top-bar hives as "skeps that are open at the top" in his Treatise on the management of bees in 1768.

Greek "Anástomo" bee hives, wicker or made from clay, are round in shape and have top-bar frames. At Kythira Greece we find rectangular top bar hives made from stone which are considered the first top bar hives with fully interchangeable combs.

Tanzanian top-bar hive
Although the term "Tanzanian" top-bar hive is currently used in English-speaking countries to denote a Kenyan top-bar hive with straight sides instead of sloping sides, the original Tanzanian top-bar hive was developed independent of the Kenyan hive, and had design features that do not occur in modern so-called Tanzanian top-bar hives.

Until the 1960s, beekeepers in rural Tanzania used predominantly log hives, which consisted of a cylinder with closed ends and a harvesting hole near the middle. The fact that harvesting was done from the middle of the log meant that brood comb was destroyed every time honey was harvested. The Tanzanian government then promoted two alternative hive types, namely a log hive that could be harvested from either end (so that the brood nest in the centre remains undisturbed) and a plank hive, which was a simple top-bar hive. The plank hive did not use moveable top bars, however – bees would attach comb in natural patterns to the roof. The advantage of the plank hive was that it enabled some inspection before harvest.

The researcher G. Ntenga then designed a transitional hive, in 1972, based on the plank hive that uses moveable top-bars. This hive is sometimes called the Tanzanian Transitional Hive in literature, and was the original Tanzanian top-bar hive. Ntenga's hive had very precise measurements. It used top-bars with either a centre groove, a V-shaped bevel, or flat surface. The top-bars had lugs that were narrower than the bar itself. The hive could take 28 combs. The hive was covered with two lids, each covering half the hive.

One variation of Ntenga's hive used top-bars of 60 mm instead of 30 mm wide, that would each carry two combs instead of one.

Kenyan top-bar hive – KTBH
The hive commonly referred to as the Kenyan top-bar hive was developed by Dr. Maurice V. Smith and Dr. Gordon Townsend from the University of Guelph in Canada, sponsored by the Canadian International Development Agency (CIDA) under an initial four year overseas project which began in Kenya in 1971.  The hive and its development was subsequently and extensively described by Dr. Isaac Kirea Kigatiira from Kenya, who was a student at Guelph in the early 1970s.

Although the hive's management differs strongly from the tub shaped Greek hive, early publications about the Kenyan hive often mention the Greek hive as an inspiration for the Kenyan hive.

The original Kenyan hive was designed to hang from trees or poles. Other modern variations of this hive, such as the Jackson hive used in South Africa, are also intended as hanging hives. Hanging the hive some distance from the ground protects it from both wild and domestic animals, as well as from ants and beetles.

A version with straight sides was developed by Henry Mulzac by 1977, which used Langstroth compatible dimensions. The South African Jackson hive also uses Langstroth sized frames.

References

External links

 Top Bar Hives and Information from Bee Built
 Centrifuge extractor being used for honey extraction of a Top Bar Hive
 "Alternative" Hive Designs from BeeSource
 VelaCreation's DIY TBH
 A Top Bar Observation Hive
 Image of a horizontal hive designed to fit 30 frames of comb

Beehives

Horizontal top-bar hive


Gross-Rosen was a network of Nazi concentration camps built and operated by Nazi Germany during World War II. The main camp was located in the German village of Gross-Rosen, now the modern-day Rogoźnica in Lower Silesian Voivodeship, Poland; directly on the rail-line between the towns of Jawor (Jauer) and Strzegom (Striegau). Its prisoners were mostly Jews, Poles and Soviet citizens.

At its peak activity in 1944, the Gross-Rosen complex had up to 100 subcamps located in eastern Germany and in German-occupied Czechoslovakia and Poland. The population of all Gross-Rosen camps at that time accounted for 11% of the total number of inmates incarcerated in the Nazi concentration camp system.

The camp

KZ Gross-Rosen was set up in the summer of 1940 as a satellite camp of the Sachsenhausen concentration camp from Oranienburg. Initially, the slave labour was carried out in a huge stone quarry owned by the SS-Deutsche Erd- und Steinwerke GmbH (SS German Earth and Stone Works). In the fall of 1940 the use of labour in Upper Silesia was taken over by the new Organization Schmelt formed on the orders of Heinrich Himmler. It was named after its leader SS-Oberführer Albrecht Schmelt. The company was put in charge of employment from the camps with Jews intended to work for food only.

The Gross-Rosen location close to occupied Poland was of considerable advantage. Prisoners were put to work in the construction of a system of subcamps for expellees from the annexed territories. Gross Rosen became an independent camp on 1 May 1941. As the complex grew, the majority of inmates were put to work in the new Nazi enterprises attached to these subcamps.

In October 1941 the SS transferred about 3,000 Soviet POWs to Gross-Rosen for execution by shooting. Gross-Rosen was known for its brutal treatment of the so-called Nacht und Nebel prisoners vanishing without a trace from targeted communities. Most died in the granite quarry. The brutal treatment of the political and Jewish prisoners was not only in the hands of guards and German criminal prisoners brought in by the SS, but to a lesser extent also fuelled by the German administration of the stone quarry responsible for starvation rations and denial of medical help. In 1942, for political prisoners, the average survival time-span was less than two months.

Due to a change of policy in August 1942, prisoners were likely to survive longer because they were needed as slave workers in German war industries. Among the companies that benefited from the slave labour of the concentration camp inmates were German electronics manufacturers such as Blaupunkt, Siemens, as well as Krupp, IG Farben, and Daimler-Benz, among others. Some prisoners who were not able to work but not yet dying were sent to the Dachau concentration camp in so-called invalid transports.

The largest population of inmates, however, were Jews, initially from the Dachau and Sachsenhausen camps, and later from Buchenwald. During the camp's existence, the Jewish inmate population came mainly from Poland and Hungary; others were from Belgium, France, Netherlands, Greece, Yugoslavia, Slovakia, and Italy.

Following the unsuccessful Polish Warsaw Uprising of 1944, the Germans deported 3,000 Poles from the Dulag 121 camp in Pruszków, where they were initially imprisoned, to Gross-Rosen. Those Poles were mainly people of 20 to 40 years of age.

Subcamps
At its peak activity in 1944, the Gross-Rosen complex had up to 100 subcamps, located in eastern Germany and German-occupied Czechoslovakia and Poland. In its final stage, the population of the Gross-Rosen camps accounted for 11% of the total inmates in Nazi concentration camps at that time. A total of 125,000 inmates of various nationalities passed through the complex during its existence, of whom an estimated 40,000 died on site, on death marches and in evacuation transports. The camp was liberated on 14 February 1945 by the Red Army. A total of over 500 female camp guards were trained and served in the Gross-Rosen complex. Female SS staffed the women's subcamps of Brünnlitz, Graeben, Gruenberg, Gruschwitz Neusalz, Hundsfeld, Kratzau II, Oberaltstadt, Reichenbach, and Schlesiersee Schanzenbau.

The Gabersdorf labour camp had been part of a network of forced labor camps for Jewish prisoners that had operated under Organization Schmelt since 1941. The spinning mill where the female Jewish prisoners worked had been "Aryanized" in 1939 by a Vienna-based company called Vereinigte Textilwerke K. H. Barthel & Co. The prisoners also worked in factories operated by the companies Aloys Haase and J. A. Kluge und Etrich. By 18 March 1944 Gabersdorf had become a subcamp of Gross-Rosen.

One subcamp of Gross-Rosen was the Brünnlitz labor camp, situated in the Czechoslovakian town of Brněnec, where Jews rescued by Oskar Schindler were interned.

The Brieg subcamp, located near the village of Pampitz, had originally been the location of a Jewish forced labor camp until August 1944, when the Jewish prisoners were replaced by the first transport of prisoners from the Gross-Rosen main camp. The camp was mostly staffed by soldiers from the Luftwaffe and a few SS members. Most of the prisoners were Polish, with smaller numbers of Russian and Czech prisoners. Most of the Poles had been evacuated from the Pawiak prison in Warsaw; others had been arrested within the territory controlled by the Reich or had been transported from Kraków and Radom.

Brieg's camp kitchen was run by Czech prisoners. The three daily meals included 1 pint of mehlzupa (a soup made from water and meal), 150 grams of bread, 1 quart of soup made with rutabaga, beets, cabbage, kale or sometimes nettles, 1 pint of black "coffee" and a spoonful of molasses.  Sometimes "hard workers" called zulaga would be rewarded with a piece of blood sausage or raw horsemeat sausage, jam and margarine. Prisoners also received 1 cup of Knorr soup per week.

Camp commandants
During the Gross-Rosen initial period of operation as a formal subcamp of Sachsenhausen, the following two SS Lagerführer officers served as the camp commandants, the SS-Untersturmführer Anton Thumann, and SS-Untersturmführer Georg Güßregen. From May 1941 until liberation, the following officials served as commandants of a fully independent concentration camp at Gross-Rosen:
 SS-Obersturmbannführer Arthur Rödl, May 1941 – September 1942
 SS-Hauptsturmführer Wilhelm Gideon, September 1942 – October 1943
 SS-Sturmbannführer Johannes Hassebroek, October 1943 until evacuation

War crimes trial
On 12 August 1948 the trial of three Gross Rosen camp officials, Johannes Hassebroek, Helmut Eschner and Eduard Drazdauskas, began before a Soviet Military Court. On 7 October 1948 all were found guilty of war crimes. Eschner and Drazdauskas were sentenced to life imprisonment and Hassebroek was sentenced to death, but this was later commuted also to life imprisonment.

List of Gross-Rosen camps with location

The most far-reaching expansion of the Gross-Rosen system of labour camps took place in 1944 due to accelerated demand for support behind the advancing front. The character and purpose of new camps shifted toward defense infrastructure. In some cities, as in Wrocław (Breslau) camps were established in every other district. It is estimated that their total number reached 100 at that point according to list of their official destinations. The biggest sub-camps included AL Fünfteichen in Jelcz-Laskowice, four camps in Wrocław, Dyhernfurth in Brzeg Dolny, Landeshut in Kamienna Góra, and the entire Project Riese along the Owl Mountains.

Notable inmates
 Boris Braun, Croatian university professor
 Simon Wiesenthal, Nazi hunter. He provides the following information about the camp in his 1967 book The Murderers Among Us:
 "... healthy looking prisoners were selected to break in new shoes for soldiers on daily twenty mile marches. Few prisoners survived this ordeal for more than two weeks."
 Władysław Ślebodziński, mathematician who taught prisoners
 Shlomo Zev Zweigenhaft, Rosh Hashochtim of Poland and Chief Rabbi of Hannover and Lower Saxony
 Franciszek Duszeńko, sculptor, maker of the Treblinka Monument
 Adam Dulęba, Polish Army photographer
 Heda Margolius Kovály, Czech writer and translator
 Lucian Ludwig Kozminski, convicted in the United States of swindling Holocaust survivors of their restitution money and alleged collaborator
 Adolphe Rabinovitch, Special Operations Executive officer.
 Henri Story, Belgian business man, politician and resistance member
 Paul Löbe, former president of the German Reichstag
 Gertruda Sekaninová-Čakrtová, Czechoslovak politician (imprisoned at Kurzbach subcamp)

See also
 List of Nazi-German concentration camps
 List of subcamps of Gross Rosen
 The Holocaust in Poland
 Nazi crimes against the Polish nation
 Project Riese
 Die Glocke (conspiracy theory)

Notes

References

 Willem Lodewijk Harthoorn (nl), an inmate from the end of April to mid-August 1942: Verboden te sterven (in Dutch: Forbidden to Die), Pegasus, Amsterdam.

 Druhasvetovavalka.cz collection of photographs from the KZ Gross-Rosen World War II field trip.

External links

 Concentration camps of Nazi Germany: illustrated history on YouTube
 The Death March through Schlesiersee to Volary, at Yad Vashem website
 Collection of testimonies concerning Gross-Rosen camp in 'Chronicles of Terror' database

1940 establishments in Germany
1945 disestablishments in Poland
Museums in Lower Silesian Voivodeship
Registered museums in Poland
Reich Security Main Office
World War II museums in Poland
World War II sites in Poland

Gross-Rosen concentration camp


Magnus Gustaf Retzius (* 17. Oktober 1842 in Stockholm; † 21. Juli 1919 ebenda) war ein schwedischer Anatom, insbesondere auf dem Gebiet der neuroanatomischen Histologie.

Leben
Gustaf Retzius entstammte einer berühmten schwedischen Ärztefamilie – sein Vater war der Anatom Anders Retzius, sein Großvater der Naturforscher und Chemiker Anders Jahan Retzius – und studierte, der Familientradition folgend, in Uppsala, Stockholm und Lund ebenfalls Medizin.

Retzius wurde 1871 promoviert. 1877 wurde er außerordentlicher Professor für das Fach Histologie am Karolinska-Institut in Stockholm. Da er sich neben seinen wissenschaftlichen Interessen auch mit sozialen und humanitären Fragen beschäftigte und er mit der Feministin Anna Hierta, der Tochter des Verlagsgründers Lars Johan Hierta, verheiratet war, übernahm er neben seinen universitären Aufgaben von 1884 bis 1887 die Herausgabe der großen Stockholmer Tageszeitung Aftonbladet.

Im Jahre 1889 wurde er ordentlicher Professor für Anatomie am Karolinska-Institut. Bereits 1890 gab er diese Professur wieder auf, um sich fortan ganz seinen wissenschaftlichen Forschungen hinzugeben, was er dank des Vermögens seiner Frau problemlos tun konnte.

Seine wissenschaftlichen Leistungen lagen vor allem auf den Gebieten der Histologie des Nervensystems und des Ohrlabyrinths. Darüber hinaus forschte er auf dem Gebiet der vergleichenden Anatomie und der Anthropologie. Insgesamt veröffentlichte er über 500 wissenschaftliche Arbeiten.

Retzius war seit 1870 Mitglied der Königlich Schwedischen Akademie der Wissenschaften. Im Jahr 1882 wurde er zum Mitglied der Leopoldina gewählt. 1886 wurde er zum korrespondierenden Mitglied der Göttinger Akademie der Wissenschaften gewählt. Im Jahr 1892 erhielt er die Cothenius-Medaille der Leopoldina.
1895 wurde er korrespondierendes Mitglied der Russischen Akademie der Wissenschaften in St. Petersburg sowie der Académie des sciences in Paris. 1901 wurde er in die Svenska Akademien aufgenommen und als Ehrenmitglied in die Kungliga Vitterhets Historie och Antikvitets Akademien gewählt. 1907 wurde er in die American Academy of Arts and Sciences gewählt, 1909 in die National Academy of Sciences. Für seine wissenschaftlichen Verdienste wurde er am 24. Januar 1911 in den preußischen Orden Pour le Mérite für Wissenschaft und Künste als ausländisches Mitglied aufgenommen.

Schriften (Auswahl)
 mit A. Key: Studier i nervsystemets anatomi. P. A. Nordstedt & S., Stockholm 1872.

Weblinks

Einzelnachweise

Mediziner (19. Jahrhundert)
Mediziner (20. Jahrhundert)
Herausgeber
Hochschullehrer (Karolinska-Institut)
Träger des Pour le Mérite (Friedensklasse)
Mitglied der Schwedischen Akademie
Auswärtiges Mitglied der Royal Society
Mitglied der Königlich Schwedischen Akademie der Wissenschaften
Mitglied der Kungliga Vitterhets Historie och Antikvitets Akademien
Mitglied der Königlichen Physiographischen Gesellschaft in Lund
Mitglied der Königlichen Gesellschaft der Wissenschaften in Uppsala
Mitglied der Kungliga Vetenskaps- och Vitterhetssamhället i Göteborg
Mitglied der Royal Society of Edinburgh
Mitglied der Bayerischen Akademie der Wissenschaften
Mitglied der Leopoldina (19. Jahrhundert)
Mitglied der American Academy of Arts and Sciences
Korrespondierendes Mitglied der Académie des sciences
Korrespondierendes Mitglied der Russischen Akademie der Wissenschaften
Mitglied der Niedersächsischen Akademie der Wissenschaften zu Göttingen
Schwede
Geboren 1842
Gestorben 1919
Mann
Mitglied der National Academy of Sciences

Gustaf Retzius


Izbrisani je naziv za stanovnike Slovenije, koje je Ministarstvo unutarnjih poslova 26. veljače 1992. nezakonito izbrisalo iz registra stalnih stanovnika. Kao rezultat toga, izgubili su svoj pravni status i povezana ekonomska, zdravstvena i socijalna prava. Za njih je na snagu stupio Zakon o strancima, pa su tretirani kao stranci koji ilegalno borave u Sloveniji. Među izbrisanima su i osobe rođene u Sloveniji.

Brisanje je zahvatilo 25,671 osoba, koje su imale jugoslavensko državljanstvo i obično također republičko državljanstvo jedne od drugih jugoslavenskih saveznih republika, ali imale prijavljeno prebivalište u Socijalističkoj Republici Sloveniji. Nakon neovisnosti Slovenije 25. lipnja 1991. godine, državljanstvo novoformirane Republike Slovenije dodijeljeno je stanovnicima s republičkim državljanstvom Socijalističke Republike Slovenije. Stanovnici koji su na dan odcjepljenja imali republičko državljanstvo drugih republika SFRJ i prebivalište u SR Sloveniji, imali su pravo podnijeti zahtjev za državljanstvo u roku od šest mjeseci.

Mnogi nisu stekli državljanstvo novonastale države, jer nisu bili obaviješteni da moraju steći novo državljanstvo i nisu predali zahtjev, ili zato što je njihov zahtjev odbijen ili je postupak zaustavljen. Zbog toga im je oduzet status stalnog boravka. Stalni boravak oduzele su im lokalne upravne vlasti prema središnjim internim uputama Ministarstva unutarnjih poslova pod vodstvom ministra Igora Bavčara i državnog tajnika Slavka Debelaka.

Dana 24. lipnja 1998., slovenski Ustavni sud presudio je da je brisanje protuustavno. Iznos naknade koju bi izbrisani trebali dobiti dugo je osporavan.

Slovenija se zbog tog slučaja masovnog kršenja ljudskih prava našla pred Europskim sudom za ljudska prava u Strasbourgu, a mnogi problemi 'izbrisanih' aktualni su i danas. Do 2018. na sudovima je podneseno 346 tužbi, a riješeno ih je svega 12, dok je 'izbrisanima' u administrativnim postupcima dodijeljena odšteta od ukupno 26,5 milijuna eura.

Od 1999. godine doneseno je nekoliko važnih sudskih odluka i usvojeni su zakoni kojima su vraćena prava takozvanim "izbrisanim" ljudima. Nakon višegodišnje kampanje za pravdu, mnogi od njih su od Slovenije dobili odštetu, a tisuće ljudi su ponovno dobili državljanstvo i dozvolu za boravak.

Izvori

Politika Slovenije

Izbrisani (Slovenija)


El Festival Internacional de Música Contemporánea de Córdoba se origina como prolongación de las actividades desarrolladas por el "Córdoba Ensamble", formación creada en 2001, siendo Juan Carlos Tolosa su director artístico y musical, para promover la práctica de la música contemporánea instrumental, plantear un espacio de experimentación para los compositores, y difundir el repertorio contemporáneo local e internacional.
Ya en el año 2002 (en plena crisis económica, política y social de la Argentina), se realiza el Ciclo Contemporáneo del Córdoba Ensamble, que incluye, entre otros, las presentaciones del  violinista Garth Knox, del dúo de flauta de Guillermo Lavado y Karina Fischer, y el dúo de piano de Juan Carlos Tolosa y Germán Nager, siendo ésta la antesala de lo que luego llegaría a ser el Festival Internacional.

Historia

Microfestival de Música Contemporánea, noviembre de 2003
Es en noviembre del año 2003 que - luego del ciclo del Córdoba Ensemble realizado en septiembre -  se organiza el (Micro) festival de Música Contemporánea-Córdoba 2003, en el que se presentan Garth Knox y el Córdoba Ensamble, estrenándose obras de Tolosa, Bazán, Umberto Giordano, Luján, Mazza, Alderete, Endrek y Journade, Morton Feldman, Xenakis, Grisey.

Minifestival internacional de Música Contemporánea, noviembre de 2004
Se lleva a cabo – siempre en la  - el (Mini) Festival Internacional de Música Contemporánea, del que participan el cuarteto de cuerdas Quatuor Diotima (Francia) y el Córdoba Ensamble, presentándose obras de Gabriel Valverde, Pablo De Giusto, Santiago Giordano, Alejandro Guarello, Mariano Vélez y Juan Carlos Tolosa, György Ligeti, Emmanuel Nunes, Janacek.

III Festival internacional de Música Contemporánea, noviembre de 2005
La nueva edición y forma, el de la que participan Garth Knox, Alejandra Tortosa, Agustín Caturelli, Aníbal Borzone, Eduardo Spinelli y el Córdoba Ensamble con obras de Stravinsky, Lachenmann, Berio, Boulez, Vélez, Guarello, Knox, Scelsi.

IV Festival, noviembre de 2006
Participan el Quatour Diotima, Suono Mobile Argentina, el Córdoba Ensamble, presentándose obras de J. Cage, C. García, J.C. Tolosa, F. Manassero, G. Ligeti, A. Guarello, A. Galiano, T. Hosokawa, I. Stravinsky, J. Dillon, E. Nunes, H. Dutilleux, Alban Berg, Krzysztof Penderecki, G. Paraskevaídis, M. Vélez y G. Crumb. Integrando el Festival, se realiza el Laboratorio Contemporáneo del Córdoba Ensamble, con la participación de músicos invitados: Alejandra Tortosa (soprano), Virginia Rivarola (flauta), Claudio La Rocca (corno), Gaspar Bueno (trombón), Gustavo Nardi (violoncelo) y Basilio Del Boca (electrónica).

V Festival, noviembre de 2007
Enfatizándose en éste la creación musical contemporánea latinoamericana, participaron de este encuentro el violinista David Núnez (Venezuela), el Laboratorio Contemporáneo del Córdoba Ensemble, y los solistas Alejandra Tortosa, Mariano Ceballos y Fabricio Rovasio. Como parte de este Festival, tuvieron lugar: una masterclass para instrumentistas de cuerdas - a cargo de David Núnez-, un Encuentro y Taller con dos compositores de Black Jackets Company - Pierre Kolp (Bélgica), David Núñezañez -, y una conferencia sobre el compositor  mexicano Julio Estrada – a cargo del compositor Pablo Araya (Argentina)-.

VI Festival, noviembre de 2008
En esta oportunidad, el festival amplía sus fronteras: enlaces y cruces con otras disciplinas artísticas, con otras formas de hacer música, con otros Festivales (Festival "La Menage") y ciclos ("Proposiciones"); la idea de "Link" como modus operandi.
Este encuentro contó con la participación de: el Ensemble Recherche (Alemania), DJ Fede Flores (Córdoba, electrónica), Oscar Bazán Ensamble (Córdoba), Yamil Burguener (Córdoba, electroacústica), Suono Mobile Argentina, Theo Brandmüller (Alemania, órgano), Eduardo Spinelli (Córdoba, clarinete solo), CDMCC –Centro de Difusión de la Música Contemporánea en Córdoba- , GEMA (Córdoba, electropop).
Dentro de las actividades, se realizaron: Seminarios con la presencia de dos artistas lo-cales de trayectoria internacional - Marcelo Massa (artes escénicas) y Adrián Manavella (arquitectura y artes visuales)-, concierto y master classes a cargo del Ensamble Recherche, y concierto y taller de composición a cargo de Theo Brandmüller.

VII Festival, noviembre de 2009

Participan el ensamble Suono Mobile Argentina, 59 elektro Mobile, Robyn Schulkowsky (percusión) y Reinhold Friedrich (trompeta) – concierto y taller de composición-, Ensamble del CDMCC, Cuarteto Träumerei, E. Spinelli, M. Devoto – concierto y taller de violoncello contemporáneo-, A. García, Marcelo Toledo (taller de composición) y Marcos Franciosi (taller de composición).

VIII Festival, 1-9 de noviembre de 2011
Con la participación de los ensambles MN2P, Buenas Salenas y Suono mobile y de Eduardo Spinelli. ; classes magistrales: Pierre Kolp, Marcos Franciosi, André Ristic y Kim Vandenbrempt.

Red cultural
Los Festivales de Música Contemporánea - Córdoba están apoyados por: Gobierno de la Provincia de Córdoba, Dirección y Producción del Teatro del Libertador San Martín, Fundación Teatro del Libertador San Martín, Goethe Institut, Alliance Francaise, La Colmena Escuela de Músicos, Universidad Nacional de Córdoba, Centro Cultural España-Córdoba, Istituto Italiano di Cultura, Facultad de Ciencias Exactas, Físicas y Naturales, Centro de Difusión de la Música Contemporánea en Córdoba.

Referencias

Festivales de música de Argentina
Cultura de Córdoba (Argentina)
Organizaciones fundadas en 2007
Argentina en 2007

Festival Internacional de Música Contemporánea Córdoba (Argentina)


Sahms, Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Herzogtum Lauenburg iline bağlı bölge. 5,94 km² yüzölçüme sahiptir. Nüfusu, 30 Eylül 2006 itibarıyla yaklaşık 367 olarak tespit edilmiştir. Belediye Başkanlığı Hans-Joachim Püst tarafından yürütülmektedir.

Dış bağlantılar
 www.amt-schwarzenbek-land.de

Herzogtum Lauenburg iline bağlı yerleşim birimleri

Sahms


L'église Saint-Antoine-de-Padoue est un édifice religieux catholique de style néogothique sis à Etterbeek, commune méridionale de la Région de Bruxelles (Belgique).  Construite à partir de 1905 et lieu de culte de la communauté catholique locale l'église est classée au patrimoine national depuis 2004.

Histoire
Construite dans le cadre du développement urbanistique de cette zone encore campagnarde d'Etterbeek l'église se trouve au centre d'une vaste 'place Saint-Antoine' de laquelle partent plusieurs artères importantes d'Etterbeek. Le quartier lui-même pris le nom de 'Saint-Antoine'. Elle est œuvre des architectes Edmond Serneels et Georges Cochaux.  Ouvert en 1905 le chantier ne se terminera qu'en 1935. Son style est néogothique, particulièrement inspiré du gothique du .

Le chœur et les trois travées principales de la nef furent construits en 1906. L'achèvement de la nef – sans transept - et la réalisation du clocher terminent l'ouvrage en 1935. La structure en est simple, associant maçonnerie et pierre ainsi que quelques éléments de béton armé dans la tour-clocher. Chaque travée se prolonge latéralement par des 'enclos' qui sont autant de chapelles secondaires. Extérieurement, l'édifice est revêtu d'un parement complet en moellons de pierre bleue mosane.

L'église a la particularité d'avoir deux façades – avec vitraux et rosaces - au nord et au sud. Chacune domine un parvis qui sont les côtés nord et sud de la place ovale Saint-Antoine. Le portail avec entrée principale flanquée de la tour-clocher sur son aile gauche se trouve sur le côté nord. Les façades sont recouvertes de pierres bleues de carrières mosanes (région de Namêche, près d'Andenne).

La tour-clocher, bordée aux quatre angles de clochetons décoratifs, se trouve sur le côté droit de l'édifice. Une autre tour, beaucoup plus modeste et purement décorative, se trouve sur le côté gauche de la façade principale.

Considéré dans la culture architecturale bruxelloise, comme jalon qui permet de comprendre le panorama culturel du début du  le bâtiment fut classé au patrimoine immobilier de la Région bruxelloise en 2004.

Patrimoine
L'orgue de tribune, œuvre du facteur Emile Kerkhoff, date de 1916.

Adresse
 Place Saint-Antoine, 1040 Etterbeek (Bruxelles)

Notes

Antoine
Etterbeek
Édifice religieux achevé en 1935
Etterbeek

Église Saint-Antoine-de-Padoue d'Etterbeek


(أي أم بي ي ال إمبيل - أم دي2) هي واحدة من البنادق المصنعة من قبل شركة أي ام بي أي ال البرازيلية، بدأ صنع أول بندقية أم دي1 في 1983 وعام 1985 بدأ تصنيع ام دي2 الذي اعتمده الجيش البرازيلي كسلاح وطني، والشرطة العسكرية. ام دي 1 و 2 اضيفت عليه تعديلات، بما في ذلك تغيير في نظام الإغلاق، التي استعيض عنها وهي من نوع M16 بالتناوب الترباس المختلفة، للاستخدام مع الناتو 5.56x45mm خرطوشة

وصلة خارجية
 IMBEL MD-2 and MD-3 at Modern Firearms

أسلحة نارية 5.56 مم
بنادق اقتحام
عسكرية البرازيل

إم دي2


Belvedere Heights ist der Name folgender Orte:

in den Vereinigten Staaten:
 Belvedere Heights (Connecticut), im New Haven County
 Belvedere Heights (Kalifornien), im Riverside County
 Belvedere Heights (Maryland), im Anne Arundel County
 Belvedere Heights (West Virginia), im Jefferson County

in Kanada:
 Belvedere Heights (Alberta), im Strathcona County

Belvedere Heights


There have been four tanks named Challenger in British military service.

 Cruiser Mk VIII Challenger in service during World War II
 Challenger 1 in service from the mid-1980s to early 21st century
 Challenger 2 in service from 1998 onwards
 Challenger 3 in development; predicted to enter service from 2027 onwards

Challenger tank


Marele război (titlul original: La grande guerra) este un film artistic de coproducție franco-italiană, realizat în 1959 de regizorul Mario Monicelli, film care aparține proeminentelor lucrări ale genului Commedia all'italiana. Protagoniștii filmului sunt actorii Vittorio Gassman, Alberto Sordi și Silvana Mangano.
De asemenea este considerat unul din cele mai bune filme italiene de război și o capodoperă pentru istoria cinematografiei.

Conținut

Anul 1916. Italieni duc lupte crâncene împotriva armatei austro-ungare, pentru eliberarea teritoriului lor. Romanul Oreste Jacovacci și milanezul Giovanni Busacca se cunosc la chemarea sub arme. Oreste promite lui Giovanni că îi rezolvă trecerea la reformă în schimbul unei sume de bani, dar de fapt a fost doar o păcăleală. Cei doi se reîntâlnesc în trenul care îi ducea pe front. După gâlceava de rigoare iscată de Giovanni pentru ce a pățit, încep totuși să se simpatizeze și devin prieteni. Deși au caractere total diferite, sunt uniți totuși în dorința de a evita orice pericol și de a termina nevătămați războiul. Trec prin numeroase peripeții în timpul instrucției, în luptă
sau în puținele ore de permisie. În seara premergătoare a unei lupte, amândoi părăsesc compania lor fără permisie. Giovanni petrece noaptea cu prostituata Constantina, care îi șterpelește portofelul. Ziua următoare Giovanni ia parte la bătălia sângeroasă, care se termina prin capturarea de la trupele Austriece a armamentului. Oreste este trimis împreună cu Giovanni în oraș ca să facă rost de provizii. Giovanni întâlnind iarăși pe Constantina, reușește să recupereze portofelul și își dă seama că e îndrăgostit de ea. Oreste și Giovanni rămân peste noapte în oraș, printre altele să scape și de luptele ce se duc în zona unde se afla compania lor.

Dimineața următoare, constată că unitatea lor a fost decimată, iar locuitorii îi tratează ca pe supraviețuitori ai luptei. Amândoi se hotărăsc de data asta, să evadeze. Însă după o discuție cu văduva unui camarad căzut în luptă, se decid să se întoarcă totuși la compania lor, ba mai mult, o ajută pe aceasta dându-i ei toți banii pe care îi aveau.
Din nou la companie, sunt trimiși curieri într-o misiune specială dar sunt luați prizonieri de austrieci și sunt interogați, vrând să afle informații despre un ponton construit de italieni pentru transportul de întăriri

Distribuție

Premii și nominalizări
 1959 Festivalul din Veneția fimul a obtinut premiul Leul de Aur

 1960 Nominalizare Oscar pentru cel mai bun film străin

 1960 Nastro d'argento: două premii ale Sindacato Nazionale Giornalisti Cinematografici Italiani
 Premiul cel mai bun actor protagonist pentru Alberto Sordi
 Premiu pentru cel mai bun scenariu pentru Mario Garbuglia

 1960 David di Donatello
 Premiul cel mai bun actor protagonist pentru  Vittorio Gassman și Alberto Sordi
 Premiul pentru cel mai bun film

Vezi și
 Listă de filme străine până în 1989
 Commedia all'italiana
 Listă de filme despre Primul Război Mondial

Note

Bibliografie

Legături externe

Filme din 1959
Filme de comedie
Filme dramatice
Filme în limba italiană
Filme regizate de Mario Monicelli
Filme Commedia all'italiana
Filme despre Primul Război Mondial
Filme italiene despre Primul Război Mondial
Filme de război italiene

Marele război


Desnudo sentado es una pintura al óleo sobre lienzo pintado en 1917 por el pintor italiano Amedeo Modigliani. Pertenece a una colección privada localizada en Amberes.

El tema es muy recurrente en el arte del propio Modigliani, (por ejemplo en una pintura del año anterior, Desnudo femenino sentado), así como en otros autores como William-Adolphe Bouguereau con una obra homónima de 1884.

Referencias

Enlaces externos

Desnudo (género artístico)

Desnudo sentado


Erik Bosgraaf (* 9. Mai 1980 in Drachten, Niederlande) ist ein niederländischer Blockflötist und Musikologe.

Leben
Bis 2005 studierte Bosgraaf bei Walter van Hauwe und Paul Leenhouts am Conservatorium van Amsterdam und absolvierte zeitgleich ein Studium der Musikwissenschaften an der Universität Utrecht, für welches er 2006 sein Diplom erhielt. Bosgraaf ist in fast allen musikalischen Bereichen tätig und sucht außerdem Verbindungen zu anderen Kunstformen. Er wohnt in Hilversum  und unterrichtet als Dozent für Blockflöte am Conservatorium van Amsterdam.

Wirken
Im Jahre 2007 brachte er unter der Leitung des Musikologen Thiemo Wind eine 3-teilige CD-Box mit Musik des niederländischen Komponisten Jacob van Eyck (1589–1657) heraus. Diese Aufnahme erreichte den ersten Platz in den klassischen Musikcharts der Niederlande. Weltweit wurden mehr als 25.000 Exemplare dieser CD-Box verkauft.
Während der Musiksaison 2011–2012 wurde er vom Concertgebouw (Amsterdam) und vom Palais des Beaux-Arts de Bruxelles als bedeutender, junger Musiker in der Serie "Rising Stars" vorgeschlagen, was eine Tournee durch Europa zur Folge hatte.

Ensemble Cordevento
Im Jahre 2006 gründete Bosgraaf gemeinsam mit dem Gitarristen Izhar Elias und dem Cembalisten Alessandro Pianu das Ensemble Cordevento, mit dem Ziel, zeitgenössische und alte Musik zusammenzuführen. Ab 2007 konzentrierte sich das Trio ausschließlich auf die Musik des 17. Jahrhunderts, die im Grenzgebiet zwischen populärer Musik und Kunstmusik zu verorten ist. Anfang 2012 erschien das Debütalbum des Trios.  2008 machte Cordevento sein Debüt als Barockorchester in einfacher Besetzung. Hierbei konzentrierte sich das Ensemble vornehmlich auf das Repertoire des 18. Jahrhunderts. Im Jahre 2009 erschien die Debüt-CD Bosgraafs mit einem Barockorchester mit den Blockflötenkonzerten von Antonio Vivaldi. 2011 ist die zweite CD mit Transkriptionen von Blockflötenkonzerten von Johann Sebastian Bach erschienen.

Mit Orchester
Bosgraaf trat sowohl mit Kammermusik-Ensembles wie auch mit Symphonieorchestern auf. Er arbeitete unter anderem mit dem Dallas Symphony Orchester (Jaap van Zweden), Nederlands Kamerorkest (Gordon Nikolic), Residentie Orkest (Reinbert de Leeuw), Holland Symfonia (Otto Tausk), het Noord-Nederlands Orkest (Johannes Leertouwer), Radio Kamer Orkest (Thierry Fischer, Andreas Delfs) und Sinfonia Rotterdam (Alessandro Crudele).

Jazz
Bosgraaf nahm drei Alben mit der Rockband Echos Minor auf und spielte außerdem mit dem Saxofonisten Yuri Honing, mit Luc Houtkamp in der Electro-Free-Jazz-Gruppe POW-Ensemble, mit Sean Bergin, Dig d'Diz, Mary Oliver (Viola) und Rozemarie Heggen (Kontrabass).

Neue Musik und Multimedia
Bosgraaf befürwortet die Ausführung von neuer Musik für Blockflöte. Inzwischen sind viele Werke für ihn komponiert worden, oft in Kombination mit Elektronika oder Multimedia. Er arbeitet zusammen mit Komponisten wie Pierre Boulez, Anne Meredith, Willem Jeths, Ji Youn Kang, Jorrit Tamminga und Matijs de Roo. Weiterhin machte Bosgraaf eine eigene Bearbeitung von Dialogues de l'ombre double von Pierre Boulez, die der Komponist persönlich unterschrieb. Seit 2002 arbeitet Bosgraaf intensiv mit dem Gitarristen Izhar Elias zusammen, mit dem er theatralische Multimedia-Projekte organisiert. 2007 erschien ihre CD/DVD Big Eye (Phenom Records). Elias und Bosgraaf arbeiten zusammen mit Paul & Menno de Nooijer und dem Tonkünstler Jorrit Tamminga.

Sonstige Aktivitäten
2008 nahm Bosgraaf alle Fantasien für Flöte Solo von Georg Philipp Telemann auf CD auf, sowie die Partita BWV 1013 von Johann Sebastian Bach. Zudem spielte er im Jahre 2009 mit dem Cembalisten  Francesco Corti sämtliche Blockflötensonaten von Georg Friedrich Händel ein. Im November 2011 war Erik Bosgraaf "Artist in residence" beim internationalen Van Wassenaar Festival. In der Musiksaison 2011–2013 ist er "Artist in residence" von Toonzaal, Den Bosch.

Auszeichnungen
 2009: Borletti-Buitoni Trust Award
 2009: Grachtenfestivalpreis (mit Izhar Elias)
 2011: Niederländischer Musikpreis

Diskografie
 Loevendie und Bosgraaf: Nachklang - Reflex - Dance - Improvisations (Brilliant Classics 95906), 2018
 Telemann: Trio Sonaten für Blockflöte, Violine & Basso Continuo mit Dmitry Sinkovsky, Violine. (Berlin Classics 0301006BC), 2017
 Ernst Reijseger: Walking Out, Soundtrack für den Film by Andrew & Alex Smith (Winter & Winter), 2017
 Telemann: Die Doppelkonzerte mit Blockflöte, Cordevento (Brilliant Classics 95249), 2016
 Telemann: Suiten und Konzerte für Blockflöte, Cordevento (Brilliant Classics 95248), 2016
 Ernst Reijseger: Soundtrack für den Film Salt & Fire von Werner Herzog (Winter & Winter, 2016)
 Willem Jeths: Recorder Concerto (Challenge Records CC 72693), 2015
 Pierre Boulez, Tamminga/Bosgraaf: Dialogues de l'ombre double (Brilliant Classics 94842), 2015
 Vivaldi: The Four Seasons, Cordevento  (Brilliant Classics 94637), 2013, Wiederveröffentlichung auf LP 2015
 Hotel Terminus, mit Saxophonist Yuri Honing (Brilliant Classics 9418), 2013
 La Monarcha, 17th century music from the Spanish territories (Brilliant Classics 94352), 2012
 Bach: Konzerte für Blockflöte, Cordevento (Brilliant Classics 94296), 2011
 Vivaldi: Recorder Concertos, Cordevento (Brilliant Classics 93804), 2009
 Händel: The Recorder Sonatas (Brilliant Classics 93792), 2008
 Telemann: Twelve Fantasias, Bach: Partita (Brilliant Classics 93757), 2008
 Jacob van Eyck: Fluyten Lust-hof (3-CD-set, Brilliant Classics 93391), 2007
 Big Eye, movies & music (CD & DVD, Phenom Records PH0713), 2007

Weblinks
 Website von Erik Bosgraaf

Blockflötist
Interpret (Neue Musik)
Interpret Alter Musik
Niederländer
Geboren 1980
Mann

Erik Bosgraaf


Mokan drvo (lat. Visnea), monotipski rod drveća iz porodice Pentaphylacaceae. Jedina je vrsta V. mocanera s Kanarskih otoka (osim otoka Lanzarote) i Madeire.

Opis
Občno doseže visinu koja ne prelazi 4 metra, ali u iznimnim slučajevima može doseći 10 metara.

Deblo mu je obično čvrsto, a kora s godinama varira u boji i hrapavosti: zelena je i glatka do sivkasta i blago hrapava, postižući čak smeđastu boju i grublju teksturu. Krošnja je relativno mala. Listovi su jednostavni, naizmjenični, eliptično-lanceolatni, 4-6 cm dugi i 2,5-3 cm široki, pomalo kožasti, s cjelovitim ili nazubljenim rubom, sjajni su, tamno zeleni s gornje strane, a na donjoj strani blijedi.

Početkom godine bujni cvjetovi ovog stabla pojavljuju se sami ili su grupirani u male grozdove, vise sa stabla poput malih zvona. Ovi aromatični cvjetovi su hermafroditični, s brojnim prašnicima i 5 kremasto-bijelih latica. Plod je mesnata kapsula veličine lješnjaka (promjera 1-1,5 cm) koja se otvara kad sazri, a koja iz zelene poprimi crvenkastu i na kraju crnkasto ljubičastu boju.

Sinonimi
 Mocanera Juss.
 Mocanera canariensis J.St.-Hil.
 Visnea canariensis Oken

Izvori

Pentaphylacaceae
Flora Kanarskih otoka
Flora Madeire

Mokan drvo


Articles with hCards

කාංචනා මෙන්ඩිස්, (උපත 1980 ජුනි 24) ශ්‍රී ලාංකේය සිනමාවේ, වේදිකා නාට්‍යයේ සහ රූපවාහිනියේ නිළියකි . ඇය වඩාත් ප්‍රසිද්ධියට පත්වන්නේ රාජ්‍ය සේවය පිනිසයි, රෝස වසන්තේ චිත්‍රපටවල සහ දාමිණි සහ සක්මන් මළුව යන රූපවාහිනී කතාමාලාවල චරිත සඳහාය.

පෞද්ගලික ජීවිතය
ඇයට වයස අවුරුදු දෙකේදී ඇගේ පියා මිය ගියේය.  ඇය 2009 දී රොෂාන් රණවක සමඟ විවාහ වී ඇත  මෙම යුවළට පුතුන් දෙදෙනෙක් සිටී - සෙනුක රයන්, නිමනා රෝවන් සහ එක් දියණියක් කෙයිෂා රයිලි. ඇය දැනට තම පවුල සමඟ ඩෙට්‍රොයිට් හි ජීවත් වේ.

වෘත්තීය
ඇය 1998 දී සනත් විමලසිරි සහ නිමන්ති පෝරගේ සමඟින් නින්ජා මදුරු කොයිල් රූපවාහිනී වෙළඳ දැන්වීම සමඟ ජනප්‍රිය වූවාය. ඇය වයස අවුරුදු 12 දී ධර්මසේන පතිරාජ විසින් අධ්‍යක්ෂණය කරන ලද සුභා අනගතයක් රූපවාහිනී කතාමාලාවේ රඟපෑවාය.  2000 වසරේ උදයකාන්ත වර්ණසූරිය විසින් අධ්‍යක්ෂණය කරන ලද "රාජය සේවය පිණිසයි" සිංහල චිත්‍රපටිය හරහා ඇය ප්‍රධාන ධාරාවේ සිනමා කර්මාන්තයට පිවිසියේ පෞද්ගලික ලේකම්වරියක වන "ප්‍රභාෂ්වරී" ගේ චරිතයෙනි.  ඇය සධා සහ ශ්‍රීකාන්ත් විසින් ප්‍රධාන චරිත නිරූපණය කළ වර්ණජාලම් නම් දෙමළ චිත්‍රපටවල මෙන්ම කනගලල් කයි රාසි චිත්‍රපටයේ ද පෙනී සිට ඇත.  ඇය සමන් තුෂාරගේ ධර්ම සංග්‍රාමය  සහ රිචඩ් මානවඩුගේ අනංග බඹරු වැනි වේදිකා නාට්‍ය කිහිපයක ද රඟපෑවාය.

2003 දී මෙන්ඩිස් ශ්‍රී ලංකා ජාතික ලොතරැයි මණ්ඩලයේ විශේෂ 40 වැනි සංවත්සර ලොතරැයි ටිකට් පත සඳහා "සන්නාම තානාපති" ලෙස තෝරා ගන්නා ලදී.  එම වසරේම ඇය Artscope හි ජනප්‍රියම නිළිය සඳහා වූ සුමති ටෙලි සම්මානය දිනා ගත්තාය.

සම්මාන
ඇය දේශීය සිනමා උළෙලවල් සහ රූපවාහිනී උත්සවවලදී සම්මාන කිහිපයක් දිනාගෙන ඇත. 2000 දී, ඇය ජනාධිපති සම්මාන උළෙලේදී පළමු චිත්‍රපටිය වන "රාජය සේවය පිනිසයි" හි හොඳම සහය නිළියට හිමි සම්මානය දිනා ගත්තාය.  2001 වසරේ සරසවිය සිනමා උළෙලේදී රෝසා වසන්තේ චිත්‍රපටයේ චරිතය වෙනුවෙන් ඇය කුසලතා සම්මානයක් දිනා ගත්තාය.

චිත්‍රපටකරණය

යොමු කිරීම්

බාහිර සබැඳි

 වත් පොහොසත්කම ඉදිරියේ මිලින වී ගිය ප්‍රථම ප්‍රේමය
 'හදවත එෆ්එම්' හි සොඳුරිය
 පවුලක් වශයෙන් දෙපැත්තක ඉන්න මම කැමති නැහැ - කාංචනා මෙන්ඩිස්
 බුදුන් වහන්සේගේ ජීවිතය සංගීතයට ඇතුළත් විය
1980 උපත්
ජීවමාන ජනයා

කාංචනා මෙන්ඩිස්


Anđelko Akrap (Bisko kod Trilja, 1954.) hrvatski je demograf i akademik.

Životopis
Godine 1979. diplomirao je ekonomiju na Ekonomskom fakultetu u Zagrebu, a 1997. je i doktorirao na istom fakultetu. Od 1997. godine zaposlen je na Ekonomskom fakultetu na Katedri za demografiju te je član raznih domaćih i stranih stručnih organizacija.Za redovitog člana HAZU izabran je 2020., a od 2018. je bio član suradnik.

Nagrade
 2006. – Nagrada Mijo Miratović za znanstveni rad koji predstavlja izniman znanstveni doprinos
 2007. – Državna nagrada za znanost u području društvenih znanosti za znanstveno djelo za 2006. godinu
 2011. – Nagrada "Mijo Mirković" za rad monografskog sadržaja

Izvori

Vanjske poveznice
 Osobna stranica na stanicama HAZU-a

Akademici HAZU
Životopisi, Trilj

Anđelko Akrap


مناطق الأعماق السحيقة أو المنطقة الغورية  طبقة مائية في قاع البحر تقل فيها حركة المياه و يرتفع الضغط المائي فيها و تصل إلى قعر المحيط و بالتالي تكون مظلمة و باردة جدا و تعيش في هذه الطبقة كائنات محللة من بكتيريا و أسماك تقتات على النباتات و الحيوانات الميتة و الفضلات التي تترسب من الأعلى.

تمتد طبقة السهول السحيقة من عمق 4 آلاف متر تحت السطح، حتى القاع، الذي قد يفوق عمقه، في بعض الأخاديد البحرية، 11 ألف متر تحت سطح البحر. وخصائص هذه الطبقة: المائية والحيوية، تكاد تكون الخصائص نفسها، التي تتميز بها  الطبقة التي تعلوها. فهي طبقة مظلمة تماماً، إلا أن مياهها أبرد قليلاً، ومحتواها من الأكسجين أعلى؛ لانخفاض درجات الحرارة. وتعيش فيها جماعات من الأحياء البحرية شديدة التخصص، حول ينابيع القاع الحرارية ؛ إضافة إلى مخلوقات دقيقة ذاتية التغذية ، في المياه الساخنة، حول مداخن القاع . ويمكن أن تضم إليها بيئة الأخاديد القاعية العميقة . متوسط حرارة المياه، لا يتجاوز 3.5 درجات مئوية؛ ومناطقها مظلمة، لا يصلها ضوء الشمس؛ الأحياء البحرية، في هذه الأعماق، متشابهة، في كلِّ المحيطات. وتتغذى بالمواد العضوية، المتساقطة عليها من الطبقات العليا.

ويلاحظ أن الأحياء المائية، بما فيها تلك المتحركة، تتدانى في جماعات؛ ما يعزوه بعض الباحثين إلى أن التيارات المائية تجعلها تصطف في مجموعات طولية، بالطريقة نفسها، التي تدفع بها تيارات المد الرواسب الشاطئية، مكونة ما يعرف بكثبان المد . وقد يكون بعض التجمعات مرتبطة بتركُّز المغذيات، فحيثما تركَّزت النباتات، تتركَّز الحيوانات التي تتغذى به.

انظر أيضاً
 منطقة البحر المفتوح
 منطقة مضاءة
 منطقة متوسطة العمق
 خندق محيطي

مراجع

علم الأحياء البحرية
علم البيئة المائي
مصطلحات علم المحيطات

منطقة العمق السحيق


Heinrich Philipp Jaeger (* 17. Februar 1816 in Koblenz; † 13. April 1888 in Cond) war ein preußischer Verwaltungsbeamter und Landrat.

Leben

Herkunft und Ausbildung
Heinrich Jaeger war der Sohn des preußischen Oberforstrats Heinrich Jaeger und der Maria Magdalena, geb. Schimper. Nach dem Besuch des Gymnasiums in Koblenz studierte er unter anderem an der Universität in Bonn (Immatrikulation: 14. Oktober 1835, bis zum Wintersemester 1838/39) Kameralwissenschaften. Dort gehörte er dem Corps Borussia an.

Werdegang
Als Regierungsreferendar trat er anschließend in den preußischen Verwaltungsdienst ein, wo er ab dem 28. September 1840 zunächst bei der Regierung Koblenz und ab dem 28. September 1846 bei der Regierung Arnsberg Einsatz fand. Nach seiner Prüfung zum Regierungsassessor (20. August 1847) fand er Beschäftigung bei den Regierungen in Düsseldorf und Köln und versah dabei zwischenzeitlich vom 13. Mai bis zum 12. Dezember 1848 vertretungsweise auch die Leitung des Kreises Adenau. Währenddessen wurde er zum 4. Dezember 1848 an die Regierung Koblenz zurückversetzt. Von dort übernahm Jaeger mit dem 22. Februar 1849 zunächst kommissarisch die Verwaltung des Kreises Cochem, seine definitive Ernennung folgte am 21. Juni 1851. Heinrich Jaeger starb im Dienst. Er war mit 39-jähriger Dienstzeit der am längsten amtierende Landrat des Kreises Cochem.

Familie
Der Katholik Heinrich Jaeger heiratete am 13. Dezember 1852 in Cochem Maria Magdalene Johanna, geb. Junck (* 30. Januar 1820 in Trier; † 12. Mai 1867 in Cochem), die Tochter des Landwirts und Trierer Friedensrichters Michael Junck und der Veronika Agathe, geb. Schmit.

Ehrungen
 Charakterisierung als Geheimer Regierungsrat (29. Dezember 1881)
 Roter Adlerorden 4. Klasse (1. September 1884)
 Roter Adlerorden 3. Klasse mit Schleife

Literatur
 Alfons Friderichs: Jaeger, Heinrich Philipp, In: Persönlichkeiten des Kreises Cochem-Zell. Kliomedia, Trier 2004, ISBN 3-89890-084-3, S. 165 f.
 Robert Castor (Autor): Die Landräte von Cochem und Zell, Heimatjahrbuch Cochem-Zell 2006, S. 67–71.

Einzelnachweise

Corpsstudent (19. Jahrhundert)
Preußischer Landrat (Kreis Cochem)
Geheimer Regierungsrat
Person (Koblenz)
Träger des Roten Adlerordens 3. Klasse
Landrat (Kreis Adenau)
Verwaltungsjurist
Preuße
Deutscher
Geboren 1816
Gestorben 1888
Mann

Heinrich Jaeger (Landrat)


Det Blå Danmark er en betegnelse for de virksomheder der, enten direkte eller indirekte, er beskæftiget med sejlads. F.eks. rederier, shippingvirksomheder, skibsværfter, havne, lodser samt virksomheder, der leverer udstyr til søfarten. Det Blå Danmark beskæftiger omkring 100.000 personer og genererede en produktion i 2014 på 335 mia. kr.

Kilder

Søfart
Brancheforeninger i Danmark

Det Blå Danmark


بطولة العالم لكرة القدم داخل الصالات 2008 أقيمت في البرازيل في الفترة من 30 سبتمبر إلى 19 أكتوبر وقد حقق لقبها منتخب البرازيل للمرة الرابعة في تاريخه.

نظام البطولة
يشارك في البطولة 16 فريقا مقسمين على أربع مجموعات كل مجموعة تضم 4 فرق.

الدور الأول

المجموعة أ

المجموعة ب

المجموعة ج

المجموعة د

الدور الثاني

المجموعة الثانية

المجموعة الثانية

الدور النهائي

البطل

مراجع

كرة القدم داخل الصالات في 2008
بطولة العالم لكرة القدم داخل الصالات
كرة القدم البرازيلية في 2008
مسابقات كرة القدم داخل الصالات دولية تستضيفها البرازيل


Paisley eller paisleymønster er et ornamentalsk design, med buta () eller boteh, et dråbeformet motiv med en bøjet ende. Det stammer fra Persien, men mønstret blev meget populært i Vesten i 1700- og 1800-tallet, efter at være blevet importeret fra Mogulriget fra Indien, særligt i form af pashmina, og de ble imiteret lokalt. Selvom den figne- eller mandel-formede mønster stammer fra Persien, så kommer navnet fra byen Paisley, i det vestlige Skotland, der var centrum for tekstiler, hvor paisley-designet blev produceret.

Mønstret ses stadig ofte i Storbritannien og andre engelsk-talende lande på slips, mens det fortsat er et populært mønster på alle slags tøj i Iran samt lande i Syd- og Centralasien.

Referencer

Eksterne henvisninger

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 .
 .

Tekstilmønstre

Paisley (mønster)


Clark T. "Sandy" Randt Jr. (; Pinyin: Léi Dé; born November 24, 1945) is an American lawyer and diplomat who served as the United States Ambassador to the People's Republic of China from July 23, 2001 to January 20, 2009, making him the longest-serving U.S. Ambassador to China.  Randt was formerly a partner with the law firm of Shearman & Sterling in Hong Kong, where he headed the firm's China practice.

Education
After preparing at The Hotchkiss School, Randt graduated from Yale University with a Bachelor of Arts in 1968 and received his Juris Doctor from the University of Michigan Law School in 1975. He also attended Harvard Law School where he was awarded the East Asia Legal Studies Traveling Fellowship to China. While at Yale, he was a member of Delta Kappa Epsilon fraternity with George W. Bush.

Career
From 1968 to 1972, Randt served in the United States Air Force Security Service, and in 1974 he was the China representative of the National Council for United States-China Trade.

Randt was a resident of Beijing from 1982 through 1984 where he served as First Secretary and Commercial Attache at the U.S. Embassy. He then lived in Hong Kong for 18 years, most recently as a partner with the international law firm of Shearman & Sterling where he headed the firm's China practice. Randt was Governor and First Vice President of the American Chamber of Commerce in Hong Kong. He is a member of the New York and Hong Kong bars and is a recognized expert on Chinese law. He is fluent in Mandarin Chinese.

Randt was nominated U.S. Ambassador to China by President George W. Bush on April 30, 2001 and confirmed by the U.S. Senate on July 11, 2001. He was sworn in as U.S. Ambassador to China on July 17, 2001 and arrived in Beijing on July 23.

Randt has been an opponent to the sale of defensive weapons to the Republic of China (Taiwan) in the face of opposition from the Communist government in Beijing.

As a political appointee, Randt was required by convention to resign at the end of Bush's term. The Deputy Chief of Mission took over as chargé d'affaires at the U.S. embassy for several months before Barack Obama's appointment of Jon Huntsman. Randt is currently a special advisor to Hopu Investment Management, a Chinese private equity fund.

Personal life
Randt is married and has three children.

References

External links
"The State of U.S.-China Relations -- A video presentation by Amb. Randt at the USC U.S.-China Institute on April 21, 2008
 United States Embassy in Beijing
United States Department of State: Biography of Clark T. Randt Jr.
Profile of Clark T. Randt Jr.
Presidential Nomination: Clark "Sandy" T. Randt

1945 births
Living people
Hotchkiss School alumni
Yale University alumni
Harvard Law School alumni
Ambassadors of the United States to China
University of Michigan Law School alumni
People associated with Shearman & Sterling

Clark T. Randt Jr.


මාධ්‍යවේදීන් විසින් සිදුකරන විචාරයන්

ප්‍රවෘත්ති පත්‍ර, සඟරා, විකාශක මාධ්‍ය සහ අන්තර්ජාලය ඔස්සේ පළවන ප්‍රකාශ වෙනුවෙන් ක්‍රියාකරන චිත්‍රපට විචාරකයින් බොහෝ විට විචාරය කරනු ලබන්නේ අලුතින් නිකුත් කළ චිත්‍රපටය. සාමාන්‍යයෙන් ඔවුන් දෙන ලද චිත්‍රපටයක් නරඹනුයේ එක්වරක් පමණක් වන අතර මත වාදයන් නිර්මාණය කිරීම සඳහා ඔවුන්ට ලැබෙනුයේ දිනක හෝ දින දෙකක පමණ කාලයකි. කෙසේ නමුත් විචාරකයන් චිත්‍රපට වෙත වැදගත් බලපෑමක් එල්ල කරන අතර මෙම තත්ත්වය ඇතැම් කාණ්ඩවල චිත්‍රපට සඳහා විශේෂ වේ. විශාල ජනකායක් වෙත ප්‍රදර්ශනය කෙරෙන ක්‍රියාදාම චිත්‍රපට, භීතිය දනවන චිත්‍රපට සහ විනෝදාත්මක චිත්‍රපට වෙත විචාරකයෙකුගේ මතවාදයන් නිසා දැඩි බලපෑමක් එල්ල නොවේ. චිත්‍රපටයක විචාරයෙහි බහුතර කොටසක් අයත්කර ගන්නා සාරාංශ ගත කතා සැලසුම සහ විස්තරය එම චිත්‍රපටය නැරඹීම සඳහා පුද්ගලයකු තීරණය කරයිද නොකරයිද යන්න වෙත දැඩි බලපෑමක් එල්ල කරයි. සීමිත ලෙස නිකුත් කෙරුණු ස්වාධීන නාට්‍ය වැනි කීර්තිය සඳහා වන චිත්‍රපට මත විචාරයන් මගින් ඇති කරන බලපෑම අතිශය වැදගත් වෙයි. අසතුටු දායක විචාරයක් හේතුවෙන් බොහෝවිට චිත්‍රපටයක් කොන්වී යාම සහ ඒ හේතුවෙන් එය ආර්ථික වශයෙන් අවාසි සහගත වීම සිදුවිය හැකිය.

සටහන්
සිනමාව චිත්‍රපට

චිත්‍රපට විචාරය - මාධ්‍යවේදීන් විසින් සිදුකරන විචාරයන්


گوگوش واسمها الحقيقي فائقه آتشین (5 مايو 1950 في طهران) هي ممثلة ومغنية إيرانية.

ولدت گوگوش لأبوين أذريين. مثّلت لعدة مرات في أفلام إيرانية في الستينات والسبعينات من القرن الماضي. إلى جانب شهرتها في إيران كانت هذه الفنانة معروفة أيضا في بلدان الشرق الأوسط.
وفقت في المسرح وهي لا تزال في الثالثة من عمرها مع أبيها الذي كان يعمل أكروباتا وممثلا مسرحيا.
غنت بالإضافة للفارسية باللغة الإسبانية والإيطالية والفرنسية ويبلغ عدد أغانيها التي غنتها بلغات أجنبية 55 أغنية وحصلت بعضها على مراتب متقدمة في ترتيب الأغاني في أمريكا الجنوبية. وتعتبر أغنية «من آمده أم» من ألبوم «طلاق» هي الأشهر من بين أغانيها وما زالوا معجبينها يستمعون إليها.
لم تترك الفنانة إيران بعد الثورة الإيرانية بل بقيت ولكنها كانت ممنوعة من الغناء وتم منع أغانيها من البث. غادرت إيران نهائيا في عام 2000.

منذ عودتها إلى المسرح في صيف عام 2000، قامت بأداء حفلات موسيقية وأماكن في جميع أنحاء العالم، بما في ذلك ماديسون سكوير جاردن في نيويورك، ومركز طيران كندا في تورونتو، وإريكسون غلوب في ستوكهولم، ومركز هوندا في أنهايم. وقاعة ألبرت الملكية في لندن وهوليوود باول في لوس أنجلوس.

تعيش گوگوش اليوم في كاليفورنيا، الولايات المتحدة الأمريكية حيث ما زالت تواصل مسيرتها الفنية.

جوائز
 1971: الجائزة الأولى والسجل الذهبي لأفضل مغنية في العالم في معرض ميديم التجاري في كان عن تسجيلها 7 بوصات (باسم "Gougoush") وهي تؤدي أغنيتين باللغة الفرنسية من إنتاج شركة
 Barclay Records – 1973: أفضل ممثلة لبيتا في مهرجان سيباس السينمائي الإيراني
 1972:تم أداؤها في مهرجان كانتاجيرو للموسيقى.
 1972: تم عرضه في مهرجان قرطاج الموسيقي –
 1972: وسام الفنون الأول لتونس
 1973: الموسيقى التصويرية المسجلة (من إنتاج سجلات RCA) لمهرجان سان ريمو للموسيقى
 2001: تم عرضه في مهرجان قرطاج الموسيقي. –
 2014: أفضل مغني إيراني (جوائز الموسيقى العالمية)
 2017: أفضل فيديو موسيقي لـDo Panjereh (إخراج ياسمين آشا) (جوائز المهرجان السينمائي مارس 2017) جائزتان من مسرح مايكروسوفت في لوس أنجلوس عن الأداء المحطم للأرقام القياسية –
 2022: تم عرضه في مهرجان اكسبو.

اقرأ أيضاً
 قائمة ألبومات كوكوش

مراجع

وصلات خارجية

 الموقع الرسمي (بالإنجليزية)

أذربيجانيون من طهران
أشخاص على قيد الحياة
أشخاص من طهران
أمريكيون من أصل أذربيجاني
أمريكيون من أصل إيراني
إيرانيون أذريون
إيرانيون من أصل أذربيجاني
سجناء ومعتقلون في إيران
شخصيات تلفزيونية إيرانية
مسلمون أمريكيون
مسلمون إيرانيون
مغنو بوب إيرانيون
مغنون باللغة الأذربيجانية
مغنون باللغة الإنجليزية
مغنون باللغة الفارسية
مغنون باللغة الفرنسية
مغنون من طهران
مغنون وكتاب أغان إيرانيون
مغنيات إيرانيات
مغنيات إيرانيات في القرن 20
مغنيات بوب إيرانيات
ممثلات أفلام إيرانيات
ممثلات إيرانيات
ممثلات من طهران
مهاجرون إيرانيون إلى الولايات المتحدة
مهاجرون إيرانيون إلى الولايات المتحدة بعد الثورة الإسلامية
مواليد 1369 هـ
مواليد 1950
مواليد في طهران
موسيقيو بوب أطفال
موسيقيون باسم مستعار
نساء إيرانيات

كوكوش


Jean-Baptiste Tuffet (1803-1873), acteur et auteur dramatique français ;
 Timothé Tuffet (1989- ), joueur franco-suisse de hockey sur glace.

Tuffet


«All About Tonight» —en español: «Todo sobre esta noche»— es el primer sencillo del segundo álbum de estudio de la cantautora británica Pixie Lott.. Fue escrita por la propia cantante, en conjunto con la cantautora Tebey y el productor Brian Kidd, siendo lanzado digitalmente en el Reino Unido el 2 de septiembre de 2011.

CD y Radios
CD:
 iTunes remix EP
 "All About Tonight" – 3:05
 "All About Tonight" (Acoustic) – 2:34
 "All About Tonight" (The Alias Remix) – 5:51
 "All About Tonight" (The Mike Delinquent Project Remix) – 5:03
 "All About Tonight" (Video) – 3:13

Referencias

Sencillos de 2011
Sencillos de Pixie Lott
Videos musicales dirigidos por Marc Klasfeld

All About Tonight


Un quai de réparation auxiliaire (en anglais : Auxiliary repair dock (ARD)) est un type de cale sèche flottante auxiliaire utilisée par l'US Navy, en particulier pendant la Seconde Guerre mondiale. La Marine a commandé 33 navires ARD : ARD-1 à ARD-33. Les ARD étaient autonomes pendant la Seconde Guerre mondiale. Ils possédaient un gouvernail pour faciliter le remorquage, ce qui rendait les ARD très mobiles, et ont une proue pour couper les vagues. Les ARD ont une poupe qui peut être ouverte ou fermée, avec une porte à rabat à charnière inférieure, actionnée par des vérins hydrauliques. Cette porte arrière peut être abaissée pour l'entrée du navire dans le quai submergé, puis fermée pour empêcher les vagues. Les ARD ont été construits par la , à Alameda, en Californie.

Utilisation principale
Le quai de réparation auxiliaire était un type de cale sèche flottante auxiliaire, qui pouvait, de par sa conception, fournir des installations de cale sèche aux navires endommagés de l'US Navy. Les cales sèches flottantes de ce type mesuraient environ  de long et pesaient environ .

Le premier quai de réparation auxiliaire était l', construit par la Pacific Bridge Company et achevé en septembre 1934. Il mesurait  de long et pouvait soulever . ARD-1 a connu un tel succès que 30 ARD ont été construits, la plupart achevés entre 1942 et 1944. ARD-2 et les cinq quais ARD suivants étaient plus grands à  et  de long. ARD-1 a été emmené sur une base navale avancée à Kerama Retto, sur l'île d'Okinawa, pour réparer les nombreux navires endommagés par des attaques kamikazes. ARD-1 a effectué de nombreuses réparations temporaires pour remettre les navires en de nombreux autres ARD se sont joints à l'ARD-1 dans cette tâche importante, ce qui a réduit au minimum le temps d'immobilisation des navires pour réparation.

Installation de cale sèche
Les cales sèches flottantes, à la fois les ARD et certains autres types, sont capables de s'inonder pour s'immerger partiellement sous l'eau, ouvrant une porte avant pour permettre à un navire endommagé d'entrer. Une fois que le navire endommagé était au-dessus de la cale sèche flottante, la porte a été fermée et l'eau a été pompée hors des ballasts, ce qui a permis d'effectuer des travaux de réparation sur le navire endommagé. Ces travaux dans les zones de combat étaient souvent de nature temporaire, principalement pour remettre le navire endommagé en état de navigabilité.

Une fois que le navire endommagé a été suffisamment réparé, la cale sèche flottante est de nouveau inondée, la porte est ouverte et le navire réparé repart pour d'autres tâches ou missions.

Capacités humaines
Pendant la réparation du navire endommagé, la cale sèche était capable de fournir à l'équipage du navire endommagé les nécessités temporaires, telles que les repas, la lessive, certaines fournitures et, dans un nombre limité de cas, l'accostage des membres d'équipage. (Dans la mesure du possible, l'équipage du navire endommagé est resté sur son navire pendant que la réparation structurelle était en cours.)

Quelques ARD

Voir aussi

Notes et références

Liens internes
 Liste des navires auxiliaires de l'United States Navy
 Forme de radoub, Cale sèche flottante auxiliaire
 Navire transporteur de colis lourds
 Navire semi-submersible

Forme de radoub

Quai de réparation auxiliaire


Carolyn Davidson (1943) é uma designer gráfica americana. Carolyn é conhecida por ter desenvolvido o Swoosh, logo da empresa Nike.

Carreira
Carolyn inicialmente se matriculou na Willamette University, mas transferiu para a Portland State University por ser mais próximo de sua casa. Começou sua graduação em Jornalismo, mas trocou para Design depois de estudar uma disciplina de design na universidade. Ela obteve seu título em Design em 1971.

Em 1971, Phil Knight estava dando aula de contabilidade na Portland State University, quando ao passar pelo corredor viu uma estudante de design realizando um projeto e dizendo que não possuía dinheiro para comprar o material para a disciplina de pintura a óleo. Phil Knight, então CEO da Blue Ribbon Sports, Inc., contratou Carolyn Davidson, a estudante que conheceu no corredor da universidade, para criar gráficos e telas para uma reunião que teria com executivos japoneses do mercado de calçados.

Nesse mesmo ano, Phil Knight e seu sócio começaram a transformar a Blue Ribbon na Nike. Carolyn foi novamente contratada, dessa vez para desenvolver o logo da nova companhia. Inspirada nas asas da deusa Nice, Carolyn encontrou inspiração para o logo que represente a velocidade e movimento solicitada, e então criou o logo Swoosh.

Carolyn trabalhou mais quatro anos na Nike, até 1976, quando a companhia contratou a agência John Brown and Partners para sua comunicação.

Pelo desenvolvimento do Swoosh, Carolyn recebeu 35 dólares em 1971. Em setembro de 1983, Phil Knight e Bob Woodell, presidente da Nike deram à Carolyn um anel de ouro com o símbolo Swoosh encravado com diamantes e 500 ações da Nike, que foram divididas em 36.000 ações em 2016, estimados em um milhão de dólares em 2015.

O Swoosh se tornou um dos logos mais icônicos do mundo, e levou a empresa a remover seu nome da imagem em 1995, deixando apenas a arte desenvolvida por Carolyn.

Carolyn se aposentou no ano de 2000, após 29 anos de carreira.

Vida Pessoal
Carolyn é casada e tem dois filhos. Ainda reside em Oregon e é voluntária no Ronald McDonald House no Legacy Emanuel Hospital & Health Center.

Designers dos Estados Unidos
Logotipos
Nike Inc.

Carolyn Davidson


කලපු කකුළුවා නමින්ද හඳුන්වයි. අපනයනය සඳහා බහුලව මිලදී ගනු ලබයි. තර කකුළුවන් මස් කකුළුවන් නමින් හඳුන්වන අතර කෙසඟ කකුළුවන් වතුර කකුළුවන් නමින් හඳුන්වයි . මස් කකුළුවන් අපනයනය කරන අතර වතුර කකුළුවන් තර කිරීම සිදුකරයි .

වර්තමාන මස් කකුළුවන් මිල Expo Crab Buyers 2019-06-27

Wight      Price      Tag

900g        4200/-    XXL

700g        3200/-     XL

500g        2400/-      L

350g        1700/-      M

250g        1200/-      S

මඩ කකුළුවා


Magical, née le , est une jument de course irlandaise, de race pur sang anglais, qui participe aux courses hippiques de plat. Issue de Galileo et de la championne Halfway to Heaven (par Pivotal), elle est la propriété du consortium Coolmore, est entraînée par Aidan O'Brien et montée le plus souvent par Ryan Moore.

Carrière de courses

Au regard de ses origines exceptionnelles, Magical est très attendue pour ses débuts qu'elle effectue à l'été de ses 2 ans sur l'hippodrome du Curragh, prenant la deuxième place d'un maiden avant d'ouvrir son palmarès trois semaines plus tard à Cork. Rapidement dirigée vers un groupe 2, les Debutante Stakes, elle y domine la favorite, une certaine Happily, autre pouliche Coolmore qui vient de remporter un groupe 3 et bénéficie de la monte du premier jockey de Coolmore, Ryan Moore, tandis qu'elle même court sous la selle de Donnacha O'Brien. Trois semaines plus tard, les rôles sont inversés dans les Moyglare Stud Stakes : favorite et montée par Ryan Moore, Magical est battue d'un souffle par Happily montée par Donnacha O'Brien. Après un été chargé, Magical semble un peu émoussée en fin de saison : elle ne peut faire mieux que quatrième à Longchamp dans le Prix Marcel Boussac (une demi-heure avant que Happily domine les mâles dans le Prix Jean-Luc Lagardère) et à Newmarket dans le Fillies' Mile, battue par une autre championne en devenir, la Britannique Laurens. À la fin de l'année, c'est Happily qui est sacrée meilleure 2 ans européenne de l'année devant Laurens, mais Magical demeure l'un des principaux espoirs de Coolmore pour la saison classique.

Magical fait sa rentrée à Longchamp dans le Prix de la Grotte (Gr.3), une préparatoire à la Poule d'Essai des Pouliches où, munie pour la première fois d'oeillères, elle échoue à la quatrième place. Préparée ensuite pour les Oaks, elle doit y renoncer en raison d'une blessure et on ne la revoit que fin juillet dans les Kilboy Estate Stakes, qu'elle s'adjuge aisément. Mais Magical semble avoir du mal à franchir un cap : dans les Matron Stakes, elle termine quatrième de Laurens avant de tenter sa chance, en vain, dans le Prix de l'Arc de Triomphe qui voit la grande Enable faire le doublé. Mais une telle tentative exprime bien la très haute estime en laquelle est tenue la pouliche, et elle va enfin en être à la hauteur en remportant un premier groupe 1 dans le British Champions Fillies' and Mares' Stakes avant de réaliser sa meilleure performance : une excellente deuxième place derrière Enable dans la Breeders' Cup Turf à Churchill Downs aux États-Unis.

Restée à l'entraînement à 4 ans, Magical se révèle enfin, prouvant qu'elle avait surtout besoin de temps pour exprimer son potentiel. Devenue jument, elle n'est plus la même, en témoigne son printemps où, en un peu plus d'un mois, elle rafle les Alleged Stakes (Gr.3), les Mooresbridge St (Gr.2) et surtout la Tattersalls Gold Cup en pulvérisant l'opposition de 7 longueurs, à chaque fois devant son compagnon d'écurie Flag of Honour. Au meeting d'Ascot, elle s'intercale entre Crystal Ocean et le champion Waldgeist à l'arrivée des Prince of Wales's Stakes, puis durant l'été subit deux fois la loi d'Enable, dans les Eclipse Stakes puis les Yorkshire Oaks. Elle renoue avec la victoire dans les Irish Champion Stakes De retour à Longchamp pour une nouvelle tentative dans l'Arc de Triomphe, elle prend une honorable cinquième place derrière Waldgeist, Enable, Sottsass et Japan, puis conclut une année où elle aura vaillamment bataillé avec les meilleurs chevaux européens par une victoire de prestige dans les Champion Stakes. Une victoire qui aurait pu être un parfait point d'orgue à une carrière exemplaire, et d'ailleurs il est annoncé que Magical se retire au haras pour être saillie par la nouvelle vedette des étalons Coolmore, No Nay Never. Mais coup de théâtre, les Irlandais changent d'avis et renvoient leur jument à l'entraînement.

En 2020, à 5 ans, Magical poursuit donc sa route et va donner raison à son entourage de lui avoir donné une saison supplémentaire. Elle accroche un cinquième groupe 1 lors de sa rentrée, tardive, dans les Pretty Polly Stakes fin juin. Puis un sixième un mois plus tard lorsqu'elle conserve son titre dans la Tattersalls Gold Cup. Véritable jument de fer, elle ne descend jamais du podium lors de ses sorties suivantes et, si elle doit baisser pavillon face au champion Ghaiyyath dans les International Stakes, elle prend une belle revanche sur lui dans les Irish Champion Stakes où Sottsass, le futur vainqueur de l'Arc, ne peut terminer que quatrième - ces deux courses obtenant les deux plus haut rating mondiaux de l'année. Magical ne retourne pas à Longchamp en cette année perturbée par la pandémie de Covid-19. Elle tente plutôt de conserver son titre dans les Champion Stakes, mais doit se contenter de la troisième place derrière son dauphin de 2019, Addeybb, et le Français Skalleti. La fin de sa formidable carrière se déroule loin de son Irlande natale. D'abord elle retraverse l'Atlantique pour la Breeders' Cup, mais encore une fois échoue pour la victoire dans la Breeders' Cup Turf, battue cette fois par sa brillante compatriote Tarnawa. Enfin, elle se rend à Sha Tin à Hong Kong pour y disputer la Hong Kong Cup et termine troisième derrière deux Japonais. C'est sur ce neuvième accessit au niveau groupe 1, elle qui en a remporté sept, que s'achève la longue et exceptionnelle carrière de Magical.

Résumé de carrière

Au haras
Promise aux meilleurs étalons de la planète, Magical entame une deuxième carrière comme poulinière à Coolmore. Son premier produit, une femelle par Dubawi, nait en 2022.

Origines
Comme tous les produits de Galileo, Magical est née dans la pourpre, le sire de Coolmore, meilleur étalon au monde, ne saillissant que la crème de la crème des poulinières.

Magical est issu d'un croisement entre Galileo et une fille du rapide et influent Pivotal, une formule qui a largement fait ses preuves, comme en témoigne aussi la championne Love, quintuple lauréate de groupe 1. Surtout, Halfaway to Heaven, sa mère, est une véritable championne, triple lauréate de groupe 1 à 3 ans dans les 1000 Guinées Irlandaises, les Nassau Stakes et les Sun Chariot Stakes et aussi troisième de la Poule d'Essai des Pouliches derrière les légendaires Zarkava et Goldikova. Elle n'a connu qu'un seul fiancé, Galileo, avec lequel elle a donné une autre pouliche de groupe 1, Rhododendron, triple gagnante de groupe 1 à 2, 3 et 4 ans dans le Fillies' Mile, le Prix de l'Opéra et les Lockinge Stakes, et mère du champion Auguste Rodin (Deep Impact), lauréat notamment du Derby d'Epsom et de l'Irish Derby, mais aussi Flying The Flag, qui s'est imposé dans un groupe 3, les International Stakes. La deuxième mère, Cassandra Go, fut elle aussi une jument de grande valeur, sur le sprint cette fois, remportant les King's Stand Stakes et deux groupe 2, les Temple Stakes et les King George Stakes, avant de très bien reproduire, avec Halfway to Heaven et deux lauréats de groupe 3, Theann (par Rock of Gibraltar) et Tickled Pink (par Invincible Spirit). Cassandra Go était elle même sœur d'un placé de classique, Verglas (Highest Honor), vainqueur des Coventry Stakes (Gr.3), deuxième des 2000 Guinées irlandaises et troisième des Phoenix Stakes.

Pedigree

Références

Cheval de course
Cheval de course né en 2015
Jument
Animal né en 2015
Animal né en Irlande
Écurie Coolmore
Produit de Galileo

Magical


An Orchis penzigiana in uska species han Liliopsida nga ginhulagway ni Aimée Antoinette Camus. An Orchis penzigiana in nahilalakip ha genus nga Orchis, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Orchis

Orchis penzigiana


Les Filles de Saint Joseph de Genoni (en latin : Congregatio Sororum Filiarum a S. Ioseph) sont une congrégation religieuse féminine enseignante et hospitalière de droit pontifical.

Histoire

En 1881, Vincenzo Berchialla, membre des oblats de la Vierge Marie, est nommé archevêque de Cagliari. Il invite Felice Prinetti (1842-1916), lui aussi oblat de la Vierge, à prendre la direction du grand séminaire de Cagliari. En 1888, les sœurs de Saint Joseph Benoît Cottolengo qui s'occupent du service dans le séminaire, doivent abandonner leur poste.

Pour pallier leur absence, Prinetti fonde une nouvelle congrégation placée sous le vocable de saint Joseph, et en confie la direction à Eugenia Montixi (1845-1930). Pour permettre à l'institut de se développer de manière indépendante, Prinetti achète un grand domaine à Genoni où la maison-mère est transférée.

La congrégation est reconnue le 15 août 1894 par  Paolo Maria Serci, archevêque de Cagliari ; puis le 24 octobre 1895 par  Francesco Zunnui, archevêque d'Oristano. Elle devient un institut de droit pontifical le 4 mai 1947.

Le fondateur est reconnu vénérable le 19 avril 2004 par le pape Jean-Paul II.

Activités et diffusion

Les sœurs œuvrent principalement au service dans les séminaires, les jardins d'enfants, les maisons de retraite et maisons de repos pour personnes âgées.

Les sœurs sont présentes en:
Europe : Italie (notamment en Sardaigne).
Amérique : Argentine, Brésil.
Afrique : République Centrafricaine, République Démocratique du Congo, République du Congo, Gabon.
Asie : Inde.

La maison-mère est à Oristano.

En 2017, la congrégation comptait 333 sœurs dans 65 maisons.

Notes et références

Congrégation catholique féminine
Congrégation enseignante catholique
Fondation en 1888

Filles de Saint Joseph de Genoni


El año 1080 se convocó en Roma un concilio por Gregorio VII y celebrado después de la batalla que ganó Rodolfo a Enrique.

En él se hicieron muchos Decretos pero el más famoso es la excomunión del Rey Enrique. El Papa dirigió en él la palabra a San Pedro y a San Pablo. Entre otras cosas dice:
Haced conocer ahora a todo el mundo que si podeis ligar y desatar en el Cielo, también podéis en la tierra quitar y dar los Imperios, los Reinos y los Principados, los Ducados, los Marquesados, los Condados y los bienes de todos los hombres, según sus méritos... cúmplase vuestra justicia tan prontamente sobre Enrique, que todos sepan que no caerá por acaso sino por vuestro poder.

Después se trató de la disputa entre el Arzobispo de Tours y el Obispo de Dol. El primero quería que Bretaña reconociese a la Iglesia de Tours por su metrópoli pero el Papa no pudo terminarla. Se reiteró la prohibición de dar o recibir investiduras. Se renovaron las excomuniones contra algunos Obispos y contra los Normandos que saqueaban en Italia las tierras de la Iglesia.

Referencias
Diccionario portátil de los Concilios, Pons-Augustin Alletz, 1782

Concilios de Roma

Concilio de Roma (1080)


Pilar Kaltzada González (n. San Sebastián, Guipúzcoa, 11 de octubre de 1970) es una escritora española en euskera y en castellano, periodista y animadora cultural.

Trayectoria
Es una escritora española en euskera y en castellano, periodista, animadora cultural, y directora de comunicación estratégica en entidades de innovación empresarial.

Es licenciada en Ciencias de la Información en la Universidad del País Vasco. Participa en los principales medios de comunicación vascos (radio, televisión y prensa escrita). Pertenece al blog colaborativo, Doce Miradas.

En el 2000 participó en varias ocasiones en el recital poético Poesiaren alde, poesiaren kontra, junto con Gerardo Markuleta, Kirmen Uribe, Iban Zaldua y Arantxa Ozaeta.

Participa como autora en Berria y como columnista en Deia.

Comunicación estratégica
Colaboradora en medios de comunicación como Deia, EITB o El Periódico de Bilbao, entre otros, en 2011 Pilar Kaltzada pasó a formar parte del Comité Estratégico de la Alianza IK4, como asesora y consultora en Comunicación e Imagen Corporativas. En los últimos años ha trabajado en múltiples entidades de innovación empresarial como directora de comunicación estratégica, o como presentadora conductora de eventos sociales. En la Fundación Elhuyar, fue responsable de la Unidad de Divulgación; ha sido directora de Comunicación en Innobasque (Agencia Vasca de la Innovación), en IDE (Informática de Euskadi), en la Universidad Vasca de Verano (UEU), y en el Consejo de Entidades Sociales del Euskara (Euskararen Gizarte Erakundeen Kontseilua), y trabajado como consultora en Comunicación Estratégica, RSE (Innovación y Social Media).

Poesía
 Ur-tximeletak (Mariposas en el agua). Editorial Erein. 56 pp. ISBN 978-84-7568-828-2 1999.

Honores
 Premio "Robotiker 2002" a la mejor producción de televisión en divulgación científica.
 Miembro de la Consejo Asesor del Euskera del País Vasco desde 2014.
 Miembro del Consejo de administración del grupo periodístico Berria Taldea desde 2013.

Fuentes
 . 2003. Una bibliografía anotada de obras escritas por mujeres en euskera / An Annotated Bibliography of Works Written By Women In Basque. Edición ilustrada de E. Mellen Press, 177 pp. ISBN 0-7734-6877-3

Referencias

Enlaces externos
 Pili Kaltzada literatura zubitegian (en euskera)
 Pilar Kaltzada "¿Por qué estudié periodismo" entrevistada por Josi Sierra Orrantia de Conocity.
 Pilar Kaltzada en LinkedIn

Escritores del País Vasco
Escritoras en euskera
Escritores en español del siglo XXI
Escritoras de España
Escritores de España del siglo XXI
Poetisas en euskera
Españolas del siglo XXI
Nacidos en San Sebastián

Pilar Kaltzada


Dezvoltarea eco-industrială este un cadru în care industria se poate dezvolta, reducându-și în același timp impactul asupra mediului.. Aceasta utilizează un ciclu de producție cu circuit închis  pentru a aborda o gamă largă de probleme de mediu, cum ar fi poluarea solului și a apei, deșertificarea, protejarea speciilor în pericol, gestionarea energiei, sinergia produselor secundare, eficiența resurselor, calitatea aerului etc.

Legăturile benefice dintre industrie, sistemele naturale, energie, materialele și comunitățile locale devin factori esențiali în proiectarea proceselor industriale de producție.

Abordarea în sine este în mare măsură voluntară și orientată spre piață, dar este adesea determinată de un tratament favorabil al guvernului sau de eforturile de cooperare pentru dezvoltare.

Istoria
De la începutul anilor 1990, ideea de dezvoltare eco-industrială a evoluat din conceptul de simbioză biologică. Acest concept a fost creat de către ecologiștii industriali în căutarea unor abordări inovatoare pentru rezolvarea problemelor legate de deșeuri, lipsa de energie și degradarea mediului. Se utilizează o abordare continuă pentru îmbunătățirea atât a rezultatelor de mediu, cât și a celor economice.

În 1992,comunitatea internațională a început oficial cooperarea de dezvoltare pentru a susține protecția mediului pentru prima dată. La Conferința Națiunilor Unite privind Mediul și Dezvoltarea, din Rio de Janeiro, Brazilia, aproape 180 de state au semnat Declarația de la Rio din cadrul conferinței. Deși nu este obligatorie, Declarația de la Rio privind Mediul și Dezvoltarea a stabilit 27 de principii care să ghideze interconectarea sporită a cooperării pentru dezvoltare și durabilitate. În plus, redactarea documentelor a fost însoțită de o prezentare care descrie pentru prima dată ideea dezvoltării eco-industriale.
Articole care necesită citări suplimentare

În următorii ani, dezvoltarea eco-industrială a devenit populară pe teritoriul Statelor Unite. Aleasă recent, Administrația Clinton a stabilit o întâlnire al reprezentanților lumii de afaceri, ai forței de muncă, guvernului și ai agențiilor de protecție a mediului pentru a dezvolta în continuare abordarea. Această întâlnire a stabilit ideea parcurilor eco-industriale, însă a realizat curând că, la început, trebuie realizat un management mai eficient al materiilor prime, energiei și deșeurilor.

De atunci, obiectivele generale și principiile de aplicare ale dezvoltării eco-industriale nu s-au schimbat prea mult și s-au adaptat la progresul tehnologic rapid.
Articole care necesită citări suplimentare

În 2012 IGEP Foundation pentru promovarea comerțului, a publicat un raport numit Calea spre o dezvoltarea industrială ecologică în India– Concepte și cazuri.

Domeniul este cercetat de către Centrul Național pentru Dezvoltare Eco-Industrială, un proiect comun între Universitatea din California de Sud și Universitatea Cornell.

Obiective și concepte
Obiectivul principal al dezvoltării eco-industriale este de a îmbunătăți semnificativ și de a continua atât performanța în afaceri, cât și a mediului. În acest context, noțiunea de industrie nu se referă numai la producția din sectorul privat, ci include și întreprinderea de stat, sectorul serviciilor și transportul. Orientarea geografică a dezvoltării eco-industriale se reflectă în mod specific în eco-industrial, deoarece seamănă în același timp cu ecologia (scăderea poluării și deșeurilor) și economia (creșterea succesului comercial). Pentru a construi un cadru de definire a performanței durabile a unei întreprinderi la nivel micro, optimizarea utilizării resurselor, minimizarea deșeurilor, tehnologii mai puțin poluante și limite de poluare sunt utilizate pentru atingerea unei game largi de obiective în dezvoltarea  eco-industrială :

 Eficiența utilizării resurselor minimizează consumul de energie, materiale, apă și transport. Acest lucru, la rândul său, reduce costurile de producție datorită economiilor în aproape toate domeniile de activitate
 Producția mai puțin poluantă este o măsură legată de mediu, care vizează reducerea sau chiar substituirea de toxine, de control al emisiilor sau re-utilizarea materialelor reziduale.
 Sursele regenerabile de energie atât în ceea ce privește utilizarea energiei, cât și a materialelor, elimină orice poluare prin intermediul combustibililor fosili.
 Ecologizarea clădirilor sau a siturilor de producție instalează standarde înalte de energie și de mediu, bazându-se pe inovații în arhitectura sau ingineria verde. În plus, proiectarea noilor clădiri și a infrastructurii poate spori semnificativ calitatea vieții în comunitățile învecinate.
 Sisteme de management de mediu , cum ar fi ISO 14000 asigură o îmbunătățire continuă prin audituri periodice și stabilirea progresivă a obiectivelor de mediu.
 Planificarea ecologică a sitului poate combina fiecare dintre aceste aspecte, dezvoltând o înțelegere clară a capacităților sistemului aerian, apei și a solului în întregul ecosistem din jur.

Prin urmare, dezvoltarea eco-industrială explorează posibilitatea îmbunătățirii la nivel local. În analizele unice de la caz la caz, se investighează o anumită geografie, potențialul uman sau climatul de afaceri. Spre deosebire de rasa larg răspândită de susținere guvernamentală de sus în jos, cum ar fi reducerea impozitelor, dezvoltarea eco industrială pune accentul pe succesele realizate pe plan local și pe locurile pentru îmbunătățiri. Ca urmare, aplicările intenționate ale planurilor de acțiune pot aduce o mare diferență prin optimizarea interacțiunii sistemelor de afaceri, comunitare și ecologice.
Articole care necesită citări suplimentare

Instrumente
Dezvoltarea ecologică include și utilizează patru instrumente conceptuale majore. Scopul acestor  abordări este să combine procesele aparent antitetice ale dezvoltării industriale și să susțină durabilitatea.
 Ecologia industrială se concentrează atât pe comportamentul industrial, cât și pe cel al consumatorului. Prin evaluarea fluxurilor de energie și materiale, abordarea determină influențele fluxurilor asupra mediului. La rândul său, ea explorează căi și mijloace de optimizare a întregului lanț de producție de la fluxul și utilizarea resurselor până la transformarea lor finală. În timpul acestor analize, influențele factorilor economici, politici, de reglementare și sociali sunt esențiale.
 Conceptul de simbioză industrială se bazează în principal pe cooperarea voluntară a diferitelor industrii. Prin conglomerarea întreprinderilor complementare și prin adaptarea lor la lanțurile de producție respective, prezența fiecăruia poate crește viabilitatea și rentabilitatea celorlalte. Prin urmare, simbiozii consideră deficitul de resurse și protecția mediului drept factori esențiali în dezvoltarea industriilor durabile și a profiturilor. Simbioza industrială de întâlnește des în parcurile ecologice industriale.
 Sistemele de management ale mediului includ o gamă largă de abordări de management de mediu diferite, pentru a asigura o îmbunătățire continuă a durabilității. În stadiile incipiente, companiile de monitorizare facilitează identificarea aspectelor de mediu dăunătoare. În continuare, obiectivele și țintele sunt stabilite în funcție de cerințele legale. În cele din urmă, instituirea unor audituri periodice și a altor sisteme de raportare, combinate cu obiective continue de urmărire, vor asigura o îmbunătățire constantă către o producție industrială mai ecologică.
 Conceptul Design pentru Mediu își are originea în disciplinele de inginerie, precum și din analiza ciclului de viață al produsului. Este o evaluare simplă, dar cuprinzătoare a impactului potențial al unui produs asupra mediului, începând de la energie și materiale utilizate pentru ambalare, transport, consum

Vezi și
 Parc eco-industrial
 Creștere economică
 Economie verde
 Simbioză Industrială
 Ecologie Industrială

Note

Legături externe
 Eco Industrial Development in India
 Eco-Industrial Development Network
 Eco-Industrial Development Institute
 National Center for Eco-Industrial Development (NCEID)
 Principles of Eco-Industrial Development: Strategic Approaches and Best Practice for Sustainable Industrial Development - presentation by Andreas Koenig of ecoindustry.org
 Green Economy Coalition
 Industrial ecology: eco-industrial development and regional economic development (University of Hull)

Ecologie
Industrie
Dezvoltare durabilă
Gândire anticipatoare

Dezvoltare eco-industrială


Die Scottish Open 1998 im Badminton fanden vom 26. bis zum 29. November 1998 in Edinburgh statt.

Medaillengewinner

Weblinks
 http://www.tournamentsoftware.com/sport/tournament.aspx?id=CB51640F-9C06-4DCD-9063-53A83C8D82EA

Badminton 1998
1998
EBU Circuit 1998/99
Badmintonwettbewerb in Edinburgh

Scottish Open 1998 (Badminton)