Endgame, by Samuel Beckett, is an absurdist, tragicomic one-act play about a blind, paralyzed, domineering elderly man, his geriatric parents and his doddering, dithering, harried, servile companion in an abandoned house in a post-apocalyptic wasteland, who mention they are awaiting some unspecified "end" which seems to be the end of their relationship, death, and the end of the actual play itself. Much of the play's content consists of terse, back and forth dialogue between the characters reminiscent of bantering, along with trivial stage actions; the plot is held together by the development of a grotesque story-within-a-story that the character Hamm is relating. An aesthetically profound part of the play is the way the story-within-story and the actual play come to an end at roughly the same time. The play's title refers to chess and frames the characters as acting out a losing battle with each other or their fate.

Originally written in French (entitled Fin de partie), the play was translated into English by Beckett himself  and was first performed on April 3, 1957 at the Royal Court Theatre in London in a French-language production. Written before but premiering after Waiting for Godot, it is arguably among Beckett's best works. The literary critic Harold Bloom called it the greatest prose drama of the 20th century, saying "I know of no other work of its reverberatory power," but stated that he could not handle reading it in old age for its harrowing, bare bone existentialism . Samuel Beckett considered it his masterpiece as the most aesthetically perfect, compact representation of his artistic views on human existence, and refers to it when speaking autobiographically through Krapp in Krapp's Last Tape when he mentions he had "already written the masterpiece". .

Characters
 Hamm: Throughout the play remaining seated in an armchair fitted with castors, unable to stand and blind. Hamm is dominating, acrimonious, banterous and comfortable in his misery. He claims to suffer, but his pessimism seems self-elected. He chooses to be isolated and self-absorbed. His relationships come off as parched of human empathy; he refers to his father as a "fornicator", refused to help his neighbor with oil for her lamp when she badly needed it, and has a fake pet dog which is a stuffed animal.
 Clov: Hamm's servant who is unable to sit. Taken in by Hamm as a child. Clov is wistful. He longs for something else, but has nothing to pursue. More mundane than Hamm, he reflects on his opportunities but takes little charge. Clov is benevolent, but weary.
 Nagg: Hamm's father who has no legs and lives in a dustbin. Nagg is gentle and fatherly, yet sorrowful and aggrieved in the face of his son's ingratitude.
 Nell: Hamm's mother who has no legs and lives in a dustbin next to Nagg. Reflective, she delivers a monologue about a beautiful day on Lake Como, and apparently dies during the course of the play.

Samuel Beckett said that in his choice of character's names, he had in mind the word "hammer" and the word "nail" in English, French and German respectively, "clou" and "nagel".

Beckett was an avid chess player, and the term endgame refers to the ending phase of a chess game. The play is dimly visible as a kind of metaphorical chess, albeit with limited symbolic meaning. Hamm at one point says "My kingdom for a knight-man!". Hamm, limited in his movement, resembles the king piece on a chess board, and Clov, who moves for him, a knight.

Synopsis

In a dreary, dim and nondescript room, Clov draws the curtains from the windows and prepares his master Hamm for his day. He says, "It's nearly finished," though it is not clear what he is referring to. He awakes Hamm by pulling a sheet from over him. After Hamm removes a bloodstained handkerchief from over his head and face, he says "It's time it ended." He summons Clov by means of a whistle, and they banter briefly.

Eventually, Hamm's parents, Nell and Nagg, appear from inside two trash cans at the back of the stage. Hamm is as equally threatening, condescending and acrimonious with his parents as with his servant, though they still share a degree of mutual humor; Nell eventually sinks back into her bin, and Clov, examining her, says, "She has no pulse." Hamm tells his father he is telling a story and recites it partially to him, a fragment which treats on a derelict man who comes crawling on his belly to the narrator, who is putting up Christmas decorations, begging him for food for his starving boy sheltering in the wilderness.

Clov returns, and they continue to banter in a way that is both quick-witted and comical yet with dark, overt existential undertones. Clov often threatens to leave Hamm, but it is made clear that he has nowhere to go as the world outside seems to be destroyed. Much of the stage action is intentionally banal and monotonous, including sequences where Clov moves Hamm's chair in various directions so that he feels to be in the right position, as well as moving him nearer to the window.

By the end of the play, Clov finally seems intent on pursuing his commitment of leaving his cruel master Hamm. Clov tells him there is no more of the painkiller left, which Hamm has been insisting on getting his dose of throughout the play. Hamm finishes his dark, chilling story by having the narrator berate the collapsed man for the futility of trying to feed his son for a few more days when evidently their luck has run out (it becomes plain that the character of the narrator is Hamm himself, relating the events which brought Clov [the man's son] to him). Hamm believes Clov has left, being blind, but Clov re-enters and stands in the room silently with his coat on and carrying luggage, going nowhere. Hamm calls for his father, but receives no answer; he discards some of his belongings, and says that, though he has made his exit, his bloodstained handkerchief, which he replaces over his face and head, will "remain".

Analysis

Endgame is an expression of existential angst and despair and depicts Beckett's philosophical worldview, namely the extreme futility of human life and the inescapable dissatisfaction and decay intrinsic to it. The existential feelings buried in the work achieve their most vocal moments in lines such as "It will be the end and there I'll be, wondering what can have brought it on and wondering... why it was so long coming," and "Infinite emptiness will be all around you, all the resurrected dead of all the ages wouldn't fill it, and there you'll be like a little bit of grit in the middle of the steppe," in both of which Hamm seems to contemplate the sense of dread awakened by the obliterating force of death.

Endgame is also a quintessential work of what Beckett called "tragicomedy", or the idea that, as Nell herself in the play puts it, "Nothing is funnier than unhappiness." Another way to think about this is that things which are absurd can be encountered both as funny in some contexts and horrifyingly incomprehensible in others. Beckett's work combines these two responses in his vast artistic vision of depicting not a segment of lived experience but the very philosophical nature of life itself, in the grandest view, as the central subject material of the play. To Beckett – due to his existential worldview – life itself is absurd, and this incurs reactions of both black mirth and profound despair. To Beckett, these emotions are deeply related, and this is evident in the many witty yet dark rejoinders in the play, such as Hamm's comment in his story, "You're on Earth, there's no cure for that!", which both implies in a melodramatic fashion that being born is a curse, but sounds perhaps like a biting, bar-talk joke, such as telling someone "You're Irish, there's no cure for that!"

Samuel Beckett makes heavy use of repetition, in which certain recurrent short phrases or sentence patterns are spread out throughout the play and in various characters' dialogue. Many of the ideas are conceptually, logically novel, almost reminiscent of Lewis Carroll, such as the play beginning with the ingeniously witty subversion of a rhetorical question "Can there be misery loftier than mine?" with the literal answer, "No doubt," the sense of cleverness of design in the way the first thing Hamm requests after Clov has woken him up is to be gotten ready to go back to bed, and in the odd yet entrancing way in which Hamm describes the scene of his story with recourse to a wide variety of instruments such as a heliometer. Beyond this high degree of conceptual playfulness, the play is suffused, in characteristic Beckett fashion, with everyday expressions which are subverted and take on either mind-bending, absurd meanings and/or an existential resonance, as if lurking beneath the surface of our most common daily doings and parlance lies the unmistakable absurdity, or illogicality, of life and the world. One small example of many would be when Hamm asks "What time is it?" and Clov replies "The same as usual."

Most key to the overall functioning of the play seems to be core aesthetic ideas, new explorations of form that were at work throughout Beckett's oeuvre and very central to the foregoing Godot – a play in which almost nothing happens, plot-wise, and furthermore, as many elements or levels of narrative craft seem to take a null value – there is seemingly no character development, and the location is vague and very poorly defined. Although Beckett had a reputation for keeping mum about the ideas behind his work, he specifically had published a conversation he had with a painter detailing precisely this aspect of his aesthetic vision which he wanted people to know – that his work was a realization of there being "nothing to express, no way to express it".

Overall, the value, or effect, of the play is a unique, hypnotic aesthetic experience which gives a kind of slow-burning existential catharsis. Being unconventional in form and material, it does not have a traditional Aristotelian catharsis, importantly because it does not seek redemption for its characters. Beckett, who understood and wrote about his understanding of tragedy as the pure depiction or expression of a sorry fate, created the ultimate negative art form. Thus, while many people suffer quietly from existential fear or horror, only in Beckett is this feeling provocatively confronted, rather than ameliorated or suppressed. To gaze so clearly into the depiction of something so tragic yet so true has the true effect of art, which is expression. The mere act of a singer lamenting a sad story is an aesthetic act in itself, a listener takes value in the sentimentality of the experience. The same is true for Beckett: merely to encounter the direct, pure expression of existential feeling is experienced as inherently rewarding. Beckett characterized his work by invoking the book of Ecclesiastes when defending the line "The bastard, he doesn't exist!", in reference to God, by saying, "It isn't any different from saying 'My God, why have you abandoned me?'" Therefore, for Beckett Endgame was an emotional, tragic yet affirming way of dealing with a perceived sense of spiritual abandonment in life and existence.

Much of Beckett's core thought which is expanded on in Endgame is in his critical analysis of Marcel Proust, entitled "Proust". In it, he explains his Schopenhauerian view of the human will endlessly chasing after momentary satisfaction that it can rarely if ever constantly attain, which lies behind the image of "grain upon grain" (moments in life and time) never amounting to "the impossible heap" (some fixed, non-transient accumulation or deposition of enduring value, in time).

A Stanford undergraduate journal published a transhumanist interpretation of Endgame.

Themes

Possible themes in Endgame include decay, insatiety and dissatisfaction, pain, monotony, absurdity, humor, horror, meaninglessness, nothingness, existentialism, nonsense, solipsism and people's inability to relate to or find completion in one another, narrative or story-telling, family relations, nature, destruction, abandonment, and sorrow.

Key features, symbols and motifs
Hamm's story is broken up and told in segments throughout the play. It serves essentially as part of the climax of Endgame, albeit somewhat inconclusively.

Hamm's story is gripping for how the narrative tone it is told in contrasts with the way the play the characters are in seems to be written or proceed. Whereas Endgame is somehow lurching, starting and stopping, rambling, unbearably impatient and sometimes incoherent, Hamm's story in some ways has a much more clear, liquid, fluid, descriptive narrative lens to it. In fact, in the way it uses run-of-the-mill literary techniques like describing the setting, facial expressions or an exchange of dialogue, in slightly bizarre ways, it almost seems like a parody of writing itself. Beckett's eerie, weird stories about people at their last gasp often doing or seeking something futile somehow seems to return again and again as central to his art. It could be taken to represent the inanity of existence, but it also seems to hint at mocking not only life but storytelling itself, inverting and negating the literary craft with stories that are idiotically written, anything from poorly to put-on and overwrought.

Extremely characteristic Beckettian features in the work, represented by many lines throughout the work, are bicycles, a seemingly imaginary son, pity, darkness, a shelter, and a story being told.

The play has postmodern features in that the characters recurrently hint that they are aware they are characters in a play.

Production history
The play was premiered on 3 April 1957 at the Royal Court Theatre, London, performed in French. The production was directed by Roger Blin, who also played Hamm, with Jean Martin as Clov, Georges Adet as Nagg and Christine Tsingos as Nell.

Other early productions included a 1958 production at the Cherry Lane Theatre in New York, directed by Alan Schneider with Lester Rawlins as Hamm, Alvin Epstein as Clov, Nydia Westman as Nell and P. J. Kelly as Nagg (a recording of the play, with Gerald Hiken replacing Epstein, was released by Evergreen Records in 1958); and at the Royal Court Theatre in London directed by George Devine who also played Hamm, with Jack MacGowran as Clov.

In the early 1960s, an English language production produced by Philippe Staib and directed by Beckett, with Patrick Magee and Jack MacGowran, was staged at the Studio des Champs-Elysees, Paris. After the Paris production, Beckett directed two other productions of the play: at the Schiller Theater Werkstatt, Berlin, 26 September 1967, with Ernst Schröder as Hamm and Horst Bollmann as Clov; and at the Riverside Studios, London, May 1980 with Rick Cluchey as Hamm and Bud Thorpe as Clov.

In 1984, JoAnne Akalaitis directed the play at the American Repertory Theatre in Cambridge, Massachusetts. The production featured music from Philip Glass and was set in a derelict subway tunnel. Grove Press, the owner of Beckett's work, took legal action against the theatre. The issue was settled out of court through the agreement of an insert into the program, part of which was written by Beckett:

Any production of Endgame which ignores my stage directions is completely unacceptable to me. My play requires an empty room and two small windows. The American Repertory Theater production which dismisses my directions is a complete parody of the play as conceived by me. Anybody who cares for the work couldn't fail to be disgusted by this.

In 1985 Beckett directed "Waiting for Godot", "Krapp's Last Tape" and "Endgame" as stage pieces with the San Quentin Players. All three productions were grouped together under the title "Beckett Directs Beckett", and the production toured Europe and parts of Asia.

In 1991, a TV movie production was filmed with Stephen Rea as Clov, Norman Beaton as Hamm, Charlie Drake as Nagg and Kate Binchy as Nell.

In 1992, a videotaped production directed by Beckett, with Walter Asmus as the television director, was made as part of the Beckett Directs Beckett series, with Rick Cluchey as Hamm, Bud Thorpe as Clov, Alan Mandell as Nagg and Teresita Garcia-Suro as Nell.

A production with Michael Gambon as Hamm and David Thewlis as Clov and directed by Conor McPherson was filmed in 2000 as part of the Beckett on Film project.

In 2004, a production with Michael Gambon as Hamm and Lee Evans as Clov was staged at London's Albery Theatre, directed by Matthew Warchus.

In 2005, Tony Roberts starred as Hamm in a production directed by Charlotte Moore at the Irish Repertory Theater in New York City with Alvin Epstein as Nagg, Adam Heller as Clov and Kathryn Grody as Nell.

In 2008 there was a brief revival staged at the Brooklyn Academy of Music starring John Turturro as Hamm, Max Casella as Clov, Alvin Epstein as Nagg and Elaine Stritch as Nell. New York theatre veteran Andrei Belgrader directed, replacing originally-sought Sam Mendes.

In 2009, the British theatre company Complicite staged the play in London's West End with Mark Rylance as Hamm and Simon McBurney (who also directed the production) as Clov. The production also featured Tom Hickey as Nagg and Miriam Margolyes as Nell. The production opened on 2 October 2009 at the Duchess Theatre. Tim Hatley designed the set.

In 2010, Steppenwolf Theatre Company staged Endgame. It was directed by Frank Galati and starred Ian Barford as Clov, William Petersen as Hamm, Francis Guinan as Nagg, and Martha Lavey as Nell. James Schuette was responsible for set and scenic design.

In 2015, two of Australia's major state theatre companies staged the play. For Sydney Theatre Company, Andrew Upton directed the production, featuring Hugo Weaving as Hamm, and for Melbourne Theatre Company, Colin Friels starred in a production directed by Sam Strong and designed by visual artist Callum Morton.

In 2016, Coronation Street actors David Neilson and Chris Gascoyne starred in a staging of the play at both the Citizens Theatre in Glasgow and HOME in Manchester.

In 2019, the play was produced by Pan Pan Theatre at the Project Arts Centre in Dublin. The production was directed by Gavin Quinn and starred Andrew Bennett, Des Keogh, Rosaleen Linehan and Antony Morris. The production was designed by Aedin Cosgrove.

In 2020, the Old Vic in London staged a production directed by Richard Jones with Alan Cumming as Hamm, Daniel Radcliffe as Clov, Jane Horrocks as Nell and Karl Johnson as Nagg in a double bill with Rough for Theatre II. Unfortunately, the production had to end its run two weeks earlier than its planned closing date of 28 March 2020 due to concerns over an outbreak of COVID-19.

Dublin's Gate Theatre staged the play in 2022. Directed by Danya Taymor, Hamm was played by Frankie Boyle and Clov by Robert Sheehan, with Seán McGinley and Gina Moxley as Nagg and Nell.

The French version was staged in 2022 at the Théâtre de l'Atelier in Paris. Jacques Osinski directed, Hamm was played by Frédéric Leidgens, Clov by Denis Lavant, Nagg and Nell by Peter Bonke and Claudine Delvaux.

A new production directed by Ciarán O'Reilly opened at the Irish Repertory Theater in New York City with previews beginning 25 January 2023 and an opening date of 02 February, with John Douglas Thompson as Hamm, Bill Irwin as Clov, Joe Grifasi as Nagg and Patrice Johnson Chevannes as Nell. The production was originally scheduled to run until 12 March, but has now been extended until 09 April.

Adaptations
The play was adapted into an opera by György Kurtág, premiered at the Teatro alla Scala in 2018.
The play also inspired Pixar's short film Geri's Game, portraying a static chess game.

References

Sources

  Rpt. in The Adorno Reader. Ed. Brian O'Connor. London: Blackwell, 2000. 319–352. .

 Cohn, Ruby. 1973. Back to Beckett. Princeton: Princeton UP. .

Byron, M. S. (2007). Samuel Beckett's Endgame. Amsterdam: Rodopi.

Beckett, S., In Gontarski, S. E., & In Knowlson, J. (2019). The theatrical notebooks of Samuel Beckett: Volume II, Endgame.

External links

 Study guide for Endgame
 Rick Cluchey as Hamm
 See Stephen Rea and Norman Beaton in Endgame (1991) on YouTube
 See the San Quentin Workshop production of Endgame (1992) on YouTube

1957 plays
French plays
Plays by Samuel Beckett
One-act plays
Plays adapted into operas
Tragicomedy plays

Endgame (play)


Akçay, Balıkesir'in Edremit ilçesine bağlı bir mahalledir. Edremit merkeze 8 kilometre uzaklıktadır.

Tarihçe
19 Haziran 1999 tarihinde belediye statüsü alarak beldeye dönüştü. 12 Kasım 2012'de TBMM'de kabul edilen 6360 sayılı kanun ile mahalle oldu.

Coğrafya
Kaz Dağları'nın eteklerinde kurulu olan Akçay, küçük bir turizm kasabası iken günümüzde gittikçe şehirleşmektedir. Akçay'ın uzun ve güzel kıyı kordonunda pek çok çay bahçesi, otel , pansiyon, bungalov evleri  ve dükkânlar bulunur. Ayrıca bir de Kaz Dağları'nın simgesi olan Sarı Kız'ın bir heykeli bulunur. 2015 yılında Akçay Işıklar olarak bilinen Akçay'ın girişinde YASA AVM açılmıştır.

Kaynakça

Dış bağlantılar
 Edremit Belediyesi

Edremit mahalleleri

Akçay, Edremit


لطفي الأرناووط، ولد في 1944 بمدينة تونس، رسام تونسي. درس بالمدرسة العليا للفنون الجميلة بباريس وأقام معرضه الشخصي الأول بالمعهد الثقافي الإيطالي- تونس عام 1965، كما أقام معرضين آخرين على التوالي:
 1968 بقاعة الفنون- تونس.
 1976 بقاعة الأخبار- تونس.
 وشارك في عدد من المعارض التي انتظمت بتونس وبالخارج: إيطاليا وفرنسا والسنغال وبلجيكيا...

أشخاص يحتمل أن يكونوا أحياء
رسامون تونسيون
مواليد 1944

لطفي الأرناؤوط


Valērijs Žolnerovičs (* 19. April 1985 in Ventspils, Lettische SSR, Sowjetunion) ist ein lettischer Hindernis- und Langstreckenläufer.

Bei den Olympischen Spielen 2008 in Peking schied er über 3000 m Hindernis im Vorlauf aus.

2010 gewann er den Halbmarathonbewerb des Riga-Marathons. 2011 belegte er beim Lissabon-Halbmarathon den 14. Platz und stellte mit 1:04:43 h einen nationalen Rekord auf. Beim Hannover-Marathon kam er auf Rang 15, beim Frankfurt-Marathon auf Rang 35.

2012 siegte er in Riga erneut auf der Halbmarathonstrecke.

Persönliche Bestzeiten

 Halbmarathon: 1:04:43 h, 20. März 2011, Lissabon
 Marathon: 2:14:23,2 h, 14. Mai 2017, Riga
 3000 m Hindernis: 8:31,70 min, 11. Juli 2008, Barakaldo

Weblinks

 Athletenporträt von Valērijs Žolnerovičs bei der IAAF (englisch)

Teilnehmer der Olympischen Sommerspiele 2008
Teilnehmer der Olympischen Sommerspiele 2012
3000-Meter-Hindernisläufer (Lettland)
Olympiateilnehmer (Lettland)
Lettischer Meister (Leichtathletik)
Sowjetbürger
Lette
Geboren 1985
Mann

Valērijs Žolnerovičs


Kristine Spore Kreutzmann (født 1989 i Gentofte, opvokset i Nuuk) er uddannet keramisk formgiver fra Kunstakademiets Designskole. Under uddannelsen var hun i tre måneders praktik hos Choemon i Japan. Fra 2016 eget keramisk værksted i Nuuk. Kristine Spore Kreutzmann arbejder primært med porcelæn som materiale, i et formsprog hvor design og kunst krydser og befrugter hinanden. Hun søger inspiration ude i verden (Japan, Burkina Faso, Mexico) men arbejder samtidig også med at integrere grønlandske materialer i sine værker, såsom harepels, fåreuld og grønlandsk ler, sand og sten.) Medlem af kunstnersammenslutningen Kimik.

Udvalgte udstillinger
 2013 Galleri Kogei, Tokyo,Japan (gruppeudstilling)
 2014 Nordatlantisk mangfoldighed, vandreudstilling i Danmark (gruppeudstilling)
 2014 Melting Point, Bornholms Kunstmuseum, Politikens Hus, Kbh. og Svanekegaarden.
 2016 Ikumasut, Nuuk Kunstmuseum
 2016 Pop up udstilling i Holms Hus, Nuuk, sammen med den samiske kunstner, Marte Lill Somby

Kilder og eksterne henvisninger
 Tupaarnaq Rosing Olsen (red): Kimik - Ukuit 20 år, Milik Publishing, 2016
 Neriusaaq, 1.2017 (artikel af Stine Lundberg Hansen)
http://kunst.gl/at-rejse-sig/ Essay af Stine Lundberg Hansen
https://www.kristinesporekreutzmann.com/

Referencer

Billedkunstnere fra Grønland

Kristine Spore Kreutzmann


An Guadua superba in uska species han Liliopsida nga ginhulagway ni Huber. An Guadua superba in nahilalakip ha genus nga Guadua, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Guadua

Guadua superba


The Aṭṭhakavagga (Pali, "Octet Chapter") and the Pārāyanavagga (Pali, "Way to the Far Shore Chapter") are two small collections of suttas within the Pāli Canon of Theravada Buddhism. They are among the earliest existing Buddhist literature, and place considerable emphasis on the rejection of, or non-attachment to, all views.

Textual concerns

Position within the Sutta Pitaka
The  and the Pārāyanavagga are two small collections of suttas. They are incorporated in the Khuddhaka Nikāya as subdivisions of the Sutta Nipāta, the collection of the words spoken by the Buddha. The suttas portray the Aṭṭhakavagga as some of the Buddha's first sermons; the Udana depicts the Buddha asking a monk to recite Dhamma, and responding approvingly when he recites the Aṭṭhakavagga.

Dating
Some scholars regard the  and the Pārāyanavagga as being considerably earlier in composition than the bulk of the canon, and as revealing an earlier form of Buddhism. They are regarded as earlier because of elements of language and composition, their inclusion in very early commentaries, and also because some have seen them as expressing versions of certain Buddhist beliefs that are different from, and perhaps prior to, their later codified versions. In this thinking, the Pārāyanavagga is somewhat closer to the later tradition than the . The Khaggavisānasutta (Rhinoceros Sutra), also in the Sutta Nipāta, similarly seems to reveal an earlier mode of Buddhist monasticism, which emphasized individual wandering monastics, more in keeping with the Indian sannyāsin tradition.

In 1994, a group of texts which are among the earliest Indian manuscripts discovered were found in Gandhara. These texts include a relatively complete version of the Rhinoceros Sutra and textual material from the  and Pārāyanavagga.

Interpretations
Speaking generally, the  and the Pārāyanavagga tend more strongly to emphasize the negative (i.e. those of abstention) sides of asceticism, and show a strong concern with letting go of views, regulating everyday bodily activities, and sexual desires. The Atthakavagga does not give a clear-cut goal such as nirvana, but describes the ideal person. This ideal person is especially characterized by suddhi (purity) and santi (calmness). The  also places considerable emphasis on the rejection of, or non-attachment to, all views, and is reluctant to put forward positions of their own regarding basic metaphysical issues.

Pre-Buddhist or proto-Madhyamaka
Gomez compared them to later Madhyamaka philosophy, which in its  form especially makes a method of rejecting others' views rather than proposing its own.

Interpretation as heterodox
Tillman Vetter, although agreeing overall with Gomez's observations, suggests some refinements on historical and doctrinal grounds. First, he notes that neither of these short collections of suttas are homogeneous and hence are not all amenable to Gomez' proposals. According to Vetter, those suttas which do lend support to Gomez probably originated with a heterodox ascetic group that pre-dated the Buddha, and were integrated into the Buddhist Sangha at an early date, bringing with them some suttas that were already in existence and also composing further suttas in which they tried to combine their own teachings with those of the Buddha.

Interpretation as orthodox
Paul Fuller has rejected the arguments of Gomez and Vetter. He finds that

Fuller states that in the Nikayas, right-view includes non-dependence on knowledge and views, and mentions the Buddha's simile of his dhamma as a raft that must be abandoned. He finds that the Atthakavagga's treatment of knowledge and wisdom is parallel to the later Patthana's apparent criticism of giving, holding the precepts, the duty of observance, and practicing the jhanas. In his view, both texts exhibit this particular approach not as an attack on practice or knowledge, but to point out that attachment to the path is destructive. Similarly, the text's treatment of concentration meditation is intended to warn against attachment to insight, and communicate that insight into the nature of things necessarily involves a calm mind.

Alexander Wynne also rejects both of Vetter's claims that the Parayanavagga shows a chronological stratification, and a different attitude toward mindfulness and liberating insight than do other works.

Theravada interpretation
The Theravada tradition has taken the view that the text's statements, including many which are clearly intended to be paradoxical, are meant to be puzzled over and explicated. An extended commentary attributed to Sariputta, entitled the Mahaniddesa, was included in the Canon. It seeks to reconcile the content of the poems with the teachings in the rest of the discourses. In some cases, the Theravada commentaries blunt or negate the rejection of all views by suggestion that the views being rejected are non-Buddhist views, while affirming the necessity of the views of the Eightfold Path.

See also
Presectarian Buddhism
Early Buddhist schools
Early Buddhist Texts
Pāli Canon
Sutta Piṭaka
Khuddaka Nikāya
Niddesa
Gandhāran Buddhist texts
Timeline of Buddhism
Similarities between Pyrrhonism and Buddhism

Notes

References

Sources

Printed sources

Web-sources

Further reading

External links

Translations
:
Translation by Paññobhāsa Bhikkhu (1999)
Translation by Paññobhāsa Bhikkhu (2012)
Translation by Thanissaro Bhikkhu (1997)
Translation by Bhikkhu Varado (2005)
Translation by V. Fausböll (1881)

Translation by Thanissaro Bhikkhu (1997)
Translation by V. Fausböll (1881)

Rhinoceros Sutra:
Translation by Thanissaro Bhikkhu (1997)
Translation by V. Fausböll (1881)

Commentaries
Commentary / introduction to Atthakavagga by Thanissaro Bhikkhu
Commentary / introduction to Parayanavagga by Thanissaro Bhikkhu
"Introduction to the Sutta Nipata" (1881) by V. Fausböll
Proto-Madhyamaka in the Pali Canon

Early Buddhist texts
Khuddaka Nikaya
Madhyamaka

Aṭṭhakavagga and Pārāyanavagga


سويني تود: الحلاق الشيطاني لشارع فليت  هو فيلم رعب موسيقي أمريكي أنتج عام 2007 من بطولة جوني ديب وهيلينا بونهام كارتر ومن إخراج تيم برتون وهو يمثل عودته للأفلام الغنائية ويروي قصة حلاق ماهر من لندن يتم نفيه منها بسبب تهمة كاذبة من رجل مسئول من أجل الاستيلاء على زوجته الجميلة ثم يعود إلى لندن باسم مستعار وهو (سويني تود) وقد تحول إلى سفاح حاقد ليبدأ رحلة الانتقام، حصل الفيلم على تقييم 7.4 على موقع قاعدة بيانات الأفلام على الإنترنت وترشح جوني ديب لجائزة أفضل ممثل في هذا الفيلم بينما فاز بجائزة غولدن غلوب لأفضل ممثل في فيلم موسيقي وترشح تيم برتون لجائزة أفضل مخرج وتلقى الفيلم مراجعات إيجابية من النقاد والجماهير حتى أنه كان موجود في المرتبة 129 في قائمة IMDb لأفضل 250 فيلم لفترة قصيرة.

مراجع

وصلات خارجية

أفلام باللغة الإنجليزية في عقد 2000
أفلام أمريكية
أفلام أمريكية عن انتقام
أفلام أمريكية في عقد 2000
أفلام إستديوهات باينوود
أفلام إنتاج 2007
أفلام باراماونت بيكتشرز
أفلام باللغة الإنجليزية
أفلام بريطانية
أفلام بريطانية في عقد 2000
أفلام تقطيع أمريكية
أفلام تقطيع بريطانية
أفلام تقطيع عقد 2000
أفلام تقع أحداثها في 1846
أفلام تقع أحداثها في العصر الفكتوري
أفلام تقع أحداثها في القرن 19
أفلام تقع أحداثها في عقد 1800
أفلام تقع أحداثها في لندن
أفلام جوني ديب
أفلام دراما أمريكية
أفلام دراما بريطانية
أفلام دريم ووركس
أفلام دموية
أفلام رعب بريطانية
أفلام رعب رومانسية
أفلام رعب قوطية
أفلام عن آكلي لحوم البشر
أفلام عن الطعام والشراب
أفلام عن مصففي شعر
أفلام قتلة متسلسلين أمريكية
أفلام كتب نصها السينمائي جون لوغان
أفلام كوميديا سوداء
أفلام مبنية على أعمال ستيفن سونديم
أفلام مبنية على تكييفات
أفلام مبنية على مسرحيات غنائية
أفلام من إخراج تيم برتون
أفلام موسيقية
أفلام موسيقية أمريكية
أفلام موسيقية بريطانية
أفلام موسيقية في عقد 2000
أفلام وارنر برذرز
قتل الزوجة في الخيال

سويني تود: الحلاق الشيطاني لشارع فليت


Profilul geologic de lângă satul Socola este un monument al naturii de tip geologic sau paleontologic în raionul Șoldănești, Republica Moldova. Este amplasat spre vest de satul Socola, în apropierea bisericii din sat. Are o suprafață de 10 ha. Obiectul este administrat de Primăria satului Vadul-Rașcov.

Descriere
Într-o ravenă amplasată la vest de biserică, începând cu altitudinea de 160 m, aflorează calcare biogene de vârstă basarabiană, cu un conținut sporit de Mactra fabreana (d'Orbigny) și cu grosimea de cca 20 m. Aceleași calcare pot fi identificate pe malul stâng al Nistrului, în satul Rașcov, la altitudinea de 175 m, lucru care poate fi explicat de o dislocare pe falie. Calcarele sunt așezate pe nisipuri roz cu grosimea de 2,5 m. La altitudinea de 138 m se găsesc calcare detritice de vârstă volhiniană cu grosimea de cca 10 m. Nivelul inferior este caracterizat de nisipuri acvifere cu grosimea de cca 3 m. Intercalații de argile, marne și marne calcaroase, cu amprente de frunze și pești fosili, pot fi identificate în toată grosimea totală de până la 70 m.

În prezent, partea superioară și cea inferioară sunt acoperite de material deluvial, care complică studiul geologic.

Statut de protecție
Obiectivul a fost luat sub protecția statului prin Hotărîrea Sovietului de Miniștri al RSSM din 13 martie 1962 nr. 111, iar statutul de protecție a fost reconfirmat prin Hotărîrea Sovietului de Miniștri al RSSM din 8 ianuarie 1975 nr. 5 și Legea nr. 1538 din 25 februarie 1998 privind fondul ariilor naturale protejate de stat. Deținătorul funciar al monumentului natural era, la momentul publicării Legii din 1998, Întreprinderea Agricolă "Ștefan Vodă", dar între timp acesta a trecut la balanța Primăriei satului Vadul-Rașcov.

Situl geologic prezintă interes științific de însemnătate internațională pentru cartarea geologică și studiul stratigrafic al formațiunilor sedimentare ale Platformei Est-Europene, cât și pentru colectarea materialului paleontologic, paleobotanic și arheologic. În calcarele basarabiene a fost amenajat un schit rupestru, care, împreună cu profilul geologic, alcătuiesc un sit cu valoare peisagistică mare.

Conform situației din anul 2016, aria naturală nu avea instalat un panou informativ. Este recomandată introducerea ariei protejate în rutele turistice din zonă.

Galerie de imagini

Note

Bibliografie

Legături externe

Socola, Profilul geologic de lângă satul
Raionul Șoldănești

Profilul geologic de lângă satul Socola


Isabelle Dumais, née à Sherbrooke en 1971, est une artiste visuelle, poète et enseignante québécoise.

Biographie
Artiste en arts visuels et poète, Isabelle Dumas s'intéresse à la peinture abstraite, l'essai littéraire, la poésie ainsi que la philosophie. Elle détient un baccalauréat en enseignement moral au secondaire (philosophie, théologie, pédagogie), un baccalauréat en arts plastiques, une maîtrise en arts visuels ainsi que des études doctorales en arts visuels de l'Université Laval.

Active sur la scène artistique québécoise et internationale pour sa pratique en estampe et en peinture, Dumais participe à de nombreuses expositions individuelles et collectives. Elle expose « des tableaux résolument abstraits, dépouillés mais sensibles » notamment à Taiwan, en Italie, en Suède, au Japon ainsi qu'au Québec. Elle réalise également plusieurs livres d'artistes dont Un Silence (textes et gravures, 2002) ainsi que Petites allégorie en cavale (textes et eaux-fortes, 2002).

Dans le cadre de sa pratique en arts visuels, elle reçoit notamment le Prix des arts visuels Stelio Sole (2018), le Prix Albert-Dumouchel, ainsi que le Prix de la Collection Loto-Québec lors de la Biennale d'estampe contemporaine de Trois-Rivières (2007).

En plus d'enseigner les arts au Cégep de Drummondville, elle publie, en poésie, Un juste ennui (Éditions du Noroît, 2010), La compromission (Éditions du Noroît, 2013) ainsi que Les grandes fatigues (Éditions du Noroît, 2019). Les thèmes centraux traités dans ses recueils sont : la lenteur, l'ennui, la solitude et le dépouillement.

Elle signe également des textes dans plusieurs revues littéraires spécialisées (EXIT, Jet d'encre, Le Sabord, Estuaire, Cahiers littéraires Contre-jour) et participe également à divers événements littéraires (conférences, tables-rondes, lectures publiques et projets poétiques) au Québec et à Paris.

Récipiendaire du Livre de l'année au Prix Arts excellence Culture Mauricie (2020), du Prix Gérald-Godin (2020) ainsi que du Prix des Nouvelles Voix de la littérature (2012), Isabelle Dumais est également finaliste pour le Prix de poésie Alain-Granbois (2020), le Prix Clément-Morin de Culture Mauricie (2010) ainsi que le Prix littéraire de Radio-Canada (2008).

Isabelle Dumais siège sur le conseil d'administration de la Société des écrivain.es de la Mauricie.

Œuvres

Poésie

 Un juste ennui, Montréal, Éditions du Noroît, 2010, 89 p.
La compromission, Montréal, Éditions du Noroît, 2013, 114 p.
Les grandes fatigues, Montréal, Éditions du Noroît, 2019, 184 p.

Prix et honneurs

 2002 - Récipiendaire : Prix Albert-Dumouchel
2007 - Récipiendaire : Prix de la Collection Loto-Québec, Biennale d'estampe contemporaine de Trois-Rivières
 2008 - Finaliste : Prix littéraire de Radio-Canada
 2010 - Finaliste : Prix Clément-Morin de Culture Mauricie
 2012 -Récipiendaire : Prix des Nouvelles Voix de la littérature (pour Un juste ennui)
 2018 - Récipiendaire : Prix des arts visuels Stelio Sole (pour l'exposition Le sublime et le subtil)
 2020 - Récipiendaire : Livre de l'année au Prix Arts excellence Culture Mauricie (pour Les grandes fatigues)
 2020 - Récipiendaire : Prix Gérald-Godin (pour Les grandes fatigues)
 2020 - Finaliste : Prix de poésie Alain-Granbois (pour Les grandes fatigues)

Voir aussi

Liens externes

http://www.isabelledumais.com/

Notes et références

Professeur québécois
Poétesse québécoise
Plasticien québécois contemporain
Femme de lettres québécoise
Naissance en 1971
Naissance en Estrie
Étudiant de l'Université Laval
Écrivain suivi par le projet Arts littéraires québécois

Isabelle Dumais


عبد الرحمن الهيلة ولد عام 1933 بحي الحلفاوين بتونس العاصمة، وتوفي عام 2001. من أشهر المحامين التونسيين.

تكوينه
درس تعليمه الابتدائي بمدرسة الحلفاوين ثم التحق بجامع الزيتونة حيث أحرز على شهاداتها وآخرها شهادة العالمية عام 1955. عمل معلما قبل أن يلتحق بمدرسة الحقوق العليا التي تخرج منها عام 1962.

مساره المهني
انخرط في سلك المحاماة في أكتوبر 1962، وقد انتخب في الهيئة القومية للمحامين لعدة دورات، وكان من مؤسسي الجمعية التونسية للمحامين الشبان والرابطة التونسية للدفاع عن حقوق الإنسان. اشتهر بمرافعاته في القضايا السياسية وقضايا الرأي عامة.

المراجع

محامون تونسيون
مواليد 1933
وفيات 2001

عبد الرحمن الهيلة


Enzo Liberti (* 20. April 1926 in Rom; † 4. Mai 1986 in Nizza) war ein italienischer Schauspieler.

Leben
Liberti begann seine Karriere unmittelbar nach dem Zweiten Weltkrieg als Theaterschauspieler, vor allem in Komödien im Dialekt Romanesco; meist spielte er zusammen mit seiner Frau Leila Durante und deren Eltern Checcho und Anita mit dem Teatro Rossini in der italienischen Hauptstadt. Die Durantes spielten auch die Hauptrollen in seinen beiden Filmen als Regisseur, die 1954 und im Folgejahr entstanden, jedoch keinen bleibenden Eindruck hinterließen. Neben Filmrollen, die er ab den frühen 1960er Jahren spielte, war Liberti auch häufiger Gast im Fernsehen, sowohl in Shows, oft mit Raimondo Vianello, als in Fernsehfilmen. So war er in den erfolgreichen Serien Le avventure di Laura Storm, Il commissario Maigret und Uno dei due aufgetreten.

Filmografie (Auswahl)

Regisseur
 1954: Il porto della speranza (& Kamera)
 1955: Processo all'amore (& Drehbuch)

Schauspieler
 1962: Carmen von Trastevere (Carmen di Trastevere)
 1965: Made in Italy (Made in Italy)
 1969: Note 7 – Die Jungen der Gewalt (I ragazzi del massacro)
 1969: Schulmädchen lieben heiß (Oh dolci baci e languide carezze)
 1973: Auf verlorenem Posten (La polizia è al servizio del cittadino?)
 1973: Ein Scheiss-Wochenende (Mordi e fuggi)
 1979: Der Superbulle jagt den Ripper (Assassinio sul Tevere)
 1981: Das völlig irre Klassenzimmer (Pierino contro tutti)
 1984: Ferien in Amerika (Vacanze in America)

Weblinks

 Synchronarbeiten

Einzelnachweise

Filmschauspieler
Filmregisseur
Drehbuchautor
Kameramann
Italiener
Geboren 1926
Gestorben 1986
Mann

Enzo Liberti


Johann Cilensek (født 4. december 1913 i Oberlausitz - død 14. december 1998 i Erfurt Tyskland) var en tysk komponist, pianist og organist.

Cilensek studerede komposition og orgel på Leipzigs musikkonservatorium hos bl.a. Johann Nepomuk David.

Han komponerede fem symfonier, orkesterværker, kammermusik, vokalmusik, instrumentalmusik for mange instrumenter etc. Cilensek underviste efter anden verdenskrig på Franz Liszt academy of Music i Weimar.

Udvalgte værker

 Symfoni nr. 1 (1954) - for orkester
 Symfoni nr. "Symphony with Funeral Music" (1956) - for orkester
 Symfoni nr. 3 (1957) - for orkester
 Symfoni nr. 4 "for String Orchestra" (1958) - for strygeorkester
 Symfoni nr. 5 "Konzertante Sinfonie" (1959) - for orkester
 Sinfonietta (1963) - for orkester

Kilde
 Om Johann Cilensek på musicweb-international.com

Komponister fra Tyskland
Organister fra Tyskland
Pianister fra Tyskland
Lærere

Johann Cilenšek


Imre Zachár (né le  à Budapest et mort le  dans cette même ville) est un nageur et poloïste hongrois. Il a été médaillé d'argent aux Jeux olympiques de 1908 à Londres et a participé aux Jeux olympiques de 1912 à Stockholm en natation et water-polo.

Biographie
Il nage pour le MTK Budapest où il a été entraîné par Zoltán von Halmay puis au Magyar Atlétikai Club et au Műegyetemi AFC.

Il est champion d'Autriche-Hongrie du 800 yards nage libre en 1907 et 1910 ainsi que du 100 yards nage libre en 1910.

Aux Jeux olympiques de 1908 à Londres, il est engagé sur le 400 mètres nage libre. Il réalise le 8 temps des séries en  et se qualifie pour les demi-finales. Cependant, il abandonne au 250 mètres. Il fait aussi partie du relais hongrois pour le 4X200 mètres nage libre, qualifié directement pour la finale en raison des forfaits. Avec un temps de , l'équipe monte sur la deuxième marche du podium.

Aux Jeux olympiques de 1912 à Stockholm, Imre Zachár est engagé en natation et water-polo. Il déclare forfait sur les  400 et  mètres. Il est aussi dans le relais hongrois qui entre en finale avec un temps de  mais déclare forfait ensuite. En water-polo, l'équipe hongroise est éliminée au premier tour par l'équipe autrichienne.

En 1914, il arrête sa carrière de nageur et devient employé de banque. Il a été placé en résidence surveillée à Jászkisér par le régime de Mátyás Rákosi qui lui confisque tous ses biens. Il rentre à Budapest en 1953 pour y mourir.

Annexes

Liens externes

Bibliographie
 .
 .

Notes et références

Naissance en mai 1890
Naissance à Budapest
Nageur hongrois
Joueur hongrois de water-polo
Nageur aux Jeux olympiques de 1908
Nageur aux Jeux olympiques de 1912
Naissance dans le royaume de Hongrie
Décès en avril 1954
Décès à Budapest
Décès à 63 ans

Imre Zachár


ولاية بغداد إحدى ولايات الدولة العثمانية، يحدها من الجنوب ولاية البصرة ومن الشمال ولاية الموصل ومن الشرق فارس، ويقع مركز الولاية في مدينة بغداد

التقسيمات الإدارية التابعة لولاية بغداد

طُبّق نظام الولايات في ولاية بغداد سنة 1869م بيد الوالي مدحت باشا، ونشرت جريدة الزوراء أن ولاية بغداد انتظمت فيها عشرة سناجق:
 سنجق بغداد: وفيه أقضية تتبعها نواحي:
 قضاء خراسان، ناحية شهربان وناحية الخالص
 قضاء خانقين، ناحية بنكدرة وناحية قزلرباط.
 قضاء مندلي
 قضاء الكوت، ناحية بدرة
 قضاء العزيزية
 قضاء الكاظمية
 قضاء سامراء، ناحية تكريت وناحية الدجيل.
 سنجق شهرزور
 سنجق السليمانية
 سنجق الموصل
 سنجق الدليم
 سنجق كربلاء
 سنجق الديوانية: سُمّي على اسم مقرّه في مدينة الديوانية، ثم نُل المقرّ إلى الحلة، فصار اسمه سنجق الحلة، ثم في سنة 1893 عاد المقر إلى الديوانية وظل اسمه سنجق الديوانية حتى نهاية الحكم العثماني.
 سنجق البصرة
 سنجق العمارة
 |سنجق المنتفق
ثم انفصلت ولاية الموصل سنة 1879م وولاية البصرة سنة 1884م، فاقتصرت ولاية بغداد على ثلاثة سناجق، بغداد والديوانية وكربلاء.

مقر حكومة ولاية بغداد
مقر متصرفية لواء بغداد في مبنى القشلة، في جانب الرصافة من مدينة بغداد.

السكان

مصادر

طالع أيضا
 قائمة ولاة بغداد في العصر العثماني
 مماليك العراق
 تاريخ بغداد 1831-1917
 إيالة شهرزور

الدولة العثمانية
انحلالات سنة 1918 في الدولة العثمانية
تاريخ العراق
تأسيسات سنة 1869 في الدولة العثمانية
دول وأقاليم انحلت في 1918
دول وأقاليم أسست في 1864
دول وأقاليم أسست في 1869

ولاية بغداد


Nikola Benger (Križevci, 1695. — Lepoglava, 1766.) hrvatski povjesničar, redovnik pavlin.

Životopis

Osnovnu školu i gimnaziju je završio u Križevcima. U Lepoglavi je 1713. stupio u Pavlinski red, te je 1721. postao doktor teologije i profesor. Od petnaest djela tri su mu tiskana za života, ostatak je ostao u rukopisu. Najznačajnije mu je djelo povijest Pavlinskoga reda od 1663. do 1743., tiskan u Požunu 1743. godine (Posonii).

Djela

 Regina martyrum innumeris gratiis corusca, Dei mater dolorosa, Maria, Crisiensis urbis urbs refugii … sive Historica expositio ortus progressus et miraculorum thaumaturgae statuae B. M. Dolorosae Crisii … erecta. (S. 1.) 1730.
 Annalium eremi-coenobiticorum ordinis Fratrum eremitarum s. Pauli Primi, eremitae. Posonii, Typis Haeredum Royerianum, 1743.
 Promptuarium privilegiorum confessarios regulares attientium quoad facultates ad absolvendum ac dispensandum etc. a sacra Sede Apostolica eisdem concessas. Tyrnaviae, Typis academicis Societ. Iesu, 1750.

Izvori

Hrvatski povjesničari
Hrvatski pavlini
Životopisi, Križevci

Nikola Benger


Die B Grupa 2011/12 war die 63. Saison der zweithöchsten bulgarischen Fußballspielklasse. Sie startete am 18. August 2011 und endete im 25. Mai 2012. Einteilung der Mannschaften in die Staffeln West und Ost wurden vor Saisonbeginn vom Bulgarischen Fußballverband nach geografischen und logistischen Gesichtspunkten vorgenommen.

Modus
In jeder Gruppe spielten 10 Mannschaften. Die Vereine spielten jeweils drei Mal in der Saison gegeneinander. Die beiden Ersten der West- und Ostgruppe stiegen direkt in die A Grupa auf. Die beiden Zweitplatzierten spielten ein Relegationsspiel um den Aufstieg, der Gewinner stieg in die A Grupa auf, der Verlierer blieb in der B Grupa. Die letzten drei Mannschaften stiegen direkt in die drittklassige W Grupa ab.

B Grupa West
 B Grupa West

Mannschaften

Abschlusstabelle

Da der Wichren Sandanski (Siebter der B Grupa West 2010/11) die Lizenzbedingungen für die B Grupa nicht erfüllte, wird der Verein in der Saison 2011/12 in der W Grupa spielen.

In der Winterpause gab der Tschawdar Bjala Slatina bekannt, dass er wegen finanzielle und Kaderschwierigkeiten die Teilnahme am Profifußball beendet. Damit werden alle Spiele von Tschawdar Bjala Slatina für den Gegner mit einem 3:0-Sieg gewertet. Der Klub wird in der nächsten Saison in der drittklassigen W Grupa spielen.

B Grupa Ost

Mannschaften
 B Grupa Ost

Abschlusstabelle

In der Winterpause gab der FC Dorostol 2003 bekannt, dass er wegen finanzielle Schwierigkeiten die Teilnahme am Profifußball beendet. Damit werden alle Spiele von Dorostol für den Gegner mit einem 3:0-Sieg gewertet. Der Klub wird in der nächsten Saison in der Dritte W Grupa spielen.

Aufstiegs-Playoff

|}

Weblinks
 Table of Honor auf soccerlibrary.free.fr
 Saison 2011/12 auf rsssf.com

Einzelnachweise

2011 12
Fußballsaison 2011/12

B Grupa 2011/12


Fontana del Sebeto je monumentalna fontana smještena u largo Sermoneta u zoni Mergellina u Napulju, Italija.

Fontanu je naručio potkralj Emanuele Zunica e Fonseca, a izgradio ju je Carlo Fanzago prema nacrtu svog oca Cosima. Izvorno smještena na Via Gusmana (sada Via Cesario Console), premještena je na današnju lokaciju 1939. godine. Baza je izrađena od stijene iz Piperna; Gornji dio ima tri bazena od mramora. Središnji dio uključuje dva morska čudovišta koja izlijevaju vodu. Središnji luk ima ležećeg starca koji predstavlja rijeku Sebeto, koja je nekada tekla kroz središte grada. Dva Tritona šire vodu u bočne bazene. Na vrhu fontane nalaze se štitovi s heraldikom potkralja, španjolskog kralja i grada Napulja.

Bibliografija
Aurelio De Rose, Le fontane di Napoli, Roma, Newton & Compton, 1994.

Vanjske poveznice

Sebeto

Fontana del Sebeto


أولاد المناجم هي مجموعة موسيقية تونسية تؤدي الأغاني الملتزمة، وقد ظهرت في أواخر سبعينات . ثم تراجعت مع ظهور فرق ملتزمة أخرى عديدة.
مجموعة أولاد المناجم تأسست قبل حوالي اثنين وأربعين عاما في مدينة أم العرائس المنجمية كانت لها أحد العناوين البارزة للأغنية البديلة مع مجموعة «البحث الموسيقي» وعانت من الحصار في المهرجانات بل المنع كما تم التضييق عليها في وسائل الإعلام ومع ذلك أستمرت وأصرت على مسارها الفني إلى أن جاءت ثورة 14 جانفي لتستعيد المجموعة حضورها في المشهد الفني والثقافي.
المجموعة بدأت نشاطها سنة 1977 وهي مجموعة فنية عمالية أرادت أن تعبر عن معاناة أولاد المناجم وقضايا العمال في الوطن العربي ككل وهي تتركب من عمال منجميين وكانت البداية من دار الثقافة بأم العرائس وهي التي ورثت تقريبا مجموعة «أولاد الهمامة» في قفصة التي انضممت إليها مع منصف البلدي المخرج التلفزيوني والممثل السابق في فرقة مسرح الجنوب بقفصة ، عملت مع مجموعة «أولاد الهمامة» ثم عدت إلى فرنسا ومنها عدت إلى تونس مرة أخرى لتأسيس فرقة «أولاد المناجم»
أول عمل صدر لنا سنة 1985 بعنوان «ضحايا الدّاموس» مع شركة ملولي فون.
أصدرنا خمسة أشرطة حجزتها السلطة جميعا إذ كانت تجمع الأشرطة من الأسواق في صمت إذ كان جهاز أمن الدولة يقتني كل النسخ كما أصدرنا أسطوانة في فرنسا سنة 1982 لم تدخل إلى تونس وقمنا بجولة فنية قدمنا خلالها 12 عرضا وعدنا إلى فرنسا سنة 2004 وقمنا بجولة فنيّة كبيرة وفي رصيدنا الآن حوالي 160 أغنية من ألحاني جميعها ومن كلمات شعراء كآدم فتحي وبلقاسم اليعقوبي وكمال الغالي ورضا الماجري.

فرق موسيقية تونسية

أولاد المناجم


Jo Leinen (Bisten (hoy incorporado a Überherrn), Sarre, 6 de abril de 1948) es un político alemán.

Desde julio de 1999 es miembro del Parlamento Europeo para el Grupo de la Alianza Progresista de Socialistas y Demócratas. Conocido por la promoción de ideales europeos, Jo Leinen es desde noviembre de 2011 presidente del Movimiento Europeo.

Enlaces externos

Eurodiputados de Alemania de la Legislatura 1999-2004
Eurodiputados de Alemania de la Legislatura 2004-2009
Eurodiputados de Alemania de la Legislatura 2009-2014

Jo Leinen


Vindobona — veche așezare de pe teritoriul de astăzi al orașului Viena. Numele poate proveni de la celticul windo — "alb" și bona — "loc împrejmuit, oraș".

Aproximativ în jurul anului 15 d. Chr. Noricum a devenit provincie a Imperiului Roman, iar Dunărea a devenit granița imperiului. Istoria Vienei ca localitate începe la mijlocul secolului I, odată cu construcția pe teritoriul orașului de astăzi a avanpostului Legiunii a XV-a. În paralel cu taberele militare a început să se dezvolte și zona civică a orașului.

La începutul secolului al V-lea Vindobona a cunoscut un puternic incendiu, iar la sfârșitul aceluiași secol, romanii au părăsit aceste locuri.

Note

Viena

Vindobona


În , constanta cosmologică (de obicei, indicată prin litera grecească lambda: Λ) este densitatea de energie a spațiului sau "" care apare în ecuațiile de câmp ale relativității generale a lui Albert Einstein. Este strâns asociată cu noțiunile de energie întunecată și chintesență.

Einstein a introdus conceptul în 1917 pentru a contrabalansa efectele gravitației și a obține un , o noțiune care era viziunea acceptată la vremea respectivă. Einstein a abandonat conceptul în 1931 după ce Hubble a descoperit că universul este în expansiune. Din anii 1930 până la sfârșitul anilor 1990, majoritatea fizicienilor au presupus că constanta cosmologică este egală cu zero. Acest lucru s-a schimbat odată cu descoperirea surprinzătoare din 1998 că , ceea ce implică posibilitatea ca constanta cosmologică să aibă valoare pozitivă nenulă.

Din anii 1990, studiile au arătat că aproximativ 68% din densitatea de masă-energie a universului poate fi pusă pe seama așa-numitei energii întunecate. Constanta cosmologică Λ este cea mai simplă explicație posibilă pentru energia întunecată și este folosită în modelul actual standard al cosmologiei cunoscut sub numele de modelul ΛCDM. Energia întunecată este puțin înțeleasă la nivel fundamental, dar principalele proprietăți necesare ale energiei întunecate sunt că funcționează ca un fel de anti-gravitați, se diluează mult mai lent decât materia în timp ce universul se extinde și se adună mult mai slab decât materia, sau poate deloc.

Conform teoriei cuantice a câmpurilor (QFT) care stă la baza fizicii particulelor moderne, spațiul vid este definit de , care este o colecție de câmpuri cuantice. Toate aceste câmpuri cuantice prezintă fluctuații ale stării lor fundamentale (cea mai mică densitate de energie) care rezultă din  prezentă peste tot în spațiu. Aceste fluctuații de punct zero ar trebui să acționeze ca o contribuție la constanta cosmologică Λ, dar atunci când se efectuează calculele, aceste fluctuații dau naștere unei energii de vid enorme. Discrepanța dintre energia de vid teoretizată în QFT și energia de vid observată în cosmologie este o sursă majoră de controverse, valorile prezise depășind observațiile cu aproximativ 120 de ordine de mărime, o discrepanță care a fost numită "cea mai rea predicție teoretică din istoria fizicii!". Această problemă se numește  și este unul dintre cele mai mari mistere nerezolvate ale științei, mulți fizicieni crezând că "vidul deține cheia unei înțelegeri complete a naturii".

Istorie
Einstein a inclus constanta cosmologică ca termen în ecuațiile sale de câmp pentru relativitatea generală pentru că era nemulțumit că altfel ecuațiile lui nu ar fi permis, aparent, un : gravitația ar fi determinat contracția unui univers care inițial s-ar afla în echilibru dinamic. Pentru a contracara această posibilitate, Einstein a adăugat constanta cosmologică. Cu toate acestea, curând după ce Einstein și-a dezvoltat teoria statică, observațiile lui Edwin Hubble au arătat că universul pare să se extindă; aceasta era în concordanță cu existența unei soluții cosmologice la ecuațiile originale ale relativității generale, care fuseseră descoperite de matematicianul Friedmann, care lucra la ecuațiile Einstein din relativitatea generală. Einstein avea să vorbească despre faptul că nu a acceptat validitatea ecuațiilor sale când ele preziceau expansiunea universului în teorie, înainte ca aceasta să fie demonstrată prin observația deplasării spre roșii cosmologice drept "cea mai mare gafă" a lui.

De fapt, adăugarea constantei cosmologice la ecuațiile lui Einstein nu conduce la un univers static în echilibru, deoarece  este instabil: dacă universul se extinde ușor, atunci expansiunea eliberează , ceea ce provoacă și mai multă extindere. De asemenea, un univers care se contractă ușor va continua să se contracte.

Cu toate acestea, constanta cosmologică a rămas un subiect de interes teoretic și empiric. Empiric, asaltul datelor cosmologice din ultimele decenii sugerează că universul nostru are o constantă cosmologică pozitivă. Explicația acestei valori mici dar pozitive este o provocare teoretică remarcabilă, așa-numita .

Unele generalizări timpurii ale teoriei gravitaționale a lui Einstein, cunoscute ca , fie introduceau o constanță cosmologică pe temei teoretic, fie descopereau că aceasta apare în mod natural din matematică. De exemplu, Sir Arthur Stanley Eddington a susținut că versiunea cu constantă cosmologică a ecuației de câmp a vidului exprimă proprietatea "epistemologică" că universul se "auto-" și teoria pur  a lui Erwin Schrödinger folosind un simplu  a produs ecuația câmpului cu un termen cosmologic.

Ecuație

Constanta cosmologică  apare în ecuația de câmp a lui Einstein în forma

unde tensorul/scalarul Ricci R și tensorul metric g descriu structura spațiu-timpului, tensorul energie-impuls T descrie densitatea de energie și impuls și fluxul materiei din acel punct în spațiu-timp, iar constantele universale G și c sunt factori de conversie care apar din utilizarea unităților tradiționale de măsurare. Atunci când λ este zero, aceasta se reduce la ecuația de câmp a relativității generale folosită de obicei la mijlocul secolului al XX-lea. Atunci când T este zero, ecuația de câmp descrie spațiul vid.

Constanta cosmologică are același efect ca o  intrinsecă de  a vidului, ρvid (și o presiune asociată). În acest context, este frecvent mutat pe partea dreaptă a ecuației și definit cu un factor de proporționalitate de 8π : , unde sunt utilizate convențiile de unitate ale relativității generale (altfel factorii G și c apar și ei, adică , unde κ este ). Este comun să se citeze în mod direct valori ale densității energetice, deși se folosește încă denumirea "constantă cosmologică", cu  . Dimensiunea reală a lui  este o lungime-2.

Date fiind valorile Planck (2018) pentru ΩΛ =  și H0 =  (km/s)/Mpc = , λ are valoarea de

sau  în unități Planck reduse sau  eV2 în unități naturale.

O densitate energetică de vid pozitivă rezultată dintr-o constantă cosmologică implică o presiune negativă și viceversa. Dacă densitatea energetică este pozitivă, presiunea negativă asociată va conduce la o expansiune accelerată a universului, așa cum se observă. (Vezi energie întunecată și inflație cosmică pentru detalii.)

Ω Λ (Omega Lambda)
În loc de constanta cosmologică în sine, cosmologii se referă adesea la raportul dintre densitatea energetică datorată constantei cosmologice și  a universului, punctul în care densitatea este suficientă pentru a opri universul să se extindă la nesfârșit. Acest raport este de obicei notat cu Ωλ, și este estimat la , potrivit rezultatelor publicate de  în 2018.

Într-un univers plat, Ω Λ este fracțiunea de energie a universului datorată constantei cosmologice, adică ceea ce am numi intuitiv fracțiunea de univers care este alcătuită din energie întunecată. Această valoare se modifică însă în timp: densitatea critică se modifică cu , dar densitatea energetică datorată constantei cosmologice rămâne neschimbată pe tot parcursul istoriei universului: cantitatea de energie întunecată crește odată cu creșterea universului, în timp ce cantitatea de materie nu.

Ecuația de stare
Un alt raport care este folosit de oamenii de știință este , denumită de obicei w, care este raportul dintre presiunea pe care energia întunecată o pune asupra universului și energia pe unitatea de volum. Acest raport este  pentru o constantă cosmologică adevărată și este, în general, diferit pentru formele de energie a vidului alternative, cum ar fi chintesența. Colaborarea Planck (2018) a măsurat w = , consistent cu valoarea , presupunând că nu există o evoluție a lui w în timp cosmic.

Valoare pozitivă

Observațiile anunțate în 1998 referitoare la relația între distanță și deplasarea spre roșu la supernovele de tip I a indicat că expansiunea Universului se accelerează. Când s-au combinat cu măsurători ale radiației cosmice de fundal, acestea au implicat o valoare de Ω λ ≈ 0,7, un rezultat care a fost susținut și rafinat de măsurători mai recente. Există și alte cauze posibile ale , cum ar fi chintesența, dar constanta cosmologică este în cea mai mare parte cea mai simplă soluție. Astfel, actualul model standard al cosmologiei, modelul Lambda-CDM, include constanta cosmologică, care este măsurată ca fiind de ordinul a 10-52 m-2, în unități metrice. Acesta este adesea exprimat ca 10-35 s-2 sau 10-122 în alte sisteme unitare. Valoarea se bazează pe măsurătorile recente ale densității de energie a vidului,   sau 10-47 GeV4, 10-29 g / cm3 în alte sisteme unitare.

După cum s-a văzut abia recent, prin lucrările lui Hooft, Susskind și alții, o constantă cosmologică pozitivă are consecințe surprinzătoare, cum ar fi o entropie maximă finită a universului observabil (vezi principiul holografic).

Predicții

Teoria cuantică a câmpului

O problemă majoră esențială este că majoritatea teoriilor cuantice ale câmpurilor prezic o valoare imensă pentru vidul cuantic. O presupunere comună este că vidul cuantic este echivalent cu constanta cosmologică. Deși nu există nicio teorie care să susțină această presupunere, ea poate fi argumentată.

Astfel de argumente se bazează, de obicei, pe analiza dimensională și pe . Dacă universul este descris de o teorie efectivă locală a câmpului cuantic până la scara Planck, atunci este de așteptat o constantă cosmologică de ordinul a () în unități naturale sau  în unitatea Planck redusă). După cum s-a menționat mai sus, constanta cosmologică măsurată este mai mică decât aceasta cu un factor de ~10-120. Această discrepanță a fost numită "cea mai rea predicție teoretică din istoria fizicii!".

Unele teorii supersimetrice necesită o constantă cosmologică exact zero, ceea ce complică și mai mult lucrurile. Aceasta este , cea mai gravă problemă de  din fizică: nu există o modalitate naturală cunoscută de a extrage constanta cosmologică mică folosită în  din fizica particulelor.

Principiul antropic
O posibilă explicație pentru valoarea mică, dar nenulă, a fost consemnată de Steven Weinberg în 1987 ca urmare a principiului antropic. Weinberg explică că dacă energia vidului ar avea valori diferite în diferite domenii ale universului, atunci observatorii ar măsura în mod necesar valori similare cu cele observate: formarea structurilor de susținere a vieții ar fi suprimată în domenii în care energia vidului este mult mai mare. Mai exact, dacă energia de vid este negativă și valoarea absolută a acesteia este substanțial mai mare decât pare să fie în universul observat (adică, cu un factor de 10 ori mai mare), menținând constante toate celelalte variabile (de exemplu, densitatea materiei), ar însemna că universul este închis; în plus, durata sa de viață ar fi mai scurtă decât vârsta universului nostru, posibil prea scurtă pentru a forma viață inteligentă. Pe de altă parte, un univers cu o constantă constantă cosmologică pozitivă s-ar extinde prea repede, împiedicând formarea galaxiilor. Potrivit lui Weinberg, domeniile în care energia vidului este compatibilă cu viața ar fi relativ rare. Folosind acest argument, Weinberg a prezis că constanta cosmologică ar avea o valoare ceva mai mică decât de 100 ori valoarea acceptată în prezent. În 1992, Weinberg a îmbunătățit această predicție a constantei cosmologice la de 5 până la 10 ori densitatea materiei.

Acest argument depinde de lipsa unei variații a distribuției (spațială sau de altă natură) în densitatea de energie a vidului, așa cum ar fi de așteptat dacă energia întunecată ar fi constanta cosmologică. Nu există nici o dovadă că energia vidului ar varia, dar poate fi așa dacă, de exemplu, energia vidului ar fi (chiar și parțial) potențialul unui câmp scalar, cum ar fi  rezidual (vezi și chintesența). O altă abordare teoretică care se ocupă de această problemă este cea a teoriilor multiversurilor, care prezic un număr mare de universuri "paralele" cu legi ale fizicii și / sau valori ale constantelor fundamentale diferite. Din nou, principiul antropic afirmă că nu putem trăi decât într-unul din universurile care este compatibil cu o formă de viață inteligentă. Criticii susțin că aceste teorii, atunci când sunt folosite ca explicații pentru ajustarea finală, comit .

În 1995, argumentul lui Weinberg a fost rafinat de Alexandr Vilenkin pentru a prezice o valoare pentru constanta cosmologică care era de numai zece ori mai mare decât densitatea materiei, adică aproximativ de trei ori valoarea actuală determinată de atunci.

Note de completare

Referințe

Note bibliografice

Bibliografie

Literatură primară

Literatură secundară: știri, articole și cărți de știință populare

Literatură secundară: articole de recenzie, monografii și manuale

Albert Einstein
Teorii ale gravitației
Relativitate generală
Big Bang
Cosmologie fizică
Pages with unreviewed translations

Constanta cosmologică


In quantum physics and chemistry, quantum numbers describe values of conserved quantities in the dynamics of a quantum system.  Quantum numbers correspond to eigenvalues of operators that commute with the Hamiltonian—quantities that can be known with precision at the same time as the system's energy—and their corresponding eigenspaces. Together, a specification of all of the quantum numbers of a quantum system fully characterize a basis state of the system, and can in principle be measured together.

An important aspect of quantum mechanics is the quantization of many observable quantities of interest.  In particular, this leads to quantum numbers that take values in discrete sets of integers or half-integers; although they could approach infinity in some cases. This distinguishes quantum mechanics from classical mechanics where the values that characterize the system such as mass, charge, or momentum, all range continuously. Quantum numbers often describe specifically the energy levels of electrons in atoms, but other possibilities include angular momentum, spin, etc. An important family is flavour quantum numbers – internal quantum numbers which determine the type of a particle and its interactions with other particles through the fundamental forces.  Any quantum system can have one or more quantum numbers; it is thus difficult to list all possible quantum numbers.

Quantum numbers needed for a given system

The tally of quantum numbers varies from system to system and has no universal answer. Hence these parameters must be found for each system to be analyzed. A quantized system requires at least one quantum number. The dynamics (i.e. time evolution) of any quantum system are described by a quantum operator in the form of a Hamiltonian, . There is one quantum number of the system corresponding to the system's energy; i.e., one of the eigenvalues of the Hamiltonian. There is also one quantum number for each linearly independent operator  that commutes with the Hamiltonian. A complete set of commuting observables (CSCO) that commute with the Hamiltonian characterizes the system with all its quantum numbers. There is a one-to-one relationship between the quantum numbers and the operators of the CSCO, with each quantum number taking one of the eigenvalues of its corresponding operator. As a result of the different basis that may be arbitrarily chosen to form a complete set of commuting operators, different sets of quantum numbers may be used for the description of the same system in different situations.

Electron in an atom
Four quantum numbers can describe an electron in an atom completely:

Principal quantum number ()
Azimuthal quantum number ()
Magnetic quantum number ()
Spin quantum number ()

The spin–orbital interaction, however, relates these numbers. Thus, a complete description of the system can be given with fewer quantum numbers, if orthogonal choices are made for these basis vectors.

Specificity
Different electrons in a system will have different quantum numbers. For example, the highest occupied orbital electron, the actual differentiating electron (i.e. the electron that differentiates an element from the previous one), or the differentiating electron according to the aufbau approximation. In lanthanum, as a further illustration, the electrons involved are in the 6s; 5d; and 4f orbitals, respectively. In this case the principal quantum numbers are 6, 5, and 4.

Common terminology
The model used here describes electrons using four quantum numbers, , , , , given below. It is also the common nomenclature in the classical description of nuclear particle states (e.g. protons and neutrons). A quantum description of molecular orbitals require other quantum numbers, because the Hamiltonian and its symmetries are different.

Principal quantum number

The principal quantum number describes the electron shell, or energy level, of an electron. The value of  ranges from 1 to the shell containing the outermost electron of that atom, that is

For example, in caesium (Cs), the outermost valence electron is in the shell with energy level 6, so an electron in caesium can have an  value from 1 to 6.

For particles in a time-independent potential (see Schrödinger equation), it also labels the th eigenvalue of Hamiltonian (), that is, the energy , with the contribution due to angular momentum (the term involving ) left out. So this number depends only on the distance between the electron and the nucleus (that is, the radial coordinate ). The average distance increases with .  Hence quantum states with different principal quantum numbers are said to belong to different shells.

Azimuthal quantum number

The azimuthal quantum number, also known as the angular momentum quantum number or orbital quantum number, describes the subshell, and gives the magnitude of the orbital angular momentum through the relation.

In chemistry and spectroscopy,  is called s orbital, , p orbital, , d orbital, and , f orbital.

The value of  ranges from 0 to , so the first p orbital () appears in the second electron shell (), the first d orbital () appears in the third shell (), and so on:

A quantum number beginning in  = 3, = 0, describes an electron in the s orbital of the third electron shell of an atom. In chemistry, this quantum number is very important, since it specifies the shape of an atomic orbital and strongly influences chemical bonds and bond angles. The azimuthal quantum number can also denote the number of angular nodes present in an orbital. For example, for p orbitals,  and thus the amount of angular nodes in a p orbital is 1.

Shape of orbital is also given by azimuthal quantum number.

Magnetic quantum number

The magnetic quantum number describes the specific orbital (or "cloud") within that subshell, and yields the projection of the orbital angular momentum along a specified axis:

The values of  range from  to , with integer intervals.

The s subshell () contains only one orbital, and therefore the  of an electron in an s orbital will always be 0. The p subshell () contains three orbitals (in some systems, depicted as three "dumbbell-shaped" clouds), so the  of an electron in a p orbital will be −1, 0, or 1. The d subshell () contains five orbitals, with  values of −2, −1, 0, 1, and 2.

Spin quantum number

The spin quantum number describes the intrinsic spin angular momentum of the electron within each orbital and gives the projection of the spin angular momentum  along the specified axis:

.

In general, the values of  range from  to , where  is the spin quantum number, associated with the particle's intrinsic spin angular momentum:

.

An electron has spin number , consequently  will be ±, referring to "spin up" and "spin down" states. Each electron in any individual orbital must have different quantum numbers because of the Pauli exclusion principle, therefore an orbital never contains more than two electrons.

Rules
There are no universal fixed values for  and . Rather, the  and  values are arbitrary. The only restrictions on the choices for these constants is that the naming schematic used within a particular set of calculations or descriptions must be consistent (e.g. the orbital occupied by the first electron in a p orbital could be described as  or  or , but the  value of the next unpaired electron in that orbital must be different; yet, the  assigned to electrons in other orbitals again can be  or  or ).

These rules are summarized as follows:

{| class="wikitable"
! scope="col" | Name
! scope="col" | Symbol
! scope="col" | Meaning
! scope="col" | Range of values
! scope="col" | Value examples
|-
| Principal quantum number ||  || shell ||  ||
|-
| Azimuthal quantum number (angular momentum)||  || subshell (s orbital is listed as 0, p orbital as 1 etc.) ||  || for :   (s, p, d)
|-
| Magnetic quantum number (projection of angular momentum)|| || Orbital (orientation of the orbital) ||  || for :
|-
| Spin quantum number || || spin of the electron (− = "spin down",  = "spin up") ||  || for an electron ,  so
|}

Example: The quantum numbers used to refer to the outermost valence electrons of a carbon (C) atom, which are located in the 2p atomic orbital, are;  (2nd electron shell),  (p orbital subshell), ,  (parallel spins).

Results from spectroscopy indicated that up to two electrons can occupy a single orbital. However two electrons can never have the same exact quantum state nor the same set of quantum numbers according to Hund's rules, which addresses the Pauli exclusion principle. A fourth quantum number, which represented spin with two possible values, was added as an ad hoc assumption to resolve the conflict; this supposition would later be explained in detail by relativistic quantum mechanics and from the results of the renowned Stern–Gerlach experiment.

Background
Many different models have been proposed throughout the history of quantum mechanics, but the most prominent system of nomenclature spawned from the Hund-Mulliken molecular orbital theory of Friedrich Hund, Robert S. Mulliken, and contributions from Schrödinger, Slater and John Lennard-Jones. This system of nomenclature incorporated Bohr energy levels, Hund-Mulliken orbital theory, and observations on electron spin based on spectroscopy and Hund's rules.

Total angular momenta numbers

Total angular momentum of a particle

When one takes the spin–orbit interaction into consideration, the  and  operators no longer commute with the Hamiltonian, and their eigenvalues therefore change over time. Thus another set of quantum numbers should be used. This set includes

For example, consider the following 8 states, defined by their quantum numbers:
{| style="border: none; border-spacing: 1em 0" class="wikitable"
!
!
!
!
!
| rowspan=9  style="border:0px;" |
!
!
!

|-align=right
!  (1)
|  2 ||  1 ||   1  ||  + ||  ||   ||
|-align=right
!  (2)
|  2 ||  1 ||   1  ||  − ||  ||   ||
|-align=right
!  (3)
|  2 ||  1 ||   0  ||  + ||  ||   ||
|-align=right
!  (4)
|  2 ||  1 ||   0  ||  − ||  ||   ||  −
|-align=right
!  (5)
|  2 ||  1 ||  −1  ||  + ||  ||   ||  −
|-align=right
!  (6)
|  2 ||  1 ||  −1  ||  − ||  ||   ||  −
|-align=right
!  (7)
|  2 ||  0 ||   0  ||  + ||  || − ||
|-align=right
!  (8)
|  2 ||  0 ||   0  ||  − ||  || − ||  −
|}

The quantum states in the system can be described as linear combination of these 8 states. However, in the presence of spin–orbit interaction, if one wants to describe the same system by 8 states that are eigenvectors of the Hamiltonian (i.e. each represents a state that does not mix with others over time), we should consider the following 8 states:
{| class="wikitable"
!  ||   || parity ||
|-
| || align=right |   ||  align=right | odd  || coming from state (1) above
|-
| || align=right |   ||  align=right | odd  || coming from states (2) and (3) above
|-
| || align=right |  −||  align=right | odd  || coming from states (4) and (5) above
|-
| || align=right |  −||  align=right | odd  || coming from state (6) above
|-
| || align=right |   ||  align=right | odd  || coming from states (2) and (3) above
|-
| || align=right |  −||  align=right | odd  || coming from states (4) and (5) above
|-
| || align=right |   ||  align=right | even || coming from state (7) above
|-
| || align=right |  −||  align=right | even || coming from state (8) above
|}

Nuclear angular momentum quantum numbers
In nuclei, the entire assembly of protons and neutrons (nucleons) has a resultant angular momentum due to the angular momenta of each nucleon, usually denoted . If the total angular momentum of a neutron is  and for a proton is  (where  for protons and neutrons happens to be  again (see note)), then the nuclear angular momentum quantum numbers  are given by:

Note: The orbital angular momenta of the nuclear (and atomic) states are all integer multiples of ħ while the intrinsic angular momentum of the neutron and  proton are half-integer multiples.  It should be immediately apparent that the combination of the intrinsic spins of the nucleons with their orbital motion will always give half-integer values for the total spin, , of any odd-A nucleus and integer values for any even-A nucleus.

Parity with the number  is used to label nuclear angular momentum states, examples for some isotopes of hydrogen (H), carbon (C), and sodium (Na) are;

{|
| style="text-align:right;" |  ||  = ()+||   || style="text-align:right;" |  ||  = ()− ||   || style="text-align:right;" |  ||  = 2+
|-
| style="text-align:right;" |  ||  = 1+||   || style="text-align:right;" |  ||  = 0+||   || style="text-align:right;" |  ||  = ()+
|-
| style="text-align:right;" |  ||  = ()+||   || style="text-align:right;" |  ||  = ()−||   || style="text-align:right;" |  ||  = 3+
|-
| || ||   || style="text-align:right;" |  ||  = 0+||   || style="text-align:right;" |  ||  = ()+
|-
| || ||   || style="text-align:right;" |  ||  = ()−||   || style="text-align:right;" |  ||  = 4+
|-
| || ||   || style="text-align:right;" |  ||  = 0+||   || style="text-align:right;" |  ||  = ()+
|-
| || ||   || style="text-align:right;" |  ||  = ()+||   || style="text-align:right;" |  ||  = 3+
|-
|}

The reason for the unusual fluctuations in , even by differences of just one nucleon, are due to the odd and even numbers of protons and neutrons – pairs of nucleons have a total angular momentum of zero (just like electrons in orbitals), leaving an odd or even number of unpaired nucleons. The property of nuclear spin is an important factor for the operation of NMR spectroscopy in organic chemistry, and MRI in nuclear medicine, due to the nuclear magnetic moment interacting with an external magnetic field.

Elementary particles

Elementary particles contain many quantum numbers which are usually said to be intrinsic to them. However, it should be understood that the elementary particles are quantum states of the standard model of particle physics, and hence the quantum numbers of these particles bear the same relation to the Hamiltonian of this model as the quantum numbers of the Bohr atom does to its Hamiltonian. In other words, each quantum number denotes a symmetry of the problem. It is more useful in quantum field theory to distinguish between spacetime and internal symmetries.

Typical quantum numbers related to spacetime symmetries are spin (related to rotational symmetry), the parity, C-parity and T-parity (related to the Poincaré symmetry of spacetime). Typical internal symmetries are lepton number and baryon number or the electric charge. (For a full list of quantum numbers of this kind see the article on flavour.)

Multiplicative quantum numbers
Most conserved quantum numbers are additive, so in an elementary particle reaction, the sum of the quantum numbers should be the same before and after the reaction. However, some, usually called a parity, are multiplicative; i.e., their product is conserved. All multiplicative quantum numbers belong to a symmetry (like parity) in which applying the symmetry transformation twice is equivalent to doing nothing (involution).

See also

 Electron configuration
 Multiplicative quantum number

Notes

References

Further reading

External links
Quantum numbers for the hydrogen atom
Lecture notes on quantum numbers
The particle data group

Physical quantities
Quantum numbers
Dimensionless numbers

Quantum number


Ben Thomson ist der Name folgender Personen:

* Ben Thomson (Fußballspieler) (1913–1940), schottischer Fußballspieler
 Ben Thomson (Footballspieler) (* 1978), australischer Australian-Football-Spieler
 Ben Thomson (Eishockeyspieler, 1982) (* 1982), kanadischer Eishockeyspieler
 Ben Thomson (Eishockeyspieler, 1993) (* 1993), kanadischer Eishockeyspieler

Ben Thomson


An Coelachne in uska genus han Liliopsida. An Coelachne in nahilalakip ha familia nga Poaceae.

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