An Pseuderia platyphylla in uska species han Liliopsida nga ginhulagway ni Louis Otho Otto Williams. An Pseuderia platyphylla in nahilalakip ha genus nga Pseuderia, ngan familia nga Orchidaceae.

Mabibilngan ini ha Fiji. Waray hini subspecies nga nakalista.

Mga kasarigan

Pseuderia

Pseuderia platyphylla


Tek katlı yassı epitel, organizmadaki en dayanıksız epiteldir. Travmalara, basınca ve mekanik olaylara duyarlıdır. Hücreler birbirine çok sıkı bağlıdır. Bu nedenle organizmada bariyerlerin olduğu yerlerde bulunurlar. Akciğer, beyin ve retina gibi bölgelerde özel yapılarla bariyer oluşumu vardır. Burada tek katlı yassı epitel birbirine sıkı bağlarla bağlıdır ve kandan dokulara zararlı maddelerin geçişini engeller. Atardamar, toplardamar ve lenf gibi tüm damarları döşeyen epiteldir. Damarları döşeyen tek katlı yassı epitele endotel denir. Böbrekte bowman kapsülünün paryetal yaprağını oluşturur. Akciğerde alveol keseleri ve akciğer kapillerleri bu epitel ile döşelidir. Plevra, periton ve perikart boşluklarını çevreler. Burada mezotel adını alır. Böbreğin henle ansı denilen bölgesi ve sertoli hücreleri de tek katlı yassı epitel ile döşelidir.

Ayrıca bakınız

 Epitel doku
 Örtü epiteli
 Tek katlı yassı epitel
 Tek katlı kübik epitel
 Tek katlı prizmatik epitel
 Yalancı çok katlı epitel
 Çok katlı yassı epitel
 Çok katlı kübik epitel
 Çok katlı prizmatik epitel
 Çok katlı değişici epitel

Epitel

Tek katlı yassı epitel


Emicho von Leiningen, também conhecido como Emicho von Flonheim ou simplesmente Emicho (... – ...; fl. século XI), foi Conde da Renânia no final do século XI, considerado o líder da cruzada dos alemães em 1096.

Biografia
Emicho veio da nobre família franca dos Emichonidas, que detinha o condado de Nahegau desde o século IX, primeiro como legado dos governantes da dinastia sálica (na verdade eles vieram dessas terras), conseguindo depois tornar hereditário o referido condado.

A ideia original da primeira cruzada pregada pelo Papa Urbano II durante o Concílio de Clermont em 1095 já havia se espalhado amplamente e dado origem a numerosos movimentos populares inspirados na pregação e orientação espiritual de Pedro, o Eremita. Os argumentos deste último sobre a Segunda Vinda de Cristo influenciaram Emicho que, por sua vez, começou a espalhar e apoiar sua versão da Segunda Vinda de Cristo, alegando que este último havia aparecido a ele pessoalmente e que ele teria confiado a ele a tarefa de cumprir a profecia sobre o "fim dos tempos".

No entanto, ele nunca chegou à Terra Santa, tornando-se famoso pelos massacres de judeus perpetrados na Renânia, em Speyer, e em outras cidades mercantes frequentadas como Colônia, Metz e Mainz.

Em Mainz, diz-se que ele matou 1 100 judeus, cujos ancestrais, segundo ele, ajudaram a matar Jesus de Nazaré. Usando espadas, flechas e lanças, a multidão matou de maneira sistemática nos dois dias seguintes, deixando apenas alguns sobreviventes que conseguiram escapar do massacre ou concordaram sob coação em se converter ao cristianismo.

Cruzados

Emicho


Nicole Kristen Powell (born June 22, 1982) is an American basketball coach who is currently the head women's basketball coach at University of California, Riverside. As a player, she had a standout collegiate career at Stanford University, Powell had an 11-year WNBA career most notably with the Sacramento Monarchs where she was an All-Star and won a WNBA Championship. Powell also played professionally overseas for Fenerbahçe Istanbul. Powell had previously served on the coaching staffs at Gonzaga, Oregon, and Grand Canyon before being named the head coach of UC Riverside in March 2020.

High school
Born in Sierra Vista, Arizona, Powell played for Mountain Pointe High School in Phoenix, where she was named a WBCA All-American. She also was named a 2000 Parade Magazine First Team All-American in 2000 and the Arizona Player of the Century by the Arizona Republic.  She participated in the 2000 WBCA High School All-America Game where she scored fourteen points.

In addition, Powell during her high school years earned all-region selection in both tennis and track, won the state badminton singles championships in 1997, 1999 and 2000, won the state discus title in 2000, and was an Arizona 5A doubles runner-up in tennis in 2000.

College
Powell played the forward position for Stanford University women's NCAA basketball team. During her tenure there, she broke many school records, was named an All-American three times, and won numerous awards. She majored in urban studies.

She was the first women's basketball player in the history of what is now the Pac-12 Conference to have achieved multiple triple-double games (that is, 10 totals or more in three different positive statistical categories) during the same season. Powell has since been joined by two other players: Brittany Boyd of California, who recorded two triple-doubles in the 2014–15 season, and Sabrina Ionescu of Oregon, who had multiple triple-doubles in all four of her college seasons (four in 2016–17, six in 2017–18, and eight in both 2018–19 and 2019–20). Powell and Ionescu are also the only NCAA Division I women's players to have recorded multiple triple-doubles in the NCAA tournament; Powell had two consecutive triple-doubles in 2002, while Ionescu had one each in 2018 and 2019.

Stanford statistics
Source

Coaching
Powell spent one season, 2013–14, at Gonzaga as an assistant coach for coach Kelly Graves. After Graves accepted the head coaching position for the University of Oregon, Powell took the assistant coach position at Oregon for three years. The 2016–2017 season was the most successful under Powell's assistant coaching career; it included a top-five recruiting class in 2016, headlined by Ionescu; a run to the Elite 8 in the 2017 NCAA Tournament; winning 6 out of 23 games against Top 25 opponents; and finishing the season at #16.

In April 2017, Powell accepted the head coaching position at Grand Canyon University.

WNBA career
Powell was picked No. 3 overall by the Charlotte Sting in the 2004 WNBA draft. She was used by the Sting as a utility player, appearing in 31 games.

On March 3, 2005, she was traded to the Sacramento Monarchs in a multi-player deal. The trade greatly aided the Monarchs in the 2005 season while Powell enjoyed a breakout year and eventually was named the recipient of that year's WNBA's Most Improved Player award. She played a pivotal role in the Monarchs' 2005 WNBA Finals victory over the Connecticut Sun.

Although the Monarchs struggled in subsequent years, Powell's statistics continued to improve.  In 2009, with several of her teammates hobbled by injuries, Powell averaged 16.7 points per game and was the best free throw shooter in the WNBA with 97.9% of attempts made.  She also participated in the 2009 WNBA All-Star Game, where she scored 21 points off the bench.

The Monarchs ceased operations following their 2009 season.  The New York Liberty selected Nicole Powell with the first pick in the ensuing dispersal draft.  She was traded to the Tulsa Shock before the 2013 season and signed with the Seattle Storm before the 2014 season.

USA Basketball
Powell was a member of the USA Women's U18 team which won the gold medal at the FIBA Americas Championship in Mar Del Plata, Argentina. The event was held in July 2000, when the USA team defeated Cuba to win the championship. Powell averaged 8.2 points per game and led the team in rebounding with 6.4 per game.

Powell was named to the USA Women's U19 team which represented the US in the 2001 U19 World's Championship, held in Brno, Czech Republic in July 2001. Powell scored 7.0 points per game, led the team in rebounding with 6.3 per game to help the USA team to a 6–1 record and the bronze medal.

In 2003, Powell helped the United States women's national basketball team win a silver medal at the Pan American Games in Santo Domingo, Dominican Republic. She also helped national teams win a bronze medal (in the Czech Republic) and a gold medal (in Argentina) at two other international tournaments.

International career
During the 2008–2009 and 2009–2010 WNBA off-season, Powell contributed to Fenerbahçe's victories each year in the Turkish women's basketball league championship.  In 2007–2008 she played for CSKA Moscow in Russia, in 2006–2007 for Perfumerias Halcon Avenida in Spain, in 2005–2006 for Fenerbahçe for the first time, also winning the country's championship, and 2004–2005 Basket Spezia in Italy. Now Powell is a player of Polish team – TS Wisła Kraków.

Awards and achievements
 2009 WNBA All-Star Selection
 2005 WNBA Most Improved Player

Head coaching record

See also
List of NCAA Division I basketball career triple-doubles leaders

References

External links
Stanford University player profile

WNBA article on her winning the "Most Improved Player" Award in 2005
Reprinted September 29, 2006 Arizona Republic article on being named grand marshal at her high school

1982 births
Living people
All-American college women's basketball players
American expatriate basketball people in Turkey
American women's basketball players
Basketball coaches from Arizona
Basketball players at the 2003 Pan American Games
Basketball players from Arizona
Charlotte Sting players
Fenerbahçe women's basketball players
Gonzaga Bulldogs women's basketball coaches
Grand Canyon Antelopes women's basketball coaches
New York Liberty players
Oregon Ducks women's basketball coaches
Pan American Games medalists in basketball
Pan American Games silver medalists for the United States
People from Sierra Vista, Arizona
Power forwards (basketball)
Sacramento Monarchs players
Seattle Storm players
Stanford Cardinal women's basketball players
Tulsa Shock players
UC Riverside Highlanders women's basketball coaches
Women's National Basketball Association All-Stars
Medalists at the 2003 Pan American Games

Nicole Powell


Pogonitelj (eng. driver), u programskoj podršci (softveru) pruža sučelje za programiranje radi nadzora i upravljanja posebnih sučelja niže razine koje je često povezano s osobitim vrstama sklopovlja ili inih usluga niže razine. U slučaju sklopovlja, posebni podrazred pogonitelja koji nadziru fizičke ili virtualne sklopovne naprave znane su kao napravni pogonitelji (eng. device driver), a često se pod pogoniteljem obično misli upravo na napravni pogonitelj.

Primjer
Klijentska knjižnica za povezivanje s podatkovnom bazom često je znana kao pogonitelj (driver), primjerice MySQL nativni pogonitelj za PHP.
IBM i Access ODBC pogonitelj je zbirka sučelja aplikativnog programiranja (API-a) za pristupanje informacijama podatkovne baze služeći se programskim jezikom SQL (Structured Query Language). Korištenjem tih pogonitelja aplikacijama se dopušta pristup različitim bazama podataka koristeći isti izvorni kod i rukovati podatcima u najprikladnijem im formatu. Arhitektura ODBC-a uključuje aplikacije, upravitelja pogonitelja, ODBC-ova pogonitelja i izvor podataka.

Izvori

Programska podrška

Pogonitelj


Timo Werner (født 6. marts 1996 i Stuttgart, Tyskland), er en tysk fodboldspiller (angriber). Han spiller for RB Leipzig i Bundesliga

Klubkarriere
Werner startede sin seniorkarriere hos VfB Stuttgart i sin fødeby, der også havde været hans klub som ungdomsspiller. I 2016 skiftede han til RB Leipzig for en pris på 10 millioner euro, hvilket gjorde han til klubbens på daværende tidspunkt dyreste indkøb nogensinde.

Landshold
Werner debuterede for Tysklands landshold 22. marts 2017 i en venskabskamp mod England. Han var en del af det tyske hold, der vandt guld ved Confederations Cup 2017 i Rusland og deltog også ved VM 2018 samme sted.

Referencer

Eksterne henvisninger

Fodboldspillere fra Tyskland
Fodboldspillere fra VfB Stuttgart
Fodboldspillere fra RB Leipzig
Personer fra Stuttgart
Deltagere ved verdensmesterskabet i fodbold 2018
Deltagere ved det europæiske mesterskab i fodbold 2020

Timo Werner


Cristina Spinei, née le 29 février 1984 à Stamford, est une compositrice américaine basée à Nashville. Elle est surtout connue pour son travail sur le ballet ; elle reçoit commande par le ballet de Nashville, le New York Choreographic Institute, et le .

Biographie
Cristina Spinei naît dans le Connecticut et commence à jouer du piano à l'âge de neuf ans. Elle est diplômée d'un baccalauréat et d'une maîtrise de la Juilliard School avec Christopher Rouse. Elle est qualifiée comme  par le compositeur et chef d'orchestre primé aux Grammy Awards, José Serebrier. Spinei est récipiendaire de la Connecticut Commission on Culture and Tourism Grant for Composition, du Composer Assistance Award de l'American Music Center, de la Foundation for Contemporary Arts composition grant, du New York State Council on the Arts composition grant et du Composition Award du Reconnaissance des arts et recherche de talents.

Les ballets et autres compositions de Spinei sont joués aux États-Unis et dans le monde. Elle interprète également sa propre musique, notamment avec le Nashville Ballet en 2017, 2018 et 2020.

Elle est cofondatrice de Blind Ear Music, un groupe basé à New York qui combine la nouvelle musique avec une technologie de pointe. Blind Ear est présenté aux World Technology Awards et dans la section hebdomadaire "Spotlight on Music" de YouTube. Blind Ear est cité comme  dans une interview pour World Today de la BBC.

Le premier album de Spinei, Music for Dance (Toccata Classics), marque ses débuts en 2016. L'album est caractérisé par le critique Dean Frey comme ayant .

Son deuxième album complet, Ex Voto, sort en 2020. En février 2020, elle interprète des morceaux de l'album, à la nouvelle salle de musique National Sawdust à Brooklyn.

En plus de ses propres disques, la musique de Spinei apparaît sur le premier album de Trio Celeste ainsi que sur l'album Adagio de St. Michel Strings, un disque nominé pour un Latin Grammy Award.

Discographie

 Synched – St. Michel Strings, dir. José Serebrier  (2011, Alba)  — dans Adagio, avec des œuvres de Einojuhani Rautavaara, Elliott Carter, Marc Satterwhite, Leevi Madetoja, Joaquín Turina…
 Music for Dance – Pala Garcia, Joan Plana, violons ; Amanda Verner, alto ; Aleisha Verner, Sari de Leon Reist, violoncelles ; Colleen Phelps, percussion ; Quatuor Voxare ; St. Michel Strings, dir. José Serebrier (2009/2012, Toccata Classics)
 Ex-voto (2020, Sonder House Records)

Notes et références

Liens externes

  Allan Kozinn, « Old Sonnets Made Modern » 12 janvier 2005, sur nytimes.com
  « Programming for a new audience — more examples » 20 juillet 2012, sur artsjournal.com
  Bob Doerschuk, « From Juilliard to Nashville this composer makes her Music City classical debut… » avril 2015, sur nashvillearts.com

Élève de la Juilliard School
Compositrice américaine de musique classique
Naissance en février 1984
Naissance à Stamford (Connecticut)

Cristina Spinei


Australiens Grand Prix 2014 (officielle navn: 2014 Formula 1 Rolex Australian Grand Prix) var et Formel 1-løb som blev arrangeret 16. marts 2014 på Melbourne Grand Prix Circuit i Melbourne, Australien. Det var det første løb i Formel 1-sæsonen 2014, og 30. gang Australiens Grand Prix blev arrangeret i Formel 1-sammenhæng. Løbet blev vundet af Mercedes-køreren Nico Rosberg, foran McLarens Kevin Magnussen og Jenson Button. I Løbet kom Red Bulls Daniel Ricciardo i mål som nummer to, men han blev senere diskvalificeret på grund af brud på FIA's tekniske reglement.

Resultater

Kvalifikation

Løbet

Noter til tabellerne:
  - Valtteri Bottas og Esteban Gutiérrez fik hver en gridstraf på fem placeringer for at have foretaget en ikke-planlagt udskiftning af gearkasse.
  - Pastor Maldonado formåede ikke at sætte en tid som var indenfor 107% af den hurtigste tid i Q1. Han fik senere tilladelse af løbsledelsen til at starte alligevel.
  - Jules Bianchi fuldførte ikke 90% af løbsdistancen og blev derfor ikke klassificeret på resultatlisterne.
  - Daniel Ricciardo blev efter løbet ekskluderet fra resultatlisterne fordi en sensor for måling af brændstofforbrug i hans bil ikke var i overensstemmelse med FIA's tekniske reglement.

Stillingen i mesterskaberne efter løbet

Kørermesterskabet

Konstruktørmesterskabet

Referencer

Eksterne henvisninger

Formel 1 2014
2014

Australiens Grand Prix 2014


Mini mum est une espèce de très petites grenouilles microhylides endémiques à Madagascar

Références

Liens externes

Cophylinae
Faune endémique de Madagascar

Mini mum


Doru Buzducea () este profesor universitar, decan al Facultății de Sociologie și Asistență Socială, Universitatea din București (din 2016), președinte al Colegiului Național al Asistenților Sociali din România (2012-2022) și Ambasador al Asistenței Sociale (din 2022).

Despre
Doru Buzducea este profesor universitar, decan al Facultății de Sociologie și Asistență Socială, Universitatea din București (din 2016) și președinte al Colegiului Național al Asistenților Sociali din România (2012-2022), calitate în care s-a făcut cunoscut pentru activismul în domeniul grupurilor vulnerabile și mai ales pentru campania națională ce are drept scop promovarea și valorizarea profesiei de asistent social.

Printre proiectele de anvergură dezvoltate în acest sens se numără și Gala Națională de Excelență în Asistență Socială, un concurs național ce aduce în lumina reflectoarelor munca asistenților sociali, acești "eroi necunoscuți ai științelor sociale".

"Strălucirea se obține atunci când "te cobori" în adâncul ființei tale, iar deciziile de a-ți confrunta temerile dau forță, înalță și chiar fortifică ființa umană. Atât adâncimea, cât și înălțimea, atât cunoașterea de sine, cât și cufundarea în comorile și rănile inimii sunt nedescris de importante, dar cel mai important aspect al vieții este cunoașterea dragostei, a speranței și a credinței nelimitate într-un crez nelimitat!"

Autor a numeroase cărți, studii și articole în domeniul asistenței sociale, redactor șef al Revistei de Asistență Socială (din 2008) și președinte al  Asociației Școlilor de Asistență Socială din România (din 2010).

Este extrem de apreciat de către studenții săi, Alianța Națională a Organizațiilor Studențești din România (ANOSR) acordându-i distincția de profesor Bologna (2017).

Doru Buzducea este interesat de educatie, cercetare și formare academică, de campanii sociale și de promovare profesională, de gândire pozitivă, dezvoltare personală, fashion, lifestyle, rafinament, leadership și management! Astfel, reușește să realizeze cu mare ușurință conexiuni sociale și profesionale, împletind în mod performant cariera didactică cu cea managerială.

Este deschis la nou, apreciază creativitatea și inovația, este încrezător și acțional, reușește să dea viață obiectivelor pe care și le propune, iar prin pozițiile de conducere pe care le ocupă la ora actuală se dedică proiectelor de construcție instituțională, reușind să motiveze și să strângă în jurul său echipe de strategi și comunicatori sociali.

Se consideră un visător, dar în același timp realizările obținute de-a lungul timpului demonstează că este puternic ancorat în realitate ceea ce completează profilul său profesional și personal. Consideră că viața este un miracol și de aceea în biblioteca sa un loc aparte îl ocupă biografiile unor personalități care au creat istorie. Întreaga sa copilărie a fost marcată de figuri legendare ce l-au fermecat iar ulterior i-au marcat existența.

Crede în Dumnezeu și în intervenția Sa în viețile noastre. Se consideră un norocos, apreciază ceea ce viața i-a oferit și tocmai de aceea prin acțiunile sale încearcă să dea sens circumstanțelor și să valorifice la maximum potențialul uman.

Proiecte

Facultatea de Sociologie și Asistență Socială
"Ca profesor dar și ca decan al facultății, consider că profesiile de sociolog și asistent social vă vor aduce un Sens în viață și astfel veți putea dărui și celorlalți Sensul de care și ei au nevoie pe cărarea vieții lor.

Viețile noastre sunt povești modelate deopotrivă de familie, împrejurări, educație, voință și credință. Uneori curg lin, alteori se învolburează, pot avea accente fericite sau triste, pot fi trăite cu intensitate maximă sau se pot derula aparent fără sens. Ceea ce face însă ca aceste fragmente să se unească și să devină un întreg este Sensul, proiecția în viitor a sinelui dorit! Această proiecție a cinematografului minții noastre nu poate rula fără emoții.

Emoțiile reprezintă motorul acțiunii, emoțiile duc dorința și Sensul mai departe, pentru că acestea își au originea în profunzimile sufletești! Acestea fac parte din miracolul vieții."- Doru Buzducea

Colegiul Național al Asistenților Sociali
CNASR reprezintă autoritatea de reglementară în domeniu, un organism similar altor autorități europene ce acordă avizul de exercitare a profesiei de asistent social. Apără și reprezintă interesele asistenților sociali la nivel național și internațional. Organizația are 38 de filiale la nivel național și este membră a Federației Internaționale a Asistenților Sociali (IFSW). Dacă în 1990 exista o singură facultate de profil, astăzi avem 23 de facultăți pe întreg cuprinsul țării! Atunci existau câțiva asistenți sociali supraviețuitori și absolvenți ai Școlii Superioare de Asistență Socială "Principesa Ileana" din București, astăzi suntem peste 40.000. Atunci eram necunoscuți, astăzi CNASR cucerește întreaga țară ridicând-o în picioare pentru asistență socială!

Doru Buzducea, ca și Președinte al Colegiului Național al Asistenților Sociali din România, s-a făcut cunoscut pentru activismul în domeniul grupurilor vulnerabile și mai ales pentru campania ce are drept scop promovarea și valorizarea profesiei de asistent social: Campania România se ridică în picioare pentru asistență socială.

Gala Națională a Excelenței în Asistență Socială
Un eveniment de înaltă ținută organizat de către Colegiul National al Asistenților Sociali ca parte a unei campanii naționale prin care se urmărește atât punerea în valoare cât și redarea demnității profesiei de asistent social. Reprezintă un moment de sărbătoare pentru comunitatea asistenților sociali din România, de celebrare a profesiei de asistent social, eveniment organizat cu ocazia Zilei Mondiale a Asistenței Sociale.

În fiecare primăvară, de cinci ani încoace, gazda evenimentului este doamna Andreea Marin, Ambasadorul Excelenței în Asistență Socială ce reușește să transforme fiecare seară de gală într-o seară de poveste. Pe scena Ateneului Român, sunt aplaudați la scenă deschisă cei mai merituoși asistenți sociali din țară, dar și personalitățile care s-au remarcat în susținerea profesiei de asistent social.

Recunoașterea publică, rezultatele profesionale deosebite, constituirea de modele de urmat și contribuția la promovarea imaginii profesiei, stabilesc în fiecare an câștigătorii.

Asociația Școlilor de Asistență Socială
Asociația Școlilor de Asistență Socială reprezintă o organizație nonguvernamentală constituită în 2010 din liderii departamentelor de asistență socială de la acea vreme și care și-a propus să militeze pentru creșterea calității educației în școlile de asistență socială de la nivel național, să conecteze programele de studii la cerințele europene și internaționale, să faciliteze accesarea rețelelor internaționale de profil, să organizeze conferințe și să editeze publicații în domeniul asistenței sociale.

"Ca președinte al ASSW-România îmi doresc ca rețeaua școlilor de asistență socială să devină un partener egal și credibil al actorilor instituționali și academici de la nivel european și internațional." - Doru Buzducea

Revista de Asistență Socială
Revista de Asistență Socială se dorește a fi un mijloc de diseminare a cercetărilor, a bunelor practici, a experiențelor în domeniul asistenței sociale dar și a politicilor, servind drept instrument de schimbare socială. Sunt acceptate articole din toate domeniile asistenței sociale atât în limba română, cât și în limba engleză. Vor fi publicate articole inovative, cercetări, comentarii asupra politicilor, practicilor și a implicațiilor acestora pentru asistenții sociali.  Revista de Asistență Socială lansează Proiectul Arhivistic prin care pune la dispoziția specialiștilor, dar și a publicului larg, documentele care atestă tradiția revistei de specialitate din România. La momentul actual putem posta primele numere ale publicatiei de specialitate editata de catre Scoala Superiora de Asistenta Sociala "Principesa Ileana" din Bucuresti, si intitulata Asistenta Sociala.

Campania România se ridică în picioare pentru asistență socială
"Campania CNASR de promovare și valorizare a profesiei de asistent social a debutat cu lansarea Manifestului Asistentului Social, la 1 iulie 2015, la Institutul Cultural Român. Au urmat o serie de întălniri cu reprezentanții legislativului și ai executivului, cu sindacatele și mediul universitar, cu societatea civilă și reprezentanții mediului de afaceri și ai misiunilor diplomatice la București.

Ulterior, în perioada mai 2017 – iulie 2018, campania a luat forma unor "descălecări" județene prin organizarea în 28 de județe a unor evenimente de amploare, cu sprijinul structurilor teritoriale ale CNASR. La Alba Iulia, în anul Centenarului Marii Uniri, s-a lansat și Declarația Asistenților Sociali din România iar la Baia Mare, la interval de 18 ani de la prima întălnire a asistenților sociali pentru reglementarea profesiei, Campania s-a încheiat oficial.

Prin această campanie de anvergură națională, CNASR și-a dorit să redăm demnitatea asistentului social iar asistenței sociale gloria și splendorile pe care le merită această nobilă profesie. Un sprijin nesperat dar substanțial l-au acordat jurnaliștii de pe întreg cuprinsul țării care au dat strălucire campaniei și au asigurat o vizibilitate fără precedent profesiei de asistent social. O serie de știri și interviuri au aparut în mass-media județeană și națională."

Publicații

Cărți

Autor unic al următoarelor cărți:

"Asistența socială: compendiu de istorie, teorie și practică", 2017, Polirom

"Essay on Social Work of Extreme Vulnerabilities and High-Risk Groups", 2015, editura Tritonic, Bucuresti.

"Sisteme moderne  de asistenta sociala. Tendințe globale si practici locale", 2009, Editura Polirom, Iași.

"Aspecte contemporane în asistența socială", 2005, Editura Polirom, Iași.

"Globalizarea – structuri paradigmatice moderne", 2005, ediția a doua revizuită și adăugită, Editura Competent Press, București.

"Globalizarea – structuri  paradigmatice  moderne", 2001, Editura Ars Docendi, București.

"Cetăți și Ruine – introducere în studiul problemelor sociale", 1999, Editura Știință și Tehnică, București.

"Geopolitica sărăciei – politici sociale în sfera grupurilor umane aflate în risc de excludere socială", 1999, Editura Astrobios, București.

"SIDA – confluențe psihosociale", 1997, Editura Știință și Tehnică, București.

Coautor al următoarelor cărți (capitole și studii):

"International Social Work", 2011, editor, Editura Universtitatii din Bucuresti.

"The acces to antiretroviral therapy for people living with HIV in Romania", 2011, Editura Alpha MDN, Buzău.

"Evaluarea programelor adresate adolescenților cu risc crescut de infectare", 2010, Editura Alpha MDN, Buzău.

"Asistența socială a grupurilor de risc", 2010, coordonator, Editura Polirom, Iași.

"Researching the Edge: Young Injecting Drug Users and Female Sex Workers", 2010, Editura Universității din București, București (carte cu patru autori).

Articole

Articole indexate/cotate ISI:
Romanian Pediatric AIDS Cases as Adolescents: Acquisition Routes, Current Risk Behaviors, and Psychological Correlate, în AIDS and Behavior (cotată ISI, factor de impact 2.31), 2007, Springer US, vol. 11, no. 5, pp. 716-725; ISSN: 1090-7165 (paper) 1573-3254 (electronic version), coautor.

The situation of Romanian HIV-positive adolescents: Results from the first national representative survey, in AIDS Care. Psychological and Socio-medical Aspects of AIDS- HIV (cotată ISI, factor de impact 1.466), May 2010, vol. 22, no. 5, pp. 562-569, coautor.

Perspective internaționale în asistență socială, 2008, în Revista de Cercetare și Intervenție Socială (indexată ISI), Universitatea "AL.I. Cuza" Iași, vol. 23, pp. 37-49 ISSN: 1583-3410 (varianta tipărită), ISSN: 1584-5397 (varianta online)

Asistența socială: structură, istorie și dezbateri recente, în Revista de Cercetare și Intervenție Socială (indexată ISI), Universitatea "AL.I. Cuza" Iași, 2008, vol. 21, pp. 15- 33; ISSN: 1583-3410 (varianta tipărită), ISSN: 1584-5397 (varianta online)

Situația tinerelor din România practicante ale sexului comercial [The status of female sex workers in Romania], în Revista de Cercetare și Intervenție Socială [Review of Research and Social Intervention] (indexată ISI), Universitatea "AL.I. Cuza" Iași, 2009, vol. 24, pp. 21-40; ISSN: 1583-3410 (varianta tipărită), ISSN: 1584-5397 (varianta online), coautor.

Articole publicate și prezentări la conferințe naționale și internaționale:

The challenges of care and support for a generation of nosocomially infected young adults from Romania living with HIV, AIDS 2012: XIX International AIDS Conference, Washington, D.C., 22-27 July, 2012, USA (impreuna cu Florin Lazar).

Domestic adoption for special needs children in Romania. The need for evidence- based policies, Social Work Social Development 2012: Action and Impact, Stockholm, 8-12 July, 2012, Sweden (impreuna cu Florin Lazar).

Profilul  părinților  adoptivi  din  România  și  motivația  adopției  copiilor  greu adoptabili, Calitatea vieții – Revistă de Politici Sociale  (CNCSIS B+), Editura Academiei Române, XXI, nr.3, 2011, pp.313–334.

The profile of adoptive families from Romania and the adoption of special needs children, comunicare științifică, selecție peer-review, Conferința   anuală a cercetării sociologice si de asistenta sociala – Sociologii si societati emergente, Facultatea de Sociologie și Asistență Socială, Universitatea din București, 27-38 mai, București (impreuna cu Florin Lazar)

When social programs are research-based. Experiences from outreach programs for most-at-risk adolescents from Romania, First European Conference for Social Work Research, 23-25 March 2011, Oxford, England, (împreună cu Florin Lazar).

Media
Video

Interviu Doru Buzducea: Inima mea nu încetează să bată pentru asistența socială. Mulțumesc, Sibiu!

Doru Buzducea (CNASR): Asistenții sociali sunt de foarte multe ori niste supereroi

Asistentul social este sprijin pentru cei care au nevoie de extraordinar in vietile lor

Doru Buzducea, omul care a dus într-o altă dimeniune profesia de asistent social

Vor să redea demnitatea profesiei de asistent social

Cetatea Băniei se ridică în picioare pentru asistența socială. Interviu cu domnul prof. univ. dr. Doru Buzducea, decanul Facultății de Sociologie și Asistență Socială, Universitatea din București

Județul Neamț se ridică în picioare pentru asistența socială! Interviu cu Doru Buzducea

O țară, în picioare pentru asistența socială

Decanul care promovează profesia de asistent social mergând prin toate județele țării

INTERVIU Decanul care vrea să ridice toată România în picioare pentru asistență socială

Mehedințenii scriu istorie în asistența socială din România!

Am acest Vis ca asistentul social să fie promovat și valorizat în țara mea!

Cred nelimitat în importanța și necesitatea profesiei de asistent social!

Note

Legături externe

 https://dorubuzducea.ro/ Accesat pe 21 ianuarie 2019
 https://sas.unibuc.ro/ Accesat pe 21 ianuarie 2019
 http://www.cnasr.ro/ Accesat pe 21 ianuarie 2019
 http://gala.cnasr.ro/ Accesat pe 21 ianuarie 2019
 http://www.asswr.ro/  Accesat pe 21 ianuarie 2019
 http://www.revistadeasistentasociala.ro/  Accesat pe 21 ianuarie 2019
 https://www.youtube.com/channel/UChwyrOToZ7vdrBvpEhcAFbQ/featured Accesat pe 21 ianuarie 2019
 https://dorubuzducea.wordpress.com Accesat pe 21 ianuarie 2019

Profesori ai Universității din București
Oameni din județul Mehedinți

Doru Buzducea


Colectarea selectivă reprezintă o parte a procesului de reciclare, prin care materialele reciclabile sunt adunate și transportate spre centre de recilare. Procesul de reciclare presupune compostarea deșeurilor, colectarea separată și tratarea deșeurilor pentru reintroducerea lor în circuitul economic. Colectarea selectivă are ca scop protejarea mediului înconjurător. De asemenea, contribuie la o eficiență sporită de utilizarea resurselor.

În anul 2010, Uniunea Europeană a reciclat în medie 35% din totalul deșeurilor reciclabile, în timp ce în România procentul de reciclare este de 3%.

Conform Ordinului nr. 1281/2005, privind stabilirea modalităților de identificare a containerelor pentru diferite tipuri de material în scopul aplicării colectării selective, pentru aplicarea la nivel național a colectării selective, containerele și recipientele de colectare a deșeurilor se inscripționează cu denumirea materialelor reciclabile și culoarea specifică pentru fiecare tip de material. Materialele ce pot fi reciclate sunt: hârtie, sticlă, plastic și metal.

Colectarea selectivă se realizează prin intermediul a trei containere, de culoare și destinații diferite, astfel:
 Culoarea galbenă a containerului presupune depozitarea de deșeuri din metal și plastic;
 Culoarea albastră a containerului presupune depozitarea de deșeuri din hârtie și carton
 Culoarea verde a containerului presupune depozitarea de deșeuri din sticlă.

Note

Legături externe
Colectarea selectivă a deșeurilor

Managementul deșeurilor

Colectare selectivă


Claire Denis (; born 21 April 1946) is a French film director and screenwriter. Her feature film Beau Travail (1999) has been called one of the greatest films of the 1990s and of all time. Other acclaimed works include Trouble Every Day (2001), 35 Shots of Rum (2008), White Material (2009), High Life (2018) and Both Sides of the Blade (2022), the last of which won her the Silver Bear for Best Director at the Berlin International Film Festival. For her film Stars at Noon (2022), Denis competed for the Palme d'Or at the 2022 Cannes Film Festival. She won the Grand Prix, sharing the award with Lukas Dhont's film Close.

Her work has dealt with themes of colonial and post-colonial West Africa, as well as issues in modern France, and continues to influence European cinematic identity.

Early life
Denis was born in Paris, but raised in colonial French Africa, where her father was a civil servant, living in Burkina Faso, Cameroon, French Somaliland, and Senegal.  Her childhood spent living in West Africa with her parents and her younger sister colored her perspective on certain political issues. Their father told them that independence from France would be a good thing for these colonies. Her upbringing was a strong influence on her films, which have dealt with colonialism and post-colonialism in Africa. Her father moved with the family every two years because he wanted the children to learn about geography.

Growing up in West Africa, Denis used to watch old and damaged copies of war films sent from the United States. As an adolescent she loved to read. Completing the required material while in school, at night she would sneak her mother's detective stories to read. At age 12, Denis was diagnosed with polio and returned to France for treatment. She lived in Sceaux, a suburb of Paris, for the rest of her teenage years. During her time in France, she felt unfit for living in France. She was educated for a life in Africa, and felt completely different from everyone around her.

In 1969, Denis married a photographer she met at the age of 15, after being hired as his assistant. Due to the complex nature of having him in her private life but also as her teacher, they divorced soon after.

Career
Denis initially studied economics, but, she has said, "It was completely suicidal. Everything pissed me off." She then briefly studied Oriental languages and married a photographer who encouraged her to quit. In 1969 Denis studied at IDHEC (L'Institut des hautes études cinématographiques – now La Fémis) with her husband's encouragement. He told her she needed to figure out what she wanted to do. She graduated from the IDHEC and since 2002 has been a professor of film at the European Graduate School in Saas-Fee, Switzerland.

Before applying and being accepted into IDHEC, she worked as an intern at Télé Niger. After telling everyone that she wanted to apply to IDHEC, they told her, "no, don't waste your time studying, all you need to do is make films here with us".

After graduating in 1971 and by this time divorced, Denis began working as an assistant director for many acclaimed filmmakers. Such films include Jacques Rivette's Out 1 (1971), Denis Dusan Makavejev's Sweet Movie (1974), Robert Enrico's The Old Gun (1974), Eduardo de Gregorio's Sérail (1976) and Costa-Gavras's Hanna K. (1983). After meeting Wim Wenders, Denis traveled to the U.S. to be the assistant director on Paris, Texas (1984) and Wings of Desire (1987). Wenders has said, "Claire was more than ready to make her own films. It would have been a waste to let her continue working as an assistant director". By working with so many directors Denis realized she wanted to make her own films to have more independence and ownership of her work.

Denis's feature film debut, Chocolat (1988), is a semi-autobiographical meditation about a French woman reflecting on her childhood in Cameroon and her relationship with her family's African servant. While making it, Denis began collaborating with Jean-Pol Fargeau as a co-writer. They still work together. Chocolat was nominated for the Palme d'Or at Cannes and praised by critics and audiences as a remarkable first film.

Denis's second film, Man No Run (1989), is a documentary that follows a group of Cameroonian musicians, Les Têtes Brulées, touring France. It was considered an unusual second choice. Her next two narrative films were No Fear, No Die (S'en fout la mort, 1990) and I Can't Sleep (J'ai pas sommeil, 1994). The former is about illegal cockfighting, the latter about a serial killer who murders elderly women, inspired by a real case. Her next film, Nénette et Boni (1996), dives into the relationship between an alienated brother and his unhappily pregnant sister.

Denis's fifth and arguably most renowned film is Beau Travail (1999). It is about soldiers in the French Foreign Legion in Djibouti and loosely based on Herman Melville's Billy Budd (1888). Beau Travail explores the themes of masculinity and obsession. Her next film, Trouble Every Day (2001), was a surprise, a horror film about a newlywed couple in Paris while the husband succumbs to sexually fueled cannibalism.

Of Denis's next six films, five draw from preexisting texts and films. Friday Night (Vendredi soir, 2002) is about two strangers who spend the night together the night before the woman is supposed to move in with her current lover. It was adapted from Emmanuèle Bernheim's novel of the same name. The Intruder (L'Intrus, 2004) is based on Jean Luc Nancy's short memoir about a man receiving a heart transplant and reconnecting with his son. 35 Shots of Rum (35 rhums, 2008) is another of Denis's most acclaimed films, about a father's and daughter's changing relationship. It was inspired by Yasujirō Ozu's film Late Spring (1949). Her film Bastards (Les Salauds, 2013) was inspired by Akira Kurosawa's The Bad Sleep Well (Warui yatsu hodo yoku nemuru, 1960). Let the Sunshine In (Un beau soleil intérieur) (2017) is a romantic comedy inspired by Roland Barthes's A Lover's Discourse: Fragments (1977). Of these, the only film not based on preexisting text is White Material (2009), which was co-written with Marie N'Diaye. It is about a white French woman in post-colonial Africa who stays during a rising civil conflict. Denis's most recent film is High Life (2018), which takes place on a prison spaceship.

With films such as US Go Home (1994), Nénette et Boni, Beau Travail, Trouble Every Day, and Vendredi soir, Denis established a reputation as a filmmaker who "has been able to reconcile the lyricism of French cinema with the impulse to capture the often harsh face of contemporary France." She returned to Africa with White Material, set in an unidentified country during a civil war.

Denis has also made many short films spanning a multitude of subjects, such as Le 15 Mai (1969) while studying at IDHEC, Keep It for Yourself (1991) and Voilà l'enchaînement (2014). Her anthologies include Pour Ushari Ahmed Mahmoud, Soudan in Lest We Forget (Contre l'oubli, (1991). US Go Home (1994) is a segment in a series of hourlong films commissioned by Arte. Nice, Very Nice is a segment in À propos de Nice, la suite (1995) and Towards Nancy (Vers Nancy) in Ten Minutes Older:The Cello (2002). Her documentaries include Jacques Rivette, le veilleur (Jacques Rivette, the Watchman, 1990), Towards Mathilde (Vers Mathilde, 2005) and Venezia 70 – Future Reloaded (2013). She also made the short film Contact (2014) for a light installation by Olafur Eliasson, who helped on the production design for High Life.

Common themes in Denis's work include obsession, desire, violence, sex, and the body. It also focuses on the feelings of being an outsider and belonging. Denis has said, "For me, the monster is invisible. If there is a small thread running through all my work, it is that evil is never the other, everything is inside and never outside."

Denis is a highly collaborative filmmaker, saying in an interview, "the film becomes a relationship...and that is what's important, the relationship." The importance of collaboration can be seen throughout her work. She often recasts actors in multiple films, most notably Alex Descas, who has worked with Denis 11 times from 1990 to 2017, and Isaach de Bankolé, who appeared in three of her films from 1988 to 2009. Vincent Gallo, Béatrice Dalle, Nicolas Duvauchelle, Juliette Binoche and Grégoire Colin have also appeared in multiple Denis films. She most often collaborates with screenwriter Jean-Pol Fargeau, composer Stuart Staples of the band Tindersticks, and cinematographer Agnès Godard, whom she met in the 1970s at the Institut des hautes études cinématographiques. Asked about her screenwriting process, Denis said, "I often realize I have Isaach or Grégoire or someone else in mind" when writing scenes. She has also said that usually she "hold[s] no auditions" for her films.

Fargeau has co-written ten of Denis's screenplays. Staples has composed eight of her films and Denis has said that he "has a rapport with the body, with flesh, with desire which is very close to mine". Nelly Quettier edited I Can't Sleep, Beau Travail, Vendredi soir and The Intruder. Judy Shrewsbury has worked on every one of Denis's features for the last 20 years.

Agnès Godard is one of Denis's most important collaborators, having worked on 11 of her films as a camera operator to the cinematographer in every film except White Material and High Life.

Denis has said that by collaborating with so many artists she has learned to trust the filmmaking process. She told Damon Smith: "What I got from Jacques Rivette was a complete trust in filmmaking, in actors, in acting...and a taste for endangering myself a little bit...From Wim [Wenders], I got another kind of trust, a trust in feeling very free with the camera and in designing a film not with an aesthetic, but with a complete trust of a location, in the light of the day." She also gives actors considerable freedom. In Trouble Every Day there are two onscreen murders where she let Gallo and Dalle do what they wished after the first scripted bite.

Denis's collaborations go beyond her own films, as she has appeared in other directors' films, such as Laetitia Masson's En avoir (1995) and Tonie Marshall's Vénus beauté (1999). She shares screenwriting credit on Yousry Nasrallah's El Medina (2000). She also worked as an assistant director with Wim Wenders on Paris, Texas (1984) and Wings of Desire (1987), and with Jim Jarmusch on Down by Law (1986).

In 2005, Denis was a member of the jury at the 27th Moscow International Film Festival. In 2011, she was a member of the jury at the Deauville American Film Festival.

In 2006, Denis directed the video for the song "Incinerate" by Sonic Youth, from their album Rather Ripped.

Bastards was screened in the Un Certain Regard section at the 2013 Cannes Film Festival. Also that year, Denis was awarded the Stockholm Lifetime Achievement Award at the Stockholm Film Festival.

Denis announced in 2015 that she was partnering with Zadie Smith for her English-language debut film, High Life. Smith eventually left the project, causing a delay in filming. Denis went on to work on Let the Sunshine In, which starred Juliette Binoche and was released in 2017.

In 2018 Denis completed and released High Life, her first English-language feature film, with Robert Pattinson cast as the lead. The film premiered at the 2018 Toronto International Film Festival. It later had a limited U.S. release by American indie distributors A24. It was positively reviewed by many notable critics.

Denis has been a member of multiple film festival boards, starting with the Venice Film Festival board in 2005. In 2019, she was the president of the board of the Cinéfondation and short films at the Cannes Film Festival. In 2020, she was the president of the board of the Orizzonti section at the Venice Film Festival.

Artistry

Most of Denis's œuvre uses location work rather than studio work. She sometimes places her actors as if they were positioned for still photography. She uses longer takes with a stationary camera and frames things in long shot, resulting in fewer close ups. But Denis's cinematic and topical focus always remains relentlessly on her protagonists' faces and bodies. The subject's body in space, and how the particular terrain, weather, and color of the landscape influence and interact with the human subjects of her films maintains cinematic dominance.

Tim Palmer explores Denis's work as a self-declared formalist and brilliant film stylist per se, an approach Denis has declared many times in interview to be as much about sounds, textures, colors and compositions as broader thematic concerns or social commitments.

According to the Australian James Phillips, Denis rejects the marketable conventions of Hollywood cinema and frees the viewers of her films from the expectations of clichés.

Denis combines history with personal history, giving her films an autobiographical element. This superimposition of the personal with the historical allows her films to be described as auteur cinema. She has worked in many genres, from horror (Trouble Every Day) to romance and drama (Friday Night). Critics have noted recurring themes in her films, but Denis says she has no coherent vision of her career "trajectory".

Denis has said that she is not concerned with film theory: "I am not at all interested in theories about cinema. I am only interested in images and people and sound... Film theory is just a pain in the ass." She focuses on "human" stories, no matter the setting of the film. Denis has said she does not aim to bring about radical social change or make the viewer feel better: "I'm not so sure films should be made to soothe people's pain. I don't want to be a social worker. I want to share something that is a vision, or a feeling." Her films' main focus is on the characters, often in moments of intense violence and emotion. "Anger is part of my relation to the world," she has said. "I'm filled with anger, I'm filled with regret, I'm filled with great memories, also poetic memories."

Denis has said that the body is "central" to her work, and often uses skin, blood, and other bodily fluids to symbolize characters' feelings and highlight relationships between them. In Chocolat, skin is photographed prominently to accentuate the difference between the subservient and degrading nature of the dark-skinned Proteè's forced outdoor bathing and the shameless confidence of pale, white Luc, who chooses to do so. In Trouble Every Day and High Life, bodily fluids are central to the stories, creating visceral disturbing images, and highlighting the films' "sexuality".

Denis has directed a wide variety of films that span most known genres in her 30-year career, but is known for bending a genre's rules, often not obeying traditional rules of pacing or cinematography for established genres like horror, science fiction, and fantasy, focusing instead on the characters, their psyches, emotions and relationships. Though she has made horror movies and romantic comedies and dramas, Denis has never been concerned with making the scariest, funniest, or most heartbreaking films; she is only interested in telling the human story.

Denis chooses the titles of her films carefully. Noëlle Rouxel-Cubberly argues that titles are intended to force the viewer to rethink a film's imagery and that Denis uses them to describe the raw reality of her films. For example, the title of Chocolat simultaneously refers to a racist term used during the period of the film, the cocoa exportation from Africa to Europe through a slave system, and the 1950s French expression "être chocolat", meaning "to be cheated".

Denis is also known for "shooting fast, editing slowly". In general, she does a few takes on set and spends most of her time in the editing room, creating the film there. This post-production process often involves rearranging scenes out of the order in the script. For example, she placed the dance in Beau Travail at the end of the film though it was not at the end of the script. Of this process, Denis has said, "I'm always insecure when I'm making a film. I have doubts about myself but rarely about the actors."

Filmography

Feature films

Short films

Documentary films

Second unit director or assistant director

Awards and nominations

References

Sources
 Michael Omasta, Isabella Reicher (Ed.), Claire Denis. Trouble Every Day, FilmmuseumSynemaPublikationen, Vienna 2006,
 Levilson Reis, "An 'other' scene, an 'other' point of view: France's colonial family romance, Protée's postcolonial fantasy, and Claire Denis' 'screen' memories." Studies in European Cinema, vol. 10, nos. 2–3, 2013, pp. 119–131. DOI: 10.1386/seci.10.2-3.119_1.
 "L'intrus: An Interview with Claire Denis" by Damon Smith (Senses of Cinema).
 "Dancing Reveals So Much: An Interview with Claire Denis" by Darren Hughes (Senses of Cinema).
 "Great Directors: Claire Denis" by Samantha Dinning (Senses of Cinema).
 Martine Beugnet, Claire Denis, 2004, Manchester University Press, Manchester and New York.
 Judith Mayne, Claire Denis, 2005, University of Illinois Press, Urbana and Chicago.
 Spectacularly Intimate: An Interview with Claire Denis, by Kevin Lee, (MUBI).
 Marcelline Block, Situating the Feminist Gaze and Spectatorship in Postwar Cinema, 2008, Cambridge Scholars Publishing, Newcastle upon Tyne.
 James Phillips, Cinematic Thinking: Philosophical Approaches to the New Cinema, 2008, Stanford University Press, Stanford.
 "Feeling and form in the films of Claire Denis" by Ian Murphy (Jump Cut)
 "Moving Toward the Unknown Other: An Interview with Claire Denis" by Megan Ratner (Cineaste)
 Claire Denis's "Post-colonial" Films and Desiring Bodies by Susan Hayward (L'Esprit Créateur)
 'Enfolding Surfaces, Spaces and Materials: Claire Denis' Neo-Baroque Textures of Sensation' by Saige Walton (Screening the Past)
"Gestures of Intimacy: Claire Denis' I Can't Sleep" by Saige Walton (Senses of Cinema)
 "White Material" by Marcin Wisniewski (Senses of Cinema)
Robertson, Kate. "Borders/Bodies: Space, Surface, Touch and Desire." In Trouble Every Day, 55–80. Liverpool University Press, 2021. https://doi.org/10.2307/j.ctv1r1nr10.5

External links

 Back to Africa: An Interview with Claire Denis, MUBI
 Claire Denis. Faculty page at European Graduate School (Biography, filmography, photos and video lectures)
 Claire Denis, a Reverse Shot symposium
 Claire Denis, an interview for The New York Times by Charlotte Druckman
 No Fear: The Films of Claire Denis on the IFC Center website
 Moving Toward the Unknown Other: An Interview with Claire Denis by Megan Ratner
 "Feeling and form in the films of Claire Denis" by Ian Murphy (Jump Cut essay)
 The films of Claire Denis, Hell Is For Hyphenates, 30 September 2014

1946 births
French expatriates in Burkina Faso
French expatriates in Cameroon
French expatriates in Djibouti
French expatriates in Russia
French expatriates in Senegal
French expatriates in Switzerland
French women film directors
German-language film directors
Academic staff of European Graduate School
Living people
Film people from Paris
Silver Bear for Best Director recipients

Claire Denis


සමෝධානික අධිකාරී ගොනුව (; ) එසේත් නැත්නම් GND යනු
German National Library (; DNB)
මගින් කළමනාකරණය කරණු ලබන
ජාත්‍යන්තර authority file
එකක් වේ.

Computer-related introductions in 2012
පුස්තකාලමය සුචිකරණය සහ වර්ගීකරණය
Unique identifiers
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සමෝධානික අධිකාරී ගොනුව


The fourth USS Franklin was a United States Navy screw frigate. The ship was launched in 1864, partially constructed from parts of the previous . Commissioned in 1867, Franklin, named after Founding Father Benjamin Franklin, served as the flagship of the European Squadron from 1867 to 1868 and from 1869 to 1871. She was decommissioned in 1871. Recommissioned in 1873, she joined the North Atlantic Squadron and served until 1877, when she was decommissioned again, then immediately recommissioned for use as a receiving ship at Norfolk, Virginia. She served in this capacity until 1915, when she was stricken and sold.

Construction and commissioning

Franklin was laid down at the Portsmouth Navy Yard in Kittery, Maine, in 1854, and built in part of materials salvaged from the previous , a ship-of-the-line scrapped in 1852. Prior to her launching, Woodbury Gerrish was commissioned to build a figurehead for her. For a time housed over, Franklin was launched on 17 September 1864 and commissioned on 3 June 1867 at Boston, Massachusetts.

Service history

On 28 June 1867, Franklin departed New York City as flagship of Admiral David Glasgow Farragut, who assumed command of the European Squadron. Relieved by the sloop-of-war , she arrived back in New York on 10 November 1868. Franklins second tour in the European Squadron, beginning on 28 January 1869, was as flagship for Rear Admiral William Radford. She served with the squadron until 30 September 1871 when she sailed for the United States. On 13 November 1871 she was decommissioned at Boston.

Recommissioned on 15 December 1873, Franklin operated in the North Atlantic Squadron. On 11 April 1874, she stood out to sea to join the European Squadron as flagship until 14 September 1876. On 9 January 1876, while Franklin was at Lisbon, Portugal, Ordinary Seaman Edward Maddin and Seaman John Handran jumped overboard and rescued a shipmate from drowning, for which they were later awarded the Medal of Honor. In the aftermath of the Salonika Incident in May 1876, the U.S. Ambassador, Horace Maynard, requested that Franklin steam to the Aegean Sea to protect U.S. interests and citizens. Later that year, Franklin transported the corrupt politician William M. "Boss" Tweed — arrested in Spain after escaping from Ludlow Street Jail in New York City — from Spain to New York City, where she arrived on 23 November 1876.

Franklin was placed out of commission at Norfolk, Virginia, on 2 March 1877 and recommissioned the same day as receiving ship for Naval Station Norfolk. On 21 October 1907 her cutter, Cutter No. 2, with a launch lashed to its starboard side, was in a collision with a barge under tow by the tow steamer Pioneer at Norfolk resulting in the capsizing of the cutter and launch. The cutter sank and one occupant of the launch drowned.

Franklin remained in service as a receiving ship at Norfolk until 14 October 1915, which marked her final decommissioning. She was stricken from the Naval Vessel Register on 26 October 1915 and sold.

Commemoration
Following Franklin′s decommissioning, her figurehead was donated to the U.S. Naval Home in Philadelphia, Pennsylvania, in 1930. The Naval Home then passed it on in 1938 to the Franklin Institute in Philadelphia, where it is on display.

See also

 List of steam frigates of the United States Navy
 Bibliography of American Civil War naval history
 Union Navy
 Confederate States Navy

References

External links
Images of USS Franklin

Steam frigates of the United States Navy
1864 ships
Ships built in Kittery, Maine
Maritime incidents in 1907

USS Franklin (1864)


Sakarya Nehri Kızılırmak ve Fırat nehirlerinden sonra Türkiye'nin üçüncü en uzun, Kuzeybatı Anadolu'nun ise en büyük akarsuyudur. Nehir, ismini Yunan Mitolojisi'ndeki nehir tanrısı Sangarius'dan almaktadır.

Fiziki özellikleri
Uzunluğu 824 km olup, beslenme havzasının genişliği  58.160 km², havzaya yıllık düşen yağış miktarı 31.057 milyar m³'dür. Sakarya havzasına düşen ortalama yıllık yağış 524,7 mm/m², ortalama yıllık sıcaklık 14,5 C'dir. Sakarya havzası 58.160 km²'lik büyüklüğü ile Türkiye'nin %7,5'ini kapsarken, yılık taşıdığı 6,40 milyar m³ su ile toplam ülkesel akışın %3,4'ünü oluşturur. Havza alanı Türkiye arazisinin %7,46'sı büyüklüğündedir. Nehrin genişliği 60–150 m arasında değişir.  Havzada tarım alanları %43,8, çayır ve mera alanı %19,6, orman ve fundalıklar %28,7, boş alan %2, yerleşme alanı %1,6, su kaplı alanlar %1,5 oranındadır..

Sakarya Havzası

Sakarya Nehri havzasını Kızılırmak, Batı Karadeniz,  Gediz, Konya kapalı havzası, Marmara, Akarçay ve Susurluk havzaları tarafından kuşatılmıştır.

Sakarya nehri havzasında şu dokuz ilin toprakları bulunmaktadır: Sakarya, Bolu, Ankara, Eskişehir, Bilecik, Bursa, Kütahya, Konya, Afyon. Sakarya nehrinin kolları: Porsuk Çayı, Ankara Çayı, Mudurnu Çayı, Koca Çay, Kirmir Çayı, Çark Suyu ve Darıçay Deresi'dir.

Nehrin bir kolu Afyon'un kuzeydoğusundaki Bayat Yaylası'ndan, diğeri Eskişehir Çifteler Sakaryabaşından doğar.

Önce İç Anadolu Bölgesi'ne doğru akar sonra Kızılırmak'ın tersine bir kıvrımla, kuzeye döner, Polatlı yakınlarında en büyük kollarından biri olan Porsuk Çayı'nı ve Ankara Çayı'nı alır. Geyve Boğazı'ndan geçer ve Karasu'dan akarak Karadeniz'e dökülür.

Barajlar

Sakarya Nehri'nin Aladağ ve Kirmir sularını aldığı yerde Türkiye'nin en büyük santrallerinden biri olan Sarıyar Hidroelektrik Santrali ile Gökçekaya Hidroelektrik Santralı ve Yenice Barajı kurulmuştur.

Sakarya Nehri yılda 5 milyar m³ su taşımaktadır. Akımın mevsimlere dağılımı şu şekildedir: %13 sonbahar, %30 kış, %44 İlkbahar, %13 yaz.

Nehir üzerine Gökçekaya, Yenice ve Sarıyar barajları yapıldıktan sonra akım, taşkın ve aşındırma faaliyetlerinde değişmeler gözlemlenmiştir. Önceleri taşkınlarla çevresine zarar veren nehrin barajlardan sonra zararları azalmıştır. Aşağı Sakarya havzasında yıllık ortalama akımın barajların yapımıyla 195.7 m³/sn'den 158.1 m³/sn'ye (%19.2) düştüğü belirlenmiştir. Taşkın ihtimali nehrin orta kesimlerinde %45-51, aşağı kesimlerinde %31-37 azalmıştır. Barajlardan sonra nehrin maksimum debisi düşüp ortalama ve en az debileri artarak akım rejiminde düzenlenme görülmüştür. Nehrin taşıdığı askıda katı madde %40-65 oranında azalmıştır. Bunun sonucunda temiz suyun enerjisi artmış, yatağını derine ve yana doğru aşındırma gücü artmıştır. Sakarya'nın debisinde kışın fazla düşme olmaması karların fazla etkili olmadığını gösterse de, ilkbaharda artışta karların etkisi vardır. Sakarya'nın rejimi karların ikincil derecede etkili olduğu yağmurlu (yağmurlu-karlı) rejimdir.

Sakarya Nehri 4,6.106 t/yıl sediment taşımakta iken 1972 yılında yapılan Gökçekaya Barajı'ndan sonra bu miktar 3,8.106 t/yıl'a düşmüştür.

Sakarya denizaltı kanyonu
Sakarya Deltası'nın önünde, deniz tabanında eski bir kanyon bulunur.  -50 M'den başlayan denizaltı kanyonu, -800 M'ye kadar 7 km uzunluğundadır. Denizaltı kanyonu Sakarya ağzı ve Küçükboğaz Gölü yakınlarında denizaltı deltasını kesen girinti oluşturur. Küçükboğaz Gölü'nün önündeki kanyon girintisi -50 m'den -800 m'ye kadar 10 km uzunluğundadır. -800 m derinlikten kuzeybatıya dönen kanyonlar, -1000/-1100 metreler arasında daha geniş bir kanyon ile -2000 m derinliğe ulaşırlar.

Sakarya Nehri paleocoğrafyası
Sakarya Nehri'nin oluşumu/akış yönü ile ilgili değişik görüşler bulunur. Birinci görüş; Kuzey Anadolu Fayının kestiği alanda oluşan graben çukurunun akışı Sapanca Gölü-İzmit körfezine çevirdiği teorisidir. Sakarya, Sapanca Gölü'nün Marmara Denizi'nden ayrılması ile kuzeye akarak Karadeniz'e ulaşmıştır. Bu akış doğrultusunda Adapazarı Ovasının bulunduğu graben çukuruna getirdiği sedimentleri doldurduğundan, gelişkin bir delta oluşturamamıştır. Oysa Karadeniz'e dökülen Kızılırmak ve Yeşilırmak Bafra Ovası ve Çarşamba Ovası ile önemli çıkıntı yapan deltalar oluşturmuştur.

Diğer bir görüş, ırmağın geç pliyosende oluştuğunu ve her zaman Karadeniz'e doğru aktığını iddia eder.

Son buzul devrinde Karadeniz günümüze göre 120 m aşağıdaydı, son 8 bin yıl yükselerek günümüz seviyesine ulaşmıştır. Türkiye deltalarının hepsi bu yeni deniz seviyesine göre son 5-6 bin yıl içinde oluşmuştur.

Önemli kollar
 Porsuk Çayı
 Ankara Çayı
 Kirmir Çayı
 Çark Suyu

Galeri

Ayrıca bakınız
 Türkiye'deki akarsular listesi

Kaynakça

Dış bağlantılar
 Sakarya Nehri'nin Cifteler'deki kaynagi (video)
 Kervan ilerliyor (rusça)

Sakarya'daki akarsular

Sakarya Nehri


Montepulciano er en by og comune i provinsen Siena i regionen Toscana, Italien. Den har  indbyggere. Den ligger på en 605 m høj kalkstensbakke omkring 13 km øst for Pienza, og 70 km sydøst for Siena, 124 sydøst for Firenze og 186 km nord for Rom. Byen har mange velbevarede middelalder- og renæssancebygninger

Montepulciano er en stor producent af mad og drikkevarer. Den er kendt for sit svinekød, ost, "pici" pasta, linser og honning. Mange kendere og vinentusiaster betragter områdets Vino Nobile, som ikke skal forveksles med den sammensatte vin fermstillet af
montepulcianodruer, blandt Italiens bedste.

Referencer

Byer i Toscana
Siena (provins)

Montepulciano


Marco da Gagliano (Florencia, 1 de mayo de 1582-ib., 25 de febrero de 1643) cuyo nombre verdadero era Marco Zanobi, fue un compositor italiano del .

Biografía
Fue alumno de Luca Bati, luego, a partir de 1602, fue sustituto de su maestro de capilla en la capilla de San Lorenzo antes de sucederlo en 1608. Fue nombrado canónigo de San Lorenzo en enero de 1609, maestro de capilla en la corte del gran-duque de Florencia en 1611 y protonotario en 1614. Es uno de los principales fundadores de la Accademia degli Elevati (1607).

Colabora con Jacopo Peri y Giulio Caccini en la escritura de intermedio de corte.

Obras

Música sacra
 Officium defunctorum (1607);
 Missa et sacrae Cantiones... (1614);
 Sacrarum Cantionum... liber secundus (1622);
 Responsoria (1630);

Música profana
 6 libros de Madrigaux (1602-1608);
 La Dafne (1608);
 Musiche a 1-3 voci (1615);
 La Flora (1628).

Bibliografía
 Marc Honegger: Dictionnaire de la musique: les hommes et leurs œuvres, Bordas, París, 1970

Notas y referencias

Compositores del Renacimiento de Italia
Compositores de ópera de Italia
Compositores de Italia del siglo XVII
Nacidos en Florencia
Fallecidos en Florencia
Madrigalistas italianos
Maestros de capilla de Italia

Marco da Gagliano


Jean-Sifrein Maury (; 26 June 1746 – 10 May 1817) was a French cardinal, archbishop of Paris, and former bishop of Montefiascone.

Biography
The son of a cobbler, he was born at Valréas in the Comtat-Venaissin, the enclave within France that belonged to the pope. He had three brothers.

His first steps in education took place at the school in Valréas, where he completed the course in humanities at the age of thirteen. He spent a year at the minor seminary (high school) of Sainte-Garde, and then transferred to the major seminary of St. Charles, which was run by the Sulpician fathers. His acuteness was observed by the priests of the seminary at Avignon, where he was educated. He received the subdiaconate at Meaux.

In 1765 he took up residence in Paris. He was ordained a priest at Sens by Cardinal Paul d'Albert de Luynes in 1767, having been granted a dispensation because he was below the canonical minimum age.

Early efforts in eloquence
He tried his fortune by writing éloges of famous persons, then a favorite practice, beginning with King Stanislaus of Poland in 1766 and Charles V in 1767. On 25 August 1771, the Académie française awarded his Éloge on Fénelon the second prize, second only to that by La Harpe. Fénelon's grand-nephew, Leo François Ferdinand Salignac de La Mothe-Fénelon, who was bishop of Lombez (1771–1788), was so impressed by Maury's laudation of his relative that he granted him a canonry in his cathedral and named him a Vicar General.

The real foundation of his fortunes was the success of a panegyric on Saint Louis, delivered in the chapel of the Louvre on 25 August 1772, before the Académie française, who caused him to be recommended to Cardinal De La Roche-Aymon, the prelate responsible for the dispensation of royal benefices. Maury was granted the Abbey of La Frénade in the diocese of Saintes in commendam. The Cardinal also appointed him to preach before the King on Holy Thursday 1773, during Advent 1773, and at Versailles during Lent 1775.

In 1777 he published under the title of Discours choisis his panegyrics on Saint Louis, Saint Augustine and Fénelon, his remarks on Bossuet and his Essai sur l'éloquence de la chaire, a volume which contains much good criticism, and remained a French classic through the nineteenth century, as long as elegant rhetoric was valued in the pulpit. The book was often reprinted as Principes de l'éloquence. He became a favorite preacher in Paris, and was Lent preacher at court in 1781, when King Louis XVI said of his sermon: "If the abbé had said only a few words on religion, he would have discussed every possible subject."

In 1786, he obtained the rich priory of Saint Pierre, to which belonged the Seigneurie de Lihons-en-Santerre (Lyons), near Péronne;

Politician in the revolution

In 1785 Abbé Maury was elected to the Académie française, successor to the chair formerly occupied by Lefranc de Pompignan. His morals were as loose as those of his great rival Mirabeau, but he was famed in Paris for his wit and gaiety.

He was elected a member of the Estates-General of 1789 by the clergy of the bailliage of Péronne, proving from the first to be the most able and persevering defender of the ancien régime. (He had, nonetheless, drawn up the greater part of the cahier of the clergy of Péronne which contained a considerable programme of reform.) It is said that he attempted to emigrate both in July and in October 1789, having been placed on a list of proscriptions by the Orléanist faction, but after that time, deserted by nearly all his friends, he decided to remain in France.

In the National Constituent Assembly he took an active part in every important debate, combating with especial vigour the alienation of the property of the clergy. He often got the better of his principal antagonist, Mirabeau, but he did not win a single vote.Maury's eloquence could not exactly be described as studied ; yet it was the outcome of a well-stored mind, long trained in oratory; and hence, his speeches read far better than his rival's, whose rugged genius poured forth its torrents regardless of the rules of rhetoric. Mirabeau triumphed, because he was the man of the hour, giving voice to the unavenged wrongs and pent-up passions of millions. Maury fell back, step by step, with his face to the foe, making the conquerors pay dearly for their victory. On 2 November 1789, Catholic Church property that was held for purposes of church revenue was nationalized. On 13 February 1790, monastic vows were forbidden and all ecclesiastical orders and congregations were dissolved. On 12 July 1790 the Civil Constitution of the Clergy became law, provoking a schism between France and the Catholic Church, and the breaking off of diplomatic relations between Rome and Paris. His life was often in danger, and he received a letter from Louis XVI on 3 February 1791, recommending greater circumspection and prudence. But his ready wit always saved him, and it was said that one bon mot would preserve him for a month. He finally decided, however, that it was too dangerous for him to remain in France, and in October 1791 he fled to Bruxelles, then Coblenz, and finally Rome.

When he did emigrate, he found himself regarded as a martyr to the church and the king. On 17 April 1792 Pope Pius VI appointed Maury to be his Nuncio in Frankfort, where the imperial diet intended to elect Francis II of Austria as Holy Roman Emperor. He appointed him Archbishop of Nicaea in partibus (Turkey) on 24 April 1792. He was consecrated in Rome in the Vatican Basilica at the altar of the Chair of Saint Peter on 1 May 1792 by Cardinal Francesco Saverio de Zelada.

Cardinal
On 21 February 1794, Maury was named a cardinal by Pope Pius VI, and on 12 September was assigned the titular church of Santissima Trinità dei Monti in Rome. On the day he was named cardinal, he was also made bishop of Montefiascone in Italy. There he settled down, conducted a thorough diocesan visitation, and wrote a detailed report of the status of the diocese for the Sacred Congregation of the Council in Rome (15 November 1796). He held a diocesan synod for the clergy, and made judicious use of the exiled French clergy, improving the teaching at the diocesan seminary by appointing two doctors of the Sorbonne. In 1798, however, the French drove him from his diocese and from the Papal States, and all of his property and benefices were confiscated by order of General Berthier on 12 February 1798. Pope Pius VI, already a captive, through one of his chamberlains ordered Maury to flee. He attempted to seek refuge in Florence, but the Duke was under French pressure to expel him. He did, however, provide Maury with a disguise and a place on a mission he was sending to Venice, where Maury finally settled, under the protection of the Austrians who had taken Venice from Napoleon – who had destroyed the Serene Republic. He arrived in Venice on 17 April 1798.

Conclave in Venice
Pope Pius VI died in the prison fortress of Valence on 29 August 1799. Before being deported to France he had signed and sealed several bulls which allowed the Cardinals to hold a conclave elsewhere than in Rome, if Rome were occupied by enemies, and dispensing them from the observance of the usual rules and regulations governing a conclave, as had been embodied in various papal bulls since the thirteenth century. There were no cardinals left in Rome or the Papal States, and those who had fled to Naples were driven out when a popular uprising created the Parthenopean Republic. The only friendly territory appeared to be Austrian, and the cardinals gradually headed for Venice. Maury, who was in Venice, had already been commissioned by Louis XVIII to work for the assembling of a conclave. In a letter to Louis on 12 October, Maury noted that there were twenty-three cardinals assembled in Venice. On 2 November 1799, there were thirty-three cardinals in Venice, and ultimately thirty-five took part, once the Austrian Herzan and the Spaniard Lorenzana arrived. The opening ceremonies took place on 30 November 1799.

Maury was the only one of the five French cardinals at the conclave in Venice. He was not himself a viable candidate. He had no party of supporters, and he was generally looked askance at because he was French. The Austrian government named him as one of the cardinals who was absolutely unacceptable as pope. They preferred Cardinal Alessandro Mattei of Florence (a native Roman), who had signed the Treaty of Tolentino with Napoleon on behalf of Pope Pius VI, since it acknowledged Austria's possession of the three Italian legations of the Papal States. Others, led by Cardinal Albani, the Dean of the College of Cardinals, and including Maury, preferred Cardinal Carlo Bellisomi, Bishop of Cesena, a diplomat with experience in Cologne and Portugal. Each of these candidates had enough committed votes to prevent the other from reaching the required 2/3 of the electors, and therefore they excluded each other. Finally, after three months and fourteen days, and with some hard work by Maury and others behind the scenes, the cardinals chose the Benedictine Bishop of Imola, Gregorio Barnaba Chiaramonti, an accommodating person with no strong positions.

Bonapartist
Maury accompanied Pope Pius on his journey to Rome from Venice, and then traveled himself to Montefiascone. On 21 April 1800, the exiled Louis XVIII wrote to Maury, thanking him for his services at the conclave just concluded, and enclosing the documents which named Maury as his Minister before the Holy See. Thereafter Maury made regular trips to Rome, on behalf of the affairs of Louis XVIII, but also to report to Pius about his correspondence and information gathering about the French bishops who had refused the oath to the Civil Constitution of the Clergy and gone into exile. But the papal government, led by Cardinal Ercole Consalvi, was preparing to come to terms with Napoleon. In the autumn of 1800, Pius VII sent Archbishop Giuseppe Spina to Vercelli for conversations with the First Consul. Before he set out, Maury held several conversations with him, attempting to get Spina to come over to the side of the Bourbons. Spina was noncommittal, but Maury failed. When negotiations began in Paris which led to the Concordat of 1801, the French government insisted that Maury not be consulted or informed, and indeed that he should be kept out of Rome entirely. When the Concordat was signed, Louis XVIII was livid, believing that he had been betrayed by people in Rome whom he had believed to be his friends and supporters, including the Pope and Maury.

In 1804, having discovered the direction of papal policy and feeling the estrangement with Louis XVIII, Cardinal Maury began to prepare his return to France by a well-turned letter to Napoleon, congratulating him on restoring religion to France once more. On 18 May Napoleon was declared Emperor of the French, and in December Pius VII participated in his coronation in Notre Dame in Paris. In 1806 he did return and in 1807 was again received into the Académie française.

The Archbishop of Paris, Cardinal Jean-Baptiste de Belloy died on 10 June 1808. By imperial decree, Napoleon I, Emperor of the French nominated his uncle, Cardinal Joseph Fesch, to the See of Paris This was his right, in accordance with the Concordat of 1801, Article 5, but Fesch was quite aware that Pius VII, who was Napoleon's prisoner, was refusing to provide bulls of institution for any bishops nominated by Bonaparte. On the refusal of Cardinal Fesch, on 10 October 1810 Napoleon nominated Maury. He also suggested to the Chapter of the cathedral of Paris that they elect him Administrator capitular of the diocese. The suggestion was immediately obeyed, by the majority of the Canons. Maury never called himself Archbishop of Paris, only archbishop-designate and Capitular Administrator of the diocese during the Sede vacante. On 5 November 1810, he was ordered by the pope to cease his activities in the diocese of Paris, and threatened him with ecclesiastical censures if he persisted, but Maury refused, claiming that the papal letter was a forgery. On 9 April 1814, the Chapter of Notre Dame met and revoked the powers which they had bestowed on Cardinal Maury in 1810. On 3 May 1814, therefore, in the motu proprio "Gravissimis de Causis", Pope Pius VII suspended him from all episcopal functions in the dioceses of Montefiascone and Corneto. On the Bourbon restoration toward the end of 1814, he was summarily expelled from the French Academy and from the archiepiscopal palace in Paris. He was ordered to leave France by the Comte d'Artois, Lieutenant-General of the Realm.

Maury retired to Rome. On the news of Napoleon's escape from Elba, Pius VII fled from the city, leaving the pro-Secretary of State, Cardinal Bartolomeo Pacca in charge. Pacca took advantage of the moment and ordered Maury imprisoned in the Castel Sant'Angelo, on 12 May 1815, for his disobedience to the papal orders. He was held for three months and fourteen days, until Consalvi returned from Vienna and ordered him released. He was allowed to take up residence in the novice house of the Lazarist fathers at San Silvestro al Quirinale.

Louis XVIII dealt another blow to Cardinal Maury's prestige and amour propre. On 28 March 1816, he issued a royal ordonnance, restoring the pre-revolutionary titles and structure of France's academies, and adding lists of members. Maury's name was deliberately left off the list of members of the Académie française.

Maury died on 10 May 1817, primarily from a disease contracted in prison, thought to have been scurvy.

Criticism

As a politician, his wit and eloquence made him a worthy rival of Mirabeau. He sacrificed much to personal ambition, yet remained publicly unremembered by Louis XVIII as a courageous supporter of Louis XVI and by the papacy as the one defender of the Church during the States-General.

As a critic, he was and is considered a very able writer. Sainte-Beuve gives him the credit of discovering Father Jacques Bridayne and of giving Bossuet his rightful place as a preacher above Massillon.

References

Sources

 Bonet-Maury, Gaston (1892). . Paris: Administration des deux revues.

 Libels written against Maury during the Revolution, claimed by Jacques René Hébert but sometimes attributed to Rétif de la Bretonne:

1746 births
1817 deaths
People from Provence
19th-century French cardinals
Bishops of Montefiascone
Archbishops of Paris
Counts of the First French Empire
Members of the National Constituent Assembly (France)
Expelled members of the Académie Française
18th-century French writers
18th-century French male writers
19th-century French writers
Cardinals created by Pope Pius VI

Jean-Sifrein Maury


Die Jamaika-Fruchtfledermaus (Artibeus jamaicensis) ist eine Fledermausart aus der Familie der Blattnasen (Phyllostomidae), welche in Zentral- und Südamerika beheimatet ist.

Beschreibung
Die Jamaika-Fruchtfledermaus ist eine mittelgroße Fledermaus mit einem Gewicht von 50–60 g. Die Fellfarbe variiert von dunkelbraun zu aschgrau und ist in der Bauchregion normalerweise heller als am Rücken. Wie die meisten Vertreter der Blattnasen besitzt auch die Jamaika-Fruchtfledermaus ein ausgeprägtes Nasenblatt.
Der Name Artibeus leitet sich vom griechischen arti (=Gesichtsstreifen) und beus (bezieht sich auf das Vorhandensein der Streifen) ab. Die Gesichtsstreifen sind bei der Jamaika-Fruchtfledermaus jedoch nicht immer oder nur wenig ausgeprägt vorhanden.

Lebensweise
Die Jamaika-Fruchtfledermaus ist eine der häufigsten und am weitesten verbreiteten Arten der Gattung Artibeus. Sie kommt in vielen tropischen Habitaten wie dem Regenwald, Nebelwald und saisonalen Trockenwald vor, und man findet sie auch in der Nähe menschlicher Siedlungen und auf Farmland.
Jamaika-Fruchtfledermäuse nutzen nebst Baumhöhlen modifizierte Blätter verschiedener Pflanzen um diese als Schlafplatz zu nutzen. Wo ein Blatt angenagt wird, so dass es in sich zusammenfällt und somit ein "Zelt" bildet, hängt stark von der Pflanzenart ab.
Jamaika-Fruchtfledermäuse besitzen ein polygynes Paarungssystem, in dem ein Männchen entweder ein Territorium verteidigt, oder mehrere Weibchen (Harem) gegenüber anderen Männchen. Letzteres ist vor allem dann der Fall, wenn Ressourcen wie zum Beispiel der Hangplatz nicht limitiert sind. Kolonien in Baumhöhlen können aus mehreren Harems mit durchschnittlich sechs geschlechtsreifen Weibchen und Gruppen aus Bachelor-Männchen und noch nicht reproduktiven Weibchen bestehen.
Bekannte Fressfeinde der Jamaika-Fruchtfledermaus sind die Schleiereule und die Abgottschlange. Als weitere mögliche Feinde kommen andere Schlangen- und Eulenarten, Nasenbären, größere Opossums und der Fledermausfalke (Falco rufigularis) in Betracht. Wird eine Fledermaus von einem Prädatoren gefangen, so produziert sie laute Alarmrufe, die auch vom Menschen wahrgenommen werden kann.
Jamaika-Fruchtfledermäuse können bis zu neun Jahre alt werden.

Ernährung
Die Jamaika-Fruchtfledermaus ist spezialisiert auf Feigen. Jamaika-Fruchtfledermäuse können alleine aber auch in Gruppen auf Futtersuche gehen und dabei mehrmals denselben Baum besuchen. Ihr Verdauungssystem prozessiert die Nahrung innerhalb von 30 Minuten, währenddessen nur etwa 30 % der potentiellen Energie der Frucht aufgenommen werden kann. Da der Verdauungstrakt der Jamaika-Fruchtfledermaus jedoch nur den Saft der Feigen aufnimmt, ist es ihnen möglich große Mengen an Feigen zu verzehren, ohne durch das Futter im Magen beim Fliegen unnötig Energie zu verlieren. Eine einzige Jamaika-Fruchtfledermaus verzehrt so in einer Nacht etwa das Doppelte ihres Körpergewichts.
Bei der Futtersuche verlassen sich Jamaika-Fruchtfledermäuse auf ihren hervorragenden Geruchs- und Sehsinn. Obwohl die Früchte bis zu 40 % des Körpergewichts der Fledermaus ausmachen, werden gefundene Früchte oft über mehrere hundert Meter zu einem Fressplatz getragen. Das macht die Jamaika-Fruchtfledermaus zu einem effizienten und damit wichtigen Samenverbreiter.

Fortpflanzung
Weibchen der Jamaika-Fruchtfledermaus sind polyoestrisch und gebären zweimal im Jahr ein oder selten zwei Jungtiere. Die Jungtiere kommen nach einer Tragezeit von 3,5–4 Monaten während der Trockenzeit zur Welt. Bei der zweiten jährlichen Tragezeit ist bei Weibchen eine verzögerte Embryonalentwicklung von bis zu 7 Monaten möglich, weshalb die Jungen in der nächsten Brutzeit geboren werden können. Man geht davon aus, dass der genaue Zeitpunkt der Geburt von der Verfügbarkeit von Früchten abhängt.
Während der ersten Tage nach der Geburt werden die Jungtiere von der Mutter herumgetragen, verbleiben dann aber später im Hangplatz. Die Jungtiere werden im Schnitt 15 Tage gesäugt und beginnen ab einem Alter von 50 Tagen zu fliegen. Geschlechtsreife beginnt bei Weibchen mit 8, bei Männchen mit 12 Monaten.

Verbreitung und Lebensraum
Die Verbreitung der Jamaika-Fruchtfledermaus reicht von Mexiko über Ecuador bis Peru. Ihr Bestand wird von der IUCN dank der weiten Verbreitung und relativen Toleranz gegenüber durch Menschen verursachter Störung als stabil und ungefährdet eingestuft.

Literatur
 J. Ortega, I. Castro-Arellano: Artibeus jamaicensis, Mammalian Species, No. 662 (2001): S. 1–9

Weblinks

Quellen

Blattnasen

Jamaika-Fruchtfledermaus


المَلْقُوَّات أو أنكلوستوما  هي رتبة ديدان صغيرة أسطوانية الشكل ملساء، يميل لونها إلى الاحمرار. وهي ديدان وحيدة الجنس ويتراوح طول الذكر من 8-11 ملم، والأنثى من 10-18 ملم ويمكن التمييز خارجيان بين الذكر والأنثى بواسطة الطرف الخلفي حيث يكون مدببا في الأنثى ومفلطح في الذكر والطرف الأمامي للدودة منحني قليلا إلى الناحية الظهرية، ويوجد عليه فتحة الفم والتي تحتوي على زوجين من الأسنان

تصنيفها
تصنف في مملكة الحيوانات في شعبة الديدان الأسطوانية

خطورتها
تلتصق الدودة بجدار الأمعاء الدقيقة للإنسان بواسطة هذه الأسنان والزوائد وتمزقه لتمتص الدم مسببة له فقر دم شديد.

قد تدخل الدودة إلى الجسم عن طريق المناطق الرقيقة من الجلد مثل القدم (بين الاصابع )مسببة حكة شديدة وألم شبيه بالآم «الحرق».

معيشتها
تعيش دودة الملقوّة في الأمعاء الدقيقة للإنسان حيث يصل اعدادها في أمعاء الشخص المصاب إلى الآلاف.

مراجع

أمراض طفيلية
ديدان
ملقوات

أنكلوستوما


Campionatul Mondial de Scrimă din 1937 s-a desfășurat la Paris în Franța.

Rezultate

Masculin

Feminin

Clasament pe medalii

1937
1937 în sport
Competiții de scrimă în Franța
Competiții sportive în Paris
scrima

Campionatul Mondial de Scrimă din 1937


عبد المحسن بن عبد العزيز العكاس (مواليد 1 رجب 1367 هـ، الأحساء - 6 جمادى الأولى 1433 هـ، الخبر) كان مسؤولا حُكوميا سعوديا. شغل عدة مناصب أبرزُها منصب وزير الشؤون الاجتماعية السعودي في الفترة من 1425 هـ إلى 1429 هـ (المُوافق ل28 مايو 2008).

مؤهلاته الدراسية
تلقى عبد المحسن بن عبد العزيز العكاس تعليمه الأساسي في مدينة الأحساء، ثُم انتقل بعدها إلى الولايات المتحدة، حيث حصل هُناك على بكالوريوس في الاقتصاد من جامعة واشنطن في الولايات المتحدة الأمريكية، وحصل بعدها على ماجستير ودُكتوراه في العلوم السياسية من ذات الجامعة.

مناصبه
تولى عبد المُحسن بن عبد العزيز العكاس منصب وزير الشؤون الاجتماعية السعودي في الفترة من 1425 هـ إلى 1429 هـ (المُوافق ل28 مايو 2008) حين أُعفي من مهامه كوزير (بطلب منه) بأمر ملكي من الملك عبد الله بن عبد العزيز آل سعود وخلفه في منصبه الدكتور يوسف بن أحمد العثيمين. كما اشتغل أيضا كمُساعد لرئيس مجلس إدارة المجموعة السعودية للأبحاث والتسويق، وعُضوا في ذات المجموعة بداية من سنة 1991. وقد كان أيضا عُضوا في مجلس الشورى السعودي ابتداء من 3 ربيع الأول 1422 هـ. كما كان أيضا عَضوا في المعهد الدولي للدراسات الاستراتيجية، وعُضوا في مجلس إدارة الغرفة التجارية الصناعية بالرياض، وعُضوا في مجالس إدارة الشركات التابعة للمجموعة السعودية للأبحاث والتسويق. شغل أيضا منصب نائب رئيس الجمعية الوطنية السعودية لحقوق الإنسان، وعدة مناصب في شركتي أرامكو السعودية وستاندرد أويل سان فرانسيسكو الأمريكية. كما عمل عبد المُحسن العكاس أُستاذا في كلية العلوم الإدارية في جامعة الملك سعود.

المُؤتمرات والندوات
حضر عبد المحسن بن عبد العزيز العكاس مجموعة من الندوات التي تُعنى بالشؤون الدولية والاستراتيجية، كما مثل القطاع الخاص في المُفاوضات التي جرت بين دول مجلس التعاون الخليجي والمفوضية الأوروبية حول التعاون الاقتصادي بين المجموعتين. كما شارك أيضا في تمثيل القطاع الخاص في التحضير للمُؤتمرات الاقتصادية بين دُول مجلس التعاون والولايات المتحدة واليابان.

حياتُه الخاصة ووفاتُه
عبد المحسن بن عبد العزيز العكاس مُتزوج وأب لابنين هُما ناصر (ابن) والجوهرة (ابنة). تُوفي عبد المحسن بن عبد العزيز العكاس في 6 جمادى الأولى 1433 هـ (المُوافق لمارس 2012) إثر أزمة قلبية حادة قُبيل صلاة الجمعة عن عُمر 66 سنة تقريبا. وقد صُليت عليه صلاة الجنازة في جامع الملك فهد بمدينة الخبر، ودُفن جُثمانه في مقبرة الثقبة.

روابط خارجية
 الموقع الرسمي لوزارة الشؤون الاجتماعية السعودية

مراجع

أشخاص من الأحساء
خريجو جامعة سياتل
مواليد 1367 هـ
وزراء سعوديون
وفيات 1433 هـ
وفيات 2012

عبد المحسن بن عبد العزيز العكاس


Cirit atma, atletizm dallarından olan bir spordur. Atletizmdeki atma sporlarından olan cirit atma, cirit diye anılan aleti belli kurallar çerçevesinde en uzağa atma amaçlı spordur. Cirit; metal, fiberglas veya bazı durumlarda karbon fiber'den yapılır. Seyirciler ve görevliler için tehlikeli olabileceği için şartların sağlanmadığı turnuvalarda diğer atletizm dallarının aksine dışında yapılmadığı olmaktadır.

Kurallar
İlk sekizdekilere üç hak daha verilir. Bu atışların en uzağa olanı  yarışmacının bireysel derecesi olarak kaydedilir. Atışın geçerli olması için atletin belirli çizgiyi geçmemesi ve Cirit'in yerde ilk olarak ucunun temas etmesi şartı vardır. Cirit'in ucunun değdiği ilk nokta ile atış yapılan yerin arasındaki ölçü o atışın derecesi olur.

Cirit atmanın Disk atma, çekiç atma gibi diğer atma sporlarından en büyük farklarından biri atletin koşarak son noktaya gelip atmasına izin verilmesidir.

Tarihi

Cirit atma sporu'na ilk kez 1908 yılında girilmiştir. Cirit atma bugün spor için kullanılsa da tarihte cirit, avlanma ve savaş amaçlı kullanılmıştır. Antik Olimpiyatlar'da bu sporun olduğuna dair bilgiler vardır. Aynı şekilde amaç maddeyi olabildiği kadar uzağa atmadır.

Dünya rekorları

Erkeklerde cirit atma dünya rekoru, 98.48 metre ile Çek Jan Železný'e aittir. Sporcu rekoru Jena, Almanya'da 25 Mayıs 1996'da kırmıştır.

Kadınlar için rekor ise, 72,28 metre ile Çek atlet Barbora Špotáková'ya aittir. Špotáková rekoru 13 Eylül 2008 tarihinde Almanya'nın Stuttgart kentinde kırmıştır.

Cirit atma


ترينيتا دي مونتي (بالإيطالية Trinità dei Monti) هي كنيسة في روما، تقع في حي كامبو مارتسيو (Campo Marzio).

الكنيسة من طراز باروكي، وتشتهر بشنوكرافية تهيمن على ساحة أسبانيا (piazza spagna).

معرض صور

مراجع

كنائس رومانية كاثوليكية في روما
مبان دينية اكتملت في 1585
مباني كنائس رومانية كاثوليكية القرن 19
عمارة عصر النهضة في روما
مبان كنائس رومانية كاثوليكية في إيطاليا القرن 19

ترينيتا دي مونتي


Terneuzen (; Zeeuws: Terneuzen eller Neuzen) er en kommune og en by, beliggende i Zeeuws-Vlaanderen i den sydlige provins Zeeland i Nederlandene. Kommunen havde 54.467 indbyggere per 1. januar 2021.

Kernene
Antal indbyggere per 1. januar 2015:

Galleri

Eksterne henvisninger

 Kommunens hjemmeside

Kilder

Byer i Zeeland
Kommuner i Zeeland

Terneuzen


Pietro Dardani, né à Bologne le  et mort dans la même ville en 1808, est un peintre  italien, membre d'une famille d'artistes influente dans l'art bolonais.

Biographie
Pietro Dardani naît en 1727 de Giuseppe Dardani, un peintre, et de Teodora Merelli. Il a un frère, Paolo, qui est aussi peintre. Il apprend les bases de l'art de son père avant de rejoindre l'école de peinture de son oncle Antonio. Par la suite, il est élève de Felice Torelli, peintre de figures. Il est aussi élève de Giuseppe Pedretti et vit toute sa vie en Italie.

Suivant la tradition familiale, Giuseppe Dardani pratique de nombreux types de peinture, comme la peinture de figures, le paysage et l'ornement, et complète de nombreuses commandes religieuses dans la région. Selon Oretti, il peint aussi des scènes « d'appartement » pour des citoyens bolonais, dont certaines  sont des créations originales. Il meurt à Bologne en 1808.

Œuvres
Pietro Dardani était très assidu, même si son art était très modeste. Il peint dans les dortoirs du couvent des carmélites une Madonna del Carmine col Bambino e Santa Maria Maddalena de' Pazzi, puis une Vierge à l'Enfant avec saint Joseph pour l'abbé Zecchelli.

Il participe à la décoration de la chapelle de l'Oratoire à l' ainsi qu'à la chapelle Mondovì à la basilique Santa Maria dei Servi avec son père. À l' se trouve un Sainte Anne de Pietro Dardani.

Seulement deux paysages lui subsistent, une signée et l'autre attribuée, qu'il a conçues, mais qui ont été gravées par Pietro Giacomo Palmieri entre 1760 et 1761.

Notes et références

Notes

Références

Annexes

Articles connexes
 Liste de peintres italiens

Bibliographie
 .
 .

Liens externes

Peintre italien du XVIIIe siècle
Naissance en juillet 1727
Naissance à Bologne
Naissance dans les États pontificaux
Décès en février 1808
Décès à Bologne
Décès à 80 ans

Pietro Dardani


Skeetskydning for herrer under Sommer-OL 2016 fandt sted den 12. august - 13. august i Centro Olímpico de Tiro i Deodoro.

Turneringsformat
Konkurrencen blev indledt med én kvalifikationsrunde over to dage, hvor de 32 kvalificerede deltagere i alt skulle skyde mod 125 lerduer (25 lerduer i fem serier). Herefter gik de seks bedste til finalen. Finalen blev indledt med én serie af 16 lerduer, der alle var dobbelt, således at hver skydning var mod to lerduer. Efter denne serie gik de to bedste til kampen om guldmedaljerne, mens de to placeret som nummer tre og fire gik til bronzekampen. Begge disse medaljekampe blev ligeledes skudt i én serie af 16 lerduer, der også alle var dobbelt.

Tidsplan
Nedenstående tabel viser tidsplanen for afvikling af konkurrencen:

Resultater

Kvalifikation

Finalerunde

Bronzekampen

Guldkampen

Medaljefordeling

Referencer

Eksterne henvisninger
 http://doc.rero.ch/record/256687/files/Olympic_Sport_Explanatory_Guide_Shooting.pdf?version=1
 https://www.rio2016.com/en/shooting
 http://www.issf-sports.org/

Skeetskydning (herrer)

Skydning under sommer-OL 2016 - Skeetskydning (herrer)


مكسة هي إحدى القرى اللبنانية من قرى قضاء زحلة في محافظة البقاع.

المراجع

أماكن مأهولة في قضاء زحلة
أماكن مأهولة في لبنان
قرى لبنان

مكسة


Victor Cherbuliez () a fost un romancier, dramaturg, eseist și critic literar francez.

Biografie
Născut într-o familie de francezi refugiați în Elveția după revocarea Edictului de la Nantes, a redevenit cetățean  francez în anul 1880, beneficiind de legea naturalizării. A fost ales membru al Academiei Franceze la data de 18 decembrie 1881.

El este autorul a treizeci de romane, dintre care cele mai multe sunt uitate astăzi. El a publicat, de asemenea, lucrări de critică literară și cronici politice în Revue des deux Mondes.

Victor Cherbuliez avea, potrivit lui Henri-Frédéric Amiel, un anumit talent oratoric: "Ies de la cursul de deschidere al lui Victor Cherbuliez, uimit de admirație. M-am convins, în același timp, de incapacitatea mea radicală de a putea face așa ceva vreodată, datorită talentului, harului, clarității, fecundității, măsurii, solidității și fineții solicitate. Dacă este o lectură, este fermecătoare; dacă este o recitare, este admirabilă; dacă este o improvizație, este prodigioasă, copleșitoare, zdrobitoare pentru noi ceilalți".

El a fost prieten apropiat al istoricului belgian Victor Tahon. I-a trimis pe 21 mai 1883 fotografia sa făcută de Eugène Pirou în semn de mulțumire pentru lunga sa ședere la Couillet. Pe 21 noiembrie 1883, i-a expediat la Paris o carte semnată cu pseudonimul său și cu dedicația "à Monsieur Victor Tahon, souvenir affectueux de l'auteur, V. Cherbuliez", plus data.

Locuia la Paris în 1883 pe rue Gay-Lussac nr. 17.

Victor Cherbuliez a murit în 1899 și a fost înmormântat în Cimitirul Montparnasse din Paris.

Opera
 Romane
 Le Comte Kostia, 1863
 Paule Méré, 1864
 Le Prince Vitale, 1864
 L'Aventure de Ladislas Bolski, 1865
 Le Roman d'une honnête femme, 1865
 Prosper Randoce, 1867
 Miss Rovel, 1875
 Le Fiancé de Mlle Saint-Maur, 1876
 Le Grand Œuvre, 1876
 Samuel Brohl et Cie, 1877
 L'Idée de Jean Têterol, 1878
 Meta Holdenis, 1873
 Amours fragiles, 1880
 Noirs et Rouges, 1881
 La Revanche de Joseph Noire, 1882
 La Ferme du Choquard, 1883
 Olivier Maugant, 1885
 La Bête, 1887
 La Vocation du comte Ghislain, 1888
 Une gageure, 1890
 Le Secret du précepteur, 1893
 Caroline de Günderode et le romantisme allemand, 1895 sub pseudonimul G. Valbert
 Après fortune faite, 1896
 Jacquine Vanesse, 1898

 Lucrări literare și politice
 À propos d'un cheval, causeries athéniennes, 1860
 L'Allemagne politique depuis la paix de Prague (1866-1870), 1870
 Études de littérature et d'art : études sur l'Allemagne : lettres sur le salon de 1872, 1873
 L'Espagne politique, 1868-1873, 1874
 Hommes et Choses d'Allemagne, croquis politiques, 1877, sub pseudonimul G. Valbert
 Hommes et Choses du temps présent, 1883, sub pseudonimul G. Valbert
 Profils étrangers : Hegel et sa correspondance, le prince de Bismarck et M. Moritz Busch, 1889
 L'Idéal romanesque en France, de 1610 à 1816, 1911

 Adaptări teatrale
 Les Aventures de Ladislas Bolski, dramă în 5 acte, Paris, Vaudeville, 20 ianuarie 1879
 Samuel Brohl et Cie, comedie în 5 acte și 1 prolog, împreună cu Henri Meilhac, Paris, Odéon-Théâtre de l'Europe, 31 ianuarie 1879

Note

Legături externe
 Notice biographique de l'Académie française
 Œuvres de Victor Cherbuliez sur Gallica

Nașteri în 1829
Decese în 1899
Membri ai Academiei Franceze
Scriitori francezi din secolul al XIX-lea
Absolvenți ai Universității din Bonn

Victor Cherbuliez


Canon EOS M5 er et digitalt spejlløst systemkamera annonceret af Canon  15. september 2016, salget begyndte november 2016.

Canon EOS M5 anvender  Canons EF-M bajonetfatning til objektiverne men kan med overgangsring også udnytte Canons EF og EF-S objektiver.

Nøgle funktioner

 Canon EF-M bajonetfatning
 24.2 megapixel dual-pixel, APS-C, CMOS-sensor. Den samme sensor anvendes i Canon EOS 80D.
 ISO 100 – 25600 (med automatisk eller manuel valg af følsomhed)
 Dual Pixel CMOS autofokus med 49 fixpunkter
 1.62 megapixel touchscreen på 3,2 tommer
 2.36 megapixel OLED søger (EVF). EOS M5 er Canons første spejlløse systemkamera med indbygget elektronisk søger.
 DIGIC 7 processor
 Op til 9 billeder pr. sek. uden AF eller 7 billeder pr. sek med AF
 Betjening fra touchskærmen eller ved hjælp af fire hjul (program, blænde, ISO, blændekorrektion)
 WiFi, NFC og Bluetooth
 lagring på SD, SDHC, SDXC
 optager film i HD (1080p) i 60, 30 eller 24 fps
 Batteri LP-E17
 Størrelse uden objektiv: 116 x 89 x 61 mm
 Vægt uden objektiv: 427 gram

Se også

 Canon EOS M
 Canon EOS M2
 Canon EOS M3
 Canon EOS M6
 Canon EOS M10
 Canon EOS M50
 Canon EOS M100

Henvisninger

Eksterne henvisninger

 Canon EOS M site

Kameraer
EOS M5

Canon EOS M5


مقبس إي أم 2+  وهو مقبس من إنتاج شركة إي أم دي ليبدل مقبس إي أم 2 في وحدات المعالجة للحوايسب المكتبية, وهو عبارة عن حل فوري إلى حين انتهاء إي أم دي من تطوير مقبس إي أم 3. وبالإضافة أن مقبس إي أم 2 متلائم كليا مع مقبس إي أم 2, وهذا يعني أن كل وحدات المعالجة التي تعمل على مقبس إي أم 2+ بإمكانها أن تعمل على مقبس إي أم 2 وكل حدات المعالجة التي تعمل على مقبس إي أم 2 بإمكانها أن تعمل على مقبس إي أم 2+ ولكن كلى الحاتلين تعمل بسرعة نقل بيانات أبطأ التابعة لمقبس إي أم 2.

والاختلاف الأساسي بين الإثنين هو أن مقبس أن إي أم 2+ يعمل بتكنلوجيا هيبر ترانسبورت 3.0 أي بسرعة 2.6 GT/s بينما  مقبس إي أم 2+ يعمل بتكنلوجيا هيبر ترانسبورت 2.0 أي بسرعة 1 GT/s. وبالإضافة يستخدم مقبس إي أم 2+ نظامين للطاقة منفصلين واحد للّب المعالجة والآخر للمتحكم بالذاكرة. وهذا يساعد على توفير الطاقة الكهربائية خصوصا عند استخدام وحدات معالجة الرسوميات المندمجة, فتقوم وحدة المعالجة بتخفيض استهلاك الطاقة بينما يبقى المتحكم بالذاكرة ليساعد وحدة معالجة الرسوميات بعرض الفيديوهات.

وأعلنت شركة إي أم دي أن وحدات المعالجة التي تعمل على مقبس إي أم 3 سوف تعمل على مقبس إي أم 2+ ولكن وحدات التي تعمل على مقبس إي أم 3

مقابس وحدة المعالجة المركزية

مقبس إي أم 2+


ශ්‍රීමත් මයිකල් ජෝන් ගැම්බොන්  (19 ඔක්තෙමේබර්  1940 – 28 සැප්තැම්බර්  2023) යනු අයර්ලන්ත–ඉංග්‍රීසි ජාතික නළුවෙකි.  ගැම්බොන් ඔහුගේ රඟපෑමේ දිවිය ඇරඹුවේ ලෝරන්ස් ඔලිවියේ හා සමගින් රාජකීය ජාතික රංගශාලාවෙහි මුල සාමාජිකයන් කිහිප දෙනා අතරින් එක් අයෙකු ලෙසිනි. ඔහුගේ දශක හයක් දිගු අභිවෘත්තිය තුලදී,  ඔලිවියේ සම්මාන තුනක්ද, තිර නළුවන්ගේ සංසදය සම්මාන දෙකක්ද, සහ BAFTA සම්මාන සතරක්ද ඔහු විසින් දිනා ගෙන ඇත. . නාට්‍ය කලාවට සිදු කෙරුණු සේවය අගයමින්,  1999 වසරෙහිදී දෙවන එලිසබෙත් රැජිණ විසින්,  ඔහු වෙත  නයිට් පදවියක් පිරිනැමිණි.

මයිකල් ගැම්බොන්


Nordirland er en dansk dokumentarfilm fra 1975.

Handling
Dokumentarfilm.

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 1975

Nordirland (dokumentarfilm)


Inspector Spacetime er íslensk hljómsveit úr Reykjavík sem var stofnuð árið 2020.

Meðlimir

Núverandi
 Egill Gauti Sigurjónsson
 Vaka Agnarsdóttir
 Elías Geir Óskarsson

Hljóðritaskrá

Breiðskífur
 Inspector Spacetime (2021)

Smáskífur
 Bára (2021)
 Kenndu mér (2022)
 Under my underwear (2022)

Tenglar
 Viðtal við Inspector Spacetime hjá Útvarpi 101

Tilvísanir

Íslenskar hljómsveitir

Inspector Spacetime


Mit Land I Europa er en film instrueret af Malene Vilstrup.

Handling
En præsentation af Danmark for de øvrige europæiske lande, lavet af børn til et europæisk tegnefilmprojekt organiseret af ASIFA. Vi ser Danmark sammen med en dreng en ganske almindelig pjækkedag: Ud af byen, gennem landet og hjem til byens rå natteliv og sidst familiens hygge. Danske deltagere: Annette Farkas, Ivan Garrido, Cecilie Gravesen, Mia Mønster-Swendsen, Jasia Nielsen og Paw Terndrup.

Referencer

Eksterne henvisninger

Danske film fra 1989

Kortfilm fra Danmark

Mit Land I Europa