المزرعة هي مساحة من الأرض، أو من مزرعة مائية، أو بحيرة، أو نهر أو بحر تتضمن العديد من الهياكل المُعدَة خصيصًا لإنتاج الغذاء (المنتجات الزراعية، أو الحبوب، أو الماشية) وألياف النسيج، والوقود، وإدارة هذه الأمور. وهي المركز الرئيسي لإنتاج الغذاء. والمزارع يمكن أن يمتلكها ويديرها فرد واحد، أو عائلة، أو جماعة، أو مؤسسة، أو شركة. ويمكن أن تكون بأي حجم، بدءًا من جزء من الهكتار وصولاً إلى عدة آلاف من وحدات الهكتار.

أصل الكلمة

إن كلمة «مزرعة» بالإنجليزية، "Farm" - من حيث كونها تعني حيازة أرض زراعية - مشتقة من الفعل "to farm"، ويعني بالعربية «جباية» مصدر عائدات، سواء أكان ضرائب أم جمارك أم إيجارات مجموعة من العِزب، أو امتلاك عزبة فردية بنظام الحيازة الإقطاعية لمزرعة إقطاعية. وتعود الكلمة للاسم اللاتيني firma الذي تعود أصوله للعصور الوسطى؛ والكلمة الفرنسية ferme أيضًا التي تعني اتفاقًا ثابتًا أو تعاقدًا، فيرجع أصلها إلى الوصف اللاتيني الكلاسيكي firmus الذي يعني: قويًّا أو متينًا أو ثابتًا. نظرًا لاشتغال أغلب العزب في العصور الوسطى بالزراعة - التي مثلت مصدر عائداتها الرئيسية - صارت حيازة عزبة بملكية «مزرعة إقطاعية» مرادفًا لممارسة الزراعة ذاتها.

أنواع المزارع

يُعرَف المكان الذي ينتج المكسرات والفواكه بالبستان؛ أما الكرم فينتج العنب. والإسطبل يُستخدَم بشكل أساسي في أعمال ترويض الخيول. ومزارع الخيول والمزارع التجارية تهدف لتربية الحيوانات والماشية الأخرى، وإنتاجها. والمزرعة التي تُستخدَم بشكل أساسي لإنتاج الألبان ومنتجاتها، فتُعرَف بمزرعة الألبان. ومزرعة الخضراوات أو مزرعة إنتاج الخضراوات للسوق تُستخدَم لزراعة الخضراوات، لكنها لا تتضمن زراعة الحبوب أو زراعة كميات قليلة منها فقط. تشمل أنواع المزارع المتخصصة كذلك المزارع السمكية التي تُربَى فيها الأسماك في أماكن مغلقة لأغراض الغذاء؛ ومزارع الأشجار التي تُزرَع فيها الأشجار لبيعها من أجل زرعها مرة أخرى أو لاستخدام أخشابها، أو لأغراض الديكور. والمزرعة الواسعة هي في الغالب مزرعة أو عزبة يُزرَع فيها القطن، أو التبغ، أو القهوة أو قصب السكر. ويجري هذه الأعمال في الغالب عمال مقيمون في المزرعة.

أنواع المزارع
 الزراعة الجماعية
 الزراعة الصناعية
 الزراعة المكثفة
 الزراعة المحمية
 الزراعة العضوية
 الزراعة الرأسية
 زراعة المرتفعات

انظر أيضًا

 الزراعة البيئية
 كفاءة الطاقة الكهربائية في المزارع الأمريكية
 الزراعة الصناعية
 أسر الحيوانات
 مزرعة صغيرة
 مزرعة متناهية الصغر]
 متحف الحياة الريفية الاسكتلندية
 مربى ماشية
 اقتصاديات الريف
 الهجرة من الريف
 ريفي
 مقطورة صغيرة
 مزرعة صغيرة الحجم

مراجع

قائمة المصادر

وصلات خارجية

 Open Source Ecology

آلات زراعية
إدارة الأراضي
تاريخ الزراعة
تربية الحيوان
ثقافة ريفية
جغرافيا ريفية
حقول
موائل بشرية

مزرعة


Hoherija (lat. Hoheria), rod listopadnih i vazdazelenih grmova i drveća iz porodice Malvaceae, dio tribusa Malveae. postoji svega nekoiliko vrsta koje rastu na Sjevernom i Južnom otoku, Novi Zeland

Vrste
 Hoheria angustifolia Raoul
 Hoheria equitum Heads
 Hoheria glabrata Sprague & Summerh.
 Hoheria lyallii Hook.f.
 Hoheria populnea A.Cunn.
 Hoheria × sexangusta Allan
 Hoheria sexstylosa Colenso

Izvori

Vanjske poveznice

Malveae

Hoherija


Özümleme, asimilasyon veya anabolizma, basit yapıdaki moleküllerin, daha karmaşık yapıdaki moleküllerin sentezinde kullanılması ve bunlara ilişkin kimyasal değişimlerdir. Metabolizmanın "yapım faaliyetleri" olarak da tanımlanabilirler. Bu tür olaylara genel olarak sentez gibi isimler de verilebilir.

Fotosentez, amino asitlerden protein sentezi, monosakkaritlerden, disakkarit ve polisakkarit üretimi anabolik tepkimelere örnek olarak gösterilebilir.

Özümlemede kullanılan insan hormonları
 Büyüme hormonu
 İnsülin
 Testosteron
 Östrojen
 Oreksin ve Hipokretin (bir üreme hormonu)
 Melatonin

Metabolizma

Anabolizma


El Museo de Arte de Cerdanyola, también conocido como Can Domènech, es un museo de arte situado en el casco antiguo de la ciudad de Sardañola del Vallés (España). Se inauguró el 10 de septiembre de 2009 y forma parte de la Red de Museos Locales de la Diputación de Barcelona y de la Ruta Europea del Modernismo. El 23 de marzo de 2010 recibió el premio de la ACCA a la mejor iniciativa patrimonial de 2009 por la recuperación del edificio Can Domènech del arquitecto Cayetano Buigas y por destinarlo a albergar una colección de arte centrada en el modernismo.

Edificio
El edificio, obra del arquitecto Cayetano Buigas y Eduard Maria Balcells, fue construido en 1894. Es uno de los edificios más destacados del modernismo local y fue concebido para albergar el primer equipamiento cultural de Sardañola, un Teatro-Casino destinado principalmente a los veraneantes, convirtiéndose rápidamente en un punto de encuentro y de ocio de la sociedad de Sardañola.
Entre 1905 y 1912 el edificio fue vendido como torre de veraneo a Evarist López, un empresario que había hecho fortuna en las Filipinas, lo que motivó unas reformas realizadas por el arquitecto Eduard Maria Balcells, de las que destaca la incorporación de vitrales modernistas en la fachada sur. En esta época el edificio pasó a ser conocido como "Casa del Chinito" ("Casa del Xinet" en catalán).

En 1961 la casa de veraneo se transformó para acoger los laboratorios farmacéuticos Domènech, en los que se fabricaba el famoso lápiz termosán. En la década de 1990 pasó a ser propiedad municipal. En 1999 se planteó derribar el edificio, pero una campaña popular lo evitó, y la finca se incorporó al Plan Especial del Patrimonio Arquitectónico y Arqueológico de Cerdanyola.

En 2003 se aprobó la remodelación del edificio con un presupuesto de 1,6 millones de euros, que contaba con la ayuda del patrocinio de particulares y de entidades como la Generalidad de Cataluña, La Diputación de Barcelona, la Mancomunidad de Municipios del Área Metropolitana de Barcelona, la Fundación Banco de Sabadell, la Obra Social Caixa Sabadell y la Obra Social Caixa Catalunya.
Las obras de restauración se llevaron a cabo entre 2006 y 2009 bajo la dirección del arquitecto Víctor Argentí.

Exposición permanente
La exposición permanente tiene como eje vertebral el modernismo y la colonia de artistas de Sardañola. Cubre el periodo entre 1880 y 1930, época en que la ciudad era una plaza de veraneo de parte de la burguesía catalana, especialmente de Barcelona. El municipio se convirtió en un núcleo cultural gracias a la visita de artistas como Enrique Granados, Pau Casals, Ismael Smith, Josep de Togores y Carles Buïgas, entre otros.

El fondo del museo lo conforman materiales propiedad del Ayuntamiento de Sardañola y donaciones de entidades y particulares, como la Galería Artur Ramón, Enrique García Herraiz y las familias de Eduard Maria Balcells, Marian Espinal, Josep de Togores, Francesc Juventeny y del fotógrafo Joan Vilatobà.

La colección se divide en cinco secciones:

 Familia Balcells-Buïgas, con especial atención a la obra de Cayetano Buigas, Eduard Maria Balcells y Carles Buïgas.
 Ismael Smith Marí: Un personaje atípico y peculiar con un estilo lleno de saracasmo y ambigüedad.
 Modernismo: Aprovechando el espacio del antiguo comedor, se expone la pareja de vitrales originales de al reforma que llevó a cabo Balcells, en la que destaca el tríptico de las damas de Cerdanyola, declarado Bien Cultural de Interés Nacional.
También consta de obras de Josep Llimona, Lambert Escaler, Marian Burguès, Lluís Bru o Joan Vilatobà, entre otros.
 Josep de Togores: Artista de Sardañola, el museo le dedica un espacio donde se pueden ver obras inscritas en el modernismo, el novecentismo, el surrealismo y la pintura catalana de posguerra.
 Colonia Novecentista: Consta de obras de Josep Viladomat, Manuel Humbert, Marian Espinal, Joan Commeleran, Alberto y Óscar Lena, Valentí Castanys, Josep Coll, Joan Vila Puig o Francesc Juventeny.

Obras destacadas
 Femme avec raisin (1927) de Josep de Togores.
 Cap de Tití (1927) de Manolo Hugué.
 Sant Jordi (1928) de Josep Llimona.
 Retrat de Manuel de Togores (1918), de Josep de Togores.
 Vitrales modernistas

Véase también
 Museo de Cerdanyola
 Poblado íbero Can Olivé y Museo Ibérico de Ca n'Oliver

Referencias

Enlaces externos

 Web del Museo más grande de Cataluña

Museos de Sardañola del Vallés
Cerdanyola
Arte_de_Cerdanyola
Arte_de_Cerdanyola
Arquitectura modernista de Cataluña
Arquitectura en Cataluña en el siglo XIX
Arquitectura en Cataluña en el siglo XXI
Arquitectura de España de 1894

Museo de Arte de Cerdanyola


පහත ලැයිස්තුගත කොට තිබෙන්නේ ශ්‍රී ලංකාවේ රාජ්‍ය තාන්ත්‍රික දූත මෙහෙයුම්, ක්‍රියාත්මක වන විදෙස් රාජ්‍යයන් පිළිබඳව වෙයි. එම ලැයිස්තුවට ගරු කොන්සල් මෙහෙයුම් අන්තර්ගත නොවෙයි.

යුරෝපය

අමෙරිකාව

ආසියාව

අප්‍රිකාව

ඕෂනියාව

 කැන්බරා (මහ කොමසාරිස්)
 සිඩ්නි (කොන්සල්-ජනරාල්)

බහුපාර්ශ්වික සංවිධාන
 ජිනීවා (එක්සත් ජාතීන් සහ අනෙකුත් ජාත්‍යන්තර සංවිධාන සඳහා නිත්‍ය නියෝජනය)
 නිව් යොර්ක් (එක්සත් ජාතීන්ගේ නිත්‍ය නියෝජනය)
 වියානා (එක්සත් ජාතීන් සහ අනෙකුත් ජාත්‍යන්තර සංවිධාන සඳහා නිත්‍ය නියෝජනය)

මේවාද බලන්න
ශ්‍රී ලංකාවේ විදේශ සබඳතා

බාහිර සබැඳි
 Ministry of Foreign Affairs of Sri Lanka - Missions Abroad

ශ්‍රී ලංකාවේ විදේශ සබඳතා

ශ්‍රී ලංකාවේ විදෙස් රාජ්‍ය තාන්ත්‍රික දූත මෙහෙයන්


Kathak is one of the eight major forms of Indian classical dance. It is the classical dance form from Uttar Pradesh. The origin of Kathak is traditionally attributed to the traveling bards in ancient northern India known as Kathakars or storytellers. The term Kathak is derived from the Sanskrit word  which means "story", and Kathakar which means "the one who tells a story", or "to do with stories". Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music. Kathak dancers tell various stories through their hand movements and extensive footwork, their body movements and flexibility but most importantly through their facial expressions. Kathak often has a strong beat, and can be dance in many taals. Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu god Krishna, as well as independently in the courts of north Indian kingdoms. During the period of Mughal rule, the emperors were patrons of Kathak dance and actively promoted it in their royal courts. Kathak performances include Urdu Ghazals and commonly used instruments brought during the Mughal period. As a result, it is the only Indian classical dance form to feature Persian elements.

Kathak is found in three distinct forms, called "gharanas", named after the cities where the Kathak dance tradition evolved – Jaipur, Banaras and Lucknow. While the Jaipur gharana focuses more on the foot movements, the Banaras and Lucknow gharanas focus more on facial expressions and graceful hand movements. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo) and the movement harmonized to the music. The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, neck movements, eyes and eyebrow movement, stage movements, bends and turns. The main focus of the dance becomes the eyes and the foot movements. The eyes work as a medium of communication of the story the dancer is trying to communicate. With the eyebrows the dancer gives various facial expressions. The difference between the sub-traditions is the relative emphasis between acting versus footwork, with Lucknow style emphasizing acting and Jaipur style famed for its spectacular footwork.

Kathak is a performance art that has survived and thrived as an oral tradition, innovated and taught from one generation to another verbally and through practice. It transitioned, adapted, and integrated the tastes of the Mughal courts in the 16th and 17th centuries, particularly by Akbar, but stagnated and went into decline during the British colonial era, then was reborn as India gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts.

Etymology and nomenclature
The term Kathak is rooted in the Vedic term Katha () which means "story, conversation, traditional tale". Kathak refers to one of the major classical dance forms primarily found in northern India, with a historical influence similar to Bharatanatyam in south India, Odissi in east India and other major classical dances found in South Asia. It differs from the numerous folk dance forms found in the north and other parts of the Indian subcontinent.

The Kathak dancers, in the ancient India, were traveling bards and were known as Kathakas, or Kathakar.

Kathak has inspired simplified regional variants, such as the Bhavai – a form of rural theatre focussing on the tales of Hindu goddesses (Shakti), and one which emerged in the medieval era, is presently found in Gujarat, Rajasthan and Madhya Pradesh. Another variant that emerged from ancient Kathak is Thumri.

Thumri was developed by the tawaif community who were called "nautch" dancers by the British.  Their history as Kathak dancers have been erased in modern India Pallabi Chakravorty. (2008)."Bells Of Change: Kathak Dance, Women And Modernity In India", also see "The Tawaif And The Item Girl: A Struggle For Identity"

History

According to Mary Snodgrass, the Kathak tradition of India is traceable to 400 BCE. The earliest surviving text with Kathak roots is the Natya Shastra, attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.

The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances including Kathak. Dance and performance arts, states this ancient Hindu text, are a form of expression of spiritual ideas, virtues and the essence of scriptures.

The 2nd century BC panels found in Bharhut show the dancers in a vertical stance with their arms' positions already suggesting today's Kathak movements. Most of the dancers have one arm near the ear in a ''pataka hasta'' (Mudra). In subsequent years, the hasta was lowered to the bust level.

The term Kathakas in the sense of "storytellers" appears in ancient Hindu texts, such as the Mahabharata:

Bards, actors, dancers, songsters and musical reciters of legends and stories are mentioned hundreds of times in the Hindu Epics.

Bhakti movement era
Textual studies suggest that "Kathak" as a classical dance form likely started in Banares (Varanasi) and from there migrated northwest to Lucknow, Jaipur and other parts of north and northwest India. The Lucknow tradition of Kathak dance attributes the style to a Bhakti movement devotee named Ishwari from the Handia village in Allahabad, Uttar Pradesh, who credited Hindu God Krishna appearing in his dream and asking him to develop "dance as a form of worship". Ishwari taught his descendants, who in turn preserved the learning and developments through an oral tradition over six generations ultimately yielding the Lucknow version of the Kathak dance – a family tree that is acknowledged in both Hindu and Muslim music-related Indian literature.

The evolution in Kathak dance theme during the Bhakti movement centered primarily around divine Krishna, his lover Radha and milkmaids (gopis) – around legends and texts such as the Bhagavata Purana found in the Vaishnavism tradition of Hinduism. The love between Radha and Krishna became symbolism for the love between Atman (soul within) and the supreme source (Cosmic soul everywhere), a theme that dance ballet and mimetic plays of Kathak artists expressed. Although central Asian influence of Kathak rapid whirls has been proposed, Sangitaratnakara, a 13th-century Sanskrit text on Indian classical music and dance in Chapter 4 mentions a dance movement with rapid whirling around like a wheel keeping the arms in the Dola pose and bending the body inwards called 'Cakramandala' It is employed in worshipping gods and in vigorous movement.

The emergence of Raslila, mainly in the Braj region (Mathura in Western U.P.) was an important development. It combined in itself music, dance, and the narrative. Dance in Raslila, however, was mainly an extension of the basic mime and gestures of the Kathakars or story-tellers which blended easily with the existing traditional dance.

Mughal era
With the coming of the Mughals, this dance form received a new impetus. A transition from the temple courtyard to the palace durbar took place which necessitated changes in presentation. In both Hindu and Muslim courts, Kathak became highly stylized and came to be regarded as a sophisticated form of entertainment. Under the Muslims, there was a greater stress on nritya and bhavag - the dance's graceful, expressive and sensuous dimensions.

The Mughal era courts and nobles accepted Kathak as a form of aristocratic entertainment, which low income families were willing to provide.  According to Drid Williams:

Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance, the costumes replaced Saris with items that bared midriff and included a transparent veil of the type common with medieval Harem dancers. When the colonial European officials began arriving in India, the Kathak court entertainment they witnessed was a synthesis of the ancient Indian tradition and Central Asian-Persian dance form, and the Kathak dance performers were called the "nautch girls" (or natch, a derivative of the more difficult to pronounce Sanskrit natya).

British Raj era
With the expansion of British colonial rule in 19th-century India, Kathak along with all other classical dance forms were discouraged and it went into decline. This was in part the result of the Victorian morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism. Reverend James Long, for example, proposed that Kathak dancers should forget ancient Indian tales and Hindu legends, and substitute them with European legends and Christian tales. Missionaries recorded their frustration in Church Missionary Review when they saw Hindu audiences applaud and shout "Ram, Ram" during Kathak performances.

The seductive gestures and facial expressions during Kathak performances in Temples and family occasions were caricatured in The Wrongs of Indian Womanhood, published at the start of the 20th century, as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" or "anti-nautch movement" in 1892. Officials and newspapers dehumanized the Kathak dancers and the sources of patronage were pressured to stop supporting the Kathak performing "nautch girls" (also termed as devadasis and tawa'ifs in mid 20th century literature). Many accused the dance form as a front for prostitution, while revivalists questioned the constructed histories by the colonial writers.

Not only did missionaries and colonial officials ridicule the Kathak dancers, Indian men who had been educated in British institution and had adapted to Victorian prudery joined the criticism, states Margaret Walker, possibly because they had lost their cultural connection, no longer understood the underlying spiritual themes behind the dance, and assumed this was one of the "social ills, immoral and backward elements" in their heritage that they must stamp out. However, the Hindu families continued their private tutoring and kept the Kathak art alive as an oral tradition. Kathak teachers also shifted to training boys to preserve the tradition, as most of the 20th-century ridicule had been directed at Kathak "nautch girls".

Kathak was brought to the attention of audiences outside India in the early 20th century through Kalkaprasad Maharaj.

Post-independence era
The movement to end the colonial era and for an independent India, states Walker, also witnessed a revival of Kathak and more broadly, a cultural ferment and effort to reclaim culture and rediscover history. The Kathak revival movements co-developed in Hindu gharanas, particularly by the Kathak-Misra community. Of these the Jaipur and Lucknow sub-traditions of Kathak have attracted more scholarship.

The oldest Kathak department pat a degree college (university) was formed in 1956 at Indira Kala Sangeet University, a public university located in Khairagarh where Puru Dadheech instated the first Kathak syllabus for degree programs.  It was inspired by the diploma syllabus of Mohanrao Kallianpurkar at Bhatkhande College.

According to a BBC Arts article, Kathak is unique in being practiced by the Muslim community of the India, and thus has a "historical link to Islam." Farah Yasmeen Shaikh, a Muslim and a disciple of Pandit Chitresh Das in the Lucknow school, considers Kathak as a "confluence of Hindu and Muslim cultures", and has presented her performance in Pakistan. In contrast, states BBC, Nahid Siddiqui (a legendary Kathak dancer from Pakistan, settled and nurtured in the UK), has a hard time practising and presenting her [Kathak] art in her birth-country of Pakistan".

While most scholars consider Kathak as an ancient art, some such as Margaret Walker suggest the modern Kathak is a 20th-century phenomenon, more a form of cultural revival, if one relies on the music-related Indian documents.

Repertoire

A modern Kathak, in all three major sub-traditions called Lucknow, Benares and Jaipur styles (gharana), states Bruno Nettl, consist of three main sections - the invocation, one pure (abstract) dance recital and one expressive dance.

The invocation (vandana) consists of the dancer coming to stage and offering respect to his or her guru and the musicians on the stage. If the team is from the Hindu tradition, the dancer(s) combine facial expressions and hand gestures (mudra) to invoke Hindu gods and goddesses; while a Muslim performance replace the devotional expressions with a salami (salutation).

The pure dance is called a nritta, while the expressive dance is called a nritya. A Kathak performance can be solo, duo or team. In a technical performance, the speed and energy the dancers exchange with the audience increases in multiples, that is the tempo doubles or quadruples. During the performance, one or more of the Kathak artists may come to the microphone, interact with the audience, explain something, tell an anecdote in a particular language, or rhythmically recite a song.

The costumes of the dancer and the facial cosmetics between a Hindu or Muslim Kathak dance troupe varies. The stage typically is bare with no distracting background, states Williams, with musicians seated on rugs downstage right (audience's left), and if it is a Hindu performance there is an image of dancing Shiva (Nataraja) or a Ganesha on the stage's left with flowers and perfumed incense burning.

Pure dance (Nritta)
The nritta  performance starts off with a thàth sequence, which is a slower graceful movement of wrists, neck and eyebrows. Thereafter, the dancer gradually increases speed and energy, while completing a sequence of bol (mnemonic syllables in Indian tradition). Each bol has short sections, similar to technical exercises in western dance traditions, wherein the dancer engages the audience with tora, tukra, parhant, paran and others stressing footwork, gestures and turns. Each section when completed has a punctuation mark, usually a sharp turn of the head. Each ankle is adorned with small bells (ghungroo), which may have just one bell or hundreds. The dancer's rapid movements and footwork in a nritta is perfectly timed to the musical beats (tala) and tempos, and the footwork sequences are called tatkars.

Most of the Nritta performance is abstract, fast and rhythmic aspect of Kathak. In a Kathak nritta, as with all classical Indian  dance forms, the viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern. It aims to engage the senses (prakriti) of the audience.

Expressive dance (Nritya)

Nritya is slower and expressive aspect of Kathak that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a nritya, the dance expands to include words, musical notes and gestures to articulate a legend or message, it is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.

The expressiveness of Kathak is also found in other classical dances of India. Its roots are found in the Natyashastra text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being. The Natya connects through abhinaya (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein asserts Natyashastra, the actors communicate to the audience, through song and music. Drama in this ancient Sanskrit text, thus is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness. According to Massey, another important ancient text that has influenced Kathak is the Abhinaya Darpanam of Nandikeshvara (~2nd century CE).

In Kathak, abhinaya is in the form of expressive gestures and pantomime set to music that usually outline a legend or the plot of a well known story. The gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the underlying story. In the Hindu texts on dance, the guru and the artists successfully express the spiritual ideas by paying attention to four aspects of a performance: Angik (gestures and body language), Vachik (song, recitation, music and rhythm), Aharya (costume, make up, jewelry), and Satvik (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates). A Kathak nritya performance, however grants flexibility to the artists and invites improvisation, and it may not be accompanied with a song or recital about the legend. The stories in Kathak performance generally tend to be about the Hindu god Krishna (or in some cases Shiva or Devi), and the stories come from sources such as the Bhagavata Purana, or the Indian Epics. This form of expressiveness is also found in thumri and Persian ghazals.

Costumes
The costumes vary among Kathak performers, and find their sources in either Hindu or Muslim culture.

The Hindu costume for female dancers has two variations.One is based on a Sari, but is worn in a style different from the customary style that goes over the left shoulder. A Kathak artist generally wraps the sari around the waist and it hangs down from the left. A blouse called choli covers the upper body. The artist may wear a scarf (called orhni in some places). Hair, face, ear, neck, hand, wrist and ankle jewellery, typically of gold, may adorn the artist. A tika or bindi in the middle of forehead is common.  The second variation of a Hindu Kathak dancer uses a long, full (just above the ankle), light-weight skirt usually with embroidered border that helps highlight the dance motion. The skirt is contrasted with a different color choli, and a transparent scarf typically drapes over it and the dancer's head. Jewelry is typically present in the second variation.

The Muslim costume for female dancers also uses a skirt, but includes close fitting churidar pyjamas and sometimes a long coat covering hands and the upper body. The head has a cover scarf and the jewelry is light.

The Hindu costume for male Kathak performers is typically a silk dhoti draped around the waist, and covered with a silk scarf tied over the top. The upper body is usually left bare or with only the Hindu thread, but is sometimes covered with a loose sleeveless jacket. Kathak male artists also wear jewelry, but often of stones and much simpler than the female artists.
The Mughal costume for male Kathak performers is kurta-churidar. The kurta can be a simple one, or cut as an angarkha.  There is also the possibility of adapting the angarkha or kurta for dance to incorporate wider flare in the lower portion. Particularly older variety costumes include the small peaked cap too.

Instruments
The ensemble of musical instruments vary with any Kathak performer, ranging from two to twelve  classical Indian instruments or more in versions with synthetic innovations. The most common instruments that go with Kathak are tabla (a pair of hand drums) that syncs with the dancer's feet rhythms, sarangi or harmonium with manjira (hand cymbals) that meters the tal (cycle), and other instruments to add effect, depth and structure to the expressive stage of a Kathak performance.

Music
The ancient music genre of India, Dhrupad, was re-introduced into Kathak for the first time by India's senior Kathak exponent Mahamahopadhyay Dr. Pandit Puru Dadheech.  He is India's first Kathak dancer to bring back 'Dhrupad' on the formal Kathak stage and this composition in 28 matra. Shankar Pralayankar, his Dhrupad composition, has the unique status of regularly being sung in concerts by 'Dhrupad' maestros the Gundecha Brothers.

Gharanas
Kathak is a diffuse tradition, of which three gharanas (schools) are more well known and studied – Jaipur, Benares and Lucknow. The schools place different relative emphasis between aspects of a Kathak performance such as the acting versus footwork. The Lucknow style, for example, emphasizes acting while Jaipur style emphasizes the dance and footwork. Traditionally, the Jaipur gharana has had a strong spiritual flavor, covering a diverse range of ideas in Vaishnavism and Shaivism.

The Jaipur gharana traces its origins to Bhanuji, a famed Shiva Tandava dancer who upon visiting Vrindavan was inspired and taught Natvari Nritya. Bhanuji's grandons Laluji and Kanhuji were similarly inspired by Krishna. They returned to Jaipur, and together they began the Jaipur gharana of Kathak. The Jaipur style developed under the sponsorship of Rajput rulers, and they favored the Kathak dance with Hindu religious themes. In the modern era, this school has continued their emphasis on dance and footwork with Jai Lal, Janki Prasad, Kundan Lal, Mohan Lal and Nawal Kishore. This school is best known for its systematic innovations in rhythmic dancing, and the use of dance movement to express a story.

The Lucknow gharana of Kathak dance attributes its origins to a rural Krishna devotee named Ishwari from the village in southeast Uttar Pradesh, who aimed to develop Kathak dance as a form of loving devotion to Krishna. This school thrived after the Mughal Empire collapsed, when Kathak artists moved from Delhi to Lucknow under the sponsorship of Avadh nawabs who favored court dance culture. In the modern era, the Lucknow gharana style influences the dance school in New Delhi with Shambu Maharaj, Birju Maharaj and Lacchu Maharaj. Kathak choreography there has developed themes beyond Krishna-Radha, such as those based on the drama works of Kalidasa's Shiva-Parvati and Bhavabhuti's Malati-Madhav. This school has also attempted a Hindu-Muslim Kathak fusion style, highlighting the court dancers theme.

The Benares gharana is the third major style, traditionally believed to be the oldest. Its history is unclear. According to Kothari, the school started with Janakiprasad from a village near Bikaner who resettled in Varanasi, but one whose ancestors were famed dancers and musicians. Janakiprasad was a dancer and a Sanskrit scholar, and credited with inventing the bols of Kathak, which are mnemonic syllables within the language of this classical dance of India.

According to Nicole Lehmann, modern Kathak dancers show, to varying degrees, a fusion of the styles from all three gharanas.

Relationship with other art forms
The north Indian Kathak dance differs from the south Indian Bharatanatyam in several ways, even though both have roots in the Hindu text Natya Shastra. Kathak expressions – particularly in Hindu devotional styles – are more introverted and withdrawn, while Bharatanatyam is more extroverted and expansive. Kathak is normally performed in a standing form with legs and torso typically straight, while Bharatanatyam extensively utilizes bent knee form (ara mandi, half sitting position that is somewhat similar to Demi Plié ballet move).

Kathak is also different from Kathakali, though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathakali emerged in the southwestern region of India (modern Kerala), and is distinctive in its elaborate codified colorful makeup, masks and costumes. Kathakali traditionally has been troupes of predominantly male actor-dancers, who dress up as hero, heroines, gods, goddesses, demons, demonesses, priests, animals and daily life characters. Both dance forms employ elaborate footwork, choreography and hand gestures, but Kathakali integrates south Indian martial arts movements such as leaps and jumps. Both dance forms trace their roots to classical Sanskrit texts, but Kathakali has relatively more recent origins, more closely follows the Hastha Lakshanadeepika text and began flourishing in the 16th century. While each has a different musical and dance language, both deploy a host of similar traditional Indian musical instruments.

According to Miriam Phillips, the Indian Kathak and the Spanish Flamenco dance share many visual, rhythmic and kinesthetic similarities.

Gallery

See also
 List of Kathak exponents

Notes

References

Bibliography

, Table of Contents

 Kothari, Sunil (1989) Kathak: Indian Classical Dance Art, Abhinav Publications, New Delhi.
 Kippen, James and Bel, Andreine Lucknow Kathak Dance, Bansuri, Volume 13, 1996
 Pt. Birju Maharaj (2002) Ang Kavya : Nomenclature for Hand Movements and Feet Positions in Kathak, New Delhi, Har-Anand, photographs, .
 Bharti Gupta (2004) Kathak Sagar, New Delhi, Radha Pub.,
 Sushil Kumar Saxena (2006) Swinging Syllables Aesthetics of Kathak Dance, New Delhi, Hope India Publications,
 Shivvangini Classes Shiva Mathur(Lucknow Kathak Dance)
 Dr. Puru Dadheech Kathak Nritya Shiksha, Bindu Publications, Indore, MP, India
 Narayan, Shovana (2004) Kathak, Wisdom Tree,

External links

Courtesans and Choreographers: The (Re) Placement of Women in the History of Kathak Dance, Margaret Walker (2010)
Becoming the Floor/Breaking the Floor: Experiencing the Kathak-Flamenco Connection, Mariam Phillips (2013)
Ganesh Vandana, Meghranjani Medhi, Section 1: Invocation of a three part Kathak dance
A Kathak performance, Shinjini Kulkarni, Aarohan (2015)

Culture of Awadh
Culture of Uttar Pradesh
Classical dance genres of India
Dances of Pakistan

Kathak


ගණිතයේ දී ඔප්පු කිරීම මගින් අදහස් වන්නේ යම් ගණිතමය ප්‍රකාශනයක් ආදර්ශනය කිරීම තුළින් එය ගණිත පසුබිමේ ඇති යම් යම් තත්වයනට අනුකූලව සත්‍ය වන බව පෙන්වීමයි. එහිදී ඔප්පු කිරීම යනු අනුභවික නොවන තාර්කික කටයුත්තකි. ඔප්පු කිරීමකදී එම ගණිතමය ප්‍රකාශනය එය ආදර්ශනය කරන සෑම විටම එක අවස්ථාවක නොඇර එය සත්‍ය විය යුතුය. ඔප්පු නොවන ප්‍රශ්තුතයක් (proposition) සැම විටම ඌනණයක් (conjecture) ලෙස හැඳින්වේ.

ඔප්පු කිරීමට තාර්කික බව ඇතුළත් වුවද එයට උභයාර්ථය ගෙන දීමට සැමවිටම ස්වාභාවික භාෂාව (natural language) මිශ්‍ර වීමක් ද වේ. ගණිතයේ ලියවී ඇති ඔප්පු කිරීම් වලින් වැඩි ප්‍රමාණයක් සාමාන්‍ය තර්ක ශාත්‍රිය ඔප්පු කිරීම් වේ. ඇත්ත වශයෙන්ම විධිමත් ඔප්පු කිරීම් සාධනය කිරීමේ සිද්ධාන්තවලට අයත් වේ. විධිමත් ඔප්පු කිරීම් හා සාමාන්‍ය ඔප්පු කිරීම් අතර පවතින වෙනස තුලින් නූතන හා පැරණි ගණිතයේ ගණිතමය ව්‍යවහාරයන්, ගණිතයේ අර්ධ අනුභූතිවාදය (quasi-empiricism) හා ජන ගණිතයයැයි කියාගන්නා අංශ පිළිබද පර්යේෂණ වර්ධනය වී ඇත. ගණිතමය දර්ශනය සත්‍යය වී ඇත්තේ භාෂාවේ හා ඔප්පු කළ තර්කයන්වල කොටසක් වශයෙනි.  එසේම ගණිතයද භාෂාවක් වේ.

සාමාන්‍යයෙන් අවධානය නොලැබෙන කරුණක් නම්, ඔප්පු කිරීමේදී ලැබෙන පිළිතුර සිද්ධාන්තයන්ට අනුකූලව සත්‍ය විය යුතුවේ. තවද අවසාන පේලියේ දී සම්පුර්ණයෙන්ම සරල වූ පිළිතුරක් තිබිය යුතුවේ. තවද ප්‍රකාශනයේ මුල සිට ඔප්පු කිරීමෙන් පසුව තව තවත් ප්‍රකාශන ඔප්පු කිරීමට එම ඔප්පු කල සිද්ධාන්තය යොදා ගත හැක. ඔප්පු කිරීම තැනින් තැනට පනිමින් සිද්ධාන්ත යොදමින් (stepping stone) ඔප්පු කර නම් එය උප සාධ්‍ය (lemma) ගණය‍ට වැටේ. ප්‍රත්‍යක්ෂයන් ඔප්පු කිරීමට අවශ්‍ය නොවන නැතිනම් අනවශ්‍ය ප්‍රකාශයන් වන අතර එය ගණිතයේදී ඉතා ප්‍රාථමික දර්ශනයක් වේ. වර්තමානයේ වඩාත්ම අවධානය ඇත්තේ ව්‍යවහාරයේ යෙ‍දෙන ගණිතය (practice) පිළිබඳවයි.

සාධනය
ගණිතය

ගණිතමය ඔප්පු කිරීම්


Michel Côté, né le  à Petit-Saguenay et mort le  à Québec , est un homme politique et enseignant québécois, député de La Peltrie à l'Assemblée nationale du Québec sous la bannière du Parti québécois de 1994 jusqu'aux élections de 2003, pendant lesquelles il ne s'est présenté.

Biographie

Jeunesse
Michel Côté naît à Petit-Saguenay le  d'Alfred Côté, un agriculteur, et de Marie-Jeanne Houde.

Il termine ses cours classiques au Séminaire de Chicoutimi en 1958 et reçoit plus tard une formation professionnelle en relations industrielles.

Côté est consultant pour l'Association des industries forestières du Québec de 1967 à 1978, avant de devenir directeur de formation chez REXFOR de 1978 à 1993. Entre 1985 et 1992, il est président de la Commission de normalisation des équipements de protection individuelle, puis de Degesys jusqu'en 1994. Il est l'un des fondateurs de la Société des conseillers en sécurité industrielle du Québec.

Carrière politique
Il est élu dans la circonscription de La Peltrie en 1994, et est réélu en 1998. Il ne se présente pas aux élections de 2003.

Membre du gouvernement majoritaire, il est vice-président de la Commission de l'administration publique entre 1997 et 1998. De 1999 à 2001, il est adjoint parlementaire au ministre délégué à l'Administration et à la Fonction publique Jacques Léonard, puis est whip adjoint de 2001 à .

Après la vie politique
En , Michel Côté rejoint Medial, pour laquelle il est délégué commercial.

En 2009, il est membre du comité organisateur du Congrès international Québec-France.

Il meurt le  à Québec à l'âge de 85 ans.

Résultats électoraux

Notes et références

Voir aussi

Articles connexes
  du Québec
  du Québec
 La Peltrie

Liens externes

Député du Parti québécois à l'Assemblée nationale
Député de la 35e législature de l'Assemblée nationale du Québec
Député de la 36e législature de l'Assemblée nationale du Québec
Naissance en août 1937
Naissance au Québec
Décès en mars 2023
Décès à Québec (ville)
Décès à 85 ans

Michel Côté (homme politique, 1937)


El churrín de Bahía (Eleoscytalopus psychopompus) es una especie de ave paseriforme de la familia Rhinocryptidae endémica de una pequeña región de mata atlántica del estado de Bahía en Brasil. Anteriormente se clasificaba dentro del género Scytalopus, pero tras una investigación que lo situaba genéticamente más próximo al género Merulaxis lo emplazaron junto a su pariente cercano el churrín pechiblanco en un género aparte.

Distribución y hábitat
Es endémica de tierras bajas de los bosques del Atlántico, en Bahía. Hasta hace poco, existía el temor de que estuviera extinto, pero ha sido redescubierto en un área restringida, entre los 15 y 200 , entre el río Jequitinhonha y el río Jequiriça. Ahora se conoce que se encuentra en los municipios de Ilhéus, Maraú, Taperoá, Valença.

Descripción
Mide 11,5 cm de longitud. El plumaje de las partes superiores es gris pizarra; área loreal, mejillas, garganta y partes inferiores blancas; flancos con tinte azulado; grupa, crísum, lados del vientre y escapulares con matices de color rufo canela. El pico es negruzco con base blancuzca en la mandíbula. Las patas son rosadas. Se parece al churrín pechiblanco, pero con poco o ningún barrado en los flancos. Sua áreas no se sobreponen.

Vocalización
El canto es bien parecido al churrin pechiblanco, un trinado gutural, «r-r-r-r-r-r-r-r-r-ro», algunas veces sin ser ascendendente al final, pareciendo una rana.

Estado de conservación
El churrín de Bahía ha sido calificado como amenazada de extinción por la Unión Internacional para la Conservación de la Naturaleza (IUCN), debido a que su muy pequeña población total, estimada entre 70 y 400 individuos, se considera que continúa decayendo debido a la pérdida de hábitat y a su degradación. Anteriormente se pensaba que existía en una zona muy pequeña, sin embargo ha sido recientemente registrada en otras cuatro municipalidades y en hábitats modificados. Debido a estos registros ha sido movida de críticamente amenazada para el estado actual.

Amenazas
La destrucción del bosque atlántico costero en Bahía, al sur de Salvador, ha sido extensa, y solo permanecen pequeños fragmentos, totalizando alrededor de 10% de la extensión original de bosques en la región.

Acciones de conservación
La especie ocurre en algunas áreas protegidas, como la Reserva ecológica de Michelin y la reserva ecológica de Una.

Sistemática

Descripción original
La especie E. psychopompus fue descrita por primera vez por los ornitólogos brasileños Dante Luiz Martins Teixeira y Nei Eni Demas Carnevalli,  en 1989 bajo el nombre científico Scytalopus psychopompus; localidad tipo «cerca de Valença, 45 m, Bahía, Brasil».

Taxonomía
Es monotípica. Algunos autores sugieren que esta especie sería apenas una subespecie de Eleoscytalopus indigoticus, sin embargo, los argumentos de Mata et al., 2009 refuerzan el rango de especie, sobre la base de la distancia genética.

Referencias

Enlaces externos

 Videos, fotos y sonidos de Eleoscytalopus psychopompus en eBird.
 Sonidos y mapa de distribución de Eleoscytalopus psychopompus en xeno-canto.
 Fotos y sonidos de Eleoscytalopus psychopompus en Wikiaves.

Aves endémicas de Brasil
psychopompus
Animales descritos en 1989
Taxones descritos por Dante Luiz Martins Teixeira

Eleoscytalopus psychopompus


Hugo Weczerka () a fost un istoric german originar din Bucovina.

În anul 1954 a publicat primul studiu despre germanii din Bucovina. În mai 1956 a obținut doctoratul în filosofie la Universitatea din Hamburg, cu tema "Germanitatea medievală și modernă timpurie în Principatul Moldovei, de la începuturile sale până la declinul său (secolele XIII - XVII)". Din anul 1963 a devenit membru corespondent, iar din 1974 membru titular al Consiliului de Cercetare "Johann Gottfried Herder".

Începând cu anul 1967 a lucrat la Institutul Herder din Marburg, având ca domeniu de cercetare istoria și geografia istorică. În anul 1969 a devenit editor al revistei Zeitschrift für Ostmitteleuropa-Forschung (ZfO), iar din 1969 până în 1982 a fost redactor-șef al acesteia. I-a succedat lui Roderich Schmidt în funcția de director al Institutului Herder, din aprilie 1990 până la pensionarea sa, în anul 1995. A fost membru al Comisiei istorice pentru Silezia.

Timp de mulți ani a fost membru corespondent al Consiliului de administrație al Institutului pentru Istorie Urbană Comparată (IStG) din cadrul Westfälische Wilhelms-Universität Münster (WWU) din Münster.

Scrieri (listă incompletă)
 Die Deutschen im Buchenland, în: Der Göttinger Arbeitskreis Schriftenreihe. Heft 51, Holzner Verlag, Würzburg 1954.
 Herkunft und Volkszugehörigkeit der Lemberger Neubürger im 15. Jahrhundert (mit 2 Karten), în: Zeitschrift für Ostmitteleuropa-Forschung. Heft 1–4, Marsberg 1955, S. 506–530.
 coautor Heinz Stoob: Die Ausbreitung der abendländischen Stadt im östlichen Mitteleuropa 1301–1800, în: Atlas östliches Mitteleuropa. Velhagen & Klasing, Bielefeld 1959.
 Das mittelalterliche und frühneuzeitliche Deutschtum im Fürstentum Moldau von seinen Anfängen bis zu seinem Untergang 13.–17. Jahrhundert. 1955 (teză de doctorat, Facultatea de Filosofie, Universitatea Hamburg, Hamburg 4 mai 1956) → Ediție nouă în: Buchreihe der Südostdeutschen Historischen Kommission. Band 4, Oldenbourg, München 1960.
 Siedlungsgeschichte des Bukowiner Deutschtums, în: Franz Lang (Hrsg.): Buchenland. Hundertfünfzig Jahre Deutschtum in der Bukowina (= Veröffentlichungen des süddeutschen Kulturwerks. Heft 16, München 1961), S. 23–41.
 Putzger-Wandkarten. Polen im 20. Jahrhundert. Die Teilung Polens 1772–1795. Band 116, Velhagen & Klasing, Bielefeld 1961.
 coautor Friedrich Bruns: Hansische Handelsstrassen:
 Teil 1. Atlas. Böhlau Verlag, Köln-Graz 1962.
 Teil 2. Textband. Böhlau Verlag, Köln-Graz, 1967.
 coautori Evamaria Engel și Ilse Bongardt: Teil 3. Registerband. Böhlau Verlag, Weimar 1968.
 coautor Paul Johansen: Rossica externa. Studien zum 15.–17. Jahrhundert. Festgabe für Paul Johansen zum 60. Geburtstag. N. G. Elwert Verlag, Marburg 1963, ISBN 3-7708-0205-5.
 Herike, Goswin von, în: Neue Deutsche Biographie (NDB). Band 8, Duncker & Humblot, Berlin 1969, ISBN 3-428-00189-3, S. 616 f. (Digitalisat).
 Prof. Dr. Herbert Schlenger †, în: Mitteilungen der Südosteuropa-Gesellschaft. Nr. 1/2, 9 (1969), S. 26–28.
 Rumänien (bis 1945), în: Literaturberichte über Neuerscheinungen zur außerdeutschen Geschichte. Band 5., Oldenbourg, München 1973, S. 324–420.
 Literaturbericht über die Geschichte Rumäniens bis 1945. Veröffentlichungen 1944–1970, în: Historische Zeitschrift, 1973, S. 325–420.
 Stadt- und Marktgründungen und Stadtabgänge in Schlesien 1450–1800, în: Zeitschrift für Ostforschung. Band 23; 1974, S. 193–260.
 în calitate de coordonator: Schlesien. (= Handbuch der historischen Stätten: Schlesien). Alfred Kröner, Stuttgart 1977 (= Kröners Taschenausgabe. Band 316), ISBN 3-520-31601-3; 2. Reeditare în anul 2003.
 Verzeichnis der Veröffentlichungen Walter Kuhns 1923–1978, în: Zeitschrift für Ostforschung. 27, 1978, S. 532–554.
 Die Herkunft der Studierenden des Jüdisch-Theologischen Seminars zu Breslau 1854–1938, în: Zeitschrift für Ostforschung. 35 (1986), S. 88–138.
 Stadtmappe Breslau – Deutscher Städteatlas. GSV Größchen Städteatlas, Altenbeken 1987, ISBN 3-89115-035-0.
 coautor Heinz Stoob: Stadtmappe Goldberg – Deutscher Städteatlas. GSV Größchen Städteatlas, Altenbeken 1987, ISBN 3-89115-004-0.
 Die Residenzen der schlesischen Piasten, în: Hans Patze, Werner Paravicini (Hrsg.): Fürstliche Residenzen im spätmittelalterlichen Europa. Thorbecke, Sigmaringen 1991, ISBN 3-7995-6636-8, S. 311–347.
 Stände und Landesherrschaft in Ostmitteleuropa in der frühen Neuzeit. Verlag Herder-Institut, Marburg 1995, ISBN 3-87969-237-8.
 Juden in Schlesien. Ein Literaturbericht, în: Zeitschrift für Ostforschung. 47 (1998), S. 70–81.
 Aspekte der Zusammenarbeit in der Ostmitteleuropa-Forschung. Tagung des Herder-Instituts und des J. G. Herder-Forschungsrates am 22./23. Februar 1994. Band 1, VIII, Marburg 1996, ISBN 3-87969-243-2.
 coautor Hans Lemberg: Die Arbeit des Forschungsverbundes Ostmitteleuropa in den Jahren 1990–1996. Herder-Institut, Marburg 1996.
 Czernowitz. Städtebauliche Entwicklung in österreichischer Zeit. Traditionsverband Katholischer Czernowitzer Pännaler (Hrsg.), Innsbruck 2000.
 Schlesiens zentrale Orte. Kontinuität und Wandel vom Mittelalter bis zur Mitte des 20. Jahrhunderts, în: Jahrbuch der Schlesischen Friedrich-Wilhelms-Universität zu Breslau. Band 49 (2008/2009), S. 33–61.
 Die "Francisco-Josephina" in Czernowitz. Eine Universität am Ostrand der Habsburgermonarchie, în: Victoria Popovici, Wolfgang Dahmen, Johannes Kramer (Hrsg.): Gelebte Multikulturalität. Czernowitz und die Bukowina. Peter Lang, Frankfurt am Main 2010, ISBN 978-3-631-56484-4, S. 67–85.
 Paul Johansen (1901–1965), Hanse- und Osteuropahistoriker. Bemerkungen zu einer neuen Publikation. In: Hansische Geschichtsblätter. Band 130 (2012), S. 211–223.

Note

Nașteri în 1930
Oameni din județul Suceava
Istorici germani
Istorici români
Decese în 2021
Germani bucovineni
Români expatriați în Germania

Hugo Weczerka


Atwater may refer to:

Places
 Atwater, California, a city in Merced County, California
 Atwater Village, Los Angeles, a neighborhood of the city of Los Angeles in Los Angeles County, California
 Atwater, Georgia
 Atwater, Illinois
 Atwater, Minnesota
 Atwater Township, Portage County, Ohio
 Atwater (CDP), Ohio, a census-designated place in the township
 Atwater, Saskatchewan, a village in Saskatchewan, Canada
 Atwater, Wisconsin

People with the surname
 Ann Atwater (1935–2016), American civil rights activist
 Barry Atwater (1918–1978), American actor
 Caleb Atwater (1778–1867), American politician, historian, and early archaeologist
 Dorence Atwater (1845–1910), American civil war soldier known for keeping the "Atwater List" of Union fatalities
 Edwin Atwater (1808–1874), municipal alderman in Montreal for the district of Saint-Antoine
 Harry Atwater (born 1960), professor of physics at California Institute of Technology
 Helen W. Atwater (1876–1947), American author, home economist and editor
 Isaac Atwater (1818–1906), American jurist
 Jeff Atwater (born 1958), American politician
 Jeremiah Atwater (born 1773), American educator, minister, and President of Middlebury College
 John Atwater (died 1499), Irish politician
 Lee Atwater (1951–1991), American Republican political strategist
 Mary Meigs Atwater (1878-1956), American handweaver, author, founder of the Shuttle-craft Guild
 Reuben Atwater (1768–1831), American politician
 Richard M. Atwater (1844–1922), American chemist
 Richard and Florence Atwater (1892–1948; 1899–1979), authors of the children's book Mr. Popper's Penguins
 Steve Atwater (born 1966), former Denver Broncos and New York Jets Free Safety
 Tanya Atwater (born 1942), professor of geological sciences at the University of California, Santa Barbara who specializes in plate tectonics
 Tony Atwater, president of Indiana University of Pennsylvania
 Wilbur Olin Atwater (1844–1907), American developer of the respiration calorimeter
 William Atwater (curator) (born 1945), Director of the U.S. Army Ordnance Museum in Maryland

Other
 Atwater (Montreal Metro), a station on the Green Line of the Montreal Metro
 Atwater Avenue, a street in Montreal
 Atwater Library of the Mechanics' Institute of Montreal, an independent library in Montreal operated by the Mechanics' Institute of Montreal
 Atwater Market, a public market in Montreal
 Atwater v. City of Lago Vista, a United States Supreme Court case
 United States Penitentiary, Atwater, a prison near Atwater, California
 The Atwater system for calculating the energy content of food (named after Wilbur Olin Atwater)

See also
Attwater, a surname

Atwater


Premariacco (furlanisch Premariâs) ist eine nordostitalienische Gemeinde (comune) mit  Einwohnern (Stand ) in der Region Friaul-Julisch Venetien. Die Gemeinde liegt etwa 12 Kilometer östlich von Udine am Natisone.

Persönlichkeiten
 Paulinus II. von Aquileia (730/740–802), Patriarch von Aquileia

Verkehr
Die östliche Gemeindegrenze bildet die frühere Strada Statale 356 di Cividale (heute eine Regionalstraße) von Magnano in Riviera nach Cormòns. Beim Ortsteil San Mauro befindet sich ein kleiner Flugplatz (Aviosuperficie) für die Allgemeine Luftfahrt.

Einzelnachweise

Weblinks

Ort in Friaul-Julisch Venetien
Ort im Einzugsgebiet Natisone
Julische Alpen

Weinbauort in Italien

Premariacco


الشيخ تركي بن علي بن نجرس بن علي بن حسين بن نصر الله، أمير قبائل الثلث. من قبيلة العقيدات الزبيدية الطائية.

نسبه
ولد الشيخ تركي بك النجرس في مدينة العشارة في محافظة دير الزور عام 1875 لآل النجرس من قبيلة العقيدات، والده الشيخ علي النجرس.

حياته
قضى طفولته الأولى في كنف والده وتشرب منه ومن اخوته الأخلاق العربية الاصيلة، التحق بمدرسة العشائر في استانبول في تركيا والتي انشاها السلطان عبد الحميد لأبناء شيوخ العشائر والقبائل العربية، تزوج من ابنة عمه الروح بنت الشيخ حسين النجرس وقد انجبت له الشيوخ النوري وعلي وهاشم الملقب بالنشمي أمّا النوري فله بنتان وعلي فله خمسة أولاد وهم الشيوخ (حسين وحاچم وجلال وتركي وأحمد وله خمس بنات)، أما هاشم فله بنت واحدة وهي الأميرة فاطمه النجرس زوجة الأمير مساعد بن عبد العزيز آل سعود وأم الأمير الشاعر  عبد الرحمن بن مساعد، ولتركي بك ثلاث بنات هن نورة وعليا وفاطمة وهو جد الشيخ فيصل النجرس من جهة امه.

حياته العسكرية
التحق بالكلية الحربية ويتخرج ظابطا برتبة غول اغاسي وبلقب بك أي سنجق بكي زعيم لواء في الجيش العثماني واتقن عدة لغات منها الفرنسية والتركية والإنكليزية وقد قلده السلطان عبد الحميد نيشان شجاعة واقدام على إثر إحدى الحملات العسكرية ثم عين في منطقة حلب ثم في مناطق حمص وحماة وكانت تربطه أواصر الصداقة والاخوة مع شيوخ القبائل في البادية السورية مثل النوري بن شعلان وبرجس بن هديب وراكان المرشد ومجحم بن مهيد ودهام الهادي الجربا وصداقة مع سلطان باشا الاطرش رحمهم الله جميعاً.

مشيخته

عاد إلى دير الزور لخدمة اهله وخدمة قبائله حيث تولى المشيخة بعد وفاة اخيه عبد الكريم النجرس عام 1917 وكان له الدور الأكبر والرئيسي بين الشيوخ في الدفاع عن مصالح القبيلة وتلبية حاجات افرادها لدرجة أن السلطات العثمانية لم تجند أبناء قبائل الثلث في حياة تركي بك تكريماً له وإجلالا لقدره لقد وهب البيك وقته وحياته لخدمة الناس وتقضية حاجاتهم وقد شكل إدارة محلية في العشارة بعد انسحاب الاتراك عام 1918 من المنطقة، وكان الرقم الصعب في وجه المستعمر الفرنسي فقد كان أحد أبرز قادة الكتلة الوطنية في دير الزور مع كل من محمد بك العايش والشيخ محمد سعيد العرفي ومحمد الفتيح وكانوا قادة الكتلة الوطنية بوجه المستعمر البغيض وكان أهل دير الزور يهتفون في تظاهراتهم ضد المستعمر:

كان له كونه المثقف الوحيد بمنطقته اراء خاصة حول التعامل والنضال والجهاد ضد المستعمر الفرنسي والإنكليزي وما مساعدته لرمضان باشا الشلاش في حركته وامداده بالمال والسلاح ومساعدته للضابط فايز غصين والمجاهد فوزي القاوقجي الا أكبر دليل على وطنية تركي بك وأبو النوري أول نائب للعقيدات في مجلس النواب وكان عضوا في مجلس النواب السوري من عام 1923 إلى عام 1949 دون انقطاع وكان له الدور الأكبر بانقاذ رؤساء القبائل السورية من المندوب السامي الفرنسي عندما طلب منهم بنات للجيش الفرنسي إثر أجتماع تم في بيروت فما كان من البيك إلا أن انتفض وخرج رافعا مسدسه والشيوخ خلفه إذ كان شجاعا مقداما لا يهاب الموت وكان من ابطال الاستقلال بعد انسحاب الفرنسيين حيث شكل حكومة وطنية في العشارة لضبط الأمن وحماية السكان ونجح في ذلك حتى قدوم الحكومة الوطنية وما يزال تركي بك المثل والقدوة لكل الشيوخ من بعده فكان حامل بيرق الثلث والنجرس بجدارة منقطعة النظير.

الوفاة
توفي في عام 1949م ودفن في مقبرة النجرس في العشارة وخلفه بالمشيخة ابنه الشيخ النوري لكنه توفي بعد والده بفترة قصيرة فخلفه الشيخ علي بن تركي بيك النجرس أبو حسين.

انظر أيضًا

مراجع

تاريخ سوريا
صفحات تحتاج تصنيف سنة الوفاة
مسلمون سنة سوريون
مواليد 1875
مواليد في دير الزور
وفيات القرن 20
وفيات في دير الزور

تركي النجرس


Vulpicida ist eine Gattung von Flechten aus der Familie Parmeliaceae.

Beschreibung

Die Arten der Gattung Vulpicida besitzen blättrige bis strauchige, gelbe bis gelbgrüne Lager. Die gelbe Farbe wird durch die stark giftige Vulpinsäure im Mark hervorgerufen. Unterseits sind die Flechten blass gelblich mit spärlichen Rhizinen. Die Fruchtkörper (Apothecien) haben eine braune Scheibe mit Lagerrand und werden bei sorediösen Arten nur selten ausgebildet. Die einzelligen, farblosen Sporen sind ellipsoid bis fast kugelig mit einem Durchmesser von 4 bis 6 µm, jeweils zu 8 im Ascus. Die Rinde enthält Usninsäure. Der Tholus zeigt gegenüber verwandten Gattungen eine starke amyloide Reaktion. Auch die Asci unterscheiden sich in ihrer Form von verwandten Gattungen. Photobionten sind Trebouxia-artige Algen.

Ökologie und Verbreitung
Die Arten der Gattung Vulpicida treten zirkumpolar von der arktischen bis zur gemäßigten Zone in der nördlichen Hemisphäre auf.

Systematik und Etymologie

Die Gattung Vulpicida wurde 1993 von Mattson und Lai von der Gattung Cetraria abgetrennt. Das lateinische Wort vulpes bedeutet Fuchs, -cida bedeutet Mörder, also vulpicida= Fuchsmörder. Nach Fries wurden in Schweden diese Flechten zum Vergiften von Füchsen verwendet.

Die Gattung Vulpicida umfasst die folgenden sechs Arten, von denen drei Arten auch in Mitteleuropa vorkommen:

 Vulpicida juniperinus: Typusart, wurde bereits 1753 von Linné beschrieben. Ohne Soredien, auf Rinde, selten auf Erde, Vorkommen: Skandinavien und subalpine Gebiete von Mittel- und Südeuropa
 Vulpicida canadensis: ohne Soredien, auf Rinde, Vorkommen: Westliches Nordamerika
 Vulpicida pinastri: sorediös, vornehmlich auf Rinde, zirkumpolar verbreitet.
 Vulpicida tilesii: ohne Soredien, auf kalkreichen Untergrund, Vorkommen: Nordamerika
 Vulpicida tubulosus: ohne Soredien, auf Kalk in Skandinavien und subalpinen Gebieten von Mittel- und Südeuropa.
 Vulpicida viridis: Vorkommen: Östliches Nordamerika

Quellen

Literatur
 J.-E. Mattsson und M.-J. Lai: Vulpicida, a new genus in Parmeliaceae (Lichenized Ascomycetes). Mycotaxon 46: 425–428, 1993. Publikation
 V. Wirth: Die Flechten Baden-Württembergs, Teil 2. Ulmer, Stuttgart 1995, ISBN 3-8001-3325-3

Weblinks

Flechte
Lecanoromyceten
Lecanoromycetes

Vulpicida


Das Schloss Yverdon () ist eine Burg in der Schweiz, die auf dem Gebiet der Waadtländer Gemeinde Yverdon-les-Bains liegt.

Geschichte
Die Burg wurde von 1260 bis 1270 auf Befehl von Peter II. durch Jacques de Saint-Georges errichtet, mit dem Ziel, die Stadt zu beschützen. Die Burg wurde anfangs von den savoyischen Feudalherren bewohnt, nach der Eroberung durch die Berner 1536 von den Amtmännern, die von Bern eingesetzt wurden.

Nachdem das Waadtland 1803 ein eigenständiger Kanton wurde, kaufte die Stadt Yverdon die Burg, damit Johann Heinrich Pestalozzi, der schon ein renommierter Pädagoge war, dort seine Schule einrichten konnte. In der Folge diente das Schloss von 1838 bis 1974 als Schule.

Die Burg beherbergt ausserdem seit 1830 das Musée d'Yverdon et Région. Heutzutage dient es auch den Wechselausstellungen des Schweizer Modemuseums. Die Burg ist im Inventar der Kulturgüter von nationaler Bedeutung eingetragen.

Galerie

Siehe auch
 Liste der Kulturgüter in Yverdon-les-Bains

Weblinks

 Website des Museums
 Burgenwelt: Château d'Yverdon
 Château d'Yverdon (französisch) auf swisscastles.ch

Einzelnachweise

Burg im Kanton Waadt
Yverdon-les-Bains
Kulturgut von nationaler Bedeutung im Kanton Waadt
Yverdon

Schloss Yverdon


Ben Waters (* 1976) ist ein britischer Boogie-, Blues- und Jazz-Pianist.

Karriere
Ben Waters hat eine eigene Band, ein Trio bestehend aus Waters (Klavier, Gesang), Richard Hymas (E-Bass, Gesang) und Ady Milward (Schlagzeug, Gesang), zuweilen ergänzt um Saxophonisten, Blechbläser und andere Gastmusiker.

2009 gründete er mit Pianist Axel Zwingenberger, Rolling-Stones-Schlagzeuger Charlie Watts und Kontrabassist Dave Green die Band The ABC&D of Boogie Woogie. Die vier Musiker gingen seitdem auf mehrere Tourneen in Europa.

2011 brachte Waters das Album Boogie 4 Stu – A Tribute to Ian Stewart heraus, mit dem er eines seiner Vorbilder, den Pianisten Ian Stewart, würdigte. An dem Album wirkten unter anderem Charlie Watts, Dave Green, Jools Holland, PJ Harvey, Bill Wyman, Ron Wood, Keith Richards und Mick Jagger mit. Das Stück Watching the river flow ist die erste Neuaufnahme seit Bill Wymans Austritt aus den Rolling Stones, in der er mit den Mitgliedern der Band zusammen zu hören ist.

Diskografie Als Leader
 1994: Take It Home – mit Dave Hatfield
 1995: High Pressure – mit John Waters, Pete Thomas, Bob Tinker, Smudge Smith, Chris Lonergan, Mark Brian, Julian Rout
 1998: Is This Wembley? – The Ben Waters Band (Ben Waters, Chris Page, Chris Lonergan, Smudge Smith), mit Chas Dickie
 2001: Going Nowhere Fast – mit Rock Bottom
 2002: Shakin' in the Makin' – mit Jools Holland, Sam Kelly, Ady Milward, Chris Lonergan, Dave Swift, Derek Nash, Mark Smith, Colin John, Roger Bastable
 2008: Hurricane – mit Richard Hymas, Ady Milward, Clive Ashley, Derek Nash, Chris Lonergan, Ed Deane
 2011: Boogie 4 Stu: A Tribute to Ian Stewart – mit Charlie Watts, Jools Holland, Dave Green, PJ Harvey, Bill Wyman, Ron Wood, Keith Richards, Mick Jagger u. a.
 2012: Live In Paris - Mit The ABC & D Of Boogie Woogie
 2013: Live In London
 2018: Live In Melbourne
 2020: Back To Boogie

Weblinks

 Website von Ben Waters

Einzelnachweise

Pianist
Boogie-Woogie-Pianist
Brite
Geboren 1976
Mann

Ben Waters


Gomphidius  glutinosus (Jacob Christian Schäffer, 1774 ex Elias Magnus Fries, 1838), din încrengătura Basidiomycota, în familia Gomphidiaceae și de genul Gomphidius este o ciupercă comestibilă, denumită în popor bălușca molidului. Ea coabitează, fiind un simbiont micoriza, formând prin urmare micorize pe rădăcinile arborilor. Buretele se dezvoltă în România, Basarabia și Bucovina de Nord solitară, deseori și în grupuri, prin  păduri de conifere în special pe mușchi și cu preferință pe lângă molizi tineri, deseori la margini și cărări de pădure, de la deal (peste 300 m) la munte, începând în iulie, până în noiembrie.

Descriere

 Pălăria: are un diametru între 5 și 12 cm, este cărnoasă, pentru mult timp boltită semisferic cu marginile răsucite spre interior, apoi convexă, la bătrânețe aplatizată și la mijloc adâncită, dezvoltând câteodată un gurgui central, puțin proeminent. Cuticula, care se poate decojii foarte ușor, este netedă și  golașă, acoperită în tinerețe de o mâzgă transparentă foarte groasă care se trage peste margine și lamele până la baza piciorului, arătând o cortină pal liliacee, formată din fibre foarte fine ca păienjeniș între marginea pălăriei și picior. Coloritul este la început brun-violet sau gri-purpuriu, după dispariția mucului mai mult roșu ca carnea, mai târziu cu pete negricioase care de asemenea apar după apăsare în scurt timp.
 Lamelele: sunt ceroase, distanțate, late, înalte și cărnoase, arcuite, mult decurente în lungul piciorului și numai puțin bifurcate precum ușor separabile, fiind inițial albicioase și devenind treptat gri ca funinginea.
 Piciorul: are o înălțime de 6-12 cm și o lățime de 1,5-2,5 cm, este cilindric, plin, fibros, nu rar îngroșat spre bază și acolo vâscos. El posedă o zonă inelară. Culoarea este albă în partea superioară și de un galben strălucitor în partea inferioară.
 Carnea: este groasă, moale, în picior fragilă, aproape niciodată atacată de viermi și de culoare albă (sub cuticulă brună), fiind în domeniul bazei de un galben înfocat. Ea nu se decolorează după tăiere. Mirosul este aproape imperceptibil, gustul plăcut și dulceag. Cuticula trebuie să fie îndepărtată imediat după cules.
 Caracteristici microscopice: are spori lunguieți-fusiformi, negru-cenușii, cu o mărime de 18-22 x 6-8 microni.
 Reacții chimice: Cuticula buretelui se decolorează cu Hidroxid de amoniu violet, iar carnea purpuriu, buretele cu Hidroxid de potasiu violet, cu lugol (o soluție de  iod cu iodură de potasiu) albastru și cu  violet.

Confuzii
Chroogomphus helveticus sin. Gomphidius helveticus, comestibil (ceva mai mic, ciupercă galben-portocalie până la roșu de vin, cuticulă solzoasă, fibroasă, uscată dar tare unsuroasă la umezeală, se dezvoltă de asemenea sub molizi, dar și sub zâmbrii), Chroogomphus rutilus sin. Gomphidius viscidus, comestibil (ceva mai mic, cuticulă uscată, dar tare unsuroasă la umezeală și mai roșiatică, crește sub pini), Gomphidius gracilis, comestibil, (ceva mai mic, colorit rozaliu, cuticulă unsuroasă, se dezvoltă sub larici), Gomphidius maculatus, comestibil (ceva mai mic, colorit de vin roșu deseori cu pete brun-negricioase, acoperit în tinerețe de o mâzgă de culoarea chihlimbarului, crește sub larici de munte), Gomphidius roseus, comestibil, (ceva mai mic, colorit roz-roșiatic, cuticulă lucioasă, maximal unsuroasă, nu mucoasă, crește sub pini),

De sus, buretele poate fi confundat și cu Suillus grevillei, comestibil (are tuburi, pori precum în tinerețe o manșetă largă, galben roșiatic până brun-roșiatic, crește sub larici) sau cu Suillus luteus, comestibil (și el are tuburi și pori precum o manșetă largă, se dezvoltă sub pini) precum Suillus viscidus comestibil, (se dezvoltă sub larici).

Posibilă este de asemenea confuzia cu necomestibilul Lactarius rufus, fatală cea cu mortalul Paxillus involutus.

Specii asemănătoare

Valorificare
Nefiind o ciuperca apreciata culinar, există numai puține rețete specifice acestei specii, ca de exemplu bălușce fierte într-o salată de carne de vită din bot sau cerul gurii (pusă în saramură, fiartă, tăiată felii subțiri) cu măsline verzi în vinegretă sau prăjite și servite într-un sos de Hasmațuchi. Astfel se recomandă de a folosi specia în mâncăruri unde nu ciuperca este ingredientul de bază a cărei savoare să fie scoasă în evidență.

Un aspect ar trebuie fi luat în considerație: Gomphidius glutinosus concentrează cesiu-137 radioactiv la niveluri de peste 10.000 de ori față de nivelurile de fond, pricinuit de faptul că creste pe mușchi (dispersat în mediu prin contaminare radioactivă, în urma accidentului nuclear de la Cernobîl). Bureți care nu se culeg de pe mușchi sunt inofensivi.

Note

Bibliografie
 Bruno Cetto: "I funghi dal vero", vol. 1-7, Editura Arte Grafiche Saturnia, Trento 1976-1993 (pentru cercetarea în total)
 Marcel Bon: "Pareys Buch der Pilze", Editura Kosmos, Halberstadt 2012, ISBN 978-3-440-13447-4
 Rose Marie și Sabine Maria Dähncke: "Pilze", Editura Silva, Zürich 1986
 Rose Marie Dähncke: "1200 Pilze in Farbfotos", Editura AT Verlag, Aarau 2004, ISBN 3-8289-1619-8
 Ewald Gerhard: "Der große BLV Pilzführer" (cu 1200 de specii descrise și 1000 fotografii), Editura BLV Buchverlag GmbH & Co. KG, ediția a 9-a, München 2018, ISBN 978-3-8354-1839-4
 Jean-Louis Lamaison & Jean-Marie Polese: "Der große Pilzatlas", Editura Tandem Verlag GmbH, Potsdam 2012, ISBN 978-3-8427-0483-1
 Hans E. Laux: "Der große Pilzführer, Editura Kosmos, Halberstadt 2001, ISBN 978-3-440-14530-2
 Till E. Lohmeyer & Ute Künkele: "Pilze – bestimmen und sammeln", Editura Parragon Books Ltd., Bath 2014, ISBN 978-1-4454-8404-4
 Meinhard Michael Moser: " Röhrlinge und Blätterpilze - Kleine Kryptogamenflora Mitteleuropas", ediția a 5-ea, vol. 2, Editura Gustav Fischer, Stuttgart 1983

Legături externe

 Bălușca molidului, film

Gomphidius
Micoriză
Ciuperci comestibile
1774 în știință

Gomphidius glutinosus


An Telipogon esperanzae in uska species han Liliopsida nga ginhulagway ni Pedro Ortiz Valdivieso. An Telipogon esperanzae in nahilalakip ha genus nga Telipogon, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Telipogon

Telipogon esperanzae


Maria Saka-Răcilă () este un artist plastic din Republica Moldova.

A absolvit în 1961 Școala Republicană de Arte plastice "Ilia Repin" din Chișinău.

Opera

Ateliere, tabere de creație, simpozioane
S-a remarcat prin participarea la ateliere, tabere de creație și simpozioane:
 Tabăra de creație, Dzintari, Letonia - 1971
 Simpozion "Tapiserie contemporană", Dzintari, Letonia - 1974
 Simpozion "Minitapiserie", Ungaria - 1982
 Simpozion "Minitapiserie", Dzintari, Letonia - 1984

Expoziții
A participat la mai multe expoziții colective de-a lungul timpului atât în Republica Moldova în perioada 1962-2001 cât și în restul lumii: Federația Rusă, Bulgaria, Franța, România, Suedia, SUA, Japonia, Cipru. A avut prima expoziție personală în iulie 2016.

Lucrări

 Romeo și Julieta, 1990, lână, bumbac, 220x150;
 Masca, 1990, lână, bumbac, 220x150;
 Doina, 1990, lână, bumbac, 220x150;
 Vodă, 1990, lână, bumbac, 220x150;
 Pasăre neagră, 1993, lână, bumbac;
 Cataclism, 1998, lână, bumbac.

Premii și distincții
De-a lungul unei cariere de peste 50 de ani, a câștigat premii importante:
 Premiul II la expoziția "Tineretul Țării", Moscova, Federația Rusă - 1976;
 Maestru Emerit al Artei din RSSM - 1987;
 Medalia "Meritul Civic", Republica Moldova - 1996;
 Premiul de Stat al Republicii Moldova - 1997;
 Premiul Național - 1998.

Note

Nașteri în 1941
Artiști plastici moldoveni
Femei din Republica Moldova
Oameni în viață

Maria Saka-Răcilă


Lelluri (also spelled Lilluri, Liluri) was a Hurrian goddess worshiped in southeastern Anatolia and northern Syria. She was associated with mountains, and in known sources appears in connection with the god Manuzi.

Character
Lelluri most likely originated in the Nur Mountains, and her name ends with the Hurrian suffix -luri, known also from the theonyms Upelluri (a primordial giant from the Kumarbi Cycle), and Impaluri (sukkal of the sea god), as well as a number of Hurrian mountain and stone names. Assyriologist Beate Pongratz-Leisten regards her as a deity "associated with Hurrian identity."
Volkert Haas describes Lelluri as "lady of the mountains" ("die Herrin der Gebirge").

She was closely linked with Manuzi, a god associated with both the weather and mountains. She was likely his partner, and that they shared a temple in Kummani.

A lexical text from Emar indicates that she was understood as analogous to the Mesopotamian goddess Ninmena.

Worship
According to Volkert Haas, Lelluri was worshiped chiefly in the proximity of Nur Mountains and Orontes River in the west and as far east as the middle of the Euphrates. In Kizzuwatna she was celebrated during the hišuwa festival, whose purpose was to guarantee the wellbeing of the king and his family. Among the other deities present in texts pertaining to it are "Teshub Manuzi" (weather god of [Mt.] Manuzi) Ishara, Allani, Maliya and two hyposthases of Nupatik. During the festival, the formula "Lelluri has achieved her heart's desire" had to be recited aloud after pouring an offering for her into a rhyton. A so-called ambašši offering to her consisted out of a lamb, a goose, a sheep and a loaf of bread.

Like the so-called "Syrian substrate" deities (Ishara, Kubaba, Aštabi, Adamma), Hebat and Šarruma Lelluri was also incorporated into Hittite religion. King Ḫattušili I mentions her (alongside Allatum, the storm god of Aleppo, and the mountain gods Adalur and Amaruk) among the deities whose statues he brought to Hatti as war booty. However, the exact location of the city of Haššuwa from which she was brought remains unknown.

References

Bibliography

Mountain goddesses
Hurrian deities
Hittite deities

Lelluri


An Paepalanthus polytrichoides in uska species han Liliopsida nga ginhulagway ni Carl Sigismund Kunth. An Paepalanthus polytrichoides in nahilalakip ha genus nga Paepalanthus, ngan familia nga Eriocaulaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Paepalanthus

Paepalanthus polytrichoides


Tutmose fue chaty durante la última parte del reinado de Ramsés II, faraón de la dinastía XIX.

Tutmose fue nombrado chaty alrededor del año 45 de Ramsés. La escasez de testimonios sobre él encontrados apunta a una corta duración en el cargo. Es mencionado en la tumba de Rahotep II en Sedment, lo que parece indicar que su actuación como chatys o es simultánea o que fue el sucesor. Tutmose también es conocido por un ostracon encontrado en el Valle de los Reyes de Tebas. Esta ubicación podría indicar que fue chaty en el Alto Egipto, el sur.

Referencias

Chatys de Egipto
Dinastía XIX
Ramsés II
Antiguos egipcios del siglo XIII a. C.

Tutmose (chaty)


Erika est un film dramatique italien réalisé par Filippo Walter Ratti avec Pierre Brice, Patrizia Viotti et Carla Mancini.

Le film est tourné dans les studios Elios à Rome et dans les environs de Faleria dans le Latium. Il est tourné simultanément avec Les Nuits sexuelles, en utilisant les mêmes décors. La direction artistique est assurée par Elio Balletti.

Synopsis
Une jeune Suédoise à l'esprit libre arrive pour séjourner dans une famille aristocratique en Sicile, provoquant le désordre dans leur vie.

Fiche technique
Titre français : Erika ou Chevauchées perverses ou L'Amour d'une Suédoise en Italie
Titre original : Erika ou
Réalisation : Filippo Walter Ratti
Scénario :	Aldo Marcovecchio
Maison de production :	King Film Productions, Primax Film
Distribution en italien : Indipendenti Regionali
Photographie : Girolamo La Rosa
Musique :Roberto Pregadio
Décors : Elio Balletti
Pays de production :
Langue originale : italien
Genre : Drame érotique,  giallo
Durée : 86 min
Date de sortie :
 Italie :
 France :

Distribution
 Pierre Brice : Renato Laurana
 Patrizia Viotti : d'Erika
 Giuseppe Fortis : baron Giovanni Laurana
 Carla Mancini : Concettina
 Bernard De Vries : Luca Laurana
 Antonio Anelli : Padre Gaetano
 Franca Haas
 Irio Fantini
 Carla Calò

Notes et références

Bibliographie
 .

Liens externes

Film avec une musique composée par Roberto Pregadio
Film se déroulant en Sicile
Film érotique italien
Film érotique des années 1970
Giallo
Film dramatique italien
Film italien sorti en 1971
Film en italien

Erika (film)


Die SAP Open 2012 war ein Tennisturnier, welches vom 13. bis zum 19. Februar 2012 in San José stattfand. Es wurde in der Halle auf Hartplatz ausgetragen. In der gleichen Woche wurden in Rotterdam das ABN AMRO World Tennis Tournament sowie in São Paulo die Brasil Open gespielt. Letztere zählen genau wie die SAP Open zur Kategorie ATP World Tour 250, während das ABN AMRO World Tennis Tournament zur Kategorie ATP World Tour 500 gehört.

Im Einzel konnte Milos Raonic aus Kanada seinen Vorjahrestitel durch einen Finalsieg gegen den Usbeken Denis Istomin erfolgreich verteidigen. Dies war der sein zweiter ATP-Titel im Jahr 2012 und der insgesamt dritte seiner Karriere. Istomin hingegen wartet nach seinem zweiten Finale weiterhin auf seinen ersten Titel. Für eine kleine Überraschung sorgte der Bulgare Dimitar Kutrowski, der als Qualifikant in seinem ersten ATP-Turnier – auch aufgrund einer glücklichen Auslosung – sogleich das Viertelfinale erreichte. Im Mai 2012 gab die ATP allerdings bekannt, dass bei Kutrowski die verbotene Substanz Methylhexanamin festgestellt worden war, die er laut eigener Aussage durch das Nahrungsergänzungsmittel Jack3D zu sich genommen hatte. Kutrowski wurde daraufhin für zwei Jahre gesperrt.

Im Doppel traten Scott Lipsky und Rajeev Ram zur Titelverteidigung an und erreichten das Halbfinale. Der Turniersieg ging an Mark Knowles und Xavier Malisse, die sich im Finale gegen Kevin Anderson und Frank Moser durchsetzten. Dies war ihr zweiter gemeinsamer ATP-Titel, der erste im Jahr 2012. Knowles hatte im Laufe seiner Karriere 53 Titel mit anderen Partnern gewonnen, Malisse derer fünf. Anderson und Moser hingegen verpassten es, ihren jeweils ersten Doppeltitel zu gewinnen.

Das Teilnehmerfeld der Einzelkonkurrenz bestand aus 28 Spielern, jenes der Doppelkonkurrenz aus 16 Paaren. Die vier topgesetzten Spieler im Einzel bekamen jeweils ein Freilos in die zweite Runde.

Qualifikation
Die Qualifikation fand vom 11. bis 13. Februar 2012 statt. Ausgespielt wurden vier Qualifikantenplätze, die zur Teilnahme am Hauptfeld des Turniers berechtigten. Hinzu kam ein Lucky Loser.

Folgende Spieler hatten die Qualifikation überstanden und spielten im Hauptfeld des Turniers:

Einzel

Setzliste

Ergebnisse

Doppel

Setzliste

Ergebnisse

Einzelnachweise

Weblinks und Quellen
 Offizielle Homepage des Turniers

Turnier der ATP World Tour 2012
Tennisturnier in San José (Kalifornien)

SAP Open 2012


An Holcus annuus in uska species han Liliopsida nga ginhulagway ni Philipp Salzmann ngan Carl Anton von Meyer. An Holcus annuus in nahilalakip ha genus nga Holcus, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Holcus

Holcus annuus


Gualtiero Busato, né le  à Civitavecchia, est un sculpteur franco-italien, spécialisé dans le bronze.

Biographie
Gualtiero Busato naît pendant la Seconde Guerre mondiale à Civitavecchia, commune italienne bordant la mer Tyrrhénienne, à proximité de Rome. En 1949, sa famille déménage à Paris, en France. Son père est artiste sculpteur et l'initie aux techniques de la fonte à la cire perdue.

Gualtiero Busato fonde et préside l'Exposition internationale du petit bronze et la Triennale européenne de sculpture de Paris. Il est exposé en 1972 à la Galerie d'art moderne de Milan, en 1974 au musée d'Art moderne de Paris et au palais de la Méditerranée de Nice et en 1987 au musée de la monnaie de Paris.

Le 26 mai 2004, il est élu correspondant de la section sculpture à l'Académie des beaux-arts de l'Institut de France.

Œuvres remarquables

 Les Messagers, station de métro Saint-Germain-des-Prés, 1983, Paris
 La Fontaine du dialogue, bronze patiné, 1989, square Vivaldi, La Défense, Puteaux
 Fontaine du Messager, 1993, Angers
 Fontaine du dialogue, 1994, Angers

Prix

 Prix de la sculpture, Fondation Simone et Cino Del Duca, 2001

Notes et références

Liens externes

Naissance en avril 1941
Naissance à Civitavecchia
Sculpteur italien du XXe siècle

Gualtiero Busato


Mork Station (Mork stasjon) var en jernbanestation på Urskog–Hølandsbanen, der lå i Sørum kommune i Norge.

Stationen åbnede 16. november 1896, da den første del af banen fra Bingsfoss til Bjørkelangen blev taget i brug. Den blev nedgraderet til holdeplads i 1957 eller 1958. Den blev nedlagt sammen med banen 1. juli 1960.

Stationsbygningen blev opført i 1896 efter tegninger af Günther Schüssler. I 1989 blev den flyttet til Fossum Station og taget i brug af veteranbanen mellem Sørumsand og Fossum. Toiletbygningen fra Mork er også flyttet til Fossum. Sporene i Mork er taget op.

Litteratur

Eksterne henvisninger

 Forvaltningsplan for Urskog-Hølandsbanen
 Mork Station hos Jernbane.net

Stationer på Urskog-Hølandsbanen
Nedlagte jernbanestationer i Norge
Etableret i 1896
Ophørt i 1960

Mork Station


Neviano degli Arduini ist eine italienische Gemeinde (comune) mit  Einwohnern (Stand ) in der Provinz Parma in der Emilia-Romagna. Die Gemeinde liegt etwa 24 Kilometer südlich von Parma und grenzt an die Provinz Reggio Emilia. Im Südwesten der Gemeinde bildet der Parma die Grenze, im Osten die Enza.

Gemeindepartnerschaften
Neviano degli Arduini unterhält eine Partnerschaft mit der französischen Gemeinde Tarascon im Département Bouches-du-Rhône.

Weblinks

Einzelnachweise

Ort in der Emilia-Romagna
Weinbauort in Italien

Neviano degli Arduini


Pavle Ivić (Beograd, 1. prosinca 1924. – Beograd, 19. rujna 1999.) bio je srpski filolog, dijalektolog i fonolog, jezikoslovac i redoviti član SANU.

Životopis
Pavle Ivić znanstvenik je s međunarodnom reputacijom i najpoznatiji srpski jezikoslovac druge polovice dvadesetog stoljeća. Otac mu je bio povjesničar Aleksa Ivić, supruga jezikoslovka Milka Ivić, a sin matematičar Aleksandar Ivić.

Bio je redovni profesor na Sveučilištu u Novom Sadu i na Sveučilištu u Beogradu. Bavio se, osim dijalektologijom srpskog i hrvatskog jezika, primarno štokavskim narječjem, poviješću srpskoga jezika, paleografijom srpskih i hrvatskih ćirilskih povelja, jezičnim savjetništvom.

Tijekom nekoliko desetljeća je surađivao i polemizirao s hrvatskim jezikoslovcima, napose Dragutinom Ragužem, Stjepanom Babićem, Radoslavom Katičićem  i Daliborom Brozovićem s kojim je objavio dijalektološku knjigu "Jezik, srpskohrvatski/hrvatskosrpski, hrvatski ili srpski".

Politička stajališta
Do kraja 1960-ih godina imao je umjerene stavove o srpsko-hrvatskim odnosima, tada postupno prihvaća unitaristička i za Domovinskog rata velikosrpska shvaćanja, ali ih pod konac 1990-ih revidira.

Članstva
Godine 1973. postao je počasni član Američke akademije znanosti i umjetnosti, a iste godine počasni član Američkog lingvističkog društva. Nosi počasni doktorat Sveučilišta Columbus State (Ohio, SAD).
Bio je član srpske, američke, norveške, slovenske, austrijske, makedonske i ruske akademije znanosti.
Bio je član Matice srpske, Vukove zadužbine, Srpske književne zadruge, Udruženja književnika Srbije i Društva srpsko-židovskog prijateljstva.

Bibliografija
 Ivić, Pavle, Dijalektologija srpskohrvatskog jezika: Uvod i štokavsko narečje (1. izd.), Novi Sad: Matica srpska, 1956.
 Ivić, Pavle, Srpski narod i njegov jezik (1. izd.), Beograd: Srpska književna zadruga, 1971.
 Ivić, Pavle; Brozović, Dalibor, Jezik srpskohrvatski/hrvatskosrpski, hrvatski ili srpski, Jugoslavenski leksikografski zavod "Miroslav Krleža", Zagreb, 1988.
 Ivić, Pavle, O jeziku nekadašnjem i sadašnjem, Beograd : Beogradski izdavačko-grafički zavod ; Priština: Jedinstvo. 1990. ISBN 978-86-13-00399-1.
 Ivić, Pavle, O slovenskim jezicima i dijalektima, Niš: Prosveta, 1991.
 Ivić, Pavle, Iz istorije srpskohrvatskog jezika, Niš: Prosveta, 1991.
 Ivić, Pavle, Iz srpskohrvatske dijalektologije, Niš: Prosveta, 1991.

Izvori

Akademici SANU
Srbijanski jezikoslovci
Srbijanski filolozi
Životopisi, Beograd

Pavle Ivić


Ellen R. Malcolm  (born February 2, 1947) is an American activist with a long career in American politics, particularly in political fundraising.  She founded EMILY's List in 1985 and served as its president until 2010.

Early life
Malcolm's great-grandfather is A. Ward Ford, an IBM founder.

Malcolm grew up in Montclair, New Jersey, the daughter of parents who met while working in the sales department at IBM. After her father died when she was 8 months old, she became the heir to an IBM fortune, which she was to inherit at age 21. Malcolm attended Montclair Kimberley Academy, graduating in the class of 1965. Upon entering Hollins College, an all women's school, in 1965 Malcolm says she was "apolitical" and didn't even realize the country was at war. She went to work for the campaign of Eugene McCarthy in 1968. McCarthy was a democratic and anti-war senator for the state of Minnesota. After he won the popular vote in the Democratic presidential primary, Malcolm was eager to become more involved in politics. Malcolm cites the Vietnam War, the assassination of Martin Luther King Jr. and the riots that followed, the assassination of Robert Kennedy and the counterculture of the 60's as the factors that led to her political awakening. Though both of her parents, and much of her community was Republican, Malcolm says the turmoil of the time was shocking, and she felt compelled to help make a change. In the summer of 1968 she began volunteering at the Manpower Development Program in Newark. After graduating from Hollins College in 1969, she worked for Common Cause in the 1970s.

Political activism
Malcolm began working for Common Cause in the very early stages of the organization. She was charged with overseeing a number of volunteers who were putting pressure on representatives to end the Vietnam War. Malcolm credits her time at Common Cause with teaching her the "nuts and bolts" of campaigning.

Malcolm became the press secretary of the National Women's Political Caucus after leaving Common Cause. Through her work at the NWPC, she came to know Lael Stegall, the development director for the organization. Stegall expressed her interest to advise wealthy philanthropic women on where to direct their money. Malcolm, inheriting her fortune at age 21, was just such a woman. Malcolm's interest in giving money to worthy non-profits conflicted with her desire to advance her career based on her own merit, rather than her deep pockets. With Stegall as the executive director, together they started the Windom Fund in 1980.

After leaving the NWPC in 1979, Malcolm found work as the press secretary for Esther Peterson, who was then the special assistant for consumer affairs for the Carter administration. Malcolm cites both Peterson and Millie Jeffries, the head of the NWPC, as major influences on her political beliefs.

In 1982, Malcolm became involved with the campaign of Harriet Woods, a Democratic woman running for a spot in the US Senate. Woods lost the seat due to running out of funds a few weeks before the election, causing her television ads to lose air time. Because of her involvement in the campaign, Malcolm discovered that not a single woman had been elected to the US Senate, instead they had all been appointed. Malcolm identified the main cause of this to be insufficient funds for women's campaigns.

In 1983, Malcolm hosted a breakfast for a small number of women that she knew were interested in political activism.  Together, they identified a clear goal: use early funds or seed money to elect a woman to the US Senate.  This was the beginning of EMILY's List (Early Money Is Like Yeast), which Malcolm founded in 1985. EMILY's list effectively set up a donor network composed mostly of women who, in exchange for their money, got information about whom to vote for from people they knew had similar interests to themselves. These interests were clear: elect pro-choice democratic women to public office.

In 2007, she served as co-chair of Hillary Clinton's election campaign, and in 2010 she was appointed to the National Park Foundation Board of Directors.

Malcolm served as president of America Coming Together from 2003 to 2004.

Malcolm is Chair Emerita of the board of EMILY's list, former Chair of the National Partnership for Women and Families, and a former member of the Board of Directors for the National Park Foundation.

Book

Malcolm, along with Craig Unger, wrote When Women Win: EMILY's List and the Rise of Women in American Politics, published in 2016.

Accolades
She was named one of the Women of the Year by Glamour (1992), one of America's most influential women by Vanity Fair (1998), one of the 100 Most Important Women in America by Ladies' Home Journal (1999), one of Time magazine's 50 Women Who Made American Political History (2017), and Most Valuable Player by the American Association of Political Consultants, and given the Margaret Sanger Award by the Planned Parenthood Federation of America.

References

External links

1947 births
American feminists
American abortion-rights activists
Hollins University alumni
American women writers
George Washington University School of Business alumni
Living people
Montclair Kimberley Academy alumni
New Jersey Democrats
People from Montclair, New Jersey
Writers from New Jersey

Ellen Malcolm


نظرية النمط أو التنويع  في الرياضيات، المنطق والمعلوماتية هي أي نظام شكلي بإمكانه القيام مكان نظرية المجموعات البسيطة، أو دراسة التشكيل بشكل عام، وهي أيضاً منهج لبناء المنطق الصوري توضع بواسطته تفرقة بين الموضوعات ذات المستويات المختلفة (الأنماط)، ويهدف هذا المنهج إلى استبعاد المفارقات أو التناقضات من المنطق ونظرية الأعداد وكان أرنست شرودر أول من وضع نظرية الأنماط، وطبقها على منطق الفئات (1890)، وفي الأعوام 1908 - 1910 بنى برتراند راسل نسقاً تفصيلياً من نظرية الأنماط وطبقة على أساس التفرقة (طبقاً للأنماط)بين :
 الافراد (نمط 1)
 الصفات (نمط 2)
 صفات الصفات (نمط 3)

وكذلك أدخل راسل تقسيم الأنماط إلى رتب، وليست نظرية النمط سوى واحدة من المناهج لإزالة التناقضات في الأساس الرياضي القائم على نظرية التعدد والمنطق الصوري وصاغ بيرتراند راسل نظرية النمط وكان ذلك بسبب اكتشافه تعارضا paradoxon في نظرية المجموعات البسيطة سمية بمفارقة راسل.

تعريف النمط: هو أساس تكرار قيمة، إما بالشكل أو بالأرقام.

مراجع

تراتبية

نظرية النمط


කොතන්දරාම නටේස අයියර් හෝ එස්.කේ. නටේස අයියර්  (1887 - 1947 නොවැම්බර් 7) ශ්‍රී ලාංකික මාධ්‍යවේදියෙක්, වෘත්තීය සමිති නායකයෙක් සහ ඉන්දියානු දෙමළ සම්භවයක් ඇති දේශපාලනඥයෙක් වූ අතර, 1930 ගණන්වල මුල් භාගයේදී වතුකරයේ කම්කරු ව්‍යාපාරයේ පුරෝගාමියා විය.

ළමා අවධිය
නටේස අයියර් යනු මදුරාසි නගරයේ ලිපිකරුවෙකු ලෙස තම මුල් ජීවිතය ගත කළ තන්ජාවුර්හි දෙමළ බ්‍රාහ්මණයෙකි . 1920 දී, ලංකා ජාතික කොංග්‍රසයේ අරුණාචලම් සහ ඊ.වී. රත්නම් යන අයට අයත් දේසනේසන් යන ලංකා දෙමළ පුවත්පතක් සංස්කරණය කිරීම සඳහා ලංකාවට සංක්‍රමණය විය.

දේශපාලන කටයුතු
නටේස අයියර් ලංකා කම්කරු සංගමයට බැඳුණු අතර වැඩි කල් නොගොස් එහි උප සභාපති බවට පත්විය. ඔහු ලංකා ව්‍යවස්ථාදායක සභාවට තේරී පත් වූ අතර එහි සාමාජිකයෙකු ලෙසද කටයුතු කළේය. කෙසේ වෙතත්, වැඩි කල් නොගොස්, ලංකා කම්කරු සංගමයේ දෙමළ සහ ලංකා සාමාජිකයින් අතර ආරවුල් ඇති විය සහ සංගමයේ සභාපති ඒ.ඊ. ගුණසිංහ, රටේ සියලුම රෝග සඳහා ඉන්දියානු දෙමළ ජාතිකයින්ට චෝදනා කළේය. ගුණසිංහගේ ආකල්පයට විරෝධය පළ කරමින් නටේස අයියර් පක්ෂයෙන් ඉවත් විය.

ලංකා කම්කරු සංගමයෙන් ඉවත් වීමෙන් පසු නටේස අයියර් සමස්ත ලංකා වතු කම්කරු සම්මේලනය ආරම්භ කළ අතර "The Indian Estate Labourer" නමින් ඉංග්‍රීසි භාෂා සඟරාවක් ආරම්භ කළේය.

1936 දී, නටේස අයියර් හැටන් සභා බල ප්‍රදේශයෙන් ලංකා රාජ්‍ය මන්ත්‍රණ සභාවට තේරී පත් වූ අතර 1936 සිට 1947 දක්වා මන්ත්‍රීවරයෙකු ලෙස සේවය කළේය. ඔහු කවුන්සිලයට පත් වූ ඉන්දීය දෙමළ ප්‍රජාවේ පළමු සාමාජිකයා විය.

යොමු කිරීම්

බාහිර සබැඳි

 ඉන්දියාව/පකිස්ථානය ඒෂියා ටයිම්ස්
 Malayaga Tamilarin Aanma Natesa Iyer - R.Kurinjivendan විසිනි http://www.dinamani.com/edition/story.aspx? SectionName=දෙමළ%20Mani&artid=154736&SectionID=179&MainSectionID=179
1947 මරණ
1887 උපත්

කේ. නටේස අයියර්


Ferenc Bessenyei () a fost un actor maghiar, dublu laureat al premiului Kossuth, distins cu titlurile de actor emerit, maestru al artei și actor al națiunii.

Biografie
În 1940 și-a început cariera de actor la Teatrul orașului Szeged, apoi s-a transferat în 1942 la Teatrul Național din Miskolc, în 1944 la Teatrul Național din Budapesta, apoi în mai multe locuri (Teatrul Regal, Teatrul de Comedie, Teatrul din Hódmezővásárhely, Teatrul Maghiar) și apoi din nou la Miskolc. A jucat un sezon la Szeged, apoi la Teatrul Național din Pécs. A făcut parte din trupa Teatrului Național din Budapesta în perioadele 1950-1963, 1967-1973 și 1980-2000, precum și din trupa Teatrului Madách în perioadele 1963-1967 și 1973-1980. Începând din 2000 a fost membru al Teatrului Maghiar. S-a pensionat în 1981 și a mai jucat doar ca actor invitat până în 1997, după care s-a retras pentru a trăi în liniște în satul Lajosmizse. A fost activ, a mers la teatru, a acceptat onoruri, a dat interviuri la televiziune (ultima dată pe 7 decembrie 2004). A murit în casa lui. A fost înmormântat în cimitirul Farkasréti din Budapesta.

A fost protagonist în aproape 80 de filme și nenumărate emisiuni TV. Personalitatea sa elegantă, interpretările viguroase și umorul său au făcut să i se încredințeze roluri de eroi clasici atât pe scenă, cât și în film.

Soția sa Eszter B. Élthes a scris o carte intitulată Férjem, a komédiás, care a fost publicată în noiembrie 2004.

Roluri în piese de teatru

 Peer Gynt (Henrik Ibsen: Peer Gynt)
 Bethlen Gábor (Zsigmond Móricz: Boszorkány)
 Giovanni (Herczeg: Bizánc)
 Flambeau (Rostand: A Sasfiók)
 Svángya (Trenyov: Ljubov Jarovaja)
 Tyetyerev (Gorki: Kispolgárok)
 Tyrone (O'Neil: Hosszú út az éjszakába)
 Claudius (Shakespeare: Hamlet)
 Bánk bán (József Katona: Bánk bán)
 Kossuth (Gyula Illyés: Fáklyaláng)
 Fegya (L. Tosztoj: Élő holttest)
 Görgey (László Németh: Az áruló)
 Hódi professzor (László Németh: Mathiász panzió)
 Colbert (László Németh: Colbert)
 Széchenyi (László Németh: Széchenyi István)
 Ádám (Madách: Az ember tragédiája)
 Szakhmáry Zoltán, előtte Zséllyei Balogh Ábel, majd Csörgheő Csuli (Zsigmond Móricz: Úri muri)
 Háry János (Zoltán Kodály: Háry János)
 Galilei (Bertolt Brecht: Galilei)
 Othello (Shakespeare: Othello)
 Falstaff (Shakespeare: Nevestele vesele din Windsor)
 Astrov (Cehov: Unchiul Vania)
 Dózsa Illyés Gyula Dózsa György című darabjában, majd (Székely: Dózsa György)
 Newton, (Dürrenmatt: Fizicienii)
 Higgins (Lerner-Loewe: My Fair Lady)
 Barney Cashman (Neil Simon: Az utolsó hősszerelmes)
 Tevje (Bock-Stein: Hegedűs a háztetőn)
 Kerekes Ferkó (Kálmán: Csárdáskirálynő)
 Dragomir (Emmerich Kálmán: Marica grófnő)
 Zorba (Kander-Stein: Zorba)
 A pápa (Bethencourt: A nap, amelyen a pápát elrabolták)
 I. Lipót (Weöres: A kétfejű fenevad)
 Kreon (Eörsi: Tragédia magyar nyelven)
 Kleitosz (András Sütő: Szuzai menyegző)
 János mester (Sándor Márai: Kassai polgárok)
 Noszty Pál (Kálmán Mikszáth: A Noszty fiú esete Tóth Marival)
 Matthias Clausen (Hauptmann: Naplemente előtt)
 Bagó (Kacsóh-Heltai: János vitéz)
 II. Fülöp  (Schiller: Don Carlos)
 Kányai (Ede Szigligeti: Liliomfi)
 Galilei (László Németh: Galilei)
 Az Úr (Imre Madách: Tragedia omului)
 Lear király (Shakespeare: Regele Lear)
 Dávid Ferenc (Páskándi: Vendégség)

Filmografie

 1951 Colonia subterană (Gyarmat a föld alatt)
 1951 Ütközet békében
 1951 În plină viteză (Teljes gőzzel)
 1952 Vihar
 1953 Ifjú szívvel
 1953 Föltámadott a tenger I-II.
 1953 A harag napja
 1953 A város alatt
 1953 Kiskrajcár
 1955 Különös ismertetőjel
 1956 Szakadék
 1956 A császár parancsára
 1956 Hannibál tanár úr
 1956 Keserű igazság
 1957 Láz
 1959 Dúvad (o nouă versiune în 1961)
 1959 Kölyök
 1960 Fii bun până la moarte (Légy jó mindhalálig)
 1960 Virrad,
 1960 Az arcnélküli város
 1960 Zápor
 1961 Délibáb minden mennyiségben
 1961 Raze pe gheață (Napfény a jégen)
 1961 Nem ér a nevem
 1961 Alba Regia
 1961 Puskák és galambok
 1962 Isten őszi csillaga
 1962 Fagyosszentek
 1962 Húsz évre egymástól
 1962 Félúton
 1963 Drama Ciocârliei (Pacsirta), regia: László Ranódy
 1964 Fiii omului cu inima de piatră (A kőszívű ember fiai) – generalul Artúr Görgei
 1964 Már nem olyan időket élünk
 1964 Ha egyszer húsz év múlva
 1964 Másfél millió
 1965 Lumină după jaluzele (Fény a redőny mögött)
 1965 Iszony
 1966 Un nabab maghiar (Egy magyar nábob)
 1966 Fügefalevél
 1966 Sok hűség semmiért
 1966 Aranysárkány
 1967 Az özvegy és a százados
 1968 Stelele din Eger (Egri csillagok) I-II.
 1968 Az utolsó kör
 1970 Ítélet
 1970 Szerelmi álmok – Liszt
 1972 Harminckét nevem volt
 1976 Labirintus
 1976 Fedőneve: Lukács
 1976 Talpuk alatt fütyül a szél
 1980 A mérkőzés
 1982 Elveszett illúziók
 1986 Lutra
 1987 Érzékeny búcsú a fejedelemtől

Filme de televiziune
 1960 - Zsuzsi
 1962 - Nő a barakkban
 1963 - Epeiosz-akció, Kreutzer-szonáta, Élektra, Fáklyaláng
 1964 - Hókirálynő
 1965 - A helység kalapácsa
 1966 - Oly korban éltünk 1-5., Rembrandt
 1967 - Malva, A koppányi aga testamentuma
 1969 - Az ember tragédiája, A fejedelem
 1970 - Eklézsia-megkövetés, Valaki a sötétből, A fehér kór, Ágis tragédiája
 1971 - A fekete város 1-8, A képzelt beteg, Egy óra múlva itt vagyok… 1-14.,  Rózsa Sándor 1-12. (a Mesélő volt)
 1972 - Pályakorrekció, A tűz balladája
 1973 - Cserepes Margit házassága, Zrínyi, Velünk kezdődött minden, Az áruló, Trójai nők
 1974 - Elektra, Felelet 1-6, Volpone, Enyém a világ, Intőkönyvem története, Méz a kés hegyén
 1975 - Kapupénz, Széchenyi, Othello, A csodadoktor
 1976 - Beszterce ostroma 1-3, Csongor és Tünde, A szerelem bolondjai, A délibábok hőse, Robog az úthenger 1-6.
 1977 - Galilei, Sir John Falstaff
 1978 - Lear király, Kiálts város!
 1979 - A két Bolyai
 1981 - Nyári zsoltár
 1982 - Különös házasság 1-4.
 1983 - A béke szigete, A nyomozás, Mint oldott kéve 1-7.
 1985 - A nagymama
 1986 - A falu jegyzője 1-4., Csongor és Tünde
 1987 - A másik ember
 1992 - Egy diáktüzér naplója, A templomos lovagok kincse 1-13.
 2000 - Millenniumi mesék
 2001 - Zsaruvér és Csigavér I.: A királyné nyakéke

Memorie

 Pe 15 martie 2012, cu prilejul aniversării a 10 ani de la inaugurarea noii clădiri a Teatrului Național din Budapesta, portretul său a fost reprezentat pe partea dinspre Pesta a podului Rákóczi, alături de portretele celorlalți opt actori ai națiunii.
 A fost amplasată o placă memorială în onoarea sa în piața Corvin.
 În septembrie 2008 a fost amplasată statuia sa în parcul din fața Teatrului Național din Budapesta.
 În 2008 primăria orașului Hódmezővásárhely a fondat Premiul artistic Bessenyei.
 În anul 2012 a fost inaugurat Centrul Cultural Ferenc Bessenyei în Hódmezővásárhely.
 În 2014 publicul a votat ca o lojă de la Teatrul Național să primească numele lui.

Premii și distincții
 Premiul Farkas–Ratkó (1951)
 Premiul Kossuth (1953, 1955)
 Artist emerit (1954)
 Maestru al artei (1970)
 Premiul SZOT (1978)
 Ordinul Muncii (1979)
 Premiul EMeRTon (1988)
 Ordinul Drapelului al Republicii Populare Ungare (1989)
 Membru pe viață al trupei Teatrului Național din Budapesta (1989)
 Crucea Ordinului de Merit al Republicii Ungare (1994)
 Premiul Várszínházér (1994)
 Membru pe viață al Halhatatlanok Társulata (1997)
 Premiul pentru răspândirea moștenirii culturale maghiare (2000)
 Actor al națiunii (2000)
 Premiul pentru Artă Maghiară (2004)
 Cetățean de onoare al orașului Hódmezővásárhely (2004)
 Cetățean de onoare al orașului Lajosmizse (2004)

Note

Bibliografie
 Tarján Tamás: Bessenyei Ferenc (Múzsák Közművelődési Kiadó, Budapest, 1984 ISBN: 963-564-077-3
 A leghitelesebb forrás, mely levéltári kutatásokon alapszik: Bessenyei Ferenc autentikus honlapja: www.bessenyei.hu
 B. Élthes Eszter: Férjem, a Komédiás, 2004

Legături externe
 A Kritikus Tömeg portréja
 Magyarok Vasárnapja, 2005.  I. negyedévi száma
 Bessenyei Ferenc virtuális emlékhelye
 Bessenyei Ferenc Művészeti Díj – felhívás javaslattételre

Nașteri în 1919
Decese în 2004
Actori maghiari

Ferenc Bessenyei


Em geometria, o número de Heesch de uma forma é o número máximo de camadas de cópias da mesma forma geométrica que podem envolvê-la sem sobreposições e sem lacunas. O problema de Heesch é o problema de determinar o conjunto de números que podem ser números de Heesch. Ambos são nomeados em homenagem ao matemático alemão Heinrich Heesch.

Por exemplo, um quadrado pode ser cercado por infinitas camadas de quadrados congruentes no ladrilho quadrado, enquanto um círculo não pode ser cercado nem por uma única camada de círculos congruentes sem deixar algumas lacunas. O número de Heesch do quadrado é infinito e o número de Heesch do círculo é zero.

Notas

Referências
Tesselações

Problema de Heesch


Die Kanadische Badmintonmeisterschaft 1934 fand Anfang März 1934 in Toronto statt.

Finalresultate

Literatur
 The Montreal Gazette, 5. März 1934, S. 16.

1934
Badminton 1934
Badmintonwettbewerb in Toronto

Kanadische Badmintonmeisterschaft 1934


Realitet A er en film instrueret af Mogens Kruse og Robert Jacobsen.

Handling
En jernskulptur af Robert Jacobsen drejer langsomt rundt bag en matplade, vist i negativ og dobbelteksponeret, hvilket giver en dybdevirkning. På lydsiden høres radiosignaler, der som elektronisk blippen skaber en sfærisk stemning.

Referencer

Eksterne henvisninger

Danske film fra 1950

Eksperimentalfilm fra Danmark

Réalité A


Tre tosser er en kortfilm instrueret af Snobar Avani efter manuskript af Snobar Avani.

Handling
Tre venner toner frem i horisontens brændende dis - de er på vej. En grøn skov og en skøn strand ligger foran dem, men to af gutterne gribes af grådighed og efterlader ingen plads til den tredje, som må gå sin vej. De to tilbageblevne begynder straks at konkurrere om, hvem der kan bygge det højeste hus på stranden, og til sidst er alle ressourcer omkring dem ødelagt og inddraget til formålet. Nu sidder de 2 tosser og glor ondt på hinanden og på deres lige høje huse, da de får øje på den tredje. Han har slået sig ned midt i naturen højt oppe på et bjerg og har stiftet en varm og kærlig familie.

Referencer

Eksterne henvisninger

Danske film fra 2014

Dokumentarfilm fra Danmark

Tre tosser


Ein Abschussbecher wird bei einer Schreckschusswaffe zum Verschießen von pyrotechnischen Geschossen (z. B. Signalmunition, Vogelschreck) verwendet.

Einfach-Abschussbecher
Die Form und Größe des Abschussbechers kann von Hersteller zu Hersteller aber auch von Modell zu Modell unterschiedlich sein, doch der Innendurchmesser beträgt bei neueren Modellen meist 15 mm.
Viele Abschussbecher weisen Entlastungsbohrungen auf, um überschüssigen Gasdruck entweichen zu lassen.
Um die Signalmunition verschießen zu können, wird der Abschussbecher in die Mündung der Schreckschusswaffe geschraubt.

Mehrfach-Abschussbecher
Im Handel sind auch Abschussbecher vorhanden, mit denen mehrere pyrotechnische Geschosse abgeschossen werden können. Dafür wird der Mehrfach-Abschussbecher entweder in den Einfach-Abschussbecher gesteckt und dort eingespannt oder mithilfe eines Adapters an den Lauf der Waffe geschraubt.

Mehrfach-Abschussbecher werden grundsätzlich in zwei unterschiedliche Kategorien unterteilt.

 Abschussbecher, bei denen die Geschosse gleichzeitig abgefeuert werden können.
 Abschussbecher, bei denen die pyrotechnischen Geschosse hintereinander abgeschossen werden können.

Einzelnachweise

Pyrotechnik

Abschussbecher