Bootstrap ist ein freies Frontend-CSS-Framework. Es enthält auf HTML und CSS basierende Gestaltungsvorlagen für Typografie, Formulare, Buttons, Tabellen, Grid-Systeme, Navigations- und andere Oberflächengestaltungselemente sowie zusätzliche, optionale JavaScript-Erweiterungen.

Entstehung
Bootstrap ist ursprünglich aus dem Vorhaben entstanden, die internen Analyse- und Verwaltungswerkzeuge von Twitter weiterzuentwickeln. Zu diesem Zeitpunkt wurden in dem Unternehmen unterschiedlichste Bibliotheken für die Oberflächenentwicklung eingesetzt, was zu Inkonsistenz und hohem Wartungsaufwand führte. Um diesen Herausforderungen zu begegnen, wurde der Schwerpunkt des Projekts erweitert:

Dabei spielt laut Aussage von Otto die Idee, Designer und Entwickler zusammenzubringen, eine elementare Rolle bei der Entwicklung: "From whiteboarding ideas to coding rough prototypes, collaborating across disciplines is what made Bootstrap successful for internal use at Twitter.", ("Vom Skizzieren von Ideen bis hin zur Programmierung grober Prototypen war es die interdisziplinäre Zusammenarbeit, die Bootstrap für die interne Nutzung bei Twitter so erfolgreich gemacht hat").

Der Name Bootstrap entlehnt sich von der Geschichte des Hieronymus Carl Friedrich von Münchhausen, auch bekannt als "Baron Münchhausen", der unter anderem die Lügengeschichte auftischte, dass er sich an den eigenen Haaren aus einem Sumpf zöge (strap), wobei statt eines Haars ein Stiefel (boot) eingesetzt wird, was es auch als englischsprachiges Sprichwort gibt. Da das Bootstrapframework die Basis ist, auf dem andere Teile der Webseite aufbauen, wird so der sachliche Zusammenhang hergestellt (vgl. Bootstrapping (Informatik)).

Den ersten Einsatz unter realen Bedingungen erfuhr Bootstrap auf Twitters erster Hackweek. Otto zeigte einigen Kollegen, wie sie die Entwicklung ihrer Projekte mit Hilfe des Toolkits beschleunigen können. Bei der Präsentation der Ergebnisse zeigte sich, dass Dutzende Teams auf das Framework zurückgegriffen hatten. Auf diese Weise trug Bootstrap nicht nur dazu bei, die Entwicklungszeit zu verkürzen, sondern auch ohne Hilfestellung eines dedizierten Designers ein einheitliches Look-and-Feel für die in der Hackweek entstandenen Anwendungen zu erzeugen.

Im August 2011 entschloss sich Twitter, die Ergebnisse der Öffentlichkeit als Open-Source-Projekt zur Verfügung zu stellen. Seitdem hat sich Bootstrap mit ≈78.900 Forks, ≈165.000 Likes und über ≈6.800 Beobachtern zu einem populären GitHub-Projekt entwickelt (Stand: September 2023).

Eigenschaften
Bootstrap wurde mit Unterstützung für das damals noch relativ junge HTML5 und CSS 3 entwickelt. Da Bootstrap ab Version 3 weder Firefox 3.6 noch den Internet Explorer 7 unterstützt, wird in einem Übergangszeitraum weiterhin auch Version 2 aktualisiert.
Der Gewährleistung der Browser-Kompatibilität dient das Konzept der progressiven Verbesserung. Das bedeutet, dass die grundlegenden Informationen der Webseite oder -anwendung für alle Geräte und Browser zugänglich sind, erweiterte Funktionalitäten jedoch nur den Geräten und Browsern zur Verfügung stehen, die diese unterstützen. Deutlich wird dies beispielsweise bei den in CSS 3 eingeführten Eigenschaften für abgerundete Ecken, Farbverläufe und Schatten. Diese werden von Bootstrap trotz der mangelnden Unterstützung durch ältere Webbrowser intensiv eingesetzt. Dabei gewährleistet der semantische Einsatz von HTML und die Implementierung von alternativen Stildefinitionen in den Stylesheets, dass die Informationen und Funktionen der Webseite trotz der fehlenden Funktionalitäten bei älteren Browsern zur Verfügung stehen. Gleiches gilt für die mitgelieferten JavaScript-Komponenten. Diese erweitern den Funktionsumfang des Toolkits, sind jedoch keine Voraussetzung für dessen Einsatz.

Ab Version 2.0 unterstützt Bootstrap zudem die Gestaltung im Sinne des Responsive Webdesigns. Das bedeutet, der grafische Aufbau von Webseiten erfolgt dynamisch und unter Berücksichtigung der Eigenschaften, die das verwendete Gerät (PC, Tablet, Mobiltelefon) mit sich bringt. So passen sich angeordnete Elemente automatisch der Bildschirmauflösung bzw. Fenstergröße an.

Bootstrap wird als Open-Source-Bibliothek angeboten und auf GitHub bereitgestellt. Entwickler sind aufgerufen, sich an dem Projekt zu beteiligen, und können auf der Plattform eigene Beiträge leisten.

Aufbau und Funktionsweise
Bootstrap ist modular aufgebaut und besteht im Kern aus Sass-Stylesheets, welche die einzelnen Komponenten des Frameworks enthalten. Diese Einzelkomponenten werden von einer zentralen Bootstrap-Datei zusammengeführt. Durch diesen Aufbau kann der Entwickler durch Anpassung der Bootstrap-Datei selbst entscheiden, welche Komponenten in seinem Projekt verwendet werden.

Anpassungen sind in eingeschränktem Umfang über ein zentrales Konfigurationsstylesheet möglich. Darin werden unter anderem Angaben zu Schriftart und -größe, Farbe oder dem Aufbau des Grid-Layouts gesetzt. Tiefgreifendere Änderungen sind möglich, indem die Sass-Deklarationen von Bootstrap überschrieben werden.

Ab der Version 2.0 ist die Konfiguration von Bootstrap auch über eine spezielle "Customize"-Option in der Dokumentation möglich. Dabei wählt der Entwickler über ein Formular die gewünschten Komponenten und passt ggf. die Werte verschiedener Optionen seinen Bedürfnissen an. Das anschließend erzeugte Paket enthält bereits das fertig kompilierte CSS-Stylesheet.

Grundgerüst: Grid-System und Responsive Webdesign
Bootstrap wird standardmäßig mit einem 940 Pixel breiten, zwölfspaltigen Grid-Layout ausgeliefert. Alternativ kann der Entwickler auch ein Layout mit variabler Breite verwenden. Für beide Fälle bietet das Toolkit vier Variationen im Sinne des Responsive Webdesigns an, welche verschiedene Auflösungen und Gerätetypen bedienen: Mobiltelefone, hoch- und querformatige Tablets, sowie PCs mit geringer und hoher (Widescreen-)Auflösung. Dabei passt sich die Breite der Spalten automatisch der zur Verfügung stehenden Fensterbreite an.

Über das Konfigurationsstylesheet hat der Entwickler die Möglichkeit, die Anzahl und Breite der Spalten, den Abstand zwischen den Spalten sowie die Gesamtbreite des Layouts seinen Vorstellungen entsprechend anzupassen.

Mit Release 4 ist das Grid-System an das CSS-Flexbox-System angepasst worden, um sich flexibler an die bestehende Fenstergröße anzupassen: Das Grundprinzip des zwölfspaltigen Rasters wurde in Bootstrap 4 beibehalten, und das responsive Raster auf fünf Viewport-Breiten verfeinert. Wurde das Raster in Bootstrap 3 im Wesentlichen noch mit der CSS-Eigenschaft float realisiert, die nie für komplexe Layouts vorgesehen war, erlaubt der CSS-Layout-Standard Flexbox die Definition und Anordnung flexibler Boxen in Bootstrap 4. Ab Version 4 werden die Browser Internet Explorer 9 und kleiner mangels Flexport-Implementierung nicht mehr unterstützt.

Grundlegendes CSS-Stylesheet
Bootstrap enthält eine Reihe von Stylesheets, welche grundlegende Stildefinitionen für alle wichtigen HTML-Komponenten enthalten. Diese gewährleisten ein browser- und systemübergreifend einheitliches, modernes Erscheinungsbild für die Textformatierung, Tabellen und Formularelemente. Der Entwickler profitiert dabei von den Erfahrungen, die bei der Entwicklung und Gestaltung von Twitter gemacht wurden und kann auf praxiserprobte Gestaltungsentscheidungen und bewährte Entwurfsmuster der Frontendgestaltung zurückgreifen. Bootstrap 4 wurde um eine breite Palette an neuen Utility-Klassen erweitert, über die sich Rahmen, Abrundungen, Farben, Abmessungen usw. bestimmen lassen.

Wiederverwendbare Komponenten
Ergänzend zu den regulären HTML-Elementen enthält Bootstrap weitere, häufig verwendete Oberflächenelemente. Hierzu gehören unter anderem Buttons mit erweiterter Funktionalität (bspw. Gruppierung von Buttons oder Buttons mit Dropdown-Möglichkeit), Navigationselemente (Navigationslisten und -leisten, horizontale und vertikale Reiter, Brotkrümelnavigation, Paginierung usw.), Labels, erweiterte typografische Möglichkeiten, Miniaturansichten, Formatierungen für Hinweismeldungen und Fortschrittsbalken.

JavaScript-Plugins
Bis einschließlich Hauptversion 4 basieren die JavaScript-Komponenten von Bootstrap auf dem JavaScript-Framework jQuery. Die im Toolkit enthaltenen Plugins sind dementsprechend jQuery-Plugins. Sie bieten zusätzliche User-Interface-Elemente, wie beispielsweise Dialogfenster, Tooltips und Karussells. Außerdem erweitern sie die Funktionalität einiger vorhandener Oberflächenelemente, darunter zum Beispiel eine Autovervollständigungs-Funktion für Eingabefelder.

Mit der Veröffentlichung der Alpha-Version von Bootstrap 5 wurde die Abhängigkeit von jQuery abgeschafft.

Cards-Komponente
Mit Bootstrap 4 wurde die Cards-Komponente eingeführt, die die Integration von Bildern, Texten, Listen, Buttons und Navigationsleisten in Karten ermöglicht, deren Kopf- und Fußbereich optisch absetzbar sind. Mit Flexbox lassen sich mehrere Karten in gleicher Höhe nebeneinander platzieren. Mit der CSS-Eigenschaft card-columns können die Karten auf ähnliche Weise wie Inhalte der Pinterest-App organisiert werden, jedoch von oben nach unten und von links nach rechts.

Verwendung
Um Bootstrap in einer HTML-Seite zu verwenden, muss lediglich ein fertiges ZIP-Archiv von der Bootstrap-Webseite heruntergeladen werden. Dieses Archiv enthält bereits fast alle benötigten, in das eigene Projekt einzubindenden Dateien, wie eine Stylesheet-Datei mit allen Komponenten, eine JavaScript-Datei mit allen Plugins und auch eine benötigte Icon-Schriftart. Alternativ gibt es auf GitHub noch ein vollständiges, deutlich umfangreicheres ZIP-Archiv für Entwickler herunterzuladen, welches auch Beispiele für typische Webseiten zur bequemen Verwendung als Ausgangsdatei und vieles weitere enthält.

Die Dateien im ZIP-Archiv müssen in das eigene HTML-Dokument/Projekt eingebunden werden. Soll auch mit Javascript-Komponenten gearbeitet werden, so muss die Javascript-Datei zusammen mit der jQuery-Bibliothek ebenfalls im HTML-Dokument referenziert werden. Möchte man angepasste Einstellungen für Stil und Javascript-Funktionalität, besteht die Möglichkeit, fast alle Elemente von Bootstrap auf der Website selbst zu verändern und ein angepasstes Paket herunterzuladen. Schließlich kann man Bootstrap auch lokal, seinen Bedürfnissen entsprechend, vom Standard abweichend kompilieren.

Das folgende Beispiel verdeutlicht die Funktionsweise. Der HTML-Quellcode definiert ein einfaches Suchformular sowie eine Ergebnisliste in Form einer Tabelle. Die Seite besteht aus regulären, semantisch verwendeten HTML5-Elementen sowie einigen zusätzlichen CSS-Klassenangaben entsprechend der Bootstrap-Dokumentation.

<!DOCTYPE html>

    <title>Bootstrap Beispiel</title>
    <meta charset="UTF-8"/>

    <link rel="stylesheet" href="https://ajax.aspnetcdn.com/ajax/bootstrap/3.3.7/css/bootstrap.min.css">

Suche

Beispiel für ein einfaches Suchformular.

      <form class="well form-search">
        <input type="text" class="input-medium search-query"/>
        <button type="submit" class="btn btn-primary">Search</button>
      </form>

Ergebnisse

            #
            Title

            1
            Lorem ipsum dolor sit amet

            2
            Consetetur sadipscing elitr

            3
            At vero eos et accusam

Siehe auch
 Liste von Webframeworks

Anmerkungen

Weblinks

 Bootstrap – die offizielle Website enthält die Dokumentation und Downloadmöglichkeiten (englisch)
 deutsche Dokumentation – eine inoffizielle deutsche Übersetzung der Bootstrap-Dokumentation
 Bootstrap-Seite bei Github (englisch)
 Twitter Bootstrap tutorial. Hilfe zu allen Elementen bei der W3C (englisch)

Einzelnachweise

Freies Webframework
JavaScript-Bibliothek

Bootstrap (Framework)


20වන සියවස යනු,

1901 ජනවාරි 1 දින සහ 2000 දෙසැම්බර් 31 අතර ,  එම දින දෙකද ඇතුළු කාලය විය.

ආශ්‍රිත

භාහිර සබැඳි

ක්‍රි.ව. 20වන සියවස

2 වන සහස්‍රවර්ෂය
සියවස්
Late modern period

ක්‍රිස්තු වර්ෂ 20 වන සියවස


ميكانو فيلم روائي اجتماعي درامي رومانسي مصري، من تأليف وائل حمدي، ومن إخراج محمود كامل، عرض الفيلم في 27 يناير 2009.

قصة الفيلم
تدور أحداث الفيلم حول مهندس متميز في مجال عمله «خالد الشهاوي»، الذي نجده دائم الارتباك لا يجيد التعامل مع الناس يتعامل مع رؤسائه من خلف ستار أخيه «وليد الشهاوي» الذي يتولى شؤونه الحياتية، نكتشف أنه مصاب بمرض فقدان الذاكرة قصير المدى، يتعرف في حفل لأحد مشاريعه والتي كان مجبرا على حضورها على مسؤولة التسويق المطلقة «أميرة»، تقع في غرامه بالرغم من تصرفاته المريبة، يبدو في البداية أن حب الاستطلاع والفضول هما من قاداها إلى التعرف أكثر على هذا المهندس الغامض، إلا أنهما قادوها إلى أجمل وأسوأ علاقة حب في حياتها، الأجمل لما ملأت به الشاشة من مشاعر كانت تتدفق لتغرق قاعة العرض بأجملها، والأسوأ لأنه من المستحيل عليها أن تكتمل، والسبب يرجع إلى المرض الذي يفقد خالد الذاكرة كل فترة، ليعود إلى سن السادسة

الشخصيات
 تيم حسن: خالد الشهاوي
 نور: أميرة قنديل
 خالد الصاوي: وليد الشهاوي
 سميرة عبد العزيز: والدة أميرة
 رشا مهدي: دينا صديقة أميرة
 خالد محمود: يحيي طليق أميرة
 لطفي لبيب: د. جلال الورداني صاحب شركة ماجيكال
 رؤوف مصطفى: (الطبيب)
 ياسر الطوبجي: كريم زميل خالد
 سيد عبد الخالق: اشرف صديق دينا
 فيفي السباعي: والدة دينا
 سامي مغاوري: طلعت
 رفيق محسن: صلاح فواز
بالاشتراك مع:
 نفرتاري جمال: سكرتيرة الشركة
 نيفين الشامي: سكرتيرة أميرة
 نرمين بدر: فتاة ليل
 أحمد فتحي: خميس البواب
 مجدي توفيق - رياض حسين: مدعوان في الحفلة
 الأطفال: مصطفي جاد - سامر سعيد - حسن عبد الرحمن - أحمد عادل

فريق العمل
 إخراج: محمود كامل (إخراج)
 قصة وسيناريو وحوار: وائل حمدي (قصة - سيناريو)
 تصوير: هشام سرى (مدير التصوير)
 المنتج الفني: عماد مراد
 مونتاج: مها رشدي
 الموسيقى التصويرية: تامر كروان (الموسيقى)
 أعداد شريط الصوت والمكساج: محمود عبد الله
 مهندس الديكور: عادل المغربي
 مهندس صوت: علمي عبد الستار
 الأنتاج والتوزيع الداخلي والخارجي: الشركة العربية للإنتاج والتوزيع السينمائي (أنتاج)و (توزيع)
 تصميم التترات: مؤنس عبد المنعم
 مدير الأنتاج: ثائر يوسف - علي حسن
 ستايليست غادة يوسف
 مونتيرة نيجاتيف: ليلي فهمي
 مساعد مخرج أول: اشرف نار
 مساعدوا الأخراج راندا يسري - هبة كامل - محمد حسن
 كلاكيت: عصمت
 مساعد مصور: شريف طلعت
 لودر: عمر حسام
 فوتوغرافيا: جمال حماد
 ميكنج: هاني لويس
 مونتير مساعد: مؤنس عبد المنعم - محمد بكر
 مساعد نيجاتيف: رضوان عفان
 مساعدوا الاننتاج: جورج غطاس - رامي بدر - مصطفي حسن - محمد عبد الوهاب
 ريجيسير: أحمد حسن
 شئون ممثلين: علاء سمير
 محاسب: أيمن محمود
 خدمات أنتاج: سعد ياسين - مجدي
 مساعدوا الصوت: بركات عبد الستار - كريم البهواشي - محمود سعيد
 مساعد مهندس الديكور: عبد الوهاب
 أكسسوار: ميمي المغربي - صالح المغربي - مختار زكي
 فيديوا أسست: ميكي - سيد جابر
 مشرف أضاءة: أشرف عبد القادر
 فني أضاءة: أحمد عبد الله - سامي عبد الغني - محمد ناجي - ياسر ربيع - محمود عبد المعبود
 مشرف كاميرا: عفت
 فني كايرا: عماد أبو زيد
 مشرف كرين: محمد حسين
 فني كرين: تايسون - كريم عبد الناصر - محمد عنتر - محمد المناوي - أحمد شعبان
 مساعدوا الملابس: نور غدية - أيمن هارون - تامر محمود
 ملابس تيم الحسن: أشرف لبيب
 ملابس نور: زينب محمد
 ملابس خالد الصاوي: سيد أسماعيل
 ملابس خالد محمود: سيد طاهر
 ملابس لطفي لبيب: أحمد
 ملابس رشا مهدي: مني
 ماكيير الفيلم: شريف هلال
 ماكيير نور: زينب
 ماكيير رشا مهدي: أيهاب محروس
 مساعدوا الماكيير: مصطفي معوض - أوشة
 كوافير الفيلم: أسامة درويش
 كوافير الفنانة نور: صبري عبد الدايم
 مساعدوا الكوافير: علاء ترك - هيثم دهب
 سيارات: ياسر نجم - الشيخ أحمد - محمد ديدا - طارق سالم - وليد - رجب أبو الطيور - أحمد قرصة - ناصر ردايو - حسام فاروق - فتحي القرافي - رمضان - أبراهيم سمير - أبو حجر
 بوفيه: رمضان - كريم

روابط خارجية

المصادر

 صفحة الفيلم في قاعدة بيانات الأفلام العربية
 صفحة الفيلم علي موقع فيلفان

أفلام مصرية إنتاج 2009

ميكانو (فيلم)


Aarhus Parkour Gathering 2013 Day 4 er en dansk dokumentarfilm fra 2013 instrueret af Jacob Daniel Mortensen efter eget manuskript.

Handling
Dokumentarfilm optaget ved Aarhus Parkour Gathering 2013 på fjerdedagen, henholdsvis på Jellebakkeskolen og Vericenteret.

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 2013

Aarhus Parkour Gathering 2013 Day 4


En skrivering er en ring af plastik, der blev monteret på gammeldags magnetbånd på computerinstallationer for at tillade skrivning på båndet. Var ringen ikke monteret, kunne der ikke skrives på båndet, og det var dermed beskyttet mod utilsigtet overskrivning. Skriveringen anbragtes i en rille på bagsiden af båndets spole, inden det anbragtes i båndstationen.

Datalogi

Biblioteks- og informationsvidenskab

Skrivering


Die Tropenbiologie (häufig Synonym zur Tropenökologie) ist ein Forschungsfeld der Organismischen Biologie. Sie befasst sich mit Organismen und deren Beziehung zueinander auf verschiedenen organisatorischen, räumlichen und taxonomischen Skalen in den Tropen.

Die tropenbiologisch arbeitenden Wissenschaftler sind im deutschsprachigen Raum in der Gesellschaft für Tropenökologie gtö organisiert. Daneben gibt es Spezialorganisationen wie die Gesellschaft für Tropenornithologie, die sich Teilaspekten der Tropenbiologie widmen.

Neben den Naturforschenden Museen in Deutschland (Senckenberg, ZGF, Museum König, Naturkundemuseum Berlin u. a.) arbeiten viele biologische Institute in diesem Feld. Der marinen Tropenbiologie widmet sich das Leibniz-Zentrum für Marine Tropenforschung (ZMT) in Bremen.

2009 verabschiedeten auf der gemeinsamen Jahrestagung die zwei führenden wissenschaftlichen Organisationen der Tropenökologie am 30. Juli 2009 die "Marburger Erklärung". Darin fordern die Association for Tropical Biology and Conservation (ATCB) und die Gesellschaft für Tropenökologie (GTÖ), die globale Erwärmung zu verlangsamen und die Abholzung der Tropenwälder zu stoppen.

Literatur
 Lebensraum Regenwald: Zentrum der biologischen Vielfalt. Spektrum Verlag, Heidelberg-Berlin-Oxford 1993
 Barbara König, K.E.Linsenmair (eds): Biologische Vielfalt. Spektrum Verlag, Heidelberg-Berlin-Oxford 1996

Mit botanischem Schwerpunkt:
 T.C. Whitmore (1991): An Introduction to Tropical Rain forests. Clarendon Press, Oxford. Deutsch bei Spektrum Verlag
 P.W. Richards: The Tropical Rain Forest, an ecological study. Second edition. Cambridge Univ. Press 1996
 Egbert Giles Leigh, Jr. (1999): Tropical Forest Ecology. A view from Barro Colorado Island. Oxford University Press

Weblinks

Biologische Disziplin
Tropen

Tropenbiologie


Martinchel Portekiz'de Abrantes belediyesine bağlı olan, 17,10 km2 yüzölçümüne sahip, 713 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Portekiz'in freguesiaları
Abrantes

Martinchel


Wylie transliteration is a method for transliterating Tibetan script using only the letters available on a typical English-language typewriter. The system is named for the American scholar Turrell V. Wylie, who created the system and published it in a 1959 Harvard Journal of Asiatic Studies article. It has subsequently become a standard transliteration scheme in Tibetan studies, especially in the United States.

Any Tibetan language romanization scheme faces the dilemma of whether it should seek to accurately reproduce the sounds of spoken Tibetan or the spelling of written Tibetan. These differ widely, as Tibetan orthography became fixed in the 11th century, while pronunciation continued to evolve, comparable to the English orthography and French orthography, which reflect Late Medieval pronunciation.

Previous transcription schemes sought to split the difference with the result that they achieved neither goal perfectly. Wylie transliteration was designed to precisely transcribe Tibetan script as written, which led to its acceptance in academic and historical studies. It is not intended to represent the pronunciation of Tibetan words.

Consonants

The Wylie scheme transliterates the Tibetan characters as follows:

In Tibetan script, consonant clusters within a syllable may be represented through the use of prefixed or suffixed letters or by letters superscripted or subscripted to the root letter (forming a "stack"). The Wylie system does not normally distinguish these as in practice no ambiguity is possible under the rules of Tibetan spelling. The exception is the sequence gy-, which may be written either with a prefix g or a subfix y. In the Wylie system, these are distinguished by inserting a period between a prefix g and initial y. E.g. གྱང "wall" is gyang, while གཡང་ "chasm" is g.yang.

Vowels
The four vowel marks (here applied to the base letter ཨ) are transliterated:

When a syllable has no explicit vowel marking, the letter a is used to represent the default vowel "a" (e.g. ཨ་ = a).

Capitalization
Many previous systems of Tibetan transliteration included internal capitalisation schemes—essentially, capitalising the root letter rather than the first letter of a word, when the first letter is a prefix consonant. Tibetan dictionaries are organized by root letter, and prefixes are often silent, so knowing the root letter gives a better idea of pronunciation. However, these schemes were often applied inconsistently, and usually only when the word would normally be capitalised according to the norms of Latin text (i.e. at the beginning of a sentence). On the grounds that internal capitalisation was overly cumbersome, of limited usefulness in determining pronunciation, and probably superfluous to a reader able to use a Tibetan dictionary, Wylie specified that if a word was to be capitalised, the first letter should be capital, in conformity with Western capitalisation practices. Thus a particular Tibetan Buddhist sect (Kagyu) is capitalised Bka' brgyud and not bKa' brgyud.

Extensions
Wylie's original scheme is not capable of transliterating all Tibetan-script texts. In particular, it has no correspondences for most Tibetan punctuation symbols, and lacks the ability to represent non-Tibetan words written in Tibetan script (Sanskrit and phonetic Chinese are the most common cases). Accordingly, various scholars have adopted ad hoc and incomplete conventions as needed.

The Tibetan and Himalayan Library at the University of Virginia developed a standard, EWTS—the Extended Wylie Transliteration Scheme—that addresses these deficiencies systematically. It uses capital letters and Latin punctuation to represent the missing characters. Several software systems, including Tise, now use this standard to allow one to type unrestricted Tibetan script (including the full Unicode Tibetan character set) on a Latin keyboard.

Since the Wylie system is not intuitive for use by linguists unfamiliar with Tibetan, a new transliteration system based on the International Phonetic Alphabet has been proposed to replace Wylie in articles on Tibetan historical phonology.

See also

 Tibetan pinyin
 THL Simplified Phonetic Transcription
 Tise, an extended Wylie input method for Tibetan script
 Tibetan script
 Standard Tibetan
 Uchen script

References

External links
(Some of the following links require installation of Tibetan fonts to display properly)

 Wylie, Turrell (1959). A Standard System of Tibetan Transcription. Harvard Journal of Asiatic Studies, p. 261-267
  Hill, Nathan W. A note on the history and future of the 'Wylie' system in Revue d'Études Tibétaines, Number 23, Avril 2012. pp. 103–105.
The Wylie Translation Table, at Nitartha International
Staatsbibliothek Berlin – A standard system of Tibetan transcription
THDL Extended Wylie Transliteration Scheme (A project of the Tibetan and Himalayan Digital Library to adapt and expand the Wylie system for computer use.)
Tibetan transliteration: convert between Wylie or EWTS and Unicode
Test Tibetan display (enter wylie)

Romanization of Tibetan
Languages of Tibet
Tibetan Buddhist literature

Wylie transliteration


La Red Transeuropea de Ferrocarril Convencional conforma, junto a la Red Transeuropea de Ferrocarril de Alta Velocidad, la  Red Transeuropea de Ferrocarril que a su vez es una de las Redes transeuropeas de transporte de la Unión Europea.

Fue definida por la Directiva 2001/16/EC del Consejo de la Unión Europea del 19 de marzo de 2001.

El objetivo de esta Directiva de la Unión Europea es lograr especificaciones técnicas de interoperabilidad del ferrocarril convencional europeo en las diversas etapas de diseño, construcción y operación de la red.

La red se define como un sistema que consta de un conjunto de infraestructuras, instalaciones fijas, equipo logístico y material rodante.

Por definición de la decisión del Consejo Europeo la red ferroviaria convencional se puede subdividir en las siguientes categorías:
 Líneas previstas para el transporte de pasajeros..
 Líneas destinadas para el tráfico mixto (viajeros y mercancías).
 Líneas especialmente construidas o rehabilitadas para el tráfico de mercancías.
 Nodos (hubs) de viajeros.
 Centros de carga, incluidas las terminales intermodales.
 Líneas que conectan los componentes mencionados anteriormente.

Esta infraestructura incluye los sistemas de tráfico y el material rodante comprende todos los vehículos para circular por la totalidad o parte de la red ferroviaria transeuropea convencional.

Referencias


An Ophrys lepida in uska species han Liliopsida nga ginhulagway ni S.Moingeon ngan J.-m.Moingeon. An Ophrys lepida in nahilalakip ha genus nga Ophrys, ngan familia nga Orchidaceae.

Mabibilngan ini ha Sardegna. Waray hini subspecies nga nakalista.

Mga kasarigan

Ophrys

Ophrys lepida


Politikens historiske film 1912 er en dansk dokumentarfilm fra 1955 instrueret af Anker Kirkeby.

Handling
Politikenjournalist Anker Kirkeby introducerer og er fortæller til filmoptagelser "fra det gamle København 1913-1914". Filmen er bygget op som et døgn i Politikenjournalistens Peter Pens arbejdsliv, med flere iscenesatte sekvenser: Fra han står op derhjemme og er på arbejde rundt i byen (Nedrivning af Københavns volde, nye opfindelser m.m.). Indtil han sendes til Balkan ved udbrudet af 1. Verdenskrig, hvorfor hans husholderske ikke kan finde ham næste morgen ligge i sin seng, som han plejer. Vi følger trykkeprocessen af næste dags avis. Flere kendte personer medvirker: bl.a. Georg Brandes, Henrik Cavling (på Politikens redaktion og i trykkeriet) og Kgl. skuespiller Oluf Poulsen med datter Karen Poulsen.

Medvirkende

 Anker Kirkeby

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 1955
Danske film omhandlende København i 1900-tallet

Politikens historiske film 1912


Sacred Heart University (SHU) is a private, Roman Catholic university in Fairfield, Connecticut. It was founded in 1963 by Walter W. Curtis, Bishop of the Diocese of Bridgeport, Connecticut. Sacred Heart was the first Catholic university in the United States to be staffed by the laity.

Sacred Heart is the second-largest Catholic university in New England, behind Boston College. It offers more than 80 degree programs to over 8,500 students at the bachelor's, master's and doctoral levels.

History
Sacred Heart University was founded in 1963 by Walter W. Curtis, Bishop of the Diocese of Bridgeport on the grounds of the former Notre Dame Catholic High School. The university is led and staffed by the laity independent and locally oriented. The founding president was William H. Conley (1907–1974). Former American ambassador and Diplomat Thomas Patrick Melady served as president of the university from 1976 to 1986.

Enrollment has risen from the original class of 173 to over 10,500 full and part-time undergraduate and graduate students, and the faculty has increased from 9 to 281 full-time professors and over 520 adjunct professors since 1963.

In 1990, Sacred Heart built the first dorms, and began accepting residential. It now has 10 residential buildings with 50 percent of the full-time undergraduates residing in university housing.

The university has 32 varsity teams that compete in Division I. In 1997, The William H. Pitt Health and Recreation Center was opened.

In 1981, then-United States vice president George H. W. Bush received an honorary degree from Sacred Heart.

In 2006, Jack Welch, former CEO of General Electric, made a financial gift to the university and a College of Business was named after him.

In recent years, Sacred Heart University has purchased land in the surrounding Fairfield, Connecticut area, and has built new academic buildings, dormitories, and in January 2023 completed construction of the hockey rink.

Recent history
On September 27, 2009, Sacred Heart University opened the Chapel of the Holy Spirit.

In 2010, Sacred Heart announced plans to open a new Health and Wellness Center. The center was built on Park Avenue across from the main campus.

In 2012, the university opened a new student commons building, named the Linda E. McMahon Student Commons, after McMahon donated $5 million to the university. The new Commons includes dining facilities, lounge space, and a bookstore.

In 2014, Sacred Heart broke ground for a new learning center, called the Student Success Center. The center provides educational support for students at the university and from the surrounding region. In 2015, the university started construction of the Center for Healthcare Education.

In 2015, the university opened the Frank and Marisa Martire Center for Business & Communications building, which houses the Jack Welch College of Business and the School of Communication & Media Arts. The building was designed Sasaki Associates, who also designed the Linda E. McMahon Student Commons.

In 2016, Sacred Heart opened a new residence hall, called Bergoglio Hall, named after Pope Francis, whose birth name is Jorge Bergoglio.

In October 2016, Nikki Yovino reported to the police that she was raped by two black Sacred Heart University football players at an off-campus party. Yovino has admitted, months later, that the sexual assault was a lie in an attempt to gain the attention of another man. However, in 2018, she pled guilty to two counts of second-degree falsely reporting an incident and one count of interfering with police and was sentenced to one year in jail and three years of probation. The men Yovino accused, Malik St. Hilaire and Dhameer Bradley, were forced out of Sacred Heart University after losing their scholarships amid the false accusations. As of August 27, 2018, both men are no longer enrolled at Sacred Heart University and with no remediation for losing their scholarships.

In November 2016, Sacred Heart acquired the former GE corporate headquarters located near its main campus.

In April 2017, Sacred Heart and St. Vincent's College, another Catholic college in Connecticut, agreed to merge management operations. In 2018, the schools' merger was completed and St. Vincent's became known as St. Vincent's College at Sacred Heart University.

In 2019, Sacred Heart was ranked on Princeton Reviews list of best schools, including tenth for "Happiest Students".

Sacred Heart also announced in 2019 it would renovate and reopen the Community Theater in downtown Fairfield.

In 2020, Sacred Heart announced plans to build a $60 million hockey arena.

Sacred Heart took over management of the nearby Discovery Museum and Planetarium as of January 2021.

Academics
The university consists of five colleges: College of Arts & Sciences, which includes the School of Communication & Media Arts and the School of Computing; Jack Welch College of Business and Technology; College of Health Professions; College of Nursing and the Isabelle Farrington College of Education. Sacred Heart University is accredited by the New England Commission of Higher Education.

Sacred Heart University offers more than 80 bachelor's, master's, and doctoral programs. Sacred Heart also offers qualified undergraduates the opportunity to complete an undergraduate degree and a graduate degree with five to six years depending on the degree program.

In 2012, the university ranked as America's least affordable university in a Newsweek ranking.

Campus
The main campus is located in suburban Fairfield, Connecticut;  northeast of New York City and  southwest of Boston. The campus area first appeared as a census-designated place (CDP) in the 2020 Census with a population of 1,446.

Additional campuses
 Center for Healthcare Education (Bridgeport, Connecticut)
 West Campus (Fairfield, Connecticut)
 Stamford Campus (Stamford, Connecticut)
 Griswold Campus (Griswold, Connecticut)
 Dingle, County Kerry Campus (Ireland)
 WSHU Broadcast Center (Fairfield, Connecticut)

Media
Sacred Heart University owns and operates both WSHU-FM and WSHU-AM, NPR-affiliated radio stations broadcasting out of Fairfield, Connecticut.

Student life

Theatre Arts Program
The Theatre Arts Program began in 2009, with the premiere of Sacred Heart University's first musical production: Rent. Other productions have included Little Shop of Horrors in 2011, The 25th Annual Putnam County Spelling Bee in 2013, Sweeney Todd: The Demon Barber of Fleet Street in 2015, and Jesus Christ Superstar in 2017.

The Sacred Heart Theatre Arts program ("TAP") Produces 6 full scale productions a year. Two which are performed on the Edgerton main stage, and four in the black box Little Theater.

The Theatre Arts Program has a student-produced, student-written, and student-performed festival called "Theatrefest". The program also has an improv team called The Pioneer Players. In 2016, the program began its own Repertory Theatre Company. Students are invited into this exclusive company beginning after their first semester. In 2017, Sacred Heart expanded its Theatre Arts Program by launching its National Playwriting Competition & Intern Program.

Student government
The Student Government consists of student leaders from all four class years. All full-time undergraduate students have the opportunity to be elected or appointed to a position.

The Spectrum
The Spectrum is a student-run newspaper printed and distributed to students each Wednesday and made available online.

Community service
More than 1,200 students and members of the faculty and staff volunteer in excess of 31,000 hours each year largely within the City of Bridgeport, but also regionally, nationally, and internationally. The work of the Office of Volunteer Programs & Service Learning is at the heart of the overall mission of the university. The programs offered allow students to engage in the local community and in communities around the world. Nearly all of the programs are organized by student leaders who grow their leadership and professional skills as they work with community partners. There are weekly volunteer opportunities to local schools, soup kitchens and food banks, and senior centers. Students interested in a long-term weekly volunteer commitment can participate in a mentoring program, where Sacred Heart University students work one-on-one with local Bridgeport students. The office also provides immersion programs and experiences.

Study abroad
Sacred Heart Universtiy has a residential study-abroad program in the Irish-speaking community of Dingle, County Kerry, Ireland. International experiences are available to students worldwide through programs located at The American University of Rome, in Italy, the University of Notre Dame in Fremantle, Australia, and the University of Granada, in Spain, as well as programs in Bermuda and the Bahamas.

The university allows students to participate in CCIS programs, programs affiliated with other schools across the U.S. These programs include, but are not limited to: France, Argentina, Germany, Belgium, and Japan.

Athletics

The Pioneers compete in Division I of the National Collegiate Athletic Association (NCAA) in the Northeast Conference (NEC), Atlantic Hockey, the New England Women's Hockey Alliance (NEWHA), Eastern College Athletic Conference (ECAC), the Metro Atlantic Athletic Conference (MAAC), Eastern Intercollegiate Wrestling Association (EIWA), and the Eastern Intercollegiate Volleyball Association (EIVA). The NEC is the school's primary conference.

Nearly 800 students participate in the university's 33 athletic teams (18 female teams and 15 male teams) along with more than 500 students who participate in 23 Club Sports.
The football team plays at the Football Championship Subdivision level and claims an FCS title in 2001.  Their biggest rivalry is with the oldest public university in Connecticut, Central Connecticut State University, in what has been dubbed the Constitution State Rivalry.

The men's fencing team won the Northeast Conference title five years in a row (2010–2014) and was ranked #9 in 2011.

On February 21, 2013, the Sacred Heart University athletics department hired longtime Major League Baseball player and manager Bobby Valentine as the athletic director.

On June 8, 2021, the Sacred Heart University athletics department named Judy Ann Riccio as its interim athletic director, replacing Bobby Valentine who took a leave of absence.

The men's ice hockey program competes in the Atlantic Hockey conference.

The women's ice hockey program had competed as in independent from 2003 to 2019 at the National Collegiate level, with "National Collegiate" being the NCAA's official designation for championship events in sports in which members of Divisions I and II compete for a single national title. The Pioneers participate in the NEWHA, established in 2017–18 by Sacred Heart, fellow Division I member Holy Cross, and four Division II schools. Sacred Heart won the inaugural NEWHA tournament title in 2018. The NEWHA lost Holy Cross to Hockey East after that season, but returned to 6 members for 2019–20 with the arrival of LIU, a fellow NEC member that launched a new women's program. With the NEWHA soon to have the membership total required for an automatic bid to the NCAA women's tournament, the NEWHA formally organized as a conference in 2018, and received official NCAA recognition effective with LIU's arrival in 2019–20.

Women's wrestling will become a varsity sport in 2021, the second for a Division I institution and first in the Northeast.

Greek life
Sacred Heart is home to nine national sororities, five national fraternities, one local fraternity, and two professional fraternities. Greek Life is one of the largest and fastest growing organizations on campus. Greek Life at the university is home to a chapter of Order of Omega, a national Greek academic honor society.

Sororities:

9 National:
 Alpha Delta Pi (Theta Rho chapter)
 Chi Omega (Kappa Mu chapter)
 Delta Delta Delta (Epsilon Psi chapter)
 Delta Zeta (Pi Tau chapter)
 Kappa Alpha Theta (Theta Pi chapter)
 Kappa Delta (Eta Nu chapter)
 Phi Sigma Sigma (Iota Nu chapter)
 Theta Phi Alpha (Gamma Rho chapter)
 Zeta Tau Alpha (Lambda Alpha chapter)

Fraternities:

4 National:
Beta Theta Pi (Colony)
Delta Tau Delta (Iota Tau chapter)
 Kappa Sigma (Pi Omega chapter)
 Pi Kappa Phi (Iota Alpha chapter)

1 Local:
 Omega Phi Kappa
2 Professional:
 Alpha Kappa Psi (Chi Mu chapter)
 Kappa Kappa Psi (Lambda Nu chapter)

Sacred Heart University started out with several local Sororities and Fraternities, which included:

Sororities:
 Beta Delta Phi
 Gamma Phi Delta
 Nu Epsilon Omega
 Pi Sigma Phi

Fraternities:
 Delta Phi Omega
 Gamma Chi Zeta
 Lambda Sigma Phi
 Kreuzfahrer
 Pi Delta
 Rho Kappa Phi
 Rho Sigma Chi
 Sigma Eta Upsilon
 Sigma Psi Delta
 Sigma Tau Omega

Notable alumni
Arts and Entertainment
Drew Denbaum - writer, actor, director, and educator
Lydia Hearst-Shaw – model and actress
Jeff LeBlanc – singer/songwriter
Kevin Nealon – actor, Saturday Night Live cast member
John Ratzenberger – actor
Romeo Roselli – professional wrestler and actor

Business
Suzanne Greco - former president and CEO of Subway
Brian Hamilton - American entrepreneur and philanthropist and co-founder of Sageworks
Jenna Sanz-Agero - former lead singer of Vixen and currently Director of Business, Legal Affairs, and Strategic Knowledge Management at Netflix

Government and Law
Pat Boyd – Connecticut State Representative
Thomas W. Bucci - 49th Mayor of Bridgeport, Connecticut
Ramón Colón-López, USAF - fourth Senior Enlisted Advisor to the Chairman of the Joint Chiefs of Staff
Carl Higbie – left after September 11 to join the Navy SEALs.
Carlo Leone – Connecticut State Senator
Kathleen McCarty - Connecticut State Representative
Douglas McCrory - Connecticut State Senator
Richard A. Moccia - former Mayor of Norwalk, Connecticut
Michael Pavia - businessman and former mayor of Stamford, Connecticut
Felipe Reinoso - former Connecticut State Representative and political candidate for the Congress of the Republic of Peru
Gary Turco - Connecticut State Representative

Sports
Mark Nofri - head coach of the Sacred Heart Pioneers football team
Adam Fuller - The defensive coordinator at Florida State University for the  Florida State Seminoles football team
Keith Bennett (born 1961) - former professional American-Israeli basketball player
Ginny Capicchioni - former professional lacrosse player
Jon Corto – former professional football player for the Buffalo Bills
DeVeren Johnson - former professional football player for the Dallas Cowboys
Matt Jones – former professional soccer player
Troy Scribner - former professional baseball player for the Los Angeles Angels and the Arizona Diamondbacks
Gordon Hill - former professional football player for the Los Angeles Chargers
Justin Danforth - professional hockey player for the Columbus Blue Jackets
Zack Short - professional baseball player for the Detroit Tigers
Jason Foley - professional baseball player for the Detroit Tigers
Julius Chestnut - professional football player for the Tennessee Titans
Josh Sokol - professional football player for the Minnesota Vikings

Notable members of the board of trustees
Brian Hamilton
Patrick Maggitti
Linda McMahon

Notes

References

External links

 Sacred Heart Athletics website
 Sacred Heart Community Theater

Buildings and structures in Fairfield, Connecticut
Association of Catholic Colleges and Universities
Educational institutions established in 1963
Roman Catholic Diocese of Bridgeport
Universities and colleges in Fairfield County, Connecticut
1963 establishments in Connecticut
Catholic universities and colleges in Connecticut
Census-designated places in Fairfield County, Connecticut
Census-designated places in Connecticut

Sacred Heart University


Die Vier Hexen, ou em português, As Quatro Bruxas, ou as As Quatro Mulheres Nuas, ou As Quatro Feiticeiras, ou Cena em um Bordel são títulos dados para a gravura de 1497 do pintor alemão renascentista Albrecht Dürer. Uma das gravuras mais antigas assinadas pelo pintor, retrata um círculo de quatros  mulheres nuas e voluptuosas num interior fechado, aparentemente pertencente à uma casa de banho, que aparenta ter entradas em ambos os lados. Ainda que seja claramente erótica, um pequeno demônio de chifres possivelmente representando a tentação, está posicionado no portal ao lado esquerdo, one segura um possível objeto ominoso, e está coberto de chamas.

Apesar da gravura ter se tornado objeto de estudo de análises acadêmicas prolongadas e significantes, ela ainda permanece enigmática, e não há nenhum vestígio de escritos antigos que indiquem a verdadeira intenção da obra. Não há nenhum consenso sobre o sentido da obra e seu tema, tendo historiadores da arte associando-a com a caça às bruxas ou figuras da mitologia clássica. As mulheres estão de pé, debaixo de um globo ou esfera suspensa e perto de uma janela de pedra aberta, com uma caveira e um osso da coxa (talvez fêmur ou tíbia) à sua frente, talvez sendo uma forma de representar a morte, no mesmo tempo em que aparentam estar em uma espécie de um esquema nefário, talvez ligado ao tratado da inquisição, Malleus Maleficarum. A visão alternativa é a de que as mulheres representam alguma deusa grega ou romana, talvez Hécate, deusa atribuída à magia negra, plantas venenosas e fantasmas, ou a sua equivalente, Diana.

O monograma de Dürer "AD" aparece no centro do chão. Há mais de uma impressão original desta obra existente, estando a maioria delas nos principais museus.

Descrição
As mulheres estão posicionadas em um pequeno interior que contém uma janela que pode ser entrada ou saída. O pequeno demônio entendido como uma representação do mal no acesso à esquerda, tem uma anatomia mamífera que incluí patas escondidas e segura um objeto quase irreconhecível entre suas garras, que consiste em ser dois gravetos e um pedaço de corda, possivelmente sendo algum instrumento de caça de pássaros e aves. A forma e os gestos do demônio lembram os de um pequeno monstro similar a um morcego presente na obra The Dream of The Doctor feita entre os anos de 1498-99, onde a forma como foi feita é quase idêntica à As Quatro Bruxas.

Os diferentes acessórios e cortes de cabelo sugerem que as mulheres não são das mesmas classes sociais; durante o Quattrocento, diferentes acessórios na cabeça eram usados para indicar os aspectos morais e sociais nas obras. Isso era feito especialmente em Nuremberga, onde se tornou regra pelo conselho de Nuremberga. As mulheres à esquerda trajam um Haube (um tipo de gorro, em alemão chamado de Festhaube), que era usado geralmente para preservar as mulheres casadas. As mulheres à direita ao centro do olhar espectante, trajam um longo e dobrado véu (Schleier), indicando que elas pertenciam a classe média.

Já na primeira fase de sua vida, Dürer estava tendo que lidar com as duras restrições impostas sobre os nus, desenhos e gravuras. Comparado com seu nu pré-contemporâneo Small Fortune, que mostra um sátiro fêmea cuidando de seu filho, ou The Penance of St John Chrysostom, a obra em questão parece ser mais verossímil aos protótipos renascentistas, embora elas sejam, de acordo com historiador da arte Charles Ilsley Minnot, "maiores, mais resolutas e mais graciosas."

Interpretação

Como muitas gravuras de Dürer, a intenção da obra não é clara. Embora ela seja objeto de estudo de diversas análises acadêmicas, nenhum consenso surgiu até então. Algumas interpretações vão das quatro estações e os quatro elementos, até Afrodite (representada pelas mulheres à esquerda com um ramo de murta na cabeça), as Graças, as Moiras ou simplesmente quatro bruxas ou quatro meninas em um bordel. O historiador da arte Marcel Briton sugere que a obra não tem um sentido específico, e é nada mais do que a retratação de quatro nus — "a fantasia de um jovem artista cansado das convencionalidades puritânicas dos cidadãos de bem".

Pelo fato de que Dürer não intitulou a obra, ela tem recebido diversos títulos durante os séculos. Quando a obra foi descrita pela primeira vez por Karel van Mander em 1604, ele escreveu que ela continha "três ou quatro mulheres nuas, similares as três Graças." Títulos como Cena de um Bordel (Scene in a Brothel), Cena de Bruxaria (Scene of Witchcraft), Vênus e as Três Graças (Venus and the Three Graces), As Estações do Ano (The Seasons of the Year), Os Quatro Temperamentos (The Four Temperaments), e A Trívia de Diana e Hécate (Diana and Hecate Trivia).

Bruxaria
O crânio e o osso à esquerda ao chão são entendidos como representações da morte, ou símbolos mágicos e invocatórios. A interpretação sobre as bruxas talvez sejam misoginamente ligadas ao "Malleus maleficarum" (O Martelo das Feiticeiras) o "mordaz diatribe" escrito em 1487 pelos frades e inquisitores Dominicanos Heinrich Kramer e Jacob Sprenger. O livro destacava a exterminação de bruxas e para justificar tal prática, desenvolveram uma confusa e detalhada teoria teológica.

Pelo fato de que a maior parte das mãos das mulheres não aparecerem, não é presumível que a imagem refere-se à alguma atividade específica ou evento. Todavia, na época acreditava-se que se homens praticassem sexo com as chamadas "diabinhas", mais tarde iriam sofrer de doenças e impotência. Por volta de 1500, Dürer produziu Witch Riding Backwards on a Goat (Bruxa Andando de Costas em uma Cabra), que, de acordo com a historiadora da arte Margaret Sullivan, como a obra em questão, reflete "a fascinação pelo mundo antigo ao invés de manuais de bruxaria ou com o fato dela ser considerada uma ofensa punível." Neste contexto, algumas vezes a gravura é examinada a fundo. A gravura lembra em vários aspectos a obra de Hans Baldung Grien, Bewitched Groom (Noivo enfeitiçado), completada um ano antes de sua morte em 1545. Contudo, é importante anotar que tanto as obra de Dürer e Baldung; enquanto contemporâneas com "Malleus maleficarum", surgiram antes da crise moral que levou a caça ás bruxas no final dos séculos 16 e 17. De acordo com Sullivan, "A obra de Direr e Baldung pertencem à uma era anterior, elas atestam uma sensibilidade diferente e foram produzidas por artistas que não poderiam deduzir os tempos terríveis que viriam."

Mitologia clássica
A teoria mais aceita é a de que a obra é uma alegoria contra a discórdia, e é inevitável negar a referência ao inferno e a morte. Em sua composição, a posição das mulheres se assemelham à um grupo de três graças de mármore, do Quattrocento, e provavelmente Dürer as viu em cópias. Uma interpretação comum é a de que as figuras representam Hécate, que de acordo com "a sua representação de três corpos e rostos (Trívia), provavelmente sugere que ela poderia olhar para todas as direções, como as portas e portais". A interpretação alternativa é a de que a segunda mulher à direita, usando um ramo de murta na cabeça, pode representar a Discórdia, a deusa romana da discórdia e dos conflitos, que atirou uma maçã contra Juno, Minerva e Vênus, iniciando a Guerra de Tróia. Ou que aquela mulher estaria sendo iniciada pela três bruxas.

O globo suspenso acima das mulheres está dividido em doze segmentos, e contém duas inscrições; ao no de 1497, e, um pouco abaixo e delineada, as letras "OGH" — possivelmente significando "Odium generis humani" (Odium (desgosto ou cilada) contra a raça humana), ou "Oh Gutt hüte" (Deus me livre) como sugerido em 1675 pelo historiador da arte e pintor alemão Joachim von Sandrart, ou "Ordo Graciarum Horarumque" (Ordem das Graças e Horas)

Influência
A imagem tem sido copiada e adaptada inúmeras vezes. Nicolleto da Modena (1490-1569) produziu uma versão baseada no Julgamento de Páris, mudando a inscrição no globo para "Detur Pulchrior" (Para o mais justo), e omitiu o demônio e os ossos.

O artista austríaco Adolf Frohner (nascido em 1934) produziu uma versão onde as mulheres aparecem usando sutiãs e cintas-liga.

Bruxas na arte
Obras de 1497
Nu artístico
Albrecht Dürer
Pintura da Alemanha
Gravuras de 1497

As Quatro Bruxas


2012 වසර වන විට,  පකිස්තානයෙහි න්‍යෂ්ටික බලශක්තිය සපයන ලද්දේ  වරලත්-වාණිජ න්‍යෂ්ටික බලාගාර තුනක් මගිනි. සිවිල් න්‍යෂ්ටික බලාගාර ගොඩනගා ඒවා ක්‍රියාත්මක කල, ලෝකයේ පළමු මුස්ලිම් රට වන්නේ පකිස්තානයයි.  මෙම බලාගාර ක්‍රියාත්මක කිරීම සම්බන්ධයෙන් තනි වගකීම දරන  විද්‍යාත්මක සහ න්‍යෂ්ටික රාජ්‍ය කාර්යාංශය වන්නේ පකිස්තානු න්‍යෂ්ටික බලශක්ති කොමිසම (PAEC) වෙයි. 2012 වසර වන විට, ෆොසිල ඉන්ධන වෙතින් නිපැයුනු ~62%, ජල විදුලි බලශක්තිය වෙතින් නිපැයුනු ~33%  සහ ගල් අඟුරු විදුලිය වෙතින් නිපැයුනු ~0.3% හා සමගින් සැසඳුනු විට, වාණිජ න්‍යෂ්ටික බලාගාර වෙතින්, පකිස්තානයෙහි නිපැයුනු විදුලියෙන් දළ වශයෙන් ~3.6% පමණ නිපැයිණි.  න්‍යෂ්ටික අවි-නොපැතිරවීමේ ගිවිසුම අත්සන් නොකල මුත්  ජාත්‍යන්තර පරමාණු බලශක්ති කාර්යාංශය හා සමගින් හොඳ ස්ථාවරයක සිටිනා න්‍යෂ්ටික අවි සන්නද්ධ රාජ්‍ය්‍යන්  සතර ( ඉන්දියාව, ඊශ්‍රායෙලය සහ, උතුරු කොරියාව හා සමගින්) අතුරින් පකිස්තානයද එකකි. 2050 වසර වන විට න්‍යෂ්ටික බලාගාර 32 ක් තැනීමට පකිස්තානය සැලසුම් කරයි.

ඉතිහාසය
ජනාධිපතිවරයාගේ විද්‍යා උපදේශක ලෙසින්, මහාචාර්ය (සහ පසුව නොබෙල් ත්‍යාගලාභී) අබ්දුස් සලාම්, ජනාධිපති අයුබ් ඛාන් එකඟ කරවා ගත්තේ,   කරච්චි අසබඩ ස්ථානයක, පකිස්තානයෙහි පළමු වාණිජ න්‍යෂ්ටික බලාගාරය පිහිටුවීමටය.  කරච්චි න්‍යෂ්ටික බලාගාරය (KANUPP) ලෙසින් හැඳින්වෙන මෙම වාණිජ බලාගාරය,  කැනේඩියානු   පීඩන බැර ජල ප්‍රතික්‍රීයකයක් වන, කුඩා 137 MWe  CANDU ප්‍රතික්‍රීයකයකි.

 න්‍යෂ්ටික ඉංජිනේරුවරයෙක් වන, පීඒඊසී හී පාර්වේස් බට්, ව්‍යාපෘති අධ්‍යක්ෂක විය. KANUPP බලාගාරය එහි ක්‍රියාකාරකම් ඇරඹුවේ 1972 වසරෙහිදී වන අතර, එහි නිල ප්‍රතිෂ්ඨාපනය සිදු කලේ, ජනාධිපති සුල්ෆිකාර් අලි භූතෝ සහ පීඒඊසී සභාපති  මුනීර් අහමඩ් ඛාන් විසිනි. ජාත්‍යන්තර සුරැකිතාවයන් යටතේ වන KANUPP බලාගාරය,   ක්‍රියාත්මක වන්නේ ඌතිත ජවයක් සහිතවය. 1969 වසරෙහිදී, ප්‍රංශයෙහි  කොමීසැරියා අ ලෙනෙයෝර්ජි ඇටොමික සහ එක්සත් රාජධානියෙහි  බ්‍රිටිෂ් නියුක්ලියර් ෆුවල්ස් පීඑල්සී (BNFL) විසින් පීඒඊසී හා සමගින් ගිවිසුමට එළඹුනේ ප්ලූටෝනියම් සහ න්‍යෂ්ටික ප්‍රතික්‍රියායන යන්ත්‍රෝපකරණ පකිස්තානයට සපයන ලෙසටයි. ගිවිසුම පරිදී, බලාගාර සහ න්‍යෂ්ටික ප්‍රතික්‍රියායන පහසුකම් වල ප්‍රධාන සැලසුම්කරුවෝ පීඒඊසී ඉංජිනේරුවෝ වූයේ, බීඑන්එෆ්එල් සහ සීඊඒ විසින් අරමුදල්, තාක්ෂණික ආධාර සහ න්‍යෂ්ටික ද්‍රව්‍ය සපයන අතරතුරය. ව්‍යාපෘති පිළිබඳ කෘත්‍යයන්  1972 වසර දක්වා ඇරඹුනේ නැති අතර, ඉන්දියාවේ  ස්මයිලින් බුද්ධා - න්‍යෂ්ටික අත්හදාබැලීම —1974  වසරෙහි සිදුවූ බලාපොරොත්තු නොවූ න්‍යෂ්ටික අත්හදාබැලීමක්— හේතුවෙන්, පීඒඊසී හා සමගින් සියළු ව්‍යාපෘති බීඑන්එෆ්එල් විසින් අවලංගු කරන ලදි. 1974 වසරෙහිදී, PARR-II ප්‍රතික්‍රීයකය ක්‍රියාත්මක කෙරුණු අතර, එහි ව්‍යාපෘති අධ්‍යක්ෂකවරුන් වූයේ මුනීර් අහමඩ් ඛාන් සහ හෆීස් කුරේෂි වූහ. PARR-II යනු දේශීය ප්‍රතික්‍රීකයක් වන අතර,  පීඒඊසී හී ඉංජිනේරුවරුන්ගේ සහ විද්‍යාඥයින්ගේ අනුග්‍රහය යටතේ තැනිණි.

1977 වසරෙහිදී, එ.ජ. රාජ්‍ය ලේකම් හෙන්රි කීසිංගර් විසින් යෙදවුනු පීඩනය මධ්‍යයේ, සීඊඒ විසින් පීඒඊසී සමග සිදු කල සියළු ව්‍යාපෘති වහාම අවලංගු කෙරිනි. එක්සත් රාජධානියෙහි සහ ප්‍රංශයෙහි උපකාරය නොමැතිව, පීඒඊසී ඉංජිනේරුවන් විසින් ප්ලූටෝනියම් න්‍යෂ්ටික ප්‍රතිසැකසුම් යන්ත්‍රෝපකරණ— නිව් ලැබ්ස් — සහ ප්ලූටෝනියම් ප්‍රතික්‍රීයකය — කූෂාබ් න්‍යෂ්ටික සංකීර්ණය නිම කලහ. මෙම බලාගාර දෙකම පීඒඊසී විසින් පාලනය කෙරෙන වාණිජ බලාගාර විය. 1989 වසරෙහිදී, මහජන චීන සමූහාණ්ඩුව විසින් පකිස්තානය සමග ගිවිසුමක් අත්සන් කලේ, අයිඒඊඒ සුරැකිතාවයන් යටතේ 300 MWe CHASNUPP-I බලාගාරය  ලබාදීමටය. 1990 වසරේදී, ප්‍රංශය සහ සෝවියට් සංගමය යන රටවල් දෙකම විසින්, අයිඒඊඒ සුරැකිතාවයන් යටතේ වාණිජ න්‍යෂ්ටික බලාගාර සපයන ලෙසට පකිස්තානයෙහි ඉල්ලීම සලකා බලන ලදි. එනමුදු, සෝවියට් සංගමය සහ ප්‍රංශය සමගින් වූ මෙම එකඟතා පිළිබඳ එ.ජ. නොසතුට,  පකිස්තානය සඳහා ඇමරිකානු තානාපතිවර  රොබට් ඕකිලිගේ ප්‍රකාශයක් තුලින් දැක්වෙත්ම මෙම ගිවිසුම් අවලංගු කෙරිණි. 2000 වසර වන විට, චීනය විසින් පීඒඊසී සමගින් එහි කොන්ත්‍රාත්තුව විස්තීරණය කර ඇති අතර, 2011 ඔක්තොම්බර් වන විට III, සහ  IV බලාගාර ගොඩනැගීමෙහිලා උපකාර සපයයි. II 2011 වසරෙහි අප්‍රේල් මාසයේදී නිම කරන ලදි. එහි බලශක්තිය සඳහා වන ඉල්ලුමෙහි වැඩිවීම නිසා, පකිස්තානු රජය විසින් රට පුරා න්‍යෂ්ටික බලාගාර පිහිටුවන ලෙසට පීඒඊසී වෙත නියෝග පනවා ඇත. පීඒඊසී පවසන පරිදී, ඉලක්කය වන්නේ, වසර 2030 වන විට, 8800 MW ධාරිතාවක විදුලිය ජනනය කිරීමයි. අග්‍රාමාත්‍ය යූසුෆ් රසා ගයිලානි විසින් පකිස්තානු ජාතික බලශක්ති ප්‍රතිපත්තිය  2010 වසරෙහිදී  ප්‍රකාශයට පත් කල අතර,   පකිස්තානයෙහි අග්‍රාමාත්‍යවරයාගේ නිල නිවස්න වන අග්‍රාමාත්‍ය ලේකම් කාර්යාලයෙහිදී හිදී සාධ්‍යතා වාර්තාව ඉදිරිපත් කරන ලදි.  වර්තමානයෙහි පීඒඊසී සැලසුම් කරමින් සිටින්නේ  KANUPP-II—1100 MWe බලාගාරයකි — සහ KANUPP-III — 1100 MWe — න්‍යෂ්ටික බලාගාරයන්හී ගොඩනැගීම් කටයුතු වල පෙරමුණ ගෙන ක්‍රියාකිරීමටය. වාණිජ බලාගාර දේශිය වශයෙන් ගොඩනැගෙමින් පවතින අතර, ප්‍රාරම්භක කටයුතු  2009 වසරෙහිදී අත්හිටුවන ලදි. 2010 වසරෙහිදී,  න්‍යෂ්ටික බලශක්ති ඉන්ධන සංකීර්ණය (පීඑන්පීඑෆ්සී) — න්‍යෂ්ටික යළි-සැකසුම් යන්ත්‍රාගාරයක් — පිහිටුවන ලදි. පීඒඊසී විසින් ගොඩනැගීම් කටයුතු, සැලසුම් කටයුතු සහ නඩත්තු කටයුතු සඳහා මූලිකත්වය සපයන ලද අතර,  චීනය සහ අයිඒඊඒ විසින් පහසුකම සඳහා අරමුදල් සපයන ලදි. 2013 නොවැම්බර් 26 දිනදී, අග්‍රාමාත්‍ය නවාෂ් ෂෙරීෆ් විසින්, කරච්චි නගරය අසබඩ,   2200 MW ඒකාබද්ධ ධාරිතාවකින් යුතු  න්‍යෂ්ටික බලාගාර දෙක සඳහා මුල්ගල් තැබීමේ උත්සවය පවත්වන ලදි.

පකිස්තාන න්‍යෂ්ටික බල ප්‍රතික්‍රීයක
අද දිනය වන විට, වාණිජ න්‍යෂ්ටික බලාගාර තුනක් පමණක් ක්‍රියාකාරී තත්ත්වයෙහි පවතියි. වර්තමාන සහ අනාගත වාණිජ න්‍යෂ්ටික බලාගාර පිළිබඳ විස්තර සපයන ලැයිස්තුවක් පහත සැපයෙයි.

ජාත්‍යන්තර සහයෝගීතාවය

මහජන චීන  සමූහාණ්ඩුව

මහජන චීන සමූහාණ්ඩුව මුලදී සිටම පකිස්තානයේ න්‍යෂ්ටික බලශක්ති උත්පාදන වැඩසටහන සඳහා ප්‍රබල වාචික සහ උද්‍යෝගමත් අනුග්‍රාහකයෙක් විය. 1970 ගණන් වලදී සුල්ෆිකාර් අලි බූතෝ  අග්‍රාමාත්‍යවරයා වශයෙන් චීනයෙහි සංචාරයක යෙදීම සිදුවූ  පළමු අවස්ථාව දක්වා ඈත අතීතයට චීන-පකිස්තාන සබඳතා විහිදී යයි.

ආශ්‍රිත

ආසියාව
විකිපීඩියා ආසියානු මාසය 2015
න්‍යෂ්ටික තාක්ෂණය

පකිස්තානයෙහි න්‍යෂ්ටික බලශක්තිය


Podsavezna nogometna liga Gospić, odnosno Liga Nogometnog podsaveza Gospić za sezonu 1968./69. je bila liga četvrtog stupnja nogometnog prvenstva Jugoslavje.
Sudjelovalo je ukupno 9 klubova, a prvak je bila "Lika" iz Zagreba.
U završnici ntjecanja je tada prvoplasirani klub - "Udarnik" iz Perušića donio odluku o rasformiranju, radi protesta radi odluke Nogometnog saveza Hrvatske i Zagrebačke zone u kojem je radi nedostatka odgovarajućeg igrališta i uvjeta onemogućeno odigravanje kvalifikacija za popunu "Zagrebačke zone".

Ljestvica

Rezultatska križaljka

 Izvori:

Povezani članci

Vanjske poveznice

Izvori

 "Sportske novosti", izdanje od 14. lipnja 1969.
 "Sportske novosti", izdanje od 20. lipnja 1969. (revidirana ljestvica)

1968-69 Gospić
Gospić
1968-69 Gospić

Podsavezna nogometna liga Gospić 1968./69.


Partita în re minor pentru vioară solo (BWV 1004), de Johann Sebastian Bach, a fost scrisă probabil între anii 1717 și 1720, fiind una dintre lucrările integrate în ciclul compozițional Sonatele și Partitele pentru vioară solo.

Structura

Partita este alcătuită din cinci mișcări, denumite în italiană:
 Allemanda
 Corrente
 Sarabanda
 Giga
 Ciaccona

Mișcările corespund unor dansuri specifice vremii, fiind frecvent menționate sub varianta denumirilor franceze ale acestora: Allemande, Courante, Sarabande, Gigue și Chaconne. Mișcarea finală este realizată în forma unor variații, iar durata acesteia este aproximativ egală cu cea a primelor patru mișcări la un loc.

Timpul necesar interpretării acestei partite variază între 26 și 32 de minute, în funcție de abordare și stilul interpretativ.

Interpretări
Profesorul Helga Thoene sugerează că această partită, în special ultima sa mișcare, a fost un "tombeau" (piesă funerară), în memoria primei soții a lui Bach, Maria Barbara Bach (care a murit în anul 1720), această teorie fiind totuși extrem de controversată.

Yehudi Menuhin a afirmat despre Ciaccona că ar fi "cea mai importantă structură pentru vioară solo care există".

Violonistul Joshua Bell a susținut că Ciaccona "nu este doar una dintre cele mai mari lucrări muzicale realizate vreodată, dar totodată și una dintre cele mai importante realizări ale oricărui om în istorie. Este o lucrare puternică din punct de vedere spiritual și emoțional, dar și perfectă din punct de vedere structural"."El a interpretat lucrarea în L'enfant Plaza pentru Washington Post.

George Enescu, în calitate de violonist, a vut în repertoriul său această Partită.

Transcripții ale Ciacconei

Transcripții pentru pian
În de pe vremea lui Bach, câteva transcrieri ale lucrării au fost realizate pentru diverse instrumente. Pe parcursul secolelor XIX-XX, s-au efectuat transcipții pentru pian, de  Joachim Raff și Ferruccio Busoni, respectiv pentru mâna stângă, la pian (de Brahms).

Johannes Brahms, într-o scrisoare către Clara Schumann din iunie 1877, a afirmat despre Ciaccona:Felix Mendelssohn și Robert Schumann au realizat acompaniamente pentru pian ale acestei lucrări.

Transcripții pentru orgă
Cea mai veche versiune pentru orgă este realizată de William Thomas Best. Alte transcripții au fost realizate de John Cook, Wilhelm Middelschulte, Walter Henry Goss-Custard (1915-55), și Henri Messerer (1838-1923).

În prefața transcripției sale din 1955, John Cook scrie: "Ciaccona este, într-un mod sublim, satisfăcătoare în forma sa originală, însă, cu toate acestea, mulți vor fi de acord cu faptul că o singură vioară este în măsură doar să sugereze vasetele implicații ale acestei lucrări ... Este rezonabil să presupunem că Bach ar fi ales orga dacă ar fi transcris Ciaccona el însuși, în ideea că acesta ar fi instrumentul cel mai potrivit pentru intențiile sale... O bună interpretare violonistică ar putea fi considerată cel mai bun ghid pentru interpretarea lucrării la orgă — cele două instrumente nu sunt considerate fără a avea puncte în comun, ambele fiind iubite de Bach."

Transcripții pentru violoncel
Există o transcripție a Ciacconei pentru violoncel solo, realizată de violoncelistul Johann Sebastian Paetsch, în 2015. Aceasta a fost publicată de către Hofmeister Musikverlag în Leipzig.

Transcripții pentru chitară
Ciaccona este adesea interpretată la chitară. Marc Pincherle, Secretar al Societății Franceze de Muzicologie din Paris, a scris în 1930: "Dacă, în ceea ce privește anumite pasaje monodice rapide, opinia este împărțită între vioară și chitară ca mijloc interpretativ mai bun, chitara triumfă întotdeauna în pasajele polifonice; astfel, ne putem referi la aproape întreaga lucrare. Timbrul de chitară creează o nouă și emoțională rezonanță, alături de neașteptate gradații dinamice în acele pasaje care ar fi putut fi create doar pentru vioară; ca, de exemplu, variațiile în arpegii."

Cea mai bine cunoscută transcripție pentru chitară este cea a lui Andrés Segovia. Mulți chitariști din ziua de astăzi preferă să interpreteze Ciaccona direct din partitura pentru vioară.

Transcripții pentru orchestră
Există o serie de transcripții ale Ciacconei pentru orchestre de diferite dimensiuni, incuzând transcripția lui Leopold Stokowski pentru orchestră simfonică.

Literatură
În 2005, Joseph C. Mastroianni a publicat romanul Chaconne. Milo, abandonat de tatăl său care i-a prezentat Ciaccona pentru prima dată, studiază în Spania timp de patru ani, pentru a ajunge să stăpânească lucrarea.

În 2008 Arnold Steinhardt, solist violonist și prim-violonist al Cvartetului de Coarde Guarneri a publicat Violin Dreams, o carte de memorii despre viața sa ca violonist și despre provocarea supremă: interpretarea Ciacconei lui Bach.

Note

Bibliografie

Legături externe
 Violin Partita No. 2 in D minor, BWV 1004: Scores at the International Music Score Library Project
 Bach's Chaconne in D minor for solo violin: An application through analysis  by Larry Solomon
 Chaconne arr.by W.T. Best for organ played by D'Arcy Trinkwon
 Nathan Milstein playing the Chaconne
 Recording of Busoni's transcription of the Chaconne by Boris Giltburg in MP3 format (archived on the Wayback Machine)
 Partita No. 2 (complete), played on electric bass by Dave Grossman (audio and video)
 Violinist and author Arnold Steinhardt discusses his lifelong quest to master the chaconne; includes links
 Partita No. 2 performed on guitar by Yaron Hasson (from the Wayback Machine)
 Printable pdf file of an organ transcription of the Chaconne by David Rogers
 Bach Cantatas Website discussion on the Chaconne
 German article on Bachs Chaconne
 George Enescu, interpret al Partitei în re minor: https://www.youtube.com/watch?v=2-kmvrDYyFE

Compoziții de Johann Sebastian Bach
Compoziții pentru vioară
Compoziții din 1720
Compoziții în Re minor

Partita pentru vioară în re minor, BWV 1004 (Johann Sebastian Bach)


Hunts Mesa é uma formação rochosa localizada no Monument Valley, ao sul da fronteira entre Utah e Arizona nos Estados Unidos e a oeste da fronteira entre os condados de Navajo e Apache do Arizona. É um dos dois destinos interiores populares no Monument Valley Navajo Tribal Park para os turistas experimentarem vistas panorâmicas das famosas formações de arenito à distância. O outro é o Mystery Valley. É necessário um guia Navajo para caminhar até qualquer um deles.

Hunts Mesa forma a borda sudeste do Monument Valley e a borda norte do Little Capitan Valley. Sua altitude é de 1 942 metros. O acesso a ela não é pela entrada geral do parque, mas sim pelas dunas de areia a nordeste da cidade de Kayenta, Arizona.

Em 16 de outubro de 1984, um avião bombardeiro estratégico B-52G da Força Aérea dos Estados Unidos caiu em Hunts Mesa, matando dois dos sete tripulantes.

Montanhas do Arizona
Formações rochosas do Arizona

Hunts Mesa


MANTIS, prije također i sustav za zaštitu malog dometa C-RAM (NBS C-RAM), je stacionarni sustav protuzračne obrane kratkog dometa. Osim klasičnih protuzračnih ciljeva poput zrakoplova i helikoptera, može se koristiti protiv malih ciljeva poput dronova /UAV-a i navođenih projektila kao i protiv takozvanih RAM ciljeva (raketa, topničkih granata i minobacača). Naziv MANTIS sastoji se od prvih slova engleskog izraza Modular, Automatic and Network capable Targeting and Interception System, koji opisuje osnovna svojstva sustava. Rheinmetall Air Defense plasira sustav na međunarodno tržište pod zaštićenim imenom MANTIS NBS C-RAM.

Razvoj
Bundeswehr je testirao modularni protuzračni oružani sustav Skyshield u prosincu 2004. na poligonu za gađanje zračnih ciljeva u Todendorfu. Zbog dobrih rezultata krenulo se s daljnjim razvojem. U ožujku 2007., Bundeswehr je naručio Rheinmetall Air Defence (bivši Oerlikon Contraves) da razvije sustav zaštite na malom dometu (NBS) protiv RAM ciljeva. Razlog tome bili su razni napadi raketama i minobacačkim granatama na kampove njemačkog Bundeswehra u Mazar-e Sharifu i Kundusu (Afganistan). Vrijednost narudžbe za razvoj bila je 48 milijuna eura, a potpisana je u travnju 2007. u Saveznom uredu za obrambenu tehnologiju i nabavu u Koblenzu. Rheinmetall Air Defence razvio je 35 mm revolverski top GDF 020, radar za upravljanje paljbom i zapovjedni centar na temelju automatskog topa od 35 mm koji Oerlikon Contraves desetljećima koristi za protuzračnu obranu.

Nabava
U svibnju 2009. Odbor za proračun njemačkog Bundestaga odlučio je kupiti dva NBS-C-RAM sustava za njemačke oružane snage po ukupnoj cijeni od 136 milijuna eura. Dva su sustava isporučena u svibnju 2013.

Opis
Protuavionski oružani sustav MANTIS je modularan i može se fleksibilno prilagoditi veličini i okruženju štićenog objekta i u osnovi se sastoji od operativno-paljnog centra (BFZ), dva radarska senzora i do osam povezanih topova GDF-020. Razmatra se integracija MANTIS-a u "Air Defense System" (SysFla).

Operativno središte (BFZ)
BFZ je smješten u kontejneru koji se može produžiti (kontejner tri u jedan) tvrtke steep GmbH (bivši Serco GmbH) i njime upravljaju u smjenama 24 sata dnevno (24/7) četiri vojnika, s tri vojnika za nadzor situacije u zračnom prostoru kao i za rad oružja i senzora i vodi ih zapovjednik. Sustavom se uglavnom upravlja na visoko automatiziran način. Zbog zakonskih zahtjeva potpuno automatizirana borba protiv ciljeva nije predviđena, operacija od strane ljudi je neophodna iz sigurnosnih razloga. Vrijeme reakcije potrebno za borbu protiv RAM meta predstavlja pravi izazov za posadu BFZ-a. BFZ se može umrežiti s različitim podatkovnim i komunikacijskim mrežama kako bi se poboljšala svijest o situaciji i kako bi se moglo identificirati i pratiti približavanje ciljeva. Bundeswehr stoga planira spojiti radar srednjeg/dugog dometa na BFZ uz senzor MANTIS.

Senzorska jedinica NBS
Za uspješnu RAM borbu, MANTIS je povezan s najmanje jednim radarskim senzorom, koji je posebno optimiziran za otkrivanje i praćenje ciljeva čiji je radarski presjek (RCS/radarski presjek) vrlo mali. Radar MANTIS je navodno sposoban detektirati mete s RCS-om znatno ispod 0,01 m² na udaljenosti do oko 20 km. Jedan ili više dodatnih senzora služe samo kao redundancija, za zatvaranje rupa u radarskoj pokrivenosti (radarska sjena) ili za razlikovanje dubine traženja cilja.

35mm GDF 020 top
Kupolasti top GDF-020, temeljen na topu 35/1000, jednocijevni je bespilotni protuzračni top kalibra 35×228 mm. Pištolj stoji na standardnoj ISO 1D platformi kontejner/paleta s otiskom od 2.988 mm × 2.435 mm i kao takav se može utovariti na odgovarajuća vozila. Top ima ukupnu duljinu od 5.526 mm, širinu 2.435 mm  i visinu od 2.088 mm. Masa je 5.350 kg odnosno sa streljivom 5800 kg. Horizontalni raspon zakretanja je 360°, elevacija cijevi je od -15° do +85°. Brzina paljbe je 1.000 metaka u minuti nakon što je zatvarač kupole postigao punu brzinu rotacije, tj. nakon nekoliko hitaca. Kao C-RAM sustav, top je napunjen streljivom AHEAD (moderno streljivo sšrapnelima). Maksimalni domet je 5 km protiv sporog zrakoplova ili zrakoplova koji ne mijenja jasno kurs i oko 3 km protiv streljiva.

Top GDF-020 opremljen je zaštitnim omotačem cijevi kako bi se spriječilo deformiranje cijevi pištolja zbog vremenskih uvjeta (npr. izravne sunčeve svjetlosti). Na bubanj revolvera može se utjecati i uređajem za grijanje i hlađenje. Nekoliko temperaturnih senzora kontinuirano mjeri temperaturu u topu i prosljeđuje te podatke BFZ-u. To je neophodno kako bi se postigla preciznost potrebna za gađanje malih i sićušnih ciljeva udaljenih nekoliko kilometara.

Ciljni napad uvijek se izvodi s dva topa, pri čemu bi jedan  trebao biti dovoljan, a drugi je kao rezerva. Svaki top ispaljuje salvo do 36 metaka. Duljinu salve konfigurira operater. Odmah po izlasku iz cijevi mjeri se brzina metka i programira vremenski osigurač u dnu metka AHEAD. Konkretno za misiju, svaki AHEAD metak ispušta veliki broj volframovih projektila od 3,3 g 10-30 m ispred mete, uzrokujući formaciju u obliku malog oblaka namijenjenog uništenju ili rušenju mete. Međutim, većina podprojektila promašuje ili probija cilj i ugrožava ljude na tlu. Pogoci u glavu tako gustim projektilom od 3,3 g (ekvivalent metku iz jurišne puške od 5,56 mm) mogu biti smrtonosni. To zahtijeva procjene rizika i, pod određenim okolnostima, blokiranje područja za obrambenu vatru.

Protuavionski sustav (SysFla)
Uz planirani sustav protuzračne obrane (SysFla), Bundeswehr će dobiti najsuvremeniji sustav protuzračne obrane koji treba osigurati sveobuhvatnu zaštitu vojnika na rasporedu od prijetnji iz zraka. Spektar koji pokriva ovaj sustav će se kretati od malih meta do raketa i projektila velikog kalibra, kao i klasičnih meta poput helikoptera i borbenih zrakoplova. Kao dio SysFla, elementi MANTIS-a trebaju biti integrirani u njega.

Izvori

Protuzrakoplovni topovi
Njemačka vojna oprema

MANTIS (protuzračni sustav)


كاترينا يوشتشينكو  هي زوجة الرئيس الأوكراني فيكتور يوشتشينكو أوكرانية-أمريكية مولودة في شيكاغو. عملت مساعدة خاصة منظمة حقوق الإنسان والشؤون الإنسانية. انتقدها معارضو يوشتشينكو لاحتفاظها بالجنسية الأمريكية. أثناء الحملة الانتخابية الماضية، اتهمت كاترينا بممارسة تأثير من حكومة الولايات المتحدة الأمريكية على قرارات زوجها السياسية، بصفتها موظفة في وزارة الخارجية الأمريكية وحتى عميلة لوكالة المخابرات المركزية.

اتهمت قبلا من طرف صحفي التلفزيون الروسي ميخائيل ليوتيف بقيادة مشروع أمريكي لمساعدة يوشتشينكو للاستيلاء على السلطة في أوكرانيا؛ في كانون ثاني يناير 2002، ربحت قضيّة تشهير ضده. قامت قناة التلفزيون الأوكرانية المؤيدة للحكومة بإلغاء إدعاءات ليونتيف في 2001 ولكن في كانون ثاني يناير 2003 بعد أن ربحت كاترينا قضية تشهير ضد القناة أيضًا.

مراجع

أشخاص على قيد الحياة
أشخاص فقدوا الجنسية الأمريكية
أشخاص من شيكاغو (إلينوي)
أمريكيون من أصل أوكراني
أمريكيون مهاجرون إلى أوكرانيا
أوكرانيون متجنسون
السيدات الأولى في أوكرانيا
خريجو جامعة كلية بوث للأعمال
سياسيات أوكرانيات
عائلة يوشتشينكو
مواليد 1961
مواليد في شيكاغو
نساء أمريكيات

كاترينا يوشتشينكو


Un robot agricol este un robot folosit în scopuri agricole. Domeniul principal de aplicare a roboților în agricultură de astăzi este la etapa de recoltare. Aplicațiile emergente ale roboților sau aeronavă fără pilot în agricultură includ controlul buruienilor, însămânțarea norilor, plantarea semințelor, recoltarea, monitorizarea mediului și analiza solului. Potrivit Market Research Engine, piața roboților agricoli este de așteptat să atingă 75 miliarde dolari până în 2025.

Referințe

Legături externe

Utilaje agricole
Robotică agricolă
Revoluții agricole
Tehnologii emergente
Recoltă
Roboți

Robot agricol


Catherine Jane Clark is a Canadian television broadcaster, and the daughter of former Canadian Prime Minister Joe Clark and Maureen McTeer.

Life and career
Clark was born in Ottawa, Ontario. When she was 18, she moved alone to Paris to attend the American University for five months, and lived in a tiny one-bedroom flat. She graduated from the University of Toronto with a degree in art history. After graduating, she worked at the publicity firm Hill & Knowlton.

She played a prominent role in the Joe Clark campaign during the federal election of 2000.

In 2001, she began a career in broadcasting, hosting a television news magazine, Unzipped, for the new Canadian digital cable network ichannel. The show was cancelled the following year due to financial constraints and questionable content at the network, but Clark continued to work for the network in other capacities. In 2004, she joined Rogers Television as host of a daily talk show in Ottawa.

On June 8, 2002, Clark married Chad Schella, formerly the director of player services for the NHL Ottawa Senators and now general manager of government affairs at Canada Post. They have a daughter, Alexandra Charmaine Maureen Schella, born on May 26, 2006, and a son, Charles Roger Dennis Schella, born April 1, 2009. Clark took some time off from television after her daughter's birth, and subsequently joined CPAC, the Canadian parliamentary broadcaster. With CPAC, she hosted Sunday Sound Off, a political debate and panel discussion show, and Beyond Politics, a talk show where she interviews Canadian politicians in depth about their lives outside politics.

, she has her own marketing and public relations firm, Catherine Clark Communications.

References

Children of prime ministers of Canada
Living people
University of Toronto alumni
Canadian women television journalists
Canadian public relations people
Year of birth missing (living people)

Catherine Clark (broadcaster)


Elyria Township ist der Name folgender Townships in den Vereinigten Staaten:

 Elyria Township (Nebraska)
 Elyria Township (Ohio)

Elyria Township


Kazuma Umenai (født 21. juni 1991) er en japansk fodboldspiller, som spiller for den japanske fodboldklub Iwate Grulla Morioka.

Referencer

Eksterne henvisninger

Fodboldspillere fra Japan

Kazuma Umenai


The London, Midland and Scottish Railway (LMS) inherited several styles of coaching stock from its constituents.  Stock built by the LMS itself can be categorised into three separate periods, numbered I to III.

Coaches inherited from pre-grouping companies
Various types of coaches were inherited from pre-grouping companies.

Ex-Glasgow and South Western Railway

A 1914 seven-compartment side-corridor third built by Birmingham Railway Carriage and Wagon for the Glasgow and South Western Railway is preserved by the Scottish Railway Preservation Society at Falkirk.

Ex-Highland Railway

From 1897 bogie stock was generally introduced for main line services on the Highland Railway.  However, six-wheelers appeared as late as 1908.  An example of a six-wheel composite coupé, No. 89, latterly in service stock, is preserved by the Scottish Railway Preservation Society at Falkirk.

Ex-Lancashire & Yorkshire Railway

Many hundreds of carriages built for the L&Y (mainly at Newton Heath works) came into LMS stock, including some 6-wheel saloons. Newton Heath also built LMS designs for a few years in the 1920s. Currently two ex-L&Y carriages taken into LMS service have been preserved and restored for irregular public use on the Worth Valley Railway, although one is mounted on a BR underframe built at Wolverton in 1956.  These are owned by the Lancashire & Yorkshire Railway Trust.

Coaches built by the LMS
The design and building of LMS coaches followed a very standardised pattern. Very many types of coaches were built to suit the various services and needs but, in general, the progression of design features was a logical one.  Three quite distinct periods of design can be recognised, the last of which continued until after nationalisation of the railways in Britain.

Period I (1923–1928/9)
The general styling of LMS Period I coaches followed much the same ideas as were prevalent elsewhere in Britain. They were wooden framed and panelled, had a fully beaded body with a semi-elliptical roof, doors to all compartments of side-corridor coaches, and were mounted on a steel underframe derived from the final Midland Railway design. Window ventilation was mainly by droplight. Roof ventilators were generally of the torpedo type. The coaches were fitted with non-automatic screw couplers and gangwayed stock made use of scissors-type British Standard pattern corridor connection (as also used on the Great Western Railway).

Most coaches ran on two four-wheel bogies which were of a 9 ft 0 in wheelbase single bolster design which hardly changed for the whole of the company's life. Some special vehicles ran on twelve wheel chassis and the six-wheel bogie on these vehicles was of 12 ft 6 in wheel-base, based on the London and North Western Railway design. All coaches except kitchen cars were electrically lit and normally fitted with vacuum brake as standard.

Certain characteristic Midland Railway features were incorporated in the design of early LMS coaches which distinguished them from those of other lines. Most noticeable of these was the twin-window arrangement in each seating bay of the vestibule coaches. This took the form of two rectangular windows side by side (one fixed and one drop-light), rather than a single window or centre drop-light with two flanking quarterlight arrangement. There was generally a Stones pattern ventilator in the eaves panel above the fixed light of these window pairs.

During this period, the LMS company introduced a considerable quantity of conventional coaches which were comfortable and well built but whose designs were not particularly revolutionary. Externally, these early LMS coaches were extremely attractive in the fully panelled and beaded style and with the fully lined Crimson Lake livery.

The first indication of changing ideas were some very handsome corridor vehicles in 1927. For the first time, the LMS abandoned outside compartment doors in corridor coaches and introduced larger windows in their stead. At first there were two such windows in each compartment (one fixed and one frameless droplight) in the manner of the characteristic Midland pattern vestibule coaches already considered. They differed from the normal twin-window style in having frameless droplights and Stones ventilators over both windows and the style soon became adopted for other vehicles. By 1930 it had made its appearance in some composites, this time with but one Stones ventilator centrally over the window pair and with large 4 ft 6 in wide corridor side windows.

The next development in the somewhat tentative progression towards more up to date amenity was the development of a single window per bay design which was introduced in 1928 with the building of ten very palatial carriages for inclusion in the Royal Scot and other prestige trains. Five of these coaches were semi-open firsts that had three compartments all finished in a different style with only four seats in each; each passenger thus had a corner seat. The open end was rather more conventional, seating 18 in two-and-one arrangement. These coaches were classed as dining vehicles and generally ran next to a kitchen car. The other five coaches were equally luxurious lounge brakes with accommodation for 10 first class passengers in eight individual armchairs and a settee. They again had large single windows instead of the two-window arrangement.

These 10 vehicles were followed in 1929 by a similarly styled batch of 25 neutral vestibule coaches for either first or third class passengers. These were 42 seaters with seven bays arranged two and one and again designated as dining vehicles. With these, the single window style could finally be said to have 'arrived' in LMS gangwayed coaches.

Although these 1928–29 coaches had single windows, they were still of the high-waisted design with full exterior beading - as indeed were most LMS coaches to this time - and there is some evidence that although the single window was more appreciated than the earlier arrangement, it was not always easy to see out of it because of the high waist. This was, apparently, particularly irksome in the lounge brakes which with their very low seated chairs were, seemingly, never very popular. Thus it was that the single window design was not perpetuated in the high waisted style.

Some all-steel coaches were introduced in 1925–26. These were open thirds and brake thirds, together with a large number of full brakes, which were built by outside contractors, probably to assist the steel industry at that time. Construction apart, however, their two-window style and interior layout showed no advance on the other coaches of the time while externally they were finished in a pseudo fully beaded style.

Period II (1929–1932)
The start of the second phase in LMS carriage design was almost contemporary with the introduction of the previously mentioned high-waisted, single window designs and the new trend of thought was first exemplified by the appearance in 1929 of six luxury brake firsts with two-a-side compartment seating and somewhat palatial toilet accommodation.

These new carriages all had single windows but the waist of the coach was much lower than hitherto. The principal external difference was the elimination of the waist panel as result of deepening of windows. The new coaches were, however, still wood panelled and fully beaded and with the full lining represented very handsome designs. As with their Period I predecessors, these coaches went to the more important trains such as the Royal Scot.

This low waisted trend in design only partially set the pattern for new construction because corridor composites continued to come out in the fully beaded two-window style and the corridor thirds and brake thirds continued to have full compartment doors until 1930. Thus there was a certain amount of overlapping styles during the first part of the second period of LMS coach building.

It was again the vestibule coach which received the bulk of attention during this second phase. The first were a series of spacious  long 42 seaters. Some of these, which were classified as dining vehicles were built as firsts but were downgraded a few years later on the advent of the Stanier  firsts. They were followed by a 56 seater for general service. More 42 seat coaches followed which, although identical to the original 42 seaters, were not classed as diners. All these  coaches had the new low waist and were wood panelled with full outside beading. However, a much larger group of low-waisted vestibule coaches was the , 56 seat version of which 300 were built in 1931-2 and differed from the  version in that they were steel clad with simulated external beading in paint. They did, however, follow the Period II style in all other respects and retained the raised window edge mouldings.

Eventually in 1930–31, the new low waisted style was adopted for all corridor stock too. Although mainly confined to composites and brake composites, it was a batch of corridor thirds in 1930 that really set new standards. These coaches were but 10 in number but had only seven compartments on a  underframe. Although the traditional four on each side seating was retained, the compartments were no less than 6 ft 6 in between partitions. They were again wood panelled and fully beaded and were, reputedly, extremely comfortable. However, no more were built possibly because they were a little extravagant of space and large numbers of the earlier designs had been built between 1924 and 1928. They were to be the only corridor thirds to be built to this length.

On the specialised coaching side, this second phase of design was represented mainly by dining cars of which 36 were built which made amends for the relative lack of new dining cars during the first six years of the LMS. Like the 57 ft vestibule thirds mentioned earlier, these diners were steel panelled with painted simulated beading.

There were also two batches of 12-wheel composite sleeping cars built at this time that retained a high waist and certain LNWR styling features but were flush clad with frameless droplights. They were distinctly outside the main trend of LMS coach design.

Period 2 non-corridor stock differed little from the Period 1 examples.

Period III (1933 onwards)

In 1932, William Stanier took up his appointment as Chief Mechanical Engineer to the LMS and the first of the completely flush sided LMS coaches emerged soon enough after his assumption of office to lead to the coaches ever afterwards being referred to as "Stanier" stock.

The LMS flush sided coach, of which many examples still remained as late as 1967–8, differed in appearance from its predecessors mainly in the shape of its windows which now exhibited well-rounded corners. All the earlier coaches had, of course, been built with slightly rounded window corner mouldings but by comparison with Stanier vehicles, the Period I and II coach window was almost square cornered. The second major visible difference was also in the window area. During Period I, the favoured method of admitting fresh air was the droplight which was frequently supplemented by and finally (in Period II) in large measure superseded by the Stones and Dewel pattern glass vane ventilator.

With the Stanier stock was introduced the now familiar sliding ventilator incorporated in the upper part of the window. Initially this was quite shallow with only one section moveable but in 1934 this was replaced by a deeper ventilator with two wide sliding sections which remained almost until the end. From about 1947–8, the sliding portions were somewhat shortened and in this form were retained as a feature of the British Railways (BR) standard coach.

During the Stanier period, non-corridor coaches varied little from the pattern laid down in the 1920s except for the flush clad exterior. The design was still high waisted and the seating arrangements never changed from the earlier years. No inter district lavatory sets were built during the Stanier regime and apart from a few lavatory composites for the London Tilbury and Southend section, all the Stanier non-corridor stock was of the suburban type. There was an interesting batch of articulated triplets made in 1938 but these do not seem to have been very popular.

Post Nationalisation
LMS design coaches continued to be built for several years after 1947 until the introduction of the British Railways Mark 1. This short-lived period was, in fact, little more than a continuation of the Stanier era and was not really a new phase in the same sense that the flush sided stock itself was. Later corridor coaches have, however, been distinguished by the name "Porthole" stock by virtue of the circular toilet window feature which they introduced. This stock actually commenced building a year or two after 1947 and was, therefore, not strictly LMS stock as such but it was in the direct tradition of LMS coach building practice and has, therefore, been included here. It differed from the last versions of the Stanier stock proper (which themselves were built well into BR days) principally in the circular toilet windows which replaced the earlier rectangular ones, but also in having post-war torpedo ventilators and the final style of sliding window ventilators.

Preservation
 The Severn Valley Railway has a complete rake of Period III coaches. RFO No. 7511 has also been restored for use on the railway's dining trains.
 The LMS Carriage Association (link) also owns several coaches, most of which are based at Peak Rail, although two (27162 and 27001), are based at the Ecclesbourne Valley Railway.
 Whole sets of Period I, II and III in varying states have been preserved across the U.K. The Midland Railway Butterley has possibly the most varied and unique collection, but others include the Bo'ness and Kinneil Railway, which has three Period III coaches on display, and the Strathspey Railway, which has two Period III coaches, although these are currently not in use.
 Two suburban coaches survive on the Keighley and Worth Valley Railway, both currently out of use and not on public display. One is a 9-compartment third built in 1938 and purchased directly from BR passenger service in the 1960s, the other a composite built to LMS design in 1951 and used as a departmental mess van by BR.

Models

2 mm scale (N gauge)
 Graham Farish (Bachmann ownership) modelled P3 57' varieties, brake first, vestibule first, composite vestibule, corridor third, vestibule third, brake third and inspection saloon.
 Mike Howarth produced a run or rtr Series 3 coaching stock.

3.5 mm scale (HO gauge)
 Rivarossi produced Period II coaches.

4 mm scale (00 gauge)
 Bachmann Branchline produce some Period I coaches and a Period III gangwayed brake van.
 Hornby Railways produce some Period III coaches and a Period II restaurant car.
 Comet Models (link) produce a wide range of kits for all periods.

7 mm scale (0 gauge)
 Sidelines (link) produce a range of kits.

References

Bibliography

 David Jenkinson & Robert J. "Bob" Essery (1977). LMS Coaches 1923-57 Oxford Publishing Company.
 David Jenkinson & Robert J. "Bob" Essery (1991) LMS Standard Coaching Stock. Vol 1: General Introduction & Non-Passenger Coaching Stock Oxford Publishing Company
 David Jenkinson & Robert J. "Bob" Essery (1994) LMS Standard Coaching Stock. Vol 2: General Service Gangwayed Vehicles. Oxford Publishing Company.
 David Jenkinson & Robert J. "Bob" Essery (2000) LMS Standard Coaching Stock. Vol 3: Non-Corridor & Special Purpose Vehicles. Oxford Publishing Company.

London, Midland and Scottish Railway
LMS

Coaches of the London, Midland and Scottish Railway


To mod én er en børnefilm fra 2012 instrueret af Christian Arhoff Andersen efter manuskript af Christian Arhoff Andersen.

Handling
Brødrene Phillip og Emil er henholdsvis 12 og 8 år gamle. Emil får stjålet sine fødselsdagspenge på sin første skoledag af bøllen Bo, der tidligere har gjort det samme ved den nu ældre Phillip. Phillip har aldrig selv taget konfrontationen med Bo, men behandlingen af Emil bliver for meget for ham, og sammen forsøger de at få has på Bo, dog uden held. Phillip giver Emil, hvad der svare til hans penge tilbage, og de to går hjem, bedre brødre af deres fælles oplevelse.

Referencer

Eksterne henvisninger

Børnefilm fra Danmark
Danske film fra 2012

To mod én


Samantha Janus represented United Kingdom in the Eurovision Song Contest 1991 with the Paul Curtis-written song "A Message to Your Heart", which was placed 10th.

Before Eurovision

A Song for Europe 1991
That year's A Song for Europe was held on 29 March 1991 and was hosted by Terry Wogan. Following the somewhat negative comments by one member of the celebrity panel in 1990, the panel idea was dropped in 1991. The BBC Concert Orchestra under the direction of Ronnie Hazlehurst as conductor accompanied all the songs, the musicians appearing on camera for the first time since 1978.

The eight songs in contention to represent the UK were presented during Terry Wogan's Wogan chat show on BBC1. Two songs were presented during each of four broadcasts between 20 and 27 March.

A separate results show was broadcast on BBC1 the same evening. BBC Radio 2 simulcast the final, with commentary by Ken Bruce, but did not broadcast the results show.

Malcolm Roberts had been one of six singers who had jointly represented Luxembourg in the Eurovision Song Contest 1985, thus becoming the second entrant in a UK final to have participated in Eurovision for another nation, after Dan Duskey (aka Michael Palace) in 1986.

UK Discography
Samantha Janus - A Message to Your Heart: Hollywood HWD104 (7" Single)/HDW104T (12" Single)/HWD104CD (CD Single).
Malcolm Roberts - One Love: Madierpo 92/002 (Belgian release only).

At Eurovision
Samantha Janus went on to represent United Kingdom in the Eurovision Song Contest 1991, she performed 20th on the night, after Spain and before Cyprus, finishing 10th with 47 points. Her backing singers on the night (as they had been in the UK final) were Zoe Picot, Lucy Moorby and Lyn Paul's sister Nikki Belcher. They were supported at the back of the stage by session singers Hazell Dean and former Belle and the Devotions lead singer, Kit Rolfe, who had been brought to Rome during rehearsals to help 'fix the vocals'.

Voting

References

1991
Countries in the Eurovision Song Contest 1991
Eurovision
Eurovision


La phase finale de l'édition 2021-2022 de la Ligue Europa commence le  avec la phase aller des barrages et se termine le  avec la finale au stade Ramón Sánchez Pizjuán de Séville afin de décider du vainqueur de la compétition.

Un total de vingt-quatre équipes y prend part.

Calendrier
Tous les tirages au sort ont lieu au quartier général de l'UEFA à Nyon en Suisse.

Équipes qualifiées

Barrages de la phase à élimination directe
Les deuxièmes de la phase de groupes de la Ligue Europa, rejoints par les huit équipes ayant terminé troisièmes de leur groupe en Ligue des champions, participent aux barrages de la phase à élimination directe de la Ligue Europa. Les huit premiers de la phase de groupes de la Ligue Europa, quant à eux, commencent leur phase finale par les huitièmes de finale.

Deux équipes d'une même association nationale ne peuvent pas se rencontrer en barrage. Le tirage au sort a lieu le  à Nyon. Les deuxièmes de groupe, têtes de série, jouent leur match retour à domicile.

Les matchs aller se jouent le  tandis que les matchs retour se déroulent le .

Huitièmes de finale
Les vainqueurs de la phase de groupes de la Ligue Europa, rejoints par les huit équipes vainqueurs des barrages de la phase à élimination directe, participent aux huitièmes de finale de la Ligue Europa.

Deux équipes d'une même association nationale ne peuvent pas se rencontrer en huitièmes de finale. Cette restriction est levée ensuite à partir des quarts de finale. Le tirage au sort a lieu le  à Nyon. Les huitièmes de finale se jouent le  pour les matchs aller et le  pour les matchs retour.

Le , à la suite de l'invasion de l'Ukraine par la Russie, l'UEFA et la FIFA ont annoncé la suspension des clubs et sélections russes de toutes les compétitions qu'elles organisent, ce qui disqualifie le Spartak Moscou. De ce fait, le RB Leipzig se qualifie directement pour les quarts de finale.

Quarts de finale
Le tirage au sort des quarts de finale, demi-finales et finale a lieu le  à Nyon. Les quarts de finale se jouent le  pour les matchs aller, et le  pour les matchs retour.

Demi-finales
Les matchs aller se déroulent le , et les matchs retour le

Finale

La finale se déroule le  au stade Ramón Sánchez Pizjuán de Séville en Espagne.

Tableau final

Annexes

Lien externe
 Site officiel de la Ligue Europa

Articles connexes
 2022 en football
 Ligue Europa 2021-2022 et sa phase de groupes
 Ligue des champions de l'UEFA 2021-2022
 Ligue Europa Conférence 2021-2022 et sa phase de groupes

Notes

Références

Phase finale
2021-2022
Europe

Phase finale de la Ligue Europa 2021-2022


est une caractéristique géologique de mudstones rouges sur la côte sud-ouest de l'île de Wight, en Angleterre. Elle se trouve à l'ouest du village de Brighstone. Il s'agit d'un petit ravin côtier, l'un des nombreux ravins de l'île créés par l'érosion fluviale des roches tendres du Crétacé. Il est fournisseur d'empreintes et de fossiles de dinosaures (Ceratosuchops, Riparovenator).

Il s'étend du hameau de Chilton Green jusqu'à la  où il passe sous la route et continue sur environ 200 m jusqu'à la plage de Brighstone Bay. Les côtés du ravin sont assez peu profonds et permettent la croissance de buissons rustiques, de broussailles et d'herbes rugueuses.

Le ravin draine l'eau des terres agricoles principalement plates qui entourent Chilton Green. D'importants fossiles ont été trouvés dans ce ravin.

À l'est du Chilton Chine se trouve le Isle of Wight Pearl Centre, une attraction touristique qui surplombe le ravin.

Le  suit le sommet du ravin depuis le bord de la falaise jusqu'au parking à côté de l'A3055.

Notes et références

Géographie de l'île de Wight

Chilton Chine


Made in Normandie est un single de Stone et Charden sorti en 1973. C'est leur deuxième grand succès après L'avventura.

La chanson raconte l'histoire d'un GI américain parachuté pendant la Seconde Guerre mondiale et qui découvre la Normandie, ramenant de France non pas l'idée de la guerre mais des souvenirs de la région.

Elle est reprise en 1995 par le groupe caennais Les Elles.

Notes et références

Lien externe
 Made in Normandie, archive INA.

Single musical sorti en 1973
Chanson interprétée par Stone et Charden
Chanson évoquant la France

Made in Normandie


Quinta- feira Sangrenta () é o nome dado pelos manifestantes do Bahrein a 17 de fevereiro de 2011, no quarto dia da revolta do Bahrein como parte da Primavera Árabe. As forças de segurança do Bahrein lançaram um ataque antes do amanhecer para limpar a Rotatória de Pearl em Manama dos manifestantes acampados lá, a maioria dos quais estava dormindo em tendas no momento; quatro foram mortos e cerca de 300 feridos. O evento levou alguns a exigir ainda mais reformas políticas do que antes, pedindo o fim do reinado do rei Hamad bin Isa Al Khalifa.

A liberação foi descrita por testemunhas como sendo brutal e repentina. Nuvens de gás lacrimogêneo cobriram a área e saraivadas de tiro foram disparadas contra aqueles que se recusaram a se retirar. Médicos, ambulâncias e um jornalista também foram atacados. Confrontos esporádicos eclodiram no Bahrein horas após o ataque. Durante a tarde, a Guarda Nacional e o Exército mobilizaram veículos blindados, tanques, mais de 50 veículos blindados de transporte de pessoal e montaram postos de controle nas ruas de todo o país. Os manifestantes então se refugiaram no Complexo Médico Salmaniya e continuaram suas agitações; milhares deles gritavam "Abaixo o rei, abaixo o governo".

O governo do Bahrein acusou os manifestantes de atacar as forças de segurança, 50 dos quais sofreram ferimentos, e insistiu que uma ação foi necessária para tirar o Bahrein da "beira de um abismo sectário". Mas os partidos de oposição descartaram o relato do governo como uma "jogada boba", descreveram a invasão como um "massacre hediondo" e apresentaram suas renúncias da câmara baixa do Parlamento.

Internacionalmente, os Ministros das Relações Exteriores do Conselho de Cooperação do Golfo expressaram sua solidariedade ao governo do Bahrein e seu apoio às medidas tomadas. As Nações Unidas, a União Européia e os Estados Unidos, por outro lado, expressaram sua profunda preocupação e pesar pela violência usada contra os manifestantes. O governo do Reino Unido anunciou que, à luz da agitação, revogaria algumas licenças de exportação de armas para o Bahrein. Vários grupos internacionais de direitos humanos e observadores independentes criticaram a repressão do governo.

Vítimas

Mais de 300 pessoas ficaram feridas durante o ataque, incluindo mulheres e crianças; alguns deles em estado crítico. Manifestantes feridos foram levados para o Complexo Médico de Salmaniya, muitos deles com membros quebrados e feridas abertas. Quatro indivíduos foram mortos pela polícia usando espingardas, à queima-roupa. Enquanto dois deles foram baleados nas costas, outro manifestante foi baleado na coxa e posteriormente morreu no SMC; o quarto foi baleado na cabeça mais tarde e morreu instantaneamente. Pelo menos 25 000 pessoas participaram do cortejo fúnebre, que foi realizado em Sitraem 18 de fevereiro para os três manifestantes.

Links externos

 Amnesty International: Bloodied but Unbowed: Unwarranted State Violence against Bahraini Protesters
 Human Rights Watch: Targets of Retribution: Attacks against Medics, Injured Protesters, and Health Facilities
Manifestações e protestos no Barém

Quinta-feira Sangrenta


Hiroshi Sekita (født 2. oktober 1989) er en japansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder FC Gifu og AC Nagano Parceiro.

Eksterne henvisninger

Fodboldspillere fra Japan

Hiroshi Sekita