A Trip to the Moon () is a 1902 French science-fiction adventure film directed by Georges Méliès. Inspired by a wide variety of sources, including Jules Verne's 1865 novel From the Earth to the Moon and its 1870 sequel Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon's surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. Méliès leads an ensemble cast of French theatrical performers as the main character Professor Barbenfouillis, in the overtly theatrical style for which he became famous.

Scholars have commented upon the film's extensive use of pataphysical and anti-imperialist satire, as well as on its wide influence on later filmmakers and its artistic significance within the French theatrical féerie tradition. Though the film disappeared into obscurity after Méliès's retirement from the film industry, it was rediscovered around 1930, when Méliès's importance to the history of cinema was beginning to be recognised by film devotees. An original hand-colored print was discovered in 1993 and restored in 2011.

A Trip to the Moon was an internationally popular success on its release and was extensively pirated by other studios, especially in the United States. Its unusual length, lavish production values, innovative special effects, and emphasis on storytelling were markedly influential on other filmmakers and ultimately on the development of narrative film as a whole. It was ranked 84th of the 100 greatest films of the 20th century by The Village Voice. The film remains Méliès' best known, and the moment in which the capsule lands in the Moon's eye remains one of the most iconic and frequently referenced images in the history of cinema. It is widely regarded as the earliest example of the science fiction film genre and, more generally, as one of the most influential films in cinema history.

Plot

At a meeting of the Astronomy Club, its president, Professor Barbenfouillis, proposes an expedition to the Moon. After addressing some dissent, five other brave astronomers—Nostradamus, Alcofrisbas, Omega, Micromegas, and Parafaragaramus—agree to the plan. A space capsule in the shape of a bullet is built, along with a huge cannon to shoot it into space. The astronomers embark and their capsule is fired from the cannon with the help of "marines", most of whom are played by young women in sailors' outfits. The Man in the Moon watches the capsule as it approaches, and, in an iconic shot, it hits him in the eye.

Landing safely on the Moon, the astronomers get out of the capsule (without the need of space suits or breathing apparatus) and watch the Earth rise in the distance. Exhausted by their journey, they unroll their blankets and sleep. As they sleep, a comet passes, the Big Dipper appears with human faces peering out of each star, old Saturn leans out of a window in his ringed planet, and Phoebe, goddess of the Moon, appears seated in a crescent-moon swing. Phoebe causes a snowfall that awakens the astronomers, and they seek shelter in a cavern where they discover giant mushrooms. One astronomer opens his umbrella; it promptly takes root and turns into a giant mushroom itself.

At this point, a Selenite (an insectoid alien inhabitant of the Moon, named after one of the Greek moon goddesses, Selene) appears, but it is killed easily by an astronomer, as the creatures explode if they are hit with force. More Selenites appear, and it becomes increasingly difficult for the astronomers to destroy them as they are surrounded. The Selenites capture the astronomers and take them to the palace of their king. An astronomer lifts the Selenite King off his throne and throws him to the ground, causing him to explode.

The astronomers run back to their capsule while continuing to hit the pursuing Selenites, and five get inside. The sixth astronomer, Barbenfouillis himself, uses a rope to tip the capsule over a ledge on the Moon and into space. A Selenite tries to seize the capsule at the last minute. Astronomer, capsule, and Selenite fall through space and land in an ocean on Earth, where they are rescued by a ship and towed ashore. The final sequence (missing from some prints of the film) depicts a celebratory parade in honour of the travellers' return, including a display of the captive Selenite and the unveiling of a commemorative statue bearing the motto "Labor omnia vincit".

Cast

When A Trip to the Moon was made, film actors performed anonymously and no credits were given; the practice of supplying opening and closing credits in films was a later innovation. Nonetheless, the following cast details can be reconstructed from available evidence:
 Georges Méliès as Professor Barbenfouillis. Méliès, a pioneering French film-maker and magician now generally regarded as the first person to recognise the potential of narrative film, had already achieved considerable success with his film versions of Cinderella (1899) and Joan of Arc (1900). His extensive involvement in all of his films as director, producer, writer, designer, technician, publicist, editor, and often actor makes him one of the first cinematic auteurs. Speaking about his work late in life, Méliès commented: "The greatest difficulty in realising my own ideas forced me to sometimes play the leading role in my films ... I was a star without knowing I was one, since the term did not yet exist." All told, Méliès took an acting role in at least 300 of his 520 films.
 Bleuette Bernon as Phoebe (the woman on the crescent moon). Méliès discovered Bernon in the 1890s, when she was performing as a singer at the cabaret L'Enfer. She also appeared in his 1899 adaption of Cinderella.
 François Lallement as the officer of the marines. Lallement was one of the salaried camera operators for the Star Film Company.
 Henri Delannoy as the captain of the rocket.
 Jules-Eugène Legris as the parade leader. Legris was a magician who performed at Méliès's theatre of stage illusions, the Théâtre Robert-Houdin in Paris.
 Victor André, Delpierre, Farjaux, Kelm, and Brunnet as the astronomers. André worked at the Théâtre de Cluny; the others were singers in French music halls.
 Ballet of the Théâtre du Châtelet as stars and as cannon attendants.
 Acrobats of the Folies Bergère as Selenites.

Production

Inspiration

When asked in 1930 what inspired him for A Trip to the Moon, Méliès credited Jules Verne's novels From the Earth to the Moon (1865) and Around the Moon (1870). Cinema historians, the mid-20th-century French writer Georges Sadoul first among them, have frequently suggested H. G. Wells's The First Men in the Moon (1901), a French translation of which was published a few months before Méliès made the film, as another likely influence. Sadoul argued that the first half of the film (up to the shooting of the projectile) is derived from Verne and that the second half, the travellers' adventures on and in the Moon, is derived from Wells.

In addition to these literary sources, various film scholars have suggested that Méliès was heavily influenced by other works, especially Jacques Offenbach's opera-féerie Le voyage dans la lune (an unauthorised parody of Verne's novels) and the A Trip to the Moon attraction at the 1901 Pan-American Exposition in Buffalo, New York. The French film historian Thierry Lefebvre hypothesises that Méliès drew upon both of these works, but in different ways: he appears to have taken the structure of the film—"a trip to the Moon, a Moon landing, an encounter with extraterrestrials with a deformity, an underground trek, an interview with the Man in the Moon, and a brutal return to reality back on Earth"—directly from the 1901 attraction, but also incorporated many plot elements (including the presence of six astronomers with pseudo-scientific names, telescopes that transform into stools, a moonshot cannon mounted above ground, a scene in which the Moon appears to approach the viewer, a lunar snowstorm, an earthrise scene, and umbrella-wielding travellers), not to mention the parodic tone of the film, from the Offenbach opera-féerie.

Filming

As the science writer Ron Miller notes, A Trip to the Moon was one of the most complex films that Méliès had made, and employed "every trick he had learned or invented". It was his longest film yet; both the budget and filming duration were unusually lavish, costing 10,000 to make and taking three months to complete. The camera operators were Théophile Michault and Lucien Tainguy, who worked on a daily basis with Méliès as salaried employees for the Star Film Company. In addition to their work as cameramen, Méliès's operators also did odd jobs for the company such as developing film and helping to set up scenery, and another salaried operator, François Lallement, appeared onscreen as the marine officer. By contrast, Méliès hired his actors on a film-by-film basis, drawing from talented individuals in the Parisian theatrical world, with which he had many connections. They were paid one Louis d'or per day, a considerably higher salary than that offered by competitors, and had a full free meal at noon with Méliès.

Méliès's film studio, which he had built in Montreuil, Seine-Saint-Denis in 1897, was a greenhouse-like building with glass walls and a glass ceiling to let in as much sunlight as possible, a concept used by most still photography studios from the 1860s onward; it was built with the same dimensions as Méliès's own Théâtre Robert-Houdin (13.5 × 6.6 m). Throughout his film career, Méliès worked on a strict schedule of planning films in the morning, filming scenes during the brightest hours of the day, tending to the film laboratory and the Théâtre Robert-Houdin in the late afternoon, and attending performances at Parisian theatres in the evening.

According to Méliès's recollections, much of the unusual cost of A Trip to the Moon was due to the mechanically operated scenery and the Selenite costumes in particular, which were made for the film using cardboard and canvas. Méliès himself sculpted prototypes for the heads, feet, and kneecap pieces in terracotta, and then created plaster moulds for them. A mask-making specialist, probably from the major Parisian mask- and box-making firm of the Maison Hallé, used these moulds to produce cardboard versions for the actors to wear. Though other details about the film's making are scarce, the film historian Georges Sadoul argued that Méliès most likely collaborated with the painter Claudel on the scenery, and with Jehanne d'Alcy on the costumes. One of the backdrops for the film, showing the inside of the glass-roofed workshop in which the space capsule is built, was painted to look like the actual glass-roofed studio in which the film was made.

Many of the special effects in A Trip to the Moon, as in numerous other Méliès films, were created using the substitution splice technique, in which the camera operator stopped filming long enough for something onscreen to be altered, added, or taken away. Méliès carefully spliced the resulting shots together to create apparently magical effects, such as the transformation of the astronomers' telescopes into stools or the disappearance of the exploding Selenites in puffs of smoke. Other effects were created using theatrical means, such as stage machinery and pyrotechnics. The film also features transitional dissolves.

The pseudo-tracking shot in which the camera appears to approach the Man in the Moon was accomplished using an effect Méliès had invented the previous year for the film The Man with the Rubber Head. Rather than attempting to move his weighty camera toward an actor, he set a pulley-operated chair upon a rail-fitted ramp, placed the actor (covered up to the neck in black velvet) on the chair, and pulled him toward the camera. In addition to its technical practicality, this technique also allowed Méliès to control the placement of the face within the frame to a much greater degree of specificity than moving his camera allowed. A substitution splice allowed a model capsule to suddenly appear in the eye of the actor playing the Moon, completing the shot. Another notable sequence in the film, the plunge of the capsule into real ocean waves filmed on location, was created through multiple exposure, with a shot of the capsule falling in front of a black background superimposed upon the footage of the ocean. The shot is followed by an underwater glimpse of the capsule floating back to the surface, created by combining a moving cardboard cutout of the capsule with an aquarium containing tadpoles and air jets. The descent of the capsule from the Moon was covered in four shots, taking up about twenty seconds of film time.

Coloring
Color prints were produced for a small percent of Méliès's films and advertised alongside the black-and-white versions at a higher price. From approximately 1897 to 1912, these prints (for films such as The Kingdom of the Fairies, The Impossible Voyage, The Barber of Seville, and A Trip to the Moon) were hand-colored by Élisabeth and Berthe Thuillier's coloring lab in Paris. The Thuilliers led a studio of two hundred women, painting directly on film stock with brushes in carefully chosen colors. Each worker was assigned a specific color to apply to a frame of film in assembly line style, with more than twenty colors sometimes used for a single film. On average, the Thuilliers' lab produced about sixty hand-colored copies of a film.

Music
Though Méliès's films were silent, they were not intended to be seen silently; exhibitors often used a bonimenteur, or narrator, to explain the story as it unfolded on the screen, accompanied by sound effects and live music. Méliès himself took considerable interest in musical accompaniment for his films, and prepared special film scores for several of them, including The Kingdom of the Fairies and The Barber of Seville. He did not require a specific musical for any film, allowing exhibitors freedom to choose whatever accompaniment they felt most suitable. When the film was screened at the Olympia music hall in Paris in 1902, an original film score was reportedly written for it.

In 1903, the English composer Ezra Read published a piano piece called A Trip to the Moon: Comic Descriptive Fantasia, which follows Méliès's film scene by scene and may have been used as a score for the film; it may have been commissioned by Méliès himself, who had likely met Read on one of his trips to England. More recent composers who have recorded scores for A Trip to the Moon include Nicolas Godin and Jean-Benoit Dunckel of Air (for the 2011 restoration; see the Hand-colored version section below), Frederick Hodges, Robert Israel, Eric Le Guen, Lawrence Lehérissey (a great-great-grandson of Méliès), Jeff Mills, Donald Sosin, and Victor Young (for an abridged print featured as a prologue to the 1956 film Around the World in 80 Days).

Style

The film's style, like that of most of Méliès's other films, is deliberately theatrical. The stage set is highly stylised, recalling the traditions of the 19th-century stage, and is filmed by a stationary camera, placed to evoke the perspective of an audience member sitting in a theatre. This stylistic choice was one of Méliès's first and biggest innovations.

Although he had initially followed the popular trend of the time by making mainly actuality films (short "slice of life" documentary films capturing actual scenes and events for the camera), in his first few years of filming Méliès gradually moved into the far less common genre of fictional narrative films, which he called his scènes composées or "artificially arranged scenes". The new genre was extensively influenced by Méliès's experience in theatre and magic, especially his familiarity with the popular French féerie stage tradition, known for their fantasy plots and spectacular visuals, including lavish scenery and mechanically worked stage effects. In an advertisement he proudly described the difference between his innovative films and the actualities still being made by his contemporaries: "these fantastic and artistic films reproduce stage scenes and create a new genre entirely different from the ordinary cinematographic views of real people and real streets."

Because A Trip to the Moon preceded the development of narrative film editing by filmmakers such as Edwin S. Porter and D. W. Griffith, it does not use the cinematic vocabulary to which American and European audiences later became accustomed, a vocabulary built on the purposeful use of techniques such as varied camera angles, intercutting, juxtapositions of shots, and other filmic ideas. Rather, each camera setup in Méliès's film is designed as a distinct dramatic scene uninterrupted by visible editing, an approach fitting the theatrical style in which the film was designed.

Similarly, film scholars have noted that the most famous moment in A Trip to the Moon plays with temporal continuity by showing an event twice: first the capsule is shown suddenly appearing in the eye of an anthropomorphic moon; then, in a much closer shot, the landing occurs very differently, and much more realistically, with the capsule actually plummeting into believable lunar terrain. This kind of nonlinear storytelling—in which time and space are treated as repeatable and flexible rather than linear and causal—is highly unconventional by the standards of Griffith and his followers, before the development of continuity editing. Other filmmakers performed similar experiments with time. (Porter, for instance, used temporal discontinuity and repetition extensively in his 1903 film Life of an American Fireman.) Later in the twentieth century, with sports television's development of the instant replay, temporal repetition again became a familiar device to screen audiences.

Because Méliès does not use a modern cinematic vocabulary, some film scholars have created other frameworks of thought with which to assess his films. For example, some recent academicians, while not necessarily denying Méliès's influence on film, have argued that his works are better understood as spectacular theatrical creations rooted in the 19th-century stage tradition of the féerie.

Similarly, Tom Gunning has argued that to fault Méliès for not inventing a more intimate and cinematic storytelling style is to misunderstand the purpose of his films; in Gunning's view, the first decade of film history may be considered a "cinema of attractions," in which filmmakers experimented with a presentational style based on spectacle and direct address rather than on intricate editing. Though the attraction style of filmmaking declined in popularity in favour of a more integrated "story film" approach, it remains an important component of certain types of cinema, including science fiction films, musicals, and avant-garde films.

Themes

With its pioneering use of themes of scientific ambition and discovery, A Trip to the Moon is sometimes described as the first science fiction film. A Short History of Film argues that it codified "many of the basic generic situations that are still used in science fiction films today". Other genre designations are possible; Méliès advertised the film as a pièce à grand spectacle, a term referring to a type of spectacular Parisian stage extravaganza popularised by Jules Verne and Adolphe d'Ennery in the second half of the nineteenth century. Richard Abel describes the film as belonging to the féerie genre, as does Frank Kessler. It can also be described simply as a trick film, a catch-all term for the popular early film genre of innovative, special effects-filled shorts—a genre Méliès himself had codified and popularised in his earlier works.

A Trip to the Moon is highly satirical in tone, poking fun at nineteenth-century science by exaggerating it in the format of an adventure story. The film makes no pretense whatsoever to be scientifically plausible; the real waves in the splashdown scene are the only concession to realism. The film scholar Alison McMahan calls A Trip to the Moon one of the earliest examples of pataphysical film, saying it "aims to show the illogicality of logical thinking" with its satirically portrayed inept scientists, anthropomorphic moon face, and impossible transgressions of laws of physics. The film historian Richard Abel believes Méliès aimed in the film to "invert the hierarchal values of modern French society and hold them up to ridicule in a riot of the carnivalesque". Similarly, the literary and film scholar Edward Wagenknecht described the film as a work "satirizing the pretensions of professors and scientific societies while simultaneously appealing to man's sense of wonder in the face of an unexplored universe."

There is also a strong anti-imperialist vein in the film's satire. The film scholar Matthew Solomon notes that the last part of the film (the parade and commemoration sequence missing in some prints) is especially forceful in this regard. He argues that Méliès, who had previously worked as an anti-Boulangist political cartoonist, mocks imperialistic domination in the film by presenting his colonial conquerors as bumbling pedants who mercilessly attack the alien lifeforms they meet and return with a mistreated captive amid fanfares of self-congratulation. The statue of Barbenfouillis shown in the film's final shot even resembles the pompous, bullying colonialists in Méliès's political cartoons. The film scholar Elizabeth Ezra agrees that "Méliès mocks the pretensions of colonialist accounts of the conquest of one culture by another," and adds that "his film also thematizes social differentiation on the home front, as the hierarchical patterns on the moon are shown to bear a curious resemblance to those on earth."

Release

Méliès, who had begun A Trip to the Moon in May 1902, finished the film in August of that year and began selling prints to French distributors in the same month. From September through December 1902, a hand-colored print of A Trip to the Moon was screened at Méliès's Théâtre Robert-Houdin in Paris. The film was shown after Saturday and Thursday matinee performances by Méliès's colleague and fellow magician, Jules-Eugène Legris, who appeared as the leader of the parade in the two final scenes. Méliès sold black-and-white and color prints of the film through his Star Film Company, where the film was assigned the catalogue number 399–411 and given the descriptive subtitle Pièce à grand spectacle en 30 tableaux. In France, black-and-white prints sold for 560, and hand-colored prints for 1,000. Méliès also sold the film indirectly through Charles Urban's Warwick Trading Company in London.

Many circumstances surrounding the film—including its unusual budget, length, and production time, as well as its similarities to the 1901 New York attraction—indicate that Méliès was especially keen to release the film in the United States. Because of rampant film piracy, Méliès never received most of the profits of the popular film. One account reports that Méliès sold a print of the film to the Paris photographer Charles Gerschel for use in an Algiers theatre, under strict stipulation that the print only be shown in Algeria. Gerschel sold the print, and various other Méliès films, to the Edison Manufacturing Company employee Alfred C. Abadie, who sent them directly to Edison's laboratories to be duplicated and sold by Vitagraph. Copies of the print spread to other firms, and by 1904 Siegmund Lubin, the Selig Polyscope Company, and Edison were all redistributing it. Edison's print of the film was even offered in a hand-colored version available at a higher price, just as Méliès had done. Méliès was often uncredited altogether; for the first six months of the film's distribution, the only American exhibitor to credit Méliès in advertisements for the film was Thomas Lincoln Tally, who chose the film as the inaugural presentation of his Electric Theater.

In order to combat the problem of film piracy that became clear during the release of A Trip to the Moon, Méliès opened an American branch of the Star Film Company, directed by his brother Gaston Méliès, in New York in 1903. The office was designed to sell Méliès's films directly and to protect them by registering them under United States copyright. The introduction to the English-language edition of the Star Film Company catalogue announced: "In opening a factory and office in New York we are prepared and determined energetically to pursue all counterfeiters and pirates. We will not speak twice, we will act!"

Various trade arrangements were made with other film companies, including American Mutoscope and Biograph, the Warwick Trading Company, the Charles Urban Trading Co., Robert W. Paul's studio, and Gaumont. In these negotiations, a print sale price of 0.15 per foot was standardised across the American market, which proved useful to Méliès. Later price standardisations by the Motion Picture Patents Company in 1908 hastened his financial ruin, as his films were impractically expensive under the new standards, After 1908, his films waned from the fashions of time as fanciful magic fell out of vogue.

Reception
According to Méliès's memoirs, his initial attempts to sell A Trip to the Moon to French fairground exhibitors met with failure because of the film's unusually high price. Finally, Méliès offered to let one such exhibitor borrow a print of the film to screen for free. The applause from the very first showing was so enthusiastic that fairgoers kept the theatre packed until midnight. The exhibitor bought the film immediately, and when he was reminded of his initial reluctance he even offered to add 200 to compensate "for [Méliès's] inconvenience." The film was a pronounced success in France, running uninterrupted at the Olympia music hall in Paris for several months.

A Trip to the Moon was met with especially large enthusiasm in the United States, where (to Méliès's chagrin) its piracy by Lubin, Selig, Edison and others gave it wide distribution. Exhibitors in New York City, Washington, D.C., Cleveland, Detroit, New Orleans, and Kansas City reported on the film's great success in their theatres. The film also did well in other countries, including Germany, Canada, and Italy, where it was featured as a headline attraction through 1904.

A Trip to the Moon was one of the most popular films of the first few years of the twentieth century, rivalled only by a small handful of others (similarly spectacular Méliès films such as The Kingdom of the Fairies and The Impossible Voyage among them). Late in life, Méliès remarked that A Trip to the Moon was "surely not one of my best," but acknowledged that it was widely considered his masterpiece and that "it left an indelible trace because it was the first of its kind." The film which Méliès was proudest of was Humanity Through the Ages (1908), a serious historical drama now presumed lost.

Rediscovery

Black-and-white print

After Méliès's financial difficulties and decline, most copies of his prints were lost. In 1917, his offices were occupied by the French military, who melted down many of Méliès's films to gather the traces of silver from the film stock and make boot heels from the celluloid. When the Théâtre Robert-Houdin was demolished in 1923, the prints kept there were sold by weight to a vendor of second-hand film. Finally, in that same year, Méliès had a sudden fit of rage and burned all his remaining negatives in his garden in Montreuil. In 1925, he began selling toys and candy from a stand in the Gare Montparnasse in Paris. A Trip to the Moon was largely forgotten to history and went unseen for years.

Thanks to the efforts of film history devotées, especially René Clair, Jean George Auriol, and Paul Gilson, Méliès and his work were rediscovered in the late 1920s. A "Gala Méliès" was held at the Salle Pleyel in Paris on 16 December 1929 in celebration of the filmmaker, and he was awarded the Legion of Honor in 1931. During this renaissance of interest in Méliès, the cinema manager Jean Mauclaire and the early film experimenter Jean Acme LeRoy both set out independently to locate a surviving print of A Trip to the Moon. Mauclaire obtained a copy from Paris in October 1929, and LeRoy found one from London in 1930, though both prints were incomplete; Mauclaire's lacked the first and last scenes, and LeRoy's was missing the entire final sequence featuring the parade and commemorative statue. These prints were occasionally screened at retrospectives (including the Gala Méliès), avant-garde cinema showings, and other special occasions, sometimes in presentations by Méliès himself.

Following LeRoy's death in 1932, his film collection was bought by the Museum of Modern Art in 1936. The museum's acquisition and subsequent screenings of A Trip to the Moon, under the direction of MoMA's film curator Iris Barry, opened the film up once again to a wide audience of Americans and Canadians and established it definitively as a landmark in the history of cinema. LeRoy's incomplete print became the most commonly seen version of the film and the source print for most other copies, including the Cinémathèque Française's print. A complete version of the film, including the entire celebration sequence, was finally reconstructed in 1997 from various sources by the Cinémathèque Méliès, a foundation set up by the Méliès family.

Hand-colored print

No hand-colored prints of A Trip to the Moon were known to survive until 1993, when one was given to the Filmoteca de Catalunya by an anonymous donor as part of a collection of two hundred silent films. It is unknown whether this version, a hand-colored print struck from a second-generation negative, was colored by Elisabeth Thuillier's lab, but the perforations used imply that the copy was made before 1906. The flag waved during the launching scene in this copy is colored to resemble the flag of Spain, indicating that the hand-colored copy was made for a Spanish exhibitor.

In 1999, Anton Gimenez of the Filmoteca de Catalunya mentioned the existence of this print, which he believed to be in a state of total decomposition, to Serge Bromberg and Eric Lange of the French film company Lobster Films. Bromberg and Lange offered to trade a recently rediscovered film by Segundo de Chomón for the hand-colored print, and Gimenez accepted. Bromberg and Lange consulted various specialist laboratories in an attempt to restore the film, but because the reel of film had apparently decomposed into a rigid mass, none believed restoration to be possible. Consequently, Bromberg and Lange themselves set to work separating the film frames, discovering that only the edges of the film stock had decomposed and congealed together, and thus that many of the frames themselves were still salvageable. Between 2002 and 2005, various digitisation efforts allowed 13,375 fragments of images from the print to be saved. In 2010, a complete restoration of the hand-colored print was launched by Lobster Films, the Groupama Gan Foundation for Cinema, and the Technicolor Foundation for Cinema Heritage. The digitised fragments of the hand-colored print were reassembled and restored, with missing frames recreated with the help of a black-and-white print in the possession of the Méliès family, and time-converted to run at an authentic silent-film speed, 16 frames per second. The restoration was completed in 2011 at Technicolor's laboratories in Los Angeles. Restoration costs were $1 million.

The restored version premiered on 11 May 2011, eighteen years after its discovery and 109 years after its original release, at the 2011 Cannes Film Festival, with a new soundtrack by the French band Air. The restoration was released by Flicker Alley in a 2-disc Blu-ray and DVD edition also including The Extraordinary Voyage, a feature-length documentary by Bromberg and Lange about the film's restoration, in 2012. In The New York Times, A. O. Scott called the restoration "surely a cinematic highlight of the year, maybe the century."

Legacy

As A Short History of Film notes, A Trip to the Moon combined "spectacle, sensation, and technical wizardry to create a cosmic fantasy that was an international sensation." It was profoundly influential on later filmmakers, bringing creativity to the cinematic medium and offering fantasy for pure entertainment, a rare goal in film at the time. In addition, Méliès's innovative editing and special effects techniques were widely imitated and became important elements of the medium. The film also spurred on the development of cinematic science fiction and fantasy by demonstrating that scientific themes worked on the screen and that reality could be transformed by the camera. In a 1940 interview, Edwin S. Porter said that it was by seeing A Trip to the Moon and other Méliès films that he "came to the conclusion that a picture telling a story might draw the customers back to the theatres, and set to work in this direction." Similarly, D. W. Griffith said simply of Méliès: "I owe him everything." Since these American directors are widely credited with developing modern film narrative technique, the literary and film scholar Edward Wagenknecht once summed up Méliès's importance to film history by commenting that Méliès "profoundly influenced both Porter and Griffith and through them the whole course of American film-making."

It remains Méliès's most famous film as well as a classic example of early cinema, with the image of the capsule stuck in the Man in the Moon's eye particularly well known. The film has been evoked in other creative works many times, ranging from Segundo de Chomón's 1908 unauthorised remake Excursion to the Moon through the extensive tribute to Méliès and the film in the Brian Selznick 2007 novel The Invention of Hugo Cabret and its 2011 Martin Scorsese film adaptation Hugo. Film scholar Andrew J. Rausch includes A Trip to the Moon among the "32 most pivotal moments in the history of [film]," saying it "changed the way movies were produced." Chiara Ferrari's essay on the film in 1001 Movies You Must See Before You Die, which places A Trip to the Moon as the first entry, argues that the film "directly reflects the histrionic personality of its director", and that the film "deserves a legitimate place among the milestones in world cinema history."

See also
 1902 in science fiction
 List of early color feature films
 List of films featuring extraterrestrials

References

Notes

Citations

Bibliography

External links

1900s science fiction adventure films
1902 films
1902 short films
Films based on From the Earth to the Moon
Articles containing video clips
French black-and-white films
Films directed by Georges Méliès
French science fiction adventure films
French silent short films
1902 science fiction films
Films based on multiple works
Films based on science fiction novels
Silent science fiction adventure films
Rediscovered French films
1900s rediscovered films
Films set on the moon
Films about extraterrestrial life

A Trip to the Moon


Tajanstveni otok (francuski: L'Île mystérieuse) pustolovni je roman Julesa Vernea koji je objavljen 1875. godine. Originalno izdanje, koje je objavio Pierre-Jules Hetzel, sadrži ilustracije Julesa Férata. Događaji u romanu povezani su s prethodnim Verneovim djelima 20.000 milja pod morem i Djeca kapetana Granta, iako se tematski znatno razlikuju.

Radnja

Knjiga govori o avanturama pet Amerikanaca na nepoznatom otoku u južnom Pacifiku. Priča počinje za vrijeme Američkog građanskog rata, tijekom opsade Richmonda, glavnog grada Konfederacije Američkih Država. U želji da izbjegnu glad i smrt koje razaraju grad, pet ratnih zarobljenika sa sjevera odlučuju pobjeći na neobičan način – otmicom balona. Bjegunci su Cyrus Smith, inženjer; Nab (skraćeno od Nabukodonosor), njegov crni sluga i bivši rob kome je Smith dao slobodu; mornar Bonadventure Pancroff; njegov štićenik Herbert Brown, dječak o kojem se Pancroff brine nakon smrti njegovog oca, bivšeg Pancroffovog kapetana; i novinar Gedeon Spillet. Družinu upotpunjuje Cyrusov pas zvan Top.

Nakon višednevnog leta po olujnom vremenu, njihov balon pao je na jedan nepoznati (izmišljeni) vulkanski otok koji se nalazi na , oko 2500 kilometara istočno od Novog Zelanda. U stvarnosti, najbliže otočje bilo bi Marotiri, smješteno na . Naseljenici su otok nazvali otok Lincoln, u čast američkom predsjedniku Abrahamu Lincolna. Zahvaljujući znanju inženjera Smitha, njih petero uspjeli su opstati na otoku, zapaliti vatru, napraviti keramičke posude, cigle, nitroglicerin, čelik, jedan jednostavan električni telegraf, kuću u špilji koja se nalazila na kamenoj litici te čak i jedan brod zvan Bonadventure. Također su uspjeli utvrditi geografski položaj otoka.

Tijekom boravka na otoku, družina je iskusila nevrijeme te je usvojila i pripitomila jednog orangutana, kojeg su nazvali Jupiter, skraćeno Jup.

Tijekom njihovog boravka na otoku bila je prisutna neka nevidljiva sila (deus ex machina) zahvaljujući kojoj je Cyrus preživio pad balona, pas Top čudesno je spašen iz usta dugonga, misteriozno pojavljivanje sanduka s opremom (oružje, municija, alat i drugo)  na obali, i slične potpuno neobjašnjive stvari.

Družina je pronašla poruku u boci koja ih je usmjerila da spase brodolomca Toma Ayrtona (lik iz Verneovog romana Djeca kapetana Granta) koji se nalazio na obližnjem (u stvarnosti fantomskom) otoku Tabor. Prilikom povratka na otok Lincoln s otoka Tabor, njihov brod izgubio se u oluji, ali su zahvaljujući misterioznoj vatri pronašli put.

Ayrtonovi bivši druzi koji su bili pirati, dolaze na otok Lincoln kako bi ga koristili kao skrovište. Nakon borbi s naseljenicima otoka, neobična eksplozija uništava piratski brod. Šest pirata uspjelo je preživjeti, a oni su nešto kasnije vatrenim oružjem ranili Herberta. Tada su predstavljali smrtnu opasnost za naseljenike. Međutim, iznenada su pronađeni mrtvi, vjerojatno u borbi, ali bez vidljivih rana. Herbert obolijeva od malarije, od koje ga spašava kinin sulfat, koji se tajanstveno pojavio na stolu u granitnom zamku.

Tajna otoka otkrivena je otkrićem skrovišta kapetana Nema i matične luke Nautilusa. Nakon što se spasio od snažnog vrtloga Maelstroma na kraju romana 20.000 milja pod morem, Nautilus je plovio svjetskim morima sve dok od posade nije ostao samo kapetan Nemo. Sada kao starac s bradom, Nemo je vratio Nautilus u njegovu tajnu luku koja se nalazi unutar otoka Lincolna. Nemo im otkriva da im je pružao pomoć i otkriva svoj pravi identitet. Nemo je bivši indijski princ Dakkar, sin jednog radže ondašnjeg nezavisnog područja Bundelkhanda i nećak indijskog heroja Tipu Sahiba. Nakon sudjelovanja u neuspješnom Indijskom ustanku 1857. godine, princ Dakkar je s dvadeset svojih sunarodnika pobjegao na pusti otok te se posvetio izgradnji Nautilusa i uzeo je novo ime kapetan Nemo. Nemo priča svoju životnu priču Cyrusu Smithu i njegovim prijateljima, a nakon toga umire, uz riječi "Bog i moja zemlja!". Nautilus je potopljen i služi kao grobnica kapetana Nema.

Nešto kasnije dolazi do erupcije vulkana koja uništava otok. Orangutan Jup pada u pukotinu u zemlji i gine. Naseljenici koje je Nemo upozorio o nadolazećoj erupciji, preživljavaju na jednoj maloj stijeni, koja je sve što je preostalo od otoka. Njih spašava brod Duncan, koji je došao spasiti Ayrtona, ali zahvaljujući poruci koju je Nemo ostavio na otoku Tabor preusmjeren je prema otoku Lincoln.

Nelogičnosti
Radnja romana 20.000 milja pod morem zbiva se od 1865. do 1869. godine, nakon završetka Američkog građanskog rata i tom prilikom se čitatelji prvi put susreću s kapetanom Nemom. Sljedeće pojavljivanje kapetana Nema zbiva se u romanu Tajanstveni otok čija se radnja zbiva od 1867. do 1868. godine. U ovom romanu kapetan Nemo umire, dok je u romanu 20.000 milja pod morem i dalje živ. Isto tako, radnja romana "Djeca kapetana Granta" zbiva se nakon Američkog građanskog rata što se izričito naglašava kada se u jednoj rečenici spominje američki predsjednik Abraham Lincoln "koji je ubijen u atentatu jednog luđaka". Na završetku tog romana odmetnik Ayrton biva ostavljen na pustom otoku Tabor u Tihom oceanu. Ayrton se sljedeći put ponovno pojavljuje u romanu Tajanstveni otok pred kraj Američkog građanskog rata nakon što je proveo godine u samoći na otoku. Još jedna greška je što je Nab Smithov bivši rob, a Smith je iz Massachusettsa koji je ukinuo ropstvo tijekom 1780-ih, stoga Nab nikako nije mogao biti Smithov rob.

Bilješke
 U nekim izdanjima likovi imaju drugačija imena. U nekima se izdanjima Cyrus Smith preziva Harding, Bonadventure Pancroff Pencroff ili Pencroft, Nab se zove Neb, Herbert Harbert, Gideon Gédéon, a orangutan Jup Joop.

Vanjske poveznice

 Sažetak , Čitajte Julesa Vernea
 —Stephen W. White translation (1876)
 —W. H. G. Kingston (Mrs. Agnes Kinloch Kingston) translation (1875)

 The Mysterious Island —Sidney Kravitz's unedited unabridged translation (2001). The extensive introduction and notes for this volume are at Mysterious Island Introduction.
 The Mysterious Island—Interactive 3D model on CryEngine 1 by Crytek

 North American Jules Verne Society
 Link to a map of Lincoln Island with English labels
 The Mysterious Island—BBC Radio 4 drama adaptation

Djela Julesa Vernea
Pustolovni romani

Tajanstveni otok


Tračna pila ili vrpčasta pila ima vrlo uzak i tanak list spojenih krajeva, koji tvori beskonačnu vrpcu prebačenu i zategnutu preko pogonskoga kotača koji ju pogoni i nateznoga kotača koji ju napinje. Ta se pila izvodi isključivo kao stolna, služi za drvo, plastiku i metal (kovine),
a rez može biti slobodna oblika. Za izrezivanje slobodnih oblika namijenjene su i stolna lučna pila, koja ima ravan, vrpčast list s krajevima upetima u luku koji se giba gore-dolje, te strojna ručna ubodna pila s jednostrano upetim listom slična gibanja. Ravne listove ima i pila jarmača za raspiljivanje trupaca.

Tračne pile služe isključivo za strojno piljenje. Izrađuju se u obliku čeličnih traka. Debljina traka je od 0,60 do 2 mm. Širina je od 6 do 40 mm. Alat (traka) se kod vodoravna pila postavlja koso prema smjeru brzine rezanja. Tako se postiže jednolično rezanje svakog zuba pile.

Strojna pila
Strojna pila ima rezni dio pogonjen motorom, najčešće električnim, rjeđe benzinskim. Može biti stolna, s postoljem koje olakšava pomicanje i vođenje (posmak) piljenoga obratka, ili ručna, izmjerama i masom prilagođena držanju u ruci. Pili se po pravcu ili krivulji traženoga oblika, a list pile se vrti (rotira), giba se stalnom brzinom u jednom smjeru, ili se giba naizmjenično u jednom pa u drugom smjeru. Zbog raznolike namjene, razvijen je niz različitih strojnih pila.

Slike

Izvori

Vanjske poveznice

Obrada metala
Alati
Drvoprerađivačka industrija

Tračna pila


Céline Carzo (* 1972 in Nizza) ist eine französische Sängerin.

Sie interpretierte den Popchanson Quand je te rêve (dt.: Wenn ich von dir träume) beim Eurovision Song Contest 1990 in Zagreb als Teilnehmerin für Luxemburg. Sie erreichte Platz 13.

Einzelnachweise

Sänger
Interpret eines luxemburgischen Beitrags beim Eurovision Song Contest
Musiker (Frankreich)
Franzose
Geboren 1972
Frau

Céline Carzo


Giuseppe D'Amato (Ottati, Italia, 25 de mayo de 1961) es un historiador italiano, especializado en Rusia y la antigua URSS, y comentarista de política internacional.

Biografía
Después de haberse licenciado en Italia en los años Ochenta, fue alumno del académico ruso Sigurd Ottovich Schmidt en el Istituto histórico-archivista de Moscú de la Universidad Estatal rusa para las Humanidades. A principio de los años Noventa obtuvo el doctorado en historia.

Redacción
D'Amato escribió un libro sobre los viajeros italianos a Rusia en los siglos 15-16 y estudió las relaciones ruso-italianas. Algunos de sus artículos han sido publicados en otros idiomas además del italiano<ref> Katyn. Andrzej Wajda. La derrota del silencio.EuropaRussia, 24 de marzo de 2008 </ref> Ha editado tres libros sobre la desintegración de la URSS, la ampliación de la UE hacia el Este, y el euro-integración.

 Bibliografía seleccionada
 Сочинения итальянцев о России XV - XVI конца веков, Москва 1995. (Informes italianos sobre Rusia de los siglos 15 y 16) Libro en ruso.
 Review Foreign descriptions of Muscovy. An Analytic Bibliography of Primary and Secondary Sources by Marshall Poe in «Slavic Review» Vol. 56, No. 3, Autumn 1997, pp. 566 – 567.
 Il Diario del Cambiamento. Urss 1990 - Russia 1993. Greco&Greco Editori, Milano, 1998. (El Diario del Cambio. URSS 1990 - Rusia 1993) libro en italiano.
 Viaggio nell'Hansa baltica. L'Unione europea e l'allargamento ad Est. Greco&Greco editori, Milano, 2004. (Viaje a la Hansa del Báltico. La Unión Europea y su ampliación hacia el Este) libro en italiano.
 L'EuroSogno e i nuovi Muri ad Est. L'Unione Europea e la Dimensione orientale. Greco&Greco Editori, Milano, 2008. (El EuroSueño y los nuevos Muros en el Este. La Unión Europea y la dimensión del Este).
 The new Europe in the midst of separations, reconciliations, and new unions'', in «2015 Scientific Economic Magazine», No.1 issue 1, edizioni Palager, Bergamo, 2009.

Referencias

Enlaces externos
 Greco&Greco Milano Italy, Authors.
 Giuseppe D'Amato Sito

Historiadores de Italia del siglo XX
Historiadores de Italia del siglo XXI
Periodistas de Italia

Giuseppe D'Amato


69230 Hermes este un asteroid Apollo descoperit, pentru prima oară, la 28 octombrie 1937, de astronomul german Karl Reinmuth, la Observatorul Königstuhl de lângă Heidelberg.

Numele asteroidului
Numele asteroidului face referire la zeul Hermes din Mitologia greacă.

Caracteristici
69230 Hermes prezintă o orbită caracterizată de o semiaxă majoră egală cu 1,6548637 u.a. și de o excentricitate de 0,6239080, înclinată cu 6,06783° față de ecliptică.

Orbita urmată de Hermes îl conduce să intersecteze orbitele planetelor  Venus, Pământ și  Marte.

La 30 octombrie 1937, asteroidul 1937 UB (Hermes) a trecut la 0,0049 u.a. () de Pământ (aproximativ la de 1,9 ori distanța Pământ-Lună). Pierdut după acea dată, asteroidul a fost redescoperit la 15 octombrie 2003 de către astronomul Brian Skiff, de la Observatorul Lowell, Hermes apropiindu-se de Orbita terestră la fiecare 777 de zile.

De cele mai multe ori, Pământul se află departe de punctul în care orbitele celor două corpuri cerești se intersectează. Însă în 1937, 1942, 1954, 1974 și în 1986, Hermes a trecut deosebit de aproape de planeta noastră.
La 26 aprilie 1942, Hermes s-a apropiat la mai puțin de 0,0043 u.a. de Pământ.

Astronomii Steve Cheslay și Paul Chodas de la NEO Program Office al Jet Propulsion Laboratory (JPL) al NASA, (Pasadena, California) au trasat traiectoria anterioară a lui Hermes, cu ajutorul observațiilor recente, prin care ei au putut identifica trecerile în apropiere de Pământ enumerate anterior.

Talia asteroidului este estimată la .

Satelit

Un satelit al asteroidului a fost descoperit pe orbită în jurul lui Hermes în 2003. Acest satelit, denumit provizoriu , este relativ mare în comparație cu asteroidul pe care îl orbitează, având o talie de circa , adică vreo 40 % din talia lui Hermes. Acest satelit orbitează la circa  de Hermes.

Orbita
 Orbita

Note

Legături externe
 Lightcurve plot of 69230 Hermes, Palmer Divide Observatory, B. D. Warner (2003)
 Arecibo 2003 press release
 Hermes radar results at UCLA
 Asteroids with Satellites, Robert Johnston, johnstonsarchive.net
 Dictionary of Minor Planet Names, Google books
 Discovery Circumstances: Numbered Minor Planets (1)-(5000) – Minor Planet Center

Vezi și
 Lista planetelor minore: 69001–70000

Asteroizi Apollo
Asteroizi care intersectează orbita planetei Marte
Asteroizi care intersectează orbita Pământului
Asteroizi care intersectează orbita planetei Venus
Obiecte astronomice descoperite în 1937
Asteroizi binari
Asteroizi cu nume din mitologia greacă

69230 Hermes


O armário automático, (em inglês Parcel Locker), é um armário inteligente, que permite a recolha de encomendas de forma autonoma pelos seus recipientes.

Sistemas no mundo

Europa

Packstation é um serviço criado pela DHL Parcel Germany, uma unidade de negócios da divisão Mail da Deutsche Post, na Alemanha e em outros países (por exemplo, na Itália ). Começou como um projeto piloto em 2001 e foi rapidamente expandido. Existem 3.000 máquinas Packstation na Alemanha e 90% das pessoas que vivem na Alemanha estavam a dez minutos de uma DHL Packstation. Apenas encomendas e cartas comuns entregues pela Deutsche Post podem ser entregues nas Packstations. Além disso, a Deutsche Post permite que a sua filial DHL Express Germany insira um número limitado de encomendas expresso . Packstations foram originalmente fabricados pela empresa austríaca KEBA com novas estações desenvolvidas pela DHL Paket em conjunto com a Polygon.

O Österreichische Post da Áustria introduziu um serviço praticamente idêntico chamado Post.24-Station em novembro de 2006. Os equipamentos são fabricados pela mesma empresa que fabrica os packstations, KEBA . Em Viena, foram erguidas estações em supermercados, postos de gasolina e correios que podem ser facilmente alcançados por transporte público.

Na República da Irlanda, o ParcelMotel é propriedade da empresa de entregas Nightline. O ParcelMotel opera desde 2012 e possui 124 locais que oferecem mais de 10.000 slots de Parcel Lockers em toda a República da Irlanda. O ParcelMotel também oferece um endereço no Reino Unido para entrega de encomendas que permite aos clientes na Irlanda aproveitar a entrega gratuita no Reino Unido. Eles também oferecem serviços de devolução pagos gratuitos/empresariais, entrega de motel a motel a preços especiais e um serviço de envio de encomendas.

Uma empresa chamada SmartPOST, administrada pelo grupo finlandês Posti, opera uma rede de terminais de encomendas de autoatendimento na Finlândia e na Estônia. Os terminais estão localizados em shopping centers e outros locais públicos. Eles permitem que os clientes enviem e recebam encomendas e paguem por elas no ponto de recolha. Há um terminal para cada estoniano em um raio de 15 minutos de carro. Os terminais de encomendas foram introduzidos na Finlândia em 2011. Os terminais de encomendas e o software que executa o sistema são fabricados na Estônia pela Cleveron .

Além disso, a empresa letã, PostService, opera uma rede de 39 terminais de autoatendimento de encomendas na Letônia, chamada Mana pasta stacija (em inglês: My Post Station). Os terminais estão localizados em 27 cidades e vilas da Letônia. Os terminais são construídos e fabricados na Letônia pela própria PostService.

A empresa polonesa InPost opera uma rede de quase 20.000 terminais de autoatendimento de encomendas na Polônia chamada Paczkomaty 24/7. Os terminais estão localizados em shopping centers, estacionamentos e postos de abastecimento de combustível. Os terminais permitem aos clientes enviar e receber encomendas. No Reino Unido, operam cacifos com a marca «InPost», que se encontram em vários locais, incluindo postos de abastecimento de combustível e supermercados . Segundo a empresa, eles estão "estrategicamente localizados em áreas urbanas onde as pessoas trabalham, fazem compras e se divertem".

Na Rússia, os armários de encomendas ganharam muita popularidade, com várias grandes empresas oferecendo esse serviço. Entre eles estão: Logibox, PickPoint, QIWI Post, EMS Russian Post, Yandex Market e Russian Post .

Na França, os armários de encomendas são um segmento de rápido crescimento com as principais empresas do mercado sendo: InPost, Amazon e Vinted .

O Vinted Go (serviço de logística da Vinted) foi lançado na França em julho de 2022 e colocará mais de 13.000 Parcel Lockers em todo o país, criando a maior rede da França e outra das maiores do mundo. Os Lockers são fabricados pela empresa portuguesa Bloq.it, e estão distribuídos por cadeias de retalho de âmbito nacional como Franprix, Carrefour e lojas CASINO.

Américas

A empresa canadense BufferBox, que foi adquirida pelo Google em novembro de 2012, opera um sistema semelhante em Ontário. No entanto, o serviço foi suspenso e uma mensagem em sua página inicial mostra que a empresa está se concentrando no Google Express Checkout. Quando a pandemia chegou no início de 2020, os varejistas se esforçaram para encontrar maneiras de atender à demanda do consumidor por seus produtos e, ao mesmo tempo, gerenciar os custos de entrega de última milha, margens gerais e manter soluções sem contato. A Parcel Lockers começou a suprir essa necessidade com empresas como a ParcelPort Solutions, com sede em Toronto, ON, usando tecnologia para reduzir custos logísticos e oferecer uma opção sem atrito e sem contato para os clientes.

Os Amazon Lockers são um serviço semelhante específico para entregas realizadas por meio do varejista on-line Amazon.

O Serviço Postal dos Estados Unidos lançou um serviço semelhante chamado "gopost" (em letras minúsculas) com a instalação em agosto de 2014 de 17 armários na cidade de Nova York e Washington, DC

Correos de Costa Rica oferece um serviço semelhante com máquinas de entrega automatizadas localizadas em vários supermercados. O programa de testes começou em julho de 2017. As máquinas são fabricadas na Costa Rica. Em 2018, foi iniciada a operação do sistema de armário inteligente conhecido como API. Os armários API são fabricados pela própria Correos de Costa Rica. A rede tem 102 localidades em toda a Costa Ríca. Com mais expansão no futuro próximo.

Ásia
Uma empresa de entregas chamada Parzel Express introduziu máquinas de entrega automatizadas nos Emirados Árabes Unidos em 2011, fabricadas pela KEBA .

Austrália e Oceania
Australia Post oferece um serviço semelhante com instalações localizadas em ou perto de várias agências de correios.

Correio expresso

Parcel locker


Carreira, Portekiz'de Vila Nova de Famalicão belediyesine bağlı olan, 2,15 km² yüzölçümüne sahip, 1.907 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Portekiz'in freguesiaları
Vila Nova de Famalicão

Carreira (Vila Nova de Famalicão)


La Rodovia Transamazônica (BR-230) es la tercera carretera más grande de Brasil, con 4.965,1 km de recorrido.

Fue proyectada durante el régimen militar brasileño de Emílio Garrastazu Médici (1969 a 1974); fue responsabilidad del ministro Mário Andreazza. Ha sido llamada "obra faraónica" debido a sus gigantescas proporciones.

Une Cabedelo, en Paraíba, con Benjamin Constant (Amazonas), atravesando siete estados brasileños: Paraíba, Ceará, Piauí, Maranhão, Tocantins, Pará y Amazonas.

En gran parte de su recorrido, principalmente en Pará y Amazonas, no está pavimentada.

Historia

La carretera fue proyectada para integrar mejor el norte de Brasil con el resto del país y los países limítrofes de Perú y Colombia. Fue inaugurada el 27 de agosto de 1972, con secciones sin terminar y faltan varios tramos por pavimentar. Inicialmente diseñada para ser una carretera pavimentada de 8.000 kilómetros de longitud, que conecta las regiones norte y noreste de Brasil con Perú y Colombia, no ha sufrido grandes cambios desde su inauguración. Luego se modificó el proyecto a 4 977 km hasta Benjamín Constant, sin embargo se interrumpió la construcción en Lábrea totalizando 4 260 km.

En la construcción participaron varias multinacionales brasileras. Los trabajadores estuvieron completamente aislados y sin comunicación durante meses. Alguna información se obtuvo solo en visitas ocasionales a algunas ciudades cercanas. El transporte se realizaba habitualmente en avionetas, que utilizaban pistas totalmente precarias.

La construcción de la carretera fue financiada parcialmente por créditos del Banco Mundial y el Banco Interamericano de Desarrollo, quienes otorgaron alrededor de USD 400 millones para las obras.Se estima que los costos de la obra fueron alrededor de USD 53.000 de la época por kilómetro construido.

Al no estar pavimentado, el tráfico de la Carretera Transamazónica hace que el tráfico sea impracticable durante la temporada de lluvias en la región (entre octubre y marzo).

Características
La BR-230 o Transamazônica es una carretera transversal, considerada la tercera carretera más larga de Brasil, con 4260 km de longitud, que conecta la ciudad portuaria de Cabedelo en Paraíba con el municipio de Lábrea, en Amazonas, cortando algunas de las principales ciudades de Brasil. También sirve como enlace con áreas portuarias en el estado de Pará, como Puerto de Santarém; Marabá, Altamira y Itaituba. También conecta con puertos de la costa del Nordeste. En Paraíba representa el principal eje de circulación de personas y mercancías entre sus municipios, teniendo como referencia el puerto de Cabedelo y las ciudades de João Pessoa, Campina Grande, Patos, Pombal, Sousa y Cajazeiras, los mayores centros económicos del estado. Atraviesa suelo de Paraíba por 521 km, con buen estado de tránsito hasta el límite con el estado de Ceará.

El tramo de 147,6 km de longitud entre Cabedelo, donde se encuentra su hito 0, y Campina Grande, pasando por Grande João Pessoa y otros municipios, se duplicó bajo el gobierno de FHC. Se espera una duplicación adicional entre los municipios de Campina Grande y Cajazeiras.

Impacto socio-ambiental

Deforestación
La creación de la carretera transamazónica ha contribuido con la deforestación en el Amazonas. Las imágenes satelitales muestran que la deforestación en el Amazonas sigue el "patrón espina de pescado" a lo largo de la carretera. Los caminos de acceso se ramifican perpendicularmente a la BR-230, lo que permite una penetración más profunda en las áreas selváticas circundantes. Las imágenes satelitales también muestran un descenso en la tasa de deforestación a partir de los 2000, atribuido probablemente a una mayor conciencia en la necesidad de preservar la selva. Sin embargo, otros estudios científicos atribuyen grandes pérdidas en la cobertura forestal al desarrollo de nuevos proyectos alrededor de la autopista.

Se han creado varias unidades de conservación con el objetivo de frenar la deforestación y contribuir al desarrollo económico de la zona de una manera sustentable. En la sección occidental de Lábrea a Humaitá, al sur de la carretera se encuentra el parque nacional Mapinguari, totalmente protegido, y al norte se encuentra el Bosque Nacional Balata-Tufari, de uso sostenible. Al este de Humaitá y al sur de la carretera se encuentra el Bosque Nacional Humaitá, luego el parque nacional Campos Amazónicos y el parque nacional Juruena.

Véase también

Lista de carreteras de Brasil

Referencias

Enlaces externos

 BR-230

Carreteras de Brasil
Selva amazónica

Transamazónica


En náutica, el propulsor azimutal es un dispositivo de doble función  que consiste en una hélice que puede orientar su impulso girando alrededor de un eje vertical. Este giro es completo (360°) lo que mejora significativamente la maniobrabilidad haciendo incluso innecesario el timón. Parte de los mecanismos necesarios para el funcionamiento están encerrados en la sala de máquinas. Es similar a la lanchas fueraborda pero con mayor posibilidad de giro y mayor tamaño.

Estos propulsores pueden girar sin necesidad de una línea de ejes rígida, sino con un motor eléctrico acoplado perpendicularmente al propulsor en un contenedor (pod), que es alimentado por un alternador situado en la cámara de máquinas. Remolcadores, buques offshore, buques de crucero, ferries y algunos otros tipos de buques, y especialmente los que tienen que maniobrar mucho, son los que más incorporan en la actualidad ese tipo de propulsión.

Hay dos tipos de aplicación, los remolcadores por un lado y los buques offshore (sísmicos, de suministro a plataformas, stand-by,....).

En los remolcadores de tipo ASD (Azimuth Stern Drive), el uso del propulsor azimutal se hace al acoplar un motor diésel mediante una línea de ejes con dos ejes cardan, uno en cada extremo estando el propulsor y el motor están a distinta altura.

En remolcadores de tipo tracor, al estar el motor y el propulsor e la misma altura, estos se acoplan mediante un eje directamente sin necesidad de ejes cardan.

Tipos

Existen dos variantes principales, basados en el tipo de transmisión lo que condiciona la localización del motor:
 Transmisión mecánica, donde un motor en el interior del barco está conectado a la unidad por engranajes. El motor puede ser diésel o eléctrico. Según la configuración mecánica de la transmisión se dividen en L-drive y Z-drive. Una hélice de L-drive tiene un eje de accionamiento vertical y un eje de salida horizontal unidos por un juego de engranajes en ángulo recto. Un propulsor Z-drive tiene un eje horizontal de entrada, un eje vertical en la columna giratoria y un eje de salida horizontal con dos juegos de engranajes en ángulo recto uniendo los ejes.
 Transmisión eléctrica, donde un motor eléctrico está en la misma góndola, conectado directamente a la hélice sin engranajes. La electricidad la produce un motor a bordo, generalmente diésel o turbina de gas. Inventado en 1955 por el Sr. FW Pleuger y el Sr. F. Busmann (Pleuger Unterwasserpumpen GmbH).Pero fue ABB con su Azipod el primer producto con esta tecnología.

Los mecánicos de los propulsores azimutales se puede fijar instalado, retráctil y montaje bajo el agua. Es posible que tengan hélices de paso fijo (FPP) o hélices de paso variable (CPP). Los propulsores fijos se utilizan para remolcadores, transbordadores y barcos de abastecimiento. Los propulsores retráctiles se utilizan como propulsión auxiliar para posicionamiento dinámico (DP) de buques y de propulsión para buques militares. Propulsores Underwater Montable se utilizan como sistema de propulsión de posicionamiento dinámico para los buques de gran tamaño, tales como plataformas de perforación semi-sumergibles.

Historia
En la década de 1950 varios fabricantes de hélices intentaron soluciones que proporcionan una mejor maniobrabilidad y fácil giros sobre el eje. La primera propulsión azimutal fue concebida en 1955 por F.W Pleuger y Busmann Friedrich (empresa Pleuger Unterwasserpumpen GmbH, Hamburgo - hoy Flowserve Hamburg GmbH) como el desarrollo de un timón activo. Se patentó (patente 2.714.866 de la Oficina de Patentes de Estados Unidos en agosto de 1955), sin embargo, estaba demasiado adelantado a su tiempo y no se llegó a construir. Las empresas pioneras en el desarrollo de las propulsión azimutal fueron la alemana Schottel y la finlandesa Wärtsilä en navegación comercial y Volvo Penta en la navegación de recreo. El propulsor azimutal utilizando la transmisión Z-drive fue inventado en 1950 por Joseph Becker fundador de Schottel en Alemania. Las primeras aplicaciones se produjo en la década de 1960 bajo el nombre de la marca Schottel y se refiere como Propulsor Azimutal desde entonces. En 2004, Joseph Becker, recibió a título póstumo, el Premio Elmer A. Sperry por esta invención como una importante contribución a la mejora del transporte en todo el mundo. Pero por la misma época que Becker trabajaba en su invento, los astilleros Hollming Oy en Rauma, Finlandia, fabricaron un dispositivo que llamó Aqua Master. La empresa noruega Ulstein As también estaba trabajando en esta cuestión.  Entonces Hollming vendió su negocio de construcción naval, vendió los derechos de Aquamaster a Ulstein As, que a su vez se fusionó con la británica Rolls-Royce plc.

Más tarde, la filial de ABB, también con sede en Finlandia, desarrolló la hélice Azipod, con el motor situado en la misma góndola. Este es el tipo de propulsión se patentó por primera vez en 1955 por Pleuger de Alemania.

En todo el mundo hay alrededor de seis fabricantes de renombre. Estos incluyen a la sueco-suiza ABB con el Azipod ®, a la británica Rolls-Royce plc y su góndolas Mermaid® o el conglomerado alemán Siemens en cooperación con Spay sito en el astillero Koblenz Schottel, desde 1997, SSP ( Propulsores Siemens Schottel) para desarrollar, producir y comercializar (esta unidad tiene una capacidad de hasta 20 megavatios, poniéndolo en la clase de rendimiento superior). Volvo Penta llama a sus sistema Azipod IPS y Brunswick/Mercury lo llamó Cobra.

Como se ha descrito anteriormente, dio los fabricantes de motores y astilleros su sistema de hélice góndolas nombre propio, a menudo con marcas y los derechos de patente.

Pros y contras
En comparación con las instalaciones convencionales de eje propulsor el tipo góndola posee varias ventajas:
 En combinación con un accionamiento diésel-eléctrico se pueden maniobrar el buque más fácilmente.
 En combinación con propulsores de proa, hacen innecesaria la asistencia de remolcadores en maniobras de puerto.
 Generalmente se usan toberas alrededor del propulsor para una mayor eficiencia en la deriva.
 Especialmente a velocidades bajas permiten realizar círculos de giro más pequeños. Incluso realizando la ciaboga sobre el eje del barco.
 La integración en el barco es generalmente sencilla porque todos los componentes de la unidad son provistos por un fabricante y en el astillero solo deben ser instalados. En los sistemas convencionales, los fabricantes suelen ser diferentes para cada componente.
 Los tiempos de parada y los caminos son muy cortas porque las góndolas no son más que girar y no los motores tienen que ser invertidos.

Las góndolas de hélice tiene, sin embargo, algunos inconvenientes:
 La eficiencia del diseño es generalmente peor que para una planta convencional de hélice de eje motor con engranaje .
 La masa es mucho mayor que con los sistemas convencionales.
 El coste también es mucho mayor que para una planta convencional.
 El diámetro máximo de la hélice disponible y la potencia total son menores que los conseguibles con accionamientos convencionales.

Usuarios
Dos de los cruceros más conocidos y más grande con sistema de propulsión pod, el  (puesto en servicio en 2004) y el  (puesto en servicio en 2006).

Fundada en 2005, comisionado en alemán hielo margen buque de investigación Maria S. Merian tiene dos unidades de vaina, que permiten un posicionamiento dinámico muy bueno en el trabajo científico.

La propulsión azimutal también se utiliza para romper el hielo. Esto muestra que la hélice hacia el hielo, y la marcha atrás se detiene el flujo de agua pedazos de hielo. Aquí viene la hélice cerca de la barrera de hielo y picado el hielo. Un ejemplo es el Mastera, un petrolero con alta certificado para hielo.

Incluso en los grandes buques de guerra, tales como el  de la Armada Española, lanchas de desembarco o portahelicópteros como los buques de la clase Mistral es el sistema utilizado.

En el 2014 la Para-estatal PEMEX encargo la construcción de 7 remolcadores azimutales, con el fin de llevar a cabo la renovación de su flota menor; de los cuales se concedió la construcción de 4 remolcadores con propulsión azimutal al astillero Talleres Navales del Golfo (TNG) ubicado en el Puerto de Veracruz. Estos remolcadores por su característico propulsor se pretende utilizar para Maniobras de remolque en puerto y zonas costeras, servicios de remolque en alta mar, servicios contra incendios con bomba de agua-espuma, trabajos de lucha anti-polución con pulverización de dispersantes, trabajos de salvamento y trabajos de recogida de hidrocarburos.

Referencias

Propulsión naval

Propulsor azimutal


Syvklodsspillet er et spil i familie med tangram, det har oprindelse i Kina. Omkring år 1900 dukkede det op i Danmark  og bestod af syv klodser i en papæske. For de fleste bød spillet ikke  på andet at hælde klodserne ud og lægge dem på plads igen. Men Hans Koch  så klodsernes endeløse kombinationsmuligheder og lavede til sin nyfødte  søn, Peter født i 1905, en bog om mulighederne i syvklodsspillet i ét  eksemplar med sammensatte figurer af mennesker og dyr.

Syvklodsspillet fra 1918
I  1918 sendte Hans Koch spillet i handelen som "Syvklodsspillet.  Sammenlægningsspil for Børn. 148 forskellige Figurer, alle sammenlagt,  af de til Spillet hørende 7 Brikker".

Syvklodsspillet elementer blev i øvrigt af arkitekt Fredrik Appel anvendt til udsmykning af blændingsfelter på Taastrup Borgerskole i årene 1924-1929.

Mellem 1927 og 1940 N.C. Roms forlag en udgave af spillet.

I 1959 udsendte Hasle Klinker- og Chamottestensfabrik syvklodsspillet som en reklamegave med brændte lerklodser.

På Hvidovre Hospital er i 1976 Syvklodsspillet brugt som dekoration på vægge for at lette orienteringen på hospitalet.

Noter

Puslespil
Legetøj

Syvklodsspillet


Eymür boyu, Oğuz Kağan Destanı'na göre Oğuzların 24 boyundan biri ve Kaşgarlı Mahmud'a göre Divân-ı Lügati't-Türk'teki yirmi iki Oğuz bölüğünden onbirincisi; "Eymür"lerdir. Belgeleri şudur :  diye tanımladığı bir Türkmen Oğuz boyudur. Bugün Anadolu'nun değişik yörelerindeki eymir köyleri Alevi veya Sunni inançlara sahiptir. Bu boyların Üçoklar kolundan (sol kolundan) Oğuz Kağan'ın oğlu Dağ Han'ın soyundan geldikleri kabul edilir. Eymür ismi Oğuz Han'ın oğullarından üçoklardan Dağhan'ın oğlu Eymür'den gelmektedir.
1071'den 500 yıl önce Anadolu'ya ilk gelen Oğuz boyu'nun Eymürler olduğu mezar taşları ve tarihi kalıntılardan öğrenilmiştir.Türklerin Anadolu'ya girişi 1071 den önce Eymürler ile başlamış.

"Eymür" kelimesi iyi durumda, varlıklı anlamında kullanılmıştır. Anadolu'da birçok yerleşim birimleri ismini bu boydan almıştır.

Anadolu'da Ankara'nın birbuçuk kilometre güneyinde Dikmen köyü arkasında, aynı "Eymür" isminde bir göl bulunur. Tokat, Reşadiye'de Eymir adında bir köy vardır.
Bayburt'un Demirözü ilçesi Aydın'ın Ataeymir köyü(halk arasında Eymir olarak söylenir) yakınlarında bu boy zamanında yerleşmiş ve bugün hâlâ yaşamını sürdürmektedir. Ayrıca yörede Eymür adını taşıyan bir yerde vardır.

Ayrıca bakınız
 Türk Boylarının Tamgaları
 Ataeymir, Aydın
 Eymir Yamaç, Arguvan
 Eymir, Çorum
 Eymir, Denizli
 Eymir, Elmalı
 Eymir, Havza
 Eymir, İnegöl
 Eymir, Kangal
 Eymir, Merzifon
 Eymir, Nallıhan
 Eymir, Reşadiye
 Eymir, Sinop
 Eymir, Sorgun
 Eymir, Hafik
 Eymir, Zara
 Eymür, Demirözü, Bayburt
 Eymür, Tirebolu
 Eymür, Gerede
 Eymür, Kelkit
 Eğnir, Çamoluk
 Eğmir, Havran  Balıkesir

Notlar

Dış bağlantılar

Türkiye Türkmenleri

Eymür boyu


Alpha und Omega ist ein US-amerikanisch-indischer Computeranimationsfilm der Regisseure Anthony Bell und Ben Gluck aus dem Jahr 2010.

Handlung
Alpha und Omega erzählt die Geschichte eines etwas naiven Wolfsrüden namens Humphrey und einer reiferen Fähe namens Kate, welche im Jasper-Nationalpark, Kanada, leben. Die beiden sind seit ihrer Kindheit die besten Freunde. Humphrey hat im Rudel einen niederen sozialen Rang (Omega-Wolf), wohingegen Kate als Alpha-Wolf zur Rudelführung gehört. Dennoch sind sie miteinander befreundet.

Das ändert sich jedoch eines Tages, als Kate zur Alpha-Schule für die Ausbildung zur Rudelführerin geschickt wird. Sie soll durch ihre Heirat mit dem Wolf Garth die beiden verfeindeten Rudel der Nordwölfe und der Südwölfe miteinander vereinen. Doch dies verhindern zwei Betäubungspfeile. Als die beiden wieder erwachen, finden sie sich im weit entfernten Sawtooth National Forest in Idaho wieder, um die dort ausgestorbene Wolfspopulation wieder aufzubauen. Kate aber will unbedingt wieder zurück nach Hause, um durch ihre Heirat den Krieg der beiden Wolfsrudel im Park zu verhindern.

Auf der langen Rückreise nach Hause, im Wohnmobil Canadian, lernen sich die beiden kennen und entdecken, dass sie vieles miteinander gemeinsam haben. Humphrey bringt sich durch seine kindische Art im Laufe der Reise manchmal in Schwierigkeiten, aus denen ihn Kate immer retten muss, obwohl diese umgekehrt in manchen Situationen auch von Nutzen ist. Doch Kate hat sich im Laufe der Reise in Humphrey verliebt, während Garth sich inzwischen in Kates Schwester Lilly vernarrt hat, die ebenfalls ein Omega ist. Am Ende sehen alle ein, dass jeder Wolf seinen Beitrag im Rudel leisten kann, unabhängig von seinem sozialen Rang. Damit wird die bestehende Rangordnung der Rudel aufgelöst.

Produktion
Der Film wurde 2010 in den USA von den Firmen Lionsgate und Crest Animation produziert. Regie führten Anthony Bell und Ben Gluck. Die Musik stammt von Chris Bacon, unterstützt von Jay Faires und Tracy McKnight. Die Zeichnungen erstellten Donald A. Towns, Joseph L. Campana, die Animationen Satish Thokade und Effekte Chinnaduri Jaykumar. Als Produzent waren Susan Gelb und Timothy Yoo tätig. Die Produktion des Films fand in Mumbai und Burbank statt.

Synchronisation
Die deutschsprachige Übersetzung erfolgte durch die Firma TV+Synchron Berlin unter der Leitung von Irene Timm, die auch für das Dialogbuch verantwortlich war.

Veröffentlichung
Am 17. September 2010 wurde der Film im Kino in 2D und 3D in den USA uraufgeführt. Das Einspielergebnis betrug 44,61 Millionen US$.
Weitere Kinoveröffentlichungen fanden in Indien statt. Auf DVD und Blu-ray erschien der Film in Deutschland am 17. Januar 2012.

Einzelnachweise

Siehe auch
 Alpha und Omega

Weblinks

Filmtitel 2010
US-amerikanischer Film
Zeichentrickfilm

Alpha und Omega (Film)


Public holidays in Samoa are defined in the Public Holidays Act 2008:

In addition to holidays with fixed dates, polling day and the day before polling day is a public holiday in any year when an election is held. In addition, the O le Ao o le Malo can declare public holidays in accordance with the Act.

References

Samoa
Events in Samoa
Holidays
Samoa

Public holidays in Samoa


Die Born Free Foundation ist eine in Großbritannien ansässige Tierschutzorganisation, die sich für Wildtiere und Naturschutz einsetzt und die Schließung von Zoos und Zirkussen erreichen möchte. Sie hat ihren Ursprung in der von dem Schauspielerehepaar Virginia McKenna und Bill Travers zusammen mit ihrem Sohn gegründeten Zoo Check Campaign aus dem Jahr 1984.

Organisation
Die Born Free Foundation setzt sich für bedrohte Wildtierarten in deren natürlicher Umgebung und in Gefangenschaft ein. Dabei legt sie Wert auf den Schutz der Tiere als Individuen, als auch auf die Umwelt als Ganzes. Gleichzeitig setzt sie sich dafür ein, das öffentliche Bewusstsein dahingehend zu stärken, dass Wildtiere in ihren natürlichen Lebensräumen verbleiben können. Dies beinhaltet auch die Abschaffung von Zoos.

Im Jahr 1966 hatten McKenna und Travers zusammen an dem Film Born Free gearbeitet. Von der Situation der Wildtiere betroffen begannen sie sich mittels mehrerer Filme und Dokumentationen für Wildtiere und gegen Zoos auszusprechen. 1984 erfolgte zunächst die Gründung der Zoo Check Campaign. Auf diese folgte dann am 20. Juli 1998 die offizielle Gründung der Born Free Foundation.

Geschäftsführer der Born Free Foundation ist der Sohn der beiden Gründer, Will Travers. Der Hauptsitz liegt in Großbritannien. In  England und Wales ist sie als eingetragene Wohlfahrtsorganisation anerkannt.

Born Free arbeitet weltweit mit Tierschützern innerhalb verschiedener Netzwerke zusammen. Dies sind unter anderem The Ape Alliance, ENDCAP, The Great Apes Survival Project, The People & Wildlife initiative, The Pan African Sanctuary Alliance, Species Survival Network und The International Tiger Coalition.

Kampagnen
Als Dachverband steuert die Born Free Foundation heute mehrere Kampagnen parallel. Dies sind im Einzelnen die Zoo Check Campaign, Elefriends Campaign, Wolf Campaign, Marine Campaign, Primate Campaign, Big Cat Campaign, und die Bear Campaign.

Zoo Check Campaign
Die Zoo Check Campaign (deutsch: Zooüberprüfungskampagne) steht im Zentrum der Bemühungen von Born Free. Ziel der Kampagne ist es, Leiden gefangener Tiere zu stoppen. Dazu sollen auch Zirkusse und Zoos schrittweise abgeschafft werden.

Zusammen mit Endcap hat Born Free im Jahr 2011 den EU Zoo Inquiry (EU-Zoo-Untersuchung) erarbeitet. Nach eigenen Angaben handelt es sich dabei um eine unabhängige Untersuchung zur Bewertung der Umsetzung der EU-Richtlinie 1999/22 in Zusammenhang mit der Haltung wildlebender Tiere in Zoos. Diese Richtlinie wurde von den meisten EU-Mitgliedstaaten im Jahr 2005 (sowie abschließend von Bulgarien und Rumänien 2007) in Kraft gesetzt. Die Untersuchung enthält unter anderem eine Begutachtung von nationalem Recht, der Strafverfolgung und der Einhaltung der Richtlinie einer ausgewählten Zahl an Zoos in 21 Mitgliedstaaten.

Weitere Kampagnen
 Elefriend Campaign (dt. Ele-Freund-Kampagne): Bekämpfung des Handels von Elfenbein und des Fangs von Elefanten für Zoos
 Wolf Campaign (dt. Wolfskampagne), Schutz des Äthiopischen Wolfs
 Marine Campaign (dt. Meereskampagne): Schutz verschiedener Meeressäuger, Schildkröten und Haien, Abschaffung von Delfinarien
 Primate Campaign (dt. Primatenkampagne): Abschaffung des Verzehrs von Bushmeat und Handel mit exotischen Tieren
 Big Cat Campaign (dt. Großkatzenkampagne): Auffangstationen für Großkatzen.
 Bear Campaign (dt. Bärenkampagne): Abschaffung der Haltung von Bären.

Unterstützer
Unterstützung erhielt die Organisation bereits von Bryan Adams, Gabriella Cilmi, Mutya Buena, Joanna Lumley und vielen anderen Prominenten.

Finanzen
Laut Geschäftsbericht lagen die finanziellen Mittel im Jahr 2010 (1. April bis 31. März) bei 4.808.211 Pfund.

Weblinks
 Offizielle Website der Born Free Foundation

Einzelnachweise

Tierschutzorganisation
Gegründet 1984

Born Free Foundation


العطار والسبع بنات مسلسل تلفزيوني مصري من إخراج محمد النقلي وبطولة نور الشريف وسمية الألفي وماجدة زكي وهالة فاخر وهدى هاني وعماد رشاد وأحمد الدمرداش. وهو من إنتاج مدينة الإنتاج الإعلامي عام 2002 وعرض لأول مرة في شهر رمضان المبارك عام 1423 هـ وكان يذاع على القناة الثانية المصرية الساعة 8 مساء وعلى قناة mbc.

القصة
تدور أحداث المسلسل حول عطار أشفقت عليه زوجته من عدم الإنجاب فسمحت له بالزواج من خادمة بسيطة وما ان حملت الخادمة حتى حملت الزوجة الأولى في شئ أقرب من المعجزة رغم تقدم عمرها وما أن تنجب الزوجة الثانية ابنها «عبد الرحمن» حتى تشتعل الغيرة في قلب الزوجة الأولى وتأمر زوجها بأن يبعد زوجته الثانية إلى مكان نائي بعيد وينفذ الزوج ما طلبته منه زوجته الأولى ومع السنوات يظهر أبن الخادمة تفوقا ونبوغا يثير الزوجة الأولى لفشل ابنها وتجبر زوجها على أن يترك ابن الخادمة التعليم ويعمل بوظيفة بسيطة في محل عطارة والده وتمر الأيام تنازع الشقيقين حول الفوز بفتاة وبالطبع يفوز بها أبن الزوجة الأولى ويتزوج عبد الرحمن من سيدة لها أربع بنات من زوجها الأول ثم ينجب منها ثلاث بنات وبعد سنوات ويتم الطلاق بين أخيه وزوجته وبعد وفاة زوجة عبد الرحمن يتزوج عبد الرحمن من طليقة أخيه الذي يتآمر ليحدث الطلاق ويعيد الزوجة إلى عصمته وتحدث قصة حب بين ابن سيف وبنت عبد الرحمن فيحاول سيف ان يجعل كل اولاده ان يقوموا بالتقدم لبنات عبد الرحمن فيحين يذهب اليه وابن سيف يعرف عبد الرحمن ان الولد مدمن وتنتهي قصة المسلسل على أن أولاد سيف كل منهم يقع في مشاكل وعبد الرحمن واولاده يعيشوا حياة سعيدة

الممثلون

رأي النقاد
المسلسل يتميز بالإتقان في التمثيل والروعة في الأداء لدرجة تجعل المشاهد وكأنه يشاهد نفسه مما أوجد حالة من الانسجام والتوحد خاصة أن جميع المشاكل الاجتماعية التي تناولها المسلسل هي عينة من المشاكل التي يعاني منها المواطن المصري البسيط مثل قطع الارحام وأكل مال الناس بالباطل وظلم المرأة والتعدى على حقوق الناس والتصنت والغيبة والنميمة والسحر والشعوذة وكثرة الزواج والتطليق ومشاكل الإرث. كما اهتم المسلسل باظهار أهمية أن يكون الإنسان مستقيما في حياته وأن يكون أمينا مع نفسه ومع الناس وبذلك يحظى بحب الناس وتقديرهم له. وعرض المسلسل أيضا صورة نادرا ما نراها في الحقيقة وهى أن يكون الاب محافظا على بيته ومراعيا لشعور زوجته ووعده لها. وحتى لا يمل المشاهد تخلل المؤلف هذه الاحداث الكثيرة بقصة حب رومانسية طاهرة يتمنى ان يعيشها كل إنسان وأجل نهاية هذه القصة إلى أخر الحلقات حتى يضمن متابعة المشاهد للمسلسل وهذا في حد ذاته عبقرية أخرى غير عبقرية الممثلين ونجاحهم في أداء أدوارهم. في النهاية أريد أن اقول أن المسلسل نجح في تنمية أخلاق جيدة أوشكت أن تندثر وهى الاعتراف بالجميل والصبر على الشدائد والتمسك بالامل حتى اللحظة الأخيرة والحرص على صلة الارحام مهما قوبل ذلك بالرفض من الطرف الآخر وكذلك الحرص على ذكر الله في كل وقت وحين والحرص على أداء صلاة الفجر والمحافظة على الاسرة وعلى مال اليتيم وغير ذلك من الاخلاق الجميلة التي اهتم المسلسل بتوضيحها.

المصادر

مسلسلات تلفزيونية مصرية بدأ عرضها في 2002
مسلسلات سوسن بدر
مسلسلات نور الشريف

العطار والسبع بنات


Kidderminster Harriers F.C. er en engelsk fodboldklub i  Kidderminster, Worcestershire,  som spiller i de lavere engelske rækker.

Klubben var i nogle år ledet af tidligere spiller og Liverpoollegende Jan Mølby fra 1999–2000.

Klubben et også kendt for at have de dyreste "pies" i England.

Fodboldklubber i England

Kidderminster Harriers F.C.


Martina Güitrón Porto, mejor conocida como Maty Huitrón (Ciudad de México; 30 de enero de 1936-14 de enero de 2019) fue una actriz mexicana, conocida por su papel como Bárbara Rivera en El privilegio de amar. Perteneció al elenco de actores que formó la llamada época de oro del cine mexicano. Actuó en filmes como Mi papá tuvo la culpa, Orquídeas para mi esposa, Mariquita de mi corazón y El casto Susano.

Tuvo una larga carrera como actriz, actuando en varias telenovelas de gran éxito, entre ellas El privilegio de amar en 1998 y Amor Real del año 2003, ambas telenovelas producidas por su hija Carla Estrada, teniendo ambas como protagonista a la actriz Adela Noriega una de las actrices preferidas en los castings de Carla.

Muerte
Falleció internada en un hospital por una insuficiencia respiratoria que estaba padeciendo hace muchos años, esto a raíz de un enfisema pulmonar.

Realizó su carrera en la empresa Televisa, es madre de la reconocida productora de telenovelas Carla Estrada y fue la presidenta vitalicia de la Casa del Actor.

Filmografía

Véase también
 Grupo Televisa
 Anexo:Telenovelas de México

Referencias

Enlaces externos

Nacidos en Ciudad de México
Actrices de televisión de México
Actrices de Ciudad de México
Actrices de México
Fallecidos por enfisema

Maty Huitrón


Noragugume (sardinski: Noragùgume) je grad i općina (comune) u pokrajini Nuoru u regiji Sardiniji, Italija. Nalazi se na nadmorskoj visini od 288 metara i ima 311 stanovnika. Prostire se na 26,73 km². Gustoća naseljenosti je 12 st/km².Susjedne općine su: Bolotana, Dualchi, Ottana, Sedilo i Silanus.

Izvori

Gradovi na Sardiniji

Noragugume


Bezirk Sankt Pölten steht für:

 St. Pölten, Statutarstadt (im Rang eines Bezirkes) in Niederösterreich
 Bezirk St. Pölten-Land

Bezirk Sankt Pölten


Ljónið (latína: Leo) er stjörnumerki í dýrahringnum, milli Krabbans í vestri og Meyjunnar í austri. Það er á norðurhimni. Forn-Grikkir túlkuðu ljónið sem Nemeuljónið sem Herakles sigraði. Það er eitt af 48 stjörnumerkjum fornaldar sem Kládíus Ptólmæos lýsti. Makki og kambur Ljónsins mynda stjörnusamstæðu sem heitir Sigðin og líkist öfugu spurningarmerki.

Í stjörnumerkinu eru margar bjartar stjörnur sem gera það áberandi á himninum. Meðal þeirra eru Regúlus (stjörnupar með bláhvítu meginraðstirni), Denebóla (bláhvítt meginraðstirni), Algieba (tvístirni) og Zosma (bláhvítt meginraðstirni).

Tenglar
 Ljónið á Stjörnufræðivefnum

Stjörnumerki

Ljónið


Zaleya, biljni rod iz porodice čupavica raširen po Africi, jugu Azije i Australiji. Šest priznatih vrsta jednogodišnjeg bilja i trajnica, jedna je endem otoka Réunion (Z. camillei).

Vrste
 Zaleya camillei (Cordem.) H.E.K.Hartmann
 Zaleya decandra (L.) Burm.f.
 Zaleya galericulata (Melville) H.Eichler
 Zaleya govindia (Buch.-Ham. ex G.Don) N.C.Nair
 Zaleya pentandra (L.) C.Jeffrey
 Zaleya redimita (Melville) Bhandari

Izvori

Sesuvioideae

Zaleya


අවිකා සමීර් ගෝර් (උපත 30 ජූනි 1997) යනුවෙන් හඳුන්වනු ලබන්නේ ඉන්දියානු චිත්‍රපට සහ රූපවාහිනී නිළියකි. ඇගේ විශිෂ්ටතම කෘතිය ලෙස සැලකෙන්නේ බාලිකා වධු රූපවාහිනී කතාමාලාවයි. මෙහි ඇය විසින් ලාබාල ආනන්දි ජග්දීෂ් සිංගේ චරිතය නිරූපණය කරන ලදී. එසේම ඇය සසුරාල් සිමර් කා කතාමාලාවේ ද චරිත නිරූපණයෙන් දායක වී තිබේ. එම කතාමාලාව තුළ ඇය රෝලි සිද්ධාන්ත් භාරද්වාජ් යන චරිතය නිරූපණය කළා ය. ගෝර් ටොලිවුඩ් සම්ප්‍රාප්තිය සනිටුහන් කරමින් 2013 වර්ෂයේ දී උයියාලා ජම්පාලා චිත්‍රපටයේ රංගනයෙහි යෙදුණා ය. ඇය කන්නඩ සිනමාව වෙත ඇගේ ප්‍රවිෂ්ඨය සටහන් කරමින් අධ්‍යක්ෂකයකු මෙන්ම නළුවකු ද වන කිෂාන් ශ්‍රීකාන්ත්ගේ Care of Footpath 2 චිත්‍රපටයට 2015 වර්ෂයේ දායක වූවා ය. ගෝර් විසින් ළමා විලාසිතා සන්නාමයක් වන ජිනි ඇන්ඩ් ජොනී සඳහා නිරූපිකාවක වශයෙන් කටයුතු කොට ඇත. ඇගේ මව් භාෂාව වන්නේ ගුජරාති භාෂාවයි.

ගෝර් හින්දි භාෂා චිත්‍රපට සඳහා ද රංගනයෙන් දායක වී ඇති අතර, 2009දී ඇය රංගනයෙහි යෙදුණු Morning Walk චිත්‍රපටය සිනමා ක්ෂේත්‍රයේ ඇ‍ගේ ආගමනය ලෙස සැලකේ. මෙහි ඇය විසින් ගාර්ගි යන චරිතය නිරූපණය කරන ලදී. 2010දී ඇය පාඨශාලා නැමැති තවත් හින්දි චිත්‍රපටයකට දායක වූවා ය. 2012දී ඇය චරිත නිරූපණයෙහි යෙදුණු තේස් චිත්‍රපටය ද හින්දි චිත්‍රපටයකි. එහි ඇය පියා රයිනා ශෂිකිරා යන චරිතය නිරූපණය කළා ය. 2013 වර්ෂයේ උයියාලා ජම්පාලා චිත්‍රපටයේ උමා දේවි චරිතය නිරූපණය තුළින් ඇය තෙලිඟු සිනමාවට පිවිසියා ය. 2014 දී ඇය ලක්ෂ්මි රාවේ මා ඉන්තිකි නැමැති තෙලිඟු චිත්‍රපටයේත්, 2015දී සිනෙමා චූපිස්තා මාවා නම් තෙලිඟු චිත්‍රපටයේත් රංගනයෙහි යෙදුණා ය. 2015දීම ඇය තානු නේනු නැමැති තෙලිඟු චිත්‍රපටයේ කීර්ති නැමැති චරිතය නිරූපණය කළා ය. ගෝර් ඇගේ කන්නඩ සිනමා අගමනය සනිටුහන් කරමින් Care of Footpath 2 චිත්‍රපටයේ ගීතාගේ චරිතය නිරූපණය කළා ය. 2016දී ඇය එක්කඩිකි පෝතවු චින්නවාඩා නම් තෙලිඟු චිත්‍රපටයට සිය දායකත්වය සැපයූවා ය. මෙහි ඇය නිරූපණය කළේ ආමලා/අයේෂා නැමැති චරිතයකි.

අවිකා ගෝර් ඇගේ රංගන ප්‍රතිභාව වෙනුවෙන් සම්මාන කිහිපයක්ම දිනා ඇත. බාලිකා වධු රූපවාහිනී කතාමාලාවේ ළමා ආනන්දිගේ චරිතය නිරූපණය වෙනුවෙන් ඇය 2008 ඉන්දියානු රූපවාහිනී ඇකඩමි සම්මාන උළෙලේ දී හොඳම ළමා ශිල්පිණියට හිමි සම්මානය දිනාගත් අතර, හොඳම නිළියට හිමි ජූරියේ විශේෂ සම්මානය ද ඇයට හිමි විය. 2009 සහ 2010 වර්ෂවල ද ඉන්දියානු රූපවාහිනී ඇකඩමි සම්මාන උළෙලේ දී හොඳම ළමා නිළිය සඳහා වන සම්මානය ඇයට හිමි වූයේ බාලිකා වධු''හි ඇය දැක්වූ රංගන කුසලතාව වෙනුවෙනි.

රූපවාහිනිය

චිත්‍රපට දායකත්වය

සම්මාන සහ නිර්දේශ

මේවාත් බලන්න
 ඉන්දියානු රූපවාහිනී නිළියන් ලැයිස්තුව

ආශ්‍රේයයන්

බාහිර සබැඳි

ජීවත්වන්නෝ
1997 උපත්
උපන් ස්ථානය නොමැති ලිපි (ජීවත්වන්නෝ)
ඉන්දියානු රූපවාහිනී නිළියෝ
මුම්බායිහි නිළියෝ
ගුජරාති ජනයා
චරිත කතා

අවිකා ගෝර්


Capitão Leônidas Marques es un municipio brasileño del estado de Paraná. Su población estimada en 2006 era de 16.892 habitantes. Localizado en el oeste paranaense, aproximadamente a 60;km de Cascavel, principal municipio de la región.

Posee como distrito la localidad de Alto Alegre do Iguaçu.

Referencias

Localidades de Paraná

Capitão Leônidas Marques


Le nombre de Boltzmann est un nombre sans dimension qui mesure dans un écoulement gazeux le rapport de la norme du flux de chaleur par rayonnement à celle du flux cinétique pour les vitesses faibles.

Le flux cinétique est donné par

Les diverses quantités présentes dans cette expression caractérisent l'écoulement :
  est la masse volumique,
  l'énergie interne,
  la vitesse.

Dans le cas des faibles vitesses l'énergie cinétique est faible devant l'énergie interne et le nombre de Boltzmann s'écrit

où  est la norme du flux radiatif.

Référence

Articles connexes
 Rentrée atmosphérique
 Équations de Navier-Stokes
 Transfert radiatif
 Nombre de Goulard
 Nombre de Thring

Boltzmann

Nombre de Boltzmann


Cardiff City Football Club velški je nogometni klub iz Cardiffa koji se trenutačno natječe u engleskom Championshipu. Domaće utakmice igra na stadionu Cardiff City. Do 2009. godine klub je svoje domaće utakmice igrao na Ninian Parku.

Povijest
Klub je osnovan 1899. godine kao Riverside AFC. Cardiff City jedini je klub izvan Engleske koji je osvojio FA Cup i to 1927. godine. Godine 2012. malezijski vlasnik Vincent Tan rebrendirao je Cardiff City Rebrendiranje je uključivalo promjenu boja i grba kluba.

Uspjesi
Championship
 (1): 2012./13.
Third Division South
 (1): 1946./47.
FA Cup
 (1): 1927.
 (2): 1925., 2008.
FA Charity Shield
 (1): 1927.
Liga kup
 (1): 2012.

Izvori

Vanjske poveznice
 Cardiff City F.C. Official website
 Cardiff City F.C. on BBC Sport: Club news – Recent results and fixtures
 A collection of items relating to Cardiff City Football Club's historic victory against Arsenal in the 1927 FA Cup
 Cardiff City stats at Football Club History Database
 Cardiff City play-off record

Nogomet u Walesu
Britanski nogometni klubovi

Cardiff City F.C.


Pico do Fogo (Pico de Fuego) es el pico más alto de Cabo Verde, alcanza los 2.829 metros (9.281 pies) sobre el nivel del mar. Es un estratovolcán activo que se localiza en la isla de Fogo. Desde el  ha habido 28 erupciones. El cono principal se formó en la erupción de 1680, provocando la emigración masiva de la isla. La única erupción mortal fue en 1847 cuando los terremotos generados en toda la isla cobraron varias vidas.

La gran erupción de 1680 hizo que gran parte de la población emigrara a la vecina Isla Brava. En 1785 la erupción depositó la lava en la parte nordeste de la isla haciéndola crecer, donde hoy se asienta la villa de Mosteiros. Posteriormente se produjeron las erupciones de 1799, 1847, 1852 y 1857. Casi un siglo después se produjo la erupción de 1951 y la última del  fue en 1995. La primera erupción del  se produjo en 2014.

Erupción de 2014-2015

El 23 de noviembre de 2014 a las diez de la mañana, el volcán entró en erupción, haciéndolo 19 años después de la última erupción. La lava afectó a las antenas de comunicaciones de la zona, y cortó la carretera que une la localidad de Chã das Caldeiras hacia el sur, también invadió la zona de cultivos de viña existentes en la caldera. La localidad fue desalojada debido a la proximidad de la lava. El 24 de noviembre la lava alcanzó y destruyó la sede del parque nacional y las primeras casas de la localidad de Portela. El día 27 de noviembre la lava cambió de rumbo hacía el sur, quedando el frente norte a escasos metros de la localidad de Chã das Caldeiras. El día 1 de diciembre y después de una semana de erupción la lava engulló un total de 400 hectáreas de terreno y 18 casas, quedándose a solo 3 metros de la localidad Chã das Caldeiras. El 2 de diciembre la lava empezó a adentrarse dentro de la localidad de Portela, engullendo más de 50 casas. El día 7 de diciembre la localidad de Portela fue destruida entera y el 70% de la localidad de Bangaeira.

Después de una semana de relativa tranquilidad, el 19 de diciembre de 2014 la lava empezó a destruir las edificaciones y campos de cultivo de la pequeña localidad de Ilheu de Losna, quedando también cortado cualquier acceso por vehículos a Portela. Posteriormente las emisiones de lava fueron de pequeña importancia, dándose por finalizado el episodio eruptivo el 8 de febrero de 2015.

Otros datos

Las laderas de la montaña son utilizadas para el cultivo de café, mientras que la lava se utiliza como material de construcción. Cerca de su pico hay una caldera y una pequeña aldea, Chã das Caldeiras, está dentro de esta caldera.

Véase también
 Geografía de Cabo Verde
 Geografía de África

Referencias

Enlaces externos
Información sobre la montaña
Informe sobre la erupción de 2014

Montañas de Cabo Verde
Volcanes de Cabo Verde
Fogo
Picos ultraprominentes de África
Puntos culminantes de un país insular
Puntos más altos de los países de África

Pico do Fogo


جامع الصالح، هو أكبر جامع حديث في اليمن. جاء اسمه نسبة إلى الرئيس السابق علي عبد الله صالح الذي بني في عهده. ويعتبر الجامع من أكبر الجوامع والمساجد في اليمن والعالمين العربي والإسلامي ومن بين أجملها بنياناً. يقع في ميدان السبعين في العاصمة صنعاء، وعلى مساحة قدرها 222 ألفًا و500 متر مربع، يشمل مبنى الجامع وكلية علوم القرآن والدراسات الإسلامية، والباحة والمواضئ، ومواقف السيارات، والمساحات الخضراء. ويتألف مبنى الكلية من ثلاثة طوابق ويضم خمسة وعشرين فصلًا دراسيًا، إضافة إلى قاعات صلاة ومكتبات وقاعات اجتماعات. وقضت توجيهات الرئيس في بناء الجامع بوجوب المحافظة على الطابع العمراني اليمني، لا سيما في المنارات والواجهات الحجرية، فكان الجامع الكبير بصنعاء الملهم الأساسي للمهندسين في ذلك. قدرت تكلفة بنائه حوالي 60 مليون دولار.

المسجد
وتبلغ المساحة الكلية للجامع والكلية والمرافق التابعة لهما 224 ألفا و831 مترا مربعا شاملة الطرق والحدائق وممرات المشاة ومواقف السيارات، فيما يصل ارتفاع مبنى الجامع إلى 24 متراً ويتسع لأكثر من خمسة وأربعين ألف مصل بالإضافة إلى مصلى خاص بالنساء يتسع لـ2000 امرأة من ثم تمت التوسعة لمصلى النساء ليتسع لعدد 4000 امرأة، فضلا عن الباحات الجانبية. ويتكون الجامع من صالة الصلاة الرئيسة بمسطح 13,596متر مربع ولها ارتفاعين، ويوجد لها 10 أبواب رئيسة من الصوحين الشرقي والغربي، وكذلك 5 أبواب من الجهة الجنوبية تؤدي إلى الرواق الخلفي للجامع وصحن الكلية الشرعية ومنطقة المواضيء.ويغطي المنطقة الوسطى لسقف الجامع
خمس قباب، أربع قباب بقطر 15.60متر وارتفاع 20.35 متر من سقف الجامع، والقبة الوسطية وهي الأكبر بقطر 27.40 متر وارتفاع 39.60 متر من سقف الجامع، كما أن هناك أربع قباب صغيرة في الأركان الأربعة لسقف الجامع بقطر 8.90 متر وارتفاع 12.89 متر من سقف الجامع، بالإضافة إلى ست مآذن أربع مآذن على جانبي الجامع بارتفاع 100 متر ومأذنتين على جانبي الكلية الشرعية بارتفاع 80 متر.

كلية القرآن والعلوم الإسلامية
توجد بالجامع كلية القرآن الكريم والعلوم الإسلامية وتتكون من ثلاثة أدوار وتحتوي على 20 فصلًا دراسيًا وقاعات للمحاضرات ومكتبة خاصة للرجال وأخرى للنساء وقاعة لحفظ المخطوطات ومرافق صحية. ويشمل الجامع على مرافق وخدمات متكاملة ومواقف للسيارات تتسع لحوالي ألف و900 سيارة كما تحيط بالجامع مجموعة من الحدائق والمسطحات الخضراء.

مواصفات البناء

وقد روعي أن يتخذ المشروع الشكل المستطيل، وقسمت قاعة الصلاة الرئيسية إلى جناحين شرقيٍ وغربي، أما الانطلاق من المنطقة الطرفية إلى المنطقة الوسطى فتتأمن بتدرجاتٍ في جسم الجامع من الأسفل إلى الأعلى وبتكوين فراغاتٍ أسفل القباب الرئيسية البالغة ثلاثًا وعشرين قبةً جاءت تحقيقًا للفكرة المعمارية وتأكيدها، وروعي فيها تدرج علاقة المصلى بالجامع عن طريق الأروقة حتى الوصول إلى القبة الرئيسية الكبرى. ويضم الجامع مصلى للنساء يقع أعلى الرواق الخلفي ويتصل بالجامع عن طريق نوافذ مطلة على قاعة الصلاة عبر مداخل خاصة، تحقق الفصل بين الرجال والنساء.
ومن الواضح أن الفكرة المعمارية قد خلفت تكوينًا وشكلًا هندسيًا رائعًا من الخارج يتيح للناظر فهم عناصر المشروع من كل الجهات.

مناراته
ويتميز الجامع بست مناراتٍ فريدة ذات تصميمٍ خاصٍ، ارتفاع أربعٍ منها يبلغ مائة وستة أمتار مع الهلال، وقد استخدمت فيها أساسات خاصة تصل إلى عمق خمسة وثلاثين متراً، وبقطر سبعين سنتيمتراً لكل مئذنة، وهو ما سيساعد في تقوية المبنى على مقاومة الزلازل.

الأحجار المستخدمة
وهكذا برزت مجدداً الأحجار التي اشتهر اليمنيون عبر التاريخ باستعمالها كمادة للبناء، أضف إلى ذلك أحجار البناء والزينة بصفتها مصادر طبيعية تمتاز بقدرة فائقة على مقاومة العوامل البيئية وبتناغمها مع الطبيعة المحيطة، فضلًا عن عمرها الافتراضي الكبير، ولهذا الغرض تم أخذ عينات من أحجار سد مأرب التاريخي، وعرش بلقيس، للمقارنة بين أحجار الموقعين وأحجار المصدر المعتمد لبناء جامع الرئيس الصالح. وبناء على ذلك تم تحديد مواصفات المشروع بأربعة أصناف من الأحجار، أحجار بازلتية باللون الأسود وأحجار جيرية بالألوان السوداء والبيضاء والحمراء، كما حددت المواصفات مقاسات أحجار البناء بحيث لا يقل طول الحجر عن (160) سنتيمترًا ولا يقل ارتفاعه عن (80) سنتيمترًا، وخلال تنفيذ المشروع كان يتم عمل عينات معمارية بالشكل المطلوب وبعد موافقة الرئيس عليها يتم اعتمادها وتنفيذها.

الزخرفة والنقوش
استخدم الحجر الجيري الأبيض للواجهات الخارجية، والحجر الأحمر في الأحزمة الزخرفية في الواجهات فقط لقلة كمياته ولصغر أحجام الأحجار المطلوبة، وأخيراً اعتمد الجرانيت الأحمر المنقط بالأبيض من أجل تكسية الأعمدة الداخلية للجامع.أما الياجور (الطوب الأحمر الطيني) الذي يمتاز بجمالية نادرة وبعمره الافتراضي الكبير، فتم اختياره كمادة بناء لتكسية واجهات المنارات حفاظًا على التراث المعماري اليمني العريق.
ومن صميم التراث اليمني الزاخر بأعمال خشبية فنية، تم استمداد تصميمات الأعمال الخشبية للجامع، ولهذا جرى اعتماد أفخر أنواع الأخشاب المعتمدة عالميًا لصناعة (15) بابًا رئيسيًا يزيد حجم الواحد منها عن (23) مترًا مزخرفة بالخط العربي ومطعمة بالنحاس المعالج بأحدث تقنيات ال«PDV».. أما أعمال السقوف الخشبية فيفوق عددها (30) ألف قطعة زخرفية معتقة بالذهب الخالص والألوان، ومثبتة بارتفاعات وصلت إلى (23) متراً. ولكساء قباب الجامع من الخارج، استخدمت مادة عصرية متطورة اسمها (الجي آر سي) وهي مادة تحاكي الجص اليمني لجهة الطواعية في أعمال الزخرفة، إضافة لميزاتها العالية لجهة الديمومة والمحافظة على الشكل، وبذلك تحققت رؤية فخامة الرئيس متجسدة بأبهى حللها في التوأمة بين التراث والتقنيات العلمية الحديثة.

وبالنسبة لنقش وكتابة الآيات فقد تم نقش سبعمائة وثماني آيات من اثنتين وستين سورة قرآنية، فيما بلغ عدد السور المكتملة في الجامع والكلية ثماني سور هي:(الفاتحة، يس، والرحمن، والقدر، والعصر، والإخلاص، والفلق، والناس).

الإنارة
اللافت في نجفات الإنارة الداخلية أنها مصنوعة من الكريستال العالمي المعروف، فيما استخدمت مصابيح إضاءة حديثة لإنارة القباب والأعمدة داخل الجامع، وبالنسبة لإنارة المداخل الرئيسية ومصليات الرجال والنساء والممرات الداخلية والخارجية للكلية فقد تم استخدام النجف النحاسي النادر، المشغول يدويًا بنقوش عربية. وتتوافر في الجامع أحدث الأنظمة التقنية الحديثة لكل ما يتعلق بالصوتيات والبث التلفزيوني المباشر، إضافة إلى أنظمة متطورة للحماية من الحريق والصواعق.

افتتاحه
في يوم الجمعة 23 من ذي القعدة 1429 هجرية الموافق 21 من نوفمبر 2008م تم الافتتاح الرسمي لجامع الصالح وكلية الصالح للقرآن الكريم والعلوم الإسلامية. وقام بافتتاحه الرئيس علي عبد الله صالح رئيس الجمهورية اليمنية وكبار المسؤولين في الدولة إلى جانب أعضاء وفود عربية وإسلامية وأمين عام منظمة المؤتمر الإسلامي وسيد طنطاوي شيخ الجامع الأزهر.

انظر ايضاً

 الجامع الكبير (صنعاء)
 جامع الجند
 جامع العيدروس (عدن)

المراجع

وصلات خارجية

تأسيسات سنة 2008 في اليمن
صنعاء
مساجد اكتملت في 2008
مساجد بنيت في القرن 21
مساجد صنعاء

جامع الصالح


Astrid Lindgrens Näs er et kulturcenter i Vimmerby, Kalmar län, Småland, Sverige, bestående af flere bygninger med tilknytning til Astrid Lindgrens liv og forfatterskab. Centeret består først og fremmest af huset, hvor forfatteren blev født og voksede op, den gamle præstegård, der er indrettet som et videnscenter, og en pavillon.

Pavillonen blev åbnet i 2007. Den første udstilling i pavillonen, "Hela världens Astrid Lindgren", kom i stand på initiativ af "Stiftelsen för bevarandet av Astrid Lindgrens gärning". Bygningen indeholder café og biograf.

I Astrid Lindgrens barndomshjem er hele førstesalen intakt, og ser i dag ud akkurat som da hun var barn. Näs blev åbnet for publikum den i november 1998. Præstegården ombygget til et videnscenter med omfattende bibliotek stillet til rådighed for forskning i emner, der berører Astrid Lindgren kunst og forfatterskab.

I Vimmerby findes også temaparken Astrid Lindgrens Värld.

Referencer

Litteratur
 Kjell Åke Hansson (red): Hela värdens Astrid Lindgren. En utställning på Astrid Lindgrens Näs i Vimmerby. Saltkråkan AS. Värnamo 2007.

Eksterne henvisninger
 Officiel hjemmeside

Bygninger, konstruktioner og anlæg i Kalmar län
Etableret i 1981
Seværdigheder i Kalmar län
Vimmerby kommun

Astrid Lindgrens Näs


ŽNL Šibensko-kninska u sezoni 2017./18. predstavlja ligu četvrtog ranga hrvatskog nogometnog prvenstva.
U ligi sudjeluje devet klubova.  Prvak lige je postala momčad "Vodica", koja je izborila i kvalifikacije za 3. HNL – Jug.

Sudionici
 DOŠK –  Drniš
 Janjevo – Kistanje
 Mihovil – Šibenik
 Mladost – Tribunj
 Rudar – Siverić, Drniš
 SOŠK – Skradin
 Šibenik II – Šibenik
 Vodice – Vodice
 Zagora II – Unešić

Ljestvica

 "SOŠK" iz Skradina odustao uoči proljetnog dijela sezone

Rezultati
Izvori: sportnet.hr
Ažurirano: 14. lipnja 2018.

Najbolji strijelci
Strijelci 10 i više pogodatka:

Poveznice
 ŽNL Šibensko-kninska
 3. HNL – Jug 2017./18.
 1. ŽNL Dubrovačko-neretvanska 2017./18.
 1. ŽNL Splitsko-dalmatinska 2017./18.
 1. ŽNL Zadarska 2017./18.
 forum sportnet.hr, 1.ŽNL Šibensko-kninska
 facebook.com, 1. ŽNL Šibensko-kninska
 Šibenski portal, šport
 Šibenik IN, nogomet

Izvori
 forum sportnet.hr, 1.ŽNL Šibensko-kninska, objave od 20. rujna 2017. na dalje , pristupljeno 30. studenog 2017.
 rsssf.com, Hrvatska 2017./18., 1. ŽNL – 5. rang
 facebook.com, 1.znl.sibensko.kninska, ŽNL Šibensko-kninska 2017./18., ljestvica, objavljeno 25. svibnja 2018., preuzeto 14. lipnja 2018.
 facebook.com, 1.znl.sibensko.kninska, ŽNL Šibensko-kninska 2017./18., rezultatska križaljka, objavljeno 31. svibnja 2018., preuzeto 14. lipnja 2018.

2017-18
Šibensko-kninska

ŽNL Šibensko-kninska 2017./18.