George Cruikshank () a fost un caricaturist și ilustrator de carte britanic, lăudat ca fiind un "Hogarth modern" în timpul vieții sale. Ilustrațiile sale pentru cărțile prietenului său, Charles Dickens, și pentru mulți alți autori au devenit cunoscute pe plan internațional.

Primii ani
Cruikshank s-a născut la Londra. Tatăl său, Isaac Cruikshank, era unul dintre cei mai importanți caricaturiști de la sfârșitul anilor 1790, iar George Cruikshank și-a început cariera ca ucenic și asistent al tatălui său.

Fratele său mai mare, Isaac Robert, a urmat, de asemenea, meseria tatălui de caricaturist și ilustrator. George s-a ocupat inițial cu caricatura, dar în 1823, la vârsta de 31 de ani, a început să se concentreze pe ilustrația de carte. El a ilustrat mai întâi, în 1823 traducerea în limba engleză (de Edgar Taylor și David Jardine) a Poveștilor fraților Grimm, publicată în două volume intitulate Povești populare germane.

Pe 16 octombrie 1827 s-a căsătorit cu Mary Ann Walker (1807-1849). La doi ani după moartea ei, pe 7 martie 1851, s-a căsătorit cu Eliza Mendelowitz. Cei doi au locuit pe 263 Hampstead Road, North London.

La moartea lui, s-a descoperit că Cruikshank era tatăl a 11 copii nelegitimi cu o amantă pe nume Adelaide Attree, fosta lui servitoare, care a trăit aproape de locul unde a locuit împreună cu soția sa. Adelaide era oficial căsătorită și obținuse prin căsătorie numele Archibold.

Ilustrații și caricaturi social-politice
Începutul carierei lui Cruikshank a fost renumită pentru caricaturizarea vieții englezești în publicații populare.

El a dobândit un succes inițial prin colaborarea cu William Hone în satira politică The Political House That Jack Built (1819).

În același an a realizat caricatura anti-aboliționistă New Union Club. El a reprezentat acolo un dineu organizat de aboliționiști la care iau parte musafiri negri.

Prima sa lucrare importantă a fost Pierce Egan's Life in London (1821). Aceasta a fost urmată de The Comic Almanack (1835-1853) și Omnibus (1842).

El a dobândit notorietate prin ilustrațiile sale politice care atacau familia regală și politicienii de frunte. În 1820, el a primit o mită regală de 100 de lire pentru angajamentul de "a nu o caricaturiza pe Majestatea Sa" (George al IV-lea al Marii Britanii) "în orice situație jenantă". Creațiile sale au inclus o personificare a englezului denumit John Bull, care a fost dezvoltat de pe la 1790, în combinație cu alți artiști satirici britanici ca James Gillray și Thomas Rowlandson.

Charles Dickens
Pentru Charles Dickens, Cruikshank a ilustrat cărțile Sketches by Boz (1836), The Mudfog Papers (1837-1838) și Oliver Twist (1838). Cruikshank a jucat chiar în compania de teatru a lui Dickens.

Pe 30 decembrie 1871 Cruikshank a publicat o scrisoare în The Times prin care cerea să i se acorde credit pentru o mare parte a acțiunii romanului Oliver Twist. Scrisoarea a lansat o aprigă controversă cu privire la autorul operei literare. Cruikshank nu a fost primul ilustrator al cărților lui Dickens care a făcut o astfel de cerere. Robert Seymour, care a ilustrat Pickwick Papers, a sugerat că ideea acestui roman i-a aparținut; cu toate acestea, în prefața sa la ediția din 1867, Dickens a negat orice implicare a altei persoane.

Prietenia dintre Cruikshank și Dickens s-a răcit atunci când Cruikshank a devenit un abstinent fanatic care era în opoziție cu atitudinea cumpătată a lui Dickens.

Ultimii ani
După ce a suferit o paralizie mai târziu, activitatea lui Cruikshank a început să scadă în calitate. El a murit pe 1 februarie 1878 și a fost înmormântat inițial în Cimitirul Kensal Green. În noiembrie 1878 rămășițele sale au fost exhumate și reînhumate în Catedrala St. Paul. Revista Punch, care probabil nu avea cunoștință de vasta sa familie ilegitimă, a scris în necrolog: "nu a existat niciodată un om mai pur, mai simplu sau mai nevinovat. Natura lui a avut ceva copilăresc în transparența sa".

În timpul vieții sale el a creat aproape 10.000 gravuri, litografii și ilustrații. Colecții ale lucrărilor sale se află la British Museum și la Victoria and Albert Museum. O placă albastră amplasată de Royal Society of Arts îl comemorează pe Cruikshank în clădirea de pe 293 Hampstead Road din Camden Town.

Mostre ale creațiilor sale
Viața și opiniile lui Tristram Shandy, gentlemanAltele

Referințe

Lectură suplimentară
 Cruikshank, George. (1980). Graphic Works of George Cruikshank. Dover Publications. ISBN 0-486-23438-X
 Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum, Mary Dorothy George. Vol VI 1938,  Vol VII, 1942  VOL VIII 1947, VOL IX 1949
 Dictionary of British Cartoonists and caricaturists 1730–1980 Bryant and Heneage, Scolar Press 1994
 The Book Illustrations of George Cruikshank Buchanan-Brown, John. Charles Tuttle 1980
 George Cruikshank A Catalogue Raisonne of the work executed during the years 1896–1977 Cohn, Albert M . Bookmans Journal, London 1924
 Bates, William, George Cruikshank : the artist, the humourist, and the man, with some account of his brother Robert. A critico-bibliographical essay, Amsterdam, Emmering, 1972

Legături externe
 SurLaLune Fairy Tale Pages: Fairy Tale Illustrations of George Cruikshank
 George Cruikshank cartoons at CartoonStock  (Commercial site)
 Online Gallery of Illustrations by George Cruikshank
 George Cruikshank letters, 1845 and 1868  from the Woodson Research Center at Rice University
 Patten Research Material on George Cruikshank  from the Woodson Research Center at Rice University

 Works by George Cruikshank on Flickr Commons
 George Cruikshank at Comiclopedia
 Guide to the George Cruikshank Etchings. Special Collections and Archives, The UC Irvine Libraries, Irvine, California.

Nașteri în 1792
Decese în 1878
Anglo-scoțieni
Caricaturiști britanici
Gravori britanici
Charles Dickens

George Cruikshank


Azzi bezeichnet:
 Azzi, antikes Land

Azzi ist der Familienname folgender Personen:
 Abdel-Halim Azzi (* 1958), algerischer Tennisspieler
 Christian Azzi (1926–2020), französischer Jazzmusiker
 Georges Azzi (* 1984), libanesischer LGBT-Aktivist
 Giustiniano Degli Azzi Vitelleschi (1874–1960), italienischer Historiker und Archivar
 Jennifer Azzi (* 1968), US-amerikanische Basketballspielerin

Azzi (Begriffsklärung)


Der Warzige Drüsling (Exidia nigricans, syn. E. glandulosa ss. , E. plana ) ist eine Pilzart aus der Familie der Ohrlappenpilzverwandten (Auriculariaceae). Er ist eine häufige, holzzersetzende Art auf nördlichen Erdhalbkugel, die typischerweise auf noch angewachsenen, toten Ästen von Laubbäumen wächst. Sie wird des Öfteren mit dem Stoppeligen Drüsling (E. glandulosa ss. orig., syn. E. truncata) und dem Teerflecken-Drüsling (E. pithya) verwechselt.

Merkmale

Makroskopische Merkmale
Die dunkelsepiafarbenen bis schwärzlichen Fruchtkörper haben eine gummiartig-gelatinöse Konsistenz. Zunächst kugelig in Gruppen wachsend, fließen sie bald zu einer durchgängigen, flach am Substrat anliegenden und bis zu 30 × 5–6 cm großen sowie 5 × 20 mm dicken Schicht zusammen. Der Warzige Drüsling hat eine unregelmäßig hirnartig-wulstige und gefurchte Struktur. Die fettig-glänzende Oberfläche ist mit kleinen, bisweilen nur mit der Lupe erkennbaren Drüsenwärzchen bedeckt. Eingetrocknete Fruchtkörper bilden eine dünne, schwarze Kruste und quellen bei Feuchtigkeit wieder zur ursprünglichen Größe auf. Das Sporenpulver ist weiß.

Mikroskopische Merkmale
Die elliptischen, quer septierten Basidien messen 15–25 × 8–13 Mikrometer. An ihnen reifen wurstförmige und 14–19 × 4,5–5,5 µm große Sporen heran. Sie sind farblos, glatt und zeigen in Iodlösung keine Farbreaktion. Es werden auch Konidien ausgebildet.

Artabgrenzung

Der Warzige und der Stoppelige Drüsling (Exidia glandulosa) werden häufig verwechselt. Die beiden sind ähnlich, doch der Stoppelige Drüsling produziert separate, gipfelförmige Fruchtkörper, die wenn überhaupt nur selten verwachsen.

Der teils nur als Variation angesehene Teerflecken-Drüsling (Exidia pithya) kommt nur in Nadelholz vor und die Oberflächen seiner kleineren, flacheren und glatteren Fruchtkörper weisen nur wenige Wärzchen auf.

Der Blattartige Zitterling (Tremella foliacea) hat gewöhnlich ein wärmeres, helleres Braun, kann aber manchmal dunkel sepiafarben bis schwarz sein. Seine Fruchtkörper sind gallertartig, aber gewöhnlich blättrig (mit flachen Lappen oder Wedeln) und haben niemals Warzen oder Pickel auf der Oberfläche. Er ist häufig und erscheint sowohl auf Laub- wie auch auf Nadelbäumen.

Ökologie und Verbreitung
Der holzzersetzende (Weißfäule) Warzige Drüsling lebt als Saprobiont von und in Totholz von Laubbäumen. Typischerweise lebt er bei einer breiten Palette von Laubbäumen (selten auch in Nadelholz) in noch am stehenden Baum befindlichen toten Ästen und Stammteilen und lebt nach Herabfallen noch eine Weile darin weiter.
Er fruchtet das ganze Jahr über mit Schwerpunkt im Spätherbst.

Die Art ist auf der Nordhalbkugel weit verbreitet, einschließlich Nordamerika und Europa.

Bedeutung
Es spricht zumindest keine Giftwirkung gegen eine Verwendung zu Speisezwecken.

Systematik und Taxonomie
Die Art wurde ursprünglich 1776 von William Withering in England als Tremella nigricans beschrieben, auf Grundlage einer 1741 von Johann Jacob Dillen veröffentlichten Bezeichnung. Es wurde später als Synonym zu Exidia glandulosa angesehen, bis Marinus Anton Donk 1966 die Artauffassungen überarbeitete und es als synonym mit Exidia plana einordnete. Durch Änderungen am offiziellen Einführungsdatum der wissenschaftlichen Pilznomenklatur wurde Exidia plana unzulässig, lassen allerdings Exidia nigricans als den ältesten Namen der Art bestehen.

Molekulare Untersuchungen haben gezeigt, dass Stoppeliger und Warziger Drüsling trotz Ähnlichkeit unterschiedliche Arten sind.

Das dem Lateinischen entstammende Art-Epitheton "nigricans" bedeutet "schwärzlich", "dunkel".
Das Epitheton "plana" aus dem veralteten wissenschaftlichen Namen ist ein Bezug auf die flächige Ausbreitung seiner Fruchtkörperstrukturen (lateinisch "plana": "flach").

Volksnamen
Der Warzige Drüsling wird auch uneindeutig als "Hexenbutter" bezeichnet. Auch im Englischen gibt es die Bezeichnung "Witches' butter" (deutsch "Hexenbutter") als Artname, allerdings wird dieser Name nach dem 18. Jahrhundert wie im Deutschen auch für andere Tremellomycetes wie den Stoppeligen Drüsling und den Goldgelben Zitterling (Tremella mesenterica) verwendet. Der Name ist auf einen alten Volksglauben zurückzuführen, nach dem Hexen nachts Kühe melken und aus der Milch diese wenig appetitliche Butter produzieren, die sie dann an ihren nächtlichen Versammlungsplätzen verteilen. In Schweden ist die Art anscheinend aus demselben Grund als "Troll smör" ("Trollbutter") bekannt.

Quellen

Weblinks

Ohrlappenpilzartige

Warziger Drüsling


Raphael (eigentlich: Miguel Raphael Martos Sánchez, * 5. Mai 1943 in Linares) ist ein spanischer Sänger.

Den Beginn seiner Karriere hatte er als 19-Jähriger mit dem Sieg beim internationalen Songfestival Benidorm. Er erhielt einen Plattenvertrag beim Label Hispavox unter dem künstlerischen Leiter Waldo de los Ríos. Raphael durfte zweimal Spanien beim Eurovision Song Contest vertreten: Beim Wettbewerb 1966 erreichte er mit dem Titel Yo soy aquél den siebten und beim Wettbewerb 1967 mit dem Titel Hablemos del amor den sechsten Platz. Von da ab begann für ihn eine internationale Karriere mit Auftritten in Nord- und Südamerika, Russland, Japan und Europa. In zehn Spielfilmen, meist spanischen Musikkomödien, war er in den 1960er bis 1970er Jahren zu sehen. 2015 spielte er eine Hauptrolle in der Filmkomödie My Big Night von Álex de la Iglesia, in der er einen alternden Schlagersänger mimt.

Diskografie

Alben

Singles

Weitere Singles

Weitere Alben

Auszeichnungen für Musikverkäufe

Weblinks
 Website
 Raphael bei Discogs

Einzelnachweise

Popsänger
Filmschauspieler
Interpret eines spanischen Beitrags beim Eurovision Song Contest
Spanier
Geboren 1943
Mann

Raphael (Sänger)


An Kyllinga curvispiculosa in uska species han Liliopsida nga syahan ginhulagway ni Tetsuo Michael Koyama, ngan ginhatag han pagkayana nga asya nga ngaran ni P.H.Hô. An Kyllinga curvispiculosa in nahilalakip ha genus nga Kyllinga, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Kyllinga

Kyllinga curvispiculosa


L'église Saint-Orens est une église située à Saint-Georges-Antignac, dans le département français de la Charente-Maritime en région Nouvelle-Aquitaine.

Historique

Remontant à l'époque romane, elle est placée sous le patronage de l'abbé de Saintes du  au .

L'église est inscrite au titre des monuments historiques par arrêté du .

Architecture

Intérieur

Extérieur

Galerie

Références

Voir aussi

Articles connexes
 Liste des monuments historiques de la Charente-Maritime
 Églises de la Charente-Maritime

Liens externes

Antignac
Monument historique inscrit en 2000
Antignac
Antignac
Antignac

Église Saint-Orens d'Antignac


An Pentaschistis rupestris in uska species han Liliopsida nga syahan ginhulagway ni Christian Gottfried Daniel Nees von Esenbeck, ngan ginhatag han pagkayana nga asya nga ngaran ni Otto Stapf. An Pentaschistis rupestris in nahilalakip ha genus nga Pentaschistis, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Pentaschistis

Pentaschistis rupestris


The Tony Award for Best Performance by a Leading Actress in a Musical is awarded to the best actress in a musical, whether a new production or a revival. The award has been given since 1948, but the nominees who did not win have only been publicly announced since 1956.

History
The award was not presented in 1947 or 1985. Ken Mandelbaum wrote about the 1985 season: "Things get bad enough musically to require the elimination of the Best Musical Actor and Actress categories, as well as the choreography prize." There have been three ties in this category, in 1958, 1962 and 1968.

In 1965, Liza Minnelli, age 19, became the youngest actress to win the award, a record she still holds today. She is followed by Lea Salonga, age 20, in 1991. In 2017, Bette Midler, age 71, became the oldest actress to win the award, a record she still holds today. She is followed by Victoria Clark, age 63, in 2023.

Winners and nominees

1940s

1950s

1960s

1970s

1980s

1990s

2000s

2010s

2020s

Notes

Multiple wins

4 Wins
 Angela Lansbury

3 Wins
 Mary Martin
 Gwen Verdon

2 Wins
 Lauren Bacall
 Victoria Clark
 Christine Ebersole
 Sutton Foster
 Patti LuPone
 Liza Minnelli
 Donna Murphy
 Bernadette Peters
 Chita Rivera

Multiple nominations

8 Nominations
 Chita Rivera

7 Nominations
 Sutton Foster

6 Nominations
 Kelli O'Hara
 Bernadette Peters

5 Nominations
 Patti LuPone
 Donna Murphy
 Gwen Verdon

4 Nominations
 Carol Channing
 Angela Lansbury
 Mary Martin

3 Nominations
 Julie Andrews
 Jessie Mueller
 Christine Ebersole
 Dee Hoty
 Dorothy Loudon
 Audra McDonald
 Ethel Merman
 Liza Minnelli
 Faith Prince

2 Nominations
 Lauren Bacall
 Stephanie J. Block
 Georgia Brown
 Carolee Carmello
 Kristin Chenoweth
 Victoria Clark
 Carmen Cusack
 Sandy Duncan
 Nanette Fabray
 Dolores Gray
 Barbara Harris
 Judy Kuhn
 LaChanze
 Beth Leavel
 Beatrice Lillie
 Rebecca Luker
 Marin Mazzie
 Patina Miller
 Idina Menzel
 Eva Noblezada
 Laura Osnes
 Tonya Pinkins
 Alice Ripley
 Sherie Rene Scott
 Alexis Smith
 Elaine Stritch
 Inga Swenson
 Nancy Walker

Multiple character wins
3 Wins
 Anna Leonowens from The King and I
 Rose from Gypsy

2 Wins
 Desiree Armfeldt from A Little Night Music
 Celie Harris Johnson from  The Color Purple
 Dolly Gallagher Levi from Hello, Dolly!

Multiple character nominations

5 Nominations
 Rose from Gypsy

4 Nominations
 Mrs. Lovett from Sweeney Todd
 Peter Pan from Peter Pan and Jerome Robbins' Broadway

3 Nominations
 Anna Leonowens from The King and I
 Charity Hope Valentine from Sweet Charity
 Phyllis Rogers Stone from Follies

2 Nominations
 Amalia Balash from She Loves Me
 The Baker's Wife from Into the Woods
 Bess from Porgy and Bess
 Caroline Thibodeaux from Caroline, or Change
 Celie Harris Johnson from The Color Purple
 Desiree Armfeldt from A Little Night Music
 Dolly Gallagher Levi from Hello, Dolly!
 Dot / Marie from Sunday in the Park with George
 Eliza Doolittle from My Fair Lady
 Ella Peterson from Bells Are Ringing
 Ensign Nellie Forbush from South Pacific
 Fiona MacLaren from Brigadoon
 Kim from Miss Saigon
 Lilli Vanessi / Katharine from Kiss Me, Kate
 Lily Garland / Mildred Plotka from On the Twentieth Century
 Lizzie Curry from 110 in the Shade
 Lucille Frank from Parade
 Marian Paroo from The Music Man
 Mother from Ragtime
 Reno Sweeney from Anything Goes
 Ruth Sherwood from Wonderful Town
 Sarah Brown from Guys and Dolls
 Velma Kelly from Chicago

Musicals with multiple lead nominations
Winners are in boldface
 New Girl in Town – Thelma Ritter and Gwen Verdon (tie)
 Company – Susan Browning and Elaine Stritch
 Follies – Dorothy Collins and Alexis Smith
 Chicago – Chita Rivera and Gwen Verdon
 Annie – Dorothy Loudon and Andrea McArdle
 Dreamgirls – Jennifer Holliday and Sheryl Lee Ralph
 The Rink – Liza Minnelli and Chita Rivera
 Black and Blue – Ruth Brown and Linda Hopkins
 Guys and Dolls – Josie de Guzman and Faith Prince
 Urinetown – Nancy Opel and Jennifer Laura Thompson
 Wicked – Kristin Chenoweth and Idina Menzel
 War Paint – Christine Ebersole and Patti LuPone
 The Prom – Caitlin Kinnunen and Beth Leavel

Multiple awards and nominations
Actress who have been nominated multiple times in any acting categories

See also

 Tony Award for Best Actor in a Play
 Tony Award for Best Actress in a Play
 Tony Award for Best Actor in a Musical
 Drama Desk Award for Outstanding Actress in a Musical
 Drama Desk Award for Outstanding Lead Performance in a Musical
 Laurence Olivier Award for Best Actress in a Musical
 List of Tony Award-nominated productions

References

External links
 Internet Broadway Database Awards Archive
 Official Tony Awards Website Archive

Theatre acting awards
Tony Awards
Awards established in 1948
1948 establishments in the United States
Awards for actresses

Tony Award for Best Actress in a Musical


Historia de un roble solo es una película chilena de 1982 dirigida por Silvio Caiozzi y basada en un relato del escritor José Donoso. Cuenta con las actuaciones protagónicas de Nissim Sharim y Delfina Guzmán, miembros del grupo de teatro Ictus, productores de la película.

Argumento
Es la historia de una pareja de adultos que viven en una vieja pensión del centro de Santiago. Ella espera casarse con un hombre que posea una propiedad, y él posee una tumba en el cementerio.

Es una comedia que va girando en torno al amor, el abandono y el fútbol, los personajes son personas sin mayores ambiciones, pero terriblemente sometidos a una condición de insatisfacción rutinaria.

Sin embargo, el gran mérito de esta película y principalmente del desarrollo de los personajes que hace Caiozzi, le permitieron acercarse a Donoso, filmando juntos, varios años después La Luna en el espejo.

En palabras de Donoso: «este trabajo es una producción colectiva que nos dio la posibilidad de desarrollar nuestra individualidad, de acentuarla y de expresarla».

Elenco
 Nissim Sharim como Gustavo.
 Delfina Guzmán como Olguita.
 Roberto Poblete
 Roberto Parada
 Grimanesa Jiménez
 Ana González
 Cora Díaz
 Carlos Genovese

Referencias

Fuentes
 CineChile.cl Reseña de la película Historia de un roble solo
 MemoriaChilena.cl Anoche fue la avant-premiere de La historia de un roble solo. La Segunda. Santiago : Talleres El Mercurio, 1965- v., (1 jul. 1982), p. 27

Películas de 1982
Películas de Chile
Películas en español

Historia de un roble solo


Tommy and Betty are two roles in rapper sword dance that represent the father and mother of the dancers. The Tommy and Betty often introduce the dance to the audience and seek to engage the audience. As with so many traditional dances in England and Europe, these characters are integral to the tradition, and their role was documented in all of the earliest published descriptions of the Northumbrian dance – descriptions which pre-date the introduction of the flexible rapper sword which so fundamentally changed the dance.

In early accounts of the sword dance in the Tyne Valley, the Tommy character was generally called "The Captain", and the Betty character called "Bessy". There were often additional characters, such as a doctor, who took part in a short play before the dance, similar to a Mummers play. The Tommy was either dressed up formally, with waistcoat, tailcoat and top hat, or in a grotesque garb of animal hides; occasionally, the Tommy was dressed in women's clothing, like the Betty. Much is made of their role and clothing in the context of pagan fertility rituals; it is certainly probable that the characters and play are older than the sword dance itself, which would appear to have been appended to the older play tradition found all over England.

In the modern dance, the Tommy introduces the dancers, usually with a traditional calling-on song, and then provides a running commentary and/or jokes to entertain the audience. The Tommy and Betty characters often join in with the rapper figures.

The best known Tommy and Betty characters are probably the Newcastle Kingsmen's characters, who have won the prize for best characters at several of the annual DERT competitions, including the national DERT 2004 and 2005 competitions.

The Newcastle Kingsmen's dance begins with the Tommy character singing the "Calling On Song".  The Betty character then joins in halfway through the dance - this delayed entrance (which is unusual in rapper sword teams) allows time for the Tommy to work through a repertoire of jokes, before the appearance of the Betty. The Betty seeks to have a high profile entrance such as appearing through a trap door,  on a bicycle or carrying a vacuum cleaner.  This entrance can help re-engage the audience; this is particularly valuable in large arenas or at foreign festivals.

External links
 Rapper Online
 History of rapper
 DERT 2004
 DERT 2005

References

English culture
Morris dance
Rapper sword
Northumbrian folklore

Tommy and Betty


අනෙකුත් දූපත් සඳහා මාල්හොස් බලන්න

මාල්හොස් (දිවෙලි: މާޅޮސް) යනු "බා" ලෙසින් කේතාක්ෂරයෙන් දැක්වෙන,  දකුණු මාල්හොස්මදුලු අතොළුවේ  ජනාවාසී දූපත් අතුරින් එකකි.

මානව විද්‍යාව
වසරකට වරක් වෙනස්වූ ලිං හතක ස්නානය කිරීමේ සම්ප්‍රදායයක් මෙම දූපතේ පවතියි (හායි වල්හුන් ෆෙන් වෙරුන්).
මෙය බොහෝවිට පෞරාණික ද්‍රවිඩ සම්ප්‍රදායයක් විය හැක. ඔවුන් අපවිත්‍ර යැයි හැඟුනු විට වෙනස් වැව් හතක ස්නානය කිරීමේ  චාරිත්‍රයක් කේරල කෘෂිකාර්මික කුලයක් වන  පුලායා හෝ චෙරුමන් නමැති කුලයේ ජනයා අතරද පවතියි.
ඊඩ් උත්සව සමයෙහිදී පුරුෂ අරක්කැමියන් (ෆිරිහෙනුන් කෙකුන්) විසින් රාත්‍රි ආහාර පිළිපෙල කොට කාන්තාවන් සඳහා ආහාර සපයන අතර කාන්තා අරක්කැමියන් (අන්හෙනුන් කෙකුන්) විසින් ආහාර පිළියෙල කොට දූපතේ සියළු පිරිමින්ට රාත්‍රි ආහාර සැපයෙයි.
මාල්හොස් හී ජනයා විසින් කෙරෙන වනාන්තර පෙළපාලිය යනු යුද්ධ හමුදා විසින් කෙරෙන පෙළපාලි වල විකරණයකි.

ඉතිහාසය
මාල්හොස් හි ආගම ලෙස පැවතියේ බුද්ධාගම බව ඓතිහාසික පර්යේෂණ සිදු කල පර්යේෂකයන් විසින් සොයා ගෙන ඇත. හසන් ඉබ්‍රාහිම් (ආවෙලි) විසින් පලුදුවූ බුදු පිලිම හිසක් පැරණි සොහොන් පිටියකින්  සොයා ගෙන ඇත.

ආශ්‍රිත
සේවියර් රොමේරෝ-ෆ්‍රියාස්, ද මෝල්ඩිව් අයිලන්ඩර්ස්, අ ස්ටඩි ඔෆ් ද පොපියුලර් කල්චර් ඔෆ් ඇන් ඒන්ෂන්ට් ඕෂව් කිංඩම්. බාර්සිලෝනා 1999, ISBN 84 7254 801 5
ඊ. තර්ස්ටන්, 'කාස්ට්ස් ඇන්ඩ් ට්‍රයිබ්ස් ඔෆ් සවුත් ඉන්ඩියා', වෙළුම. 2.

මාල්හොස් (බා අතොළුව)


Türkiye'deki ormanlar, Türkiye Cumhuriyeti sınırları içerisindeki orman varlığıdır.

Tarih
1923'te Cumhuriyet'in kurulmasından önceki orman örtüsü çok iyi bilinmemektedir. İlk büyük ağaçlandırma projesi 1939'da yapıldı.

Yasal durumu
Türkiye Cumhuriyeti Anayasası'nın 169. maddesi uyarınca  mülkiyeti devlete aittir ve devlet tarafından yönetilir ve işletilir. Zamanaşımı ile mülk edinilemez ve kamu yararı dışında irtifak hakkına konu olamaz. 6831 Sayılı Orman Kanunu ile kamu yararına kullanımı, süresi vb. durumlar tanımlanır.

Genel bilgiler
Türkiye'de orman dağılışında en önemli faktör yağış ve nemdir. Yağış miktarı ile orman dağılımı arasında çok sıkı bir ilişki vardır. Karadeniz Bölgesinde yağışın fazla olmasından dolayı ormanlar çok iken Güneydoğu ve İç Anadolu bölgelerinde kuraklıktan dolayı ormanlar çok az yer kaplar.

23 milyon hektarlık orman arazisinin; %95'ı koruluk, %5'i baltalık durumundadır.

Orman alanı
Türkiye'deki ormanlık alanın toplamı 22.933.000 ha'dır ve bu da ülke genelinin %29,4'üne denk gelmektedir. Bu alanın %32'sini yapraklı ormanlar, %48'ini iğne yapraklı -ibreli- ormanlar ve %20'sini ise ibreli ve yapraklı karışık ormanlar kaplamaktadır. 2020 itibarıyla bu dağılışta yer alan ilk beş ağaç şu şekildedir:

Coğrafi bölgelere göre ormanlık alan dağılımları
 2020 yılı itibarıyla ormanların coğrafi bölgelere dağılışı şu şekildedir:

Ormanlardan yararlanma

Türkiye'de ormanlardan orman ve ağaç sanayi ile ekonomik olarak yararlanılır. 2010 yılı orman ürünleri ihracatı 3.15 milyar $'dır. 2000 yılında 11 milyon $, 2010 yılında 14,9 milyon $ ihracat yapan kereste sektörü, 2010'da 132,3 milyon $ ithalat yapmıştır.

Türkiye'deki istihdam oranlarına göre mobilya bölgeleri: İstanbul, Ankara, Bursa, Kayseri, İzmir ve Adana önemli üretim alanlarıdır. Ayrıca Bolu, Eskişehir, Sakarya, Zonguldak, Trabzon Balıkesir, Antalya, Isparta, Burdur mobilya üretilen diğer alanlardır.

Yapılan hesaplamaya göre Türkiye ormanları 2019 yılı için 84 milyon ton karbondioksit tutmuştur.

Ayrıca bakınız
 Orman Genel Müdürlüğü
 2021 Türkiye orman yangınları

Kaynakça

Dış bağlantılar

 General Directorate of Forestry
 Global Forest Resources Assessment at Food and Agriculture Organization
 Global Forest Resources Assessment 2020 country report at Food and Agriculture Organization

Türkiye'deki ormanlar


Álvaro Lins Cavalcanti, ou apenas Álvaro Lins, (Pedra Branca, 14 de dezembro de 1920 – local não informado, 20 de junho de 1995) foi um advogado e político brasileiro, outrora deputado federal pelo Ceará.

Dados biográficos
Filho de Francisco Vieira Cavalcanti e Maria do Carmo Lins Cavalcanti. Advogado formado pela Universidade Federal do Ceará em 1944, exerceu a profissão em Senador Pompeu antes de eleger-se deputado estadual via PSP em 1947 e 1950. Procurador da Secretaria de Agricultura do Ceará desde 1953, venceu a eleição para deputado federal em 1954 e 1958. Mudou para o PTB e figurou como primeiro suplente em 1962, sendo efetivado  após a renúncia de Antônio Jucá no ano seguinte, pois este era também primeiro suplente do falecido senador Carlos Jereissati.

Membro fundador e depois presidente da Casa do Ceará em Brasília, ingressou no MDB quando o Regime Militar de 1964 impôs o bipartidarismo no ano seguinte. Reeleito deputado federal em 1966 e 1970, saiu da política ao final do mandato parlamentar.

Naturais de Pedra Branca (Ceará)
Deputados federais do Brasil pelo Ceará
Deputados estaduais do Ceará
Advogados do Ceará

Álvaro Lins Cavalcanti


Agrilus amphion é uma espécie de inseto do género Agrilus, família Buprestidae, ordem Coleoptera.

Foi descrita cientificamente por Obenberger, 1935.

Referências

amphion

Agrilus amphion


Radio Kraljeva Sutjeska (Radio KS) je regionalna radio postaja čije je sjedište u Kraljevoj Sutjesci. Emitira na hrvatskom jeziku. Program emitira na internetu. Postaja je počela raditi 10. studenoga 2008. godine. Amaterska je postaja i ne prima financijske potpore. Urednik postaje je Marko Dubravkić.

Izvori

Vanjske poveznice
  Službene stranice
 Facebook
 YouTube
 Radio Kraljeva Sutjeska

Radijske postaje na hrvatskom jeziku u Bosni i Hercegovini

Radio KS


Les festivals de tulipes ont lieu dans plusieurs villes du monde, principalement en Amérique du Nord, généralement dans des villes à l'héritage néerlandais comme Albany (New York), Ottawa (Ontario), Gatineau (Québec), Montréal (Québec), Holland (Michigan), Lehi (Utah), Orange City (Iowa), Pella (Iowa), Mount Vernon (Washington), Woodburn (Oregon) et dans d'autres pays comme la Nouvelle-Zélande, l'Australie, l'Inde ou encore l'Angleterre.

Les tulipes sont considérées comme un signe avant-coureur du printemps, et un festival des tulipes permet aux résidents de les voir sous leur meilleur jour. Les festivals sont également des attractions touristiques populaires. Certaines années, le pic de floraison des tulipes ne coïncide pas avec les dates des festivals, souvent en raison des conditions climatiques. Pendant la pandémie de Covid-19, la majorité des festivals n'ont pas eu lieu, ou du moins avec très peu de touristes.

Asie

 Srinagar, capitale de Jammu-et-Cachemire en Inde, organise son Festival des tulipes au mois d'avril dans le jardin à tulipes du mémorial d'Indira Gandhi, jardin d'une superficie de 30 hectares sur les rives du célèbre lac Dhal. Il est considéré comme le plus grand jardin de tulipes d'Asie.

 Tonami, dans la préfecture de Toyama au Japon, organise un festival des tulipes avec plus de 2,5 millions de tulipes dans plus de 600 variétés. Il a lieu de fin avril à début mai, est connu sous le nom de "Fête des tulipes de Tonami" et est situé dans le Parc des tulipes de Tonami.

Europe

 Spalding (Lincolnshire, Royaume-Uni) organisait une parade des tulipes chaque année. Elle avait lieu le premier samedi de mai des années 1920 jusqu'en 2013. À son apogée, c'était une attraction touristique majeure, comprenant une procession de chars sur différents thèmes, chacun décoré de pétales de tulipes, un sous-produit de l'industrie des bulbes. Les tulipes ne sont plus cultivées commercialement dans cette partie du Lincolnshire.
 La Journée nationale néerlandaise de la Tulipe, à Amsterdam aux Pays-Bas, et la fête qui y est liée, a lieu chaque année en janvier.
 Le Festival des tulipes d'Istanbul, la capitale de la Turquie, a lieu chaque année en avril.

Amérique du Nord

Canada

 Le Festival canadien des tulipes, qui est reconnu pour être le plus grand festival de tulipes au monde, est un événement majeur organisé chaque année en mai à Ottawa (Ontario, Canada). Pendant la Seconde Guerre mondiale, la famille royale néerlandaise s'est réfugiée au Canada. La princesse Margriet des Pays-Bas est née à l'Hôpital d'Ottawa en 1943 et le gouvernement canadien a déclaré que ce territoire était extraterritorial. Cela a été fait pour s'assurer que la princesse aurait uniquement la nationalité néerlandaise. Chaque année depuis, la reine Juliana - et la famille royale après sa mort - ont envoyé des bulbes de tulipes pour le festival. Le festival a débuté en 1953.

États-Unis

Les festivals de tulipes sont organisés en l'honneur des Néerlandais, qui, en déménageant, ont apporté des bulbes de tulipes (alors très chères) et leurs traditions aux Amériques.

Est des États-Unis

 Le Festival des tulipes d'Albany, dans l'Etat de New York, est situé dans le Washington Park, à Albany. Chaque année, cet événement traditionnel célèbre le printemps avec des milliers de tulipes qui fleurissent dans une grande diversité de couleurs et de variétés. Des milliers de personnes, locaux et de tous horizons, viennent au festival en mai pour célébrer le riche héritage néerlandais d'Albany.

Centre des États-Unis

 A Belle Plaine, dans le Kansas, où se trouve le Bartlett Arboretum, organise son festival des tulipes le troisième week-end d'avril depuis 1986. Outre les tulipes, le festival propose aussi des collections d'art, des expositions d'artisans, des concerts, un carnaval et d'autres divertissements et jeux. Belle Plaine était autrefois célèbre pour être l'endroit des Etats-Unis avec la plus grande concentration de tulipes.
 Le festival des jours néerlandais de Fulton, dans l'Illinois, a lieu le premier week-end de chaque mois de mai. Il a été célébré pour la première fois comme un "authentique dîner hollandais" en 1974 par l'école chrétienne locale.
 A Orange City, le festival des tulipes de l'Iowa, est célébré chaque année le 3ème week-end de mai depuis 1936 Il est cher aux habitants d'Orange City avec un jardin de tulipes, un spectacle en soirée (pièce de théâtre de Broadway), des défilés en après-midi et en soirée et des danses de rue pour petits et grands. Le festival commence le mercredi pour les locaux et se poursuit jusqu'à samedi, attirant plus de 150 000 personnes.
 A Pella, Iowa, le festival des tulipes, également célébré début mai, a débuté en 1935 pour célébrer le patrimoine de la ville. Il s'agit d'un événement de trois jours qui comprend des défilés de lavage de rue ("street washing" en anglais), des danseurs en sabots costumés, des démonstrations de sculpture sur sabots, des vendeurs de rue vendant des poffertjes et un orgue de rue hollandais traditionnel.
 Le festival des tulipes de Holland dans le Michigan a lieu début mai. C'est est le plus grand festival de tulipes des États-Unis, avec plus de 4,5 millions de tulipes et plus de 600 000 visiteurs chaque année.

Ouest des États-Unis

 Thanksgiving Point à Lehi (Utah) accueille un festival des tulipes en avril et en mai. Le festival de trois week-ends regroupe des jonquilles et des tulipes, et offre des visites de jardins, des spectacles et des activités : du samedi au dimanche, le festival propose de la musique, de la danse et de la nourriture hollandaises.
 Le festival des jours hollandais de Lynden (Etat de Washington) a lieu le premier week-end de mai. Y est célébré la tradition hollandaise, avec des chansons et danses traditionnelles, ainsi que des marchés néerlandais qui proposent des produits traditionnels.
 Le festival des tulipes de la vallée du Skagit, près de Seattle (Etat de Washington) a lieu annuellement en avril depuis 1984. Avec des dizaines de champs de tulipes et de jonquilles ainsi que des jardins d'exposition, des boutiques de cadeaux et des activités touristiques, ce festival attire des visiteurs de tous âges.
 La ville de Woodburn dans l'Oregon, organise chaque année son festival Wooden Shoe des tulipes depuis mars 1986.

Océanie

Nouvelle-Zélande

 Festival des tulipes de Wellington, la capitale néo-zélandaise est organisé chaque printemps depuis 1944.

Australie

 Le festival des tulipes de Bowral (Nouvelle-Galles du Sud) est organisé chaque printemps depuis 1960 dans les Corbett Gardens.
 Le festival des tulipes de Tesselaar à Silvan (Victoria) a lieu chaque année de septembre à octobre depuis 1954.

Photos

Références

Liens externes

 Festival des tulipes d'Albany (NY)
 Festival canadien des tulipes
 la fête hollandaise
 La fête de Pella
 Fête d'Orange City
 Festival des tulipes de la vallée de la Skagit
 Festival de Woodburn, Oregon
 Festival des jours hollandais de Fulton
 Tesselaar Tulip Festival, Silvan, Australie
 Spalding Flower Parade, Angleterre
 Fête des tulipes à Vendeuvre, France

Jardinage par pays
Jardinage en France
Jardinage aux États-Unis
Festival au Canada
Festival
Culture néerlandaise
Tradition néerlandaise

Festival des tulipes


are one of the traditional Japanese crafts.

There are various types of traditional dolls, some representing children and babies, some the imperial court, warriors and heroes, fairy-tale characters, gods and (rarely) demons, and also people of the daily life of Japanese cities. Many have a long tradition and are still made today for household shrines, formal gift-giving, or for festival celebrations such as , the doll festival, or , Children's Day. Some are manufactured as a local craft, to be purchased by pilgrims as a souvenir of a temple visit or some other trip.

History

There may be a continuity in the making of the , humanoid figures, by the ancient Jōmon culture in Japan (8000–200 BC), which were associated with fertility or shamanistic rites, at a time when dolls were thought to have souls. Dolls also have continuity from the  funerary figures of the subsequent Kofun culture (around 300–600 AD). Expert Alan Pate notes that temple records refer to the making of a grass doll to be blessed and thrown into the river at Ise Shrine in 3 BC; the custom was probably even more ancient, but it is at the root of the modern doll festival, or .

In the early 11th century, around the peak of the Heian period, several types of dolls had already been defined, as known from Lady Murasaki's novel The Tale of Genji. Girls played with dolls and doll houses; women made protective dolls for their children or grandchildren; dolls were used in religious ceremonies, taking on the sins of a person whom they had touched. At that time, it was thought that evil could be ritualistically transferred to a paper image called a , which were then cast to the river or sea; Japanese dolls today may be the result of the combination of  and paper dolls children once played with. , though not explicitly mentioned in The Tale of Genji, were soft-bodied dolls given to young women of age and especially to pregnant women to protect both mother and unborn child. Sources mentioning them by name start appearing in the Heian period, but are more apparent in the Muromachi period.

 are roly-poly toys made from papier-mâché, dating back to at least the 14th century. They are good-luck charms and symbols of perseverance and resilience.

Probably the first professional dollmakers were temple sculptors, who used their skill to make painted wooden images of children (Saga dolls). The possibilities of this art form, using carved wood or wood composition, a shining white "skin" lacquer called  made from ground oystershell and glue, and textiles, were vast.

During the Edo period (1603–1867), when Japan was closed to most trade, there developed both fine dollmakers and a market of wealthy individuals who would pay for the most beautiful doll sets for display in their homes or as valuable gifts. Sets of dolls came to include larger and more elaborate figures, and more of them. The competitive trade was eventually regulated by government, meaning that doll makers could be arrested or banished for breaking laws on materials and height.

Annual doll festival

Homes and shops put up traditionally-clothed dolls of various sizes, set on a red dais, around 3rd March for the festival of . These feature the emperor and empress, attended by a court retinue: warriors, ministers and so on. Full versions include 15 dolls and apparatus such as utensils for . The most elaborate sets can fetch many millions of yen (tens of thousands of US$). The Doll Festival is celebrated to ensure girls' future happiness, and this link to daughters is rooted in the use of dolls in children's play. However, the Doll Festival itself has been part of Japanese culture only since the Edo period.

Types
It was during the Edo period that most of the traditional doll types known today developed.

  dolls are the dolls for , the doll festival on March 3. They can be made of many materials, but the classic  doll has a pyramidal body of elaborate, many-layered textiles stuffed with straw and/or wood blocks, carved wood hands (and in some cases feet) covered with , and a head of carved wood or composite molded wood covered with , with set-in glass eyes (though before about 1850, the eyes were carved into the  and painted), and human or silk hair. A full set comprises at least 15 dolls, representing specific characters, with many accessories (), though the basic set is a male-female pair, often referred to as the Emperor and Empress.
  dolls are offered to Japanese children during the  holiday, in order to inspire in them the bravery and strength of the legendary Kintarō.
 , or warrior dolls, are usually made of materials similar to the  dolls, but the construction is often more complicated, since the dolls represent men (or women) seated on camp chairs, standing, or riding horses. Armor, helmets, and weapons are made of lacquered paper, often with metal accents. There is no specified "set" of such dolls; subjects include Emperor Jimmu, Empress Jingū with her prime minister Takenouchi holding her newborn imperial son, Shoki the Demon-Queller, Toyotomi Hideyoshi and his generals and tea-master, and fairy-tale figures such as Momotarō the Peach Boy or Kintarō the Golden Boy.
  dolls show fat, cute babies in a simplified form. The basic  is an almost-naked sitting boy, carved all in one piece, with very white skin, though  with elaborate clothing, hairstyle, and accessories, female as well as male, became popular as well. They developed as a gifts associated with the Imperial court, and  could be translated "palace" or "court".
  dolls () are made of wood. The ancestors of  dolls are  ("willow-wood") dolls, small dolls carved of willow and decorated with cloth scraps.  refers to a method of making dolls. They start with a carved and/or molded base of wood, wood composite, or (in some modern dolls) plastic foam. A design of different patterned cloth scraps is planned out, and the base is grooved so that the edges of the cloth can be hidden in the grooves. The cloth is glued on and the edges tucked in. The head and hands (if any) of the doll are usually finished with ; the hair may be part of the molded head or be a separate wig. These dolls have become a very popular craft and kits with finished heads can be purchased. The method is also used by some of Japan's avant-garde dollmakers, who adapt the old materials to new visions.
 , puppets or dolls are mechanical; they include the large figures on festival floats, for festivals like Kyoto's Gion Matsuri and smaller entertaining scenes, often with a musical element accompanying the movement. They often depict legendary heroes.
  is a form of theatrical puppet theatre which rivalled and inspired the kabuki theater, and survives today.
  dolls have been made for 150 years, and are from Northern Honshū, the main island of Japan. They were originally made as toys for children of farmers. They have no arms or legs, but a large head and cylindrical body, representing little girls. From a simple toy, it has now become a famous Japanese craft, and now an established souvenir for tourists.
  are life-sized lifelike dolls, that were popular in  shows. Artists made  that were novel not just for their subjects that shocked viewers—figures lying in pools of their own blood, for example—but for their influence on Japanese dolls. The works of Matsumoto Kisaburō and Yasumoto Kamehachi, in particular, contributed to form an extreme sense of realism.
  dolls () represent little girls or boys, correctly proportioned and usually with flesh-colored skin and glass eyes. The original  were named after an 18th-century kabuki actor, and must have represented an adult man, but since the late 19th century the term has applied to child dolls, usually made to hold in the arms, dress, and pose (either with elaborately made joints or with floppy cloth upper arms and thighs). Baby boy dolls with mischievous expressions were most popular in the late 19th and early 20th century, but in 1927 the friendship doll exchange involved the creation of 58  dolls representing little girls, to be sent as a gift from Japan to the United States, and the aesthetic of these dolls influenced dollmakers to emulate this type of a solemn, gentle-looking little girl in elaborate kimono.
  are spherical dolls with red bodies and white faces without pupils. They represent Bodhidharma, an East Indian who founded Zen about 1500 years ago; according to legend, he removed his own eyelids to prevent sleep from breaking his concentration, and his limbs withered after prolonged meditation.  dolls are charms to bring good fortune, continued prosperity, and fortitude to accomplish goals. Usually  dolls are purchased with blank eyes. One eye is filled when making a wish, the other when the wish is fulfilled. Wishes can be made throughout the year, but it is common in Japan to do it on New Year's Day.
  ("shine-shine monk") are strictly speaking not a type of doll. They are handmade of white paper or cloth, and hung from a window by a string to bring good weather and prevent rain.
  dolls ("crawling child") are a soft-bodied doll given to young women of age and especially to pregnant women in Japan as a talisman to protect both mother and unborn child.

With the end of the Edo period and the advent of the modern Meiji era in the late 1800s, the art of doll-making changed as well:

 Silk-skinned or "mask-face" dolls became a popular craft in Japan in the 1920s and 1930s, allowing the individual to design elaborate kimono for dolls representing women of various periods of Japanese history, particularly the Edo period. Dolls of this type continued to be made and were a popular item for servicemen and tourists to bring back after World War II, though they also might choose dolls representing similar subjects made with  faces.
 Bisque dolls are made of fired clay. Fukuoka is a traditional center of the manufacture of bisque dolls, and  are famous throughout Japan.
  and  (literally "big sister dolls" and "bookmark dolls," respectively) are made of washi paper.  tend to be three-dimensional, whereas  are flat.  often have elaborate hairstyles and costumes made of high-quality washi paper. They often lack facial features. Those from Shimane Prefecture are especially famous.
 A hybrid of  and , called , has become popular in recent years.   are a type of Japanese paper dolls made with figures and scenes and are mounted on , a rectangular fancy cardboard about a square foot (about a tenth of a square meter) in size.
 More recent and less traditional Japanese dolls are ball-jointed dolls (BJDs), whose growth in popularity has spread to the US and other countries since the advent of the Super Dollfie, first made by Volks in 1999. BJDs can be very realistic-looking or based more on the anime aesthetic. They are made of polyurethane resin which makes them very durable. These dolls are highly customizable in that owners can sand them, change out their wig and eye colors, and even change their face paint. Because of this hands-on aspect of customization, they are not only popular with collectors, but also with hobbyists.

Collectors

Japanese dolls are broken down into several subcategories. Two of the most prominent are Girl's Day, , and the Boy's Day , or display dolls, , , and . Collections can be categorized by the material they are made of such as wood dolls ( and ) and clay forms such as , , and .

In the 19th century,  were introduced to the West. Doll collecting has since become a popular pastime in the West.  Famous well known collectors from the West include individuals such as James Tissot (1836–1902), Jules Adeline (1845–1909), Eloise Thomas (1907–1982), and Samuel Pryor (1898–1985). James Tissot was known to be a religious history painter. In 1862, after attending a London Exhibition, he was drawn to Japanese art. During the 1860s, Tissot was known as one of the most important collectors of Japanese art in Paris. His collections included -style kimono, paintings, bronze, ceramics, screens and a number of  (dolls from the late Edo period). Adeline was known as a working artist and he is also known as "Mikika". Adeline produced many works throughout his career as a working artist. He is best known for his etchings and received the Cross of the Legion of Honor for his Vieux-Roven "Le Parvis Notre-Dame". Unlike Tissot, Adeline is recognized as a true collector. A majority of Adeline's collection consisted of , and only a few prints.

During the Meiji period, three men became pioneers in collecting : Shimizu Seifū (1851–1913), Nishizawa Senko (1864–1914), and Tsuboi Shōgorō (1863–1913). The three men are referred to as  ("the three great toy collectors"). They introduced a systematic approach to collecting  in an effort to preserve and document the various forms of . Shimizu, an artist and calligrapher, put his artistic ability to use by creating an illustrated catalog of his own collection of 440  dolls. The catalog was published in 1891, under the title . Nishizawa, a banker, gathered a significant collection on . He was an active researcher, collector of stories, documents, and information relating to the development of  during the Edo period. Nishizawa's son Tekiho (1889–1965) inherited his collection, but a great portion of the collection was lost in the Kanto earthquake of 1923. Tsuboi, founder of the Tokyo Anthropological Society, was the most trained of the three, and he brought a scientific element to the collecting of .

Dolls have been a part of Japanese Culture for many years, and the phenomenon of collecting them is still practiced. Many collections are preserved in museums, including the Peabody Essex Museum, Kyoto National Museum, and the Yodoko Guest House.

See also

 Japanese craft

References

Further reading
 Albert, Kathy. Japanese Boy and Girl Paper Dolls. New York: Dover Publications, Inc., 1991.
 Larson, Jack Lenor. Folk Art from the Global Village. Santa Fe, NM: Museum of New Mexico Press, 1995.
 Pate, Alan Scott. Japanese Dolls: The Fascinating World of Ningyō. Tokyo, Rutland, Singapore: Tuttle Publishing, 2008.

External links

 Oxford College Collection of Asian Artifacts (collection of Japanese dolls), at Oxford College of Emory University

Japanese dolls


This article lists the winners and nominees for the NAACP Image Award for Outstanding Actress in a Drama Series. Not to be confused with the Award for Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special. Currently, Della Reese holds the record for most wins in the category with seven.

Winners and nominees
Winners are listed first and highlighted in bold.

1970s

1980s

1990s

2000s

2010s

2020s

Multiple wins and nominations

Wins

 7 wins
 Della Reese

 4 wins
 Taraji P. Henson

 3 wins
 Angela Bassett
 Alfre Woodard

 2 wins
 Viola Davis
 Regina King
 Nia Long
 Regina Taylor
 Cicely Tyson
 Kerry Washington
 Lynn Whitfield

Nominations

 7 nominations
 Viola Davis
 Della Reese

 6 nominations
 Regina King
 C. C. H. Pounder
 Chandra Wilson
 Kerry Washington

 5 nominations
 Taraji P. Henson
 Nicole Ari Parker
 Lorraine Toussaint
 Vanessa A. Williams
 Rutina Wesley

 4 nominations
 Khandi Alexander
 S. Epatha Merkerson

 3 nominations
 Nicole Beharie
 Wendy Davis
 Sandra Oh

 Victoria Rowell
 Jurnee Smollett
 Regina Taylor
 Malinda Williams
 Cicely Tyson
 Alfre Woodard
 Angela Bassett

 2 nominations
 Jennifer Beals
 Vanessa Bell Calloway
 Loretta Devine
 Kimberly Elise
 Vivica A. Fox
 Nia Long
 Simone Missick
 Nicki Micheaux
 Rita Moreno
 Jada Pinkett Smith
 Gabrielle Union
 Lynn Whitfield
 Lauren Velez
 Octavia Spencer

References

NAACP Image Awards
Television awards for Best Actress


Ostatci antičkog brodoloma nalaze se u uvali Duboka kod Vrboske, općina Jelsa.

Opis dobra
Unutar uvale Duboka na sjevernoj strani otoka Hvara, nalaze se ostaci brodoloma. Dno je pjeskovito i blago pada prema dubini. Po površini su razbacani ostaci ulomaka amfora, a u pijesku se naziru i cijele amfore. Nalazište je djelomično istraženo i većina pronađenog arheološkog materijala je izvađena. Dio tereta je još pod pijeskom, a tu su i dobro očuvani drveni ostaci brodske konstrukcije. Amfore su afričke, cilindrične, tipa Africana II (Keay IV-VI),i Keay XXV, te nekoliko inačica narebrenih kasnoantičkih ovalnih amfora. Brodolom je datiran u 4. stoljeće.

Zaštita
Pod oznakom Z-231 zavedena je kao nepokretno kulturno dobro - pojedinačno, pravna statusa zaštićena kulturnog dobra, klasificirano kao "arheološka baština".

Izvori

Zaštićene podvodne arheološke zone i nalazišta u Splitsko-dalmatinskoj županiji
Vrboska
Ostatci antičkih brodoloma u Hrvatskoj

Antički brodolom u Vrboskoj


101 dalmatinac (engleski: One Hundred and One Dalmatians) je američki animirani film iz 1961. godine, producenta Walta Disneya. To je 17. animirani film iz produkcije Disneyevog studija. Nastavak pod nazivom 101 dalmatinac 2: Pecova avantura u Londonu objavljen je 2003. godine.

Glasovi

Izvori

Vanjske poveznice

Američki animirani filmovi 1960-ih

101 dalmatinac (1961.)


An Eltroplectris brachycentron in uska species han Liliopsida nga ginhulagway ni Dariusz Lucjan Szlachetko. An Eltroplectris brachycentron in nahilalakip ha genus nga Eltroplectris, ngan familia nga Orchidaceae.

Mabibilngan ini ha Bolivia. Waray hini subspecies nga nakalista.

Mga kasarigan

Eltroplectris

Eltroplectris brachycentron


ක්‍රිප්ටන් යනු රසායනික සංයෝගයකි.එහි සංකේතය Kr වේ.  එහි පරමාණුක ක්රිමාංකය 36 වේ.මෙය අවර්ණ, ගන්ධයක් රහිත,රසයක් රහිත, විරල වායුවකි. වාතයේ අංශු මාත්රඑයක් පමණක් මෙම වායුව ඇත.ද්රකව වායුව භාගික ආසවනය කර මෙය ලබා ගනී.සාමාන්ය යෙන් අනෙකුත් වායුන් සමග ප්රාති දීප්ත පහන් වලට යොදා ගනී.
ක්රිප්ටන්, අනෙකුත් විරල වායුන් මෙන්ම ආලෝක කරණය හා ඡායාරූප කරණයේදී භාවිතා කරයි. ක්රිප්ටන් ආලෝකයට වර්ණාවලි රේඛා රාශියක් ඇත.

ඉතිහාසය
ක්රිප්ටන් සොයාගනු ලැබුවේ 1898 බ්රිවතාන්යියේ සර් විලියම් රාමසේ (ස්කොට්ලන්ත ජාතිකයෙක්) හා  ඉංග්රීරසි ජාතික රසායන විද්යාලඥ මොරිස් ට්රවවෙර්ස් විසිනි.ද්ර ව වායුවෙන් සම සන්ඝටකයක්ම වාෂ්ප කර, අවශේෂය ඉතිරි කර ගන්න ලදී
සති කිහිපයකට පසු නියෝන් නිෂ්පාදනය කරනු ලේබුවේද මේ ආකාරයටය.විලියම් රාමසේ 1904 දී විරල වායුන් සොයාගැනීම වෙනුවෙන් නොබෙල් ත්යාුගය දිනාගන්නා ලදී.1960 දී ජාත්ය න්තර අර්ථ දැක්වීමකට අනුව ක්රිප්ටන් 86 සමස්තනිකයේ තරංග ආයාමය ගණනය කර තිබේ.මෙම එකඟතාව විසින් පැරිසියේ තිබු චිරාගත මිනුම වන ප්ලැටිනම් - ඉන්දියම් මිශ්ර  ලෝහයෙන් තැනූ ලෝහ දණ්ඩේ මිනුම නෙති කරන ලදී. එය ආලෝකයේ වේගය යන මුලික භෞතික විද්යා  නියමයෙන් හිලවු කරන ලදී.1983 බර හා මිනුම් පිලිබඳ ජාත්ය න්තර කාර්යාංශය විසින් මිනුම නිර්වචනය කරන ලද්දේ රික්තකයක, තත්පර 1/299,792.458 දී ආලෝකය ගමන් කරන දුර වශයෙනි.

ගති ලක්ෂණ
ක්රිප්ටන් සංයෝගයට තීව්ර විමෝචන රේඛා කිහිපයක් ඇත. තීව්රම රේඛාව කොළ හා කහ පැහැති වේ. එය යුරේනියම් විඛන්දනයේ ප්ර තිඵලයකි. මිදුණු ක්රිප්ටන් සුදු හා ස්ඵටික රුපි තල කේන්ද්රේ ඝනක හැඩති වේ. මෙය සම විරල වායුවකම සාමාන්ය  ලක්ෂණයක් වේ.(හීලියම් හැර).

සමස්ථානික
ස්වභාවිකව පවතින ක්රිප්ටන් වලට ස්ථාවර සමස්ථානික 6 ක් තිබේ.තවද, අස්ථාවර සමස්ථානික 30 ක් පමණද , සමාවයවිකද ඇත. ක්රිප්ටන් 81 යනු පාරිසරික ප්රතතික්රිියා වලින් නිපදවූ සමස්තනිකයක් වන අතර එය විකිරණශීලී වේ.එහි අර්ධ ආයු කාලය අවුරුදු 230000 පමණ වේ. මතුපිට ජලයේදී ක්රිප්ටන් අධික වාෂ්පශීලී වේ.
ක්රිප්ටන් 85 නිෂ්ක්රියය, විකිරණශීලී, විරල වායුවකි.එහි අර්ධ ආයු කාලය වසර 10.76 වේ.එය යුරේනියම් හා ප්ලූටෝනියම් විඛන්ධනයෙන්  නිපදවා ගන්නා ලදී.උත්තර ධ්රැශවයේ සාන්ද්රිණය 30% කින් පමණ දක්ෂිණ ධ්රැටවයේ සාන්ද්රරණයට වඩා විශාලය.

රසායන විද්යාව
අනෙකුත් විරල වායුන් මෙන්ම ක්රිප්ටන්ද රසායනිකව ප්ර1තික්රි්ය නොදක්වයි.පළමු සාර්ථක Kr හි සංයෝගය සංයෝග කලේ 1962 දීය. KrF2 පළමුව වාර්තා උනේ 1963 දීය.ArKr +  හා KrH + පිළිබඳව ස්ථිර නොවූ වාර්තා පලවී ඇත.ෆ්ලුවොරින් සමග හැර ක්රිප්ටන් බැඳීම් ඇති කරගත් වෙනත් සංයෝග පිළිබඳවද තොරතුරු ඇත.KrF2 හා B(OTeF5 )2 ප්ර තික්රි යාවෙන් අස්ථිර මුලද්ර%ව්ය යක් සැදේ. Kr (OTeF5 )2, මෙහිදී ක්රිප්ටන් ඔක්සිජන් බන්දනයක් සැදේ.

ස්වභාවික සිදුවීම්

හීලියම් හැර අනෙකුත් සම විරල වායුවක්ම ඒ ආකාරයෙන්ම පොලව රඳවාගෙන ඇත. Kr හි වාතයේ සාන්ද්රමණය 1 ppm වේ.ද්ර ව වාතය භාගික ආසවනය මගින් එය වෙන් කරගත හැක.සාමාන්යර වාතයේ ක්රිප්ටන් ප්රසමාණය නිශ්චිත නැත.

යෙදීම්
ක්රිප්ටන් මුලික වුන විදුලි බුබුළු ප්රවයෝජනවත් වන්නේ,ඡායාරුප කරණයේදී යොදාගන්න දීප්තිමත් එළියයි. ඉහල වේග ඡායාරුප කරණයේදී සැණෙලි ආලෝකය සඳහාද යොදාගනී. ක්රිප්ටන් වායුව අනෙකුත් වායුන් සමග එකතු වී කොළ-කහ පැහැති ආලෝකයක් ගෙන දෙයි.
ක්රිප්ටන්, ආගන් සමග මිශ්රආ වී ප්රයතිදීප්ත පහන් වල පිරවුම් වායුව තනයි. මෙමගින් ඒවායේ විදුලි පරිභෝජනය අවම කරයි.අවාසනාවට මෙන් මෙය ආලෝකයේ දීප්තියද අඩු කර, වියදම ඉහල නංවයි.ක්රිප්ටන්, ආගන් මෙන් සිය ගුණයක් වියදම ඉහල වේ. ක්රිප්ටන්, සෙනෝන් සමග, තාප දීප්ත පහන් වල සුත්රිකා වාෂ්ප වීම වැලක්වීමට යොදා ගනී.

පුර්වාරක්ශාව
ක්රිප්ටන් 50% ද, වාතය 50% ද, අඩංගු වායුව ආශ්වාස කල විට, වායුගෝල පීඩනය මෙන් හතර ගුණයක පීඩනයක් ඇති වේ. එය ජලයේ මීටර් 30 ක් ගැඹුරට පිහිනීමේදී ඇතිවන පීඩනයට සමානය.එය ආශ්වාස කිරීම ඕනෑම අයෙකුට පීඩාකාරී වේ.

ක්‍රිප්ටන්


Many aspects of Colombian culture can be traced back to the early culture of Spain of the 16th century and its collision with Colombia's native civilizations (see: Muisca, Tayrona). The Spanish brought Catholicism, the feudal encomienda system, and a caste system that favored European-born whites.

After independence from Spain, the criollos struggled to establish a pluralistic political system, between conservative and liberal ideals. The conservatives supported the involvement of the Catholic Church in the state, while liberals favored the separation of these. The conservatives managed to outsource public education to the Catholic Church, and for many years, the church controlled the country's education system. Both parties engaged in multiple civil wars resulting in a slow development of the country and the isolation of regions until the end of the 19th century. Ethno-racial groups maintained their ancestral heritage culture: whites tried to keep themselves, despite the growing number of illegitimate children of mixed African or indigenous ancestry. These people were labeled with any number of descriptive names, derived from the casta system, such as mestizo, mulatto and moreno. Blacks and indigenous people of Colombia also mixed to form zambos, creating a new ethno-racial group in society. This mix also created a fusion of cultures. Carnivals for example became an opportunity for all classes and colors to congregate without prejudice. The introduction of the bill of rights of men and the abolishment of slavery (1851) eased the segregationist tensions between the races.

Influences

Indigenous influences

The various cultures of the indigenous inhabitants of Colombia were discouraged by the Spanish. Today, only around 4.3 percent of Colombians live and consider themselves as indigenous.  Nonetheless, many elements of indigenous culture live on in Colombia's cuisine, music, folklore, and language.

Multicultural elements

Small numbers of Roma or more commonly known by their racial slur "gypsies" are scattered throughout the country. Sephardic Jews and Ashkenazi Jews exist in several of the larger cities; Bogotá has five synagogues. Germans settled in parts of Santander, including Bucaramanga. They also brought the accordion to Valledupar, which would become a key instrument in the very popular vallenato music genre.

Geography, climate, and immigration

The hydrography of Colombia is one of the richest in the world. Its main rivers are Magdalena, Cauca, Guaviare, and Caquetá. Colombia has four main drainage systems: the Pacific drain, the Caribbean drain, the Orinoco Basin and the Amazon Basin. The Orinoco and Amazon Rivers mark limits with Colombia to Venezuela and Peru respectively.

The striking variety in temperature and precipitation results principally from differences in elevation. Temperatures range from very hot at sea level to relatively cold at higher elevations but vary little with the season. Temperatures generally decrease about 3.5°F (2°C) for every 1,000-ft (300-m) increase in altitude above sea level, presenting perpetual snowy peaks to hot river valleys and basins. Rainfall is concentrated in two wet seasons (roughly corresponding to the spring and autumn of temperate latitudes) but varies considerably by location. Colombia's Pacific coast has one of the highest levels of rainfall in the world, with the south east often drenched by more than 200 in (500 cm) of rain per year. On the other hand, rainfall in parts of the Guajira Peninsula seldom exceeds 30 in (75 cm) per year. Rainfall in the rest of the country runs between these two extremes.

Colombians customarily describe their country in terms of the climatic zones. Below  in elevation is the tierra caliente (hot land), where temperatures vary between . The most productive land and the majority of the population can be found in the tierra templada (temperate land, between ), which provide the best conditions for the country's coffee growers, and the tierra fría (cold land, ), where wheat and potatoes dominate. In the tierra fría mean temperatures range between . Beyond the tierra fría lie the alpine conditions of the zona forestada (forested zone) and then the treeless grasslands of the páramos. Above , where temperatures are below freezing, is the tierra helada, a zone of permanent snow and ice.

About 86% of the country's total area lies in the tierra caliente. Included in this, and interrupting the temperate area of the Andean highlands, are the long and narrow extension of the Magdalena Valley and a small extension in the Cauca Valley. The tierra fría constitutes just 6% of the total area, but supports about a quarter of the country's population.

Because of its natural structure, Colombia can be divided into six very distinct natural regions.

 Amazon Region: Comprises the part South of the eastern region of Colombia, flat low-lying region. It is the region of the Amazon jungle of Colombia.
 Andean Region: The Colombian part of the Andes, including the inter-Andean valleys of the rivers Cauca and Magdalena.
 Caribbean Region: The region of the Colombian Caribbean coastal plains and mountainous groups which do not belong to the Andes as the Sierra Nevada de Santa Marta.
 Insular Region: comprises the areas outside the continental territories of Colombia in the Caribbean region as the islands of San Andrés and Providencia and the islands of Gorgona and Malpelo in the Pacific Ocean.
 Orinoquía Region: North of the eastern region of Colombia that belongs to the Orinoco River watershed, flat low-lying region. Also known colloquially as the Eastern Plains.
 Pacific Region: It includes the coastal plains of the pacific coast and the mountainous groups which do not belong to the Andes, in particular the Serranía del Baudó.

Colombia did not receive substantial immigration after the period of Spanish rule. Some exceptions are the capital city of Bogota, the second largest city Medellin and the Atlantic port city of Barranquilla. Groups of French, Swiss, Dutch, Belgian, German, Italian, Lebanese and Syrian-Lebanese-Palestinian immigrants settled in the city and played a large role in its development. Shakira, a native of Barranquilla, is of partial Lebanese ancestry. Bogotá received some immigrants from Europe in the period following World War II; the eccentric former mayor of Bogotá and semiotics professor Antanas Mockus is the son of Lithuanian immigrants. Most Chinese in Colombia originally came from Panama, where they helped in the building of the railways of the Panama Canal, to help in building the train and road routes between the Pacific port of Buenaventura and the interior city of Cali. Today, in the surrounding area of the Cauca Valley, virtually every town has a Chinese restaurant.

A few Japanese families settled in Colombia, inspired by the bucolic description of the Cauca Valley in Jorge Isaacs' novel María. The heads-of-household of Japanese descent would be interred in prisons near Zipaquirá, during World War II.

Foreign influences

Colombian politicians, intellectuals, and members of elite society turned to England and France for inspiration in the period, following independence from Spain. Colombian's civil code (adopted in 1887) is based on the Napoleonic Code. French architect Gastón Lelarge (1861–1934) designed many of the public edifices in Bogotá, as well as the cupola of the church of Saint Peter Claver in Cartagena.

Starting in the 20th century, North American culture had increasing influence on the culture of Colombia. Shopping malls and tract housing in the style of North American suburbs are very popular. Hollywood films, American fashions, and English-language popular music are also popular.

Education

The educational experience of many Colombian children begins with attendance at a preschool academy until age five (Educación preescolar). Basic education (Educación básica) is compulsory by law. It has two stages: Primary basic education (Educación básica primaria) which goes from first to fifth grade – children from six to ten years old, and Secondary basic education (Educación básica secundaria), which goes from sixth to ninth grade. Basic education is followed by Middle vocational education (Educación media vocacional) that comprises the tenth and eleventh grades. It may have different vocational training modalities or specialties (academic, technical, business, and so on.) according to the curriculum adopted by each school.

After the successful completion of all the basic and middle education years, a high-school diploma is awarded. The high-school graduate is known as a  bachiller, because secondary basic school and middle education are traditionally considered together as a unit called bachillerato (sixth to eleventh grade). Students in their final year of middle education take the ICFES test (now renamed Saber 11) in order to gain access to higher education (Educación superior). This higher education includes undergraduate professional studies, technical, technological and intermediate professional education, and post-graduate studies.

Bachilleres (high-school graduates) may enter into a professional undergraduate career program offered by a university; these programs last up to five years (or less for technical, technological and intermediate professional education, and post-graduate studies), even as much to six to seven years for some careers, such as medicine. In Colombia, there is not an institution such as college; students go directly into a career program at a university or any other educational institution to obtain a professional, technical or technological title. Once graduated from the university, people are granted a (professional, technical or technological) diploma and licensed (if required) to practice the career they have chosen. For some professional career programs, students are required to take the Saber-Pro test, in their final year of undergraduate academic education.

Public spending on education as a proportion of gross domestic product in 2012 was 4.4%. This represented 15.8% of total government expenditure. In 2012, the primary and secondary gross enrolment ratios stood at 106.9% and 92.8% respectively. School-life expectancy was 13.2 years. A total of 93.6% of the population aged 15 and older were recorded as literate, including 98.2% of those aged 15–24.

Family
The family is a highly important institution to Colombians as engraved by the traditional Roman Catholic church teachings. Members of the extended family are close and children rarely move far away from their parents. There is a deep sense of familial responsibility that stretches through many generations.

Traditionally, men were usually the head of the household, in charge of earning most of the family's income, while women were responsible for cooking, housework, and raising children. However, as in most cultures around the world, the dawn of the 20th century brought forth a great empowerment for women who were given a right to vote during the 1950s rule of dictator Gustavo Rojas Pinilla. The Constitution of 1991 gave a wider opportunity for women, and today, the majority of families (regardless of economic class) have two working parents due to the need of an income to sustain a family.

At a child's baptism, the parents of the child will choose godparents, padrinos. A child's padrinos will play an important role in their life, giving advice.

Political attitudes

The Politics of Colombia take place in a framework of a presidential representative democratic republic, whereby the President of Colombia is both head of state and head of government, and of a multi-party system. Executive power is exercised by the government. Legislative power is vested in both the government and the two chambers of Congress, the Senate, and the House of Representatives of Colombia. The Judiciary is independent of the executive and the legislature.

Food

There is a large variety of dishes that take into account the difference in regional climates. For example:
 In the city of Medellín, the typical dish is the bandeja paisa. It includes beans, rice, ground meat or carne asada, chorizo, fried egg, arepa, and chicharrón. It is usually accompanied by avocado, tomato, and special sauces.
 In the city of Cali, the most traditional dish is "sancocho de gallina" - a soup composed mostly of chicken, plantain, corn, coriander, yuca root, and other seasonings.
 In Bogotá and the Andean region, ajiaco is the traditional dish. It is also a type of soup made of chicken, potatoes, and flavoured with a locally grown herb called "guasca". Traditionally, cream and capers are added just before eating. Both soups are served with white rice, salads with a hint of lemon, avocado, or plantain chips, sweet or salty. For breakfast people often eat changua, a milk, scallion, and egg soup.
 In the Caribbean coast, seafood is popular, including fish and lobster. Coconut rice is a common dish along the coastal cities, as are patacones, or fried plantain patties.
 In the Llanos, meat from the barbecue, such as the "ternera llanera" is common, and also typical river fishes like the "amarillo".
 In the Amazonas, the cuisine is influenced by Brazilian and Peruvian traditions.
Inland, the dishes reflect the mix of cultures, inherited mainly from Amerindian and European cuisine, and the produce of the land mainly agriculture, cattle, river fishing, and other animals' raising. Such is the case of the sancocho soup in Valledupar, the arepas (a corn based bread-like patty). Local species of animals like the guartinaja, part of the wayuu Amerindian culture.
 In the Tolima region, the Tamales Tolimenses are a delicacy. These tamales are made of a corn dough and feature peas, carrots, potatoes, rice, chicken, pork, and various spices. They are wrapped in plantain leaves and boiled for three to four hours. It also typical to have Pandebono for breakfast, with hot chocolate.
 On the Islands of San Andres, Providencia, and Santa Catalina, the main dish is rondon, a seafood dish made of coconut milk, fish, conch, cassava root (yuca), sweet potato, white yams, and pumpkin seasoned with chili peppers and herbs. They also have a crab soup which is considered a delicacy. It is made with the same ingredients as rondon, without the fish.
 Ají picante, a spicy, cilantro-based sauce, is used as a condiment for many dishes and sides, including empanadas, patacones, and soups. This traditional sauce is from the city of Antioquia.

Festivals in Colombia

Folklore

Colombia has many traditional folk tales and stories about legendary creatures, which are transmitted orally and kept for next generations to come. Some of them are common with other Latin American countries. The Colombian folklore has strong influences from Spanish culture, with elements of Native American and African cultures.

Painting

Colombians have been producing art for thousands of years. Ornate golden figures, and jewelry from millennia ago have been discovered by both ruthless conquistadors and careful archaeological digs.

In the colonial time, the painting was characterized by the works of the three Figueroa, pioneers of this art: Baltasar de Figueroa, the old; Gaspar the Figueroa, his son and Baltazar de Figueroa, the young. Gaspar was the teacher of important artists, lie Gregorio Vásquez de Arce y Ceballos. José María Espinoza Prieto, painter and engraver, also is important for his portraits, landscapes and caricatures. Epifanio Garay is highlighted, especially by his portraits.

After the war of independence, in 1819, the Colombian art still was dependent of the figurative. Some people explain that delay in the evolution of the Colombian artistic style is due to the geography of the country, that make difficult a contact and dialogue between the different creative tendencies

In the decades between 1920 and 1940, Marco Tobón Mejía, José Horacio Betancur, Pedro Nel Gómez, Ignacio Gómez Jaramillo, Santiago Martínez Delgado, and Alipio Jaramillo created some dynamics in the elaboration of murals. They were influenced by the Mexican art, although with neoclassic and Art Nouveau characteristics. At the beginning of the 1940 decade, are created works that was new in Colombia, inspired in the post-impressionism and the academic French style.

Many historians of art believe that the Colombian art only began to have a distinctive character in the second half of the 20th century, with a new point of view, integrating the cultural and artistic traditional elements, with the concepts of the art in the 20th century. Ignacio Gómez Jaramillo, for example, combine the new techniques with cultural elements, in his Portrait to the Greiff Brothers. Pedro Nel Gómez, highlighted in the drawing, the water color, the fresco, the oil painting, and the sculpture in wood, stone, and bronze, shows, for example in "Autorretrato con sombrero" (1941), his familiarity with the works of Gauguin and Van Gogh. In other works, he reveal the influence of Cézanne. Alejandro Obregon, considered by many as the father of the Colombian art (most by his originality), has been acclaimed by critics and the public, because of his painting of national landscapes characterized by violent strokes and the symbolic and expressionist use of animals (specially birds, like the condor). His work is influenced by Picasso and Graham Sutherland.

In last years, some Colombian artists, such as Fernando Botero, Enrique Grau, David Manzur, Luis Caballero, Santiago Martinez Delgado, Ignacio Gomez Jaramillo, Débora Arango, Kajuma and have received international fame, awards and wide public acclaim.

Religion

Studies suggest that about 70.9% of Colombians are Roman Catholic. However, Colombians are notable for their acceptance of other creeds and faith.

The National Administrative Department of Statistics (DANE) does not collect religious statistics, and accurate reports are difficult to obtain. However, based on various studies and a survey, about 90% of the population adheres to Christianity, the majority of which (70.9%) are Roman Catholic, while a significant minority (16.7%) adhere to Protestantism (primarily Evangelicalism). Some 4.7% of the population is atheist or agnostic, while 3.5% claim to believe in God but do not follow a specific religion. 1.8% of Colombians adhere to Jehovah's Witnesses and Adventism and less than 1% adhere to other religions, such as Islam, Judaism, Buddhism, Mormonism, Hinduism, Indigenous religions, Hare Krishna movement, Rastafari movement, Eastern Orthodox Church, and spiritual studies. The remaining people either did not respond or replied that they did not know. In addition to the above statistics, 35.9% of Colombians reported that they did not practice their faith actively.

While Colombia remains a mostly Roman Catholic country by baptism numbers, the 1991 Colombian constitution guarantees freedom of religion and all religious faiths and churches are equally free before the law.

Literature

Gabriel García Márquez, winner of the Nobel Prize for Literature in 1982, is from Aracataca, Colombia. His novel One Hundred Years of Solitude is recognized as a landmark of the literary movement known as "magical realism (realismo mágico)".

Other important writers are Álvaro Mutis, winner of the Cervantes Prize, Jorge Isaacs, who wrote "María", Gonzalo Arango, founder of the Nadaismo movement, Fernando Vallejo, winner of the Rómulo Gallegos prize, José Asunción Silva, precursor of Latin American romanticism, Raúl Gómez Jattin, Efraím Medina, Andrés Caicedo, the poets Piedad Bonnet and María Mercedes Carranza, Aurelio Arturo, the novelist Germán Espinosa, Augusto Pinilla, and Rafael Chaparro Madiedo. The most important literary magazines are El Malpensante, Arcadia, Número, La Movida Literaria, Universidad de Antioquia, and Puesto de Combate.

Colombian theatre

Cali Festival Theater
Cali Performance Festival
Carnavalada - Theater to the Streets - Open Air Theater Festival of Barranquilla
Colombian Theater Festival of Medellin - Medellin en Escena
Festival de teatro Gitanos en Macondo - first week of September in Aracataca, Madalena.
Iberoamerican Theater Festival of Bogota
International Theater Festival and Storytellers Encounter of Popayan
International Theater Festival of Barrancabermeja - Theater for the Peace
International Theater Festival of Manizales

Film and television

The interest for the film production came late to Colombia. Vicenzo and Francesco Di Doménico, of Italian origin, were the pioneers in the films production. In 1912, it is inaugurated the first movie theater in Colombia: the Salón Olympia, with a capacity of three thousand people.
The most outstanding directors of the film production are Sergio Cabrera, Felipe Aljure, Luis Ospina, Víctor Gaviria, and Carlos Mayolo. Between the most recent proposals, we find to Andy Baíz and Juan Felipe Orozco, director of "Al final del espectro". The work of Dago García and Rodrigo Triana is in a commercial line.

Sports

Soccer, or, Association Football (Spanish: fútbol) is the most popular sport in Colombia. Soccer games are popular social events in Colombia. Baseball has become popular in recent years; it is especially popular along the coast, and is strongly promoted all around the country. Édgar Rentería is an example of a famous Colombian baseball player, but football is still the main sport in the country. Boxing and martial arts are also very popular amongst the male population, and all of these are practiced avidly by the youth.

An ancient game called Tejo, inherited from the Muisca, is also played. The object of tejo is to throw a small metal disk at a gunpowder detonator in a small circular area. The winner is calculated by the number of explosions compared to number of throws.

Comedy

Colombian comedy's original birthplace is the radio, since this was the first original mass media with wide coverage of the national territory rendering radio a very important medium for the promotion of comedy. A distinctive representative of Colombian comedy on the radio and who was praised by generations, even before television became popular was Colombian comedian Gullermo Zuluaga, better known by his stage name Montecristo. Since then, many other comedians and storytellers have shaped Colombian's concept of what is humorous in many cases at the expense of the tragedies of war, economic distress, and misbehaved politicians.

Music

Modern Colombian music is a mixture of Native Indigenous, European, and African influences, as well as more modern American, Puerto Rico and other Caribbean music forms, such as Trinidadian, Cuban, and Jamaican. The music varies greatly between regions but cumbia is widely accepted as the national musical genre.

Cumbia is a mixture of Spanish, Native Indigenous, and African music, the latter brought by slaves. The style of dance is designed to recall the shackles worn around the ankles of the slaves. In the 19th century, slavery was abolished and Africans, Indians, and other ethnic groups mixed more fully. Styles like bambuco, vallenato, and porro were especially influential. When the waltz became popular in the 19th century, a Colombian version called pasillo was invented. International Latin, a type of pop, ballad, and salsa music are best-represented by Charlie Zaa and Joe Arroyo, respectively.

Music and dancing are very popular in Colombia, with dozens of popular vibrant styles. The most popular local musical styles are Vallenato, salsa, Merengue, Cumbia and Bambuco. The latter is a very complicated dance with many differently named steps.

Colombian rock developed after an influence of Rock en español generating fusion of Rock Music with traditional Colombian music and other musical styles.

The musical genre of Colombian pop music has been growing recently with artists like Fonseca, San Alejo, Lucas Arnau or Mauricio y Palo de Agua. Pop with strong traces of traditional Colombian music is also currently rising. Los De Adentro and Maía represent this trend. Many Colombian artists are recognized internationally including among others, Shakira, who is the most recognized Colombian artist in the world.

Symbols

See also

 Architecture of Colombia
 Carnival in Colombia
 Colombia in popular culture
 Hispanic culture
 Latin American culture
 List of Colombians
 List of festivals in Colombia
 List of Major League Baseball players from Colombia

References

Bibliography

External links

 Digital collection at Luis Ángel Arango Library ,
 Music Llanera
 Dancing Devils in Corpus Christi Festival, Sierra Nevada
 Overview of Colombian Culture

Culture of Colombia


Colombina Violeta Clara Parra Tuca (Santiago, 26 de octubre de 1970) es una compositora y cantante chilena, hija del antipoeta Nicanor Parra y, como tal, integrante de la connotada familia Parra. También es vocalista del grupo Los Ex, así como también formó parte, anteriormente, del grupo Los Barracos, como tecladista.

Biografía

Colombina es la primera de dos hijos nacidos de Nicanor Parra y de la artista plástica catalana Nury Tuca. Ella y su hermano Juan de Dios tienen cuatro medio hermanos, nacidos de dos parejas anteriores de Nicanor. Es, por lo tanto, media hermana de la artista visual Catalina Parra.

Tras el fallecimiento de su padre a la edad de 103 años, en enero de 2018, quedó como albacea de su obra antipoética.

Discografía

Con Los Ex
 1996 - Caída Libre
 2007 - Cocodrila
 2008 - Pistola de Plástico

Como solista

 2011 - Flores como gatos
 2013 - Detrás del vidrio
 2015 - Otoño negro
 2020 - Cuidado que grita

Véase también
 Familia Parra

Referencias

Enlaces externos
 Colombina Parra en Musicapopular.cl
 Colombina Parra: la femme fatale del punk rock

Cantantes femeninas de Chile
Cantantes de rock de Chile
Cantantes en español
Cantautores de Chile
Compositores de Chile
Guitarristas de rock de Chile
Clan Parra
Nacidos en Santiago de Chile

Colombina Parra


ද්‍රවිඩ ගැමිනැටුම්2ක්  (, ) යනු  ශ්‍රී ලංකාවේ  දෙමළ-ජනගහණයක් සහිත ප්‍රදේශ සඳහා නිදහස ඉල්ලා සිටි ශ්‍රී ලංකාවේ දේශපාලන පක්ෂයකි.

ද්‍රවිඩ එක්සත් විමුක්ති පෙරමුණ


Kommunarka () ist ein Stadtteil der russischen Hauptstadt Moskau mit  Einwohnern (Stand ). Er gehört zum Moskauer Verwaltungsbezirk Nowomoskowski und liegt südsüdwestlich des Stadtzentrums an der Kalugaer Chaussee bei Kilometer 4 ab dem Moskauer Autobahnring.

Ursprünglich ein Sowchos, wurde Kommunarka später ländliche Siedlung (possjolok) des Rajons Leninski der Oblast Moskau, wobei es ab 2005 Teil der Landgemeinde Sossenskoje selskoje posselenije war. Zum 1. Juli 2012 wurde Kommunarka mit der gesamten Gemeinde und weiteren Teilen des Rajons an die Stadt Moskau angeschlossen und in den neu geschaffenen Verwaltungsbezirk Nowomoskowski eingegliedert.

Während des Großen Terrors wurde dort auf der Sommerresidenz des Geheimdienstchefs Jagoda ein Hinrichtungsort des NKWD eingerichtet. Vom 2. September 1937 bis zum 16. Oktober 1941 wurden in Kommunarka 4527 Personen bestattet, welche gestützt auf den NKWD-Befehl Nr. 00447 erschossen worden waren.

Bevölkerungsentwicklung

Anmerkung: Volkszählungsdaten

Weblinks
 Geschichte von Kommunarka (russisch)

Einzelnachweise

Stadtteil von Moskau
Verwaltungsbezirk Nowomoskowski

Kommunarka


මනමේ නාටකය වනාහී දේශීය නාට්‍ය සම්ප්‍රදායයේ අග්‍ර ඵලයයි. බොදු පූජා කර්ම සහ ලක්දිව ශාන්තිකර්ම ඇසුරෙහි දක්නට ඈති නාට්‍යමය ලක්ෂණ; කෝලම් හෙවත් වෙස් මුහුණු නාටක, කවි නාඩගම්, සොකරි නාටක, නාඩගම්, රූකඩ නාට්‍යය, පාස්කු නාට්‍යය ඔස්සේ විකාශය විය.
දහනව වෑනි සියවසේ අග භාගයේ ප්‍රචලිත වූ නූර්ති නාට්‍යය දේශීය නාට්‍යය සම්ප්‍රදායේ පෑහෑදිලි වෙනසක් සනිටුහන් කරයි.
නූර්තියේ පිරිහීමෙන් පසුව, ටවර් හෝල් නාට්‍ය යුගය 1911 දී නීතීඥ චාල්ස් ඩයස් ශූරීන්ගේ පණ්ඩුකාභය නාට්‍යය වේදිකා ගත කිරීමත් සමඟම ඇරඹෙයි. 1933 ටවර් රඟහල චිත්‍රපට ප්‍රදර්ශනයට කැප වීමත් සමඟම ටවර් හෝල් නාට්‍ය යුගයද අවසන් විය. විශ්ව විද්‍යාලයීය නාට්‍යය පළමුව ඇරඹෙන්නේ ඉංග්‍රීසි නාට්‍යය නිෂ්පාදනයෙනි. ඉංග්‍රීසි නාට්‍යය සංගමය අනුව යමින් විශ්ව විද්‍යාලයේ සිංහල ශාස්ත්‍රීය සමිතිය විසින්ද නාට්‍යය නිෂ්පාදනය කෙරිණි. මේ නාට්‍ය අතුරින් ගුණපාල මලලසේකරයන්ගේ "ඉබේ වෙදා", "යන්තම් ගැලවුණා" නාට්‍යයන්ද, ආචාර්යය එදිරිවීර සරච්චන්ද්‍රයන්ගේ "මුදලාලිගෙ පෙරළිය", "කපුවා කපෝති" යන නාට්‍යයන්ද ප්‍රසිද්ධියක් ලබා ගත් නාට්‍යයයි.

මෙලෙස දේශීය නාට්‍යය කලාවක් ගොඩ නෑගීමේ ප්‍රයත්න දැරූවන් අතර මුල් තැනක් ගත් එදිරිවීර සරච්චන්ද්‍රයන්ගේ, පර්යේෂණාත්මක සහ එමෙන්ම දේශීය සම්ප්‍රදායයක් ගොඩ නැගීමේ අරමුණක් පෙරදැරි කොට ගත්, ලාංකීය නාට්‍ය කලාව තුල සම්භාවනාවට පාත්‍ර වූ නාට්‍යයයි, මනමේ.

මනමේ කතාව ලෙස ප්‍රචලිතව ඇති ජන කතාවට මූලාශ්‍ර වී ඇත්තේ පන්සිය පනස් ජාතක පොතෙහි 372 වෙනි ජාතක කතාව ලෙස දැක්වෙන චුල්ල ධනුග්ගහ ජාතකයයි. මනමේ කවි නාඩගම, චුල්ල ධනුග්ගහ ජාතකයේම කාබන් කොපියක් ලෙස නිර්මාණය වුවද, සරච්චන්ද්‍රයන් විසින් මනමේ නිෂ්පාදනය කරන්නේ චුල්ල ධනුග්ගහ ජාතකයේ සැකිල්ල ගෙන එයට සිය පෞද්ගලික දර්ශනයද, මනමේ කුමරිය පිළිඹද මානුෂීය විග්‍රහයක් ද එකතු කරමිනි. මෙම ප්‍රතිනිර්මාණයේදි සරච්චන්ද්‍රයෝ මනමේ කෝලම් හා කවි නාඩගම් වල ආභාස පමණක් නොව  අකිර කුරසෝවාගේ රෂෝමොන් චිත්‍රපටිය නැරඹීමෙන් ලැබූ අත්දැකීමද භාවිතා කළ බව පවසති.

"මනමේ කතාව සින්දු නාඩගමකට ආශ්‍රය කොට ගත හැකිය යන අදහස මගේ සිතෙහි පිළිසිද ගත්තේ ජපානයෙහිදී හෝ ඇමරිකාවෙහිදී අකිර කුරසොව විසින් අධ්‍යක්ෂණය කරන ලද "රෂෝමොන්" නම් චිත්‍රපටිය බැලීමෙන් පසු ය.
"රෂෝමොන්" චිත්‍රපටියට ආශ්‍රය කරන ලද්දේ අකුතුගව නම් කතුවරයාගේ කතාවකි. මේ කතාව සාරාංශයෙන් ගත් විට අපේ චුල්ල ධනුග්ගහ ජාතකයටත් මනමේ ගැමි නාටකයටත් සමානය."
( මහාචාර්ය එදිරිවීර සරච්චන්ද්‍ර : පිං ඇති සරසවි වරමක් දෙන්නේ )

"මනමේ කතාව කෝලම් සම්ප්‍රදායයෙන් හා කවි වලින් මෙතෙක් කල් ගම්බදව රඟ දැක්වුණු නුමුදු, එය නාඩගම් සම්ප්‍රදාය අනුව රග දැක්වීම සදහා රචනා කරන ලද පළමු වතාව මේය. නාඩගම් සම්ප්‍රදාය පදනම් කොට ගෙන මේ නාට්‍යය රචනා කළ මා විසින්, පරණි නාඩගම් සම්ප්‍රදායට අයත් සියලු අංගයන් ම අනුගමනය නොකරන ලදී.
බහු බූත, සෙල්ල පිල්ලෙ ආදී නළුවන්ගේ රැඟුම් ඇත්ත වශයෙන්ම නාට්‍යයට සම්බන්ධ නොවන් හෙයින්, මා විසින් ඒවා බැහැර කරන ලදී. එසේ නමුදු, නාඩගම් ශෛලියට අවශ්‍ය වූ හැම සිරිතක් ම මෙහි රක්නා ලදැයි කියනු කැමැත්තෙමි.
දේශීය සම්ප්‍රදාය, ඉදිරියට අප අතර පැලපදියම් වීමට නම්, වර්තමාන රසිකයන්ගේ රුචියද මදක් සැලකිය යුතු ය යනු කවුරුන් විසින් වුවද පිළිගනු ලැබේ යයි සිතමි. මේ නාටකය රචනා කරන අතර බොහෝ කාලයක් මුළුල්ලේ නාඩගම් නිෂ්පාදනය කර විශාල පළපුරුද්දක් ඇති අම්පෙ චාල්ස් සිල්වා ගුණසිංහ ගුරුන්නාන්සේ සමඟ සාකච්චා කොට බැහැර කල යුතු දේ බැහැර කොට, ඇතුළත් කළ යුතු දේ ඇතුළත් කොට, මෙසේ මේ නාටකයේ ආකෘතිය සකස් කරන ලද බව පවසනු කැමැත්තෙමි."
(මහාචාර්ය එදිරිවීර සරච්චන්ද්‍ර : මනමේ නාටකයා

මෙලෙස නිර්මාණය වූ මනමේ නාටකයේ කතාව සැකෙවින් මෙසේය.

දිසාපාමොක් ඇදුරිදු සමීපයේ ශිල්ප උගන්නා මනමේ කුමරු, ඇදුරිදුගේ දක්ෂතම ශිෂ්‍යයායි. කුමරිය කෙරෙහි නොපළ ප්‍රේමයකින් පසුවන කුමරු, ශිලප හදාරා අවසානයේ දිසාපාමොක් ඇදුරිදු විසින්, සිය දූ කුමරිය, කුමරුට සරණ පාවා දීමට ගන්නා තීරණයත් සමඟම ප්‍රීති ප්‍රමෝදයට පත් වෙයි. සිය පියාණන්ගේ සිත නොතළා, දිවි ගෙවන බවට ප්‍රකාශ කරන කුමරියද, මනමේ කුමරු කෙරෙන් ස්වාමීත්වය ලබන්නට රුචි කරන්නීය.
දෙපාර්ශවයේම කැමැත්තෙන් විවාහයට පත් වන නව යුවළ, බරණැස් නගරය බලා පිටත් වෙති.

සියල්ල නොසිතූ අයුරින් වෙනස් කළ සිදුවීම් රැසක් සිදුවන වන අරණකට ඔවුන් දෙදෙනා පිවිසෙන්නේ මේ ගමනේදීය. කුමරාත් කුමරීත් වනයේ සිරි නරඹමින් ප්‍රේමයෙන් ඔකදව ගමන් කළත්, වනයේ ඇති භයංකර භාවය, කුමරිය විටෙක බියට පත් කරයි.

වනයේ ආගන්තුකයින් වූ මනමේ කුමරාත්, කුමරියත් වැදි දෙටුවන්ගේ ඇස ගැටෙන්නේ මේ මොහොතේ දී ය.
කුමරියගේ රූප ශ්‍රියාව දකින ඔවුහු සිය රජුනට සුදුසු බිසව මේ යැයි තීරණය කොට එපවත් වැදි රජුට දන්වති.
කුමරිය අත ගැනීමේ අභිප්‍රායයෙන් මනමේ යුවළ ඉදිරියට එන වැදි රජු, කුමරිය වනයේ තබා වනයෙන් පිටවන ලෙසට කුමරුට අණ කරයි. කෝපයට පත් වන කුමරු හා කුමරිය කෙරෙහි ලොබ බැදි වැදි රජු අතර ද්වන්ද සටන ඇරඹෙන්නේ මේ වාග් ප්‍රහාර වලින් අනතුරුවය.

සටනින් වැදි රජු පෙරළා බිම හෙළන කුමරු, ඔහු මරා දැමීමට කුමරියගෙන් කඩුව ඉල්ලයි. මෙහිදී කුමරිය වැදි රජු මරා දැමීම පිළිබද එකඟ නොවන්නීය. වනාන්තරය සිය වාස භවන වී තිබියදී සහ වැදි දෙටුවන් රැසක් සිටියදී, ද්වන්ද සටනකට පැමිණි වැදි රජු ධෛර්යයෙන් හා උතුම් ගුණයෙන් යුත් අයකු ලෙස ඈ දකින්නීය. "ඔහුට සමාව දෙනු මැනවී" ඇය කරන ඉල්ලීමෙන්, මනමේ රජු තිගැස්සෙයි. මේ සමඟම ඔහුගේ ග්‍රහණය ලිහිල් වන අතර, අවස්ථාවෙන් ප්‍රයෝජන ගත් වැදි රජ වහා ඔහුගෙන් මිදී බිසව අතින් කඩුව ගෙන මනමේ රජුට ඇන ඔහු මරයි.

කුමරිය වැදි රජුට දෝෂාරෝපණය කරන අතර වැදි රජු නිදහසට කරුණු දක්වයි. වන අරණේ වෙන සරණක් තමන්ට නැති බවත් වැදි රජු තමන්ට ප්‍රිය බවත් දකින කුමරිය, ස්වකීය බිසව වන්නට වැදි රජු කරන ඉල්ලීම පිළි ගනී.

දෙදෙනා මෙලෙස ගමන් කරන අතර වැදි රජු තමන් කෙරෙහි බැදි ආලයෙන් බොලද වන මනමේ කුමරිය, ඔහුගේ සිත ගැන්ම පිණිස කරණ ප්‍රකාශයකින් වැදි රජු සසල වෙයි.

"මනමේ රජු ඔබ - ගෙල සිද ලන්ටා
කඩුව ඉල්ලූ සද ඔහු වළකන්ටා
කල තැත දුටුවද - ඔබ ගලවන්ටා
සිතුණේ කඩුව ඔබ - අතටම දෙන්ටා"

සිය දක්ෂකම යටපත් කරමින් සහ සිය බිරිද වෙනුවෙන් සටන් කළ ධීර සැමියා අමතක කර කියනා මෙවදනින් අන්දමන්ද වන වැදි රජ විසින් කුමරිය ප්‍රතික්ෂේප කරනු ලැබෙයි.

කුමරිය නොයෙක් ආයාචනා කලද නොනැවතින වැදි රජ, ඈ තනි කර දමා යයි. තනි වූ බිසව පසුතැවිල්ල දරා ගත නොහැකිව ළය පැළී මිය යයි.

"ගැමි ජනතාව අතර ප්‍රකට වූ මනමේ කථාව මා නාට්‍යයක ස්වරූපයෙන් ඉදිරිපත් කලේ එම බිසව චපල ස්ත්‍රියක ලෙස නිරූපණය කිරීමේ අදහසින් නොවේ. කථාව පළමු වර මා ඇසූ අවස්ථාවෙහි කුමාරිකාව ප්‍රේක්ෂකයන්ගේ අනුකම්පාවට පාත්‍ර වෙතැයි මට සිතිණි.
පේරාදෙණි විශ්ව විද්‍යාලයේ එළිමහන් රංග භූමියෙහි එය ශිෂ්‍ය ශිෂ්‍යාවන් හා ඇතැම් ආචාර්යවරුන් ඉදිරියෙහි රඟපාන අවස්ථාවෙහි ඔවුන් බිසව කෙරෙහි අනුකම්පා සහගත දෘෂ්ටියකින් බලන් බවක් පෙනිණි. ශිෂ්ය ශිෂ්යාවන්ගේ ප්‍රතිචාරය කුමක් වේ දැයි මම නොදැන හුන්නෙමි. එහෙත් ඔවුන් කිසියම් ලෙසකින් නාට්‍යයෙන් කම්පා වුණු බව මම දුටිමි. එසේ වූයේ නාට්‍යයට ආශ්‍රය වූ කථාව නිසාද, එහි සංගීතය නිසාද යනාදී තතු පිළිබදව මම නොදනිමි.

ඔවුන් හැම දෙනාම කුල්මත් වී මුල සිට අග දක්වා මහත් කුතුහලයකින් එම නාට්‍යය නැරඹූ බව මට පෙනිණි. එහෙත් කොළඹ ( බොරැල්ලේ ) පිහිටි රංග ශාලාවෙහි ඇතැම් ප්‍රේක්ෂකයන් මනමේ කුමරිය වෙත මහත් ක්‍රෝධයෙන් රඟහලේදී ම ඇයට බැණ වදින්නට වූ බව කිව යුතුය. ඔවුන් මා විසින් ඉදිරිපත් කරන ලද නාට්‍යය දෙස බැලුවේ වෙනත් ආකල්පයකින් බව කිව යුතුය. ඔවුන් දකින්නට ඇත්තේ ඇය චපල ස්ත්‍රියක ලෙසය. ඇය තම සැමියාට ලැදි නොවී වැදි රජ්ජුරුවන් කෙරෙහි පිළිඹද සිතක් ඇති කරගත් ස්ත්‍රියක ලෙසය, ඔවුන් දුටුවේ. තම සැමියා මිය යාම අනපේක්ෂිතව සිදු වූවක් ලෙස ඔවුන්ට නොපෙනුණි. එය අහම්බෙන් සිදු වූවක් නිසා බිසව කෙරෙහි අනුකම්පාවක් ඔවුන් දැක්වූයේ නැත. සමහර ප්‍රේක්ෂකයෝ බිසවට බැන වදිමින් ඇයට අපහාස කලෝය.

එහෙත් මගේ අදහස වූයේ බිසව අහිංසක ස්ත්‍රියක ලෙස නිරූපණය කිරීම ය. සිදු වූ දෙයින් ඇය තිගැස්සුණාය. අන්දුන්කුන්දුන් වූවාය. ඒ අවස්ථාවෙහි ඇයට පිහිට වීමට සිටියේ වැදි රජු පමණි. එබැවින් ඇය ඔහුට සමීප වූවාය. තමා අනාථ වූ බැවින් අන්දුන්කුන්දුන් වී වැදි රජු වෙත තම සහාය දැක්වූවා ය.

මුළු නාට්‍යයෙන්ම කියවෙන්නේ මනුෂ්‍යයාට අනපේක්ෂිතව සිදු විය හැකි අභාග්‍ය ගැනය. මනුෂ්‍ය ජීවිතයෙහි මෙබදු අනපේක්ෂිත අභාග්‍ය සිදු විය හැකි හෙයින් මනුෂ්‍ය ඉරණම වෙත ප්‍රේක්ෂකයා කම්පා වනු ඇතැයි මම සිතුවෙමි.

මනුෂ්‍ය ලෝකයෙහි මෙවැනි අභාග්‍ය ඉරණමක් කෙනෙකුට අත් විය හැකි බව දැක්වීමය, මගේ අදහස වූයේ.
එනම් ජීවිතයෙහි අනිත්‍යය මෙන්හි කිරීමට ප්‍රේක්ෂකයාට තුඩු දීමය. "
(මහාචාර්ය එදිරිවීර සරච්චන්ද්‍ර : මනමේ නාටකය)

නාට්‍යයන්

සිංහල සංස්කෘතිය

මනමේ


"From the D 2 the LBC" é uma canção dos rappers estadunidenses Eminem e Snoop Dogg. Foi lançado em 24 de junho de 2022, como segunda música de trabalho do segundo álbum de maiores sucessos de Eminem, Curtain Call 2.
 A música foi produzida por Eminem e foi escrita pelo mesmo juntamente com Snoop Dogg e Luis Resto. A canção marca a primeira colaboração entre os dois rappers em mais de 20 anos, tendo aparecido pela última vez juntos na faixa "Bitch Please II" lançada em 2000.

Videoclipe
O videoclipe de "From the D 2 the LBC" foi lançado junto com o single. Dirigido por James Larese, o vídeo alterna entre cenas de interação de Eminem e Snoop Dogg e um vídeo animado que mostra os rappers imaginados como avatares NFT em uma história em quadrinhos.

Desempenho nas paradas musicais

Histórico de lançamento

Canções gravadas por Eminem
Canções gravadas por Snoop Dogg
Singles de 2022
Canções compostas por Eminem
Canções compostas por Snoop Dogg
Canções de hip hop
Singles lançados pela Interscope Records

From the D 2 the LBC


Der Peternelsflass ist ein knapp zweieinhalb Kilometer langer Bach in der wallonischen Provinz Luxemburg und ein rechter Zufluss der Attert.

Verlauf
Der Peternelsflass entspringt in einer Feuchtwiese nordwestlich von Attert-Tongelange auf einer Höhe von etwa  Der Bach fließt zunächst nordwärts durch Grünland, quert dann den Wald Krengelsbësch, wobei er rechts und links von mehreren kleineren Waldbächen gespeist wird. Er verlässt den Wald, läuft kurz durch Feuchtgelände und schlängelt sich danach zwischen den Därebësch auf der linken und dem Gemengebësch auf der rechten Seite. Er verabschiedet sich vom Wald, fließt nun durch die feuchte Aue des Atters und spaltet sich dann in zwei Arme auf. Der linke Hauptarm mündet schließlich östlich von Attert auf einer Höhe von etwa  in den gleichnamigen Fluss.

Einzelnachweise

Peternelsflass


Blistavac (latinski: Telestes souffia) vrsta je ribe koja pripada porodici Cyprinidae. Nastanjuje Austriju, Bosnu i Hercegovinu, češku, Francusku, Italiju, Hrvatsku, Lihtenštajn, Mađarsku, Njemačku, Rumunjsku, Slovačku, Sloveniju, Švicarsku i Ukrajinu.

Izvori

Telestes

Blistavac (riba)


أحمد معلا  فنان تشكيلي سوري ولد في بانياس عام 1958، وتخرج من كلية الفنون الجميلة في دمشق / قسم الاتصالات البصرية، عام 1981، حصل على دبلوم المدرسة الوطنية العليا للفنون الزخرفية في باريس عام 1987، درّس في كلية الفنون الجميلة بدمشق 1989 - 1996.

عمل في مجال التصميم الغرافيكي والملصقات وأغلفة الكتب ومتفرغ حالياً للعمل الفني. أعماله مقتناة من قبل وزارة الثقافة السورية وضمن مجموعات خاصة.

معارض فردية
 1988- سوريا أحمد معلا - صالة أورنينا - دمشق.
 1990- تجارب - صالة بلاد الشام - دمشق.
 1990- تجارب - صالة بلاد الشام - حلب.
 1992- تجارب - صالة أتاسي - حمص.
 1992- تجارب - صالة إيمار - اللاذقية.
 1993- تجارب لونية - المركز الثقافي الفرنسي - دمشق.
 1994- تجارب لونية - المركزي الثقافي الفرنسي - دمشق.
 1994- ميرو بثلاثة أبعاد - المركز الثقافي الفرنسي - دمشق.
 1995- ميرو بثلاثة أبعاد - المركز الثقافي الفرنسي - دمشق.
 1996- بقايا احتراقات إنسان - مقهى البرازيل - دمشق.
 1996- رسوم كتاب رأس المملوك جابر - اليونسكو - باريس.
 1998-معرض تجارب خاصة – غاليري (غرين آرت) دبي 1998
 1998-معرض تحية إلى سعد الله ونوس – غاليري الأتاسي – دمشق 1997 ومتحف البحرين الوطني 1998
 1999-معرض تجارب خاصة – المعهد العلمي الفرنسي –دمشق 1999
 2001-صالة المجلس الوطني للثقافة والفنون والآداب – الكويت 2001
 2004-دليل المواطنة- معرض وكتاب مع الناقد د. حسان عباس - معهد غوته دمشق 2004
 2007-معرض شخصي - إسطنبول - غاليري ارتيست 2007
 2007-معرض شخصي - البحرين - صالة الرواق 2007
 2007-معرض تحية إلى أنطون المقدسي وأنطون الجَمال - غاليري آرت هاوس - دمشق 2007
 2008-معرض شرق أحمد معلا – غاليري سلطان – الكويت 2008
 2009-معرض شخصي – غرين آرت غاليري – دبي 2009
 2009- معرض 4x4=52 آرت هاوس- دمشق
 2010- معرض ارتياب. ألمانيا. براونشفايغ
2010-أحمد معلا -اليونان- اثينا Eleftherias Park Arts
2011-نصوص شعرية. غاليري مارك هاشم - بيروت

معارض مشتركة
 1990-1994- معارض أساتذة كلية الفنون الجميلة.
 1993- جماعة (4+5) - صالة عشتار والقاعة الزجاجية - بيروت.
 1994- خمسة فنانين شباب من سورية - أتيليه القاهرة - القاهرة.
 1995- فنانو العالم - معرض عالمي متجول في عدة عواصم.
 1995- بينالي الشارقة.
 1996- بينالي القاهرة الدولي.
 1996 مشاركة في الندوة النقدية التجريبية حول تجربة (كوم غراب) في القاهرة القديمة
بدعوة من الجمعية العالمية للنقد ((الآيكا))
2001 معرض الفن السوري المعاصر – باريس – معهد العالم العربي
 2002 معرض مجموعة كندة نظرة في الفن العربي المعاصر - باريس - معهد العالم العربي
 2001معرض حتى الحرب لها حدود – الصليب الأحمر الدولي – دمشق
 2002 معرض النساء والحرب الصليب الأحمر الدولي – دمشق – جنيف
 2007 ستيريا تستقبل سوريا - معرض ووورك شوب - نو غاليري-غراتس- النمسا
 2008 ماوراء الكلمات – غاليري كاشيا هيلدربراند – زيورخ – سويسرا
 2008 الفن المعاصر السوري – غاليري سوق واقف – قطر –
 2008 إحياء الذاكرة التشكيلية في سورية 3 – دمشق – سورية -
 2009 معرض الإشارات – غاليري ساندرام طاغور – أميركا نيويورك
 2009 معرض أفق جديد – تركيا – إسطنبول
 له فكرة مسابقة ملصق معرض دمشق الدولي
 فكرة مسابقة بطاقات يا نصيب معرض دمشق الدولي
 فكرة تصوير البحر الأبيض المتوسط

مصمم غرافيكي وخطاط، له مجموعة كبيرة من الملصقات وأغلفة الكتب وتصميم المطبوعات والحملات الدعائية
مصمم سينوغرافيا لمجموعة من أعمال المسرح القومي
مصمم هندسة مناظر وديكور لمجموعة من الأعمال السينمائية والتلفزيونية
سينوغرافيا أوبرا ابن سينا - قطر 2003
عمل سمعي بصري بالتعاون مع رعد خلف 2004
سينوغرافيا مسلسل العوسج – الموت القادم إلى الشرق الكواسر لنجدة أنزور
مسلسل الزير سالم لحاتم علي
مسلسل سر النوار لفيصل الزعبي
في المسرح تصميم إضاءة مسرحية رجل برجل لفايز قزق
سينوغرافيا مسرحية أصوات الأعماق لحسن عويتي
سينوغرافيا العشاء الأخير لبسام كوسا
سينوغرافيا مسرحية ليلة عيد ميلاد طويل لسامر عمران
سينوغرافيا مسرحية كهرب لباسل قهار
سينوغرافيا مسرحية العنب الحامض لأكرم خزام
سينوغرافيا مسرحية العميان لحسن عويتي
سينوغرافيا فيلم ليلى والذئاب إخراج هيني سرور 1980
مصمم الأنف الشهير لفيلم رسائل شفهية إخراج عبد اللطيف عبد الحميد
مصمم مناظر فيلم ما يطلبه المستمعون إخراج عبد اللطيف عبد الحميد
مصمم مناظر لفيلم تحت السقف لنضال الدبس
مصمم مناظر لفيلم صندوق الدنيا لأسامة محمد
مدير فني لفيلم سنوات الظلم لنجدة أنزور 2008

له مساهمات أدبية ونقدية في العديد من الدوريات العربية

صدرت له دراستين عن الدعاية الغربية الموجهة للبلاد العربية وعن دور الدعاية في الفن الغربي

الجوائز
 1988- الجائزة الأولى في مسابقة مدينة كيل - ألمانيا.
 1988- جائزة أفضل ملصق تاريخي - ميونيخ - ألمانيا.
 1999- الجائزة الكبرى في بيينالي اللاذقية.
 2007 جائزة البردة – المركز الأول – فئة الخط العربي الحديث – الدورة الخامسة - أبوظبي – الإمارات العربية المتحدة -

انظر أيضا

 أكثم عبد الحميد
 إلياس الزيات
 جاك وردة
 بسيم الريس

وصلات خارجية

حائزون على جائزة البردة
رسامون سوريون
فنانون تشكيليون سوريون
مواليد 1958

أحمد معلا


Rieth ist ein Ortsteil der Stadt Heldburg im Landkreis Hildburghausen in Thüringen.

Lage
Der Ort Rieth liegt im Heldburger Land nördlich von Hellingen am Fuß des Kirchbergs. Die Gemarkungsgrenze bildet auch teilweise die Grenze zwischen Thüringen und Bayern. Die Landesstraße 2640 führt durch den Ortsteil und weiter nach Gompertshausen.

Geschichte
802–817 wurde der Ort erstmals urkundlich erwähnt. Der Ort bezieht sich aber auf die Urkunde von Abt Egbert von Fulda aus dem Jahr 1049. Der Name Rieth bezieht sich auf die damals vorgefundenen Feuchtflächen. Daher gibt es auch viele Quellen in der Gemarkung. Rieth war und ist ein ländliches und landwirtschaftlich geprägtes Dorf. Bis 1994 war Rieth eine eigenständige Gemeinde. Seitdem wurden drei Wohngebiete angelegt und die Dorferneuerung durchgeführt. Mit 340 Personen ist das Dorf bewohnt. Im Ort ist auch ein landwirtschaftliches Unternehmen ansässig.

Sehenswürdigkeiten
Die Allerheiligenkirche, eine ehemalige Wehrkirche, stammt in ihrer heutigen Form aus dem Jahr 1682.

Literatur
 Norbert Klaus Fuchs: Das Heldburger Land–ein historischer Reiseführer. Verlag Rockstuhl, Bad Langensalza 2013, ISBN 978-3-86777-349-2
 Paul Lehfeld: Bau- und Kunstdenkmäler Thüringens. Heft XXXI, Herzogthum Sachsen-Meiningen, Amtsgerichtsbezirke Heldburg und Römhild, 1904, Reprint, Verlag Rockstuhl, Bad Langensalza, ISBN 978-3-86777-378-2

Weblinks

 https://www.facebook.com/TourismusvereinHeldburgerLandeV

Einzelnachweise

Ort im Landkreis Hildburghausen
Ortsteil von Heldburg
Ehemalige Gemeinde (Landkreis Hildburghausen)
Ersterwähnung im 9. Jahrhundert
Gemeindeauflösung 1994

Rieth (Heldburg)