The Barcelona Pavilion (; ; "German Pavilion"), designed by Ludwig Mies van der Rohe and Lilly Reich, was the German Pavilion for the 1929 International Exposition in Barcelona, Spain. This building was used for the official opening of the German section of the exhibition. It is an important building in the history of modern architecture, known for its simple form and its spectacular use of extravagant materials, such as marble, red onyx and travertine. The same features of minimalism and spectacular can be applied to the furniture specifically designed for the building, including the Barcelona chair. It has inspired many important modernist buildings.

Concept
Mies and Reich were offered the commission of this building in 1928 after his successful administration of the 1927 Werkbund exhibition in Stuttgart. The German Republic entrusted Mies with the artistic management and erection of not only the Barcelona Pavilion, but for the buildings for all the German sections at the 1929 International Exhibition. However, Mies had severe time constraints—he had to design the Barcelona Pavilion in less than a year—and was also dealing with uncertain economic conditions.

In the years following World War I, Germany started to turn around. The economy started to recover after the 1924 Dawes Plan. The pavilion for the International Exhibition was supposed to represent the new Weimar Germany: democratic, culturally progressive, prospering, and thoroughly pacifist; a self-portrait through architecture. The Commissioner, Georg von Schnitzler said it should give "voice to the spirit of a new era". This concept was carried out with the realization of the "Free plan" and the "Floating roof".

Building

Mies's response to the proposal by von Schnitzler was radical. After rejecting the original site for aesthetic reasons, Mies agreed to a quiet site at the narrow side of a wide, diagonal axis, where the pavilion would still offer viewpoints and a route leading to one of the exhibition's main attractions, the Poble Espanyol.

The pavilion was to be bare, with no exhibits, leaving only the structure accompanying a single sculpture and specially-designed furniture (the Barcelona Chair). This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The design was predicated on an absolute distinction between structure and enclosure—a regular grid of cruciform steel columns interspersed by freely spaced planes". However, the structure was more of a hybrid style, some of these planes also acted as supports. The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin. The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin. This is where the statue by Georg Kolbe sits. The roof plates, relatively small, are supported by the chrome-clad, cruciform columns. This gives the impression of a hovering roof. Robin Evans said that the reflective columns appear to be struggling to hold the "floating" roof plane down, not to be bearing its weight.

Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. The pavilion was designed to "block" any passage through the site, rather, one would have to go through the building. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the Poble Espanyol. The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but also directed visitor's movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.

Another unique feature of this building is the exotic materials Mies chooses to use. Plates of high-grade stone materials like veneers of Tinos verde antico marble and golden onyx as well as tinted glass of grey, green, white, as well as translucent glass, perform exclusively as spatial dividers.

Because this was planned as an exhibition pavilion, it was intended to exist only temporarily. The building was torn down in early 1930, not even a year after it was completed.

Reconstruction
Between 1983 and 1986, a group of Catalan architects reconstructed the pavilion permanently, based on historical drawings and rediscovered footings on the site. The reconstruction has been a popular tourist destination, but it also has been controversial among architects, critics, and historians. Some have hailed it as a revived masterpiece, some have condemned it as a "fake," and others are ambivalent. "[T]his building is not supposed to exist," asserted Paul Goldberger at the time. During planning, Philip Johnson wondered, "The problem before us is should a dream be realized or not? We have made such a myth of that building. Shouldn't it be left in the sacred vault of the memory bank?" Architect Lance Hosey has thoroughly documented reactions to the reconstruction, concluding that while the reconstruction is a better physical artifact, the original was an irreplaceable product of its sociopolitical context.

Sculpture
The Pavilion was not only a pioneer for construction forms with a fresh, disciplined understanding of space, but also for modelling new opportunities for an association of free art and architecture. Mies placed Georg Kolbe's Alba ("Dawn") in the small water basin, leaving the larger one all the more empty. The sculpture also ties into the highly reflective materials Mies used—he chose the place where these optical effects would have the strongest impact; the building offers multiple views of Alba. "From now on, in the sense of equality for juxtaposing building and visual work, sculptures were no longer to be applied retrospectively to the building, but rather to be a part of the spatial design, to help define and interpret it. To the day, one of the most notable examples is the Barcelona Pavilion".

Interventions programme
Since the Pavilion's reconstruction in the 1980s, the  has invited leading artists and architects to temporarily alter the Pavilion. These installations and alterations, called "interventions", have kept the pavilion as a node of debate on architectural ideas and practices. The list of invited people includes architects Kazuyo Sejima and Ryue Nishizawa (SANAA) who added spiral acrylic interior walls, artist Ai Weiwei who refilled two pools with coffee and milk, Andrés Jaque  who revealed the pavilion's so far disregarded basement and its role in hiding the daily making of the site's experience, Enric Miralles, Antoni Muntadas who brought to the pavilion the smell of the MoMA archives where its memory is preserved and Jordi Bernadó who removed the pavilion's glass doors. The architect and activist Andrés Jaque (Office for Political Innovation), artists Katarzyna Krakowiak, Laura Martínez de Guereñu, and the designer Sabine Marcelis have also been commissioned to create pieces for the interventions programme.

Lilly Reich Grant for equality in architecture
In 2018, the Mies van der Rohe Foundation presented the first edition of the Lilly Reich Grant for equality in architecture. The recipient of the inaugural grant was Re-enactment: Lilly Reich's work occupies the Barcelona Pavilion submitted by Laura Martínez de Guereñu. In 2020, the second grant was awarded to [On Set with] Lilly Reich submitted by Laura Lizondo Sevilla, Débora Domingo Calabuig, and Avelina Prat García. The third grant, in 2022, was awarded to the submission Anna Bofill Levi. Architecture as a Counter-Melody (1977–1996) by María-Elia Gutiérrez Mozo, José Parra Martínez, Ana Gilsanz Díaz, and Joaquín Arnau Amo.

Gallery

See also
 Ibero-American Exposition of 1929 was a world's fair held in Seville, Spain, from 9 May 1929 until 21 June 1930.

References

Further reading

 Dietrich Neumann with David Caralt (2020): An Accidental Masterpiece. Mies van der Rohe's Barcelona Pavilion, Basel: Birkhäuser,
 Dietrich Neumann with David Caralt (Eds.) (2020): The Barcelona Pavilion by Mies van der Rohe. One Hundred Texts since 1929, Basel: Birkhäuser,

External links

 Views of the replica German Pavilion
 Image gallery on the Barcelona Pavilion
 Photos of Barcelona Pavilion and Barcelona Chair
 Werkbund Exhibition of 1927

Buildings and structures in Barcelona
Ludwig Mies van der Rohe buildings
Buildings and structures completed in 1929
Modernist architecture in Barcelona
International Style (architecture)
Tourist attractions in Barcelona
World's fair architecture in Barcelona
Sants-Montjuïc
1929 Barcelona International Exposition
Montjuïc

Barcelona Pavilion


Fairground Attraction var et britisk folke- og softrockband. De er bedst kendt for deres store hit "Perfect" og den efterfølgende single "Find My Love", samt for at hjælpe forsangeren, Eddi Reader, i gang med sin karriere. Gruppen bestod derudover af Mark E. Nevin, Simon Edwards og Roy Dodds.

Karriere
I 1987 skrev Fairground Attraction kontrakt med RCA, og de udsendte deres første single, "Perfect", i april 1988. Den blev en øjeblikkelig succes og toppede UK Singles Chart som #1. Deres debutalbum, The First of a Million Kisses, var en blanding af folkemusik, jazz, country med cajun-elementer. Alle sangene på nær én var skrevet af Mark E. Nevin. Albummet blev udgivet i 1988 efter succesen emd "Perfect" og den debuterede som #3 på UK Albums Chart for herefter at toppe som #2. Det solgte senere platin. Der blev udgivet yderligere tre singler fra albummet: "Find My Love" (som nåede #7 på UK Singles Chart), "A Smile in a Whisper" og "Clare".

Ved BRIT Awards i 1989 vandt "Perfect" prisen for bedste single og The First of a Million Kisses modtog prisen for bedste album.

Selvom de var populære i de europæiske lande og turnede i USA var deres største succes uden for Storbritannien i Japan, hvor de turnede i 1989. Turen endte senere ud i livelabummet Kawasaki Live in Japan 02.07.89.

Under indspilningerne af deres andet album i september 1989 opstod der rygter om skænderier og i januar 1990 gik gruppen i opløsning. Albummet Ay Fond Kiss blev udgivet i 1990 og sangen "Walkin' After Midnight" blev deres sidste single. Den var en coverversion af Patsy Cline hit fra 1957. Albummet bestod af b-sider og andet materiale, der var blevet indspillet til deres første album, hvoraf en del var samarbejde af blot to af gruppens medlemmer. Materialet til deres andet albummet blev senere indspillet af Nevin med Brian Kennedy under navnet Sweetmouth, selvom otte numre siden er blevet sunget af Reader på Kawasaki Live in Japan 02.07.89-albummet.

Eddi Reader startede en solokarriere, mens Mark E. Nevin arbejdede samme med Morrissey, og var med til at skrive det meste af hans album Kill Uncle samt flere senere sange i rockabillystil.

Medlemmer
 Eddi Reader – vokals – født 29. august 1959, Glasgow, Skotland
 Mark E. Nevin – elektrisk og akustisk guitar – født 13. august 1959, Ebbw Vale, Wales
 Simon Edwards – guitarrón – født 29. april 1958, Hurley, England
 Roy Dodds – trommer – født 11. juli 1951, Buckinghamshire, England

Diskografi

Studiealbum

Livealbum
 Kawasaki Live in Japan 02.07.89 (2003)

Opsamlingsalbum
 The Collection: Fairground Attraction, featuring Eddi Reader (1994)
 Perfect: The Best of Fairground Attraction (1995)
 The Very Best of Fairground Attraction, featuring Eddi Reader (1996)
 The Masters (1997)
 80s Eternal Best: Fairground Attraction Best (1998)
 The Best of Fairground Attraction (2004)

Videoer
 The First of a Million Kisses (1990)
 Samling af musikvideoer: "Perfect", "Find My Love", "A Smile in a Whisper", "Clare"
 Live at Full House (1990)
 Liveoptræden på et tysk Tv-show kaldet Live at Full House:

Singler

Referencer

Eksterne henvisninger
 Eddi Readers hjemmeside
 Mark E. Nevins hjemmeside

Musikgrupper fra Storbritannien
Musikgrupper fra 1983
Musikgrupper opløst i 1990

Fairground Attraction


Gheorghe Calcișcă (Bukurešt, Rumunjska, 10. siječnja 1935.) je bivši rumunjski biciklist.

Natjecao se u pojedinačnoj konkurenciji na Olimpijskim igrama u Rimu 1960.

Izvori

Rumunjski športaši
Biciklisti

Gheorghe Calcișcă


Olaylar

 1265 - İlk İngiliz parlamentosu toplandı.
 1815 - Napolyon, 140.000 kişilik bir ordu ve 200.000 kişilik gönüllü birliği ile Paris'e girdi.
 1841 - Hong Kong Adası (Hong Kong'un güneyinde bir ada), Afyon Savaşları sırasında Birleşik Krallık'a verildi.
 1861 - Arjantin'in Mendoza şehri, şiddetli bir depremle harabeye döndü.
 1892 - Springfield, Massachusetts'te ilk resmi basketbol maçı oynandı.
 1895 - Darülaceze kuruldu.
 1915 - Mustafa Kemal, Esat (Bülkat) Paşa komutasındaki 3. Kolordu'ya bağlı olarak Tekirdağ'da teşkil edilecek 19.Tümen Komutanlığı'na atandı.
 1916 - Albert Einstein, görelilik kuramını yayımladı.
 1918 - Midilli Kruvazörü, Gökçeada açıklarındaki mayınlara çarparak battı. I. Dünya Savaşı'nın başında, 11 Ağustos 1914'te İngiliz filosunun izlediği Almanların Goeben ve Breslau gemileri Çanakkale Boğazı'ndan geçmiş ve ilkine "Yavuz" ikincisine "Midilli" adı verilmişti.
 1920 - Maraş'ta Fransızlar'a karşı, Maraş Savunması başladı.
 1921 - TBMM'nin oluşumunun ardından 23 maddelik ilk Anayasa, Teşkilatı Esasiye kabul edildi.
 1921 - Dağıstan Özerk Sovyet Sosyalist Cumhuriyeti; Sovyetler Birliği'ne bağlı olarak kuruldu.
 1923 - Türkiye Büyük Millet Meclisi, gizli oturumunda Elcezire bölgesinde bir İstiklal Mahkemesi kurulması kararı aldı.
 1923 - İsmet Paşa'nın, Lozan'da Yunanlar tarafından yakılmış 26 şehrin listesini sunması.
 1936 - Ankara'da Endüstri Kongresi toplandı. Toplantıda İkinci Beş Yıllık Sanayi Planı esasları kabul edildi.
 1936 - Sinemaların esas filmle beraber bir de "öğretici film" göstermek zorunda olduğuna ilişkin yasa çıktı.
 1936 - VIII. Edward Birleşik Krallık Hükümdarı oldu. Daha bir yılı doldurmadan 10 Aralık 1936'da kendi isteği ile tahtı bırakacaktır.
 1942 - Askerlik süresi üç yıla çıkarıldı.
 1945 - Birleşik Krallık'ta eğitimini tamamlayan 50 Türk öğrenciye pilotluk brövesi verildi.
 1947 - Fransa'da Charles de Gaulle, politikadan çekildiğini açıkladı ve görevinden istifa etti.
 1950 - Kiraların serbest bırakılması kararlaştırıldı.
 1952 - Türkiye Cumhuriyeti Millî Savunma Bakanlığı Kore'de 34 subay, 46 astsubay ve 1252 erin öldüğünü açıkladı.
 1953 - General Eisenhower, Amerika Birleşik Devletleri'nin 34. Başkanı olarak göreve başladı.
 1956 - Yaşar Kemal, "İnce Memed" romanıyla Varlık Dergisi Roman Armağanı'nı kazandı.
 1961 - Londra Konferansı'nda Kıbrıslı Rumlar, "federal yönetim" tezini reddetti. Bunun üzerine Kıbrıs Türk toplumu temsilcileri konferanstan çekildi.
 1961 - Saraçhane Tiyatrosu açıldı. İlk oyun Cevat Fehmi Başkut'un "Hacıyatmaz" oyunu oldu.
 1961 - John F. Kennedy, Amerika Birleşik Devletleri'nin 35. Başkanı olarak göreve başladı.
 1963 - 21-25 Ocak'ta şiddetli soğuklar, Türkiye'nin her yanını etkiledi. Elektrikler ve sular kesildi, trenler yollarda kaldı. Uludağ'da kar kalınlığı 25 metre.
 1967 - Uluslararası Las Vegas Maratonu'nda İsmail Akçay ikinci oldu, derecesi: 2 saat, 23 dakika, 3 saniye.
 1968 - Türkiye, Yunanistan'daki askeri rejimi tanıyan ilk ülke oldu.
 1969 - John Lennon, Yoko Ono ile evlendi.
 1971 - Ortadoğu Teknik Üniversitesi (ODTÜ), Akademik Konsey'in kararıyla süresiz kapatıldı.
 1973 - Eski Millî Birlik Komitesi üyesi Cemal Madanoğlu ve 31 kişi hakkında "Anayasayı değiştirme ve Türkiye Büyük Millet Meclisi'ni ıskat için gizli örgüt kurma" iddiasıyla dava açıldı. Dava açılanlar arasında Doğan Avcıoğlu, İlhan Selçuk, İlhami Soysal da var.
 1975 - Tüm Memurlar Birleşme ve Dayanışma Derneği (Tüm-Der) kuruldu.
 1975 - ASALA örgütü kuruldu.
 1981 - Uğur Mumcu, Kenan Evren'in Kahramanmaraş konuşmasını değerlendirdi: "Devlet Başkanı Orgeneral Sayın Kenan Evren'in Kahramanmaraş'ta mezhep ayrılığı konularına değinmesi, bu ayrımcılığın yarattığı ve yaratacağı sonuçları vurgulaması son derece yararlı olmuştur."
 1981 - İstanbul Sıkıyönetim Mahkemesi, 223 Devrimci İşçi Sendikaları Konfederasyonu üyesinin tutuklanmasına karar verdi.
 1981 - İran, 444 gündür rehin tutulan 52 Amerikalının serbest bırakıldığını açıkladı. Haber, Ronald Reagan'ın Amerika Birleşik Devletleri Başkanlığı koltuğunu Jimmy Carter'dan devralmasından birkaç dakika sonra geldi.
 1986 - Demokratik Sol Parti ile Sosyaldemokrat Halkçı Parti arasında yapılan "solda birlik" görüşmeleri kesildi. Demokratik Sol Parti Genel Başkanı Rahşan Ecevit, "Sosyaldemokrat Halkçı Parti (SHP) ile yollarımız ayrıldı" dedi.
 1986 - Birleşik Krallık ve Fransa, Manş Tüneli planlarını açıkladılar.
 1988 - Mehmet Ali Aybar ile Aziz Nesin hakkında on beşer yıla kadar hapis cezası istendi. Gerekçe, 2000'e Doğru dergisine Kürt sorunu konusunda yaptıkları açıklamalardı.
 1989 - George H.W. Bush, Amerika Birleşik Devletleri'nin 41. Başkanı olarak göreve başladı.
 1989 - Samsunspor kafilesi, Malatyaspor ile yapacağı lig maçına giderken kaza geçirdi, 5 kişi öldü.
 1990 - Kara Ocak: Bakü'de Sovyetler Birliği Ordusu tarafından yapılan katliamda, 143 kişi öldü.
 1992 - Flash TV yayın hayatına başladı.
 1993 - Anayasa Mahkemesi, dini bayramlarda Bayram dışında gazete çıkarılmasını yasaklayan yasayı iptal etti.
 1993 - Meclis Anavatan Partisi (ANAP) döneminin iki bakanı Safa Giray ile Cengiz Altınkaya'nın Yüce Divan'a verilmesini kararlaştırdı.
 1993 - Bill Clinton, Amerika Birleşik Devletleri'nin 42. Başkanı olarak göreve başladı.
 1995 - Tokyo metrosuna sarin gazı saldırısı: 12 kişi öldü, 1300 kişi yaralandı.
 1995 - Yeraltı dünyasının ünlü ismi Dündar Kılıç'ın kızı ve Alaattin Çakıcı'nın eski eşi Uğur Kılıç Uludağ'da öldürüldü. Uğur Kılıç, Engin Civan davasında yaptığı açıklamalarla Özal ailesini suçlamıştı. Kılıç'ı öldüren Abdurrahman Keskin yakalandı ve Uğur Kılıç'ı öldürmesi karşılığında Alaattin Çakıcı'dan 50 milyon lira aldığını söyledi.
 1996 - Filistin'de ilk kez Devlet Başkanlığı seçimleri yapıldı. Yaser Arafat Devlet Başkanı seçildi.
 1997 - Türk Sanayicileri ve İşadamları Derneği (TÜSİAD), "Demokratik standartların yükseltilmesi paketi"ni Türkiye Büyük Millet Meclisi Başkanlığı ile Genelkurmay Başkanlığına sundu. TÜSİAD raporda Kürtçe eğitimin serbest bırakılmasını da öneriyordu.
 2000 - Yargıtay, gazeteci Metin Göktepe'yi gözaltında öldürdükleri gerekçesiyle 7 yıl altışar ay ağır hapis cezasına çarptırılan 6 sanık polisten 5'inin cezasını onadı, sanıklardan Emniyet Amiri Seydi Battal Köse'nin cezasını ise esastan bozdu.
 2001 - George W. Bush, Amerika Birleşik Devletleri'nin 43. Başkanı olarak göreve başladı.
 2002 - Trabzonspor - Beşiktaş maçında, Beşiktaş'ın 5-0'lık galibiyeti sonucu Hüseyin Avni Aker Stadyumu'nda kavgalar çıktı, yaralanmalar oldu ve Trabzonspor taraftarı tarafından tribün koltukları sökülüp yakıldı. Maç sonrası Hüseyin Avni Aker Stadyumu'nda maddi ve manevi büyük hasarlar meydana geldi.
 2003 - MERNİS hizmete girdi.
 2006 - Yargıtay 1. Ceza Dairesi, Mehmet Ali Ağca'nın tahliyesine ilişkin Kartal 2. Ağır Ceza Mahkemesinin kararını bozdu. Ağca, Yargıtay'ın kararı doğrultusunda Kartal'da bulunduğu yerden alınarak, Kartal H Tipi Cezaevine konuldu.
 2007 - Hrant Dink'in öldürülmesi olayının zanlısı Ogün Samast, Samsun'da yakalandı.
 2009 - Barack Obama, Amerika Birleşik Devletleri'nin 44. Başkanı olarak göreve başladı.
 2017 - Donald Trump, Amerika Birleşik Devletleri'nin 45. Başkanı olarak göreve başladı.
 2021 - Joe Biden, Amerika Birleşik Devletleri'nin 46. Başkanı olarak göreve başladı.

Doğumlar

 225 - III. Gordianus, Roma İmparatoru. I. Gordianus'un torunu (ö. 244)
 1029 - Alp Arslan, Büyük Selçuklu Devleti'nin 2. Sultanı (ö. 1072)
 1554 - I. Sebastião, Portekiz Kralı (ö. 1578)
 1663 - Luca Carlevarijs, İtalyan ressam ve gravür sanatçısı (ö. 1730)
 1716 - III. Carlos, İspanya Kralı (ö. 1788)
 1757 - Sebastiano Giuseppe Danna, İtalyan general (ö. 1811)
 1758 - Marie-Anne Paulze Lavoisier, Fransız kimyager ve asilzade (ö. 1836)
 1760 - Ferdinand Bauer, Avusturyalı botanik ressamı (ö. 1826)
 1775 - André-Marie Ampère, Fransız fizikçi (ö. 1836)
 1803 - George Merriam, Amerikalı yayımcı (ö. 1880)
 1804 - Eugène Sue, Fransız yazar (ö. 1857)
 1805 - Henry B. Metcalfe, Amerikalı siyasetçi ve ABD Temsilciler Meclisi Üyesi (ö. 1881)
 1806 - Nathaniel Parker Willis, Amerikalı yazar ve şair (ö. 1867)
 1812 - Édouard Séguin, Fransız kökenli Amerikalı psikiyatr (ö. 1880)
 1848 - Aleksandre Kazbegi, Gürcü roman ve oyun yazarı, şair, çevirmen ve tiyatro oyuncusu (ö. 1893)
 1856 - Harriot Eaton Stanton Blatch, Amerikalı yazar (ö. 1940)
 1866 - Euclides da Cunha, Brezilyalı yazar ve sosyolog (ö. 1909)
 1869 - Nikola Mandić, Bağımsız Hırvatistan Devleti'nin Başbakanı (ö. 1945)
 1870 - Guillaume Lekeu, Belçikalı besteci (ö. 1894)
 1873 - Johannes Vilhelm Jensen, Danimarkalı yazar, şair ve Nobel Edebiyat Ödülü sahibi (ö. 1950)
 1874 - Steve Bloomer, İngiliz millî futbolcu (ö. 1938)
 1875 - Henrik Sjöberg, İsveçli atlet ve jimnastikçi (ö. 1905)
 1877 - Raymond Roussel, Fransız şair, romancı, oyun yazarı ve müzisyen (ö. 1933)
 1877 - Carl Hans Lody, Alman Donanması'nda casusluk yapmış bir yedek subay (ö. 1914)
 1878 - Finlay Currie, İskoç sinema sanatçısı (ö. 1968)
 1879 - C. H. Douglas, İngiliz mühendis (ö. 1952)
 1883 - Enoch L. Johnson, Amerikalı politik patron, şerif, iş insanı ve haraçcı (ö. 1968)
 1884 - A. Merritt, American Sunday magazine editörü ve fantastik kurgu yazarı (ö. 1943)
 1889 - Lev Karahan, Ermeni devrimci ve Sovyet diplomat (ö. 1937)
 1889 - Allan Lockheed, Amerikalı uçak tasarımcısı (ö. 1969)
 1896 - George Burns, Amerikalı aktör ve şarkıcı (ö. 1996)
 1906 - Aristotle Onassis, Yunan armatör (ö. 1975)
 1912 - Hulusi Kentmen, Türk tiyatro ve sinema oyuncusu (ö. 1993)
 1919 - Silva Gabudikyan, Ermeni şair (ö. 2006)
 1920 - Federico Fellini, İtalyan film yönetmeni (ö. 1993)
 1920 - İbrahim Minnetoğlu, Türk şair, gazeteci ve köşe yazarı (ö. 1993)
 1924 - Tekin Akmansoy, Türk tiyatro ve sinema sanatçısı (ö. 2013)
 1925 - Ernesto Cardenal, Nikaragualı rahip ve şair
 1927 - Orhan Elmas, Türk oyuncu ve yönetmen (ö. 2002)
 1930 - Edwin Aldrin, Amerikalı astronot
 1931 - David Lee, Amerikalı fizikçi ve Nobel Fizik Ödülü sahibi
 1933 - Gérard Hernandez, İspanyol-Fransız oyuncu ve seslendirme sanatçısı
 1935 - Güven Sazak, Türk iş insanı ve spor yöneticisi (ö. 2011)
 1939 - Feyzi Tuna, Türk sinema yönetmeni, senarist ve oyuncu
 1945 - Christopher Martin-Jenkins, İngiliz gazeteci, yazar ve sunucu (ö. 2013)
 1946 - David Lynch, Amerikalı yönetmen ve ressam
 1952 - Hurşid Devran, Özbek şair, yazar, tarihçi ve devlet adamı
 1952 - Paul Stanley, Amerikalı müzisyen ve vokalist
 1953 - Alaattin Çakıcı, Türk organize suç örgütü lideri
 1953 - Fahri Kasırga, Türk bürokrat
 1953 - Sophie Huet, Fransız kadın gazeteci (ö. 2017)
 1954 - Serdar Gücüyener, eski Türk futbolcu ve teknik direktör
 1959 - R. A. Salvatore, Amerikalı yazar
 1964 - Željko Komšić, Bosnalı siyasetçi
 1966 - Rainn Wilson, Amerikalı oyuncu
 1972 - Nikki Haley, Amerikalı diplomat, bürokrat ve siyasetçi
 1973 - Mathilde, Belçika Kraliçesi
 1975 - Monique, Amerikalı pornografik film oyuncusu
 1976 - Conchita Martínez Granados, İspanyol tenisçi
 1976 - Kirsty Gallacher, İskoç sunucu
 1979 - Choo Ja-hyun, Güney Koreli bir aktris
 1980
 Karl Anderson, Amerikalı profesyonel güreşçi
 Felicitas Woll, Alman oyuncu
 1981 - Owen Hargreaves, İngiliz futbolcu
 1982 - Nikki Rhodes, Amerikalı pornografik film oyuncusu
 1987 - Marco Simoncelli, İtalyan motosiklet yarışçısı (ö. 2011)
 1988 - Jeffrén Suárez, İspanyol vatandaşlığı da bulunan Venezuelalı futbolcu
 1991 - Renato Ibarra, Ekvadorlu futbolcu
 1993 - Lorenzo Crisetig, İtalyan futbolcu
 1994 - Lucas Piazon, Brezilyalı futbolcu
 1995 - Joey Bada$$, Amerikalı hip hop sanatçısı ve oyuncu
 1995 - Calum Chambers, İngiliz futbolcudur
 2003 - Tayfun Mirzeyev, Azeri motosiklet yarışçısı

Ölümler

 250 - Fabianus, Roma Piskoposluğu yapmış din adamı ve papa (d. 200)
 767 - Şafii, İslam hukuku bilgini. Şafii mezhebinin kurucusudur (d. 820)
 842 - Theofilos, 2 Ekim 829-20 Ocak 842 arasında Bizans imparatoru (d. 813)
 882 - III. Ludwig, Cermanya kralı (28 Ağustos 876-882) (d. 830/835)
 1516 - Juan Díaz de Solís, İspanyol kâşif (d. 1470)
 1612 - II. Rudolf, Kutsal Roma imparatoru (d. 1552)
 1639 - I. Mustafa, Osmanlı'nın 15. Padişahı (d. 1591)
 1745 - VII. Karl, Kutsal Roma imparatoru (d. 1697)
 1779 - David Garrick, İngiliz aktör, oyun yazarı, tiyatro yöneticisi ve yapımcısı (d. 1717)
 1813 - Christoph Martin Wieland, Alman şair, çevirmen (d. 1733)
 1819 - IV. Carlos, İspanya Kralı (d. 1748)
 1848 - VIII. Christian, Danimarka ve Norveç Kralı (d. 1786)
 1850 - Lorenzo Bartolini, İtalyan heykeltıraş (d. 1777)
 1855 - Maria Adelaide, Sardinya kraliçesi (d. 1822)
 1867 - Nathaniel Parker Willis, Amerikalı yazar ve şair (d. 1806)
 1875 - Jean-François Millet, Fransız ressam (d. 1814)
 1891 - Kalakaua, Hawaii kralı (d. 1836)
 1900 - John Ruskin, İngiliz yazar, şair, sanat ve toplum eleştirmeni (d. 1819)
 1907 - Agnes Mary Clerke, İrlandalı bir gök bilimci ve yazar (d. 1842)
 1921 - Mary Watson Whitney, Amerikalı astronom ve akademisyen (d. 1847)
 1934 - Hüseyin Kazım Kadri, Türk devlet adamı ve yazar (Osmanlı Devleti'nin son yıllarında Valilik ve Nazırlık görevlerinde bulunan) (d. 1870)
 1936 - V. George, Birleşik Krallık Hükümdarı (d. 1865)
 1938 - Émile Cohl, Fransız çizer ve animatör (d. 1857)
 1944 - James McKeen Cattell, Amerikalı bilim insanı (d. 1860)
 1949 - Burhan Cahit Morkaya, Türk siyasetçi, gazeteci ve yazar (d. 1892)
 1949 - George J. Mead, Amerikalı uçak mühendisi (d. 1891)
 1957 - James Brendan Connolly, Amerikalı atlet (d. 1868)
 1965 - Mehmet Rüştü Uzel, Türk bürokrat ve eğitimci (d. 1891)
 1973 - Amilcar Cabral, Afrikalı ziraat mühendisi, yazar, marksist ve vatansever siyasetçi (d. 1924)
 1983 - Manuel Francisco dos Santos (Garrincha), Brezilyalı futbolcu (d. 1933)
 1984 - Johnny Weissmuller, Amerikalı altın madalyalı yüzücü ve Tarzan filmlerinin tanınmış aktörü (d. 1904)
 1988 - Abdulgaffar Han, Peştun politik lider (d. 1890)
 1990 - Barbara Stanwyck, Amerikalı oyuncu (d. 1907)
 1993 - Audrey Hepburn, Amerikalı oyuncu ve En İyi Kadın Oyuncu Akademi Ödülü sahibi (d. 1929)
 1994 - Matthew Busby, İskoç futbolcu, teknik direktör (d. 1909)
 1994 - Bedia Muvahhit, Türk tiyatro ve sinema oyuncusu ve devlet sanatçısı (d. 1897)
 2002 - Carrie Hamilton, Amerikalı şarkıcı, oyuncu ve yazar (d. 1963)
 2004 - Bedih Yoluk (Kazancı Bedih), Türk gazelhan (d. 1929)
 2005 - Sabri Demirbağ, Türk asker ve Kıbrıs Harekâtı'nda görev alan Tugayın Komutanı (d. 1935)
 2005 - Per Borten, Merkez Partili Norveçli politikacı (d. 1913)
 2012 - Etta James, Amerikalı blues, soul, R&B, Rock&Roll, gospel ve caz şarkıcısı (d. 1938)
 2014 - Claudio Abbado, İtalyan orkestra şefi (d. 1933)
 2015 - Edgar Froese, Alman müzisyen (d. 1944)
 2016 - Mykolas Burokevičius, Litvanya'da komünist siyasi bir liderdir (d. 1927)
 2016 - Edmonde Charles-Roux, Fransız gazeteci ve yazar (d. 1920)
 2017 - José Luis Astigarraga Lizarralde, Perulu Katolik piskopos (d. 1940)
 2017 - Klaus Huhn, Alman spor gazetecisi ve köşe yazarı (d. 1928)
 2017 - John Watkiss, İngiliz çizer ve çizgi film yapımcısı (d. 1961)
 2018 - Paul Bocuse, Fransız yemek şefidir (d. 1926)
 2018 - Graeme Langlands, Eski Avustralyalı profesyonel ragbi ligi oyuncusudur (d. 1941)
 2018 - Jim Rodford, İngiliz müzisyen ve şarkıcıdır (d. 1941)
 2019 - Tibor Baranski, Macar-Amerikalı eğitimci ve aktivisttir (d. 1922)
 2019 - Paul Barrett, Britanyalı müzik yapımcısı, oyuncu, müzisyen ve yazar (d. 1940)
 2019 - Rosemarie Bowe, Amerikalı oyuncudur (d. 1932)
 2019 - Evloghios, Almanya doğumlu İtalyan Ortodoks başpiskopos (d. 1935)
 2019 - Andrew G. Vajna, Macar-Amerikalı film yönetmenidir (d. 1944)
 2020 - Hayrettin Karaca, Türk sanayici ve çevre aktivisti, TEMA vakfı kurucusu (d. 1922)
 2020 - Jaroslav Kubera, Çek siyasetçi (d. 1947)
 2020 - Joe Shishido, Japon oyuncu (d. 1933)
 2021 - Mira Furlan, Hırvat oyuncu ve şarkıcı (d. 1955)
 2021 - Sibusiso Moyo, Zimbabveli siyasetçi ve tümgeneraldir (d. 1960)
 2022 - Meat Loaf, Amerikalı şarkıcı, müzisyen ve aktör (d. 1947)
 2022 - Camillo Milli, İtalyan tiyatro, sinema ve televizyon oyuncusu (d. 1929)
 2022 - Elza Soares, Brezilyalı samba şarkıcısı (d. 1930)

Tatiller ve özel günler

0120
20

20 Ocak


Guledgudda es una localidad de la India situada  en el distrito de Bagalkot, en el estado de Karnataka. Según el censo de 2011, tiene una población de 33 382 habitantes.

Geografía
Está ubicada a una altitud de 515 , a 465 km de la capital estatal, Bangalore, en la zona horaria UTC +5:30.

Referencias

Enlaces externos
 Este artículo contiene datos geográficos extraídos de Google Earth.

Localidades de Karnataka

Guledgudda


Janos Frecot (30 de marzo de 1937 en Freidorf, Rumania) es un prestigioso historiador, comisario artístico, fotohistoriador y editor alemán.

Vida
Frecot vive desde 1947 en Berlín, donde asistió al instituto jesuita Canasius. Se casó con Bárbara Wollheim, con quien tuvo dos hijos. Tras su jubilación reside en Belzig.

Durante la década de los 70 fue secretario de departamento y organizador de exposiciones en la Akademie der Künste. Entretanto trabajaba en el Bauhaus-Archiv. Por llamada personal de Eberhard Roters fundó la colección fotográfica de la Galería Berlinesa, la cual dirigió hasta el año 2002.

Condecoraciones
El 10 de mayo de 2001 obtuvo la cruz del servicio de la República Federal Alemana.

Biblioteca Frecot
La que fue su importante colección privada de libros forma parte de la Universidad de Stanford, con el nombre de Colección Frecot

Libros
Frecot ha publicado alrededor de 40 libros:
 2004: Mit Frack und Linse durch Politik und Gesellschaft, Photographien 1928–1938. Schirmer/Mosel, München 2004, ISBN 3-8296-0032-1 (para la Galería Berlinesa).
 1987: Fidus 1868–1948. Zur ästhetischen Praxis bürgerlicher Fluchtbewegungen..
 Arno Schmidt als Fotograf : Entwicklung eines Bildbewusstseins = Arno Schmidt, photographer. ISBN 978-3-7757-3149-2

Referencias externas

Historiadores de Alemania
Editores de Alemania

Janos Frecot


El Glamorgan County Cricket Club, (galés:Clwb Criced Morgannwg) fundado en 1888, es un club de críquet galés que juega en el County Championship para el condado de Glamorganshire. Es el único equipo galés en la liga. Glamorgan juega en el SWALEC Stadium en la ciudad de Cardiff y ha ganado el County Championship en 3 veces. Glamorgan jugó su primera temporada en el Championship en 1921 y ganó para la primera vez en 1948.

El escudo del Glamorgan es un narciso, la flor nacionala de Gales. El equipo es conocido como <<The Dragons>> (los Dragones), el animal de la bandera de Gales.

Palmarés
 County Championship (3): 1948, 1969, 1997

Jugadores
  Waqar Younis (1997-98)

Referencias

Críquet en Gales
Deporte en Cardiff
Reino Unido en 1888

Glamorgan County Cricket Club


Jaagichlorella, biljni rod zelenih algi prethodno uključivan u porodicu Oocystaceae i red Chlorellales, a od 2021 u novu porodicu Watanabeaceae, kao jedinoj u novom redu Watanabeales.

Sve do 2019 godine vodio kao monotipski s tipičnom vrstom J. geometrica. Godine 2019. u rod je uključeno još 5 vrsta, a 2021 ukjljučenpo je još nekoliko

Vrste
 Jaagichlorella adherens Shuyin Li, Benwen Liu, Huan Zhu, Zhengyu Hu & Guoxiang Liu
 Jaagichlorella africana Darienko & Pröschold
 Jaagichlorella colocana Shuyin Li, Benwen Liu, Huan Zhu, Zhengyu Hu & Guoxiang Liu
 Jaagichlorella geometrica Reisigl
 Jaagichlorella hainangensis (Zhang, Huss, Sun, Chang & Pang) Darienko & Pröschold
 Jaagichlorella luteoviridis (Chodat) Darienko & Pröschold
 Jaagichlorella nagensis Shuyin Li, Benwen Liu, Huan Zhu, Zhengyu Hu & Guoxiang Liu
 Jaagichlorella roystonensis (S.Ma, V.A.R.Huss, X.Sun & J.Zhang) Darienko & Pröschold
 Jaagichlorella sphaerica (Tschermak-Woess) Darienko & Pröschold

Izvori

Trebouxiophyceae

Jaagichlorella


The New Wave (), also called the French New Wave, is a French art film movement that emerged in the late 1950s. The movement was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and a spirit of iconoclasm. New Wave filmmakers explored new approaches to editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era, often making use of irony or exploring existential themes. The New Wave is often considered one of the most influential movements in the history of cinema.

The term was first used by a group of French film critics and cinephiles associated with the magazine  in the late 1950s and 1960s. These critics rejected the  ("Tradition of Quality") of mainstream French cinema, which emphasized craft over innovation and old works over experimentation. This was apparent in a manifesto-like 1954 essay by François Truffaut, , where he denounced the adaptation of safe literary works into unimaginative films. Along with Truffaut, a number of writers for  became leading New Wave filmmakers, including Jean-Luc Godard, Éric Rohmer, Jacques Rivette, and Claude Chabrol. The associated Left Bank film community included directors such as Alain Resnais, Agnès Varda, Jacques Demy and Chris Marker.

Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking often presented a documentary style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of realism, subjectivity, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end.

Origins of the movement

Alexandre Astruc's manifesto "The Birth of a New Avant-Garde: The Camera-Stylo", published in L'Écran on 30 March 1948, outlined some of the ideas that were later expanded upon by François Truffaut and the . It argues that "cinema was in the process of becoming a new means of expression on the same level as painting and the novel ... a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel. This is why I would like to call this new age of cinema the age of the caméra-stylo."

Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette, began as critics for the famous film magazine . Cahiers co-founder and theorist André Bazin was a prominent source of influence for the movement. By means of criticism and editorialization, they laid the groundwork for a set of concepts, revolutionary at the time, which the American film critic Andrew Sarris called auteur theory. (The original French , translated literally as "The policy of authors".) Bazin and Henri Langlois, founder and curator of the , were the dual father figures of the movement. These men of cinema valued the expression of the director's personal vision in both the film's style and script.

Truffaut also credits the American film Little Fugitive (1953) by Ruth Orkin, Ray Ashley and Morris Engel with helping to start the French New Wave, when he said: "Our French New Wave would never have come into being, if it hadn't been for the young American Morris Engel [sic] who showed us the way to independent production with (this) fine movie."

The auteur theory holds that the director is the "author" of their movies, with a personal signature visible from film to film.  They praised movies by Jean Renoir and Jean Vigo, and made then-radical cases for the artistic distinction and greatness of Hollywood studio directors such as Orson Welles, John Ford, Alfred Hitchcock and Nicholas Ray.  The beginning of the New Wave was to some extent an exercise by the Cahiers writers in applying this philosophy to the world by directing movies themselves.

Apart from the role that films by Jean Rouch have played in the movement, Chabrol's Le Beau Serge (1958) is traditionally (but debatably) credited as the first New Wave feature. Agnès Varda's  La Pointe Courte (1955) was chronologically the first, but did not have a commercial release until 2008. Truffaut, with The 400 Blows (1959), and Godard, with Breathless (1960) had unexpected international successes, both critical and financial, that turned the world's attention to the activities of the New Wave and enabled the movement to flourish. Part of their technique was to portray characters not readily labeled as protagonists in the classic sense of audience identification.

The auteurs of this era owe their popularity to the support they received from their youthful audience. Most of these directors were born in the 1930s and grew up in Paris, relating to how their viewers might be experiencing life. With a high concentration on fashion, urban professional life, and all-night parties, the life of France's youth was exquisitely captured.

The French New Wave was popular roughly between 1958 and 1962. The socio-economic forces at play shortly after World War II strongly influenced the movement. Politically and financially drained, France tended to fall back on the old popular pre-war traditions. One such tradition was straight narrative cinema, specifically classical French film. The movement has its roots in rebellion against the reliance on past forms (often adapted from traditional novelistic structures), criticizing, in particular, the way these forms could force the audience to submit to a dictatorial plot-line. They were especially against the French "cinema of quality", the type of high-minded, literary period films held in esteem at French film festivals, often regarded as "untouchable" by criticism.

New Wave critics and directors studied the work of Western classics and applied new avant-garde stylistic direction. The low-budget approach helped filmmakers get at the essential art form and find what was, to them, a much more comfortable and contemporary form of production. Charlie Chaplin, Alfred Hitchcock, Orson Welles, Howard Hawks, John Ford, Sam Fuller and Don Siegel were held up in admiration. French New Wave is influenced by Italian Neorealism and classical Hollywood cinema.

In a 1961 interview, Truffaut said that "the 'New Wave' is neither a movement, nor a school, nor a group, it's a quality" and in December 1962 published a list of 162 film directors who had made their feature film debut since 1959. Many of these directors, such as Edmond Agabra and Henri Zaphiratos, were not as successful or enduring as the well-known members of the New Wave and today would not be considered part of it. Shortly after Truffaut's published list appeared, Godard publicly declared that the New Wave was more exclusive and included only Truffaut, Chabrol, Rivette, Rohmer, and himself, stating that "Cahiers was the nucleus" of the movement. Godard also acknowledged filmmakers such as Resnais, Astruc, Varda, and Demy as esteemed contemporaries, but said that they represented "their own fund of culture" and were separate from the New Wave.

Many of the directors associated with the New Wave continued to make films into the 21st century.

Film techniques

The movies featured unprecedented methods of expression, such as long tracking shots (like the famous traffic jam sequence in Godard's 1967 film Weekend). Also, these movies featured existential themes, often stressing the individual and the acceptance of the absurdity of human existence. Filled with irony and sarcasm, the films also tend to reference other films.

Many of the French New Wave films were produced on tight budgets, often shot in a friend's apartment or yard, using the director's friends as the cast and crew.  Directors were also forced to improvise with equipment (for example, using a shopping cart for tracking shots.) The cost of film was also a major concern; thus, efforts to save film turned into stylistic innovations.  For example, in Jean-Luc Godard's Breathless (), after being told the film was too long and he must cut it down to one hour and a half he decided (on the suggestion of Jean-Pierre Melville) to remove several scenes from the feature using jump cuts, as they were filmed in one long take. Parts that did not work were simply cut from the middle of the take, a practical decision, and also a purposeful stylistic one.

The cinematic stylings of the French New Wave brought a fresh look to the cinema with improvised dialogue, rapid changes of scene, and shots that broke the common 180° axis of camera movement. In many films of the French New Wave, the camera was used not to mesmerize the audience with elaborate narrative and illusory images, but rather to play with audience expectations. Godard was arguably the movement's most influential figure; his method of filmmaking, often used to shock and awe audiences out of passivity, was abnormally bold and direct.

Godard's stylistic approach can be seen as a desperate struggle against the mainstream cinema of the time, or a degrading attack on the viewer's supposed naivety. Either way, the challenging awareness represented by this movement remains in cinema today. Effects that now seem either trite or commonplace, such as a character stepping out of their role in order to address the audience directly, were radically innovative at the time.

Classic French cinema adhered to the principles of strong narrative, creating what Godard described as an oppressive and deterministic aesthetic of plot.  In contrast, New Wave filmmakers made no attempts to suspend the viewer's disbelief; in fact, they took steps to constantly remind the viewer that a film is just a sequence of moving images, no matter how clever the use of light and shadow. The result is a set of oddly disjointed scenes without an attempt at unity; or an actor whose character changes from one scene to the next; or sets in which onlookers accidentally make their way onto camera along with extras, who in fact were hired to do just the same.

At the heart of New Wave technique is the issue of money and production value. In the context of social and economic troubles of a post-World War II France, filmmakers sought low-budget alternatives to the usual production methods, and were inspired by the generation of Italian Neorealists before them.  Half necessity and half vision, New Wave directors used all that they had available to channel their artistic visions directly to the theatre.

Finally, the French New Wave, as the European modern Cinema, is focused on the technique as style itself. A French New Wave film-maker is first of all an author who shows in its film their own eye on the world. On the other hand, the film as the object of knowledge challenges the usual transitivity on which all the other cinema was based, "undoing its cornerstones: space and time continuity, narrative and grammatical logics, the self-evidence of the represented worlds." In this way the film-maker passes "the essay attitude, thinking – in a novelist way – on his own way to do essays."

Left Bank

The corresponding "right bank" group is constituted of the more famous and financially successful New Wave directors associated with  (Claude Chabrol, François Truffaut, and Jean-Luc Godard). Unlike the Cahiers group, Left Bank directors were older and less movie-crazed. They tended to see cinema akin to other arts, such as literature. However, they were similar to the New Wave directors in that they practiced cinematic modernism. Their emergence also came in the 1950s and they also benefited from the youthful audience. The two groups, however, were not in opposition;  advocated for Left Bank cinema.

Left Bank directors include Chris Marker, Alain Resnais, and Agnès Varda (Varda's husband, Jacques Demy, is sometimes grouped with the Left Bank filmmakers). Roud described a distinctive "fondness for a kind of Bohemian life and an impatience with the conformity of the Right Bank, a high degree of involvement in literature and the plastic arts, and a consequent interest in experimental filmmaking", as well as an identification with the political left. The filmmakers tended to collaborate with one another. Jean-Pierre Melville, Alain Robbe-Grillet, and Marguerite Duras are also associated with the group. The nouveau roman movement in literature was also a strong element of the Left Bank style, with authors contributing to many of the films.

Left Bank films include La Pointe Courte, Hiroshima mon amour, La jetée, Last Year at Marienbad, and Trans-Europ-Express.

Influential names in the New Wave

Cahiers du cinéma directors
Jean-Luc Godard
Éric Rohmer
François Truffaut
Claude Chabrol
 Jacques Rivette

Left Bank directors
Agnès Varda
Alain Resnais
Chris Marker
 Jacques Demy

Other directors associated with the movement

 Alexandre Astruc
 Jacques Doniol-Valcroze
 Jean Douchet
 Marguerite Duras
 Jean Eustache
 Georges Franju
 Philippe Garrel
 Pierre Kast
 William Klein

 Louis Malle
 Jean-Pierre Melville
 Luc Moullet
 Alain Robbe-Grillet
 Jean Rouch
 Jacques Rozier
 Straub-Huillet
 Roger Vadim

Actors and actresses

 Alain Delon
 Anna Karina
 Anne Wiazemsky
 Anouk Aimée
 Brigitte Bardot
 Charles Aznavour
 Jean-Paul Belmondo
 Gerard Blain
 Jean-Claude Brialy
 Jacques Charrier
 Françoise Dorléac
 Stéphane Audran
 Bernadette Lafont
 Jean-Pierre Léaud
 Claude Jade
 Jeanne Moreau
 Maurice Ronet
 Jean Seberg
 Delphine Seyrig
 Jean-Louis Trintignant
 Sami Frey
 Catherine Deneuve

Other collaborators
 Raoul Coutard – cinematographer
 Henri Decaë – cinematographer
 Georges Delerue – composer
 Paul Gégauff – screenwriter
 Michel Legrand – composer
 Marilù Parolini – photographer, screenwriter
 Suzanne Schiffman – screenwriter

Theoretical influences
 Alexandre Astruc
 André Bazin
 Robert Bresson
 Henri Langlois
 Roger Leenhardt

Theoretical followers
Jonathan Rosenbaum
Andrew Sarris

See also

 Iranian New Wave (Mowje Now)
 Japanese New Wave (Nūberu bāgu)
 Australian New Wave
 British New Wave
 Philippine New Wave (Contemporary Philippine Cinema)
 Cinema Novo (Brazilian New Wave)
 Novo Cinema (Portuguese New Wave)
 Czechoslovak New Wave
 Film noir
 Hong Kong New Wave
 Kitchen sink realism
 L.A. Rebellion
 National cinema
 New French Extremity
 New German Cinema (German New Wave)
 New Hollywood (American New Wave)
 No Wave Cinema
 Nuevo Cine Mexicano
 Parallel Cinema (Indian New Wave)
 Romanian New Wave
 Remodernist Film
 Taiwan New Wave
 Third World Cinema
 Dogme 95
 Yugoslav Black Wave (Jugoslovenski crni talas)
 Vulgar auteurism
 Extreme cinema
 Slow cinema
 Film gris
 B movie
 Cinephilia
 Postmodernist film
 Pauline Kael – film critic in opposition of the auteur theory popularized by Sarris
 Independent film
 Experimental film
 John Cassavetes – American independent filmmaker in the same vein as the French New Wave
 Arthouse action film

Notes and references

Works cited

External links
 French New Wave encyclopedia & film guide
 The French New Wave: Revolutionising Cinema
 Movie movements that defined cinema: the French New Wave on EMPIRE

New Wave
Jacques Rivette
Movements in cinema
New Wave in cinema
1950s in film
1960s in film

French New Wave


النفسية فرقة شيعية منقرضة كانت تعتقد بأن الإمام علي الهادي قد أوصى لابنه محمد بن علي الهادي ونصبه له إماماً ونصه على اسمه وعينه ،  ثم أوصى محمد بن علي الهادي إلى أخيه جعفر بن علي الهادي ، « إن الإمامة لجعفر بوصية نفيس إليه عن محمد أخيه ، وأنكروا وصية الحسن العسكري وقالوا : لم يوصِ إليه أبوه ولا غير وصيته إلى محمد ابنه  » .

المصادر والمراجع

فرق الشيعة

النفيسية


Le KRI Nanggala (S-02) est un sous-marin de classe Whiskey (Project 613) de la marine indonésienne, fabriqué en Union soviétique.

Conception

La conception initiale a été développée au début des années 1940 en tant que suite du sous-marin de Classe Chtchouka. À la suite de l'expérience de la Seconde Guerre mondiale et de la capture de la technologie allemande à la fin de la guerre, les Soviétiques ont émis une nouvelle exigence de conception en 1946. La conception révisée a été développée par le bureau d'études Lazurit basé à Gorki. Comme la plupart des sous-marins conventionnels conçus de 1946 à 1960, la conception a été fortement influencée par le Unterseeboot type XXI de l'Allemagne nazie. Au cours des années 1950, les chantiers navals soviétiques ont produit plus de 200 bateaux de classe Whiskey.

Historique
Au cours des années 1950, l'Indonésie nouvellement indépendante a cherché à étendre son contrôle politique sur les îles périphériques, dont certaines arboraient encore le drapeau colonial néerlandais. Sous la direction du leader indépendantiste Soekarno, Jakarta a commencé à faire des achats importants d'armes soviétiques pour soutenir sa politique de « confrontation » consistant à utiliser la pression militaire. Ces acquisitions comprenaient douze sous-marins diesel-électriques soviétiques de 1470 tonnes de classe Whiskey et un ravitailleur de sous-marins (le KRI Ratulangi) pour les soutenir. Grâce à cet achat, l'Indonésie est devenue le premier pays d'Asie du Sud-Est à exploiter des sous-marins et, pendant environ une décennie, l'Indonésie a eu la plus grande flotte de sous-marins d'Asie du Sud-Est. Cela a commencé en 1959 avec deux sous-marins achetés via la Pologne : le RI Tjakra (S-01) et le RI Nanggala (S-02). La décennie suivante a vu une importante modernisation de la marine indonésienne, ainsi que l'achat en 1962 de dix autres sous-marins de classe Whiskey. Les sous-marins ont été livrés entre 1959 et 1962, avec des torpilles acoustiques anti-navires SAET-50 alors d'une technologie avancée. Les premiers équipages indonésiens ont reçu neuf mois de formation en anglais à Gdańsk, en Pologne, de la part d'instructeurs russes, y compris des croisières sur la mer Baltique.

Jakarta a rapidement utilisé ces sous-marins dans sa campagne pour le contrôle de la Nouvelle-Guinée occidentale, comme décrit par le contre-amiral Agung Pramono dans son Histoire de l'escadrille de sous-marins indonésiens. Jakarta a finalement atteint son objectif de forcer les Néerlandais à quitter la Nouvelle-Guinée occidentale. Puis, de 1963 à 1966, il s'est opposé militairement sans succès à la création d'un État malaisien indépendant, l'entraînant dans des affrontements répétés avec les forces australiennes.

Cependant, le réchauffement des relations de Sukarno avec l'Union soviétique a inspiré les efforts américains pour le déstabiliser. Enfin, en 1966-1967, la CIA a aidé à orchestrer un coup d'État militaire de droite, qui a entraîné le massacre de plus d'un demi-million de communistes indonésiens et de minorités ethniques. Cette boucherie a refroidi les relations avec l'Union soviétique, qui a cessé de fournir les pièces de rechange et l'expertise de maintenance nécessaires pour faire fonctionner les sous-marins, forçant l'Indonésie à cannibaliser la majeure partie de sa flotte dans les années 1970.

Après la chute de Soekarno en 1967, la marine indonésienne a commencé à se détourner de l'équipement soviétique et à se tourner vers la technologie occidentale. Les derniers sous-marins de classe Whiskey ont été désarmés vers 1990. Les KRI Tjakra (401) et KRI Nanggala (S-02) ayant été retirés du service, ils ont remplacés par les KRI Cakra (401) et KRI Nanggala (402) de type 209/1300 allemand construits par Howaldtswerke-Deutsche Werft à Kiel en 1981. C'est un type de sous-marin utilisé par de nombreuses marines dans le monde entier

Notes et références

Bibliographie
 .

Liens externes
 .
 .
 .
 .
 .

Voir aussi

Liens internes
 Liste des sous-marins de l'Indonésie

Sous-marin d'attaque conventionnel
Sous-marin de la marine indonésienne
Navire construit en Union soviétique
Bateau lancé en 1953

KRI Nanggala (S-02)


Les De Dietrich-Bugatti Type 3, 4 et 5 ou De Dietrich 24/28, 30/35, et 50/60 CV sont des voitures du constructeur automobile Lorraine-Dietrich-De Dietrich de Niederbronn en Alsace, produites à environ 100 exemplaires par Ettore Bugatti entre 1901 et 1904.

Histoire
Eugène-Dominique de Dietrich (dirigeant héritier de l'empire industriel De Dietrich, de la famille de Dietrich) développe une branche automobile Lorraine-Dietrich de son industrie en 1897 à Niederbronn près de Reichshoffen, à  au nord de Strasbourg en Alsace (avec la  de son neveu Adrien de Turckheim), pour produire des voitures d'Amédée Bollée fils, des Vivinus sous licence à partir de 1899, et Turcat-Méry en 1902. Il découvre en 1901 la Bugatti Type 2 d'Ettore Bugatti (agé de 20 ans) au salon automobile de Milan, et l'engage alors comme chef-designer associé en 1902, avec Émile Mathis pour la commercialisation.

Ettore Bugatti conçoit alors des voitures « De Dietrich-Bugatti » déclinées de sa Bugatti Type 2, avec 3 puissances de moteurs 4 cylindres en ligne 8 soupapes OHV de 5,3 à 12,9 litres de cylindrée :
 1902 : De Dietrich-Bugatti Type 3 ou De Dietrich 24/28 CV (5,3 litres) 85 km/h
 1903 : De Dietrich-Bugatti Type 4 ou De Dietrich 30/35 CV (7,4 litres) 90 km/h
 1903 : De Dietrich-Bugatti Type 5 ou De Dietrich 50/60 CV (12,3 litres) 120  km/h

Eugène de Dietrich se retire des affaires à l'age de 61 ans en 1905 (Lorraine-Dietrich poursuit alors la fabrication de voitures jusqu'à sa fusion avec Gnome et Rhône en 1941). Ettore Bugatti s'associe alors en 1905 avec Mathis d'Émile Mathis à Strasbourg, pour fabriquer des Mathis Hermès Simplex (Bugatti Type 6 et 7), puis des Bugatti Type 8 et 9 en 1907 chez Deutz AG, avec Nikolaus Otto et Gustav Otto, avant de fonder sa propre industrie Bugatti et usine Bugatti de Molsheim en 1909, pour fabriquer sa Bugatti Type 10 et modèles suivants...

Palmarès partiel
 1901 : 47 de la course Paris-Berlin, avec Adrien de Turckheim.
 1902 : 40 et 50 de la course automobile Paris-Vienne.
 1902 : 4 de la course de côte du Semmering, avec Ettore Bugatti.
 1903 : 4 de la course automobile Paris-Madrid, avec Charles Jarrott.

Quelques concurrentes de l'époque
Mercedes 35 CV et Simplex (1900), Peugeot Type 36 (1901), Fiat 12 HP (1901), Renault Type G et K (1902), Ford 999 et Ford A (1902), De Dion-Bouton K1 (1902), Rolls-Royce 10 HP (1904)...

Bibliographie
 2011 : Bugatti et De Dietrich, par Norbert Steinhauser

Notes et références

Voir aussi

 Bugatti
 Cité de l'automobile
 Usine Bugatti de Molsheim
 Liste des automobiles Bugatti
 Liste des succès en courses de Bugatti
 Histoire de l'automobile - Chronologie de l'automobile

Liens externes
 Site officiel de Bugatti
  à Molsheim.
  à Molsheim.
  du château de Dietrich de Reichshoffen (Alsace).

Automobile Bugatti
Automobile des années 1900

De Dietrich-Bugatti


Lloque Yupanqui (kečua. Lluq'i Yupanki) (Inticancha, ? - Inticancha, o. 1288.), treći vladar Kraljevstva Cusco (o. 1258. - o. 1288.) iz dinastije Cuzcohurina. Nasljedio je vlast od svoga oca Sinchija Roce, iako je bio mlađi sin koji je zaobiđen u sustavu nasljeđivanja prijestolja. Majka mu je bila Mama Huaco.

Naslijedio ga je sin Mayta Cápac.

Inke

Lloque Yupanqui


Tate je srbijanska televizijska serija. Snimljena je prema argentinskoj licenci telenovele Sres. papis.

Glavni redatelji su Stanko Crnobrnja, Vlada Aleksić i Filip Čolović.

Talavizijska serija sastoji se od dvije sezone: prva od 88 epizode, a druga od 92 epizode. Posljednja epizoda emitirana je 19. veljače 2021. godine na Prvoj TV u Srbiji.

Radnja

Radnja serije smještena je u Beograd. Glavni likovi su četiri oca: Petar, Vlada, Marko i Toma. Oni su moderni muškarci, koji kroz očinstvo postaju prijatelji. Vlada je tradicionalni i pomalo grub vlasnik pizzerije, otac trojice dječaka koji ima probleme sa ženom zbog ljubomore. Marko je nezadovoljni glumac, koji ima nestabilan posao, bivšu ženu i dvije kćerke, ali i novu, ambicioznu ženu, koja mu je rodila sina. Petar je uspješni odvjetnik, koji je zaljubljen u sebe i svoj način života, koji se iz korijena mijenja kada shvati da ima sina za koga nije znao. Toma je uglađeni veterinar, koji se doselio u Beograd s kćerkom, posle smrti supruge, kako bi počeo novi život. Životi ove četvorice junaka isprepleću se na neobičan način, što će dovesti do različitih životnih obrta, smjeh, intriga, suza, rastanaka, novih ljubavi i prijateljstava u koje će biti upleteni razni ljudi, njihovi prijatelji, žene, djevojke i suradnici.

Pregled serije

Glazba
Naslovnu pjesmu "Prijatelji" izvodi Marija Šerifović.

Glumačka postava

Izvori

Srbijanske serije
Dramske serije

Tate (televizijska serija)


Vialonga Portekiz'de Vila Franca de Xira belediyesine bağlı olan, 17,52 km2 yüzölçümüne sahip, 15.471 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Portekiz'in freguesiaları
Vila Franca de Xira

Vialonga


Horizonte do solo é a designação usada no âmbito das ciências do solo e das ciências agrárias para cada uma das camadas aproximadamente paralelas à superfície do solo cujas características físicas, químicas e biológicas diferem consistentemente das camadas acima e abaixo. Os horizontes resultam dos processos de pedogénese e são geralmente definidos por características físicas distintivas fáceis de observar, principalmente pela cor e textura. Estas características distintivas podem ser descritos em termos absolutos (pela distribuição de tamanho de partícula da textura ou pelo so de uma escala de cores, por exemplo) ou em termos relativos ao material circundante (ou seja, 'mais grosso' ou 'mais arenoso', ou 'mais claro' ou 'mais escuro' do que os horizontes acima e abaixo).

Descrição
Um horizonte do solo é o resultado dos processos de formação do solo (pedogénese). As camadas que não passaram por tais processos podem ser simplesmente chamadas de "camadas" e entendidas no contexto dos processos geológicos, nomeadamente como resultado de mecanismos aluvionares, de derrocadas ou outras formas de deposição em camadas de material geológico.

Muitos solos têm uma camada superficial orgânica, que é denominada com a letra "O" maiúscula (as letras podem diferir dependendo do sistema de classificação usado). O solo mineral geralmente começa com um horizonte A. Se existe um horizonte de subsolo bem desenvolvido como resultado da formação do solo, geralmente é chamado de horizonte B. Um horizonte subjacente de material amolecido, mas pouco desenvolvido, é designado por horizonte C. O leito rochoso duro é é geral denominado R. A maioria dos sistemas de classificação dos solos definiu mais horizontes e camadas do que apenas estas cinco, mas ainda assim, estas podem ser consideradas como «horizontes mestres» ou «horizontes principais», sendo a base da estrutura de classificação da quase totalidade dos sistemas.

Os solos com um histórico de interferência humana, por exemplo, através de grandes obras de terraplenagem ou lavoura profunda regular, podem carecer quase completamente de horizontes distintos. Ao examinar os solos no campo, deve-se prestar atenção à geomorfologia local e aos usos históricos aos quais a terra foi submetida, a fim de garantir que os nomes apropriados sejam aplicados aos horizontes observados.

Na generalidade dos sistemas de classificação, os horizontes identificados são indicados com símbolos, que são usados principalmente de forma hierárquica. Os horizontes mestres (horizontes principais) são indicados por letras maiúsculas. Os sufixos, na forma de letras minúsculas e algarismos, diferenciam ainda mais os horizontes, criando subcategorias. Existem muitos sistemas diferentes de símbolos de horizonte em uso em diferentes regiões. Nenhum sistema é o mais correto, pois como construções artificiais, a sua utilidade reside na capacidade de descrever com precisão as condições locais de maneira consistente. Devido às diferentes definições dos símbolos representativos de cada tipo de horizonte, os sistemas não podem ser misturados.

Na maioria dos sistemas de classificação do solo, os horizontes são usados para definir os tipos de solo. Por exemplo, o sistema de classificação alemão usa sequências de horizonte inteiras para definição do tipo. Outros sistemas escolhem determinados horizontes, os «horizontes de diagnóstico», para definição do tipo. Exemplos do uso de horizontes diagnóstico são os sistemas da World Reference Base for Soil Resources (WRB), da USDA e da CSIRO (Austrália).

Os horizontes diagnósticos são geralmente indicados com nomes, como «horizonte câmbico» (cambic) ou «horizonte espódico» (spodic). O WRB lista 40 horizontes de diagnóstico. Além desses horizontes de diagnóstico, algumas outras características do solo podem ser necessárias para definir um tipo de solo. Alguns solos não apresentam um claro desenvolvimento de horizontes.

Estrutura típica de um solo

Na tabela que se segue, os horizontes são listados pela sua posição de cima para baixo ao longo do perfil do solo. Nem todos os horizontes estão presentes em todos os solos.

Conceitos de «horizonte» e «camada»
O termo «camada», denotando uma estrutura de origem geogénica ou antropogénica, deve ser distinguido do termo «horizonte do solo». Uma camada é o resultado de processos de génese geológica ou antropogénica, como a sedimentação natural ou o aterro artificial e a terraplenagem. Pode ser reconhecido por uma mudança no material que não é causada pelos processos de formação do solo (por exemplo, areia sobre argila). Os horizontes do solo, por outro lado, são o resultado da pedogénese (formação do solo).

O solo pode ser constituído por uma ou mais camadas (sólidas ou soltas). Como regra, formam-se vários horizontes em cada camada. Contudo, os solos constituídos por estratos muito delgados, ou estratos com pedogénese ainda não avançada, por vezes mostram apenas um único horizonte. Por outro lado, a pedogénese pode fazer com que camadas originalmente existentes deixem de ser reconhecíveis no perfil do solo e que várias camadas apareçam como um único horizonte.

O exemplo a seguir pretende explicar a diferença entre um horizonte (pedogénico) e uma camada (geogénica). No sopé dos Alpes, é frequente encontrar uma camada de loess sobre uma camada de depósitos neogénicos. O loess contém carbonato de cálcio, mas os sedimentos neogénicos apresentam-se muitas vezes livres de carbonatos. A pedogénese ocorreu em ambos os estratos. Na camada de loess há acumulação de húmus, lixiviação de carbonato, alteração dos silicatos primários com a formação de argilominerais e óxidos (especialmente óxidos de ferro) e, finalmente, os efeitos da lessivagem que ao remover argilas produzem uma mudança da cor do solo. Se a camada de loess não for muito espessa, ficou completamente livre de carbonatos no decorrer do Holoceno e deixou de apresentar um horizonte C. Então a sequência do horizonte é Ah / Al / Bt. A formação do solo também ocorre na camada do Neogeno, que muitas vezes começou muito antes do Holoceno. Ocorre meteorização dos silicatos com formação de minerais de argila e óxidos. Os minerais argilosos da fina camada de loess são muitas vezes arrastados para a parte superior da camada do Neogeno. Esta camada tem assim a sequência de horizonte Btv / Bv / ilCv. Toda a sequência do horizonte do solo é: Ah / Al / Bt / IIBtv / IIBv / IIilCv. Os algarismos romanos II designam a segunda camada.

Neste contexto, e feita a destrinça em relação a camadas com origem nos processos meramente geodinâmicos e antrópicos, conclui-se que os horizontes do solo são estruturas presentes nos solos que apresentam características e propriedades uniformes com origem nos processos de pedogénese e que diferem marcadamente das estruturas situadas acima ou abaixo no perfil do solo. O factor distintivo determinante é a sua origem nos processos de formação e desenvolvimento do solo (a pedogénese), os quais geralmente afetam ou permeiam o solo verticalmente de cima para baixo, daí a estrutura dos horizontes ser aproximadamente paralela à superfície do solo.

Os processos de pedogénese são principalmente processos naturais, ou seja, físicos ou químicos de alteração dos materiais geológico e orgânicos pela meteorização (efeitos do calor, frio, precipitação), atividade biológica (do édafon, com destaque para os efeitos das raízes das plantas, da escavação por animais e do efeitos das minhocas e dos micro-organismos do solo), da lixiviação e de outros mecanismos de transporte de substâncias pelas águas de infiltração (com destaque para a iluviação e eluviação e para a lessivagem). Nas regiões povoadas, e especialmente nos solos agricultados, as componentes antropogénicas têm grande influência (realocação do solo, entrada de material, lavoura).

Nomenclatura dos horizontes

Estão em uso múltiplos sistemas de classificação dos solos, nos quais a nomenclatura utilizada para designar os diferentes horizontes do solo difere marcadamente. Estes sistemas também diferem na utilização de horizontes e camadas intermédios, para além dos horizontes mestres atrás apontados, e na utilização de sufixos e de outros qualificativos para distinguir parâmetros físico-químicos e de pedogénese nos diferentes horizontes.

Outra área de diferenciação entre sistemas de classificação é o uso de horizontes de diagnóstico, com uma complexa terminologia associada, visando uma melhor descrição dos horizontes e dos mecanismos de pedogénese que estão na sua origem.

Assim, a título meramente exemplificativo, nas tabelas seguintes são apontados, em relação aos sistemas de classificação mais comuns, as definições e a nomenclatura utilizada para os principais horizontes do solo.

 Normas da Base de Referência Mundial para Recursos de Solos (conforme o WRB Manual)

A Base de Referência Mundial para Recursos de Solos (WRB, World Reference Base for Soil Resources) é a norma internacional taxonómica do sistema de classificação de solos da União Internacional das Ciências do Solo (IUSS, International Union of Soil Sciences), desenvolvida a nível internacional sob a coordenação do Centro Internacional de Informação e de Referência de Solos (ISRIC, International Soil Reference and Information Centre) com o patrocínio da IUSS e da Divisão de Fomento de Terras e Águas da Organização das Nações Unidas para a Alimentação e a Agricultura (FAO), cuja classificação de solos substituiu. Tendo em conta esta substituição, foram també aqui incluídas as recomendações da FAO contidas nas Guidelines for Soil Description (2006).

O capítulo 10 do WRB Manual (edição de 2022), editado pelo International Soil Reference and Information Centre (ISRIC), agora World Data Centre for Soils (WDC-Soils), contém um conjunto de definições gerais que servem de base à descrição dos horizontes do solo contida na tabela que se segue. Essas definições são as seguintes:
 Terra fina (ou matriz do solo) — os constituintes minerais do solo com diâmetro eficaz ≤ 2 mm (geralmente subdividida para efeitos texturais em areia, silte e argilas). O solo total compreende a terra fina, fragmentos grosseiros, artefactos, partes cimentadas e resíduos de plantas mortas de qualquer tamanho.
 Manta morta (ou serrapilheira) — uma camada solta que contém > 90% (em volume, com referência à terra fina mais todos os resíduos vegetais mortos) de tecidos vegetais mortos reconhecíveis (por exemplo, folhas não decompostas). O material vegetal morto ainda conectado a plantas vivas (por exemplo, partes mortas de musgos do género Sphagnum) não é considerado parte da camada de manta morta. A «superfície do solo» (0 cm) é por convenção a superfície do solo após a remoção, se presente, da camada de manta morta e, se presente, abaixo da camada de plantas vivas (por exemplo, de musgos vivos). A «superfície do solo mineral» é o limite superior da primeira camada constituída por material mineral.
Camada de solo — camada, aproximadamente paralela à superfície do solo, com propriedades diferentes das camadas acima ou abaixo. Se pelo menos uma dessas propriedades for resultado de processos de formação do solo, a camada é designada por «horizonte do solo». Em consequência, o termo «camada» é usado para indicar a possibilidade de que os processos de formação do solo não tenham ocorrido.

As seguintes camadas são distinguidas e usadas como materiais de diagnóstico (ver Capítulo 3.3 do Manual WRB):
 Camadas orgânicas — constituídas por material orgânico, apresentando um teor de carbono orgânico ≥ 20% em volume, não incluindo artefactos, e tomando como base de referência a terra fina mais os resíduos de plantas mortas (com comprimento e diâmetro ≤ 5 mm) que não façam parte da camada de manta morta.
 Camadas organotécnicas — constituídas por material organotécnico: com artefactos que representam ≥ 35%, em volume, relativo ao solo total, contendo ≥ 20% de carbono orgânico, e com < 20% de carbono orgânico, não consistindo em artefactos (em relação à terra fina mais os resíduos vegetais mortos de qualquer comprimento e diâmetro ≤ 5 mm).
 Camadas minerais — são todas as outras camadas.
A designação consiste numa letra maiúscula (símbolo mestre), que na maioria dos casos é seguida por uma ou mais letras minúsculas (sufixos).

O sistema WRB, como aliás a maioria dos sistemas de classificação, recorre a um conjunto de letras que são usadas como sufixos para os símbolos principais. Na tabela que se segue, entre colchetes é indicado a quais símbolos mestres cada um dos sufixos pode ser adicionado. Os sufixos «e e «i» têm significados diferentes para camadas orgânicas e minerais. Em resultado da utilização de sufixos, uma letra minúscula adicionada fornece mais informações sobre as propriedades de um horizonte de solo. Duas letras também podem ser combinadas para indicar mais propriedades, por exemplo Ahz, Btg ou Cck.

Horizontes de diagnóstico
Muitos sistemas de classificação de solos têm horizontes de diagnóstico. Um horizonte de diagnóstico é um horizonte usado para definir unidades taxonómicas do solo (por exemplo, para definir o tipo de solo).

A presença ou ausência de um ou mais horizontes diagnóstico numa determinada profundidade é utilizada para a definição de uma unidade taxonómica. Além disso, a maioria dos sistemas de classificação usa algumas outras características do solo para a definição de unidades taxonómicas.

Os horizontes diagnósticos precisam ser minuciosamente definidos por um conjunto de critérios. Apenas a verificação de que todos os horizontes de um solo cumprem os requisitos estabelecidos para a unidade taxonómica e de que está presente o respetivo horizonte diagnóstico permite atribuir um solo (um pedon ou um perfil do solo) a determinada unidade taxonómica.

Cumpridos os restantes critérios, apenas com base nos horizontes diagnóstico identificados se pode proceder à alocação do solo a uma unidade taxonómica determinada.

Para os principais sistemas de classificação são listados os horizontes diagnóstico. Tendo em conta a utilização padronizada dos termos (e o facto destes não serem diretamente palavras de qualquer língua), opta-se pela manutenção dos termos originais, apenas incluindo entre parêntesis a versão aportuguesada quando a mesma tenha uso corrente.

Base de Referência Mundial para Recursos de Solos (WRB)
A Base de Referência Mundial para Recursos de Solos (WRB, World Reference Base for Soil Resources) é a norma internacional taxonómica do sistema de classificação de solos da União Internacional das Ciências do Solo (IUSS, International Union of Soil Sciences), desenvolvida a nível internacional sob a coordenação do Centro Internacional de Informação e de Referência de Solos (ISRIC, International Soil Reference and Information Centre) com o patrocínio da IUSS e da Divisão de Fomento de Terras e Águas da Organização das Nações Unidas para a Alimentação e a Agricultura (FAO), cuja classificação de solos substituiu. Os horizontes diagnóstico utilizados são os seguintes:

 Horizonte albic (álbico)
 Horizonte anthraquic (antráquico)
 Horizonte argic (árgico)
 Horizonte calcic (cálcico)
 Horizonte cambic (câmbico)
 Horizonte chernic (chérnico)
 Horizonte cohesic (coesico)
 Horizonte cryic (críico)
 Horizonte duric (dúrico)
 Horizonte ferralic (ferrálico)
 Horizonte ferric (férrico)
 Horizonte folic (fólico)
 Horizonte fragic (frágico; fragipã)
 Horizonte gypsic (gípsico)
 Horizonte histic (hístico)
 Horizonte hortic (hórtico)
 Horizonte hydragric (hidrágrico)
 Horizonte irragric
 Horizonte limonic (limónico)
 Horizonte mollic (mólico)
 Horizonte natric (nátrico)
 Horizonte nitic (nítico)
 Horizonte panpaic (pampaico)
 Horizonte petrocalcic (petrocálcico)
 Horizonte petroduric (petrodúrico)
 Horizonte petrogypsic (petrogípsico)
 Horizonte petroplinthic (petroplíntico)
 Horizonte pisoplinthic (pisoplíntico)
 Horizonte plaggic
 Horizonte plinthic (plíntico)
 Horizonte pretic
 Horizonte protovertic
 Horizonte salic (sálico)
 Horizonte sombric (sômbrico)
 Horizonte spodic (espódico)
 Horizonte terric (térrico)
 Horizonte thionic (tiónico)
 Horizonte tsitelic
 Horizonte umbric (ûmbrico)
 Horizonte vertic (vértico)

Taxonomia dos Solos do USDA
Os seguintes horizontes diagnóstico são usados pelo Sistema de Taxonomia dos Solos do USDA:

Horizontes diagnóstico de superfície (epipedon)

 Anthropic epipedon
 Folistic epipedon
 Histic epipedon
 Melanic epipedon
 Mollic epipedon (ver Mollisols)
 Ochric epipedon
 Plaggen epipedon
 Umbric epidpedon

Horizontes de diagnóstico sub-superficiais

 Agric
 Albic
 Anhydric
 Argillic
 Calcic
 Cambic (câmbico)
 Camada duripan
 Camada fragipan
 Glossic
 Gypsic
 Kandic
 Natric
 Nitic
 Camada Ortstein
 Oxic
 Petrocalcic
 Petrogypsic
 Petroplinthic
 Placic (plácico)
 Salic
 Sombric
 Spodic (espódico)

Referências

Bibliografia
 Soil-Net section on soil horizons.

 Survey Manual, 1993
 Soil Survey Manual (March 2017)

Ver também
 Horizonte arqueológico

Pedologia

Horizonte (solo)


Ahuna Mons je planina koja se nalazi na Cereri, patuljastom planetu. Ova planina je zanimljiva po tome što se odmah pokraj nje nalazi krater, a jedina je takva planina na Cereri, a ujedno je i najveća na tom patuljastom planetu.

Svijetle se pruge protežu njenim padinama od vrha do dna; ove pruge su mislili da se sol, slično kao mnogo poznatije Cererine svjetle točke, međutim sada se smatra vjerojatno proizlazi iz krivovulkanske aktivnosti iz Cererine unutrašnjosti. Ime je dobilo po tradicionalnom festivalu poslije žetve Ahuna od Sumi Naga ljudi Indije. U srpnju 2018. NASA je objavila usporedbu fizičkih karakteristika, uključujući Ahuna Monsa, pronađenog na Cereri sa sličnim onima koji su prisutni na Zemlji.

Planina je otkrivena na snimcima svemirske letjelice Dawn u orbiti oko Cerere 2015. godine. Procjenjuje se da ima prosječnu visinu od oko 4 km i maksimalnu visinu od oko 5 km na njezinoj najstrmijoj strani; široka je oko 20 km u podnožju.

Predloženo je da se Ahuna Mons formira kao kriovulkan. To je najbliži poznati kriovulkan Suncu. Nalazi se na suprotnoj strani od najvećem udarnom bazenu na Cereri, Kerwan, koji je promjera 280 km. Seizmička energija od utjecaja koja je stvorila Kerwan možda je bila usmjerena na suprotnu stranu Cerere, lomivši vanjske slojeve područja i olakšavajući kretanje kriovolkanske magme visoke viskoznosti (koja se sastoji od muljevitog vodenog leda omekšanog sadržajem soli), uzrokovavši izbijanje na površinu. Broj kratera sugerira da se formiranje planine nastavilo u posljednjih nekoliko stotina milijuna godina, što čini Ahunu mons relativno mlado geološko obilježje.

Ahuna Mons povezana je s anomalijom pozitivne mase ili maskonom usredotočenom na oko 32–36 km (20–22 milje) ispod nje, nedaleko granice granice plašta. To sugerira da je nastao od nabora blata koji se uzdizao iz plašta.

Izvanzemaljske planine
Cerera

Ahuna Mons


Antelope is a census-designated place in Sacramento County, California, United States located approximately  northeast of downtown Sacramento and  southwest of Roseville. The population was 45,770 at the 2020 census.

Geography

According to the United States Census Bureau, the community has a total area of . Antelope is mostly flat, with very few hills and no major bodies of water.

The northern border of Antelope falls directly onto the line between Sacramento County and Placer County.

The eastern border first follows Roseville Road south from the county line to Butternut Drive. Then the border continues in the same general direction to Antelope Road, so that parcels on Adagio Way, Andante Drive and Katella Way are within Antelope CDP.

The southern border follows Antelope Road.

The western border has two parts. The first part extends from Antelope Rd northwards toward Elverta Rd along 28th St. The second part extends from Elverta Rd towards the Placer county line, along Dry Creek.

The boundaries were drawn and the town name established by a vote in 1993 to establish the community's identity.  The Antelope, CA town designation began July 1, 1994. The ZIP code for Antelope: 95843

History

In the late 1800s, Antelope was the only significant settlement in the Center Township, an area bounded on the North by the Placer county line, on the East by what is now Sunrise Blvd., on the South by the American River, and on the West by the line along 20th St in Rio Linda south to Ethan Way in the Arden-Arcade area. The population of the entire township in 1880 was about 400 people.  Many of the railroad workers made their homes here and eventually stayed permanently. Gradually, workers left the area and Antelope became just another small community with little business.

On April 28, 1973, Antelope consisted of a post office, general store and a half-dozen homes. However, at 8:03 a.m., a rail car loaded with aircraft bombs exploded in the southern part of the Southern Pacific's Roseville Yard, destroying the general store and damaging most of the homes.  This event changed Antelope forever - it basically was blown away.

What is known as Antelope today mostly began as a planned community in the late 1980s. It consisted of mainly single-family homes and apartments. Due to the relative newness of the community, most homes are new and the area is well planned out. The proposed and ultimate closure of nearby McClellan Air Force Base between the years 1993-2001 did have a slowing-down economic impact upon this area (the "North Watt Avenue corridor").  Antelope received its own postmark and recognition as a community by the U.S. Postal Service on 1 July 1994.

Demographics

2010
The 2010 United States Census reported that Antelope had a population of 45,770. The population density was . The racial makeup of Antelope was 29,200 (63.8%) White, 4,039 (8.8%) African American, 402 (0.9%) Native American, 6,090 (13.3%) Asian, 407 (0.9%) Pacific Islander, 2,284 (5.0%) from other races, and 3,348 (7.3%) from two or more races.  Hispanic or Latino of any race were 6,635 persons (14.5%).

The Census reported that 45,686 people (99.8% of the population) lived in households, 57 (0.1%) lived in non-institutionalized group quarters, and 27 (0.1%) were institutionalized.

There were 14,159 households, out of which 7,138 (50.4%) had children under the age of 18 living in them, 8,259 (58.3%) were opposite-sex married couples living together, 2,184 (15.4%) had a female householder with no husband present, 860 (6.1%) had a male householder with no wife present.  There were 888 (6.3%) unmarried opposite-sex partnerships, and 106 (0.7%) same-sex married couples or partnerships. 2,107 households (14.9%) were made up of individuals, and 447 (3.2%) had someone living alone who was 65 years of age or older. The average household size was 3.23.  There were 11,303 families (79.8% of all households); the average family size was 3.59.

The population was spread out, with 14,253 people (31.1%) under the age of 18, 4,495 people (9.8%) aged 18 to 24, 13,238 people (28.9%) aged 25 to 44, 10,931 people (23.9%) aged 45 to 64, and 2,853 people (6.2%) who were 65 years of age or older.  The median age was 31.4 years. For every 100 females, there were 94.3 males.  For every 100 females age 18 and over, there were 91.2 males.

There were 14,847 housing units at an average density of , of which 9,663 (68.2%) were owner-occupied, and 4,496 (31.8%) were occupied by renters. The homeowner vacancy rate was 2.7%; the rental vacancy rate was 3.9%.  30,801 people (67.3% of the population) lived in owner-occupied housing units and 14,885 people (32.5%) lived in rental housing units.

2000
As of the 2000 census, the United States did not define a census-designated place called Antelope, but it did define a Zip Code Tabulation Area (ZCTA), 95843. Because Antelope is contained within this ZCTA, it is possible to obtain Census data from the United States 2000 Census for the area even though data for "Antelope" is unavailable.

As of the census of 2000, there were 36,421 people, 11,655 households, and 9,341 families residing in the ZCTA of 95843. The population density was . There were 12,016 housing units at an average density of . The racial makeup of the ZCTA was 65.5% White, 10.1% African American, 0.9% Native American, 11.9% Asian, 0.6% Pacific Islander, 4% from other races, and 7% from two or more races. 10.7% of the population were Hispanic or Latino of any race.

There were 11,655 households, out of which 55.4% had children under the age of 18 living with them, 62.4% were married couples living together, 13.2% had a female householder with no husband present, and 19.9% were non-families. 1.8% had someone living alone who was 65 years of age or older. The average household size was 3.12 and the average family size was 3.47.

In the ZCTA the population was spread out, with 37.1% under age 20, 5.6% from 20 to 24, 48.6% from 25 to 54, 4.9% from 55 to 64, and 4% who were 65 years of age or older. The median age was 30.3 years. For every 100 females, there were 95.7 males. For every 100 females age 18 and over, there were 90.7 males.

The median income for a household is $59,151, and the median income for a family was $60,840. Males had a median income of $40,573 versus $32,302 for females. The per capita income for the community was $21,373. 5.4% of the population and 4.1% of families were below the poverty line. Out of the total people living in poverty, 2.5% are under the age of 18 and 4.6% are 65 or older.

Government
In the California State Legislature, Antelope is in , and in .

In the United States House of Representatives, Antelope is split between California's 3rd and 6th congressional districts, represented by  and , respectively.

Since Antelope is an unincorporated part of Sacramento County, all non-traffic related law enforcement incidents are handled by the Sacramento County Sheriff's Department, stationed out of the North Division.  All traffic related incidents occurring in unincorporated Antelope are handled by the California Highway Patrol North Sacramento Area Office.  All of the Center Unified School District property is mainly patrolled by the Twin Rivers Unified School District Police Department via contract, while both the Sunrise Parks and Recreation District and the Rio Linda Elverta Recreation and Parks District have a contract with the Fulton-El Camino Park Police Department.

Parks

Parks in Antelope are under the jurisdiction of the Sunrise Parks and Recreation District as well as the Rio Linda Elverta Recreation and Parks District, which are both policed under contract by the Fulton–El Camino Park Police Department.

Tetotom Park
Tetotom Park is located on the corner of Don Julio Blvd and North Loop Dr in Antelope near Antelope Crossing Middle School. It consists of a plastic playground, two tennis courts, a volleyball court, a multipurpose field, and a baseball diamond. It also contains four barbecues.

Pokelma Park
Pokelma Park is located on Quiet Knolls Drive off of Elverta Road (behind WinCo Foods). It consists of a plastic playground, two tennis courts, a basketball court, and a baseball diamond.

Lone Oak Park
Lone Oak Park is at Elverta and Gray Mare Way, located directly next to Center High School, with a gate for students to enter from the park. It consists of a plastic playground updated with First 5 Grant money in 2009, swings with handicap access, a baseball field, a soccer field, with many benches and trees to sit under.

Blue Oak Park
Blue Oak Park is located at Big Cloud and Heathston Ct, behind Bel-Air Market (Big Cloud leads to a dead end at Old Walerga, which is blocked by a fence from both the park and Big Cloud). It consists of multiple plastic playground and a big, grassy field. There are no restrooms.

Northbrook Park (formerly Antelope Greens Park)
This park is located at Meadow Hawk and Tourmaline Way, which is in a neighborhood between Center High School and McClellan High School off Watt Ave. It is almost hidden to the public, behind some houses and the offskirts of a golf course (which is blocked by a huge fence). You cannot actually see the park from the streets, just the paved bike path and a big gate, which is closed and locked at night. The park contains one half-court basketball court. It is located directly next to Dry Creek, and on the other side of the creek lies Gibson Ranch. This park is not operated by Sunrise Parks and Recreation District. Locals call it Hidden Park.

Antelope Community Park
Antelope Community Park is mainly known as The Park of Dreams, which is the name listed on a painted wall in front of the park. It is located at 8012 Palmerson Drive, between a huge dirt field and the local fire station. The park formerly consisted of a wooden playground that has since been replaced with a plastic and metal playground offering several unique playsets. The park has a trail through the dirt field and many benches in the  park.

Antelope Station Park
Antelope Station Park is a park for young children. Contains one small play set, a garden and some benches. It is located at 6306 Outlook Drive.

Almond Grove
Almond Grove is located at 7691 Eagle Point Way. It consists of a  field with no playsets.

Firestone Park
Firestone park is a  park located at 5415 Poker Lane near Olive Grove Elementary School. It consists of a baseball diamond, two basketball courts, a multipurpose field, a soccer field, benches, bike racks, BBQ and covered picnic tables. The park has children's playsets. This is also where the 2015 Antelope Little league Baseball champions The Braves practice.

Roseview Park
Roseview Park is a  park located at 5848 Ridgepoint Drive. It consists of a play area, a BBQ, a garden area, a baseball diamond and a basketball court.

Schools
The following a list of the schools serving Antelope:

Center Unified School District

Elementary schools (K-5)
 Oak Hill Elementary School
 Dudley Elementary School
 North Country Elementary School
 Spinelli Elementary School

Junior high schools

 Wilson C. Riles Middle School

High schools
 Center High School
Antelope High School
 McClellan Continuation High School

Charter schools
 Antelope View Charter School (located at the lower part of the old Center Junior High School)
 Global Youth Charter School (Formerly located at the lower part of the old Center Junior High School. Permanently Closed since 2017.

Dry Creek Joint Elementary School District

Elementary schools (K-5)
 Antelope Meadows Elementary
 Barrett Ranch Elementary
 Olive Grove Elementary
 Heritage Oak Elementary
 Coyote Ridge Elementary
 Quail Glen Elementary
 Dry Creek Elementary

Junior high schools (6-8)
 Antelope Crossing Middle School
 Creekview Ranch Middle School
 Silverado Middle School

Roseville Joint Union High School District
 Antelope High School

Utilities
Sacramento Municipal Utility District provides electric service to the area and PG&E provides natural gas service. Antelope is served by Consolidated Communications, Comcast, and AT&T for its telephone and Internet needs. Not all three providers are available in all areas of the city.

References

External links

 Archive of Antelope official webpage on Sacramento County website, dated June 13, 2010
 Official Sacramento County Website
 Antelope Community Web
 Sunrise Recreation Park District - Antelope

Census-designated places in Sacramento County, California
Census-designated places in California

Antelope, California


Podsavezna nogometna liga Celje je bila liga četvrtog stupnja nogometnog prvenstva Jugoslavije u sezoni 1960./61.  Sudjelovalo je ukupno 9 klubova, a prvak je bio "ŽŠD Celje".

Ljestvica

Rezultatska križaljka

 Izvori:

Povezani članci
 Slovenska zona 1960./61.
 Podsavezna liga Maribor 1960./61.

Vanjske poveznice

Izvori

 Godišnjak FSJ 1960-61, Beograd, 1961., ISSN: 0351-2894

1960-61 Celje
SLO 2 Celje
1960-61 2 Celje
1960-61 2 Celje

Podsavezna nogometna liga Celje 1960./61.


Simple Plan 1999 yılında Montreal, Kanada`da kurulan bir punk rock grubudur. Beş elemanın hepsi de Québec bölgesinde büyüyen Fransız asıllı Kanadalı`lardır. Grup dört albüm yayımlamıştır No Pads, No Helmets... Just Balls (2002) ve Still Not Getting Any (2004)Simple Plan(2008) Get your heart on! (2011); bunun yanında iki tane de canlı CD`si vardır Live in Japan (2002) ve MTV Hard Rock Live (2005).

Geçmişi
Grubun kökenleri aslında 1995 çıkışlı Reset grubuna dayanır. Reset 1997`de ilk albümünü çıkardığı zaman MxPx, Ten Foot Pole ve Face to Face gibi gruplarla turneye çıkıyordu. Pierre Bouvier ve Charles-André (Chuck) Comeau da bu gruptaydı o sıralarda. 1999`un sonuna doğru ise Simple Plan grubunu oluşturmak için buradan ayrıldılar.

Grubun adının nereden geldiği tam olarak bilinmemektedir. Elemanlar farklı cevaplar vermekle birlikte gerçek bir "iş"ten kurtulmak için bir grup kurmanın kolay bir yol olacağını düşündüklerinden akıllarına bu ismin geldiğini söylemektedirler. Bouvier ise yakın bir zamanda "bir grup kurmak zengin olmak için en basit plandır" diyerek grubun adıyla ilgili yeni bir şey söylemiştir.

Diskografi

Stüdyo albümleri
 No Pads, No Helmets...Just Balls (2002) #35 US [2x Platinum], #29 AUS, #38 CAN [4x Platinum], #1 JP (2x Platinum)
 Still Not Getting Any... (2004) #3 US [Platinum], #6 AUS [2x Platinum], #5 CAN [4x Platinum], #6 JP [Platinum], France #12
 3. Stüdyo albümü Simple Plan (12/02/2008)
 Get Your Heart On! (21/06/2011)

 Diğer Albümleri
 Live in Japan 2002  (2002)
 Live in Anaheim, CA Febrvary 21, 2004 (2004) (satılmadı, 25000 kopya promosyon olarak verildi.)
 MTV: Hard Rock Live'' (CD/DVD) (2005)

Kaynakça

Dış bağlantılar

 Offical Site
 Simple Plan Türkiye Fan Sitesi

Kanadalı alternatif rock grupları
Kanadalı pop punk grupları
Montreal'de müzik
Juno Ödülü sahipleri
1999'da kurulan müzik grupları

Simple Plan


Giovanni Lavaggi (Augusta, Italija, 30. veljače 1958.) je talijanski vozač automobilskih utrka.

Godine 1991. natjecao se u Formuli 3000, a 1993. osvaja naslov u Interserie kategoriji. Godine 1994. povremeno nastupa u Indycaru, a 1995. pobjeđuje na utrci 24 sata Daytone. Karijeru u Formuli 1 je započeo 1992., kada je testirao za momčad March. 1995. nastupa za momčad Pacific, a 1996. za momčad Minardi. U obje sezone nije uspio osvojiti bodove. Na utrci 24 sata Le Mansa natjecao se pet puta, a 1992. je osvojio drugo mjesto u svojoj kategoriji.

Vanjske poveznice
Giovanni Lavaggi na racing-reference.com
Giovanni Lavaggi F1 statistika na statsf1.com

Talijanski vozači Formule 1

Giovanni Lavaggi


An Trojany usa nga barrio ha Polonya. Nahimutang ini ha butnga han Wołomin ngan Warsovya, harani ha Dąbrówka. An populasyon hini 490 nga molupyo (sumala hin impormasyon tikang han 2014).

Mga baryo ha Polonya

Trojany


برج الجوزاء هو ثالث برج من الأبراج الإثنى عشر من من دائرة البروج أي قوس من دائرة مسار الشمس (رمزها ). برج من الجهة الشمالية للسماء. تمر الشمس في برج الجوزاء من 21 مايو إلى 21 يونيو. تكون الشمس في هذا البرج عند أواخر الربيع. في الماضي البعید کانت كوكبة الجوزاء (التوأمان) في هذه البرج ویُسمی بالجوزاء والیوم کوکبة فلکیة الثور فیها نتيجة لتقدم محور الأرض.

جوزاء

برج الجوزاء


Č أو č هو حرف لاتيني يشبه في طريقة كتابته طريقة كتابة حرف C لكن بإضافة Caron في أعلى الحرف، يلفظ هذا الحرف عادة بطريقة لفظ صوت لحرف ساكن وهو [tʃ] أو بالعربية «تش» بتسكين حرف الشين، أو كلفظ حرف چ، يكتب هذا الحرف بترميز ينيكود: U+010C للحرف الكبير وU+010D للحرف الصغير.

أصل الحرف
ظهر هذا الحرف في القرن الخامس عشر في اللغة التشيكية ضمن إصلاحات Jan Hus، وقد أستخدم هذا الحرف أيضا في اللغة الكرواتية عام 1830م من قبل Ljudevit Gaj، وقد أستخدم هذا الحرف أيضا في اللغة السلوفاكية، والسلوفانية.

اللغات التي تستعمل هذا الحرف
يستخدم هذا الحرف في عدة لغات وهي: التشيكية، الكرواتية، السلوفانية، البوسنية، والصربية، والمقدونية. وفي جميع هذه اللغات يلفظ [tʃ]، أو ما يقابله بالأبجدية السيريلية حرف Ч، أو ما يقابله بالأسبانية الحرفين المركبين Ch، ويستخدم هذا الحرف أيضا في لغات البلطيق، ولغات ليتوانيا ولاتفيا ويلفظ أيضا [tʃ].

انظر أيضا
 C
 چ

حروف لاتينية
رموز نسخ صوتية
لغة صربية
لغة كرواتية
لغة ليتوانية
مجموعات علامات تشكيل الحروف

Č


Stremenovke (trolističevke, lat. Menyanthaceae nom. cons.), biljna porodica u redu zvjezdanolike (Asterales). Ime porodice dolazi po rodu trolistica (Menyanthes). Drugi značajni rodovi su plavun (Nymphoides) i vilarsija (Villarsia).

Postoji sedamdesetak vrsta (76), uglavnom vodenih trajnica. U Hrvatskoj su joj predstavnici okruglolisni plavun (Nymphoides peltata) i močvarna trolistica (Menyanthes trifoliata)

Opis
Menyanthaceae, porodica sadrži uglavnom vodeno bilje, s pet rodova i oko 60 vrsta rasprostranjenih diljem svijeta. Članovi ove porodice imaju jednostavne do dlanasto složene listove sa širokim bazama. Cvjetovi su pravilni (mnogo linija simetrije), prilično veliki i heterostilni (dva cvjetna oblika na različitim biljkama s odgovarajućim razlikama u stilu i duljini prašnika). Cvjetovima Menyanthaceae nedostaje oprašivanje klipom (sekundfarno oprašivanje) kao u većini drugih porodica Asterales, iako to može predstavljati evolucijski gubitak, a ne nespecijalizirani karakter porodice. Također, jajnik cvijeta je gornji ili djelomično donji, za razliku od većine drugih članova reda koji imaju donje jajnike. Unatoč ovim razlikama s drugim članovima Asterales, članovi Menyanthaceae pohranjuju ugljikohidrate kao inulin kao i drugi članovi reda, a iridoidni alkaloidi koje posjeduju razlikuju se od alkaloida pronađenih u vrstama Gentianales, redu u kojem su prije bili smješteni.

Vrste Menyanthaceae često se šire vegetativno puzajućim podvodnim rizomima (stabljikama) i nose plutajuće ili izlazeće (rastu iznad površine vode) lišće. Listovi su obično naizmjenično raspoređeni duž stabljike i mogu biti jednostavni ili složeni s tri listića. Cvjetovi su dvospolni, često s pet latica i daju sjemenke u obliku bobica ili kapsula.

Menyanthes trifoliata je jedini član roda Menyanthes i porijeklom je iz Sjeverne Amerike. Močvarna trolistica nastanjuje vlažna tla. Lišća je gorkog okusa i koristi se u narodnoj medicini. Biljka nosi bijele ili ružičaste cvjetove koji daju tvrde, svijetlosmeđe sjemenke. Rod Nymphoides, poznat po "plutajućem srcu", sastoji se od potopljenih biljaka s ukopanim stabljikama i plutajućim lišćem. Većina vrsta ima žute ili bijele cvjetove, a mnoge su popularne akvarijske biljke. Rodovi Liparophyllum i Nephrophyllidium sadrže jednu vrstu, dok je Villarsia veća, ali nije dobro poznata.

Rodovi
 Familia Menyanthaceae Bercht. & J. Presl (76 spp.)
 Menyanthes L. (1 sp.)
 Fauria Franch. (1 sp.)
 Ornduffia Tippery & Les (7 spp.)
 Villarsia Vent. (3 spp.)
 Liparophyllum Hook. fil. (8 spp.)
 Nymphoides Hill (56 spp.)

Vanjske poveznice

Izvori

Porodice zvjezdanolikih
Biljne porodice

Stremenovke


جورج جون ميتشل  (20 أغسطس 1933 -)، سياسي أمريكي. هو ابن حارس مبنى إيرلندي - أمريكي تبنته عائلة لبنانية وأم مهاجرة من لبنان هي ماري سعد، ينتمي إلى الحزب الديمقراطي. وكان عضو في مجلس الشيوخ وشغل فيه منصب رئيس الأغلبية وذلك من 1989 إلى 1995. تولى رئاسة شركة والت ديزني في الفترة من مارس 2004 حتى كانون الثاني / يناير 2007. وهو مستشار في جامعة كوينز في بلفاست إيرلندا الشمالية.

في 22 يناير 2009 عين مبعوث خاص للشرق الأوسط وذلك في بداية عهد الرئيس باراك أوباما وقد استقال في 14\5\2011.

وصلات خارجية

 جورج ميتشل محقق وصانع سلام

مراجع

أشخاص على قيد الحياة
أصحاب أعمال أمريكيون
أصحاب أعمال أمريكيون في القرن 20
أصحاب أعمال أمريكيون في القرن 21
أعضاء مجلس الشيوخ الأمريكي من مين
أعضاء مجلس توجيه مجموعة بلدربيرغ
أعضاء مجلس شيوخ الحزب الديمقراطي الأمريكي
أمريكيون من أصل أيرلندي
الليبرالية في الولايات المتحدة
جيفري إبستاين
حائزون على الوسام الرئاسي للحرية
حاصلون على جائزة الحريات الأربع
خريجو كلية بودوين
خريجو مركز الحقوق في جامعة جورجتاون
ديمقراطيون من ولاية مين
رؤساء شركة والت ديزني
رؤساء مجلس إدارة أمريكيون من مؤسسات تجارية
سياسيون أمريكيون
سياسيون أمريكيون من أصل لبناني
سياسيون من ووترفيل (مين)
ضباط الجيش الأمريكي
قضاة أمريكيون في القرن 20
كتاب بيئة غير روائيين أمريكيون
كتاب سياسة أمريكيون
كتاب غير روائيين ذكور أمريكيون
لاعبو كرة سلة أمريكيون
مبعوثون خاصون للولايات المتحدة
محامون أمريكيون في القرن 20
مدراء ديزني
مستشارو جامعة الملكة (بلفاست)
مسيحيون شرق أوسطيون
موارنة أمريكيون
مواليد 1933
مواليد في ووترفيل (مين)
موظفو إدارة أوباما
أعضاء مجلس الشيوخ الأمريكي من الحزب الديمقراطي من مين

جورج ميتشل


La  est l'une des trois circonscriptions législatives que compte la préfecture de Nara au Japon. Cette circonscription comptait  électeurs en date du .

Description géographique

La deuxième circonscription de la préfecture de Nara regroupe les villes de Yamatokōriyama, Tenri et Kashiba avec les districts de Yamabe, Ikoma, Shiki et Kitakatsuragi et une petite partie de Nara.

Députés

Notes et références

Voir aussi

Articles connexes
 Chambre des représentants du Japon

Circonscription législative au Japon

Deuxième circonscription de la préfecture de Nara