Suvenir Mortefontainea ili Sjećanje na Mortefontaine (fr. Souvenir de Mortefontaine) je slavno ulje na platnu francuskog slikara Jean-Baptiste-Camille Corota, naslikano po sjećanju na Mortefontaine, maleno selo u departmanu Oise, 1864. godine.

Slika predstavlja prizor mirnoće sa ženom i djecom koji uživaju u predivnom krajoliku s drvećem na obali zrcalnog jezera. Iako je po tematici slika realistična s romantičarskim elementima, prema novom načinu slikanja najbliža je impresionizmu. Naime, iako je precizno naslikana vidimo kako je naslikana širokim, a ne detaljnim potezima, a paleta boja joj je zamućena kao kod impresionističkih slikara. Ove odlike podsjećaju na mutne detalje krajobrazne fotografije. Doista, Corot je imao veliku kolekciju fotografija ovog mjesta koje je 1850-ih posjećivao kako bi proučavao učinke svjetla i odraze na vodi. Za razliku od mnogih njegovih slika krajolika ovo nije slika iz pravoga života nego je idealizirana slika nastala iz njegovih sjećanja (što i sam naziv slike navodi), što posebice vidimo po načinu na koje se svjetlo reflektira u vodi.

Sliku je 1864. godine izravno od Corota kupila francuska vlada za Napoleona III. Bila je izložena u dvorcu Fontainebleau 25 godina nakon čega biva premještena u Louvre 1889. godine, gdje se i danas nalazi.

Bilješke

 Kenneth Clark, Landscape into Art, Read Books, 2007., str. 272.

Vanjske poveznice
 Souvenir de Mortefontaine na službenim stranicama Louvrea

Realističke slike
Muzej d'Orsay
Slike iz 1850-ih

Suvenir Mortefontainea


Mankombu Sambasivan Swaminathan (Kumbakonam, 7 de agosto de 1925 – Chenai, 28 de setembro de 2023) foi um agrônomo indiano, cientista agrícola, geneticista de plantas, administrador e humanitário. Swaminathan foi um líder global da revolução verde. Ele foi chamado de o principal arquiteto da revolução verde na Índia por sua liderança e papel na introdução e desenvolvimento de variedades de trigo e arroz de alto rendimento. Os esforços científicos colaborativos de Swaminathan com Norman Borlaug, liderando um movimento de massa com agricultores e outros cientistas e apoiados por políticas públicas, salvaram a Índia e o Paquistão de certas condições semelhantes à fome na década de 1960. Sua liderança como Diretor Geral do Instituto Internacional de Pesquisa do Arroz (IRRI) nas Filipinas foi fundamental para que ele recebesse o primeiro Prêmio Mundial da Alimentação em 1987, reconhecido como o Nobel ou as mais altas honras no campo da agricultura. O Programa das Nações Unidas para o Meio Ambiente o chamou de "o Pai da Ecologia Econômica".

Swaminathan contribuiu com pesquisas básicas relacionadas à batata, trigo e arroz, em áreas como citogenética, radiação ionizante e radiossensibilidade. Foi Presidente das Conferências Pugwash e da União Internacional para a Conservação da Natureza (IUCN). Em 1999, ele foi um dos três indianos, junto com Gandhi e Tagore, na lista da revista TIME das "20 pessoas asiáticas mais influentes do século XX". Swaminathan recebeu inúmeros prêmios e homenagens, incluindo o Prêmio Shanti Swarup Bhatnagar, Prêmio Ramon Magsaysay e o Prêmio Albert Einstein World Science. Ele presidiu a Comissão Nacional de Agricultores em 2004, que recomendou maneiras abrangentes de melhorar o sistema agrícola da Índia. Ele é o fundador de uma fundação de pesquisa de mesmo nome. Ele cunhou o termo "Revolução Evergreen" em 1990 para descrever sua visão de "produtividade em perpetuidade sem danos ecológicos associados". Ele foi indicado ao Parlamento da Índia para um mandato entre 2007 e 2013. Durante seu mandato, ele apresentou um projeto de lei para o reconhecimento de mulheres agricultoras na Índia que, no entanto, caducou.

Vida e carreira

Início da vida e educação
Swaminathan nasceu em Kumbakonam, Presidência de Madras em 7 de agosto de 1925. Ele era o segundo filho do cirurgião geral Dr. MK Sambasivan e Parvati Thangammal Sambasivan. Após a morte de seu pai quando ele tinha 11 anos, o jovem Swaminathan foi cuidado pelo irmão de seu pai.

Seus pais queriam que ele estudasse medicina. Com isso em mente, iniciou seu ensino superior com zoologia. Mas, quando ele testemunhou os impactos da fome de Bengala de 1943 durante a Segunda Guerra Mundial e a escassez de arroz em todo o subcontinente, ele decidiu dedicar sua vida a garantir que a Índia tivesse comida suficiente. Apesar da sua origem familiar, e pertencente a uma época em que a medicina e a engenharia eram consideradas muito mais prestigiosas, optou pela agricultura.

Ele terminou seu curso de graduação em zoologia no Maharaja's College em Trivandrum, Kerala (agora conhecido como University College, Thiruvananthapuram na Universidade de Kerala). Ele então estudou na Universidade de Madras (Madras Agricultural College, agora a Tamil Nadu Agricultural University) de 1940 a 1944 e obteve um diploma de bacharel em ciências agrícolas. Durante este tempo ele também foi ensinado por Cotah Ramaswami, professor de agronomia.

Holanda e Europa
Foi bolsista da UNESCO na Universidade Agrícola de Wageningen, Instituto de Genética da Holanda, por oito meses. A demanda por batata durante a segunda guerra mundial resultou em desvios nas antigas rotações de culturas. Isso causou infestações de nematóides dourados em certas áreas, como terras agrícolas recuperadas. Swaminathan trabalhou na adaptação de genes para fornecer resiliência contra esses parasitas, bem como o clima frio. Para este efeito, a pesquisa foi bem sucedida. Ideologicamente, a universidade influenciou suas atividades científicas posteriores na Índia com relação à produção de alimentos. Durante este tempo ele também fez uma visita ao Instituto Max Planck para Pesquisa de Melhoramento de Plantas na Alemanha devastada pela guerra; isso mais tarde o influenciaria profundamente, pois durante sua próxima visita, uma década depois, ele viu que os alemães haviam transformado a Alemanha, tanto em infraestrutura quanto em energia.

Reino Unido
Em 1950, mudou-se para estudar no Plant Breeding Institute na Escola de Agricultura da Universidade de Cambridge. Obteve o título de Doutor em Filosofia (Ph.D.) em 1952, por sua tese, "Diferenciação de espécies e a natureza da poliploidia em certas espécies do gênero Solanum — seção Tuberarium". No Natal seguinte, ele ficou por uma semana com F. L. Brayne, um ex-oficial do Serviço Civil Indiano, cujas experiências com a Índia rural influenciaram Swaminathan em seus últimos anos.

Índia
Ele voltou para a Índia no início de 1954. Não havia empregos em sua especialização e apenas três meses depois ele teve a oportunidade, por meio de um ex-professor, de trabalhar temporariamente como botânico assistente no Central Rice Research Institute em Cuttack. Na Cuttack, ele estava sob um programa de hibridização de arroz indica-japônica iniciado por Krishnaswami Ramiah. Esse período influenciaria seu futuro trabalho com trigo. Meio ano depois, ele ingressou no Indian Agricultural Research Institute (IARI) em Nova Delhi, em outubro de 1954, como citogeneticista assistente. Swaminathan criticava a importação de grãos alimentares da Índia quando setenta por cento da Índia dependia da agricultura. Outras situações de seca e fome estavam se desenvolvendo no país. M. S  Swaminathan morreu em casa, em Chenai, no dia 28 de setembro de 2023, aos 98 anos.

Reconhecimento público

Prêmios e honras
Swaminathan recebeu a Medalha Memorial Mendel da Academia de Ciências da Tchecoslováquia em 1965. Depois disso, ele recebeu vários prêmios e honrarias internacionais, incluindo o Prêmio Ramon Magsaysay (1971), o Prêmio Mundial de Ciência Albert Einstein (1986), o primeiro Prêmio Mundial da Alimentação (1987), o Tyler Prize for Environmental Achievement (1991), o Four Freedoms Award (2000), e a Medalha Planeta e Humanidade da União Geográfica Internacional (2000). Ao aceitar o Prêmio Ramon Magsaysay, Swaminathan citou Sêneca: "Uma pessoa faminta não ouve a razão, nem a religião, nem se curva a nenhuma oração."

Publicações
Swaminathan publicou 46 artigos como autor único entre 1950 e 1980. No total, ele tinha 254 trabalhos em seu crédito, 155 dos quais ele era o único ou primeiro autor. Seus trabalhos científicos são nas áreas de melhoramento de culturas (95), citogenética e genética (87) e filogenética (72). Seus editores mais frequentes foram Indian Journal of Genetics (46), Current Science (36), Nature (12) e Radiation Botany (12).

As publicações selecionadas incluem:

Além disso, ele escreveu alguns livros sobre o tema geral do trabalho de sua vida, biodiversidade e agricultura sustentável para aliviar a fome. Os livros, artigos, diálogos e discursos de Swaminathan incluem:

Referências

Links externos

 Search Results for author Swaminathan, M. S. - AGRICOLA, US National Agricultural Library

 Official Rajya Sabha, Parliament of India, profile, p. 515
 Catalogue of the Swaminathan papers at the Archives at NCBS

Indianos expatriados nos Estados Unidos
Indianos expatriados no Reino Unido
Membros estrangeiros da Academia de Ciências da Rússia
Membros da Academia Nacional de Ciências da Índia
Associados estrangeiros da Academia Nacional de Ciências dos Estados Unidos
Membros da Royal Society
Membros da Academia de Ciências de Bangladesh
Alunos da Universidade de Madras
Alunos da Universidade do Wisconsin-Madison
Alunos da Universidade de Cambridge
Alunos do Fitzwilliam College

M. S. Swaminathan


George Springer (* 3. September 1924 in Cleveland (Ohio); † 18. Februar 2019) war ein US-amerikanischer Mathematiker und Informatiker.

Werdegang
Springer studierte an der Case Western Reserve University (damals Case Institute of Technology) mit dem Bachelor-Abschluss 1945 und der Brown University mit dem Master-Abschluss 1946. Er wurde 1949 bei Lars Ahlfors an der Harvard University promoviert (The Coefficient Problem for Univalent Mappings of the Exterior of the Unit Circle). 1949 bis 1951 war er Moore-Instructor am Massachusetts Institute of Technology. 1951 bis 1954 war er Assistant Professor an der Northwestern University und 1954/55 als Fulbright Lecturer und Gastprofessor an der Universität Münster bei Heinrich Behnke. Ab 1955 war er Associate Professor und später Professor an der University of Kansas. 1961/62 war er Fulbright Lecturer und Gastprofessor an der Universität Würzburg und 1961 Gastprofessor in Sao Paulo.

Ab 1964 war er Professor für Mathematik und ab 1987 für Informatik an der Indiana University in Bloomington. 1967 bis 1981 stand er dort der Mathematik-Fakultät vor und war 1973 bis 1980 stellvertretender Dekan der Universität (Associate Dean für Forschung und Entwicklung) und 1980 bis 1982 geschäftsführender Dekan (Acting Dean) für Forschung und Graduierten-Entwicklung.

1971/72 war er Gastprofessor am Imperial College London.

Er begann als Funktionentheoretiker (für eine und mehrere komplexe Variable) und schrieb ein Lehrbuch über Riemannsche Flächen. Später wandte er sich der Informatik zu, wo er sich mit Programmiersprachen beschäftigte.

Schriften
Einführung in die Topologie, Münster, Aschendorff 1955
Introduction to Riemann Surfaces, Addison-Wesley 1957, 2. Auflage, Chelsea 1981, 3. Auflage, American Mathematical Society, 2001
mit Daniel P. Friedman: Scheme and the Art of Programming, MIT Press 1989, 4. Auflage 1994

Weblinks
 Homepage, Indiana University

Einzelnachweise

Mathematiker (20. Jahrhundert)
Informatiker
Hochschullehrer (Indiana University Bloomington)
US-Amerikaner
Geboren 1924
Gestorben 2019
Mann

George Springer (Mathematiker)


Eoreumgol (en coreano: 얼음골) o Valle del Hielo es un valle en Miryang, en el país asiático de Corea del Sur. Recibe su nombre y es conocido por el frío en el que se encuentra incluso en pleno verano. Este fenómeno se cree que es debido a los patrones de flujo de aire locales, en particular de aire frío que emerge de forma subterránea.

El valle está situado en las laderas de las montañas Cheonhwangsan, a unos 600 m sobre el nivel del mar. Se encuentra en Nammyeong-ri, Sannae-myeon, en el norte de Miryang, y cubre un área total que se estima entre unos 9000 y 30.000 m². El agua fría que fluye desde el valle se ha utilizado tradicionalmente para el consumo por los residentes de la zona.

Véase también
 Geografía de Corea del Sur
 Geografía de Asia

Referencias

Enlaces externos
 Información sobre el lugar

Valles de Corea del Sur

Eoreumgol


An Trisetella pantex in uska species han Liliopsida nga syahan ginhulagway ni Carlyle August Luer, ngan ginhatag han pagkayana nga asya nga ngaran ni Carlyle August Luer. An Trisetella pantex in nahilalakip ha genus nga Trisetella, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Trisetella

Trisetella pantex


Sebdenia, rod crvenih algi iz porodice Sebdeniaceae, dio reda, točnije jedina u redu Sebdeniales. Postoji 14 priznatih vrsta

Tipična vrsta Sebdenia monnardianaraširena je po Sredozemlju (uključujući jadran), te uz obale Kanarskih otoka

Vrste
 Sebdenia amoena (Bory) E.Soler-Onís
 Sebdenia canariensis Soler-Onís, Haroun, Viera-Rodríguez & Prud'homme ex D.Gabriel & Fredericq
 Sebdenia dawsonii (I.A.Abbott) G.I.Hansen
 Sebdenia dichotoma Berthold
 Sebdenia flabellata (J.Agardh) P.G.Parkinson
 Sebdenia integra Gavio, Hickerson & Fredericq
 Sebdenia limensis (Kützing) M.Howe
 Sebdenia lindaueri Setchell ex V.J.Chapman
 Sebdenia monnardiana (Montagne) Berthold - tip
 Sebdenia okamurae Yamada
 Sebdenia polydactyla (Børgesen) M.Balakrishnan
 Sebdenia rodrigueziana (Feldmann) Codomier ex Athanasiadis
 Sebdenia rubra W.R.Taylor
 Sebdenia senegalensis (M.Bodard) E.Soler-Onís

Izvori

Sebdeniales

Sebdenia


علي صالح محمد صالح العمير (1958 -)، نائب سابق في مجلس الأمة الكويتي.

السيرة البرلمانية
شارك في انتخابات مجلس الأمة الكويتي 1999 في الدائرة الرابعة عشر، وحصل على المركز الرابع برصيد 762 صوت وخسر الانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 2003 في الدائرة الرابعة عشر، وحصل على المركز الخامس برصيد 860 صوت وخسر الانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 2006 في الدائرة الحادية عشر، وحصل على المركز الثاني برصيد 3744 صوت وفاز بالانتخابات ، وشارك في انتخابات مجلس الأمة الكويتي 2008 في الدائرة الثالثة، وحصل على المركز الرابع برصيد 8931 صوت وفاز بالانتخابات.

مواقفه في مجلس الأمة

انظر أيضا
سعود الناصر الصباح
عصام المرزوق
عبد الرحمن المطوع

المراجع

أشخاص على قيد الحياة
أعضاء مجلس الأمة الكويتي
أعضاء مجلس الأمة الكويتي 2006
أعضاء مجلس الأمة الكويتي 2008
أعضاء مجلس الأمة الكويتي 2009
أعضاء مجلس الأمة الكويتي 2013
أعضاء مجلس الأمة الكويتي ديسمبر 2012
أعضاء مجلس الأمة الكويتي فبراير 2012
سياسيو التحالف الإسلامي السلفي
مواليد 1958
مواليد في الكويت
وزراء أشغال عامة كويتيون
وزراء نفط كويتيون

علي العمير


وحدة كيلو غرام ثقلي هي وحدة من وحدات القوة ويرمز لها بـ (كغث)  ويرمز لها بـ (kgf)، تعرف بأنها مقدار القوة المؤثرة على 1 كيلوغرام لإعطائه تسارع مقداره 9.80665 م/ثا2 . (هذا التسارع يعادل تسارع جاذبية الأرض ).

وبناء على ذلك فإن 1 كيلوجرام ثقلي =
9.80665 نيوتن

كيلو غرام ثقلي ليس جزءًا من نظام الوحدات الدولي، الذي وضع في عام 1960. فالوحدة الدولية للقوة هي نيوتن.

تستخدم وحدة ديكا نيوتن (daN) في بعض الميادين كمكافئ للكيلو غرام ثقلي ؛ فإن 1 كيلوجرام ثقلي = 10 نيوتن تقريبا .

المراجع

وحدات القوة
وحدات قياس ليست في النظام الدولي

كيلو غرام ثقلي


Rota, genellikle deniz ve hava taşıtları için kullanılan, taşıtın bir referans noktasına göre (genellikle gerçek kuzey) "izlemeye çalıştığı" düz hattı belirten bir kavram. Amerikan sistemini kullanan ülkelerde course, Britanya sistemini kullanan ülkelerde track olarak adlandırılır ve bu durum zaman zaman karışıklıklara yol açmaktadır. Uluslararası standardizasyonu sağlamak amacıyla ICAO da, track sözcüğünün kullanımını tavsiye etmektedir.

Amerikan sistemini kullanan ülkelerde track sözcüğü uçağın yerdeki izdüşümü anlamında kullanılır. Britanya sistemini kullanan ülkelerde izdüşümünü tanımlamak için ise TMG (track made good) kavramı kullanılır ve bu kısaltma genellikle actual TR (gerçek rota) olarak ifade edilir.

Etimoloji

Rota Türkçeye İtalyanca rotta sözcüğünden geçmiştir. Bu sözcüğün kökeni 'bölünmüş (yol)' anlamına gelen Latince 'rupta' sözcüğüdür. Türkçeye İngilizceden geçen course sözcüğü Latince kökenlidir ve 'koşmak' kökünden gelir. Track sözcüğü iz anlamına gelir ve muhtemelen Almanca veya Hollandaca kökenlidir.

Bir taşıtın rotası yolculuk esnasında zaman zaman (örneğin her bacakta) değişmekle birlikte, gündelik kullanımda rota sözcüğü daha çok taşıtın yola çıktığı nokta ile hedefi arasında izlenen yolun tamamını (güzergâhı) tanımlamakta kullanılır.

Baş

Taşıtın kuyruğundan burnuna doğru olan boylamasına ekseninin nişan aldığı istikamete baş (heading) denir. Baş bir hava aracının içinde bulunduğu "hava kütlesine nazaran" hareket ettiği istikamettir. Bu nedenle hava kütlesi hareketsiz ise (rüzgâr sapması sıfır ise) taşıtın başı, aynı zamanda rotası (track) olacaktır.

Rüzgâr sapması

Rüzgâr sapması ya da drift,  herhangi bir hava ya da deniz taşıtına etki eden rüzgâr sonucu taşıtın seyir istikâmetinde ve süratinde meydana gelen değişikliktir. Rüzgârın yönü ve şiddetinin oluşturduğu vektör nedeniyle taşıtın başı ile rotası (TR) arasında meydana gelen açıdır. Başka bir deyişle taşıt, rotası üzerinde düz bir hatta seyredebilmek için "rüzgâr içine doğru" sapma açısı kadar rüzgâr düzeltmesi yapmak zorundadır.

Açı cinsinden ifade

Rota, baş gibi istikametler 0° - 360° arasında, saat yönünde artan derecelerle ifade edilir. 000° kuzeyi, 090° doğuyu, 180° güneyi ve 270° batıyı temsil eder. Eğer derece 1 veya 2 haneli bir rakamsa, karışıklıkları önlemek başına 3 rakama tamamlayacak kadar sıfır eklenir: 058° gibi.

 Gerçek baş: Gerçek kuzeye (coğrafî Kuzey Kutbu'na) göre muhafaza edilen istikamettir. Diğer başlardan ayrım yapılması gereken durumlarda true (gerçek) sözcüğüne atfen T harfi ile gösterilir: 180°T vb.
 Manyetik baş: Manyetik kuzeye göre muhafaza edilen istikamettir. Dünya'nın manyetik alanından kaynaklanan doğal sapma (varyasyon) hatasını içerir. M harfi ile gösterilir: 056°M vs. Manyetik başın varyasyon hatası giderildiğinde gerçek baş elde edilir.
 Pusula başı: Taşıttaki pusulaya göre muhafaza edilen (pusulada okunan) istikamettir. İstikamet cayrosu gibi pusulaya göre kalibre edilen cihazlarda okunan değer de pusula başıdır. Pusula başının doğal (varyasyon) ve yapay sapma (deviasyon) hataları giderilmemiştir. Deviasyon hatası giderildiğinde manyetik baş, buna ilaveten vasyasyon hatası da giderildiğinde gerçek baş elde edilir. Pusula başı, İngilizce compass (pusula) sözcüğüne atfen C harfi ile gösterilir: 136 °C vs.

Kaynakça
 Pooley, Dorothy, ve David Robson. The Air Pilot's Manual 3: Air Navigation. 6. baskı. Shoreham, West Sussex: Pooley's Air Pilot Publishing, 2010.

Ayrıca bakınız
 Seyir (navigasyon)

Yönler
Seyir
İtalyancadan Türkçeye geçen sözcükler
Havacılık terimleri

Rota


Hrnčiarska Ves este o comună slovacă, aflată în districtul Poltár din regiunea Banská Bystrica. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 960 de locuitori.

Istoric
Localitatea Hrnčiarska Ves este atestată documentar din 1285.

Note

Legături externe

Localități din Slovacia

Hrnčiarska Ves


جوزيف كاسبر هو لاعب كرة قدم كرواتي ولد في 15 مارس 1973.

المهنة
 1990-98 : دينامو زغرب كرواتيا
 1998-01 : NK Osijek كرواتيا
 2001-02 : Marsonia Slavonski Brod كرواتيا

مراجع

لاعبو كرة قدم رجالية كرواتيون
لاعبو وسط كرة قدم رجالية
أشخاص على قيد الحياة
لاعبو الدوري الكرواتي الممتاز
لاعبو دينامو زغرب
لاعبو كرة قدم كرواتيون
لاعبو منتخب كرواتيا لكرة القدم
مواليد 1973
لاعبو نادي أوسييك
رياضيون من مقاطعة سبليت-دالماسيا

جوزيف كاسبر


An Huttonaea grandiflora in uska species han Liliopsida nga syahan ginhulagway ni Schltr., ngan ginhatag han pagkayana nga asya nga ngaran ni Robert Allen Rolfe. An Huttonaea grandiflora in nahilalakip ha genus nga Huttonaea, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Huttonaea

Huttonaea grandiflora


An Sobralia wilsoniana in uska species han Liliopsida nga ginhulagway ni Robert Allen Rolfe. An Sobralia wilsoniana in nahilalakip ha genus nga Sobralia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Sobralia

Sobralia wilsoniana


O Globo Hunt–Lenox ou Globo Lenox, que data de cerca de 1510, é o terceiro globo terrestre mais antigo conhecido, depois do Erdapfel de Martin Behaim datado de 1492 e seu irmão idêntico e protótipo aparente, o Globo ovo de avestruz, datado de 1504 O Globo Hunt-Lenox está localizado na Divisão de Livros Raros da Biblioteca Pública de Nova Iorque.
É notável como uma das duas únicas instâncias conhecidas de um mapa histórico que realmente usa a frase HC SVNT DRACONES (em latim hic sunt dracones significa "aqui estão os dragões").

Descrição

O Lenox Globe é um globo de cobre vermelho oco sem pátina verde ou preta que mede ca. 112 milímetros (ca. 4,4 pol) de diâmetro. A frase HIC SVNT DRACONES aparece na costa leste da Ásia.

História
O globo foi comprado em Paris em 1855 pelo arquiteto Richard Morris Hunt, que o deu a James Lenox, cuja coleção passou a fazer parte da Biblioteca Pública de Nova Iorque, onde o globo ainda se encontra.

O método de construção deste globo era desconhecido até a publicação no Globo ovo de avestruz datado de 1504 por S. Missinne em 2013.

Publicações

O primeiro artigo conhecido sobre o globo foi escrito por B. F. de Costa para a "Revista da História Americana" em setembro de 1879. Gabriel Gravier reimprimiu o artigo com comentários adicionais no "Bulletin de la société normande de géographie" no final daquele ano.

No entanto, nenhum artigo liga "hic sunt dracones" a dragões. Da Costa escreve:
Nesta região [China, chamada "Índia Oriental" no globo], perto da linha equatorial, vê-se "Hc Svnt Dracones", ou aqui estão os dagroianos, descritos por Marco Polo como vivendo no Reino de " Dagroiano". Essas pessoas... festejaram com os mortos e pegaram seus ossos (B.II. c.14, Ramusio ed.)
Em sua tradução do artigo de Da Costa, Gabriel Gravier acrescenta que o Reino de Dagroian de Marco Polo está em Java Menor, ou Sumatra, bem longe do local indicado no Lenox Globe.

De Costa observou uma grande massa de terra sem nome retratada na parte sul do Hemisfério Oriental no Lenox Globe e sugeriu, "com extrema desconfiança", que esta terra representava a Austrália, deslocada para este local. Se assim for, disse ele, "seria necessário concluir que, embora mal colocada no Lenox Globe, a Austrália era conhecida pelos geógrafos daquele período inicial".

O desenho plano do globo que acompanhava os primeiros artigos é reproduzido como mapa 7 em "A Book of Old Maps Delineating American History" de Emerson D. Fite e Archibald Freeman (New York: Dover Reprints, 1969), e como figura 43 em A. E. Nordenskiöld Facsimile-Atlas to the Early History of Cartography (Nova York: Dover Reprints, 1973).

A Biblioteca Pública de Nova York fornece digitalizações de alta resolução do globo em seu site.

Bibliografia
 R. W. Hill, The Lenox Globe, Bulletin of the New York Public Library, Vol. 41, Nr. 7, July 1937, pp. 523–525.

Ligações externas

Globo Hunt–Lenox
Globo Hunt–Lenox
 Globo Hunt–Lenox

Globo Hunt-Lenox


Tivolifaldene og Tivolis muntre Hjul er en film med ukendt instruktør.

Handling
Fra Tivoli i Italien

Referencer

Eksterne henvisninger

Danske film fra 1910

Dokumentarfilm fra Danmark
Stumfilm fra Danmark
Verdensarvsområder i Italien
Byer i Lazio

Tivolifaldene og Tivolis muntre Hjul


An Elymus sclerus in uska species han Liliopsida nga ginhulagway ni Áskell Löve. An Elymus sclerus in nahilalakip ha genus nga Elymus, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Elymus

Elymus sclerus


سبيكة بنت إبراهيم آل خليفة (ولدت في المحرق عام 1948)، هي زوجة الملك حمد بن عيسى آل خليفة ملك مملكة البحرين والسيدة الأولى، تشغل منصب رئيسة المجلس الأعلى للمرأة منذ 22 أغسطس 2001. ترأست منظمة المرأة العربية في الفترة من 2005 إلى 2007.

حياتها
ولدت الشيخة سبيكة في المحرق بالبحرين عام 1948 في قصر جدها لأبيها الشيخ محمد بن عيسى بن علي آل خليفة. لوالديها الشيخ إبراهيم بن محمد آل خليفة والشيخة فاطمة بنت سلمان آل خليفة. نشأت في الرفاع مع جدها لأمها سلمان بن حمد آل خليفة، الذي كان حاكم البحرين بين عامي 1941 و 1960. درست في المدارس البحرينية، وحضرت دورات متخصصة في المملكة المتحدة والجمهورية الفرنسية.

حياتها الأسرية
والدتها هي الشيخة فاطمة بنت سلمان بن حمد آل خليفة. في أكتوبر من عام 1968 تزوجت من ابن خالها الملك حمد بن عيسى آل خليفة ملك مملكة البحرين  وأنجبا ثلاثة من البنين وابنة واحدة وهم:

 الأمير سلمان بن حمد ال خليفة ولي العهد رئيس مجلس وزراء
 الشيخ عبد الله بن حمد آل خليفة، الممثل الشخصي للملك ورئيس المجلس الأعلى للبيئة
 الشيخ خليفة بن حمد آل خليفة
 الشيخة نجلاء بنت حمد آل خليفة

مراجع

آل خليفة
أشخاص على قيد الحياة
سياسة البحرين
سيدات أول بحرينيات
عقيلات ملوك
مسلمون بحرينيون
ملكات عربيات
مواليد 1948
مواليد في المحرق
بحرينيات في القرن 20
بحرينيات في القرن 21

سبيكة بنت إبراهيم آل خليفة


HIV-pozitivne osobe, seropozitivne osobe ili osobe koje žive s HIV-om  su osobe koje imaju infekciju virus humane imunodeficijencije HIV, uzročnika trenutno neizlječive bolesti AIDS-a.

Prema procjenama WHO-a i UNAIDS-a, 34,2 milijuna ljudi bilo je zaraženo HIV-om na kraju 2011. godine. Iste je godine oko 2,5 milijuna ljudi novozaraženo, a 1,7 milijuna umrlo je od uzroka povezanih s AIDS-om, uključujući 230 000 djece. Više od dvije trećine novih HIV infekcija je u subsaharskoj Africi. Međutim, manje od 20% njih zapravo je svjesno infekcije. Infekcija HIV-om utvrđuje se HIV testom.

Spol i dijagnoza
Dijagnoza i spol igraju odgovarajuću ulogu u prepoznavanju života onih koji žive s HIV-om/AIDS-om. Ženama nije bio dijagnosticiran kao muškarcima jer njihovi simptomi nisu bili toliko očiti i liječnici nisu bili skloni da traže bolest u njima kao kod muškaraca. To se također temelji na činjenici da je mnogo više muškaraca nego žena sudjelovalo u kliničkim ispitivanjima i da su žene stoga bile nedovoljno zastupljene. Barbara Ogur je istaknula da je stigma upotrebe ilegalnih droga i više partnera također dovela do nedostatka brige i uočljivosti za žene.

Među ženama kojima je dijagnosticiran HIV/AIDS u Sjedinjenim Državama 2009. godine, 64% su bile crnkinje, 18% su bile hispanskog podrijetla, 15% su bile bjelkinje, a 1% su Indijanci Aljaske ili Indijanci. Mnogo više žena oboli od ove bolesti heteroseksualnim kontaktom nego muškarci.

Seronegativna konverzija
Od travnja 2020. zabilježena su samo dva slučaja potpuno izliječenih osoba od ove bolesti. Prvi slučaj bio je Timothy Ray Brown, poznat kao "Berlinski pacijent", koji je izliječen 2007. Drugi je bio Adam Castillejo, poznat kao "londonski pacijent", koji je izliječen u ožujku 2020. Oba ova pacijenta izliječena su transplantacijom matičnih stanica od donatora koji je bio imun na AIDS zbog genetske mutacije. U među vremenu i treći pacijent je potvrđen, te dvije žene koje su postale seronegativne bez procedure i izgleda kao da su razvile prirodni imunitet.

Organizacije
Tijekom godina suočavanja sa stigmom i diskriminacijom koje prate dijagnozu u većini društava, formiran je veliki broj grupa podrške. U njima izraz koji se najčešće primjenjuje na osobe koje su HIV pozitivne je "Ljudi koji žive s HIV-om/AIDS-om". Ovo se često skraćuje kao "PLWHA" ili "PLHIV". Odnedavno se koristi i "Ljudi koji žive pozitivno".

Najveća i najstarija svjetska mreža ljudi zaraženih HIV-om je Globalna mreža ljudi koji žive s HIV-om/AIDS-om (GNP+), koja ima pridružene mreže na svim kontinentima.

Problemi svjedočenja i odnosa
Za žene koje su HIV pozitivne i također u vezama, seksualno izražavanje i komunikacija mogu postati osnova za sukob. Njihove prirodne ljudske želje za ljubavlju, povjerenjem i intimnošću mogle bi ostati neprepoznate u programima baziranim na apstinenciji, vjernosti i korištenju kondoma (tzv. ABC Abstinence, Being faithful, Condom use) i kao članica ICW-a (Međunarodne zajednice žena koje žive s HIV-om/AIDS-om) najavljene na Međunarodnoj AIDS-u konferenciji 2006. "Trebamo vratiti ljubav u cijelu stvar".

Svaki se pojedinac na različite načine nosi s dijagnozom HIV-a i svojom seksualnom aktivnošću nakon dijagnoze. Neke osobe s HIV-om mogu odlučiti prakticirati apstinenciju, dok druge mogu nastaviti imati seks. Članica ICW-a iz Zimbabvea izjavila je na sjednici u Torontu da je njezina "veza prekinuta, a ja sam provela sljedeće četiri godine u celibatu", dok je članica ICW-a u Ujedinjenom Kraljevstvu otkrila da preferira korištenje kondoma i "u na neke me načine [HIV] učinio seksualno asertivnijom." Važno je napomenuti da pozitivna dijagnoza bolesti ne utječe samo na konzumente ilegalnih droga ili promiskuitetne pojedince i da njihove osnovne seksualne želje ne nestaju.

Testiranje i prava
U djelu Razumijevanje stvarnosti pozitivnih žena, Emma Bell i Luisa Orza tvrde da programi i politike HIV-a i seksualnog i reproduktivnog zdravlja ne prepoznaju složenost života HIV pozitivnih osoba i kontekst u kojem se nalaze njihovi seksualni i reproduktivni izbori. Službe ne pripremaju ljude za posljedice pozitivnog rezultata testa na HIV. U mnogim slučajevima korisnici usluga se ne uzimaju u obzir i prisiljeni su na testiranje na AIDS bez prethodnog pristanka.

Razumijevanje HIV-pozitivne stvarnosti
Zajednički program Ujedinjenih naroda za HIV/AIDS (UNAIDS), Amnesty International, Globalna mreža projekata seksualnog rada i Globalna mreža ljudi koji žive s HIV-om/AIDS-om, osudili su prisilno testiranje na HIV kao kršenje ljudskih prava i smatra ih se u sukobu s dokazanim javnozdravstvenim mjerama koje su uspješne u prevenciji prijenosa HIV-a. Seksualne radnice u Malaviju i Grčkoj bile su prisiljene na testiranje na HIV, a oni koji su bili HIV pozitivni kriminalizirani su. Mjere stigmatizacije obeshrabruju HIV pozitivne osobe da traže dobrovoljno i povjerljivo savjetovanje, testiranje i liječenje.

Stigma povezana s bolešću posebno otežava djecu koja žive s HIV-om i njihove skrbnike. Skrb nadilazi dinamiku dijete-skrbnik, te je isprepletena s lokalnom zajednicom i strukturama sustava zdravstvene skrbi i potpore.

Filmovi kao što je Philadelphia (1993.), koji su pratili priču o homoseksualnom, HIV-pozitivnom odvjetniku kojeg glumi Tom Hanks, pomogli su u suzbijanju stigme prema onima koji žive s HIV-om i učinili ovu temu manje tabuom. Kao što zagovornik HIV-a Gary Bell tvrdi: "Sjećam se da je bilo dosta buke o tome. Mislim da je dobra vijest to što je ljude natjeralo da pričaju o HIV-u na način na koji zapravo nisu, jer je HIV uvijek bio ono o čemu stvarno nismo htjeli razgovarati."

Prema Emmi Bell i Luisi Orza iz Razumijevanje pozitivne ženske stvarnosti, postoji potreba da pružatelji usluga razumiju utjecaj ženskih odnosa na njihovu mogućnost pristupa liječenju i drugim zdravstvenim uslugama. U mnogim slučajevima HIV-pozitivna stvarnost uključuje muževe ili partnere koji se nisu ili ne žele testirati na HIV, što prisiljava svog HIV-pozitivnog supružnika da im da svoju dozu ARV-a.

Vidi također
 Serostatus
 Popis HIV pozitivnih osoba na EN Wikipediji
 Osobe s AIDS-om (PWA) rani aktivizam na EN Wikipediji

Izvori

HIV/AIDS
Stranice s nepregledanim prijevodima

HIV-pozitivne osobe


was a town in Satsuma District, Kagoshima Prefecture, Japan.

As of 2003, the town had an estimated population of 4,853 and the density of 62.23 persons per km². The total area was 77.99 km².

On March 22, 2005, Tsuruda, along with the town of Miyanojō (also from Satsuma District), was merged into the expanded town of Satsuma (former name: 薩摩町; current name: さつま町) and no longer exists as an independent municipality.

External links
 Official website of Satsuma

Dissolved municipalities of Kagoshima Prefecture

Tsuruda, Kagoshima


Agrilus taeniatus é uma espécie de escaravelho perfurador de madeira metálico da família Buprestidae. É conhecida a sua existência na América Central e América do Norte.

Referências

Leitura adicional

taeniatus
Coleópteros descritos em 1835

Agrilus taeniatus


Conștiința (titlul original: în ) este un film dramatic cehoslovac, realizat în 1949 de regizorul Jiří Krejčík, după romanul omonim a scriitorului Vladimír Valenta, protagoniști fiind actorii Marie Vásová, Miloš Nedbal, Jan Prokeš, Irena Kacírková.

Conținut

Distribuție
 Eduard Dubský
 Ivan Jandl – Lojzek, elev
 Irena Kacírková – Vlasta
 František Kovářík
 Miloš Nedbal - Karel Doležal
 Jan Prokeš - Jirka Doležal
 Marie Vásová - Zdena Doležalová
 Bohus Záhorský - Rudolf Mautner
 Antonín Holzinger
 Michaela Liskova
 Václav Kyzlink
 Milos Nedbal
 Bohumil Vild - Vasek Pazout

Referințe

Vezi și
 Listă de filme străine până în 1989

Legături externe

Filme din 1948
Filme dramatice
Filme în limba cehă
Filme regizate de Jiří Krejčík
Filme alb-negru
Filme cehoslovace

Conștiința (film din 1949)


L'icône du Christ et de l'abbé Ména est un tableau copte conservé au musée du Louvre, à Paris. L'icône est une peinture à l'encaustique sur bois et a été apportée du monastère d'Apollon à Baouit, en Égypte. L'icône mesure environ  d'épaisseur. Elle a été endommagée au fil des ans avec une partie du pigment manquant et la présence de deux fissures verticales qui la traversent, mais reste toujours facilement identifiable.

Description
Datée du , l'icône représente le Christ avec son auréole derrière lui, se tenant debout à côté de l'abbé saint Ména (du , à ne pas confondre avec saint Ménas le martyr du début du ). L'abbé est également représenté avec une auréole indiquant sa sainteté. On sait que l'icône représente Jésus-Christ et l'abbé car il y a écrit au-dessus de chacune de leurs têtes les inscriptions ΨΟΤΕΡ (Sauveur) et ΑΠΑ ΜΗΝΑ ΠΡΟΕΙCΤΟC (Père Mena, gardien). Tenant une bible richement conçue avec des bijoux ornant la couverture dans sa main gauche, et sa main droite sur l'épaule éloignée de l'abbé, le Christ affirme sa protection sur Ména. Les deux se tiennent côte à côte, l'abbé étant légèrement plus petit, tenant un parchemin dans une main et l'autre faisant un geste de bénédiction.

Le Christ, son bras autour de l'abbé, fait une sorte d'« introduction au peuple » en prenant sa place auprès des anges. Tous deux sont représentés vêtus d'une tunique et du pallium, bien que de couleurs différentes (le Christ en violet rehaussé de bleu et Mena en marron). Le Christ a une petite barbe arrondie, une moustache et de longs cheveux ondulés et Ména a les cheveux gris et est barbu. Les yeux sensiblement grands sont destinés à être exagérés dans la composition. Les dégradés de couleurs où le fond a des collines vertes et brunes se fondant dans un ciel aux teintes abricot sont clairement une conception du  , indicative des Coptes, le plus grand groupe chrétien de la région. L'église copte égyptienne a développé ses propres traditions artistiques au  et les a utilisées pour créer cette icône et d'autres similaires.

Monastère de Baouit
Lorsque le monastère de Baouit a été fouillé, avec cette icône du Christ, de nombreuses autres œuvres ont été découvertes. Des pièces entières couvertes d'icônes de saints ont été retrouvées et une icône Notre père Abraham, l'évêque a également été retirée du monastère. Parce que l'idée de sainteté était en transition, de nombreuses œuvres ont été créées pour ressembler à celles qui indiqueraient que l'image est celle d'un saint ; c'était pour s'assurer que si la personne devait plus tard être reconnue comme un saint, il ne serait alors pas nécessaire de retoucher son portrait. Le monastère, situé sur la rive ouest du Nil, a été fouillé au début du  par une équipe de l'Institut français d'archéologie orientale, dirigée par Jean Clédat et Jean Maspero.

Références

Bibliographie

 Belting, Hans et Edmund Jephcott (2014). Ressemblance et présence : une histoire de l'image avant l'ère de l'art. Presse de l'Université de Chicago
 Gabra, Gawdat et Hany N. Takla (2015). Christianisme et monachisme en Moyenne Égypte. Presse de l'Université américaine du Caire..
 Meinardus, Otto FA (2016). Deux mille ans de christianisme copte. Presse de l'Université américaine du Caire .
 "Obo". Marie de France (2017). Études médiévales - Bibliographies d'Oxford, 20 novembre.
 Weitzmann, Kurt (1979). Âge de la spiritualité : art antique tardif et paléochrétien, IIIe-VIIe siècle. The Metropolitan Museum of Art .

Liens externes

Coptes
Icône chrétienne
Jésus-Christ dans la peinture
Œuvre conservée au musée du Louvre
Double portrait

Icône du Christ et de l'abbé Ména


Die Liste der denkmalgeschützten Objekte in Píla enthält die zwei nach slowakischen Denkmalschutzvorschriften geschützten Objekte in der Gemeinde Píla im Okres Pezinok.

Denkmäler

Legende

Einzelnachweise

Pila
!

Liste der denkmalgeschützten Objekte in Píla (Pezinok)


L'Œil de l'araignée () est un film italien réalisé par Roberto Bianchi Montero et sorti en 1971.

Synopsis
Lors d'un braquage, Paul Valery est abandonné par ses complices et se fait arrêter. Après sa condamnation, il parvient à s'échapper, et le professeur Krüger qui a financé l'attentat lui vient en aide. Après avoir subi une chirurgie faciale, Paul est de nouveau sur pied et se met aux trousses de ses anciens complices, Mark et Hans Fischer, pour récupérer l'argent.

Fiche technique
 Titre français : L'Œil de l'araignée
 Titre original italien :
 Réalisation : Roberto Bianchi Montero
 Scénario : Luigi Angelo, Fabio De Agostini,
 Photographie : Fausto Rossi
 Montage : Rolando Salvatori
 Musique : Carlo Savina
 Production :	Luigi Mondello
 Société de production : Luis Film
 Pays de production :
 Langue de tournage : italien
 Format : Couleur par Eastmancolor - 2,35:1 - Son mono - 35 mm
 Durée : 92 minutes ()
 Genre : Drame et film de casse
 Dates de sortie :
 Italie :
 France :

Distribution
 Antonio Sabàto : Paul Valery
 Klaus Kinski : Hans Fischer
 Van Johnson : Professeur Krüger
 Lucretia Love : Gloria
 Teodoro Corrà
 Goffredo Unger (sous le nom de « Fredy Unger »)
 Franco Marletta
 Brigitte Brandt
 Peri Han : Perihan
 Claudio Biava

Style
Malgré le titre et l'imagerie de l'affiche qui laisse à penser qu'il s'agirait d'un giallo, le critique italien Roberto Curti parle du film comme d'un « film noir assez typique ».

Exploitation
 sort dans les salles italiennes le . À la suite de l'engouement croissant du genre poliziottesco pendant les années 1970 en Italie, les distributeurs décident de le re-sortir dans les salles en 1977 sous le titre . Il engrange  de recettes.

Notes et références

Liens externes

Film italien sorti en 1971
Film dramatique italien
Film de casse italien
Film réalisé par Roberto Bianchi Montero
Film en italien
Film avec une musique composée par Carlo Savina

L'Œil de l'araignée


Die Saison 2006/07 war die 5. Spielzeit des von der ULEB ausgetragenen ULEB Cup, der heute als EuroCup firmiert.

Den Titel gewann Real Madrid aus Spanien.

Modus
Es nahmen 24 Mannschaften aus 15 Nationen teil. Die Saison begann am 31. Oktober 2006 und endete mit dem Finale am 10. April 2007. Die 24 Teams wurden aufgeteilt in 4 Gruppen mit je sechs Teams. Es wurde eine Doppelrunde jeder gegen jeden gespielt. Die vier Besten jeder Gruppe erreichten das Achtelfinale. Die Sieger in diesem, sowie im Viertelfinale und im Halbfinale wurden in Hin- und Rückspiel ermittelt. Das Finale wurde in einem Spiel ausgetragen.

Teilnehmer an der Hauptrunde

Gruppenphase

Gruppe A

Gruppe B

Gruppe C

Gruppe D

Achtelfinale

Viertelfinale

Halbfinale

Finale

Finals (MVP)

  Charles Smith (Real Madrid)

Weblinks
 Offizielle Website des Eurocups (englisch)

2006
Basketballsaison 2006/07

ULEB Cup 2006/07


في الهندسة الإقليدية، تعد مبرهنة سيفا من أشهر المبرهنات الرياضية.

إذا كان ABC مثلثا وكانت النقاط D و E و F تقعن على الأضلاع BC و AC و AB على التوالي، فإن المستقيمات AD و BE و CF تتقاطع في نقطة واحدة O إذا وفقط إذا كان:

قدم جيوفاني سيفا برهاناً لهذه المبرهنة في عام 1678.

جيوفاني سيفا رياضي إيطالي تخصص في الهندسة واشتهر بهذه المبرهنة، وإن كانت المبرهنة قد برهنت سابقاً من قبل العالم يوسف المؤتمن بن هود ملك طائفة سرقسطة في القرن الحادي عشر ميلادي.

الصيغة المثلثية للمبرهنة

هناك صيغة مثلثية مشابهة لمبرهنة سيفا، إذا كان ABC مثلث وكانت النقاط D,E,F تقع على الأضلاع BC,AC,AB على الترتيب، فإن المستقيمات AD,BE,CF تتقاطع في نقطة واحدة O إذا وفقط إذا كان:

.

تطبيقات
نذكر هنا أهم النتائج المباشرة من هذه المبرهنة:

المتوسطات

تلتقي متوسطات المثلث الثلاثة في نقطة واحدة تعرف بالنقطة الوسطى أو مركز ثقل المثلث.

البرهان:

في المثلث AD,BE,CF : ABC متوسطات تنصف الأضلاع BC,CA,AB عند النقاط D,E,F على الترتيب.

المطلوب: لكي تتقاطع المتوسطات في نقطة واحدة لا بد أن يتحقق:

نلاحظ أن النقطة F منتصف

كذلك الأمر مع النقطتين D,E منتصف

ومن الواضح أن  وبالتالي فإن متوسطات المثلث AD,BE,CF تلتقي في نقطة واحدة.

منصفات الزوايا

تلتقي منصفات الزوايا في نقطة واحدة، هذه النقطة مركز الدائرة الداخلية التي تمس أضلاع المثلث.

البرهان:

في المثلث AD,BE,CF : ABC منصفات للزوايا A,B,C على الترتيب.

المطلوب: لكي تتقاطع منصفات الزوايا في نقطة واحدة لا بد أن يتحقق:

باستخدام مبرهنة منصف الزاوية ينتج لدينا:

ولهذا فإن منصفات الزوايا تلتقي في نقطة واحدة.

الارتفاعات

تلتقي ارتفاعات المثلث في نقطة واحدة تعرف بملتقى الارتفاعات أو المركز القائم.

البرهان:

في المثلث AD,BE,CF : ABC ارتفاعات أقدامها D,E,F على الترتيب.

المطلوب: لكي تتقاطع ارتفاعات المثلث في نقطة واحدة لا بد أن يتحقق:

المثلثان CDO,AFO متشابهان (زاويتان قائمتان وزاويتان متقابلتان بالرأس)ومن التشابه ينتج:

أيضاً المثلثان CEO,BFO متشابهان وكذلك المثلثان AEO,BDO متشابهان ومن التشابهات ينتج:

وبهذا تلتقي ارتفاعات المثلث في نقطة واحدة.

البرهان

في البداية سنثبت أنه إذا كانت المستقيمات AD,BE,CF تتقاطع في نقطة واحدة فإن
.

لنبدأ مع الضلع  في المثلث نلاحظ أن:
المثلثان  لهما نفس الارتفاع وليكن ، إذا:

أيضاً المثلثان  لهما ارتفاع واحد لذا:

وصلنا إلى أن  ومن خصائص التناسب نصل إلى:

بطريقة مشابهة مع الضلعين  نصل إلى:

وهو المطلوب.

بقي الآن أن ثبت الإتجاه المعاكس أي إذا كانت  فإن المستقيمات AD,BE,CF تتقاطع في نقطة واحدة.

لتكن O نقطة تقاطع المستقيمين BE,CF سنثبت أن المستقيم AD يمبر بالنقطة O، نرسم المستقيم AO الذي يقطع BC في النقطة 'D، إذا أثبتنا أن D = 'D فإن AD سيكون نفسه 'AD الذي يمر عبر النقطة O وبالتالي يتحقق المطلوب.

المستقيمات AD',BE,CF تتقاطع في O بتطبيق مبرهنة سيفا (الاتجاه الأول):

ومن المعطيات:

وبذلك يتحقق المطلوب.

اقرأ أيضاً
 مبرهنة منصف الزاوية
 مبرهنة ستيوارت
 مبرهنة مينلاوس
 مبرهنة فيفياني

مراجع

 .
 J. B. Hogendijk, "Al-Mutaman ibn Hűd, 11the century kin of Saragossa and brilliant mathematician," Historia Mathematica 22 (1995) 1-18.
 Landy, Steven. A Generalization of Ceva's Theorem to Higher Dimensions. The American Mathematical Monthly, Vol. 95, No. 10 (Dec., 1988), pp. 936–939
 Masal'tsev, L. A. (1994) "Incidence theorems in spaces of constant curvature." Journal of Mathematical Sciences, 	Vol. 72, No. 4
 Wernicke, Paul. The Theorems of Ceva and Menelaus and Their Extension. The American Mathematical Monthly, Vol. 34, No. 9 (Nov., 1927), pp. 468–472

وصلات خارجية

 مبرهنة سيفا في شبكة رمز للرياضيات

مبرهنات في الهندسة المستوية
مقالات تحوي براهين
هندسة المثلث
هندسة إقليدية مستوية
هندسة تآلفية
مبرهنات حول المثلثات

مبرهنة شيفا


.pk ist die länderspezifische Top-Level-Domain (ccTLD) von Pakistan. Sie wurde am 3. Juni 1992 eingeführt und wird von der Organisation PKNIC (Pakistan Network Information Center) verwaltet.

Eigenschaften
Nach Einführung konnten Domains zunächst nur unterhalb von 13 Second-Level-Domains registriert werden, von denen nur sechs für die breite Öffentlichkeit nutzbar waren. Erst im Jahr 2005 wurde die Möglichkeit eingeführt, Domains direkt unter .pk anzumelden. Der Änderung ging eine sogenannte Sunrise Period voraus, innerhalb derer Inhaber einer vor Januar 2005 eingetragenen Marke ihre Domains sichern konnten. Generische Begriffe aus der englischen Sprache waren dazu nicht zugelassen.

Sonstiges
Bei der Vergabestelle PKNIC handelt es sich um ein US-amerikanisches Unternehmen, das zunächst weder eine Niederlassung in Pakistan unterhielt noch Nameserver im Land platziert hatte. Erst 2009 eröffnete PKNIC auf Weisung der nationale Telekommunikationsbehörde ein Büro in Lahore. Laut Experten sollte dies den Einfluss Pakistans auf die Top-Level-Domain sicherstellen. Im Gegensatz zu anderen Top-Level-Domains islamisch geprägter Staaten unterliegt .pk keinen besonderen Beschränkungen, sodass auch Domains wie casino.pk oder dating.pk erlaubt sind.

Weblinks
 Offizielle Website von PKNIC

Einzelnachweise

Medien (Pakistan)
Länderspezifische Top-Level-Domain
Technik (Pakistan)

.pk


Hei Arnold! este o serie americană de televiziune animată creată de Craig Bartlett care a fost difuzat pe Nickelodeon în perioada 7 octombrie 1996 - 8 iunie 2004. Spectacolul se concentrează pe un al patrulea elev, numit Arnold, care locuiește împreună cu bunicii săi într-o pensiune din centrul orașului. Episoadele se concentrează pe experiențele sale de navigare în viața mare a orașului în timp ce se ocupă de problemele cu care el și prietenii săi se întâlnesc.

Film

Hey Arnold: Filmul Junglei

Într-un interviu acordat lui Arun Mehta, Craig Bartlett a anunțat că lucrează împreună cu Nickelodeon la un revival pentru Hey Arnold!. În septembrie 2015, președintele Nickelodeon, Russell Hicks, a anunțat că compania are în vedere revivaluri pentru o serie de spectacole mai vechi, inclusiv Hey Arnold!. Potrivit unui anunț al lui The Independent, un revival pentru Hey Arnold! este "foarte mult pe carduri". Pe 23 noiembrie 2015, Nickelodeon a anunțat că un film TV se află în producție și se va ridica exact acolo unde seria a rămas. Filmul va răspunde, de asemenea, la întrebări fără răspuns cu privire la soarta părinților lui Arnold. La 1 martie 2016, a fost anunțat că filmul TV, Filmul Junglei, va fi împărțit în două părți și va fi difuzat în 2017. Pe 6 martie 2016, actrita vocală Nika Futterman a confirmat pe Twitter că ea și personajul ei Olga Pataki ar apărea în filmul de două ore. În iunie 2016, s-a confirmat că filmul TV va fi intitulat Filmul Junglei, iar 19 dintre actorii vocali originali din serie vor interpreta vocea personajelor în film. Noii membri ai casting-ului au inclus Mason Vale Cotton ca Arnold; Benjamin "Lil" P-Nut "Flores ca Gerald; Gavin Lewis în rolul lui Eugene; Jet Jurgensmeyer ca Stinky; Aiden Lewandowski ca Sid; Laya Hayes ca Nadine; Nicolas Cantu ca Curly; Wally Wingertas Oskar; Stephen Stanton în calitate de porumbel; și Alfred Molina în calitate de personaj negativ Lasombra.

Referințe și note

Legături externe
  on Nick

 ''Hey Arnold! at Don Markstein's Toonopedia. Archived from the original on 5 februarie 2016.

Seriale de animație
Seriale de televiziune americane
Seriale de televiziune din 1996
Desene animate
Nickelodeon
Hey Arnold!

Hey Arnold!


Fahte, Türk musikisinde 10 ya da 20 zamanlı olarak kullanılmış bir usuldür. 19. yüzyıldan itibaren 10 zamanlı olarak kullanılan şekline "Lenk Fahte" adı verilmiştir.

Vuruluşu: DÜM (2) TEK (3) DÜM (1) TEK (2) TEKE (1) TEKE (1).

Klasik Osmanlı müziği formları

Fahte


Blade Runner is a point-and-click adventure game developed by Westwood Studios and published by Virgin Interactive for Microsoft Windows, released on November 14, 1997. The game is not a direct adaptation of the 1982 Ridley Scott film Blade Runner but is instead a "sidequel", telling an original story, which runs parallel to the film's plot, occasionally intersecting with it.

Set in 2019 Los Angeles, the game tells the story of Ray McCoy, an elite detective charged with hunting down a group of dangerous replicants (bioengineered androids designed to look and act like humans). Although several of the film's characters appear in the game, with some of the original actors returning to voice them, the film's protagonist, Rick Deckard, does not appear in a speaking role. Instead, he is referred to on multiple occasions, is seen several times, and his activities as depicted in the film are mentioned. Other parallels with the film include the reproduction of several prominent locations, as well as scenes and dialogue closely modelled on the original. The game also features extracts from the film's soundtrack.

Blade Runner was advertised as a "real-time 3D adventure game", since it was one of the first adventure games to use both 3D character rendering and a game world which progressed in real-time (as opposed to waiting for the player's actions). Unlike many games of its time, which used polygon-based renderers exploiting 3D accelerators, Westwood opted for their own software-based renderer using voxel technology.

The game received generally positive reviews and was a commercial success, selling over one million units worldwide. It went on to win the Interactive Achievement Award for "PC Adventure Game of the Year" and was nominated for "Best Adventure Game" by PC Gamer. Virgin Interactive wanted Westwood to make a sequel, but it was thought the cost of production would make the game commercially unviable and the idea was scrapped. For many years, it remained trapped in legal and intellectual property entanglement, preventing a re-release on digital storefronts, until it finally arrived on GOG.com in December 2019. Nightdive Studios and Alcon Entertainment released an Enhanced Edition of the game on Microsoft Windows, Nintendo Switch, PlayStation 4, and Xbox One on June 23, 2022.

Gameplay
Blade Runner is a point-and-click adventure game played from a third-person perspective, in which the game world is navigated, explored, and manipulated using the mouse. The pointer has four different styles depending on the given situation; a standard grey pointer is used to move McCoy by clicking on any location, and scan the screen for elements with which to interact; an animated green pointer indicates McCoy can interact with an object or begin a conversation with an NPC; an animated blue pointer indicates the screen can be changed and a new area accessed (usually appears at the sides of the screen or in doorways); an animated red target becomes available only in combat mode and indicates McCoy can fire (if the target is grey, it means McCoy cannot fire).

Blade Runners main focus is detective work rather than puzzles or combat, and the majority of gameplay consists of searching for evidence, questioning suspects and analyzing clues. Occasionally, the player must solve compulsory puzzles, and often, to progress the story, certain clues must be located. Clues are found by searching crime scenes, and come in the form of items, photographs, interviews, or unusual markings. When analyzing photographs, the player must use the ESPER system, a high-density computer with a powerful three-dimensional resolution capacity which allows for the enhancement of photos and enables the player to find details within the picture. Combat is occasionally available in the game, but is rarely compulsory. The only weapon available to the player is McCoy's standard issue police pistol, which may be loaded with various types of ammunition.

Another important investigative tool at the player's disposal is the Voight-Kampff machine, which tests people to determine if they are replicants. Usually, Voight-Kampff tests are automatically triggered at certain predetermined points in the game, although on occasion, the player has the option of administering a test. The test depicts a close-up of the subject's eye, and features three needles. The further the top needle moves to the right, the more likely the subject is a replicant; the further the bottom needle moves to the right, the more likely they are human. The third needle is on a sweeping axis and measures the intensity of the questions (for every question the player can choose low, medium or high intensity), and the pressure felt by the subject. If the player pushes the subject too far, by asking too many high intensity questions, the test will end before a definite result can be obtained. If the player determines with certainty whether a subject is or is not a replicant, the test ends automatically. The player must then decide what course of action to take, with the decision influencing the rest of the storyline; for example, if a subject tests positive as a replicant, the player can kill them, attempt to arrest them, or let them go. Which characters are replicants is randomized each time a new game is started.

Aside from choosing how to react to Voight-Kampff results, the player must also decide how McCoy conducts himself in other areas of the game, such as whether to interrogate an NPC or simply talk to them and how aggressive to be in his questioning. The player can choose from one of five settings regarding McCoy's demeanor during conversations: "Polite", "Normal", "Surly", "Erratic" (the game randomly picks one of the first three options at different points of the conversation), and "User Choice". If the fifth option is selected, conversations with NPCs will present the player with menus from which they can choose their questions, rather than the game automatically selecting questions. Each choice will affect the storyline differently, with the player's cumulative decisions leading to one of the game's thirteen different endings.

All clues, conversation histories, and documents are stored in McCoy's "Knowledge Integration Assistant" (KIA), where they are automatically organized for easy access. The KIA has three main sections. The "Crime Scene Panel" lists the various crime scenes, along with all known suspects and all related clues. The "Suspect Panel" displays all available information about the suspects for the various crimes. It includes a photo of the suspect (if the player has found one), a list of crimes to which they are connected, and a list of clues which tie them to a specific crime. Suspect clues are arranged into four categories; "Whereabouts" (known places the suspect has visited, and suggestions as to their current location), "MO" (information on the suspect's previous actions, and suggestions as to their possible future actions), "Replicant" (any evidence suggesting the suspect may be a replicant) and "Non-replicant" (any evidence suggesting the suspect may be a human). The "Clue Panel" is a master list of all clues, but also contains clues which have not been linked to a specific crime or suspect as of yet, and, as such, are not available in either of the other two sections. The KIA also keeps track of McCoy's money and ammunition.

The game runs in nonlinear "real time", meaning that as McCoy investigates and gathers clues, the NPC characters are doing the same, completing their own objectives and performing random actions elsewhere in the game world. A good example of this is found in the computer mainframe, which is accessible from the police headquarters. When the player uploads their KIA data into the mainframe, any evidence collected by other Blade Runners is automatically downloaded into the player's KIA. This tends to be random, with different pieces of evidence discovered by different Blade Runners becoming available at different times of the game.

Story

Main characters

 Ray McCoy (voiced by Mark Benninghofen): the game's protagonist and a rookie Blade Runner. McCoy shares his apartment with his pet dog, Maggie.
 Crystal Steele (Lisa Edelstein): one of the best Blade Runners on the job and an expert in undercover work. She hates replicants, believing they should be exterminated. She is somewhat condescending towards McCoy early in the game but grows to respect him as the story progresses.
 Gaff (Javier Grajeda as Victor Gardell): a veteran Blade Runner who often offers McCoy advice.
 Lieutenant Edison Guzza (Jeff Garlin): temporarily placed in charge of the Blade Runner unit while the previous commander, Captain Bryant, is on sick leave.
 Clovis (Mark Rolston): the leader of a group of renegade replicants. Highly intelligent and eloquent, he is also extremely ruthless, unpredictable and, at times, capable of extreme acts of aggression.
 Lucy Devlin (Pauley Perrette): a fourteen-year-old girl who works at the pet store attacked by the replicants in the opening scene

Supporting characters
 Dektora (Signy Coleman): an exotic dancer.
 Sadik (Alexander Mervin): a member of Clovis' gang.
 Howie Lee (Toru Nagai): the owner of a restaurant in Chinatown.
 Zuben (Gerald Okamura): a replicant who works as a chef at Howie Lee's Restaurant in Chinatown.
 Luther and Lance (Jason Cottle): identical twin replicant brothers who are former Tyrell Corporation employees.
 Gordo Frizz (Bruno Oliver): a stand-up comedian.
 Runciter (Warren Burton): the owner of the pet store attacked by the game's replicants.
 Izo (Timothy Dang): a weapons dealer who supplies automatic firearms to Clovis' gang.
 Bullet Bob (Vincent Schiavelli): a World War III veteran who runs a gun shop near Animoid Row.

Original cast members from the 1982 film who make cameo appearances in the game are Sean Young as Rachael, Brion James as Leon, James Hong as Hannibal Chew, Joe Turkel as Dr. Eldon Tyrell, and William Sanderson as J.F. Sebastian.

Plot

The game begins shortly after the beginning of the film, with McCoy tasked with tracking down a group of replicants who are suspected of murdering animals—a crime nearly as heinous as murdering humans since most animal species are extinct and real specimens are exceedingly rare.

As McCoy's investigation progresses, he is framed for the murder of a civilian by the corrupt Lieutenant Guzza, who has been assisting the replicants in an effort to prevent them from revealing his activities. Forced into hiding, McCoy explores the underbelly of LA and makes contact with the replicant twins Luther and Lance, former genetic designers for the Tyrell Corporation who are now working to extend their own lifespans as well as those of all other replicants. From them, McCoy receives a detailed report containing evidence of Guzza's corruption. Using this information, he blackmails Guzza and forces him to set his falsified record straight. They meet in the city sewers for the exchange, where Guzza is wounded by replicant gunfire. At this point, the player can either run away or kill Guzza.

The game features thirteen different endings, which are influenced by the player's cumulative actions and decisions throughout the story. The endings are variations on three major themes:

 McCoy is human and hunts down the replicants either alone or with Crystal.
 McCoy is a replicant himself and sides with the other replicants.
 McCoy's status remains ambiguous and he sides with neither the replicants nor the police, instead leaving the city—either alone, with Dektora, or with Lucy.

Poems
Within the plot Clovis is shown as a big fan of William Blake. The following works were cited:
 The Tyger - In the opening cutscene, when he kills the animals (including a tiger, the most valuable animal in the collection) belonging to Runciter, who sexually harassed Clovis's 14 y.o. stepdaughter Lucy, who was an employee in his shop, in order to punish him.
 Jerusalem - the last stanza, when discussing McCoy fate at the roof..
 The Marriage of Heaven and Hell - "A fool sees not the same tree a wise man sees." - when discussing McCoy fate in the room.
 A Poison Tree - the first stanza, when visiting the twins.
 To Tirzah - The first stanza, when killing Guzza.
 Memory, Hither Come - the last stanza, when assaulting Tyrell.
 With happiness stretchd across the hills - the third part of the poem, the last words before expiration.

Development

Origins
The initial idea for a video game adaptation of Blade Runner came from The Blade Runner Partnership (composed of Bud Yorkin and Jerry Perenchio of Tandem Productions). They originally approached Electronic Arts, Sierra and Activision, before Virgin Interactive agreed to take the project on. However, the rights to the film were spread out over several entities, each of whom owned a different aspect, making production of the game complex from a copyright perspective; The Ladd Company owned North American distribution rights to the film; Run Run Shaw owned international distribution rights; and The Blade Runner Partnership owned all ancillary rights, and were the bond guarantors, who had taken control of the film when it went over-budget and over-schedule towards the end of production. As a result, sorting out the rights took several years before Virgin were in a position to actually begin development. They ultimately hired Westwood Studios to work on the game, but even with the rights secured, and the game in pre-production, there were still legal problems. As Louis Castle, the game's executive producer, art director and technical director, explains

However, Castle's unique idea for the game somewhat side-stepped the potential legal problems. He didn't want to adapt the film; he wanted to make an original game set within the film's milieu. This would mean the game would not have to borrow as heavily from the film as it would were it a straight adaptation, hence avoiding the potential legal problems down the road. Virgin loved Castle's idea, and asked him to make a pitch to Bud Yorkin. Castle built a demo for the pitch, but rather than using footage from the film, he and his team created a rough opening cutscene based on the film's aesthetic style, but without recreating any exact scenes. According to Castle, going into the pitch, Yorkin was concerned about how much footage from the film would be needed for the game, but when he saw the demo, he was thrilled, and asked Castle if the whole game could be made in a similar manner. From that point forward, the development team had one overriding mandate; every scene in the game would be generated from scratch in 3D; no footage from the film would be used.

Although both footage and the film's soundtrack were off-limits, the designers were allowed to re-create the likenesses of the actors who had appeared in the film. Westwood never intended for Rick Deckard to be a major character in the game, but they did attempt to contact Harrison Ford with the intention of asking him to make a cameo appearance. However, they never received a response. This didn't surprise them, as Ford had had a negative experience working on the film and, at the time, even refused to talk about it in interviews. According to Castle, Ford was also against the concept of video games based on films in general. The designers were also unable to get any input from Ridley Scott, the film's director, as he too had had a bad experience on the film, and had fallen out with Bud Yorkin and Jerry Perenchio when they took over production. He was uninterested in participating in the game.

One major contributor to the film who did work with the developers, however, was Syd Mead, whose concept art formed the basis for Blade Runners aesthetic. Mead sent the team extracts from his original Blade Runner artwork. However, they quickly noticed a disparity – Mead's art didn't correlate with the finished film; whilst his artwork tended to be highly stylized and polished, the film had a much grittier and "lived-in" texture. The team contacted one of the film's set builders, who explained that had Mead's artwork been used as it was presented, the film would have cost too much, so production designer Lawrence G. Paull and art director David Snyder had decided to create "less perfect" versions of Mead's designs; they took Mead's concepts and remoulded them. Inspired by this, Castle issued a similar directive to his design team; nothing in the game was to be created from scratch, everything had to come from either the film or Mead's art.

Story
From the beginning, Westwood had no interest in doing a straight adaptation of the film as either a shoot 'em up or traditional point-and-click adventure game. As a result, the team decided to write a new story set within the fictional milieu of the film – a story in which players would play not as Rick Deckard, but as a new character, Ray McCoy. This allowed fans of the film the experience of seeing the sights and sounds of the movie, but without knowing where the story is heading.

The writers decided the plot of the game would begin shortly after the opening of the film, with Deckard having already been assigned to track down Roy Batty and the other replicants. The game's plot was imagined in such a way that the player would occasionally hear about Deckard, but would never meet him. For example, when visiting the Tyrell building, Rachael mentions that she has already spoken to another Blade Runner, and Tyrell tells McCoy, "as I explained to Mr. Deckard earlier, I've given the Nexus 6 a past." Another example is a photograph taken in Animoid Row, which shows Deckard in the background, and prompts McCoy to exclaim "He looks familiar." Additionally, while searching Leon's room in the Yukon hotel, McCoy discovers Det. Holden's badge, and Lt. Guzza questions how Deckard missed it, going on to say, "Deckard, he feels too much, ya' know?" The developers were also keen to include locations from the film, such as the Bradbury Building, the Tyrell Corporation Pyramid, and the L.A.P.D.'s cylindrical skyscraper. They also enlisted many of the actors from the film to make cameos in the game; Sean Young as Rachael, Brion James as Leon, James Hong as Hannibal Chew, Joe Turkel as Dr. Eldon Tyrell, and William Sanderson as J.F. Sebastian.

Of paramount importance to the designers was that the story of the film be treated as sacrosanct – nothing the player can do in the game can ever alter, contradict or in any way run contrary to what happens in the film. David Yorkin, Bud's son, and David Leary worked on the game's script, initially writing it as a linear game. However, the designers wanted the game to feature a great deal of random elements, with the idea being that no two playthroughs would be the same, and no walkthrough would be able to cover every possible eventuality or every possible combination of random events. The game presents the player with fifteen suspects, but only two are always replicants (Clovis and a cook named Zuben). Which of the other thirteen characters is a replicant is randomized every time the player plays the game, and their behavior is different each playthrough based upon whether or not they are human. Due to the random nature of the game, the script swelled to 500 pages, and the quality assurance people had to play through the game 2,500 times to experience every possible variation.

Because of how central to the plot randomness is, NPC behavior was not scripted. Instead, each NPC is assigned certain goals to accomplish based upon whether they are a replicant or a human. How they go about accomplishing these goals is handled by the AI system, and can change from game to game, as most of the goals have several possible methods of achievement. The developers likened this aspect of the game to simulation games such as SimCity rather than traditional adventure games such as Myst. Castle explains, "those agents are real, goal-oriented artificial intelligences. We don't know what they're going to do, exactly. We've given them behavior, we haven't given them instructions. There's a big difference between behavior-based AI and scripted instructions."

Design

The graphic design of Blade Runner was extremely ambitious for the available technology of the time. In contrast to many contemporaneous games, the game engine included pre-rendered backgrounds and 3D characters, but did not require the use of any hardware 3D accelerators. Designers David Leary and James Walls achieved this through a self-developed technology using voxels (pixels with width, height and depth). Castle explains,

The use of voxels, however, meant 3D accelerators couldn't be used, as there would be too many polygons for a card to render. Instead, the designers used a fast rectangular rendering routine that rendered a rectangle whenever it had to draw a polygon. Speaking in 2014, Castle said "people ask me all the time "Why didn't you just use 3D?" Well, that's easy to say now we have full rendering pipelines and shaders, but back then you just didn't. You had a few vertex-shaded polygons and the texel mapping just wasn't accurate on a lot of the cards. Nowadays I'd do it all in 3D." Another reason for not using 3D accelerators was that the game features roughly 140 locations, most of them open to player exploration. Each of these locations featured millions of polygons, well beyond the capabilities of even the most high end graphics cards of the time.

The game's environment takes up 60–65% of the CPU bandwidth, primarily because of the moving camera, but also because eight different characters can appear on screen at any one time – a large number for the technology of the time. Because of this, a powerful CPU was required to run the game, since the engine relied on the processor doing all the work in creating the 3D models. However, despite this limitation, the game runs at a minimum of 15 FPS, even on slow systems. The downside to this was that, since processor power at that time was limited, the in-game 3D models tended to look very pixelated, especially up-close and when motionless, due to the low amount of voxels used to display them. However, had the number of voxels been raised to increase the detail on the characters, the game would have become too slow to play, even on advanced CPUs.

All character animations in the game are based on motion-captured actors, with the characters moving in the pre-rendered 3D environment. At the time, any game that attempted 1,000 motion-captured sequences was considered cutting edge; Blade Runner featured 20,000. Speaking in 2014, Castle stated

Music
The rights for the film's original soundtrack could not be secured for the game, so Westwood brought in their in-house composer Frank Klepacki to create new tracks based on Vangelis' score, and also to re-record some of the main tracks from the film. As Klepacki was not allowed access to the original master recordings, he had to re-create the music by ear.

Reception

Blade Runner received generally positive reviews. It held an aggregate score of 77% on GameRankings, based on sixteen reviews.

Next Generation rated it four stars out of five, and stated that "the game's shortcomings seem irrelevant as the journey that Ridley Scott and Harrison Ford began 15 years ago is brought to an entirely new end at the player's command. All movie-licensed game publishers should take note." GamePro likewise judged that the game's strongest points are its faithfulness to the book and movie and the way the ending is determined by the player's actions throughout the game. They also complimented the cinematics, dialogue, and "riveting plot and slick style", though they criticized the character models for their "overwrought body language" and said that those who are not fans of Blade Runner would find it solid but unexciting. They gave it a 4.5 out of 5 for graphics, 5.0 for sound, 4.0 for control, and 4.5 for fun factor.

Science Fiction Weeklys Peter Suciu awarded it an A+, writing the "computer-generated setting of Blade Runner is simply one of the best to arrive on computer desktops," and calling the game "an outstandingly enjoyable adventure simulation." Game Revolution Marke Cooke scored the game an A−, calling it "one of the best adventure games out there." RPGFan gave the game an overall rating of 93%, praising its pre-rendered backgrounds, with "rain, spotlights, Spinners or blimps advertising off-world vacations. The crisp images never fail to dazzle." Although the review pointed out that the graphics can become a "tad blurry and pixilated," it was argued "this doesn't detract too much from these otherwise stunning visuals."

In a 2006 review for Adventure Gamers, Chris Pickering scored the game 4.5 out of 5, praising it for its "glorious aesthetics, intriguing storyline, and well implemented controls."

Less impressed was GameSpot Ron Dulin, who scored the game 6 out of 10, calling it "an interesting mood piece, built upon some very detailed graphic work and an interesting premise – but somewhere along the production line, someone forgot to include a game." He was critical of the random nature of the game, especially the multiple endings; "To justify the number of wildly different endings, the designers have tried to keep some elements of the story very vague for the bulk of the story. But even with these safeguards, there are always a number of confusing contradictions and loose ends no matter how the story winds up." He concluded, "most of what's interesting about the game is exactly what was interesting about the film, and not much was done to extend the concepts or explore them any further. Fans of the film will undoubtedly overlook the game's flaws and enjoy living the life of the Blade Runner, even if it only lasts a few hours. But those who are awaiting the next generation of adventure games are advised to keep waiting."

In a 2007 article for Computer and Video Games, "Blade Runner: A Classic Revisited", Duncan Harris argued "critics may have been divided over the means by which you got there: a logical trail of clues, many of which were less the result of detective work than blind luck and idle exploration [...] but you couldn't deny that here, for once, was a movie tie-in which put the movie first, dismissing thoughts of its own genre and letting the subject dictate the design. With its insular thinking, it's something the games industry all too rarely sees."

Sales and awards
Blade Runner was a commercial success. In the United States alone, it sold 15,307 copies and earned $795,045 by November 30, 1997. Between January 1998 and July 1998, it sold another 47,939 copies in the region, which drew $2,283,055 in revenues. Westwood's Louis Castle reported that its lifetime sales had reached 800,000 units worldwide by February 2002. Blade Runners sales ultimately surpassed one million units by 2006; Castle claimed that it outsold The Curse of Monkey Island three to one.

Blade Runner was the winner in the category of "PC Adventure Game of the Year" during the Academy of Interactive Arts & Sciences' inaugural Interactive Achievement Awards (now known as the D.I.C.E. Awards); it also received nominations for "Outstanding Achievement in Art/Graphics", "Computer Entertainment Title of the Year", "Outstanding Achievement in Software Engineering", and "Interactive Title of the Year", losing in the first category to Riven: The Sequel to Myst, the second category to StarCraft, and the last two to GoldenEye 007. In 1998, it was nominated for "Adventure Game of the Year" by Computer Gaming World and for "Best Adventure Game" at the PC Gamer awards, losing on both occasions to The Curse of Monkey Island.

In 2011, Adventure Gamers named Blade Runner the 21st-best adventure game ever released. PC Gamer also did a retrospective on the game, praising it for being authentic to the cyberpunk setting more than other similar themed games.

Sequel and re-release

Sequel
Blade Runner sold well, but due to high development costs, the profit margin was low. According to Louis Castle, "The mere fact it was four CDs made it a very expensive game. And the deal we had with the Blade Runner Partnership meant it was not terribly profitable. It didn't do as well as you might think." Although Virgin were interested in doing a sequel, if a sequel were approved, the Blade Runner Partnership intended to increase the licensing fee. Ultimately, Westwood and Virgin concluded the cost of producing a game to top the original, coupled with the increased cost for licensing, made the prospect of a sequel economically untenable, as such a sequel would have to sell several million units to generate what would be considered an acceptable profit. In 2009, the Blade Runner Partnership offered Gearbox Software the rights to the franchise, but production costs were estimated at $35 million and the project was scrapped.

Re-release
Speaking in 2015 regarding a possible re-release of the game via Steam or GOG.com, Louis Castle explained the source code and assets were lost when Westwood moved its studio from Las Vegas to Los Angeles, thus making a re-release or a HD remaster impossible. Even if the code was found, to restore almost a terabyte of assets, whether for new pre-rendered backdrops or full real-time 3D, would cost tens of millions of dollars, making a re-release as unlikely as a sequel. The Blade Runner Partnership and Electronic Arts owned the rights to the game for many years by that point.

However, the game finally made it to GOG.com on December 17, 2019, after an agreement with Alcon Interactive Group and the website, using ScummVM as detailed below.

ScummVM
Several attempts were made to reverse engineer the game's engine. As it is technically complex with voxel graphics for the in-game actors, video backgrounds, and randomised paths, it took the ultimately successful project with combined efforts eight years to completion. The new Blade Runner engine was included in the game engine collection ScummVM on 13 October 2016 and took another three years till it was ready for public testing on 16 June 2019 and was included in ScummVM version 2.1.0.

Enhanced Edition
Nightdive Studios and Alcon Entertainment announced they would be developing an Enhanced Edition of the game. It was originally planned to release in 2020 for Microsoft Windows, PlayStation 4, Xbox One and Nintendo Switch, but was delayed to an unspecified date due to technical issues. Stephen Kick of Nightdive explained that while the source code for the game was lost, they had reverse engineered it and reworked within their proprietary KEX engine they had used for other remastered games. In addition to support for modern systems, the Enhanced Edition will include updated character models, animations and cutscenes. Many of the supporting assets to make the fixed graphic scenes were also lost, so Nightdive used a combination of graphics tools and machine learning to upscale these for modern systems as well as increasing the frame rate on the video scenes.

Blade Runner: Enhanced Edition was released on June 23, 2022. However, the game was met with complaints from players that the improved graphics were actually worse than the original game or what the unofficial ScummVM port had offered, but which Nightdive said they would fix in upcoming patches. Nightdive updated the Steam version of the Enhanced Edition to include the ScummVM version alongside the enhanced version a few days later. Metacritic listed Blade Runner: Enhanced Edition as the tenth-worst game of 2022.

References

External links

 Video: How Westwood's Blade Runner created noir-2019 way back in 1997 (Ars Technica)

1997 video games
Adaptations of works by Philip K. Dick
Blade Runner (franchise)
Cyberpunk video games
Detective video games
Point-and-click adventure games
ScummVM-supported games
Single-player video games
Video games about police officers
Video games based on adaptations
Video games based on films
Video games developed in the United States
Video games scored by Frank Klepacki
Video games set in 2019
Video games set in Los Angeles
Video games with voxel graphics
Virgin Interactive games
Westwood Studios games
Windows games
PlayStation 4 games
Xbox One games
Nintendo Switch games
Neo-noir video games

Blade Runner (1997 video game)


Filip Bradarić (; ) este un mijlocaș de fotbal croat, care joacă pentru Cagliari și echipa națională de fotbal a Croației.

Cariera pe echipe

Hajduk Split
După ce a jucat pentru mai multe grupe de vârsta ale academiei de tineret de la Hajduk Split, Bradarić a fost împrumutat în vara anului 2011 la pentru echipa de liga a treia NK Primorac 1929, pentru două sezoane, fiind titular al echipei atât în liga a treia cât și în liga a doua a Croației. În vara lui 2013 a intrat în prima echipă a lui Hajduk, sub conducerea antrenorului Igor Tudor, care l-a debutat în Prima ligă la 13 iulie 2013, intrând în minutul 73 în locul lui Tonci Mujan în victoria scor 5-1 obținută împotriva lui NK Zadar.

Rijeka
Pe 3 februarie 2015 Bradarić a semnat un contract pe un an cu HNK Rijeka. La 5 mai 2017, Bradarić a semnat prelungirea contractului cu HNK Rijeka până în iunie 2020.

Cagliari
La 3 august 2018 a semnat un contract pe cinci ani cu Cagliari, începându-și astfel prima sa experiență în străinătate. La echipa din Sardinia a jucat alături de conaționalii lui Darijo Srna și Marko Pajac.

Cariera la națională
În noiembrie 2016, Bradarić a primit prima sa convocare la echipa mare a Croației pentru meciurile împotriva Islandei și Irlandei de Nord. El și-a făcut debutul într-un amical împotriva Irlandei de Nord la 15 noiembrie 2016.

În luna mai 2018 a fost numit în lotul lărgit al Croației format din 32 de jucători pentru Campionatul Mondial din 2018 din Rusia. La 4 iunie 2018, Bradarić a fost inclus în lotul definitiv al Croației care a făcut deplasarea la Campionat Mondial. La 26 iunie 2018, el a intrat în locul lui Luka Modrić în minutul 65 al meciului din grupe împotriva Islandei, devenind al treilea jucător din istoria lui HNK Rijeka care a jucat la Campionatul Mondial.

Statistici privind cariera

Club

Meciuri la națională

 Până pe 15 octombrie 2018

Titluri

 Primorac 1929

  Promovare din a Treia Ligă de Fotbal a Croației: 2011-12

 HNK Rijeka

 Prima Ligă de Fotbal a Croației : 2016-2017
 Cupa Croației: 2016-2017

Croația

 Campionatul Mondial: finalist în 2018

Decorații

  Ordinul ducele Branimir cu panglică: 2018

Referințe

Legături externe

 Profilul lui Filip Bradarić  la nk-rijeka.hr

Nașteri în 1992
Nașteri pe 11 ianuarie
Fotbaliști ai Campionatului Mondial de Fotbal 2018
Fotbaliști internaționali croați
Fotbaliști croați
Mijlocași
Sportivi croați în viață

Filip Bradarić


An Hexalectris in uska genus han Liliopsida. An Hexalectris in nahilalakip ha familia nga Orchidaceae.

An kladograma hini sumala ha Catalogue of Life:

Mga kasarigan

Mga sumpay ha gawas

Hexalectris

Hexalectris


Majstor Vilim,  (tal. Mastro Guglielmo, katkada i Guillielmus; njem. Meister Willhelm ili Wilhelm; engl. Master William), konvencionalno je ime anonimnoga talijanskog majstora romaničkoga slikarstva s početka 12. stoljeća, koji je najpoznatiji po oslikanom raspelu s izrazitim bizantskim stilskim obilježjima sačuvanom i izloženom u konkatedrali Uznesenja Blažene Djevice Marije (tal. Santa Maria Assunta) u talijanskoj općini Sarzani na obali Ligurskog mora.

Raspelo iz Sarzana

Raspelo iz Sarzana Majstora Vilima je temperom na lanenom platnu oslikani lik uskrsloga Krista apliciran na križ od kestenova drva. To je raspelo ujedno i prvi znani nam primjer ikonografije tipa Christus triumphans (hrv. trijumfirajući Krist), a po tumačenju talijanskoga povjesničara umjetnosti Piera Torritija prikazani Isusov lik "predstavlja proširenu veličinu, snažnu potragu za životom i slobodom kretanja koja kao da rastvara krute orijentalne oblike".

Jedna od poznatijih kopija raspela Majstora Vilima nalazi se u samostanskoj crkvi opatije Heiligenkreuz u istoimenoj donjoaustrijskoj općini usred Bečke šume: nju je u sklopu obnove oltarskog prostora crkve u godinama 1980.–1981. izradio talijanski likovni umjetnik Renato Manfredi, a ista je obješena iznad oltara na Veliki petak (17. travnja) 1981. godine.

Izvori

Vanjske poveznice

Sestrinski projekti

Mrežna mjesta
 Fondazione Carispezia: Una nuova Guida digitale per scoprire la preziosa Croce di Mastro Guglielmo

Talijanski slikari
12. stoljeće
Romanika
Bizantska umjetnost

Majstor Vilim (slikar)


Coptosapelta, biljni rod iz porodice broćevki smješten u tribus Coptosapelteae. Sastoji se od 16 priznatih vrsta rasprostranjenih po jugoistočnoj Azija.

Vrste
 Coptosapelta beccarii Valeton
 Coptosapelta carrii Merr. & L.M.Perry
 Coptosapelta diffusa (Champ. ex Benth.) Steenis
 Coptosapelta fuscescens Valeton
 Coptosapelta griffithii Hook.f.
 Coptosapelta hameliiblasta (Wernham) Valeton
 Coptosapelta hammii Valeton
 Coptosapelta janowskii Valeton
 Coptosapelta laotica Valeton
 Coptosapelta lutescens Valeton
 Coptosapelta maluensis Valeton
 Coptosapelta montana Korth. ex Valeton
 Coptosapelta olaciformis (Merr.) Elmer
 Coptosapelta parviflora Ridl.
 Coptosapelta tomentosa (Blume) Valeton ex K.Heyne
 Coptosapelta valetonii Merr.

Izvori

Coptosapelteae

Coptosapelta


Antonia Pozzi () a fost o poetesă italiană.

S-a născut din mariajul avocatului milanez Roberto Pozzi cu contesa Lina Cavagna Sangiuliani, aceasta din urmă fiind nepoata lui Tommaso Grossi.

Antonia a crescut în Milano, pe strada Mascheroni, dar locul său preferat era casa de vacanță din Pasturo, provincia Lecco, în inima munților. A avut o copilărie asigurată, frecventând cele mai bune școli, inclusiv ore de muzică și arte, călătorind și făcând sport.

A început să scrie poezii în adolescență, ajungând la cifra de 200 de creații până la sfârșitul vieții. Nu își arăta lucrările decât celor mai apropiați prieteni, din care motiv activitatea sa literară a devenit cunoscută doar post mortem. Temele atinse în poezie țineau mai mult de natură.

Note

Nașteri în 1912
Nașteri pe 13 februarie
Decese în 1938
Decese pe 3 decembrie
Poeți italieni
Scriitori care s-au sinucis

Antonia Pozzi


An Digitaria ramularis in uska species han Liliopsida nga syahan ginhulagway ni Carl Bernhard von Trinius, ngan ginhatag han pagkayana nga asya nga ngaran ni Johannes Jan Theodoor Henrard. An Digitaria ramularis in nahilalakip ha genus nga Digitaria, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Digitaria (Poaceae)

Digitaria ramularis


"Big Girls Cry" este un cântec al cantautoarei australiene Sia de pe al șaselea ei album de studio 1000 Forms of Fear (2014). Single-ul nu a fost lansat internațional; a fost lansat doar în Australia și în unele părți ale Europei. Acesta s-a clasat în Belgia și a lovit top-ul 40 în Australia și Franța.

Electronic datorită lui Odesza care a lansat un remix "choppy, chillwave" pentru "Big Girls Cry" pe data de 5 decembrie 2014. Pe data de 15 octombrie 2014, Sia a interpretat "Big Girls Cry" live la The Recording Academy. Pe data de 2 aprilie 2015, "Big Girls Cry" a fost lansat ca al treilea single în Regatul Unit. Sia a interpretat "Big Girls Cry" live la show-ul televiziv Australian, Sunrise pe data de 21 aprilie 2015.

Videoclipul
Pe data de 2 aprilie 2015, un videoclip pentru cântec a fost lansat pe canalul de Vevo a lui Sia. Videoclipul o arată pe Maddie Ziegler în tricoul de culoarea pielii de marcă și peruca blondă a lui Sia în fața camerei de filmat, în fața unui fundal negru, răsucind fața ei si folosind mâinile pentru a exprima o mulțime de emoții. La un moment dat două mâini intră în cadru (a fost arătat în filmul din spatele-scenelor ca fiind mâinile proprii ale lui Sia) manipulând fața lui Ziegler și acoperind gura, acestea pare să ridice gâtul lui Ziegler în aer până când numai picioarele ei lovind sunt arătate, apoi Ziegler apare din nou în cadrul pentru a relua contorsiunile ei faciale emoționale.

Sia a dezvăluit că ar fi făcut o trilogie de videoclipuri cu Ziegler într-un videoclip din spatele scenelor pentru "Elastic Heart". Ca și în primele două videoclipuri din seria ("Chandelier" și "Elastic Heart"), videoclipul pentru "Big Girls Cry" a fost regizat de către Sia și Daniel Askill și coregrafia lui Ryan Heffington. Fiind în decembrie 2015, videoclipul a primit mai mult de 87 de milioane de vizualizări.

Clasamente

Certificări

Note
  reprezintă "disc de platină";

Istoricul lansărilor

Referințe

Legături externe

Discuri single din 2014
Cântece din 2014
Balade pop
Sia

Big Girls Cry


Na teoria da probabilidade, um modelo de Markov é um modelo estocástico usado para modelar sistemas de mudança pseudo-aleatória.  Presume-se que os estados futuros do sistema dependem apenas do estado atual, não dos eventos que ocorreram antes dele (ou seja, presume a propriedade de Markov). Geralmente, essa suposição permite raciocínio e computação com o modelo que, de outra forma, seria intratável. Por esta razão, nas áreas de modelagem preditiva e previsão probabilística, é desejável que um determinado modelo exiba a propriedade de Markov.

Introdução
Existem quatro modelos de Markov usados em diferentes situações, dependendo se cada estado sequencial é observável ou não, e se o sistema deve ser ajustado com base nas observações:

Cadeia de Markov
O modelo de Markov mais simples é a cadeia de Markov . Ele modela o estado de um sistema com uma variável aleatória que muda ao longo do tempo.  Nesse contexto, a propriedade de Markov sugere que a distribuição dessa variável depende apenas da distribuição de um estado anterior. Um exemplo de uso de uma cadeia de Markov é a cadeia de Markov Monte Carlo.

Modelo oculto de Markov
Um modelo oculto de Markov é uma cadeia de Markov para a qual o estado é apenas parcialmente observável ou observável com ruído. Em outras palavras, as observações estão relacionadas ao estado do sistema, mas normalmente são insuficientes para determinar seu estado com precisão.

Processo de decisão de Markov
Um processo de decisão de Markov é uma cadeia de Markov na qual as transições de estado dependem do estado atual do sistema e de um vetor de ação aplicado ao sistema. Um processo de decisão de Markov é geralmente empregado para calcular um plano de ações que maximizará alguma utilidade em relação às recompensas esperadas.

Processo de decisão de Markov parcialmente observável
Um processo de decisão de Markov parcialmente observável (PDMPO) é um processo de decisão de Markov no qual o estado do sistema é observado apenas parcialmente. Os PDMPOs são conhecidos por serem NP-completos, mas técnicas de aproximação recentes os tornaram úteis para uma variedade de aplicações, como controlar agentes simples ou robôs.

Veja também

 Cobertor de Markov
 Andrei Markov

Notas

Referências

Estatística

Modelo de Markov


Böyle Buyurdu Zerdüşt: Herkes ve Hiçbiri için Bir Kitap (), Friedrich Nietzsche tarafından kaleme alınmış bir kitaptır (1883–1885). Kitabı belirli bir kategori içerisinde tanımlamak genelde zor olmuştur: Bir edebiyat eseri ve aynı zamanda felsefi bir çalışmadır. Nietzsche kendisi kitabı "yazılmış en derin" eser olarak tanımlamıştır. Eser, birçok farklı konu ve tarz barındırmaktadır. Nietzsche'nin felsefi görüşleri açısından önemli bir yer tutan kitap, birçok eleştiriye maruz kalmıştır.

Edebiyat ve felsefe
20. yüzyıl felsefesinde belirgin bir eğilim olarak edebiyat ve felsefenin iç içe geçtiği, felsefi anlatıların edebî anlatılara benzemeye başladığı ya da edebî anlatının felsefi nitelik taşıdığı gözlemlenir. Bu gelişmenin kaynağındaki en önemli düşünür Nietzsche'dir ve özellikle onun Böyle Buyurdu Zerdüşt kitabıdır. Bu kitapta Nietzsche şiirsel bir üslupla felsefi meseleleri dile getirmiş, kendi felsefi düşüncelerini ve kavramlarını açıklamıştır. Nietzsche'nin en belirgin etkisi Martin Heidegger'in felsefi çalışmalarındaki şiirsellik arayışında ve varoluşçu filozofların edebî-felsefi yapıtlarında görülür. Nietzsche, felsefe alanında yalnızca metnin içeriğiyle değil, üslubu ya da söylemiyle de yakından ilgilenmiş, yeni düşünceleri yeni söyleyişlerle dile getirme prensibiyle hareket etmiştir. Böyle Buyurdu Zerdüşt, bu anlamda felsefeye yeni bir içerik katkısından ibaret olmayıp yeni bir söylemsellik de getirmiştir.

Böyle buyurdu Zerdüşt, Nietzsche felsefesinin ana yapıtıdır. Kendi deyimiyle: "Yazılmış en yüce kitap, insanlığa şimdiye dek verilen en büyük armağan"dır.

Nietzsche, felsefesinde olduğu gibi yazım tarzında da var olan kuralları hiçe saymış ve kendine özgü bir edebî üslup kullanmıştır. Kimi zaman şiir kimi zaman düz yazı kimi zaman da ikisinin karışımıyla karşımıza çıkan yazım tarzını, belirli bir kategori içerisinde tanımlamak güçtür.

Eserin geneli özdeyişlerden (aforizmalardan) oluşur. Nietzsche anlatmak istediği konuyu, benzetmeler ya da imalar kullanarak aktarır. Bu şekilde, okuyucunun bahsedilen konu hakkında düşünmesini ve kendisine ait bir yargıya ulaşmasını beklemektedir. Bu durumu şöyle açıklar: "Herkesin okumayı öğrenme hakkının olması, zamanla sadece yazmayı değil, düşünmeyi de mahveder. Dağlarda en kısa yol doruktan doruğadır ama bunun için uzun bacakların olmalı. Özdeyişler doruk olmalı, kendisine hitap edilen de iri kıyım ve uzun boylu."

Yazılarını bilmece, okuyucuları da bilmeceleri çözen kişi, bulucu olarak tanımlamıştır. Fakat onun bu üslubu, zaman içinde felsefesinin algılanışını etkileyen kasıtlı çarpıtmaları ve yanlış anlaşılmaları doğurmuştur. Yaşadığı çağda kimsenin kendisini anlamasını beklemediğini, onu duyacak kulakların olmadığını söyleyen Nietzsche, bunun sebebi olarak da yaşadığı çağa ait olmamasını gösterir.  Kendisini henüz zamanı gelmemiş filozof olarak tanımlayan Nietzsche, felsefeye bakış açısını şu cümlelerle dile getirir: "Yazılarımın havasını soluyabilen, bunun bir yüksek yer havası, sert bir hava olduğunu bilir. Felsefe; bugüne dek anladığım, yaşadığım gibisi, yüksek dağda, buz içinde gönüllü yaşamaktır."

Kitapta Zerdüşt isimli karakterin gözlemleri ve bu gözlemler üzerine ürettiği düşünceler yer alır. Karakterin ismi, İranlı bir peygamber olan Zerdüşt peygamberin ismiyle aynıdır. Bu durum zaman zaman "Böyle Buyurdu Zerdüşt"ün bir kutsal kitap olarak algılanmasına neden olmuştur. Nietzsche bu yanlış anlaşılmayı öngörmüş ve, "Zerdüşt adı ne anlama geliyor, sormadılar bana, sormalıydılar. Çünkü o İranlının tarihteki korkunç benzersizliğini yapan şey, benimkinin tam tersidir."  ve "Burada konuşan ne bir peygamberdir ne de din kurucusu denen o güç istemi ve hastalık kırmasıdır. Bağnazın biri değil burada konuşan, vaaz verilmiyor, inanç istenmiyor burada."  cümleleriyle bu çarpıtmaların da önüne geçmiştir.

Kitap "Üstinsan" ve "Bengi dönüş" kavramları üzerine kuruludur.

Zerdüşt herhangi bir topluma ya da herhangi bir çoğula hitap etmekten ziyade, tekil olarak sadece insanı ele alır. Bu yönüyle bir psikologtur.  Ona göre kişinin en büyük düşmanı, yine kendisidir. İnsana hedef olarak "Üstinsan"ı gösterir. Bu kavram üstün ırk ya da herhangi bir çoğulu anlatan bir kavram değildir.

İnsanı, hayvan ile Üstinsan arasında gerili bir ip olarak tanımlayan Zerdüşt, kişinin sürekli olarak "Üstinsan"a doğru kendisini aşması gerektiğini söyler. Fakat kişinin kendisini aşması için, ilk önce insanın aşılması gereken bir şey olduğunu kabul etmesi gerekir. Başka bir deyişle yükselmek için, önce alçakta olduğunu kabul etmesi gerekir. Bu nedenle "insan" kavramını alçaltarak sadece "Üstinsan'a giden bir köprü" olduğunu savunur. Üstinsan'ın var olma sebebi ise insanın kendisini aşmasının, farkına varmasının gereğidir.

Yeni değerlerin üretilmesi için, var olan eski değerlerin hiçe sayılması gerektiğini savunur. Ona göre "iyinin ve kötünün yaratıcısı olmak isteyen, ilk önce bir yok edici olmalıdır ve değerleri paramparça etmelidir." Yaratılan yeni değerler ise tekrar tekrar kendini aşmak zorundadır. Hiçbir değere bağlı kalınmadan "Üstinsan"a doğru sürekli yol alınmalıdır. Bu anlamda, "kişinin kendisi olmasının koşulu, kim olduğunu hiç mi hiç bilmemesidir." Genel olarak kitapta, "eski levhaları yıkmak" olarak tanımladığı bu yıkıcı görüş hâkimdir. Yeni değerleri üretmeyi ise kişinin kendisine bırakmıştır. İdeallere, inançlara, törelere… Var olan tüm toplumsal değerlere bağlı kalanlara aşağılarcasına hitap eden Zerdüşt, kendi istemini kendi belirleyen ve her türden boyun eğmeyi reddeden herkesi dengi olarak kabul eder.

Her ne kadar bir yol gösterici, öğretici olarak algılansa da kişilerin kendi düşüncelerini üretmesi gerekliliğini savunur. Ne bir takipçisi ne de bir öğrencisi olsun ister. Bunu şu şekilde dile getirir: "Yalnız gidiyorum şimdi kardeşlerim! Siz de yalnız uzaklaşın buradan. Böyle istiyorum ben! Uzaklaşın benden ve koruyun kendinizi Zerdüşt'e karşı. Her zaman öğrenci olarak kalırsa insan, öğretmenine borcunu ödememiş olur."

Ona göre kişi, "Üstinsan"ı kendisi var etmeli ve bunun için ne Zerdüşt'e ne de bir başkasına -tanrı dâhil- ihtiyaç duymalıdır. Kendisinin efendisi olmalı, kendi yasalarını kendisi koymalıdır. Kendi yasasının yargıcı, celladı ve kurbanı olmak zorundadır. Kişinin kendi yasasının yargıcı ve celladıyla baş başa kalmasını korkunç bir şey olarak tanımlayan Nietzsche, bunun koşulu olarak kişinin kendisine karşı sert ve katılık kertesinde dürüst olması gerektiğini söyler.

Nietzsche'nin kendine özgü anlatım tarzıyla, birçok farklı anlam çıkarılabilecek özdeyişlerle, sert bir üslup kullanarak kaleme aldığı bu eseri, diğer eserleri gibi yaşadığı dönemde çok yadırganmış, birçok olumsuz eleştiriye maruz kalmıştır. Nietzsche ise bu durumu normal karşılamış, aksi olsaydı  kendisiyle çelişeceğini dile getirmiş ve "Böyle Buyurdu Zerdüşt"ü okuyacaklara şöyle seslenmiştir: "Bir iç durumu gerçekten bildiren, yapmacık tavırlar takınmayan her deyiş iyidir. Bu konuda şaşmaz benim içgüdüm. Şüphesiz bu iş için dinleyen kulaklar, aynı tutkuyu duyabilecek güçte kimseler bulunduğunu varsayıyorum. Zerdüşt'üm bekliyor böyle dinleyicileri, daha uzun süre de bekleyecek! Onu inceleyecek değerde olmalı insan. Bu gibi şeyler ancak en seçkinlerin kulağına ulaşır, burada dinleyici olabilmek eşsiz bir ayrıcalıktır, her babayiğidin harcı değildir Zerdüşt'ü duyabilmek."

Nietzsche'nin kehaneti
Nietzsche, Böyle Buyurdu Zerdüşt kitabında zamanındaki kulaklara göre ağız olmadığını kendisinin daha sonraki kuşaklar tarafından anlaşılacağını söyler. Özellikle yüzyıl sonra anlaşılacağını söylemesi gerçekleşen bir kehanet olarak görülebilir. Elbette tek tek filozoflarda Nietzsche'nin çalışmalarını değerlendirenler olmuştur. Ancak asıl olarak Nietzsche 20. yüzyılın ikinci yarısından itibaren genel bir ilginin konusu olur ve postmodern felsefeler tarafından her anlamda değerlendirilmeye başlanır. Onun perspektivizmi, tarihselciliği, bilgi/iktidar düşüncesi, dili kavrayış biçimi yeniden ve yeni anlam katmanlarıyla değerlendirilmeye başlanmıştır. 2000'li yıllara gelindiğinde ise Nietzsche en derin teorik tartışmalardan en sıradan sohbetlere kadar herkesin dilindeki isimlerden biri hâline gelmiş bulunmaktadır. Nietzsche'nin kendi istediği ve düşündüğü anlamda anlaşılıp anlaşılmadığı tartışmalı olmakla birlikte, yüzyıl sonra kendisine pek çok kulak verenin ortaya çıktığı kesindir.

Zerdüşt'te Nietzscheci kavramlar
 Üstinsan
 Tanrı öldü
 Bengi dönüş
 Amor fati!
 Değerlerin yeniden değerlendirilmesi

Kitabın çevirileri hakkında

 İşte Böyle Dedi Zerdüşt, Çeviren: Ahmet Cemal, Kabalcı Yayınları
 Böyle Buyurdu Zerdüşt, çeviren; Turan Oflazoğlu, Cem Yayınevi.
 İskele Yayıncılık tarafından Mustafa Bahar çevirisiyle Temmuz 2005'te Dünya klasikleri serisi içinde yayınlandı ISBN 975-9099-35-7.
 2006 Mart'ında da Murat Batmankaya çevirisiyle Say yayıncılık tarafından basıldı ISBN 975-468-391-3.
 2005 Ocak'ta E.Murat Cengiz çevirisiyle Oda Yayınevi tarafından yayınlandı ISBN 975-385-341-6.
 2003 Ocak'ta Mustafa Tüzel çevirisiyle İş Bankası Yayınları'nca basıldı.

Notlar ve kaynakça

Felsefi romanlar
Friedrich Nietzsche kitapları
Hristiyanlık karşıtlığı
Etik kitapları
1883 romanları

Böyle Buyurdu Zerdüşt


Kandidaterne er en dansk dokumentarfilm fra 1998, der er instrueret af Michael Kristiansen og Jakob Kvist.

Handling
Det er forår 1998. Valgkampen til Folketingsvalget er i fuld gang. Den siddende statsminister er Socialdemokratiets Poul Nyrup Rasmussen, udfordreren er Venstres formand Uffe Ellemann-Jensen. Som en flue på væggen følger denne dokumentarfilm de to kandidater både på scenen og i kulissen: helt ind i magtens centrum, hvor offentligheden og medierne normalt er forment adgang, på interne møder, hvor strategier aftales og meninger får frit løb. De to toppolitikeres duel om magten skildres gennem ekstreme og afgørende øjeblikke i en kort og hektisk valgkamp.

Referencer

Eksterne henvisninger

Danske film fra 1998

Folketingsvalg
Dokumentarfilm fra Danmark

Kandidaterne