Temmuz, Jülyen ve Gregoryen Takvimleri'ne göre 31 gün çeken ve yılın 7. ayını oluşturan bir ay. Kuzey yarımkürede yaz mevsiminin 2. ayı olan Temmuz, Güney yarımkürede kış mevsinin 2. ayı olup en soğuk aylardan biridir.

Etimoloji
Temmuz kelimesi Arapça (tammūz تمّوز) veya Aramiceden (tammūz תמוז) Türkçeye geçmiştir. Bu dillere ise Akadçadan girmiştir. En eski kök olarak Akadlar tarafından da tapınılmış Sümer çobanlık ve çiftçilik tanrısı Dummuz gösterilebilir.

Gregoryen takviminde bu aya, Roma İmparatoru Julius Sezar'a ithafen July adı verilmiştir. Daha önceleri, Mart ayından başlayan Roma takviminde beşinci ay olduğu için Latince "Quintilis" olarak adlandırılmıştır. İrlanda takviminde ise Temmuz, Iúil olarak adlandırılmıştır ve yaz mevsiminin ikinci ayıdır. Türkçe kökenli olarak bu aya "orak ayı" ya da "ot ayı" denir.

Olaylar
 Temmuz ayının ilk günü Türkiye'de Denizcilik ve Kabotaj Bayramı olarak kutlanmaktadır.

Kaynakça

Temmuz


Nancy Jane Meyers (born December 8, 1949) is an American filmmaker. She has written, produced, and directed many critically and commercially successful films. She was nominated for the Academy Award for Best Original Screenplay for Private Benjamin (1980). Her film Baby Boom (1987) was nominated for the Golden Globe Award for Best Motion Picture - Musical or Comedy. She co-wrote Father of the Bride (1991), Father of the Bride Part II (1995), and directed The Parent Trap (1998), What Women Want (2000), Something's Gotta Give (2003), The Holiday (2006), It's Complicated (2009), and The Intern (2015).

Meyers was married to filmmaker Charles Shyer, with whom she had two children, including filmmaker Hallie Meyers-Shyer.

Early life and education
Meyers was born in Philadelphia.  Her father, Irving Meyers, was an executive at a voting machines manufacturer. Her mother, Patricia Meyers (née Lemisch), was an interior designer who also worked as a volunteer with the Head Start Program and the Home for the Blind. The younger of two daughters, Meyers was raised in a Jewish household in the Drexel Hill area.

After reading playwright Moss Hart's autobiography Act One at the age of twelve, Meyers became interested in theater and started to act in local stage productions. Her interest in screenwriting did not emerge until she saw Mike Nichols' film The Graduate in 1967. Meyers attended Lower Merion High School in Lower Merion Township, Pennsylvania. In 1970, Meyers graduated from American University with a degree in journalism.

Career
After graduating from college, Meyers spent a year working in public television in Philadelphia. When she was 22 years old, Meyers moved to Los Angeles, living with her sister, Sally, in the Coldwater Canyon area. She quickly got a job as a production assistant on the CBS game show The Price Is Right.

Inspired by the popular TV show, The Mary Tyler Moore Show, Meyers decided she wanted to write. She eventually got work as a story editor where she read scripts, wrote coverage, and worked with screenwriters on projects that the producers were developing. One of the companies she worked at was producer Ray Stark's company, Rastar. She worked her way up from there to writing her own scripts. Two years after coming to Los Angeles, Meyers was able to quit her job to focus on a career in screenwriting and took film-making classes where she connected with directors such as Martin Scorsese. To support herself, she started a small cheesecake business after positive reactions to a cake she made for a dinner party. Meyers was eventually hired as a story editor by film producer Ray Stark, who later fired her after Meyers objected to having two writers working on the same script without the other knowing.

1980s
In the late 1970s, Meyers started work with Charles Shyer when she was a story editor in the film division at Motown. The pair became friends and, along with Harvey Miller, created the script for the comedy Private Benjamin (1980) together, a film about a spoiled young woman who joins the U.S. Army after her husband dies on their wedding night during sex. The film starred actress Goldie Hawn, who along with Meyers and Shyer executive produced the project. It was Hawn's agent who made Warner Brothers executive Robert Shapiro buy the script after practically "everybody [had] turned it down. Everybody. More than once," according to Meyers. Meyers described how hard it was to get the film made, noting, "Every single studio in Hollywood read it and passed on it... One studio called Goldie and said 'if you make this movie it's a career ender.'" Contrary to the conventional wisdom at the time, that a female lead with no male star was box office poison, Private Benjamin became one of the biggest box office hits of the year 1980, grossing nearly $70 million in total. It was nominated for an Academy Award for Best Writing, as were Hawn and her co-star, Eileen Brennan, for their performances, and won the team a Writers Guild of America Award for Best Original Screenplay. In addition, the film spawned a same-titled short-lived but Golden Globe-winning television series that aired from 1981 until 1983.

Meyers and Shyer's next project, Irreconcilable Differences (1984), marked Shyer's directorial debut. Shelley Long and Ryan O'Neal played a Hollywood couple whose obsession with success destroys their relationship with their daughter, played by eight-year-old Drew Barrymore. Released to a mixed reception by critics, the collaboration became a moderate box office with a gross of $12.4 million, but received multiple Golden Globe nominations, including Best Actress nods for Long and Barrymore. Also in 1984, Meyers, Shyer and Miller penned Protocol, another comedy starring Goldie Hawn, in which she portrayed a cocktail waitress who prevents the assassination of a visiting Arab Emir, and thus is offered a job with the United States Department of State as a protocol official. Hawn reportedly disliked their screenplay and hired Buck Henry for a major overhaul, prompting the trio to go into arbitration to settle their differences. While neither Meyers nor Shyer became involved in producing or directing the film, it fared slightly better at the box office than  Irreconcilable Differences, garnering $26.3 million in total.

Meyers eventually returned to producing with Baby Boom (1987), a film about a New York City female executive, who out of the blue becomes the guardian of her distant cousin's 14-month-old daughter. The film marked her debut collaboration with Diane Keaton. The catalyst for the project was a series of situations that Meyers and Shyer and their friends had experienced while managing a life with a successful career and a growing family. Baby Boom was favorably received by critics and audiences alike. It was nominated for a Golden Globe Award for Best Motion Picture - Musical or Comedy and earned a respectable $1.6 million in its opening weekend in the US, and approximately $26.7 million in its entire run. As with Private Benjamin the film was followed by a short-lived television series starring Kate Jackson.

1990s
In 1990, Meyers and Shyer, working from earlier material for the first time, re-teamed with Keaton to remake the 1950 Vincente Minnelli film Father of the Bride. Starring Steve Martin as a father losing his daughter and his bank account at the same time, their 1991 version was released to generally positive reception. It became a hit among audiences, resulting in the pair's biggest financial success yet at a worldwide gross of $90 million. A sequel to the film which centered around the expansion of the family, entitled Father of the Bride Part II, was produced in 1995. Loosely based on the original's 1951 sequel Father's Little Dividend, it largely reprised the success of its predecessor at the box office. A third installment, also penned by Meyers and Shyer, failed to materialize.

Also in 1991, Meyers contributed to the script for the ensemble comedy Once Upon a Crime (1992), directed by Eugene Levy, and became one out of several script doctors consulted to work on the Whoopi Goldberg comedy Sister Act (1992). Her next project with Shyer was I Love Trouble (1994), a comedy thriller about a cub reporter and a seasoned columnist who go after the same story, that was inspired by screwball comedies of the 1930s and 1940s such as His Girl Friday and Woman of the Year. Written for and starring Julia Roberts and Nick Nolte, the film was not well received by critics but grossed over $30 million in box-office receipts in the United States. While the script for Toast of the Town, another Meyers/Shyer collaboration, that Meyers described as "a Depression-era comedy about a small-town girl who comes to the big city, loses her values and then finds them again," found no buyers, another project called Love Crazy failed to materialize after lead actor Hugh Grant dropped out of the project after months of negotiations.

Having turned down Paramount CEO Sherry Lansing's offer to direct the 1996 comedy blockbuster The First Wives Club, Meyers eventually agreed on making her directorial debut with The Parent Trap (1998), following the signing of a development deal with Walt Disney Pictures in 1997. A remake of the same-titled 1961 original based on Erich Kästner's novel Lottie and Lisa, it starred Lindsay Lohan in her motion picture debut, in a dual role of estranged twin sisters who try to reunite their long-divorced parents, played by Dennis Quaid and Natasha Richardson. Lohan's casting as twins forced Meyers to shoot the film in motion control, a requirement she considered rather complicated. "I really didn't know how to do it," she said. "We had a prep day to go over the process, and by the end of the day I had a little better understanding. But I approached the movie like it wasn't an effects film; I just tried to make it authentic." Released to positive reviews from critics, The Parent Trap brought in $92 million worldwide.

2000s
In 1998, following the success of The Parent Trap and her separation from Shyer, Disney's Touchstone Pictures chairman Joe Roth asked Meyers to reconstruct an original script named Head Games about a man who gains the power to hear everything women are thinking, an idea originally conceived by The King of Queens  producers Cathy Yuspa and Josh Goldsmith. Subsequently, Meyers penned two drafts of the script before agreeing to direct, but as Roth left the studio in January 2000, Disney dismissed the film and the project eventually went to Paramount. By the following year, Mel Gibson and Helen Hunt had signed on to star in leading roles and the project had been retitled What Women Want. Released in 2000 to mixed reviews, it became the then-most successful film ever directed by a woman, taking in $183 million in the United States, and grossing upward of $370 million worldwide.

Following her divorce, Meyers wrote and directed the post-divorce comedy Something's Gotta Give (2003), starring Diane Keaton and Jack Nicholson as a successful 60-something and 50-something, who find love for each other at a different time of life, despite being complete opposites. Nicholson and Keaton, aged 63 and 57 respectively, were seen as bold casting choices for leads in a romantic comedy, and 20th Century Fox, the film's original distributor, reportedly declined to produce the film, fearing that the lead characters were too old to be bankable. As a result, the film ended up as a co-production between Columbia Pictures and Warner Bros. Pictures. While critical reaction to the film as a whole was more measured, Something's Gotta Give received generally favorable notice and became a surprise box-office hit following its North American release, eventually grossing US$266.6 million worldwide, mostly from its international run. In 2005, her Waverly Films production company signed a deal with Sony.

Meyer's next film was The Holiday (2006), a romantic comedy starring Cameron Diaz and Kate Winslet as two lovelorn women from opposite sides of the Atlantic Ocean who arrange a home exchange to escape heartbreak during the Christmas and holiday season. Jude Law and Jack Black co-starred as their love interests. Released to mixed reviews from critics, the film became a global box office success, grossing $205 million worldwide, mostly from its international run. The film won the 2007 Teen Choice Award in the Chick Flick category.

In 2009, Meyers' It's Complicated was released. It starred Meryl Streep as a successful bakery owner and single mother of three who starts a secret affair with her ex-husband, played by Alec Baldwin, ten years after their divorce – only to find herself drawn to another man: her architect Adam (portrayed by Steve Martin). The film was met with mixed reviews from critics, who declared it rather predictable despite fine work by an appealing cast, but became another commercial hit for Meyers upon its Christmas Day opening release in the United States. It played well through the holidays and into January 2012, ultimately closing on April 1 with $112.7 million. Worldwide, It's Complicated eventually grossed $219.1 million, and surpassed The Holiday to become Meyer's third highest-grossing project to date. It's Complicated earned Meyers two Golden Globe nominations, including Best Motion Picture – Musical or Comedy and Best Screenplay.

2010s
In 2012, it was announced that Meyers was planning to direct The Chelsea, an ensemble dramedy set in the Chelsea Apartments in New York. Based on a screenplay by daughter Hallie Meyers-Shyer, it was set to star Felicity Jones; the project failed to materialize however as Meyers was also finishing her own screenplay for The Intern (2015), a comedy about the founder of a fashion based e-commerce company who agrees to a community outreach program where seniors will intern at the firm. Originally set up at Paramount Pictures, the latter was expected to feature Tina Fey and Michael Caine in the lead roles. When a budget could not be settled, Meyers decided to pre-package before going out to other studios and was able to start negotiations for both actors. Handed over to Warner Bros, Fey was replaced by Reese Witherspoon as the attached star, though Witherspoon later left the film due to scheduling conflicts. In 2014, Anne Hathaway and Robert De Niro replaced her and Caine.

In September 2015, Meyers announced that her next self-directed project would see her reteaming with Steve Martin. She also served as a producer on Home Again (2017), the directorial debut of her daughter Hallie Meyers-Shyer, starring Reese Witherspoon.

2020s
In September 2020, Nancy Meyers announced a follow-up to the first two Father of the Bride films was coming. The first teaser trailer was released on September 23, with an official preview released the following day. The "mini-sequel" was written and directed by Meyers, with the plot including a family reunion over Zoom at the request of Matty Banks, and depicted George Banks' reaction to 2020. Steve Martin, Diane Keaton, Kimberly Williams-Paisley, Kieran Culkin, George Newbern, and Martin Short reprised their respective roles, with Alexandra Shipp and Robert De Niro joining. The film will benefit World Central Kitchen charity, supporting families and children who suffer due to the coronavirus pandemic. Father of the Bride Part 3(ish) was released on September 25, 2020 exclusively through Netflix while also streaming on the service's YouTube and Facebook pages.

In April 2022, Netflix announced Meyers would write, direct and produce a new feature film for the streaming service, an untitled ensemble comedy. In March 2023, it was reported that the film, under the working title Paris Paramount, would not move forward at Netflix after the studio had declined to approve a requested production budget of $150 million; a few days later, Warner Bros. Pictures entered talks to acquire the project, with the possibility that the film could begin production in the summer if picked up.

Directorial style and influences
Meyers attributes her major influences to the screwball comedies of the 1930s and 1940s. Her films frequently center the experiences of middle-aged women facing conflict between the personal and the professional. Meyers' films are known to redirect the male gaze and instead take a critical view of male leads through the female gaze.

Meyers generally spends a year writing, followed by six months of filming and another six months of editing. She has final cut privilege on her films, which is uncommon for directors working with major American studios. Meyers is known as a detail-oriented director, who shoots many takes of scenes and is meticulously involved in designing her films' aesthetic details. Meyers considers her film set to function as a character in her films.

Meyers' protagonists are often affluent and live in luxurious homes, which she says is meant to emphasize that they are successful women who can afford to create beautiful, comfortable spaces for themselves. The extravagant design and decoration of the kitchens in her films have received particular media attention.

Reception
The academic and writer Deborah Jermyn has dubbed Nancy Meyers "Hollywood's reigning 'romcom queen.'" Scholarship and criticism of Meyers' oeuvre has discussed the postfeminist aesthetics and ideologies that her films embody, in which wealthy, successful, and independent women often play the protagonists. In a 2020 article for Bustle, Dana Schwartz writes in praise of this, saying, "Where Hollywood desexualizes and disposes of women over 40, Nancy Meyers celebrates them, showing them as women who have crushed their careers and become financially stable enough to buy objectively stunning pieces of property". Film scholar Michele Schreiber argues that the fantasy of romance itself becomes a "fulfilling and desirable commodity", but says there is a question of whether the power of her films derives from the emotional terrain and romances of her characters, or from her seductive, pleasurable mise-en-scène and the upwardly mobile desires it generates.

In a 2009 New York Times profile of Meyers, writer Daphne Merkin points out that her films sometimes have the quality of "tidy unreality," which is the aspect of her filmmaking that often draws harsh criticism. Some criticism has taken note of how the "independent woman" figure in Nancy Meyers film always appears as heterosexual, upper-class, and white, leveling charges of white feminism on her work.

Katarzyna Paszkiewicz asserts that Meyers' ability to simultaneously carve out a particular, feminized niche in her work, while still providing mainstream (and even male) audiences with "what they want," has made her the most successful commercial female filmmaker. Paszkiewicz contends that Meyers' reliance on the rom-com genre may be more complex and self-reflexive than it appears. In The Intern (2015), for example, many traditional rom-com tropes are recast and reimagined by making the focal relationship, between Jules and Ben, a non-romantic, intergenerational one. The film also highlights disenchantment with the "independent woman" ideal, and foregrounds the problems that plague professional women in heteronormative relationships. Thus, against contemporary charges that the rom-com genre is tired and overdone, Meyers has the ability to use the genre's tropes in a regenerative, original manner. In Paszkiewicz's words, "If postfeminist values marked the decades of the 1990s and 2000s, Meyers seems to ask: what is next?"

Influence on industry
Meyers has had a significant impact on the filmmaking industry as a female filmmaker, gaining her the reputation as one of the most influential women filmmakers in the romantic-comedy genre and in the Hollywood industry. This is due to her recognizable directorial style with notable sets and the limited number of female directors in the space. She is one of only 36 female filmmakers to be on Disney+ out of their catalogue of over 500 films going back to the 1930s.

Meyers' overall popularity in the romantic-comedy genre has allowed her work to become cited many times as a filmmaker important to audience nostalgia.

In her later works, her depictions of older women on screen created more popularity within the genre. In addition to her popularity with audiences, Meyers has been said to have left an impact on the actors she has worked with. Reese Witherspoon even identifies Meyers as a resource in Witherspoon's own creative endeavors.

Personal life
In 1980, Meyers and Charles Shyer married in Rome. They had been in a relationship since 1976. The pair separated in 1999 and eventually divorced. They have two daughters, Annie Meyers-Shyer and Hallie Meyers-Shyer, both of whom have had minor roles in their films. On February 28, 2020, Meyers published her post-divorce story as part of the New York Times column called "Modern Love".

Meyers resides in the Brentwood neighborhood of Los Angeles.

Filmography

Film

Television

Reception

Awards and nominations

References

External links

 Retrospective trailer on Vimeo

1949 births
Film producers from California
Jewish American screenwriters
Jewish American film directors
Screenwriters from Pennsylvania
American University School of Communication alumni
American women film directors
Living people
Businesspeople from Philadelphia
American women screenwriters
Writers Guild of America Award winners
Film directors from Pennsylvania
Writers from Philadelphia
People from Brentwood, Los Angeles
Film directors from Los Angeles
American women film producers
Film producers from Pennsylvania
Screenwriters from California
People from Drexel Hill, Pennsylvania
Lower Merion High School alumni
21st-century American Jews
21st-century American women

Nancy Meyers


هل تقصد:

 الشيخ عبد الرحيم البرعي عالم دين ومتصوف سوداني .
 البرعي (شاعر) يماني .
 الشيخ عبد العزيز البرعي عالم دين يمني معاصر.

البرعي (توضيح)


Coriandreae, tribus štitarki.Sastoji se od četiri roda, od kojih je tipičan korijandar (Coriandrum).

Tribus je opisan 1824.

Rodovi
 Krubera Hoffm. (1 sp.)
 Coriandrum L. (3 spp.)
 Bifora Hoffm. (2 spp.)
 Silaum Mill. (1 sp.)
</small>

Izvori

Apioideae

Coriandreae


Paul Conrad (* 1. April 1865 in Berlin; † 9. September 1927 ebenda) war ein deutscher evangelischer Theologe.

Leben und Wirken
Conrad besuchte das Joachimsthalsche Gymnasium in Berlin. Das anschließende Studium der Theologie an der Berliner  Friedrich-Wilhelms-Universität schloss er erfolgreich mit der Promotion ab. Am 28. Juni 1898 wurde er zum Pfarrer ordiniert. Zum Berliner Domkandidatenstift kam er im Jahr 1891, wurde dessen Inspektor und gleichzeitig Domhilfsprediger.
Nachfolgend wurden von ihm Pfarrämter an St. Jacobi, ab 1907 erste Pfarrstellen an der Zionskirche und anschließend an der Kaiser-Wilhelm-Gedächtniskirche übernommen.
Sein Wirken wurde durch nachfolgende Ernennungen gewürdigt:
 1910 Konsistorialrat
 1912 Mitglied des Evangelischen Oberkirchenrats
 1925 geistlicher Vizepräsident des evangelischen Oberkirchenrats
Nach der Berufung von Ernst Vits zum Generalsuperintendenten der Neumark und Pfarrer an der Matthäikirche zu Berlin im Jahr 1925 wurde Paul Conrad das Amt des Ephorus des Königlichen Domkandidatenstiftes (Berlin) in Verbindung mit dem des Oberdompredigers zugesprochen.

Der Kirchensenat der Altpreußischen Union berief Conrad 1926 gemeinsam mit den Theologen, Julius Smend, Karl Eger, Walther Wolff, Brand(t), Wilhelm Zoellner, Wilhelm Haendler und Ulrich Altmann in eine Kommission, die in der Zeit von 1926 bis 1930 eine einheitliche Agende erarbeitete. 1927 übergab er diese Aufgabe an Georg Burghart.

Zum Gedächtnis an Conrad wurde an der Gedenkhalle der Kaiser-Wilhelm-Gedächtniskirche am Breitscheidplatz eine Steintafel angebracht. Sein Grab befindet sich auf dem Luisenfriedhof II.

Werke
 Das Königliche Domkandidatenstift 1854–1904. Festschrift zum fünfzigjährigen Stiftsjubiläum. Erinnerungsblätter. Warneck, Berlin 1904.
 Evangelische Zeugnisse, Predigten. Martin Warneck, Berlin 1906.
 Sonne und Schild. Sonntagsbetrachtungen über die neuen Eisenacher Evangelien. Schriftenvertriebsanstalt G.m.b.H., Berlin 1916 (162 S.)
 Dennoch Gott zum Trost! – Sonntagsbetrachtungen. Christlicher Zeitschriftenverein, Berlin 1919.
 Der alte Gott lebt noch. Tägliche Andachten. Verlag von Martin Warneck, Berlin  1919 (394 S.)
 Folge mir nach! Evangelische Zeugnisse. Berlin: Verlag der Schriftenvertriebsanstalt Berlin 1925 (216 S.)
 Dennoch! – Tägliche Andachten. Martin Warneck, Berlin 1935 (386 S.) http://dlibra.bmino.pl/dlibra/docmetadata?id=324108288&from=pubstats
 Denkerworte sind Lebenswerte. Paul Conrads Sentenzensammlung. 1. Ausgabe, Martin Warneck, Berlin 1938 (300 S.)

Weblinks

Quellen
Autorenangaben in den Werken
Bruno Doehring: Das Domkandidatenstift zu Berlin. Ein geschichtlicher Rückblick zur Hundertjahrfeier. Enthält auch: Ulrich Seeger: Die Aufgaben des Predigerseminars heute. Verlag "Die Kirche", Berlin 1954

Evangelischer Geistlicher (20. Jahrhundert)
Oberdomprediger (Berlin)
Deutscher
Geboren 1865
Gestorben 1927
Mann

Paul Conrad (Theologe)


Marele Incendiu se poate referi la:

Incendii
 Marele Incendiu din Londra
 Marele Incendiu din Smirna
 Marele Incendiu din București
 Marele Incendiu din Pittsburgh

Opere artistice
 Marele Incendiu (roman)
 Marele Incendiu (mini serial)
 Marele Incendiu (album)
 Marele Incendiu (roman pentru copii)

Marele incendiu


Robert Dugoni (Pocatello, 17 de fevereiro de 1971) é um jornalista, advogado e escritor norte-americano. Ele foi best-seller do New York Times, Wall Street Journal, Washington Post e nº 1 do site Amazon com a série de livros policiais da detetive de homicídios Tracy Crosswhite, ambientada em Seattle, que já vendeu mais de 8 milhões de livros em todo o mundo.

Biografia
Robert Dugoni atuou como advogado civil em São Francisco e Seattle por dezessete anos. Em 1999 deixou a advocacia para escrever a tempo inteiro. Formou-se pela Universidade de Stanford em jornalismo e trabalhou como repórter para o Los Angeles Times antes de obter seu doutorado em jurisprudência pela Faculdade de Direito da Universidade da Califórnia em Los Angeles. Duas vezes vencedor do Concurso Literário da Associação de Escritores do Noroeste do Pacífico, ele vive com sua esposa e dois filhos no Noroeste do Pacífico, Estados Unidos.

Vários de seus romances foram escolhidos para filmes e séries de televisão. Dugoni recebeu o Nancy Pearl Award for Fiction e três vezes vencedor do Friends of Mystery Spotted Owl Award de melhor romance ambientado no noroeste do Pacífico. Os livros de Robert Dugoni são vendidos em mais de vinte e cinco países e foram traduzidos para mais de trinta idiomas.

Sobre largar a carreira de advogado e começar a escrever ele declara:

Obras

Série do David Sloane
 The Jury Master (2006)
 Wrongful Death (2009)
 Bodily Harm (2010)
 Murder One (2011)
 The Conviction (2012)

Série da Tracy Crosswhite
 My Sister's Grave (2014) no Brasil: A Cova da Minha Irmã (Editora Pausa, 2020)
 Her Final Breath (2015)
 In the Clearing (2016)
 The Trapped Girl (2017)
 Close to Home (2017)
 A Steep Price (2018)
 A Cold Trail (2020)

Série do Charles Jenkins
 The Eighth Sister (2019) em Portugal: Um Espião em Fuga (TopSeller, 2021)
 The Last Agent (2020)
 The Silent Sisters (a publicar, 2022)

Outros livros
 Damage Control (2007)
 The Seventh Canon (2016)

Não-ficção
 The Cyanide Canary (2004) (com Joseph Hilldorfer)

Novelas
 The Academy (2014)
 Third Watch (2015)

Ver também
 Val McDermid
 Joseph Wambaugh
 Douglas Preston
 Guillaume Prévost
 Antonio Manzini
 John Sandford

Ligações externas
 Website oficial do Robert Dugoni

 Robert Dugoni no Fantastic Fiction
 Robert Dugoni no Good Reads

Nascidos em 1971
Advogados dos Estados Unidos
Jornalistas dos Estados Unidos
Pessoas vivas
Alunos da Universidade da Califórnia em Los Angeles
Alunos da Universidade Stanford
Romancistas dos Estados Unidos
Escritores de literatura policial

Robert Dugoni


The year 1872 in science and technology involved some significant events, listed below.

Chemistry
 Robert Chesebrough patents Vaseline in the United States
 Eugen Baumann rediscovers polyvinyl chloride
 Charles-Adolphe Wurtz discovers the aldol reaction

Conservation
 March 1 – Yellowstone National Park is established in the United States, the world's first national park

Exploration
 December 21 – Challenger expedition:  sails from Portsmouth in England on the 4-year scientific expedition that lays the foundation for the science of oceanography

Mathematics
 Richard Dedekind publishes Stetigkeit und irrationale Zahlen, a theory of irrational numbers
 Felix Klein produces the Erlangen program on geometries

Medicine
 February 15 – George Huntington makes the first detailed description of Huntington's disease, in Middleport, Ohio
 Moritz Kaposi describes Kaposi's sarcoma and the manifestations of systemic lupus erythematosus
 Ferdinand Monoyer proposes the dioptre as a unit for measuring the optical power of a lens

Physics
 Ludwig Boltzmann states the Boltzmann equation for the temporal development of distribution functions in phase space, and publishes his H-theorem

Technology
 April 2 – George Brayton obtains a United States patent for a constant pressure internal combustion engine, initially using vaporized gas, and marketed as 'Brayton's Ready Motor'.
 John Hopkinson proposes the group flash system for distinguishing lighthouses
 Reverend C. M. Ramus of Sussex, England, devises the single-step hydroplane hull

Institutions
 October 1 – the Virginia Agricultural and Mechanical College begins its first academic session
 The Polytechnic Museum in Moscow is founded

Publications
 May – the magazine Popular Science is first published in the United States
 Charles Darwin publishes The Expression of the Emotions in Man and Animals

Awards
 Copley Medal: Friedrich Woehler
 Wollaston Medal for geology: James Dwight Dana

Births
 April 5 – Samuel Cate Prescott (died 1962), American food scientist and microbiologist
 April 21 - Charles Gandy (died 1943), French physician.
 May 6 – Willem de Sitter (died 1934), Dutch mathematician, physicist and astronomer
 May 21 – Henry E. Warren (died 1957), American inventor
 May 31 – Charles Greeley Abbot (died 1973), American astrophysicist
 August 1 – Solomon Carter Fuller (died 1953), Liberian-born psychiatrist
 September 23 – Marie Depage (died in sinking of the RMS Lusitania 1915), Belgian nurse
 October 4 – Ernest Fourneau (died 1949), French medicinal chemist

Deaths
 March 8 – Priscilla Susan Bury (born 1799), English botanist
 April 2 – Samuel Morse (born 1791), American inventor
 May 6 – George Robert Gray (born 1808), English zoologist
 August 11 – Sir Andrew Smith (born 1797), Scottish-born military surgeon, explorer, ethnologist and zoologist
 August 22 – Pierre Charles Alexandre Louis (born 1787), French physician
 November 7 – Alfred Clebsch (born 1833), German mathematician
 December 6 – Félix Archimède Pouchet (born 1800), French scientist
 December 24 – William John Macquorn Rankine (born 1820), Scottish physicist
 Anne Elizabeth Ball (born 1808), Irish psychologist

References

19th century in science
1870s in science

1872 in science


Bom Jesus do Oeste es un municipio brasileño del estado de Santa Catarina. Tiene una población estimada al 2022 de 2187 habitantes. Pertenece a la Región metropolitana del Extremo Oeste.

Toponimia
Del portugués para "Buen Jesús del Oeste".

Historia
Bom Jesus do Oeste fue habitado alrededor del 1949, entonces era conocido como Linha Gaúcha. Atraídos por las araucarias, los primeros colonos instalaron aserraderos. Se crea como distrito en 1977 y se emancipó el 19 de julio de 1995.

Referencias

Enlaces externos
 Sitio del municipio
 Sitio de la cámara del municipio

Localidades de Santa Catarina
Localidades establecidas en 1995
Brasil en 1995

Bom Jesus do Oeste


Hrvatski kup u kuglanju za muškarce u sezoni 2015./16. je osvojio "Zaprešić"
Kup je igran na proljeće 2016. godine, a prethodili su mu kupovi po županijskim i regionalnim savezima.

Rezultati

Osmina završnice

Četvrtzavršnica

Završni turnir
Igrano 11. i 12. lipnja 2016. u Varaždinu u kuglani "Drava".

Unutrašnje poveznice
 Kup Hrvatske u kuglanju za muškarce
 Hrvatska kuglačka liga za muškarce 2015./16.

Vanjske poveznice
 kuglanje.hr, Hrvatski kuglački savez
 kuglacki-savez-os.hr, Kuglački savez Osječko-baranjske županije

Izvori
 kuglanje.hr, Bilten , pristupljeno 2. travnja 2019.
 kuglacki-savez-os.hr, Rezultati, pristupljeno 1. travnja 2019.
 kuglanje.hr, EKIPNI KUP REPUBLIKE HRVATSKE - SEZONA 2015./2016. - SENIORI , preuzeto 2. travnja 2019.
 kuglacki-savez-os.hr, kuglacki-savez-os.hr, Kup Republike Hrvatske - 2016. - muškarci, preuzeto 2. travnja 2019.

2015-16 kup M

Kup Hrvatske u kuglanju za muškarce 2015./16.


Julien Breton est un artiste, calligraphe et performeur français, connu aussi sous le pseudonyme de Kaalam.

À ses débuts, il a été influencé par l'art du graffiti et la calligraphie arabe. Julien Breton ne suivait pas les styles calligraphiques classiques mais cherchait à trouver sa propre expression calligraphique qui reflétait les écritures Diwani, Thuluth et Kufi. Le plus grand changement dans son esthétique s'est produit lorsqu'il a remplacé la plume et le papier par la calligraphie lumineuse (light painting), et ce changement de support a fait de lui l'un des protagonistes de cet art.

En plus de l'exploration des possibilités de la calligraphie lumineuse, Julien Breton collabore avec d'autres artistes, groupes de danse ou musiciens, et reflètent sa volonté d'apporter et d'intégrer l'art visuel sur scène.

Biographie
Julien Breton, connu sous le pseudonyme de Kaalam, est essentiellement inspiré par Khalil Gibran. Ils sont tous les deux animés par le même désir : le rapprochement de mondes apparemment différents. Julien Breton mêle et fait cohabiter l'esthétique de l'Orient avec celle de l'Occident.

Julien Breton a commencé en tant que calligraphe inspiré par le graffiti, montrant les nouvelles possibilités de générer de nouvelles formes dans l'art islamique (Khoury 2015).

Bien qu'il se soit inspiré de la calligraphie traditionnelle, Julien Breton n'est pas un calligraphe classique et s'inscrit plutôt dans le domaine de l'art contemporain.

Débuts en calligraphie papier
Julien Breton est né en 1979 à Nîmes. Il vit depuis de nombreuses années à Nantes, dans l'ouest de la France. Cette ville est une ville d'eau, située sur les deltas de trois fleuves et rivières : la Loire, l'Erdre et la Sèvre. Elle est un des plus grands ports de France et est souvent comparée à Venise. Nîmes et Nantes sont reliées par un multiculturalisme fort qui a imprégné sa pratique artistique.

Julien Breton ne traite pas de la théorie et de la critique de l'art, mais son art pourrait être défini comme "art pérenne" dans lequel s'incarne la philosphia perennis. Comme René Guénon, Frithjof Schuon, Ananda Coomaraswamy et Martin Lings, il cherche un trait commun au sein de différentes cultures. La preuve en est la forme de sa calligraphie, née de deux graines - l'écriture arabe et l'écriture latine, qui sont les caractéristiques principales des œuvres de Julien Breton.

La relation bipolaire de son approche calligraphique se retrouve également dans son nom de famille, Breton, et dans le choix de son pseudonyme, Kaalam (plume arabe).

Son nom le rattache à la Bretagne, région où il vit et crée, tandis que son nom de scène l'ancre au Moyen-Orient. C'est l'union de l'incompatible imaginaire, visible dans toute son œuvre.

C'est par hasard qu'il a commencé sa carrière de calligraphe. Le déclencheur a été un livre d'Hassan Massoudy, calligraphe français d'origine irakienne, qu'il a reçu en cadeau d'une amie.

À partir de ce moment, l'impact d'Hassan Massoudy sur Julien Breton est indéniable, et lui- même ne le conteste pas. Leur pratique est cependant différente puisque l'œuvre d'Hassan Massoudy est basée sur l'écriture arabe, tandis qu'à ses débuts, Julien Breton a traduit l'esthétique de l'alphabet arabe en latin afin de développer son propre style.

En choisissant les couleurs, le rapport des masses, et la disposition du texte, Julien Breton suit le maître franco-irakien, de sorte que ses œuvres, bien que latines, ressemblent à une combinaison de Diwani, Thuluth et d'écriture Kufi . Le caractère ludique de l'écriture Diwani, la recherche de la hauteur du Thuluth et l'emphase horizontale du Kufi ne sont que quelques-unes des caractéristiques des premières œuvres Julien Breton.

Bien qu'Hassan Massoudy ait eu une grande influence sur lui, il faut dire que les œuvres de Lassaâd Metoui, Mehdi Saeedi et EL Seed ont également joué un rôle dans la formation du style de Julien Breton (Zoghby, Stone, Hawley 2011 ; Lenon 2013).

Calligraphie lumineuse
À partir de la première rencontre avec la calligraphie arabe, à travers la recherche d'une expression personnelle, cinq années se sont écoulées avant que Julien Breton ne découvre un médium complètement nouveau : la calligraphie lumineuse.
Il a décrit le changement dans son style en disant que "l'encre devient lumière, le papier devient photographie et la calligraphie elle-même devient chorégraphie " (Behiery 2012).

La calligraphie lumineuse appartient aux techniques de light painting (Keimig 2017). Le processus repose sur une longue exposition d'un appareil photo qui capture une scène dans laquelle l'artiste utilise une source de lumière mobile.

Dès 2006, lorsqu'il s'est familiarisé avec les possibilités de la calligraphie lumineuse, Julien Breton a dirigé l'essentiel de sa pratique artistique vers les aventures exploratoires de cette technique.

Contrairement à la calligraphie classique, la calligraphie lumineuse n'est pas limitée par l'espace papier, au contraire, l'espace est illimité.

Bien que la calligraphie lumineuse soit issue de la calligraphie sur papier, la première n'autorise aucune erreur - chaque mouvement de l'artiste est enregistré par la photographie.

C'est pourquoi Julien Breton doit d'abord dessiner ses traits sur papier. Cette étape est suivie par une répétition de la chorégraphie, qui ressemble aux mouvements du Tai Chi (Be- hiery 2012).

Les formes présentes dans sa calligraphie lumineuse s'inscrivent dans la continuité de ses travaux de calligraphie sur papier. Dans l'exécution de la forme imaginée, le corps de l'artiste devient un stylo, qui doit non seulement répondre aux critères esthétiques des règles calligraphiques, mais doit aussi s'adapter à l'environnement donné, l'espace physique.

Bien sûr, l'artiste se sent libre grâce à l'espace illimité, mais en même temps, l'environnement impose indirectement l'aspect final de l'œuvre. On peut remarquer que Julien Breton utilise un peu plus l'alphabet arabe dans la calligraphie lumineuse.

Au-delà de la pratique spécifique de Julien Breton et de son art, une observation peut être soulignée ici. D'autres artistes sont complémentaires du calligraphe afin de mener à bien le processus de création d'un manuscrit islamique traditionnel : l'enlumineur, et le relieur (Ždralović 1988).

Ainsi, comment relier cette expression collective du passé avec le présent ?

Julien Breton travaille en équipe, avec les photographes Eloi Brignaudy et François Aenishlanlin (Lenon 2013). Par conséquent, on peut dire que Julien Breton tient le rôle du calligraphe et de l'enlumineur modernes, tandis que les photographes deviennent les relieur d'aujourd'hui, indispensables à la qualité du rendu.

Le processus de création de la calligraphie lumineuse prend naissance principalement dans son atelier où l'artiste esquisse un graffiti lumineux et s'exerce ensuite aux mouvements . Cette étape est suivie par une visite conjointe de Julien Breton et du photographe des lieux où ils ont pu prendre des photos. Après les préparatifs, le processus de calligraphie lumineuse se déroule toute la nuit car la calligraphie lumineuse est conditionnée par l'obscurité. Pour réaliser la calligraphie lumineuse, Julien Breton utilise des lampes de différentes couleurs. Son rituel est enregistré par le photographe avec des photographies d'exposition allant de 30 secondes à quelques minutes .

Comme la création de la calligraphie lumineuse se déroule dans un lieu public fréquenté, elle est classée parmi les Arts de la rue. Elle est aussi une performance car les mouvements que l'artiste exécute devant l'objectif de la caméra ont toutes les caractéristiques de l'art performatif.

L'expression calligraphique de Julien Breton, inspirée principalement des œuvres de Hassan Massoudy, Mehdi Saeedi, et El Seed, a fusionné avec l'influence de l'artiste français de light graffiti français Marko 93 pour finalement proposer sa propre expression artistique, la calligraphie lumineuse. On pourrait résumer et dire que son plus grand pas en avant, et sa plus grande contribution à l'art du visuel est un mélange réussi de lumière, de calligraphie et de graffiti (Zehra 2011).

Bien que la forme trouvée par Julien Breton soit récente, elle a trouvé des échos dans les jeunes générations, ainsi son influence est évidente dans les œuvres de l'artiste pakistanais JZ Aamir ou Khadijah El Gawas (Islamic Arts Magazine 2013), et bien d'autres.

3D calligraphie
Bien que la calligraphie tridimensionnelle ou la sculpture tridimensionnelle n'occupent pas encore beaucoup de place dans la pratique de Julien Breton, il semble utiliser les possibilités du multimédia dans toutes ses capacités pour exprimer la calligraphie islamique traditionnelle. Grâce à la technologie numérique et à l'infographie, il a créé un modèle virtuel d'impression calligraphique dans Le Respect - Calligraphie Arabe" (Pascal, Stone et Hawley, 2011 : 120).
La traduction de la calligraphie islamique en sculpture n'est pas nouvelle (comme le fait Parviz Tanavoli) (Blair 2008), mais la tentative de le faire dans un environnement virtuel est innovante . Dans le cas de Julien Breton, la sculpture tridimensionnelle ne peut être qualifiée de phase mais plutôt d'expérience et de recherche plus essentielle pour comprendre son art.

Calligraphie en temps réel

Julien Breton a essayé une autre technique, la calligraphie temps réel. Contrairement à la calligraphie lumineuse, où la toile est "l'air", en calligraphie temps réel, la toile est une "surface physique". Grâce à la technologie numérique, l'artiste utilise une lampe pour réaliser des graffitis qui sont projetés sur les murs des bâtiments ou les écrans de projection. Un exemple en est Virtual Calligraphy v0.1 / Virtual Graffiti . Avec ce projet, Julien Breton ouvre les portes de son studio et transforme le monde entier en son atelier - l'intimité de l'œuvre graphique est révélée (au lieu d'un photographe, Julien Breton s'est fait aider par un groupe pluridisciplinaire d'artistes appelé Digital Slaves). On peut dire que c'est de nouveau Hassan Massoudy dans les limites du temps et des possibilités qui a tenté une expérience similaire lorsqu'il a utilisé un rétroprojecteur et des feuilles pour réaliser des calligraphies projetées sur une toile . L'esthétique, la géométrie, le rythme et le mouvement du texte calligraphié, écrit par Hassan Massoudy, se déroulaient en présence du public.

Il convient de mentionner plusieurs autres projets auxquels Hassan Massoudy a participé et qui sont importants pour la compréhension de l'opus de Julien Breton. La première était Arabesque, œuvre portée par Hassan Massoudy, l'acteur français Guy Jacquet et le musicien de oud irakien Fawzy Al-Aiedy et qui peut être caractérisée comme une performance dans laquelle chaque artiste a donné une partie de lui-même : Al-Aiedy pour la musique, Jacquet pour le théâtre et Massoudy pour la calligraphie. Ce projet a été un succès et a été présenté de façon continue à travers la France et l'Europe pendant treize ans .

D'autres expériences d'Hassan Massoudy ont imprégné l'œuvre de Julien Breton comme cette association en 2005 avec la chorégraphe Carolyn Carlson et le musicien turc de ney Kudsi Ergüner dans le projet Métaphore dans lequel le jeu d'acteur, les sons du ney et un subtil travail calligraphique ont fusionné.

Un exemple de ceci est un projet commun de Julien Breton, le danseur Malik Le Nost et plusieurs autres participants à une performance lors des Abu Dhabi Awards 2010. La performance peut être décrite comme un mélange harmonieux de la danse de Malik Le Nost et de la calligraphie temps réel de Julien Breton .

Depuis Julien Breton s'est tourné vers une autre technologie pour la calligraphie lumineuse en temps réel sur scène, grâce au travail de William Guignard et François Aenishlanlin de Studio-light-painting.

Avant ce projet à Abu Dhabi, Julien Breton a été invité à la cérémonie "Ilm Day" organisée par Islam Channel à Londres en 2010. En plus de Julien Breton, le percussionniste et musicien Hussein Zahawy a contribué à la performance .
Il ne faut pas longtemps pour remarquer la ressemblance avec la performance d'Hassan Massoudy et Fawzy Al-Aiedy au début des années 70. La force motrice de Julien Breton et Hussein Zahawy est l'art - pendant la performance, Zahawy crée un rythme, ce qui inspire Julien Breton, afin que le calligraphe puisse écrire symboliquement le mot al-Fan (art en arabe) sur une feuille de papier.

Performances

Le chorégraphe Benjamin Midonet, le peintre graffiti Saïd Boucenna, et un groupe de danseurs de hip-hop ont fondé en 2007 un groupe artistique appelé Compagnie Cortex, une sorte de projet combinant la danse, le graffiti, la chorégraphie et le DJing. Julien Breton a collaboré avec le groupe à plusieurs reprises, donnant à l'ensemble de la performance une expression complètement différente avec sa calligraphie. (Pascal, Stone et Hawley 2011).

Les mouvements des danseurs de hip-hop sous la direction du chorégraphe, les rythmes créés par les DJ, ont complètement fusionné avec la calligraphie lumineuse de Julien Breton et l'on voit que l'homme est devenu une plume, et le monde entier un papier.

Les danseurs recherchent l'harmonie de leurs corps avec les sons du hip-hop, afin d'harmoniser le rythme du spectacle. Après que le danseur ait performé, Julien Breton complète l'espace avec une calligraphie lumineuse, qui est enregistrée par le photographe avec à l'aide d'un appareil photo pendant quelques secondes. Ce projet a été suivi d'autres ayant le même objectif de combiner la lumière, la photographie, la calligraphie, la chorégraphie et la danse. Parmi les plus importants, citons le projet Turn off the light (Jadikan 2019), réalisé sur scène avec des éléments dramatiques. Julien Breton a travaillé sur le projet Turn off the light (composé de Razy Essid, Stephanie Naud, Dj One Up, David Gallard et Vincent Potreau) en collaboration avec Pick Up Production et Stereolux.

Bien que ce soit sa première rencontre avec ce type de danse, Julien Breton a absorbé chaque mouvement des danseurs, entraînant une fermentation de sentiments d'où la calligraphie lumineuse est née. La performance a été symboliquement appelé Kathak-Kaalam.

On peut dire que le kathak a trouvé sa forme dans la calligraphie (Keimig 2017). En plus du projet avec les danseurs de kathak, Julien Breton a utilisé chaque moment libre pour faire son travail de calligraphie lumineuse dans l'ambiance mystérieuse de l'Inde. La photographie était assurée par David Gallard cette fois-ci.

Dans une de ses interviews, Julien Breton dit de lui-même : "Je suis biculturel dans la mesure où tout en étant un occidental d'origine européenne, j'ai grandi dans un quartier à dominante arabe de la région de Nantes où j'ai été imprégné de culture arabo-musulmane (Behiery 2012). Dans un premier temps, on pourrait s'attendre à ce que Julien Breton ne reste que dans le cadre de l'examen de la relation entre deux civilisations, l'Europe occidentale et le Moyen-Orient.

Au contraire, son art est comme un fluide, il prend la forme d'un vaisseau, ce qui est prouvé dans l'œuvre de Julien Breton. Pour cette raison, la calligraphie lumineuse de Julien Breton ne doit pas être considérée comme de « l'art spécifique » (Kwon 2003), car elle s'adapte à tout lieu et à tout moment. Ceci est particulièrement visible dans les collaborations qu'il a menées avec de nombreux artistes dans lesquelles on ne peut parler que d'un ensemble homogène. Le facteur initial qui a poussé Julien Breton à se tourner vers la calligraphie a été la rencontre avec les œuvres du célèbre artiste franco-irakien Hassan Massoudy.

En plus d'Hassan Massoudy, l'influence du graffeur franco-tunisien EL Seed et du designer et artiste iranien Mehdi Saeedi ont joué un rôle important.
Le talent artistique de Breton lui-même a également contribué à tout cela, en interprétant tout ce qui précède à travers sa propre expression artistique.
Sa calligraphie peut être qualifiée d'engagement social, et les œuvres de Julien Breton portent certainement un message, tant par le choix de citations des penseurs individuels (Khalil Gibran, Edgar Allan Poe, Lewis Carroll, etc.) que par l'écriture d'un seul mot (Lumière, Révolte, Solitude). En remplaçant la calligraphie sur papier par une calligraphie lumineuse, Julien Breton a partagé les moments intimes du calligraphe avec le public. De cette façon, la calligraphie devient une partie de l'art de la rue. La question est de savoir si Julien Breton a dématérialisé la calligraphie islamique (Lippard, Chandler 1999). Outre le fait que son art peut être qualifié de conceptuel, Julien Breton est un artiste de rue et de scène.

Le jeu corporel de Julien Breton lors de la calligraphie lumineuse a certainement toutes les qualités d'une performance. Les projets qui méritent une attention particulière sont les collaborations de Julien Breton avec des danseurs, des musiciens, des photographes et d'autres artistes. Parmi eux, Turn off the Light se distingue comme une combinaison de musique, de danse, de théâtre, la calligraphie et la photographie. Turn off the Light peut être qualifié de performance multicouche (Goldberg 2004). L'œuvre de Julien Breton se compose de cinq cycles : calligraphie sur papier, calligraphie lumineuse, calligraphie en 3D, calligraphie virtuelle, et performance. Jusqu'à présent, il semble que Julien Breton s'adapte avec succès à chaque nouveau support, à partir duquel une nouvelle forme émerge encore et encore. Bien que son travail ait été résumé en cinq phases, ce qui reste à venir semble plus intéressant.

Cet article est une adaptation de la traduction de l'article "Julien Breton: Maestro of Light Calligraphy" de Haris Dervisevic, historien d'art specialisé sur les arts islamiques de la faculté de Sarajevo.

Principaux spectacles
 Turn off the light avec Razy Essid, Stéphanie Naud et Dj One Up (2011)
 Empreintes avec Razy Essid, Stéphanie Naud et Dj One Up
 Méditerranée avec Meivelyan et Rohan Hussein
 Alif and exil avec le musicien Kyriakos Kalaitzidis
 Trait d'union du chorégraphe Amala Dianor avec Sarah Cerneau

Références

Liens externes

 Behiery, Valerie (2012), ̋An Interview with a French Artist Julien Breton: Scripting Calligraphy with Light : http://islamicartsmagazine.com/magazine/view/scripting_calligraphy_with_light/
 Blair, Sheila S. (2008), Islamic Calligraphy, Edinburgh University Press,Edinburgh 3. Goldberg, Rose Lee (2004), Performance: Live Art Since 1960, Thames and Hudson https://www.persee.fr/doc/bcai_0259-7373_2006_num_22_1_1025_t5_0105_0000_1
 Islamic Arts Magazine (2009), ̋Interview, Julien Breton : http://islamicartsmagazine.com/gallery/view/julien_breton/
 Islamic Arts Magazine (2013), ̋JZ Aamir, a Pakistani Light Calligraphy Artist ̋, Juni 3, http://islamicartsmagazine.com/magazine/view/jz_aamir_a_pakistani_light_calligraphy_artist/
 Jadikan (2019), Les secrets du light painting, Paris, Éditions Eyrolles.
 Keimig, Lance (2017), Night Photography and Light Painting: Finding Your Way in the Dark, Routledge, New York
 Khoury, Nuha N. N. (2015), ̋Art ,̋ in: Reynolds, Dwight F. (Ed.), The Cambridge Companion to Modern Arab Culture, Cambridge Companions to Culture, Cambridge University Press, 191- 208.
 Kwon, Miwon (2003), Ő ne Place After Another: Notes on Site Specificy ,̋ in: Wood, Paul (Ed.), Art of the 20th Century: A Reader, Yale University Press, New Haven – London, 213-222.
 Lennon, John (2013), "Interview with Julien Breton", Rhizomes, 25, http://www.rhizomes.net/issue25/lennon_breton/index.html
 Lippard, Lucy R., John Chandler (1999), ̋The Dematerialization of Art ̋, Alberro, Alexander, Blake Smitson (Eds.), Conceptual Art: A Critical Anthology, MIT, 46-50.
 Massoudy, Hassan, Isabelle Massoudy (2002), L'ABC daire de la calligraphie arabe, Flammarion, Paris
 Massoudy, Hassan, Saeb Eigner (2017a), Calligraphies of love, prev. Sophie Lewis & Elisabeth Jacquette, Saqi, London
 Massoudy, Hassan, Isabelle Massoudy (2017b), Calligraphies of the Desert, Saqi, London 15. Walker, Margaret E. (2014) India's Kathak Dance in Historical Perspective, Ashgate Pub Co.
 Zehra, Fatema (2011) ̋The World Enlightened – Art Profile ̋, Emel – The mu-slim life style magazine, 76, https://www.emel.com/article.php?id=80&a_id=2230&c=3&return=julien%20breton
 Zoghbi, Pascal, Stone aka Don Karl, Joy Hawley (Eds.) (2011), Arabic Graffiti, From Here To Fame GmbH, Berlin
 Ždralović, Muhamed (1988), Bosansko-hercegovački prepisivači djela u arabičkim rukopisima, I tom, Svjetlost, Sarajevo
 Haris Dervisevic, Julien Breton: Maestro of Light Calligraphy, DHS 6 (18) (2021), 267-280 : https://www.ceeol.com/search/article-detail?id=1024573

Calligraphe français
Performeur français

Julien Breton


La república autónoma socialista soviética del Turquestán o del Turkestán (Туркестанская Автономная Советская Социалистическая Республика, 30 de abril de 1918 - 27 de octubre de 1924), cuya capital era Taskent, fue una de las repúblicas autónomas integradas dentro de la RSFS de Rusia y fundada desde la instauración de la Unión Soviética. Estaba dividida en dos partes, separadas por las repúblicas de Corasmia y Bujará.

Se mantuvo hasta fundarse las repúblicas de RSS de Uzbekistán, RSS de Turkmenistán y RSS de Kazajistán, de las que pasaría a formar parte de su territorio en 1924.

Referencias

RASS Turkestan
RASS Turkestan
Turkestan
Países sucesores al Imperio ruso
República Socialista Federativa Soviética de Rusia
República Socialista Soviética de Kirguistán
República Socialista Soviética de Uzbekistán
República Socialista Soviética de Turkmenistán
República Socialista Soviética de Tayikistán
Turquestán
Kirguistán en el siglo XX
Uzbekistán en el siglo XX
Tayikistán en el siglo XX
Turkmenistán en el siglo XX

República autónoma socialista soviética del Turquestán


Roberta Metsola Tedesco Triccas (St. Julian's, Malta, 18 de janeiro de 1979) é uma política maltesa. É a presidente do Parlamento Europeu desde 12 de janeiro de 2022, tendo assumido o cargo de forma interina na sequência do falecimento do presidente anterior, David Sassoli, e sido eleita, com 458 votos, em 18 de janeiro de 2022.

Biografia
Estudou Direito na Universidade de Malta e foi uma das primeiras alunas do seu país a participar no programa Erasmus em Rennes. Doutorou-se em 2003. Em 2004 concluiu o mestrado no Colegio de Europa. Durante os seus estudos, em 2002/2003 foi secretária-geral da organização de Estudantes Democráticos Europeus (ESD), um grupo afiliado ao Partido Popular Europeu.

Desempenhou as funções de Adida de Cooperação Jurídica e Judiciária de Malta na Representação Permanente de Malta para a União Europeia e de 2012 a 2013 como Assessora Jurídica do Alto Representante da União para a Política Externa e de segurança, Catherine Ashton.

Depois de ter sido candidata em várias ocasiões, em 2004 e 2009, conquistou em abril de 2013 um lugar no Parlamento Europeu por Malta, substituindo Simon Busuttil eleito no parlamento maltês, tendo sido reeleita em 2019.

Ligações externas

Políticos de Malta
Deputados de Malta no Parlamento Europeu
Presidentes do Parlamento Europeu

Roberta Metsola


Anolis maculiventris é uma espécie do gênero Anolis.

Taxonomia
A espécie foi descrita em 1898 por George Albert Boulenger.

Anolis
Animais descritos em 1898

Anolis maculiventris


Matthias Freyschuss (født 10. juni 1988 i Mjölby, Östergötland i Sverige) er en svensk professionel MMA-udøver, der konkurrer i weltervægt-klassen. Han er også tidligere amatørbokser. Han er mest kendt for at have kæmpet mod danske Mark O. Madsen som han tabte til på submission i 1. omgang den 13. januar 2018.

Freyschuss er på nuværende tidspunkt (maj 2018) rangeret som nr 40. på Europe Nordic-listen i weltervægt-klassen på Tapology.

Freyschuss mødte danske Milan Silva til Danish MMA Night den 9. juni 2018 i Brøndbyhallen i København. Han slog Silva på submission i 1. omgang.

MMA-karriere

Amatørkarriere
Freyschuss blevSvensk MMA Amatørmester 2013 og endte med en amatørrekordliste på 7 sejre, 2 nederlag og 1 uafgjort. Han vandt også Escalates Challenge titel i 83,9 kg klassen i Amatør MMA 2015.

Professionel karriere
Efter en vellykket amatørkarriere valgte Freyschuss i 2016 at blive professionel. Han debuterede ved IRFA 10 den 17. september 2016 i Stockholm, hvor han vandt over svenske Johannes Lundström på TKO i 2. omgang. I sin 2. professionelle kamp mødte han til MMA Galla 04 i Nykøbing Falster den 13. januar 2018, danske Mark O. Madsen som han tabte til på submission i 1. omgang.

Privatliv
Freyschuss bor sammen med sin kæreste i Mjölby. Han har gået på John Bauergymnaset i Linköping og arbejder til dagligt for Sveriges forsvar.

MMA-udøvere fra Sverige
Kampsportsudøvere fra Sverige
Boksere fra Sverige

Matthias Freyschuss


සරෝජිනී යෝගේස්වරන් යනු ශ්‍රී ලංකාවේ හිටපු දෙශපාලඥවරියකි. ඇය දෙමළ එක්සත් විමුක්ති පෙරමුණහී සාමාජිකාවක්ද වූවාය. 1997 වර්ෂයේ, යාපනය නගරාධිපති ලෙස තේරී පත් වූ  ඇය, වසර 14 කට පසු යාපනය තුල ඡන්දයකින් තේරී පත්වූ ප්‍රථම නගරාධිපතිනියද වූවාය.

1998 මැයි 17 වන දින යාපනය පිහිටි සිය නිවස තුලදී ත්‍රස්ථවාදීන් විසින් එල්ල කරනු ලැබූ වෙඩි ප්‍රහාර පහකට හසුවීමෙන්, සරෝජිනී ඝාතනයට ලක් වූවාය. ප්‍රහාරයේ වගකීම Sankiliyan හමුදාව විසින් භාර ගත් අතර, එල්ටීටීඊ ත්‍රස්ථ සංවිධානය විසින් මෙය සිදුකල බවට විශ්වාස කෙරේ. 1987 වර්ෂයේදී ඔවුහූ, සරෝජිනී ගේ සැමියා වූ, වී යෝගේස්වරන් මහතාවද ඝාතනය කර තිබුණි.

භාහිර සබැදි
 Amnesty International statement
 TamilNet report

Assassinated Sri Lankan politicians
සිවිල් පුද්ගල ඝාතන - ශ්‍රී ලංකා
එල්.ටී.ටී.ඊ. ත්‍රස්තවාදීන් සිවිල් වැසියන්ට එල්ලකල ප්‍රහාර
1998 මරණ

සරෝජිනී යෝගේස්වරන්


Servetto–Makhymo–Beltrami TSA (UCI holdkode: SER) er et professionelt cykelhold, der er baseret i Italien, og som konkurrerer i elite landevejsløb for kvinder.

Holdet i 2018

Sejre

Referencer

Cykelhold for kvinder
Cykelhold fra Italien

Servetto-Makhymo-Beltrami TSA


An Tillandsia turneri in uska species han Liliopsida nga ginhulagway ni John Gilbert Baker. An Tillandsia turneri in nahilalakip ha genus nga Tillandsia, ngan familia nga Bromeliaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 T. t. orientalis
 T. t. patens
 T. t. turneri

Mga kasarigan

Tillandsia

Tillandsia turneri


Amphistemon, biljni rod iz porodice broćevki smješten u tribus Spermacoceae, dio potporodice Rubioideae. Postoje dvije priznate vrste s otoka Madagaskara

Vrste
 Amphistemon humbertii Groeninckx
 Amphistemon rakotonasolianus Groeninckx

Izvori

Rubioideae

Amphistemon


ජොතිෂ්‍ය යන්න ඉතා පැරණි විෂයකි. මෙහි ආරම්භය මානව ශිෂ්ටාචාරයේ මුල් යුගයන් දක්වාම දිව යයි.

ජොතිෂ්‍ය


Finike, Antalya'nın batısında yer alan turistik bir ilçedir. Doğuda Kumluca, kuzeyde Elmalı, kuzeybatıda Kaş ve batıda da Demre ilçeleriyle çevrilmiştir.

Tarihçe
Eski ismi Phoenicus. Fenikeliler tarafından M.Ö. 500'lerde, liman kenti olarak kurulmuştur. Finike ilçesi antik çağda ise Likya (Teke Yarımadası) olarak adlandırılan bölgede bulunmaktadır. Teke Yarımadası'nda M.Ö. 3. bin yıldan beri yerleşim vardır. Fakat yapılan arkeolojik araştırmalar bu bölgede M.Ö. 2. Bin yıldan eskiye giden bir kent henüz tespit etmemiştir. Bölgenin günümüzde kullanılan resmi isminin (Finike) tarihsel herhangi bir geçmişi bulunmamakla birlikte, 'Fenike' isminin cumhuriyetin ilanından sonra ülke genelinde yaygın bir kamu politikası halini almış olan Türkçeleştirme hareketi kapsamında 1937 yılında, dönemin İç İşleri Bakanlığı Dahiliye Nezareti tarafından çıkarılan vilayetler tüzüğü ile değiştirildiği bilinmektedir.

İlçenin temel ekonomik geçim kaynağını iç turizm ve tarım oluşturmaktadır. İlçede yetiştirilen tarım ürünleri arasından portakal ve mandalina ön plana çıkmaktadır. Bununla birlikte, portakal üretimi ile ünlü olduğu düşünülen ilçede sanıldığının aksine Antalya'nın diğer ilçelerinde olduğu gibi portakal üretimi için elverişli tarım alanları bulunmamaktadır. Portakalın ilçeye 1960'lı yılların sonunda Kıbrıslı Rumlar ve Yahudi denizciler tarafından ithal edildiği, portakal yetiştiriciliğine bu tarihten sonra başlandığı Üsküdar Üniversitesi Tarih Ana Bilim dalı üyesi Prof. Ahmet Kırgıç'ın 2011 yılında Doğan Yayınları'ndan basımı yapılan "Yakın Tarih ve Türkiye'de Tarım" adlı araştırma kitabında yer verilmiştir. Ayrıca, Akdeniz Üniversitesi Gıda Teknolojileri Enstitüsü Dekan Yardımcısı Sena Gürbüz'ün önderliğinde yürütülen "Türkiye'de Tarımın Geleceği" projesi kapsamında 2013 yılında sonuçlandırılan araştırma çalışmaları neticesinde Finike bölgesinde tarımsal üretime ayrılmış olan topraklardaki hızlı kil oranı artışı nedeniyle portakal üretiminin en geç 2035 yılında tamamen biteceği öngörülmüştür.

Ekonomi
Finike ilçesi ve çevresinde hakim olan ekonomik yapı tarımsal karakterlidir ve var olan ticaret ve sanayi de tarımsal yapıya dayanmaktadır. Yörede en büyük geçim kaynağı turfanda sebzecilik ve narenciyedir. Bunun yanı sıra bölgede az da olsa balıkçılık vardır. Yörede tarımın ve turizmin mevsimlik oluşu, farklı zaman dilimlerinde yoğunluk kazanmaları yörede yeni gelişmeye başlayan turizmin, tarıma alternatif bir gelir kaynağı olmaktan ziyade, bir ek gelir kaynağı olabileceğini göstermektedir. Bu da yöre tarımın ve turizminin birbirlerini mevsimsel özellikleriyle dengelemesi, yörenin mevsimsel işsizlik sorunun kısmen çözülmesi demektir.

Limyra taşı
Antalya iline 115 km. uzaklıkta, Finike kazasının denize 5 km. mesafede ve tarihi Limyra bölgesindeki ocaklardan çıkarılmaktadır. Açık krem renginde homojen bir yapıya sahip kireç taşıdır. Taşınabilir büyüklükte, istenilen ebatta blok vermektedir. Hafif ve yalıtkan özelliğinden dolayı dış kaplama malzemesi olarak aranılan iç ve dış pazarda beğeni kazanan bir yapı taşıdır.

Teknik Özellikler
 Ağırlıkça su emme ve birim hacim ağırlığı deney sonuçları bu taşın orta yoğunlukta bir yapı taşı olarak sınıflandırılabileceğini göstermektedir.
 Mekanik dayanımlar kuru ve yaş numuneler üzerinde yapılmıştır. Kuru numunelerde elde edilen basınç dayanımı, eğilmede çekme modülü ve eğilme dayanımı değerleri bu taşın yüksek yoğunluklu bir yapı taşı olarak sınıflandırılabileceğini göstermektedir. Ancak taşın suya doygun hale gelmesi durumunda bu mekanik dayanımlarda önemli azalmalar gözlenmiştir. Doygun numunelerde ölçülen dayanım değerlerine göre ise bu taş orta yoğunlukta bir yapi taşı özelliği göstermektedir. Söz konusu kireç taşının mekanik dayanımlarının su ile doygun hale gelmeye olan hassasiyeti pratikteki uygulamalar açısından dikkate alınmalıdır.
 Donma çözülme deneyindeki gözlemler ve ölçülen ağırlık kayıpları açısından bu taş TS deki yapı taşlarının donmaya dayanımı için verilen sınırları sağlamaktadır.
 Aşınma deney sonuçları genellikle yaya ve lastik tekerlekli araç trafiğine maruz dogal yapı taşları için TS de verilen şartları sağlamaktadır.

Genel bir değerlendirme yapılmak istendiğinde, doğal kireç taşından kestirilip laboratuvarlara getirilmiş olan numuneler üzerinde yapılan deneyler sonucunda, bu taşın ilgili ASTM ve TS standartlarına dogal yapı taşları için verilen sınır değerleri sağladığı sonucuna varılır. Ancak, suya doygun halde dayanımlardaki kayıpların taşın kullanım imkânları için dikkate alınması gerektigi görüşündedir.

Nüfus

Balıkçılık
Gerek kayalık, gerekse kumsal dip yapısı ile Finike Körfezi, birçok Akdeniz balığına, deniz memelisine ve deniz kaplumbağasına ev sahipliği yapmaktadır.

Mercan ve Beyaz Lahos (yöre dilinde Kum Gridası), yöre halkının ve balıkçılarının en çok talep ettiği balık türleridir. Finike kıyı şeridindeki kumsal alanlarda, çay ağzı ve limanlarda Akya, Lüfer, Lahos, Çipura, Levrek, Minakop, İspari, Kefal, İzmarit, Yasemin, Mercan, Hani, Sarıkuyruk, Iskarmoz, Barbunya gibi ekonomik değeri yüksek birçok balık avlanmaktadır. Körfezin kayalık bölgelerinde ise Orfoz, Lahos, Fangri, Sinarit, Sarıkuyruk, Sargos, Sokar, Iskaroz, Karagöz gibi balıklar balıkçıların ağ ve oltalarına takılmaktadır.

Açık deniz balıklarından Sardalya, Kolyos, İstavrit, Yazılı Orkinos, Lambuka, Kılıç Balığı, Orkinos gibi balıklar da Finike Körfezini Gırgır balıkçılığına uygun bir konuma getirmiştir.

Yakın bir tarihe kadar bütün Finike Körfezi içerisinde yasak olan Trol(Trata) ile yapılan avcılık, son yıllarda tekrar başlamış ve büyük bir kısmı kumluk olan körfez sularını tekrar talan etmeye başlamıştır. Bu sebeple yöre balıkçıları için çok değerli ve aranan bir balık türü olan Mercan Balığı, yoğun av baskısı ile karşı karşıyadır

Balıklar dışında, kumsal olan uzun kıyı şeridi, birinci derecede Caretta Caretta üreme alanı olarak tanımlanmıştır. Nesli büyük tehlike altında olan Akdeniz Foku, körfezde yaklaşık 2 birey ile yaşamını sürdürmeye çalışmaktadır.

Marina
Finike,tarih boyunca önemli bir yükleme ve boşaltma liman kenti olmuştur. Denizci bir millet olan Fenikeliler, Finike ve Akdeniz'in değişik limanlarından yükledikleri malları, başka limanlara satarak, kendi devirlerinde ticareti geliştirmişler ve zengin olmuşlar. Tarihin seyri içinde Finike limanının durgun zamanları da olmuştur. Cumhuriyet döneminde de uzun süre atıl kalan limanda, uzun yıllar sadece balıkçı tekneleri barınmıştır. 1966 yılında balıkçı tekneleri ve yatların fırtınalı havalarda barınabilmeleri için yeni bir barınak yapımına başlanmış ve bu barınak 1970 yılında tamamlanmıştır. Finike marina, Finike'nin coğrafi ve kültürel konumuyla yat turizmini birleştirerek, ilçemiz ve ülke ekonomimize önemli katkılar sağlamaktadır. Bu konum Finike marinasını önemli bir yatçılık merkezi yaparak, Finike'ye de uluslararası bir liman kenti ve yat turizmi merkezi statüsü kazandırmıştır.

Turizm
Turizm bakımından çevre ilçeler kadar bozulmaması ile ayrılır. Ancak son dönemdeki yoğun yapılaşma ile önemli turizm noktalarından biri haline gelmiştir. Yine de 1980'lerden sonra bu bölgedeki turizm yatırım politikası, Finike'de pek rağbet görmemiştir. Çünkü ilçe toprakları tarıma daha uygundur. Bu yüzden turizm sektörü diğer çevre ilçeler kadar hızlı bir gelişme göstermemiştir. Yakın tarih içinde Finike Limanı'na ek olarak yapılan marina ile yat turizminde söz sahibi olmaya başlamıştır. 10 km'lik kumsalı ile ülkenin en uzun plajlarından birine sahiptir.

Arykanda (Arif) ve Limyra (Turunçova, Zengeder) gibi antik kentlerin yanında Suluin Mağarası da ilçede ilgi çeken yerlerdendir.

Endemik bitki ve hayvanları
Finike semenderi (Lyciasalamandra luschani finikensis)

Kaynakça

Dış bağlantılar
 Finike Müftülüğü Resmi Web Sitesi

Türkiye'deki kıyı yerleşim birimleri
Türk Rivierası
Cittaslow

Finike


كانيتو شيوزاوا (塩沢兼人 شيوزاوا كانيتو) (اسمه الحقيقي توشيكازو شيوزاوا (塩澤敏一 شيوزاوا توشيكازو))؛ (28 يناير 1954 - 10 مايو 2000)، مؤدي أصوات ياباني.

وفاته
توفي من إصابة الدماغ.

أدواره في الأنمي

مسلسلات أنمي تلفزيونية
 المحقق كونان - المفتش شيرا
 دانكوجار - ريو شيبا
 قبضة نجم الشمال - راي
 دراغون بول - نام
 البدلة المتنقلة جاندام - ما كوفي
 سينت سيا - بلاك أندروميدا، أرييس مو
 إسكافلوني السماء - زونغي
 تاتش - تاكاشي كوروكي
 أبطال الديجيتال الجزء الأول - الخفاش
 شعلة ريكا - ماغينشا
 سيلور مون R - برينس ديماند

أوفا أنمي
 بطولات أرسلان - نارسوس

أفلام أنمي
 سلسلة أفلام المحقق كونان
 المحقق كونان: العد التنازلي لناطحة السحاب - المفتش شيرا
 سينت سيا: محاربو الحرب الأخيرة - أرييس مو

أدواره في ألعاب الفيديو
 سلسلة ألعاب ميتال غير - غراي فوكس
 ميتل جير سوليد 2 - مستر إكس
 سلسلة ألعاب GUILTY GEAR - زاتو-1
 تيلز أوف فانتازيا - داوس

مراجع

وصلات خارجية

ممثلو أداء صوتي يابانيون
ممثلو ألعاب فيديو يابانيون
ممثلو الأداء الصوتي لشخصيات المحقق كونان
ممثلو مسرح يابانيون
ممثلون من طوكيو
ممثلون يابانيون في القرن 20
ممثلون يابانيون في القرن 21
مواليد 1954
مواليد في طوكيو
وفيات 2000
وفيات بسبب حوادث السقوط
وفيات عرضية في اليابان
وفيات في شينجوكو (طوكيو)

كانيتو شيوزاوا


An Calamagrostis mandoniana in uska species han Liliopsida nga syahan ginhulagway ni Hugh Algernon Weddell, ngan ginhatag han pagkayana nga asya nga ngaran ni Pilg.. An Calamagrostis mandoniana in nahilalakip ha genus nga Calamagrostis, ngan familia nga Poaceae.

Mabibilngan ini ha Bolivia. Waray hini subspecies nga nakalista.

Mga kasarigan

Calamagrostis

Calamagrostis mandoniana


El túnel de Ezequías (en hebreo נקבת חזקיהו, Nikbat Jizkiahu) o túnel de Siloé (en hebreo נקבת השילוח, Nikbat Hashiloaj) se encuentra en la ciudad de Jerusalén; lleva el agua de la fuente del Gihón a la piscina de Siloé.

Historia
La ciudad de Jerusalén en tiempos bíblicos estaba ubicada sobre una montaña rodeada de valles, gracias a su posición topográfica contaba con defensas naturales desde casi todas las direcciones. Pero su principal fuente de agua dulce, el manantial de Guijón, no contaba con esa protección, al estar ubicada en una zona más baja, cerca del valle del Cedrón.

El túnel de Ezequías fue construido en el año 701 a. C. por orden del rey Ezequías, que gobernó aproximadamente entre el 727-698 a. C. (no hay un acuerdo unánime acerca del período exacto de su reinado). En la segunda mitad del s. VIII a. C. el Reino de Judá debía proteger a Jerusalén –y especialmente su fuente de agua– del ejército de Asiria que avanzaba a través de la actual Siria y Cisjordania en dirección hacia el Imperio Nuevo de Egipto. En vistas a los muchos fugitivos provenientes del Reino de Israel, cuya capital Samaria había sido tomada en el 722 a. C. por Asiria, Ezequías hizo construir un nuevo muro en torno a la ciudad, que había crecido notablemente en dirección oeste y sur, y aseguró por medio de la construcción del túnel que lleva su nombre el abastecimiento de la ciudad con agua potable (II Crónicas 32, 1-5). El ataque y el asedio de la ciudad fueron llevados adelante por el rey asirio Senaquerib en el año 701 a. C. (II Crónicas 32, 9).

Otras canalizaciones
En la Edad del bronce medio (1700 -1800 a. C.) se construyó un canal que llevaba el agua de la fuente del Gihón a la piscina de Siloé. Este canal tiene aproximadamente 6 metros de profundidad. Fue cubierto con grandes losas de roca y tierra. Dada la ruta directa entre ambos puntos, existía el riesgo de que fuera descubierto y destruido. Por esa razón, se decidió la construcción del túnel de Ezequías.

En la Edad de Hierro II (1000-520 a. C.) se construyeron en Palestina diversas instalaciones complejas para asegurar la provisión de agua potable en ciudades israelitas y judías, como por ejemplo en Megido, Jasor, Tell Be'er Scheva (Beerseba ) y en otros lugares.

Ubicación y construcción del Túnel de Ezequías

El túnel parte de la fuente del Gihón en Jerusalén, que es la única que tiene agua durante todo el año. Es un manantial, que surge subterráneamente de una gruta al pie de la ladera sur-este de Sion en el valle de Cedrón. El túnel aprovecha en dirección oeste la antigua vertiente de los Jebuseos como pozo vertical (al que se lo identifica con el canal a través del cual los israelitas, en tiempos del rey David, ingresaron a la ciudad y la tomaron –II Samuel 5, 8–; de este canal los jebuseos habrían sacado agua, pero siempre dentro del área protegida por las murallas de la ciudad). El túnel da luego muchas curvas en dirección SSO a través de la cresta de la montaña de Sion y desemboca en la piscina de Siloé. Este lugar se encontraba en el interior protegido de la ciudad. La piscina data de tiempos del Imperio Bizantino. Excavaciones posteriores descubrieron más al sur y más profundamente otra cuenca en el interior de la piscina.

Dos grupos de trabajadores perforaron la roca, el primero iniciando sus tareas junto a la fuente, el otro comenzando en la desembocadura. Para guiar a los excavadores, se golpeaba la superficie. Poco antes del encuentro (aproximadamente a 30 metros de distancia), los dos grupos lograron oírse y trabajaron uno en dirección del otro, corrigiendo a cada paso la dirección. De esta última fase de la construcción del túnel data la inscripción, parcialmente conservada, ubicada cerca del final del sector sur del túnel. Había sido ubicada sobre una superficie alisada en la pared.

La inscripción de Siloé

La inscripción de Siloé informa acerca de los trabajos poco antes de la ruptura del túnel y reviste gran importancia arqueológica. Fue encontrada en el año 1880 en las cercanías de la entrada sur del túnel. Después de que en tiempos del Imperio otomano se intentase robarla, ocasión en la que el ladrón logró ser apresado, se la llevó al Museo arqueológico de Estambul, donde se encuentra actualmente.

Turismo

La totalidad del área de la fuente del Gihón y del túnel, así como de la piscina de Siloé es una única instalación arqueológica que puede ser visitada. Con una lámpara de mano pueden recorrerse los aproximadamente 450 metros del túnel, en el que el agua llega hasta la rodilla. El túnel se encuentra en las cercanías del casco de la ciudad, por debajo de la "Ciudad de David".

Referencias

Bibliografía
 Israel Finkelstein, Neil A. Silbermann: David und Salomo. C.H.Beck, Múnich, 2006, p. 121s. ISBN 3-406-54676-5
 Shlomó S. Gafni, A. van der Hayden: La gloria de Jerusalén. Aurora, Tel Aviv, 1985, p. 96ss.

Ezequías
Acueductos de Israel
Suministro de agua de Jerusalén
Yacimientos arqueológicos de Israel
Restos arqueológicos
Antiguo Testamento
Historia de los judíos
Edificios y estructuras terminadas en el siglo VIII a. C.
Jerusalén en el siglo VIII a. C.
Ciudad de David

Túnel de Ezequías


Martina Hudcová (Brno, 26 de março de 1966) é uma ex-voleibolista indoor e jogadora de vôlei de praia checa, medalhista de prata no Campeonato Europeu de Voleibol de Praia de 1994 realizado em Portugal.

Carreira

A partir do ano de 1994, formou dupla com Dolores Štorková  e foram vice-campeãs da etapa de Almería pelo circuito europeu e  conquistaram a medalha de prata no Campeonato Europeu de Vôlei de Praia sediado em Espinho e estiveram juntas no circuito mundial 1994-95, alcançando o décimo terceiro lugar nos Abertos de Santos e Rio de Janeiro, e o nono lugar no Aberto de La Serena.

Estiveram juntas no circuito mundial de 1995-96, terminando no trigésimo quarto lugar no Aberto de Clearwater, o trigésimo no Aberto de Pusan, os décimos sétimos postos nos Abertos de Osaka e Rio de Janeiro, além do décimo terceiro no Aberto de Bali.A partir de 1997 anuncia dupla com Tereza Tobiášová, disputaram o Campeonato Mundial de Los Angeles, terminando na décima sétima colocação, mesmo posto obtido nos Abertos de Pescara e Marselha, assim como terminaram no décimo terceiro lugar nos Abertos de Espinho e Pusan, além do nono no Aberto de Osaka.

Atuou ao lado de Tereza Tobiášová em 1998, nas etapas do circuito mundial, terminaram na décima sétima posição nos Abertos do Rio de Janeiro, Toronto, Vasto, Marselha, Osaka e Dalian, terminando em décimo terceiro lugar no Aberto de Espinho. Em 1999, jogaram juntas no Campeonato Europeu de Voleibol de Praia em Palma de Maiorca, quando alcançaram a nona posição, e no Campeonato Mundial de Marselha obtiveram o vigésimo quinto posto, repetindo o feito no circuito mundial, nos Abertos de Acapulco e Osaka,  sendo décimas sétimas colocadas no Aberto de Salvador, décima terceira colocação no Aberto de Espinho, e os nonos lugares nos Abertos de Toronto e Dalian.

Em 2000, com  Tereza Tobiášová, disputou o Campeonato Europeu de Voleibol de Praia em  Guecho e Bilbau, finalizando na nona posição, estiveram também nos Jogos Olímpicos de Verão em Atenas, e terminou na décima nona posição, iniciaram o circuito mundial e terminaram na vigésima quinta posição nos Abertos de Vitória, Rosarito e Toronto, ainda forma nonas colocadas no Aberto de Cagliari  e terminou no vigésimo quinto posto no Aberto de Gstaad ao lado de Marika Těknědžjanová. Em 2004 competiu com Tereza Tobiášová no circuito europeu. Na temporada de 2006-07 atuou pelo clube VK Královo Pole, quando atuou como levantadora e se aposentando em 2008.

Ligações externas

Naturais de Brno
Voleibolistas da Chéquia
Levantadores de voleibol
Jogadores de voleibol de praia da Chéquia
Voleibolistas de praia nos Jogos Olímpicos de Verão de 2000

Martina Hudcová


Salisbury Plain er et kalkstensplateau i det centrale sydlige England, som dækker et område på 780 kvadratkilometer. Det er en del af den sydengelske kalkformation og ligger stort set inden for grevskabet Wiltshire, med en lille bid i Hampshire. Sletten er kendt for de mange arkæologiske fund, bl.a. Stonehenge, et af de mest kendte landemærker i England. I vore dage bruges en stor del af sletten til militært øvelsesområde.

Henvisninger

Englands geografi
Wiltshire

Salisbury Plain


Vincente Minnelli (n. 28 februarie 1903 - d. 25 iulie 1986) a fost un  din Statele Unite ale Americii.  A primit Premiul Oscar pentru cel mai bun regizor, Directors Guild of America Award.

Biografie

Filmografie
Panama Hattie (1942) (nemenționat)
Cabin in the Sky (1943)
I Dood It (1943)
 1944 Întâlnește-mă la St. Louis (Meet Me in St. Louis)
 1945 Doar 24 de ore (The Clock)
Yolanda and the Thief (1945)
Ziegfeld Follies (1945)
Undercurrent (1946)
Till the Clouds Roll By (1946) (segmentele Judy Garland)
The Pirate (1948)
Madame Bovary (1949)
Father of the Bride (1950)
Father's Little Dividend (1951)
An American in Paris (1951)
Lovely to Look At (1952) (secvențele cu prezentarea de modă)
The Bad and the Beautiful (1952)
The Story of Three Loves (1953) (segment "Madamoiselle")
 1953 Orchestra ambulantă (The Band Wagon)
The Long, Long Trailer (1954)
Brigadoon (1954)
The Cobweb (1955)
Kismet (1955)
Lust for Life (1956)
Tea and Sympathy (1956)
Designing Woman (1957)
The Seventh Sin (1957) (nemenționat)
Gigi (1958)
The Reluctant Debutante (1958)
Some Came Running (1958)
Home from the Hill (1960)
Bells Are Ringing (1960)
 1962 Cei patru cavaleri ai apocalipsului (Four Horsemen of the Apocalypse)
 1962 Două săptămâni într-un alt oraș (Two Weeks in Another Town)
 1963 The Courtship of Eddie's Father
 1964 Adio, Charlie (Goodbye Charlie)
 1965 Cavalerul nisipurilor (The Sandpiper)
 1970 Melinda (On a Clear Day You Can See Forever)
 1976 Nina (A Matter of Time)

Note

Legături externe

 Vincente Minnelli papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
 Senses of Cinema: Great Directors Critical Database

Nașteri în 1903
Decese în 1986
Nașteri pe 28 februarie
Decese pe 25 iulie
Regizori americani
Regizori din Ohio
Regizori din Illinois

Vincente Minnelli


d.a.u.d.a er den første EP af den danske musiker Sivas. EP'en blev udgivet den 16. september 2013 via disco:wax.

GAFFAs anmelder, Maria Therese Seefeldt Stæhr, gav EP'en tre af seks stjerner, mens Soundvenues anmelder, Kristian Karl, var mere positiv og gav EP'en fem ud af seks mulige stjerner.

Spor

Referencer

EP'er fra 2013
Sivas-album

D.a.u.d.a


Liimala ist ein Dorf (estnisch küla) in der Landgemeinde Lüganuse (Luganuse vald). Es liegt im Kreis Ida-Viru (Ost-Wierland) im Nordosten Estlands.

Beschreibung und Geschichte
Das Dorf hat 57 Einwohner (Stand 1. Januar 2012). Es liegt direkt am Finnischen Meerbusen.

Früher lebte fast das gesamte Dorf vom Fischfang auf der Ostsee. Während der sowjetischen Besetzung Estlands wurde in dem Ort ein fischverarbeitendes Kombinat errichtet. Heute lebt Liimala vor allem vom Tourismus und seinen Badegästen.

Weblinks
 Beschreibung und Geschichte (estnisch)

Einzelnachweise

Ort in Estland
Geographie (Lüganuse)

Liimala


الذهبانية هو الاسم القديم لقرية عين العروس في الجزيرة السورية. وقد ورد ذكرها كثيرا في المصادر والمراجع التاريخية من بينها معجم البلدان لياقوت الحموي, حيث قال: «عين الذهبانية هي عين ماء ينبع منها نهر البليخ من عدة عيون اعظمها عين الذهبانية». وفيها مقام يزار له وينذر, (ويعتقد انه للنبي إبراهيم الخليل ) .

الجزيرة الفراتية
قرى محافظة الرقة

الذهبانية


Die Ditrichaceae sind eine Familie von Laubmoosen aus der Ordnung Dicranales.

Merkmale
Es sind akrokarpe, kleine bis kräftige Moose mit aufrechten Stämmchen. Die Blätter sind eiförmig bis lang pfriemenförmig, besitzen eine kräftige, die ganze Blattlänge einnehmende Rippe und quadratische bis rechteckige, glatte oder mamillöse Laminazellen. Blattflügelzellen sind nicht differenziert. Sporenkapseln haben entweder einen Deckel oder sind kleistokarp. Ein Peristom ist vorhanden oder kann auch fehlen.

Verbreitung
Die Moose der Familie sind auf der Nord- und Südhalbkugel verbreitet, vorwiegend in den gemäßigten und subtropischen Zonen. Sie wachsen auf Erde und Gestein.

Systematik
Die Familie Ditrichaceae ist wahrscheinlich polyphyletisch. In der Vergangenheit wurde sie auch als Teil der Dicranaceae geführt. Die Moose der Ditrichaceae haben Peristomzähne, die bis zum Grund in zwei fadenförmige, papillöse Äste geteilt sind. Eine klare Abgrenzung gegenüber den Dicranaceaen ist schwierig.

Nach Stech & Frey werden weltweit 24 Gattungen (mit zirka 190 Arten) zur Familie gezählt:

 Astomiopsis
 Austrophilibertiella
 Ceratodon
 Cheilothela
 Chrysoblastella
 Cladastomum
 Cleistocarpidium
 Crumuscus
 Cygniella
 Distichium
 Ditrichopsis
 Ditrichum
 Eccremidium
 Garckea
 Kleioweisiopsis
 Pleuridium
 Pseudephemerum
 Rhamphidium
 Saelania
 Skottsbergia
 Strombulidens
 Trichodon
 Tristichium
 Wilsoniella

Weblinks

Quellen
 Jan-Peter Frahm, Wolfgang Frey: Moosflora (= UTB. 1250). 4., neubearbeitete und erweiterte Auflage. Ulmer, Stuttgart 2004, ISBN 3-8252-1250-5.
 Wolfgang Frey, Michael Stech, Eberhard Fischer: Bryophytes and Seedless Vascular Plants (= Syllabus of Plant Families. 3). 13th edition. Borntraeger, Berlin u. a. 2009, ISBN 978-3-443-01063-8.

Ditrichaceae


මැන්ඩෙලා කුසලානය එක්දින ජාත්‍යන්තර ක්‍රිකට් තරගාවලියක් වන අතර එය 1994 දෙසැම්බර් 2 සිට 1995 ජනවාරි 12 දක්වා පැවැත්විණි.  තරඟාවලිය සඳහා සත්කාරකත්වය දැක්වූයේ දකුණු අප්‍රිකාව වන අතර ඔවුන් තරඟ වදින කණ්ඩායම් හතරෙන් එකක් වන අතර අනෙක් කණ්ඩායම් නවසීලන්තය, පාකිස්තානය සහ ශ්‍රී ලංකාව වේ. කණ්ඩායම් අධියරේදී වැඩිම ප්‍රසාද ලකුණු ලබා ගත් කණ්ඩායම් දෙක අවසන් තරඟයට පිවිසි අතර අවසන් තරගය තරග තුනකින් සමන්විත විය. පලමු හා දෙවන අවසන් තරග ජයගත් දකුණු අප්‍රිකාව කුසලානය ජය ගත්තේය. තුන්වන අවසන් තරගය පැවැත්වූයේ නැත.

තරගාවලියේ වීරයා වන අමර් සොහෙයිල් ලකුණු 432 ක් රැස් කළ අතර ඔහුගේ කණ්ඩායමේ වකාර් යුනිස් තරගාවලියේ ප්‍රමුඛ පෙළේ කඩුලු ලාභියා විය. මෙම තරගාවලියේදී සනත් ජයසූරිය, ඇඩම් පාරෝර්, ඩේව් කැලගන් සහ මයිකල් රින්ඩෙල් සිය මංගල එක්දින ශතකය ලබා ගත්හ.

සංචිත

ලකුණු වගුව

කණ්ඩායම් තරඟ

1 වන තරගය

2 වන තරගය

3 වන තරගය

4 වන තරගය

5 වන තරගය

6 වන තරගය

7 වන තරගය

8 වන තරගය

9 වන තරගය

10 වන තරගය

11 වන තරගය

12 වන තරගය

අවසාන තරග
පාකිස්තානයට එරෙහි අවසන් තරග 2-0 ලෙස දකුණු අප්‍රිකාව දිනා ගත්තේය.

1 වන අවසන් තරගය

2 වන අවසන් තරගය

සංඛ්‍යා ලේඛණ

වැඩිම ලකුණු

වැඩිම කඩුළු

බාහිර සබැඳි
 CricketArchive තරඟාවලි පිටුව

ශ්‍රී ලංකාව තුළ ක්‍රිකට්
ක්‍රිකට්

මැන්ඩෙලා කුසලානය 1994-95


Young Royals eru sænskir sjónvarpsþættir sem voru skapaðir af Lisa Arnbjörn, Lars Beckung og Camilla Holter. Þættirnir hófu göngu sína þann 1. júlí 2021 þegar fyrstu seríunni var streymt inn á Netflix. Serían gerist í menntaskólanum Hillerska, sem er heimarvistarskóli fyrir yfirstéttarkrakka, og fjallar um prins Wilhelm sem er annar í erfðaröðinni að sænsku krúnunni. Þar sjáum við hann feta sín fyrstu skref í menntaskóla, kynnast fyrstu ástinni og öllu því drama sem fylgir unglingsárunum.

Söguþráður

Sería 1
Fyrsta sería hefst á því að prins Wilhelm, yngri sonur Kristinu drottingar af Svíþjóð, lendir í slagsmálum þar sem hann er að skemmta sér á næturklúbbi. Til þess að halda heiðri konungsfjölskyldunar er Wilhelm sendur í Hillerska heimavistarskólann þar sem eldri bróðir hans, Erik, lærði. Við kynnumst fljótlega öðrum nemendum í skólanum eins og August, sem er frændi Wilhelms og þriðja árs nemi, sem tekur Wilhelm undir sinn væng til að byrja með í skólanum. Aðrir nemendur eru m.a. Felice, sem er yfirstéttarstúlka sem á í erfiðleikum með að standast kröfur foreldra sinna og svo systkinin Simon og Sara sem eru ekki hluti af yfirstéttarkrökkunum heldur eru börn einstæðrar móður sem innflytjendi frá Rómensku Ameríku. Þau búa í Bjärstad sem er bær í nágrenninu og taka strætó í skólann. Simon syngur einnig í skólakórnum og fær oft að syngja sóló. Í fyrstu er Wilhelm afar óánægður yfir því að hafa verið sendur í skólann en það breytist fljótt þegar hann fer að kynnast hinum nemendunum og gengur til liðs við siglingaliðið.

Felice er heltekin af Wilhelm og þráir ekkert heitar en að þau verði kærustupar. Wilhelm hefur lítinn áhuga á því þar sem hann er fljótt orðinn ástfanginn af Simon. Simon sýnir honum hvernig líf utan yfirstéttarinnar er þar sem þeir fara saman á fótboltaleik og fá sér pylsu. Sara, sem er með Asbergers og ADHD, vingast við Felice og hjálpar henni að sjá um hestinn sinn. Felice hefur nefnilega engan áhuga á reiðmennsku en stundar það, þrátt fyrir hræðslu sína á hestum, því móðir hennar vill að hún geri það.

Wilhelm er rétt að byrja að átta sig á því að hann er hrifinn af strák þegar líf hans gjörsamlega umturnast. Bróðir hans Erik deyr í bílslysi. Það veldur því að skyndilega er Wilhelm orðinn krónprins Svíþjóðar. Wilhelm snýr aftur í skólann þar sem hann reynir að takast á við sorgina og á sama tíma samband sitt við Simon. Eina nóttina þar sem Simon og Wilhelm eru í ástaratlotum sér August til þeirra innum glugga og tekur þá upp á myndband án þeirra vitundar. August veit í fyrstu ekki hvað hann á að gera við videóið en ákveður síðan að dreifa því á netinu eftir að Wilhelm lætur það útúr sér við vini August að fjölskylda hans sé gjaldþrota og að August hafi ekki lengur efni á að vera í skólanum.

Myndbandið breiðist út eins og eldur um sinu á netinu og veldur alþjóðlegu hneyksli. Kristina drottning neyðir Wilhelm til að koma opinberlega fram í viðtali og neita því að hann sé annar strákurinn í videóinu. Þar með brýtur hann hjarta Simon sem stóð í þeirri meiningu að Wilhelm ætlaði að koma út úr skápnum. Wilhelm heimsækir Simon eftir viðtalið þar sem Simon segir honum að hann vilji ekki vera í leynilegu ástarsambandi þegar Wilhelm stingur upp á því. Þeir slíta því sambandi sínu en síðasta daginn í skólanum fyrir jólafrí kveðjast þeir þar sem Wilhelm faðmar Simon og segir honum að hann sé ástfanginn af honum.

Sería 2

Þáttur 1
Wilhelm hefur eitt jólafríinu sínu einmanna í höllinni. Drottningin, móðir hans, vill reyna að tala við hann en Wilhelm finnst hún hafa svikið sig og vill ekkert með hana hafa. Simon kynnist Marcus sem er kunningi Söru. Sara fær skólastyrk til þess að flytja inn á heimavistina. Stelpurnar halda busavíxlu fyrir Söru til að bjóða hana velkomna á heimavistina. Eftir mönun frá stelpunum laumar Sara sér inn í partý hjá þriðja árs nemunum og kveikir í fána. Simon fær far hjá Marcus upp í skóla til að finna Söru. Í partýinu rekst hann á Wilhelm sem sér hann fá far aftur til baka með Marcus. Wilhelm er æfur út í frænda sinn, August, vegna myndbandsins og vill ná hefndum. Hann reynir hvað sem hann getur til að eyðileggja orðspor August innan skólans. August heldur að Sara hafi sagt Wilhelm að hann hafi póstað videóinu þegar Wilhelm frétti það í raun og veru frá Felice. Wilhelm sér videó af Simon og Marcus syngja saman í karaoke og gjörsamlega brotnar niður. Hann hringir bálreiður í móður sína og allt konunglega teymið. Hann bölvar þeim fyrir að þvinga sig til þess að neita sambandi sínu við Simon og hótar að afsala sér krónprinstitlinum.

Þáttur 2
Það er afmælisdagur Söru og hún fær reiðbuxur af flottustu og dýrustu gerð frá vinkonum sínum. Henni finnst óþæginlegt að fá svona dýra gjöf og það sem gerir það enn verra er að hún fær líka nýjar reiðbuxur frá mömmu sinni og Simon bara ekki eins flottar buxur. Wilhelm nýtir hvert tækifæri til þess að niðurlægja August og sannfærir þriðja árs nemana um að fjarlægja hann sem formann nemenda og fyrirliða í róðurliðinu. Drottningin er ekki parsátt við hvernig Wilhelm hótaði sér í símann og skipar að Wilhelm hætti í skólanum og sendir konunglega fulltrúa til að sækja hann. Wilhelm vill alls ekki yfirgefa skólann og streitist á móti. Þau ræða loks saman í síma og drottningin útskýrir fyrir honum að það sé betra fyrir hann sem prins að halda persónulegum samböndum sínum í felum og að hún sé tilbúin til þess að ræða hlutina þegar hann verður 18 ára. Hún krefst þess að hann sæki tíma hjá skóla sálfræðinginum sem hann samþykkir með þeim skilyrðum að hann þurfi ekki að hafa lífverði öllum stundum í skólanum. Á meðan þessu stendur bíðan hinir nemendurnir átekta. Simon reynir að hjálpa Wilhelm með því að biðla til skólastjórans án árangurs. Wilhelm fær að vera áfram í skólanum. Hann segir Simon hvernig fór og stingur aftur upp á leynilegu ástarsamband a.m.k. þar til þeir verði 18 ára sem Simon neitar aftur. Simon fer á deit með Marcus. Sara fattar að það var Felice sem sagði Wilhelm að August hefði póstað videóinu. Wilhelm og Felice fara að skjóta leirdúfur en strákurinn sem sér um skotvopnin er Marcus. Wilhelm er fullur afbrýðissemi og ekki hjálpar það þegar Simon neitar því að þekkja Marcus.

Þáttur 3
August er orðinn örvættingafullur um að það muni komast upp um hann vegna myndbandsins. Hann ákveður því að tala við stjúpföður sinn sem er lögfræðingur. Wilhelm byrjar að opnar sig við skólasálfræðinginn. Wilhelm og Simon lenda saman í hópverkefni í skólanum ásamt Söru og Henry. Simon segir Wilhelm að hann og Marcus séu ekki í sambandi. Róðrar liðið tekur þátt í keppni innan skólans sem þeir tapa. Vincent nýji fyrirliði liðsins kennir Simon um og Simon hættir í liðinu. Marcus mætir á svæðið til að hughreysta Simon og kyssir hann sem Wilhelm sér. Drottningin býður August á fund til sín þar sem hún tilkynnir honum að hann sé næstur í erfðarröðinni á eftir Wilhelm. Hún segir honum að vera tilbúinn til þess að flytja ræðu fyrir afmæli skólans þ.e.a.s. ef Wilhelm treystir sér ekki til þess að flytja ræðuna. Wilhelm er niðurbrotinn vegna Simon og Marcus. Wilhelm kyssir Felice sem Henry óvart sér.

Þáttur 4
Allir krakkarnir eru búnir að frétta um Wilhelm og Felice. Simon er afbrýðissamur og þeir Wilhelm rífast. Felice ásakar Wilhelm um að hafa notað sig þar sem Wilhelm kyssti hana bara til þess að gera Simon afbrýðissamann. Wilhelm biður hana afsökunnar og þau verða aftur vinir. Valentínusarballið er á næsta leiti og undirbúningur fyrir 18. aldar þema í hámarki. Simon bíður Marcus með sér á ballið sem afþakkar og segir að böll séu ekki fyrir sig. August fær símtal frá höllinni þar sem farið er yfir plan hans sem krúnuerfingi næstu 10 árin og hann fær létt sjokk yfir öllum reglum og skyldum sem fylgja starfinu. August segir Söru að hann sé næstur í erfðarröðinni á eftir Wilhelm. Þau eru búin að vera í leynilegu sambandi í einhverntíma en nú bíður August henni að koma með sér á ballið en hún afþakkar því hún er hrædd um hvernig Felice og hinar stelpurnar myndu bregðast við. Marcus snýst hugur og fer með Simon á ballið. Simon er hins vegar með allan hugan á Wilhelm. Wilhelm ákveður að hann þurfi að sætta sig við að Simon og Marcus séu saman og segir Simon það. Simon verður þá miður sín og eltir Wilhelm úr skóla byggingunni. Þeir enda á því að kyssast og líkur ballinu á því að Simon syngur sóló með frumsömdum texta með skólakórnum.

Þáttur 5
Ráðgjafi drottningarinnar Jan-Olof kemur til að hlýða á skólakórinn. Hann ákveður að kórinn skuli syngja gamla skólasönginn í upprunalegri útgáfu en ekki nýja textann eftir Simon. Simon verður reiður yfir þessu og kennir Wilhelm um sem botnar ekki í neinu þar til að Simon þarf að útskýra fyrir honum að textinn sé um Wilhelm og að konungsfjölskyldan vilji ekki að þeir séu bendlaðir saman. Wilhelm segir loks Simon að það hafi verið August sem póstaði videóinu. Drottningin segir Wilhelm að August sé næstur í erfðarröðinni og ef Wilhelm flytji ekki ræðuna á afmælishátíðinni muni August gera það í staðinn. Foreldrar Felice selja, Roussau, hestinn hennar sem er uppáhald Söru sem verður mjög leið. Wilhelm segir Simon að August sé næstur í erfðarröðinni. Af þeirri ástæðu gæti Wilhelm afsalað sér krúnunni til þess að þeir gætu verið saman en ef Simon fer og tilkynnir August til lögreglunnar þá hafi þeir ekki lengur þann möguleika. Simon ákveður samt sem áður að rétta leiðin sé að tilkynna August og Wilhelm styður hann í því.

Þáttur 6
Simon slítur sambandi sínu við Marcus. August sannfærir Alexander um að taka á sig alla sök varðandi videóið og hótar að ef Simon tilkynni hann til lögreglunnar muni hann tilkynna að Simon hafi selt sér dóp. Sara segir Felice frá sambandi þeirra August og Felice verður reið. Wilhelm og Simon eru brjálaðir út í August og Wilhelm hótar honum með byssu. Sara viðurkennir að hafa sagt August að Simon hafi ætlað til lögreglunnar. Simon finnst Sara hafa svikið sig og hættir við að fara til lögreglunnar. Áður enn afmælishátíðin hefst segir Simon Wilhelm að hann vilji vera í sambandi með honum þó að þeir þurfi að fela það. Simon enda á því að segja Wilhelm að hann elski hann. Sara tilkynnir August til lögreglunnar. Wilhelm flytur ræðuna en gerir hana að sinni og talar um mikilvægi þess að vera hreinskilinn og það sé engum hollt að halda hlutum leyndum. Hann endar svo ræðuna á því að tilkynna opinberlega að hann hafi logið og að hann sé hinn strákurinn í vídeóinu.

Hlutverk

 Edvin Ryding sem prins Wilhelm af Svíþjóð, oftast kallaður "Wille".
 Omar Rudberg sem Simon Eriksson, alþýðustrákur sem býr ekki á heimavistinni. Bróðir Söru.
 Malte Gårdinger sem August af Årnäs. Frændi Wilhelm og Erik, þriðja árs nemi og fyrirliði siglingaliðsins.
 Frida Argento sem Sara Eriksson, alþýðustelpa sem býr ekki á heimavistinni. Systir Simon.
 Nikita Uggla sem Felice Ehrencrona, yfirstéttarstelpa og nemandi við heimavistarskólann.
 Pernilla August sem Kristina drottning af Svíþjóð. Mamma Wilhelm og Erik.
 Nathalie Varli sem Madison McCoy, erlendur nemandi og vinkona Felice.
 Carmen Gloria Pérez sem Linda, mamma Simon og Söru.
 Ivar Forsling sem krónprins Erik af Svíþjóð. Eldri bróðir Wilhelm.
 Ingela Olsson sem Anette Lilja, skólameistari Hillerska

Önnur hlutverk

 Inti Zamora Sobrado sem Ayub, vinur Simons frá Bjärstad.
 Beri Gerwise sem Rosh, vinkona Simons frá Bjärstad.
 Nils Wetterholm sem Vincent, vinur August og nemandi í Hillerska.
 Samuel Astor sem Nils, vinur August og nemandi í Hillerska.
 Fabian Penje sem Henry, nemandi í Hillerska.
 Felicia Truedsson sem Stella, vinkona Felice og nemandi í Hillerska.
 Mimmi Cyon sem Fredrika, vinkona Felice og nemandi í Hillerska.
 Uno Elger sem Walter, nemandi í Hillerska.
 Xiao-Long Rathje Zhao sem Alexander, nemandi í Hillerska.

Heimildir

Sjónvarpsþættir

Young Royals


Aloe parvibracteata es una especie del género Aloe originaria del sur de  África.

Descripción
Es una planta suculenta acaule o con tallo muy corto que alcanza unos 20 a 40 cm de altura, puede crecer de forma individual o formando grupos densos.  Las hojas, en número de 10 a 15, se disponen en roseta. Son de forma lanceolada, arqueadas o extendidas, con alrededor de 30-50 cm de largo por 3-8 de ancho. De color verde o verde amarronado con manchas blancas en bandas transversales irregulares solo en el anverso de la hoja. Las espinas, de color marrón, se sitúan en los márgenes de la hoja, de 3 a 5 mm de longitud están a 10-15 mm de distancia. La inflorescencia racimosa surge de un tallo sin hojas de 1-1,5 m de altura, ramificado (4-9 brácteas) con flores tubulares de color rojo mate. El fruto es una cápsula alargada (20-23 x 11-13 mm). Florece de junio a julio.

Distribución y hábitat
Se distribuye por Mozambique y Sudáfrica.
Habita praderas, áreas pantanosas y en las riberas de ríos. Crece en todo tipo de suelos, desde arcillosos hasta rocosos.

Taxonomía
Aloe parvibracteata fue descrita por Selmar Schönland y publicado en Bulletin du Muséum d'Histoire Naturelle, sér. II, 12: 353, en el año 1940.

Etimología
Ver: Aloe

parvibracteata: epíteto latino que significa "con pequeñas brácteas".
Sinonimia:
 Aloe burgersfortensis Reynolds
 Aloe decurvidens  Groenew.
 Aloe keithii Reynolds
 Aloe lusitanica Groenew.
 Aloe parvibracteata var. zuluensis (Reynolds) Reynolds
 Aloe pongolensis Reynolds
 Aloe pongolensis var. zuluensis Reynolds

Referencias

parvibracteata
Flora de África tropical austral
Flora de África continental
Flora de África austral
Plantas descritas en 1940
Plantas descritas por Schönland

Aloe parvibracteata