El panel sándwich de poliuretano inyectado es un producto industrial diseñado para realizar cerramientos en la construcción, industrial y residencial, y en la industria del aislamiento. Es principalmente utilizado como aislante térmico, acústico, como impermeabilizante y como cerramiento. Vale destacar que es un producto resistente y ligero, lo cual permite utilizarlo con un mínimo de esfuerzo físico por parte del operario que realiza el montaje.

Historia
La construcción con paneles sándwich de poliuretano se remonta al fin de la Segunda Guerra Mundial, cuando hubo una gran demanda de cámaras de conservación y frigoríficas. En aquel momento se consideró que este método de construcción sería solamente útil para edificios funcionales e industriales. Pero en los últimos años, los paneles sándwich de poliuretano inyectado se han utilizado para la construcción de una amplia variedad de edificios, satisfaciendo las exigencias de los arquitectos.

Descripción
El panel sándwich está formado por un núcleo aislante de espuma rígida de poliuretano unida a dos capas de cobertura exteriores metálicas y no metálicas, las metálicas generalmente de acero o aluminio. Durante el proceso de fabricación, se preparan las capas de cobertura perfilando y troquelando si es necesario de acuerdo a la forma inicial deseada, se transportan a la prensa y allí el cabezal mezclador inyecta los componentes con una dosificación predeterminada, formando la espuma de poliuretano en fase líquida; su reacción química produce un crecimiento de la espuma, adhiriéndose a las dos capas de cobertura, inferior y superior. Con el desarrollo de calor y presión está un tiempo bajo presión, que será menor o mayor en función del espesor, hasta su curado (estabilidad dimensional). Los paneles sándwich fabricados se cortarán o no según necesidad a las longitudes predeterminadas, y se apilan y embalan para su traslado a obra.

Propiedades

Aislamiento térmico
 El panel sándwich de poliuretano es uno de los productos aislantes térmicos con menor coeficiente de conductividad térmica: 0.024 W/mK.
 El panel sándwich de poliuretano permite optimizar al máximo el espacio útil, gracias a que se requiere un mínimo de espesor para tener un máximo nivel de aislamiento térmico.
 La capacidad aislante del panel sándwich de poliuretano no varía con el paso del tiempo, gracias a las coberturas del producto y a que el poliuretano es un producto de celda cerrada.
 El panel sándwich de poliuretano garantiza la ausencia de puentes térmicos debido a la homogeneidad del aislante en todos los puntos del panel.
 El montaje de un sistema con paneles sándwich de poliuretano también minimiza los puentes térmicos por las juntas, normalmente machihembradas, entre paneles.

Aislamiento acústico
 El panel sándwich de poliuretano tiene un buen comportamiento acústico y se utiliza en soluciones constructivas habituales tanto en fachada como en cubierta.

Propiedades mecánicas

 El peso de los paneles se sitúa entre los 9 y 20 kg/m (en función del espesor del núcleo y de las coberturas), lo que facilita y economiza el transporte, la manipulación, la instalación y el dimensionado estructural.
 Autoportante: la combinación de las capas de cobertura y el núcleo de poliuretano hace que el panel sándwich de poliuretano inyectado tenga una alta rigidez, que permite la ejecución de elementos de grandes dimensiones salvando grandes luces.

Seguridad ante el fuego
 La clasificación de reacción al fuego del panel sándwich de poliuretano inyectado según la norma de clasificación EN13501-1 va desde C hasta B, teniendo a nivel de humos clasificaciones s1, s2 o s3 y a nivel de desprendimiento de gotas siempre d0.
 El CTE-DB SI y el RD2267:2004 permite utilizar el panel sándwich de poliuretano en la mayoría de las aplicaciones.

Salubridad

 El panel sándwich de poliuretano es un producto higiénico, de fácil limpieza y es estable al ataque de microorganismos, lo que permite múltiples aplicaciones para la industria farmacéutica, médica, alimentaria, etcétera.

Impermeabilidad
 El panel sándwich es totalmente impermeable al agua, al vapor de agua y al aire, lo que evita la degradación del núcleo aislante, logrando, con ello, una alta durabilidad.
 El sistema de montaje hermético de los paneles sándwich de poliuretano hace que las construcciones resultantes sean estancas a la humedad y al aire.

Sostenibilidad

 El panel sándwich es un producto prefabricado, sostenible en su fabricación y muy ligero para el transporte a la obra.
 La construcción de un edificio, tanto residencial como industrial, con paneles sándwich de poliuretano genera muy pocos residuos, lo que hace que el proceso de edificación sea más sostenible.
 Es reciclable: la chapa, que es fundida, y el poliuretano se reciclan mediante tres técnicas; reciclado mecánico, reciclado químico o incineración, recuperando la energía.
 La capacidad aislante de los paneles sándwich de poliuretano ayuda a reducir el consumo de energía.

Normalización y certificación
 Requiere el marcado CE según la norma UNE-EN14509:2014 (Paneles sándwich aislantes autoportantes de doble cara metálica. Productos hechos en fábrica. Especificaciones).
 Se puede certificar la calidad de los paneles sándwich de poliuretano mediante el reglamento particular de AENOR, específico para paneles sándwich aislantes autoportantes de doble cara metálica, RP 20-15, basado en la EN 14509.

Variedad de diseños
 La cobertura del panel sándwich de poliuretano permite una alta variedad de acabados y diseños.
 Los paneles sándwich de poliuretano permiten la integración de placas solares, de circuitos de refrigeración y/o calefacción, etcétera.

Principales usos

Los paneles sándwich, gracias a sus propiedades físicas, mecánicas y de diseño están disponibles para una gran variedad de aplicaciones: fachadas, cubiertas, falsos techos, particiones interiores y cámaras frigoríficas.

Se emplean tanto en el sector industrial como en el sector residencial y en los dos sectores se pueden utilizar tanto en obras nuevas como en rehabilitación.

Entre las principales aplicaciones de los paneles sándwich figura el revestimiento de fachadas, donde el panel se instala de manera vertical, y el cerramiento de cubiertas, donde el panel queda montado en horizontal. Siempre es necesaria la presencia de una estructura metálica o de hormigón a la que se fijan los paneles con tornillería específica. Asimismo, en las cubiertas la normativas indica una inclinación mínima del 1,5% para la correcta evacuación del agua de la lluvia.

Algunas de las aplicaciones en las cuales se pueden utilizar los paneles sándwich de poliuretano son:
 Naves industriales
 Aeropuertos
 Edificios de administración
 Casetas y casas prefabricadas
 Hoteles
 Vestíbulos de exhibición y recintos feriales
 Laboratorios, salas blancas y quirófanos
 Salas de pintura
 Centrales eléctricas
 Plantas de reciclaje y plantas incineradoras de desechos
 Polideportivos
 Grandes superficies comerciales
 Cubiertas y fachadas de viviendas
 Cámaras y túneles de congelación
 Salas de conservación
 Salas de proceso
 Cámaras frigoríficas, etc.

Véase también
 Poliuretano

Referencias

Bibliografía
 Construction with Factory Engineered Sandwich Panels – Rolf Koschade IS Mainz
 Panel de Poliuretano – editado por APIP'ÑA
 Información técnica del panel sandwich
 Información panel sandwich
 ¿Es más barato el panel-sándwich o el policarbonato?
 Informacion del panel sandwich

Materiales

Panel sándwich de poliuretano inyectado


Dreyfus Olayı; 1894 yılında Yüzbaşı Alfred Dreyfus'un casuslukla itham edilerek Fransa'da yargılandığı dava ve ardından gelişen olaylardır.

Bağlam
Fransa'da hukuki tartışmalara neden olan olay Paris'teki Alman Elçiliğinde hizmetçi olarak çalışan Fransız gizli servisine bağlı bir kadının çöp sepetinde bulduğu imzasız bir mektubu merkeze göndermesiyle başladı. Alman askerî ataşesine yazılan mektupta Fransa'ya ait bilgilerin verilmesi vaat edilmekte idi. Fransız Genelkurmayının başlattığı soruşturmada şüpheler Yüzbaşı Alfred Dreyfus üstünde toplanır. Çünkü Yüzbaşı Dreyfus'un el yazısı, mektuptaki yazıya benzemektedir. Yüzbaşı Dreyfus zengin bir ailenin çocuğuydu. Fransa'daki Yahudi düşmanlığına rağmen askerî okulda gösterdiği üstün başarı Dreyfus'un bu göreve tayinini sağlamıştı.

Dreyfus, 15 Ekim 1894'te tutuklandı. Bir ay süren hazırlık soruşturmasında aleyhine yeni delil bulunamamasına rağmen Dreyfus suçlu görülerek mahkûm edildi ve cezasını çekmek üzere Şeytan Adası'na gönderildi. 1896'da ortaya çıkan bir olay Dreyfus davasını yeniden gündeme getirdi. Alman Elçiliğinde çalışan hizmetli kadın, bir Alman subayından Easterhazy adındaki bir Fransız binbaşısına yazılan bir mektubun müsveddesini ele geçirdi. Fransız gizli servisinin yaptığı soruşturma, Dreyfus'un mahkûmiyetine sebep olan elyazısının Easterhazy'ye ait olduğunu ortaya çıkardı. Soruşturma sonunda elde edilen bilgiler Dreyfus davasının yeniden görülmesini gerektiriyordu.

Dreyfus'un karısının olayı basın yoluyla yeniden gündeme getirme çabaları sonuç vermeye başlayınca Genelkurmay, Easterhazy hakkında dava açmak zorunda kaldı. İki gün süren dava Easterhazy'nin oy birliğiyle beraat etmesiyle sonuçlandı. Beraat kararının ertesi günü Émile Zola'nın L' Aurore gazetesinde "J'Accuse...!" (Suçluyorum!) başlığıyla Cumhurbaşkanına açık mektubu yayımlandı. Zola yazısında, Genelkurmay Başkanını ve diğer yüksek rütbeli subayları görevlerini kötüye kullanmakla ve kamuoyunu yanıltmakla suçluyordu. Birkaç gün içinde akademi üyesi bazı profesörler ve aydınlar Millet Meclisine Zola'nın mektubunu destekleyen bir bildiri yolladılar. Ordudan gelen baskıların da etkisiyle Zola aleyhinde orduya hakaretten dava açıldı. Zola'nın mahkûmiyetiyle sonuçlanan davada avukatlar sözü hep Dreyfus olayına getirmişlerdi.

1898 Haziranında yapılan hükûmet değişikliğinden sonra Savaş Bakanlığına getirilen General Cavaignac, Millet Meclisinde yaptığı bir konuşmada Alfred Dreyfus hakkında hazırlanan gizli dosyadaki belgelerin bazılarını açıkça okudu. Easterhazy hakkında soruşturma yürütmüş Yarbay Picquait, bu belgelerin sahteliğini ispatlamaya hazır olduğunu bildirdi. Yarbayın iddiası üzerine sorguya çekilen Binbaşı Easterhazy suçunu itiraf etti ve gönderildiği hapishanede intihar etti. Bu olayla Dreyfus davası yeni bir boyut kazandı.

Yargıtay aylarca süren tartışmalardan sonra Dreyfus hakkında verilmiş olan kararı bozdu. Dreyfus, Fransa'ya geri getirilerek askeri mahkemede yeniden yargılandı. Bir ay süren duruşmalar sonunda Dreyfus yine suçlu bulundu. Fakat bazı hafifletici sebeplerin varlığı kabul edilmişti. Yedi yıl sonra 1904 yılında Yargıtay Genel Kurulu, Savaş Bakanı General Andre'nin isteği üzerine davayı yeniden ele aldı. 1906'da verilen kararla Dreyfus beraat etti. On iki yıl önce sökülen nişanları aynı yerde yapılan törenle yeniden takıldı ve ayrıca Légion d'honneur nişanı verildi. Dreyfus, Birinci Dünya savaşı'nda orduya hizmet etti, emekliye ayrıldıktan sonra 1935 yılında Paris'te öldü.

İlgili filmler
 J'accuse (2019)
 Prisoner of Honor (TV, 1991)
 The Life of Emile Zola (1937)

Galeri

Kaynakça

Dış bağlantılar

Dreyfus Olayı


Miroslav Barnyashev (în bulgară, Мирослав Барняшев; n. 25 decembrie 1985), este un luptător profesionist și un fost halterofil și vâslaș bulgar. Între realizările lui, se află două WWE United States Championship. Barnyashev este primul luptător bulgar care este în AEW.

În Wrestling
 Manevre de final
 The Accolade
 Bulplex
 Jumping side kick

 Managerii
 Lana
 Markus Mac
 Nick Rogers
 Raquel Diaz
 Summer Rae
 Sylvester Lefort

 Porecle
 "The Bashing Bulgarian"
 "The Bulgarian Brute"
 "The Super-Athlete"

Campionate și realizări
 World Wrestling Entertainment/WWE
 WWE United States Championship (2 ori)

Wrestleri bulgari
Oameni în viață

Rusev


Die Japanische Badmintonmeisterschaft 1980 war die 34. Austragung der nationalen Titelkämpfe im Badminton in Japan.

Medaillengewinner

Weblinks
badminton-a.com
badnet.jp

1980
Badminton 1980

Japanische Badmintonmeisterschaft 1980


An Gunnarella nambana in uska species han Liliopsida nga ginhulagway ni Beverley Ann Lewis. An Gunnarella nambana in nahilalakip ha genus nga Gunnarella, ngan familia nga Orchidaceae.

Mabibilngan ini ha Vanuatu. Waray hini subspecies nga nakalista.

Mga kasarigan

Gunnarella

Gunnarella nambana


José Manuel Villarejo (El Carpio, Cordoue, 3 août 1951) est un homme d'affaires espagnol et ancien officier de la police nationale espagnole. Il a été arrêté en 2017 et pourrait écoper une peine de prison de 109 ans s'il est reconnu coupable. Il est accusé  d'"extorsion de fonds", de "corruption" ou encore d'"appartenance à une organisation criminelle". Son procès a débuté en octobre 2021.

Biographie
Il rejoint le corps de la police nationale espagnole en 1972, affecté au commissariat provincial de San Sebastián jusqu'en 1975, où il fait partie du groupe antiterroriste et prend part à diverses actions contre l'ETA. Il a ensuite été affecté à l'équipe de sécurité citoyenne de la préfecture de Madrid, où il est resté jusqu'en 1983. Il prend dix années de congé sabbatique de 1983 à 1993, pendant lesquelles il se consacre aux affaires. Villarejo a géré jusqu'à 46 sociétés différentes avec un capital social de plus de 16 millions d'euros. En 1993, il a été réintégré le secrétariat d'État à l'Intérieur en tant qu'agent d'exploitation, ou agent d'infiltration. Pendant ses périodes de congé et après avoir pris sa retraite de la police espagnole, Villarejo a effectué plusieurs missions d'enquête pour des entreprises, principalement une agence de détectives et un cabinet d'avocats. Ces missions comprennent des recherches commandées par des organismes publics, des entités privées et des particuliers.

Au milieu des années 1990, il a participé à la préparation du rapport Véritas, commandé par le ministère espagnol de l'Intérieur dirigé par José Luis Corcuera ( PSOE ) et coordonné par Enrique de Federico, commissaire de la police judiciaire dans lequel des données recueillies sur  la vie privée de juges comme Baltasar Garzón, d'hommes politiques, de journalistes et d'hommes d'affaires comme Javier de la Rosa.

Depuis 2014, Villarejo est impliqué dans plusieurs affaires pénales contre Félix Sánz Roldán pour divulgation de secrets, appartenance à une organisation criminelle et blanchiment d'argent. Villarejo est également accusé devant un tribunal de Madrid de délits de divulgation de secrets et d'appartenance à une organisation criminelle en marge du procès de Francisco Nicolas Gomez, alias le Petit Nicolas, pour enregistrement, manipulation et diffusion présumés illégaux d'une conversation entre policiers et membres du renseignement espagnol, le Centre national de renseignement . En février 2017, pour éviter des poursuites, Villarejo a divulgué à la presse des informations sur le roi d'Espagne Juan Carlos et le Centre national de renseignement. Il a également menacé de divulguer plus d'informations s'il n'était pas retiré du procès.

Début 2019, José Manuel Villarejo a envoyé une lettre à Pedro Sánchez, premier ministre espagnol, accusant Sanz Roldan d'avoir menacé certains juges du Tribunal national avec des données sur leur vie privée afin qu'ils cessent d'enquêter sur les questions qui affectent le CNI. Il l'a également accusé de travailler contre les intérêts de l'Espagne en soutenant les intérêts vénézuéliens ou en autorisant les fuites sur la famille royale espagnole.

D'autres accusations portées contre Roldan par Villarejo ont été de protéger le roi émérite Juan Carlos Ier en menaçant et en soudoyant Corinna zu Sayn-Wittgenstein-Sayn, une amante du monarque, qui cacherait des informations critiques sur l'ancien roi d'Espagne. Toutes ces accusations ont été démenties par Sanz Roldán et le CNI.

Concernant le mouvement indépendantiste de la Catalogne, Villarejo a témoigné devant un notaire qu'il était l'auteur de plusieurs rapports sur l'opération Catalogne, une manœuvre du ministère espagnol de l'Intérieur pour freiner l'indépendantisme en Catalogne. L'enregistrement des écoutes téléphoniques a été divulgué par le commissaire de police Marcelino Martín-Blas.

En janvier 2022, Villarejo a affirmé devant la Haute Cour espagnole que le Service national de renseignement (CNI) était impliqué dans les attentats terroristes de Barcelone et de Cambrils en août 2017. « J'ai continué à travailler avec le CNI jusqu'au dernier jour. J'ai travaillé avec eux pour essayer de réparer le gâchis de la fameuse attaque de l'imam de Ripoll, qui a finalement été une grave erreur de Sanz Roldán, qui a mal calculé les conséquences de sa volonté de faire une petite frayeur à la Catalogne ».

Références

Naissance en août 1951
Policier espagnol
Personnalité espagnole du monde des affaires
Pages avec des traductions non relues

José Manuel Villarejo


Bitka za Pakrac ožujka 1991., od 1. do 3. ožujka
Bitka za Pakrac 19. kolovoza 1991.

Bitka za Pakrac


The Acharnians or Acharnians (Ancient Greek:  Akharneîs; Attic: ) is the third play — and the earliest of the eleven surviving plays — by the Athenian playwright Aristophanes. It was produced in 425 BC on behalf of the young dramatist by an associate, Callistratus, and it won first place at the Lenaia festival.

The Acharnians is about an Athenian citizen, Dikaiopolis, who miraculously obtains a private peace treaty with the Spartans and enjoys the benefits of peace in spite of opposition from some of his fellow Athenians. The play is notable for its absurd humour, its imaginative appeal for an end to the Peloponnesian War, and for the author's spirited response to condemnations of his previous play, The Babylonians, by politicians such as Cleon, who had reviled it as a slander against the Athenian polis. In The Acharnians, Aristophanes reveals his resolve not to yield to attempts at political intimidation.

Along with the other surviving plays of Aristophanes, The Acharnians is one of the few – and oldest – surviving examples of a highly satirical genre of drama known as Old Comedy.

Plot
The play begins with Dikaiopolis sitting all alone on the Pnyx (the hill where the Athenian Assembly or ecclesia regularly meets to discuss matters of state). He is middle-aged, he looks bored and frustrated and soon he begins to vent his thoughts and feelings to the audience. He reveals his weariness with the Peloponnesian War, his longing to go home to his village, his impatience with the ecclesia for its failure to start on time and his resolve to heckle speakers who won't debate an end to the war. Soon some citizens do arrive, all pushing and shoving to get the best seats, and then the day's business begins.

A series of important speakers addresses the assembly but the subject is not peace and, true to his earlier promise, Dikaiopolis comments loudly on their appearance and probable motives. First of all there is the ambassador who has returned from the Persian court after many years, complaining of the lavish hospitality he has had to endure from his Persian hosts; then there is the Persian grandee, The Eye of the Great King, Pseudartabas, sporting a gigantic eye and mumbling gibberish, accompanied by some eunuchs who turn out to be a disreputable pair of effete Athenians in disguise; next is the ambassador recently returned from Thrace, blaming the icy conditions in the north for his long stay there at the public's expense; and lastly there is the rabble of Odomantians who are presented as elite mercenaries willing to fight for Athens but who hungrily steal the protagonist's lunch. Peace is not discussed. It is in the ecclesia, however, that Dikaiopolis meets Amphitheus, a man who claims to be the immortal great-great-grandson of Triptolemus and Demeter and who claims, moreover, that he can obtain peace with the Spartans privately. Dikaiopolis accepts his claims, and he pays him eight drachmas to bring him a private peace, which in fact Amphitheus manages to do.

Dikaiopolis celebrates his private peace with a private celebration of the Rural Dionysia, beginning with a small parade outside his own house. He and his household, however, are immediately set upon by a mob of aged farmers and charcoal burners from Acharnae – tough veterans of past wars who hate the Spartans for destroying their farms and who hate anyone who talks peace. They are not amenable to rational argument, so Dikaiopolis grabs a hostage and a sword and demands the old men leave him alone. The hostage is a basket of Acharnian charcoal, but the old men have a sentimental spot for anything from Acharnia (or maybe they are simply caught up in the drama of the moment), and they agree to leave Dikaiopolis in peace if only he will spare the charcoal.  The importance of both the charcoal and the tool that Dikaiopolis holds hostage is that one of the primary sources of revenue for that region was the manufacturing and selling of charcoal. This is further justification for the dissenters' exaggerated response.  He surrenders the hostage, but he now wants more than just to be left alone in peace: he desperately wants the old men to believe in the justice of his cause. He even says that he is willing to speak with his head on a chopping block, if only they will hear him out, and yet he knows how unpredictable his fellow citizens can be: he says he hasn't forgotten how Cleon dragged him into court over "last year's play."

This mention of trouble with Cleon over a play indicates that Dikaiopolis represents Aristophanes (or possibly his producer, Callistratus), and maybe the author is in fact the actor behind the mask. After gaining the chorus's permission for an anti-war speech, Dikaiopolis/Aristophanes decides he needs some special help with it, and he goes next door to the house of Euripides, an author renowned for his clever arguments. As it turns out, however, he merely goes there to borrow a costume from one of his tragedies, Telephus, in which the hero disguises himself as a beggar. Thus attired as a tragic hero disguised as a beggar, and with his head on the chopping block, Dikaiopolis/Telephus/the beggar/Aristophanes explains to the Chorus his reasons for opposing the war. The war all started, he argues, because of the abduction of three courtesans, and it is continued by profiteers for personal gain. Half the Chorus is won over by this argument, the other half isn't.

A fight breaks out between Acharnians for and Acharnians against Dikaiopolis/Telephus/the beggar/Aristophanes, and it only ends when the Athenian general Lamachus (who also happens to live next door) emerges from his house and imposes himself vaingloriously on the fray. Order is restored, and the general is then questioned by the hero about the reason why he personally supports the war against Sparta. Is it out of his sense of duty, or because he gets paid? This time the whole Chorus is won over by the arguments of Dikaiopolis. Dikaiopolis and Lamachus retire to their separate houses, and there then follows a parabasis in which the Chorus first lavishes exaggerated praise upon the author and next laments the ill treatment that old men like themselves suffer at the hands of slick lawyers in these fast times.

Dikaiopolis returns to the stage and sets up a private market where he and the enemies of Athens can trade peacefully. Various minor characters come and go in farcical circumstances. A starving Megarian trades his famished daughters, disguised as piglets, for garlic and salt (products in which Megara had abounded in pre-war days). Then an informer or sycophant tries to confiscate the piglets as enemy contraband before he is driven off by Dikaiopolis. (Note that piglets meant also female genitals). Next, a Boeotian arrives with birds and eels for sale. Dikaiopolis has nothing to trade that the Boeotian could want, but he cleverly manages to interest him in a commodity that is rare in Boeotia – an Athenian sycophant. Another sycophant happens to arrive at that very moment, and he tries to confiscate the birds and eels, but instead he is packed in straw like a piece of pottery and carried off back home by the Boeotian.

Some other visitors come and go before two heralds arrive, one calling Lamachus to war, the other calling Dikaiopolis to a dinner party. The two men go as summoned and return soon after: Lamachus, in pain from injuries sustained in battle and with a soldier at each arm propping him up; Dikaiopolis, merrily drunk and with a dancing girl on each arm. Dikaiopolis clamors cheerfully for a wine skin – a prize awarded to him in a drinking competition – and then everyone exits in general celebrations (except Lamachus, who exits in pain).

Historical background
The Peloponnesian War was already into its sixth year when The Acharnians was produced. The Spartans and their allies had been invading Attica every year, burning, looting and vandalizing farm property with unusual ferocity in order to provoke the Athenians into a land battle that they couldn't win. The Athenians always remained behind their city walls until the enemy returned home, whereupon they would march out to wreak revenge on their pro-Spartan neighbours – Megara in particular. It was a war of attrition, it had already resulted in daily privations, in starvation and plague, and yet democratic Athens continued to be guided by the pro-war faction led by Cleon and exemplified by tough-minded militarists such as Lamachus. Meanwhile, Aristophanes had been engaged in a personal yet very public battle with Cleon. His earlier play, The Babylonians, had depicted the cities of the Athenian League as slaves grinding at a mill and it had been performed at the City Dionysia in the presence of foreigners. Cleon had subsequently prosecuted him for slandering the polis — or possibly the producer, Callistratus, was prosecuted instead. Aristophanes was already planning his revenge when The Acharnians was produced and it includes hints that he would carve Cleon up in his next play, The Knights.

Some significant events leading up to the play:
 432 BC: The Megarian decree began a trade embargo by Athens against the neighbouring polis of Megara. The Peloponnesian War commenced soon after.
 430 BC: The Plague of Athens resulted in the deaths of many thousands of Athenians, including leading citizens such as Pericles.
 427 BC: The Banqueters, the first play by Aristophanes, was produced. There was a recurrence of the plague at about the same time.
 426 BC: The Babylonians won first prize at the City Dionysia. Cleon subsequently prosecuted the young playwright for slandering the polis in the presence of foreigners.
 425 BC: The Acharnians was produced at the Lenaia.

Old Comedy was a highly topical form of drama and the audience was expected to be familiar with the various people named or alluded to in the play. Here is a short, selective list of identities named in the play:
 Pericles: The former populist leader of Athens, he is blamed here for starting the Peloponnesian War through his implementation of the Megarian Decree.  Pericles had died four years before, in the great plague that afflicted Athens as the city was being besieged by the Spartans.
 Aspasia: The mistress of Pericles and (reputedly) a brothel owner, she is implicated in the blame for starting the war.
 Thucydides (politician): The leader of the opposition to Pericles, he is mentioned here as the victim of an unfair trial motivated by Cleon. The same trial is also mentioned later in The Wasps.  This is Thucydides the son of Milesias, head of the aristocratic party; not the historian Thucydides son of Olorus.
 Lamachus: A general, a fervent advocate of the war against Sparta, he is mocked throughout this play as a rabid militarist. He is mentioned also in later plays.
 Cleon: The populist leader of the pro-war faction and a frequent target in later plays, he is mentioned here in connection with four issues –  1. some political or financial loss he had suffered as a result of opposition from the class of knights (hippeis); 2. his prosecution of Thucydides (in which context he is named only by his deme)  3. his imputed foreign lineage; 4. his prosecution of the author over the previous play.
 Euthymenes: The archon eponymous for the year 437/6 BC, he is mentioned here as a means of dating the departure of the ambassador to Persia.
 Cleonymus: A supporter of Cleon, he is immortalised in later plays as the coward who threw away his shield at the Battle of Delium in 424 BC (soon after The Acharnians was produced). He is mentioned here only in relation to his gluttony.
 Hyperbolus: Another populist, he is mentioned here by The Chorus as a litigious individual best avoided but often encountered in the agora. He is frequently mentioned in later plays:
 Theorus: A supporter of Cleon, he appears here as the unreliable ambassador to Thrace. He is mentioned again in later plays.
 Euathlos: A supporter of Cleon, he was involved in the prosecution of Thucydides. He is mentioned later in The Wasps.
 Pittalus: A prominent doctor in Athens, he is twice mentioned in this play in relation to medical treatment for injuries. He receives another mention in the later play The Wasps.
 Aeschylus: The famous tragic poet, he is briefly represented here as someone whose work is generally understood to be admirable. He is mentioned also in later plays.
 Euripides: The famous tragic poet, whose mythical heroes often appear on stage in shabby dress, he is a frequent target in later plays and he appears here as a magniloquent hoarder of disreputable costumes.
 Herodotus: The historian, who had been a recent visitor to Athens (where he gave readings of his history), he is not named but his work is satirized in the play (see the next section).
 Cephisophon: A leading actor of his time, rumoured to have cuckolded Euripides and to have helped in the writing of some of his plays, he appears here as the tragedian's servant. He is mentioned again in The Frogs .
 Theognis: A minor tragic poet, he receives two brief, unfavourable mentions here. He is mentioned again later in another play.
 Antimachus: A choregus, he is the subject of an elaborate curse by the Chorus as punishment for vile behaviour.
 Cleisthenes: A notoriously effete homosexual, often mentioned in later plays, he appears here disguised as a eunuch and represented as the son of Sibyrtius, a famous athletic trainer – an unlikely association.
 Straton: Another effete individual, he appears here alongside Cleisthenes another eunuch.
 Morychus: A notorious gourmand and possibly a tragic poet, he is mentioned here as a lover of eels. He is mentioned again in two later plays.
 Ctesiphon: A notoriously fat Athenian, he provides a convenient gauge for measuring large volumes.
 Lysistratus: A masochist, a member of high society and a practical joker, he is one of the people best avoided in the agora. He is mentioned again in later plays.
 Pauson: A starving painter, he is yet another person to avoid in the agora. He receives other mentions in later plays.
 Hieronymus: A poet, he is best known for his long hair.
 Cratinus (not the comic dramatist): An obscure lyric poet, he is twice mentioned here – as another body best avoided in the agora and as the subject of a humorous curse.
 Coesyra: A rich woman, she is mentioned with Lamachus as the sort of person who manages to get out of Athens when times are awkward. She is mentioned later in The Clouds.
 Phaÿllus: The famous athlete of an earlier generation, he is casually mentioned here as the yardstick for youthful athleticism (the base of a monument to him can still be found on the Acropolis). He is mentioned later in The Wasps.
 Chairis: A Theban piper, twice mentioned here as a source of shrill noise. He is mentioned also in two other plays.
 Moschus and Dechitheus: Musicians.
 Sitalces: A Thracian king and an ally of Athens, he is here said to record his love for Athens in graffiti.
 Diocles: A Megarian hero, he is mentioned here casually in an oath.
 Simaetha: A Megarian prostitute, her abduction by some Athenian revelers is said in this play to be one of the causes of the Peloponnesian War.

Discussion
The Peloponnesian War and Aristophanes' personal battle with the pro-war populist, Cleon, are the two most important issues that underlie the play.

Athens at war
The Spartans were the dominant military power on the Greek mainland, and consequently Athenians were reluctant to venture on foot far from the safety of their own city walls. Most Athenians had lived in rural settlements up until then. The Acharnians reflects this reluctant transition from rural to urban life. While sitting on the Pnyx, Dikaiopolis gazes longingly at the countryside and expresses his wish to return to his village.  Similarly, the old Acharnians sing lovingly of their farms, they express hatred of the enemy for destroying their vines, and they regard the Athenian agora as a place crowded with people that are best avoided. Athens was the dominant maritime power in the Mediterranean however and its citizens could travel by sea with relative ease.  Thus, the ambassadors who return from Persia and Thrace are resented by Dikaiopolis because he has been living roughly as a sentry on the battlements while they have been enjoying themselves abroad. Privileged individuals such as Lamachas and Coesura are able to get out of Athens when times become difficult, and in this they are likened to slops that are emptied from an urban household.  Thus, the real enemies are not the Megarian and Boeotian farmers, with whom Dikaiopolis is happy to trade, nor even the Spartans, who were simply acting to protect their Megarian allies. Instead, the real enemies are the "wicked little men of a counterfeit kind" who have forced Dikaiopolis into an overcrowded urban existence.

The causes of the war are explained by Dikaiopolis in a manner that is partly comic and partly serious. His criticisms of Pericles and The Megarian Decree appear to be genuine, but he seems to be satirizing the historian Herodotus when he blames the war on the kidnapping of three prostitutes (Herodotus cites the kidnappings of Io, Europa, Medea and Helen as the cause of hostilities between Greeks and Asiatics). The Acharnians in fact features two passages that allude to the work of Herodotus: Dikaiopolis' account of the kidnapping of three women, and the Athenian ambassador's account of his travels in Persia.

Aristophanes versus Cleon
Aristophanes, or his producer Callistratus, was prosecuted by Cleon for slandering the polis with his previous play, The Babylonians. That play had been produced for the City Dionysia, a festival held early in spring when the seas were navigable and the city was crowded with foreigners. The audience of The Acharnians however is reminded that this particular play has been produced for the Lenaia, a winter festival which few foreigners attend. The author moreover assures us that the real target of this play is not the polis but rather "wicked little men of a counterfeit kind". These scruples are enunciated by Dikaiopolis as if he were the author or producer. He subsequently presents the anti-war argument with his head on a chopping block, a humorous reference to the danger that the satirist puts himself in when he impugns the motives of influential men like Cleon.

The Acharnians and Old Comedy
Like other plays by Aristophanes, The Acharnians generally obeys the  conventions of Old Comedy. The following dramatic elements contain variations from convention:
Agon: Agons have a predictable poetic structure, with speeches in long lines of anapests framed within a pair of symmetrical songs (strophe and antistrophe). There is no such agon in this play. There is a heated argument between the protagonist and the Chorus in couplets of long trochaic verses framed by a strophe and antistrophe (303–334) but the main arguments for and against war are conducted in ordinary dialogue of iambic trimeter, including input from Lamachus as the antagonist.
Parabasis: Here the first parabasis follows a conventional form (lines 626–701). However, the second parabasis (lines 971-99) is unusual. It can be interpreted as a conventional symmetrical scene and yet it seems to be a hybrid parabasis/song without any clear distinction between the sung and declaimed sections. Moreover, the Chorus in those lines seems to comment on action that occurs on stage during its address to the audience and this is unusual for a parabasis. A later passage (lines 1143–73) begins with a valediction to the actors, which typically clears the stage for a parabasis and yet it has the form of a conventional song rather than a parabasis.
Other points of interest:
A one-man parabasis:  Dikaiopolis speaks about being prosecuted over 'last years' play as if he were the author himself.
Self-mockery: Old Comedy is a highly topical form of satire directed at people known to the original audience. In this play, the author himself becomes a major target for the play's mock-heroic humour. He explicitly identifies himself with the protagonist Dikaiopolis and thus he also identifies himself with Telephus, a wounded hero who seeks help disguised as a beggar. It is in these combined roles that he adopts the voice of Herodotus, whose mythological/historical accounts of rape and counter-rape as the cause of war were considered hilarious by contemporaries. In the parabasis proper, the Chorus praises the poet as the saviour of Athens. These jokes at his own expense are best understood in the context of his real-life quarrel with Cleon to whom he remains defiant in spite of his self-mockery.
Possible interpolated lines: Lamachus is another victim of the play's humour but one of the jokes appears not to be by the author. There are eight lines (1181–88) that some editors omit from their translations of the play in which Lamachus is described melodramatically commenting on his own death in a ditch. Lamachus died in the Sicilian Expedition when caught by the enemy on the wrong side of a ditch, many years after the play was produced.

Standard edition
The standard scholarly edition of the play is S. Douglas Olson (ed.), Aristophanes: Acharnians (Oxford University Press, 2002).

Performances
 1886 May 14: Philadelphia, Academy of Music, in the original Greek, by students of the University of Pennsylvania, before an august assembly of classical scholars. Reported by The New York Times (archive).

Translations
 John Hookham Frere, 1839 – verse: full text (wikisource)
 William James Hickie, 1853 – prose, full text
 Charles James Billson, 1882 – verse: full text
 Robert Yelverton Tyrrell, 1883 – verse: full text
 Benjamin B. Rogers, 1924 – verse: available for digital loan
 Arthur S. Way, 1927 – verse
 Lionel Casson, 1960 – prose and verse
 Douglass Parker, 1962 – verse
 Alan H. Sommerstein, 1973 – prose and verse, available for digital loan
 George Theodoridis, 2004 – prose: full text
 Paul Roche, 2005 – verse
 unknown translator – prose: full text (website classics.mit.edu)

References

External links

 Acharnians, an English translation at Perseus Digital Library

Acharnians
Plays set in ancient Greece
Plays set in Athens
Plays set in the 5th century BC

The Acharnians


තරංග ආයාමය

භෞතික විද්‍යාවෙහි,  සයිනාකාර තරංගයක තරංග ආයාමය යනු තරංගයෙහි හැඩය යළි පුනරාවර්ත වන්නාවූ දුර හෙවත් තරංගයෙහි අවකාශමය ආවර්තය වෙයි.
 සරල කිරීම
       අනුයාත නිම්න 2ක් අතර හෝ ශීර්ෂ 2ක් අතර දුර තරංග ආයාමය ලෙස හැදින්වේ. මෙය 'm' වලින් මනිනු ලබයි.
         තරංග ආයාමය වැඩිවත්ම, වැඩි දුරකට සංඥා/තොරතුර සම්ප්‍රේෂණය කිරීමේ හැකියාව ලැබේ...ජ

තරංග ආයාමය


ලාන්ස් කෝප්‍රල් ඩබ්ලිව්.අයි.එම් සෙනවිරත්න ශ්‍රී ලංකා යුද්ධ හමුදාවේ සොල්දාදුවෙකි. 1987 ශ්‍රී ලංකා යුද්ධ හමුදාවේ සේවයට එක්වීමෙන් අනතුරුව 1996 ජූලී 4 වන දින යාපනයේ දී අමාත්‍ය නිමල් සිරිපාල ද සිල්වා මහතා ට එල්ල කිරීමට පැමිනි කොටි ත්‍රස්තවාදී මරාගෙන මැරෙන බෝම්බ ප්‍රහාරයක් තම ජීවිත පරිත්‍යාගඑය්න් වලකවාලීය. එම වීර ක්‍රියාව උදෙසා, ඔහුට පසුව නිර්භීතකම වෙනුවෙන් ශ්‍රී ලංකා යුද්ධ හමුදාවේ ප්‍රදානය කරනු ලබන විශිෂ්ටතම පදක්කම වන පරම වීර විභූෂණය පුද කරණ ලදී.

ශ්‍රී ලංකා යුද්ධ හමුදා නිලධාරීන්
පරම වීර විභූෂනය - පදක්කම ලබාගත් නිලධාරීන්

ඩබ්ලිව්.අයි.එම් සෙනවිරත්න


John Couch Adams (5 Haziran 1819, Cornwall - 21 Ocak 1892), İngiliz astronomdur.
Cambridge Üniversitesi'nde öğrenim gören John Couch Adams, aynı üniversitede, asistanlık, astronomi profesörlüğü yaptı. Neptün gezegenini bulduysa da kuşkuculuğu yüzünden elde ettiği sonuçları, Fransız Urbain Le Verrier'ninkilerden sonra yayınlayabildi. 1861'de Cambridge Gözlemevi müdürlüğüne getirildi ve Ay'ın hareketi alanında önemli çalışmalar yaptı.

Kaynakça

1819 doğumlular
1892 yılında ölenler
İngiliz astronomlar
Royal Society üyeleri

John Couch Adams


Ovidiu Constantinescu (n. 28 martie 1914, București – d. 16 decembrie 1993, București) a fost un prozator, traducător și cronicar teatral român.

Biografie
S-a născut în familia funcționarului Dumitru Constantinescu și al soției sale, Theodora (n. Constantinescu). A absolvit Liceul "Sf. Sava" din București (1932) și a urmat apoi Facultatea de Litere, secția filologie franceză, a Universității din București (1933-1937).

A colaborat ca publicist la revistele Vremea, Fapta, Curentul familiei, Viața Românească, a fost cronicar teatral la Bis și Revista Fundațiilor Regale (1945-1946) și critic teatral al revistei Viața Românească (în anii '70-'80). A debutat editorial cu romanul Sfârșit de spectacol (1941). Primele două cărți (Sfârșit de spectacol (1941) și Oamenii știu să zâmbească (1946)) sunt romane de investigație psihologică, cu eroi adolescenți, tributare din punct de vedere stilistic proustianismului. A mai publicat romanele Menestrelii regelui Ludovic (1980), Luna și mânzul sălbatic (1982) și Toamna când se scutură castanii (1991), precum și volumele de nuvele Valse hésitation (1970) și Strada infinitului (1974). Tema scrierilor sale o constituie nefericirea personală și abisul existențial, auorul analizând, în stil proustian, psihologii tulburi, cu reacții inexplicabile și bizare. Prozele sale au deseori un caracter livresc.

A fost unul dintre cei mai prolifici traducători ai epocii comuniste, traducând din literatura franceză (Stendhal, Romain Rolland, Colette, Maurice Druon, Jules Verne, Victor Hugo) și din cea rusă (Dostoievski, Repin, Taras Șevcenko). A mai publicat volumul Portrete de artiști (1984), format din medalioane critice dedicate unor actori.

Scrieri
 Sfârșit de spectacol, București, 1941;
 Oamenii știu să zâmbească, FRPLA, București, 1946;
 Valse hésitation, București, 1970;
 Strada infinitului, București, 1974;
 Menestrelii regelui Ludovic, Editura Eminescu, București, 1980;
 Luna și mânzul sălbatic, Editura Eminescu, București, 1982;
 Portrete de artiști, Editura Eminescu, București, 1984;
 Toamna când se scutură castanii, roman, București, 1991;
 Poesis, sonete, București, 1999;
 Aurore și genuni, versuri, București, 2001;
 Columnele sonetului, București, 2002.

Traduceri
 Elizar Malțev, Din toată inima, în colab. cu W. Cohn, București, 1948;
 Vadim Ohotnikov, În lumea cercetărilor, în colab. cu Ada Cerchez, București, 1952;
 Marie Špetová, Familia Vojacik, în colab. cu P. Popa, București, 1952;
 Konstantin Zolotovski, Meșterii din fundul apelor, în colab. cu M. Căciulanu, București, 1953;
 Vilis Lācis, Spre țărmuri noi, în colab. cu Natalia Stroe, București, 1953;
 Konstantin Fedin, Opere, I-II. Orașe și ani, în colab. cu Ada Steinberg, București, 1954;
 André Stil, Floarea de oțel, București, 1954;
 Ilia Repin, Amintiri dragi, în colab. cu Maria Bistrițeanu, București, 1955;
 Anna Seghers, Primul pas, în colab. cu S. Sanin, București, 1955;
 Andrei Guljaski, Satul Vedrovo, în colab. cu T. Călin, București, 1955;
 Mohammed Dib, Algeria, București, 1957;
 Nikolai Dubov, Orfanul, în colab. cu E. Bandrabur, București, 1958;
 Romain Rolland, Viața lui Beethoven, București, 1959;
 Ilia Repin, Edecarii de pe Volga, în colab. cu Maria Bistrițeanu, București, 1960;
 Maurice Druon, Marile familii, București, 1961;
 Taras Șevcenko, Viață de artist și alte nuvele, în colab. cu R. Vasilescu-Albu, București, 1961;
 Juan José Manauta, Odiseo, în colab., București, 1962;
 James Fenimore Cooper, Vânătorul de cerbi, București, 1962;
 Fiodor Dostoievski, Frații Karamazov, I-II, în colab. cu Izabella Dumbravă, București, 1965;
 Alejo Carpentier, Secolul luminilor, I-II, în colab. cu Maria Ioanovici, București, 1965;
 Stendhal, Nuvele, în colab. cu Dinu Albulescu, București, 1967;
 Alexandre Dumas, Cei patruzeci și cinci, I-II, București, 1968;
 Colette, Hoinara. Duo, București, 1969 (altă ed., 1994);
 Jules Verne, Robur Cuceritorul. Stăpânul lumii, București, 1970;
 Victor Hugo, Anul 93, București, 1972;
 Alexandre Dumas, Ascanio, București, 1973;
 J. M. Barrie, Peter Pan și Wendy, în colab. cu A. Bantaș, București, 1995.

Note

Bibliografie
 Aurel Sasu, Dicționar biografic al literaturii române A-L, vol. I, Ed. Paralela 45, București, 2004, pp. 379-380. ISBN: 973-697-758-7

Nașteri în 1914
Decese în 1993
Traducători români
Prozatori români
Bucureșteni
Scriitori români din secolul al XX-lea

Ovidiu Constantinescu (prozator)


Valtimo, Finlandiya'nın Kuzey Karelya bölgesinde bulunan bir belediyeydi. Belediye, 1 Ocak 2020 tarihinde Nurmes ile birleşmiştir. Yüzölçümü 838,07 km² olan belediyenin nüfusu 31 Ağustos 2017 tarihi itibari ile 2.240 idi.

Kaynakça

Finlandiya'daki kaldırılan belediyeler

Valtimo


Šajdíkove Humence je naseljeno mjesto u okrugu Senica, Trnavský kraj, Slovačka. Naselje je 9 km udaljeno od Senice, glavnog grada okruga.

Stanovništvo
Prema podacima o broju stanovnika iz 2021. godine naselje je imalo 1085 stanovnika.

Vidi još
Trnavský kraj
Okrug Senica

Izvori

Vanjske poveznice

 Službena stranica naselja <noinclude>
 Krajevi i okruzi u Slovačkoj <noinclude>

Okrug Senica
Naselja u Slovačkoj

Šajdíkove Humence


Reykjavíks borgmester bliver valgt af kommunalbestyrelsen for Reykjavíks Kommune for en fireårsperiode. Borgmester siden 2014 er lægen Dagur B. Eggertsson fra det socialdemokratiske parti Alliancen, der også var borgmester 2007–08.

Traditionelt har den islandske hovedstad haft en borgmester fra det konservative Selvstændighedspartiet, men i 1994 slog alle de øvrige partier i byen sig sammen og etablerede fælleslisten Reykjavíklisten, der formåede at skabe flertal for en anden politisk ledelse af byen.

Ingibjörg Sólrún Gísladóttir var listens kandidat til borgmesterhvervet i 1994, og hendes valgsejr var en stor sensation. Splittelsen blandt partiene på midten og venstresiden havde sikret Selvstændighedspartiet flertal i bystyret i 61 af de sidste 65 år. Undtagelsen var 1978–82, da venstresiden fik flertal, men uden at kunne enes om en fælles borgmesterkandidat.

Reykjavíklisten fik flertal i bystyret ved det tre efterfølgende valg i 1994, 1998 og 2002, og havde borgmesterposten indtil alliancen mellem partierne gik i opløsning, og fælleslisten blev nedlagt i efteråret 2005. Ved kommunalvalget i Reykjavík 2006 var Selvstændighedspartiet tilbage som byens største parti. Ved valgene i 2010 tabte partiet imidlertid stort til Det Bedste Parti, hvis leder komikeren Jón Gnarr ved hjælp af støtte fra Alliancen sikrede sig borgmesterposten efter et protestvalg mod bankkrisen, der hærgede landet, samt korruption i bystyret.

Liste over byens borgmestre

Eksterne henvisninger
 Reykjavik.is

Reykjavik
Islands politik

Borgmestre i Reykjavík


An Dendrobium leptocladum in uska species han Liliopsida nga ginhulagway ni Bunzo Hayata. An Dendrobium leptocladum in nahilalakip ha genus nga Dendrobium, ngan familia nga Orchidaceae. Ginklasipika han IUCN an species komo nangangarat-an. Waray hini subspecies nga nakalista.

Mga kasarigan

Dendrobium

Dendrobium leptocladum


Felipe Bortolucci Pires (født 21. august 1993) er en brasiliansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Tochigi SC.

Eksterne henvisninger

Fodboldspillere fra Brasilien

Felipe Bortolucci Pires


Martin Pušić (Viena, Austria, 24 de octubre de 1987) es un exfutbolista austríaco que jugaba de delantero.

Selección nacional
Fue internacional con la selección de fútbol sub-20 de Austria.

Clubes

Palmarés

Títulos nacionales

Distinciones individuales

Referencias

Enlaces externos

Futbolistas de Austria
Futbolistas del First Vienna
Futbolistas del Fussball Club Admira Wacker Mödling
Futbolistas del Rheindorf Altach
Futbolistas del Hull City Association Football Club
Futbolistas del Vålerenga Fotball
Futbolistas del Fredrikstad FK
Futbolistas del SK Brann Bergen
Futbolistas del Esbjerg fB
Futbolistas del Midtjylland
Futbolistas del Sparta Rotterdam en los años 2010
Futbolistas del FC Copenhagen
Futbolistas del Aarhus GF
Futbolistas del AC Horsens
Futbolistas del SV Mattersburg
Futbolistas del TSV 1860 Múnich en los años 2020
Nacidos en Viena

Martin Pušić


Knjiga o Theli pjesma je Williama Blakea, koja je nastala 1789. i smatra se da ju je Blake počeo pisati godinu dana ranije. Blake ju je ilustrirao tehnikom dubokog tiska. U usporedbi s njegovim kasnijim proročkim knjigama pjesma je relativno kratka i lako razumljiva. Pisana je u četrnaestercima. Prethodila joj je pjesma Tiriel, koja je ostala u Blakeovu rukopisu. Nekoliko stihova iz Tiriel bilo je uvršteno u Knjigu o Theli. Veći dio pjesme nije u rimi.

Knjiga se sastoji od osam bakroreza nastalih iluminiranim tiskom. Zna se za šesnaest primjeraka izvornog tiska nastalih između 1789. i 1793. godine. Tri primjerka na kojima je vodeni žig "1815." detaljnije su obojeni od ostalih.

Thelin moto

Thelin moto može se interpretirati kao Blakeovo odbacivanje Anglikanske crkve. "Štap srebrni" koji ne sadrži svu mudrost prikazuje žezlo ili palicu kojim se služilo u vrijeme tradicionalnog kraljevanja i među visoko rangiranim svećenicima prije pojave nacionalizma i naknadnog pada papinstva u 16. i 17. stoljeću. Moto iskazuje sumnju u to da se Ljubav može pronaći u "peharu zlatnom". Slika zlatnog pehara odnosi se na kalež koji se podiže uvis kad kršćanski svećenici slave euharistiju. Religijska konotiranost štapa i pehara objašnjavaju nezadovoljstvo državnom crkvom među mnogim romantičarskim autorima, pa tako i Williama Blakea. Takav je tip teološkog otuđenja dosljedan s prevratnim i pobunjeničkim stavovima toga doba. Druga interpretacija tvrdi da srebrni štap i zlatni pehar prikazuju muške i ženske spolne organe. Mudrost je sadržana u muškom organu, dok je Ljubav smještena u ženskom organu. Prema toj interpretaciji štap i pehar iz vječnog stanja prelaze u smrtno i čitatelj primjećuje da autoritativna osoba recitira zbivanja u pjesmi. Važno je upamtiti da je Blake načinio ploču s motom nakon što je načinio prvih pet ploča, a datumi pokazuju da su ploča s motom i šesta ploča nastale u otprilike isto vrijeme. Budući da je Thelin moto naknadno dodan pjesmi, možemo ga povezati s konačnom pločom, pločom 6. Poveznica između krtičine rupe i podzemlja u koje ulazi Thel u posljednjem dijelu pjesme prikazuje različito znanje bića na različitim mjestima. Orao poznaje samo nebo i da bi nešto saznao o rupi mora upitati krticu; isto tako, Thel poznaje samo nevinost i vječnost i mora postati smrtna ako želi upoznati život smrtnika na Zemlji.

Prvi stihovi

Priča
Sve su Mne Serafima pastirice u Harovim dolinama osim najmlađe, Thel. Ona provodi vrijeme lutajući i pokušava pronaći odgovor na pitanje koje ju muči: zašto proljeće života neizbježno nestaje i dovodi do kraja svih stvari? Upoznaje Đurđicu (u originalu Lily) koja je pokušava utješiti. Budući da je Thel i dalje bila žalosna, Đurđica joj kaže da upita Oblak. Oblak joj objasni da je dio prirodnih procesa i da nikad ne nestane zauvijek iako ga katkad nema. Thel odgovori da nije poput Oblaka i da se neće vratiti kad nestane. Oblak joj predloži da isto pitanje postavi Crvu. Crv je i dalje dijete i ne može odgovoriti. Umjesto njega odgovara majka Crva, Grumen Ilovače. Grumen odgovara da ne živimo radi sebe nego radi drugih ljudi. Pozove Thel da uđe u njezino podzemno carstvo i vidi mračnu tamnicu mrtvih u kojoj će Thel jednoga dana prebivati. Međutim, Thel napadnu tajanstveni glasovi koji pitaju mnoga još strašnija pitanja o postojanju. Vrisne i pobjegne kući u Harove doline. Rupa prikazuje seks i smrtnost, dok Harove doline prikazuju nevinost i vječnost. Prvi dio pjesme prikazuje dobar dio života, kao u Pjesmama nevinosti, dok završni dio prikazuje život prepun očaja bez ikakvih radosti, kao u Pjesmama iskustva.

Pitanje je "Zašto fizička osjetila čine dušu mračnom tako što ju isključuju od mudrosti i radosti vječnosti?".

Thel je alegorija za nerođenu dušu koja je stekla iskustvo vlastitim otkrićima i koja je odlučila zauvijek ostati nevina.

Nevinost protiv Iskustva
U Knjizi o Theli Harove doline prikazane su kao edenski raj u kojem se živi u potpunome skladu; svijet u kojem kiša hrani cvijeće, a grumen ilovače hrani tek rođenog crva. Likovi koji prebivaju u tome svijetu vjeruju da "sve što živi ne živi samo i ne živi radi sebe". Thel želi ući u svijet iskustva i napustiti svoj raj nevinosti. Međutim, čim Thel uđe u svijet iskustva, uplaši ju pomisao na smrtnost i uzaludnost ljudskih bića ako svako djelo vodi k grobu. Moguća interpretacija tog događaja jest da se Thel boji izgubiti svoju nevinost kad uđe u svijet odrasle seksualnosti. Drugim riječima, Thelin strah od odrastanja onemogućuje joj da stvarno živi. Kad pobjegne od svijeta iskustva jer joj se pričini poput njezina nadgrobna spomenika, nesmotreno pobjegne od sama života. William Blake pažljivo je proučavao sukob nevinosti i iskustva i otkrio je da nevinost mora steći uzvišeniji smisao, ono koje se stječe patnjom, koji Thel nikad neće dostići dokle god je zadržava njezin strah od riskiranja. Ideju da Thelin budući život čini tuga i smrt može se promotriti kao još jedan primjer Theline iskrivljene perspektive. Thel iznenađuje njezin sjaj i tvrdi da svijet iskustva izgleda poput "odaje horora". Pretpostavlja se da Crv sudjeluje u sukobu između nevinosti i iskustva. Crv govori kao poslanik svijeta iskustva, no njegove su riječi Thel nečujne jer Crv nije dio njezina carstva. Crv govori o faličkoj seksualnosti i sigurnoj smrtnosti. Kad se obrati Grumenu Ilovače, nastaje posrednik. Sad je Grumen Ilovače susret nevinosti i iskustva.

Citati
"Knjiga o Theli alegorija je za nerođenu dušu koja posjećuje svijet generacije. Thel odbija samopožrtvovne aspekte iskustva i pobjegne nazad k vječnosti. Simboli Đurđice, Oblaka, Crva i Grumena Ilovače prikazuju idealističnu maštovitost, adolescenciju i majčinstvo." —Geoffrey Keynes
"Knjigu o Theli najbolje možemo razumjeti kao ponovno napisan Miltonov Comus. ... Blake priča istu priču, ali služeći se biološkim nazivljem, ne moralnim." —S. Foster Damon

Zanimljivosti
Heavy metal glazbenik Bruce Dickinson snimio je pjesmu "Book of Thel" za svoj album The Chemical Wedding iz 1998. godine.
Pjesma je nadahnula film Odbačeni iz 1982. godine.

Vidi i
Proročke knjige Williama Blakea

Izvori

Bilješke

Vanjske poveznice
Sestrinski projekti

Elektronički primjerci izvornih Blakeovih rukom naslikanih ilustracija za Knjigu o Theli na William Blake Archiveu
Digitalni faksimil Knjige o Theli s Vizijama kćeri Albionovih, Lowell *EC75.B5815.793va.  Houghton Library na sveučilištu Harvard.

Britanska književnost

Knjiga o Theli


An Malaxis talamancana in uska species han Liliopsida nga ginhulagway ni Robert Louis Dressler. An Malaxis talamancana in nahilalakip ha genus nga Malaxis, ngan familia nga Orchidaceae.

Mabibilngan ini ha Costa Rica. Waray hini subspecies nga nakalista.

Mga kasarigan

Malaxis

Malaxis talamancana


Podsavezna nogometna liga Brčko, (također i kao "Brčanska podsavezna nogometna liga", "Prvenstvo Brčanskog podsaveza") je bila liga petog stupnja nogometnog prvenstva Jugoslavije u sezoni 1962./63.
Sudjelovalo je 24 klubova u tri skupine.
 I grupa – 7 klubova, pobjednik "Proleter" iz Dvorova
 II grupa – 7 klubova, pobjednik "Graničar" iz Brezova Polja
 III grupa – 10 klubova, prvak "Radnik" iz Tišine (MZ Hrvatska Tišina)

 I grupa

 Ljestvica

 naselje Velika Obarska navedeno i kao Obarska Rezultatska križaljka

 Izvori:

 III grupa

 Ljestvica

 "Radnik" Tišina – iz mjesne zajednice Hrvatska Tišina
 Donji Hasić – navedeno i kao Hasići'

 Rezultatska križaljka

 Izvori:

Povezani članci
 Međupodsavezna liga Tuzla 1962./63.

Vanjske poveznice

Izvori

 "Godišnjak FSJ 1962-63", Beograd, 1963., ISSN: 0351-2894, str. 251

1962-63 Brčko
Brčko
1962-63

Podsavezna nogometna liga Brčko 1962./63.


P. D. Q. Bach je izmišljeni skladatelj, najmlađi sin Johanna Sebastiana Bacha. Njegov tvorac je američki skladatelj klasične glazbe Peter Schickele: u tu svrhu, kao "Profesor Schickele", iskonstruirao je Bachov životopis, "otkrio" je Bachova djela (koje je, naravno, sâm skladao) i promovirao ih na koncertima. Djela su komični aranžmani i parodije na skladbe klasične glazbe, a naslovi djela su kalamburi izvornih naslova.

Schickele nije sastavio katalog djela, ali im je davao "kataloške oznake". Oznaka kataloga "S." je kratica za Schickele numbers i asocira na Schmieder numbers, kako se u početku referencirao katalog djela J. S. Bacha prema autoru Wolfgangu Schmiederu. Brojevi u katalogu nemaju svrhu identifikacije djela, već im je namjena šaljiva.

Donji katalog sortiran je abecedno po objavljenim naslovima djela.

[O komentarima: i naslovi djela i kataloške oznake su mnoge stilske figure i idiomi koje je teško ili nemoguće doslovno prevesti, te ih treba shvatiti kao pomoć čitatelju u razumijevanju suštine napisanoga.]

Djela
 1712 Overture, S. 1712   [Uvertira "1712"; prema 1812 Overture, Uvertira "1812" Petra Iljiča Čajkovskog]
 The Abduction of Figaro, a simply grand opera in three acts, S. 384,492   [Otmica Figara, jednostavna velika opera u tri čina; naslov prema Mozartovim operama Otmica iz saraja KV 384 i Figarov pir KV 492]
 Allegretto Gabinetto for Plumber and Keyboarder, S. 2nd Door on the Left   [Allegretto Kabineto za vodoinstalatera i tipkovničara (moguća asocijacija: Gabinetto Segreto, muzej erotike u Napulju); S.: druga vrata lijevo]
 The Art of the Ground Round for three baritones and discontinuo, S. 1.19/lb   [Umjetnost Ground Rounda za tri baritona i dikontinuo; Ground Round je lanac restorana u Americi; diskontinuo: prema diskont i dis-continuo; S.: 1.19/lb: $1,19/funti]
 Birthday Ode to "Big Daddy" Bach, for soloists, chorus and orchestra, S. 100   [Rođendanska oda "Tati" Bachu, za soliste, zbor i orkestar]
 Breakfast Antiphonies, S. 8:30   [Antifone za doručak; također: Antiphony = nametljivost, upornost; S.: vrijeme doručka]
 Canine Cantata: Wachet, Arf!, S. K9   [Pasja kantata: Budite se, av!; prema Wachet auf iz naslova korala Wachet auf, ruft uns die Stimme (Budite se, zove nas glas) Philippa Nicolaia i istoimenoj kantati BWV 140 J. S. Bacha]
 Cantata: Blaues Gras, S. 6 string   [Kantata "Plava trava"; njemački Blaues Gras: Bluegrass, tip country glazbe; S.: 6 žica]
 Cantata No. 11, 532.9: Gott sei dank, daß heute Freitag ist, S. 5   [Kantata br. 11, 532.9: "Hvala Bogu što je danas petak" (posljednji radni dan); mnoge barokne kantate počinju stihom Gott sei dank]
 Cantata: Iphigenia in Brooklyn, S. 53,162   [Kantata: Ifigenija u Brooklynu, prema Euripidovim naslovima "Ifigenija u Aulidi" i "Ifigenija među Taurijcima", koje su rabili i neki skladatelji]
 Cantata Singalonga: Melior Cave Canem, S. MCC   [Kantata singalonga: Čuvaj se psa; singalonga je navodno po latinskom kao i ostatak naziva: sing-along je engleski naziv za pjevanje publike uz izvođače]
 Canzon Per Sonar a Sei – Count Them – Sei, S. 6   [Pjesma za sonar do šest - brojite ih - šest; igra riječima na talijanskom i engleskom, odjek sonara]
 Canzonetta La Hooplina, S. 16 going on 30   [Canzonetta La Hooplina - djevojka iz mjesta Hoople na krajnjem sjeveru Sjeverne Dakote, u kome se nalazi izmišljeni University of Southern North Dakota (Univerzitet Južne Sjeverne Dakote) profesora Schickelea; S.: od 16 na 30]
 Capriccio La Pucelle de New Orleans, S. under 18   [igra riječima na ime grada: New Orleans - Orléans; "La Pucelle" (djevica) je nadimak Ivane Orleanske; S.: ispod 18 godina]
 Choral Prelude: "Ah", S. 1636   [Koralni preludij "Ah"; prema njemačkom Choral (u engleskom je Chorale), mnogi korali počinju s "Ach" ili "O"]
 Choral Prelude: "Should", S. 365   [Koralni preludij "Treba"]
 Classical Rap, S. 1–2–3   [Klasični rap]
 Concerto for Bassoon vs. Orchestra, S. 8'   [Koncert za fagot protiv orkestra]
 Concerto for Horn and Hardart, S. 27   [Koncert za Horna i Hardarta; Horn & Hardart je tvrtka koja je 1888. godine u Americi prva uvela automate za hranu i piće.]
 Concerto for Piano vs. Orchestra, S. 88   [Koncert za klavir protiv orkestra; S.: uobičajeno klavir ima 88 tipaka]
 Concerto for Simply Grand Piano and Orchestra, S. 99%   [Koncert za običan veliki klavir i orkestar; Grand Piano je u engleskom naziv za vodoravnu konstrukciju klavira ("koncertni klavir", za raliku od pijanina čija je konstrukcija okomita)]
 Concerto for Two Pianos vs. Orchestra, S. 2 are better than one   [Koncert za dva klavira protiv orkestra; S.: dva su bolja od jednog]
 A Consort of Choral Christmas Carols, S. 359   [Ansambl koralnih božićnih pjesama; Consort, između ostalih, ima značenje ansambla srodnih glazbala; igra riječima: Choral = koralni i Carol = (božićni) koral; S.: 359. dan u godini]
 Diverse Ayres on Sundrie Notions, S. 99 44/100   [Različite arije na sitne pojmove; S.: prema sloganu reklame za sapun Ivory tvrtke Procter & Gamble iz 1895. godine "99 44/100% čist"]
 "Dutch" Suite in G Major, S. -16   [Nizozemska suita u G-duru; prema engleskim i francuskim suitama J. S. Bacha; S.: ispod nivoa mora]
 Echo Sonata for Two Unfriendly Groups of Instruments, S. 9999999999   [Odjekujuća sonata za dvije neprijateljske grupe glazbala (limeni puhači podrivaju drvene puhače...)]
 "Erotica" Variations for banned instruments and piano, S. 36EE   [Varijacije "Erotika" za zabranjena glazbala i klavir; prema Eroica Variations Ludwiga van Beethovena; S.: EE: Extended Edition (prošireno izdanje)]
 Fanfare for Fred, S. F4F   [Fanfare za Freda; Princ Fred je plemić koji naručivao djela P. D. Q. Bacha; S.: broj "4" (four) se u žargonu često rabi umjesto "for", npr. 4U = for you]
 Fanfare for the Common Cold, S. 98.7   [Fanfare za običnu prehladu; prema Fanfare for the Common Man Aarona Coplanda, S.: 37°]
 Fantasieshtick, S. 1001   [Fantazija; prema njemačkom Fantasie-Stück mnogih skladatelja; Shtick: po njemačkom Stück (komad, djelo), u žargonu bitno svojstvo ili obilježje]
 Four Curmudgeonly Canons, S. 365   [Četiri gunđava kanona]
 Four Folk Song Upsettings, S. 4   [Četiri potresne narodne pjesme]
 Four Next-to-Last Songs, S. Ω – 1   [Četiri pretposljednje pjesme]
 Fugue of the Volga Boatmen, S. 1-2-3-grunt   [Fuga burlaka s Volge; prema The Song of the Volga Boatmen, S.: 1-2-3- o-ruk! (Эй, ухнем!)]
 Goldbrick Variations, S. 14   [Zabušantove varijacije; Goldbrick (žargon: zabušant) prema Goldberg Variations (Goldberg-Variationen BWV 988) J. S. Bacha;]
 Grand Serenade for an Awful Lot of Winds and Percussion, S. 1000   [Velika serenada za užasno mnogo puhača i udaraljki]
 Gross Concerto No. 1 for Divers Flutes, Two Trumpets, and Strings, S. -2   [kalambur na Concerto grosso: Bruto koncert za razne flaute, dvije trube i gudače]
 Gross Concerto No. 2 for flutoid instruments and orchestra, S. -1   [Bruto koncert za flautoidna glazbala i orkestar]
 Hansel and Gretel and Ted and Alice, an opera in one unnatural act, S. 2n-1   [Ivica i Marica i Ted i Alisa, opera u jednom neprirodnom činu; Hänsel und Gretel (Ivica i Marica) umjesto prvih dvaju imena u naslovu komedije Bob & Carol & Ted & Alice iz 1969. godine]
 Hindenburg Concerto, S. LZ 129   [Hindenburgov koncert; S.: cepelin LZ 129]
 Hoarse Trojan, a lost opera, S. One Size Fits All   [Promukao Trojanac, izgubljena opera; kalambur hoarse (hôrs) - horse (hôrs), prema Trojan Horse (Trojanski konj; S.: univerzalna veličina]
 "Howdy" Symphony in D Major, S. 6⅞   [Simfonija "zdravo!" u D-duru; prema "Farewell" Symphony Josepha Haydna (Simfonija br.45, u fis-molu, "Oproštajna simfonija"); u Haydnovoj simfoniji u posljednjem stavku svirači postupno odlaze sa scene, u ovoj u prvom stavku postupno dolaze na scenu]
 Knock, Knock, choral cantata, S. 4/1   [Kuc-kuc, koralna kantata; prema šali s kucanjem na vrata, obično s kalamburom na dano ime, npr. "<kuc-kuc> - tko je? - Wiki - Koja Wiki? - Wikipedija"]
 Konzertschtick for Two Violins Mit Orchestra, S. 2+   [Koncertni komad za dvije violine s orkestrom;  prema njemačkom Konzertstück (koncertni komad, koncertino); s njemačkim mit (sa)]
 Liebeslieder Polkas for mixed chorus and piano five hands, S. 2/4   [Ljubavne polke za mješoviti zbor i klavir peteroručno; prema Brahmsovom Liebeslieder-Walzer, zbirka ljubavnih pjesama za glas i klavir četveroručno]
 Lip My Reeds, S. 32'   [Poljubi mi pisak; inverzija fraze Read my lips: "slušaj pažljivo", doslovno "čitaj mi s usana"; Reed je vibrirajući dio piska puhaćih glazbala]
 A Little Nightmare Music, an opera in one irrevocable act, S. 13   [Mala košmarna muzika, opera u jednom nepovratnom činu; prema engleskom naslovu A Little Night Music = Mala noćna muzika]
 Little Notebook for "Piggy" Bach   [Mala kajdanka za "Prasca" Bacha; Piggy Bach: prema Piggy Bank - kasica prasica]
 Little Pickle Book (Pöckelbüchlein), for theater organ and dill piccolos, S. 6   [Knjižica za kiseljenje, za kazališne orgulje i začinjene piccole]
 Long Live the King, S. 1789   [Živio kralj; prema frazi iz francuskog Le roi est mort, vive le roi! - kralj je mrtav, živio kralj!; S.: 1789 je godina Francuske revolucije]
 The Magic Bassoon, a tragicommodity in one act, S. 7   [Čarobni fagot, tragikomodacija u jednom činu; tragicommodity prema Tragicomedy (tragikomedija), commodity - roba, komotnost, komodacija]
 March of the Cute Little Wood Sprites, S. Onesy Twosy   [Marš simpatičnih malih šumskih vilenjaka; S.: onesie-twosie, deminutiv od one (jedan) i two (dva) u žargonu: pojedinačno ili vrlo male grupe]
 Minuet Militaire, S. 1A   [Vojni menuet; (na francuskom)]
 Missa Hilarious, S. N20   [Smiješna misa; prema Missa Solemnis; S.: kemijska formula plina smijavca]
 The Musical Sacrifice, S. 50% off   [Glazbena žrtva; prema Musical Offering BWV 1079 J. S. Bacha; Offering može značiti ponuda, prilog u znak štovanja ili pobožnosti, a također i prinošenje žrtve; S.: 50% popusta]
 No-no Nonette, for assorted winds and toys, S. 86   [Ne-ne Nonet, za odabrane puhače i igračke; igra riječima na mjuzikl No, No, Nanette; prema Toy Symphony ("Simfonija igračaka", sporno autorstvo); S.: 86 (eighty-six) u žargonu: izbaciti, odbaciti, izuzeti]
 Notebook for Betty-Sue Bach, S. 13 going on 14   [Kajdanka za Betty Sue Bach; prema Little Notebook for Anna Magdalena Bach J. S. Bacha, S. 13 uskoro puni 14]
 Octoot, for wind instruments, S. 8   [Oktut za puhače; spoj "oktet" i onomatopeje trubljenja]
 Oedipus Tex, dramatic oratorio for soloists, chorus and orchestra, S. 150   [Edip Teks, dramatični oratorij za soliste, zbor i orkestar; prema Sofoklovoj tragediji Oedipus Rex (Kralj Edip)]
 The Only Piece Ever Written for Violin and Tuba, S. 9, 10, big fat hen   [Jedino djelo ikad napisano za violinu i tubu; S.: iz brojalice koja govori o radnom danu proizvođača čipke One, Two, Buckle My Shoe, ...Nine, ten, A big fat hen (Jedan, dva, zakopčaj cipelu... devet, deset, velika debela kokoš)]
 Oratorio: The Seasonings, S. 1½ tsp.   [prema Haydnovom The Seasons (Godišnja doba), Oratorij: Začini, S. 1½ kavena žličica]
 Overture to La clemenza di Genghis Khan, S. 1227   [Uvertira za "Džingis-kanovo milosrđe"; prema Mozartovoj operi Titovo milosrđe KV 621, La clemenza di Tito; S.: 1227 je godina smrti Džingis-kana]
 Perückenstück from The Civilian Barber, S. 4F   [Perika iz "Civilnog brijača"; prema operi Seviljski brijač na engleskom: The Sevillian barber]
 Pervertimento for Bagpipes, Bicycle and Balloons, S. 66   [Pervertimento za gajde, bicikl i balone; Pervertimento: kalambur na divertimento]
 The Preachers of Crimetheus, a ballet in one selfless act, S. 988   [Propovjednici Crimetheusa, balet u jednom nesebičnom činu; prema baletu The Creatures of Prometheus (Prometejeva stvorenja) Ludwiga van Beethovena; Crimetheus je nepostojeća riječ u engleskom, moguća veza Crime: the US (kriminal u SAD)]
 Prelude to Einstein on the Fritz, S. e=mt2   [Preludij "Einstein u kvaru"; kalambur naslova opere Einstein on the Beach Philipa Glassa; idiom on the Fritz: neispravan, u kvaru]
 Royal Firewater Musick, for bottles and orchestra, S. 1/5   [Kraljevska vatreno-vodena glazba, za boce i orkestar; spoj Händelovih naslova Royal Fireworks Music (Glazba za kraljevski vatromet, HWV 351) i Water Music (Glazba na vodi)]
 "Safe" Sextet, S. R33–L45–R(pass it once)78   ["Sef" sekstet; S.: brojevi su brzina obrtaja gramofonske ploče, a i kombinacija na sefu, R-desno, L-lijevo)]
 "Sam and Janet" (Knock, Knock, choral cantata, S. 4/1)   ["Sam i Janet"; numera iz koralne kantate Knock, Knock, odziv na "tko je?"; kalambur na pjesmu iz 1949. godine Some Enchanted Evening (neka očaravajuća večer)]
 The "Sanka" Cantata   [Kantata Sanka; prema Coffee Cantata (Schweigt stille, plaudert nicht, BWV 211), "Sanka" je marka američke dekofenizirane instant-kave; ovo je prvo "otkriveno" djelo P. D. Q. Bacha, nađeno u lončiću za kavu gdje je služilo kao cjedilo]
 Schleptet in E♭Major, S. 0   [Šleptet (septet) u Es-duru za flautu, obou, fagot, rog, violinu, violu i čelo]
 Serenude, for devious instruments, S. 36–24–36   [kalambur Serenade - Serenude: Serenaga, za glazbala loših namjera; S. 36–24-36: oblik prikazivanja ženskih mjera u inčima, 91-61-91]
 Shepherd on the Rocks with a Twist, S. 12 to 1   [Pastir na stijeni s tvistom; prema Schubertovoj pjesmi The Shepherd on the Rock (Pastir na stijeni)]
 The Short-Tempered Clavier, Preludes and Fugues in All the Major and Minor Keys Except for the Really Hard Ones, S. easy as 3.14159265   [Naprasit klavir, preludiji i fuge u svim durovima i molovima, osim stvarno teških; Short-Tempered prema The Well-Tempered Clavier (Dobro ugođen klavir) J. S. Bacha; S.: lako kao broj ]
 Sinfonia Concertante, S. 98.6   [Koncertantna simfonija]
 Six Contrary Dances, S. 39   [Šest suprotnih plesova; prema Mozartovim Six Country Dances (Contredanses) - Šest seoskh plesova]
 Sonata "Abassoonata", S. 888   [Sonata "ofagoćena"; basoon = fagot; prema Beethovenovoj sonati Appassionata (strasna); S.: 888 - anđeli vam se obraćaju]
 Sonata Da Circo for steam calliope, S. 3 ring   [Cirkuska sonata, za parne kaliope; kaliope su orgulje na paru]
 Sonata for Viola Four Hands and Harpsichord, S. 440   [sonata za violu za četiri ruke i čembalo]
 Sonata Innamorata, S. 1 + 1   [Zaljubljena sonata; ]
 Sonata Piccola, S. 8va   [Mala sonata, za piccolo i klavir; S.: 8va (all'ottava) je glazbena oznaka da se djelo izvodi za oktavu više ili niže]
 The Stoned Guest, a half-act opera, S. 86 proof   [Okamenjeni gost, opera u pola čina; prema naslovu drame Puškina i opere Dargomiškog The Stone Guest ili opere Don Giovanni, or The Stone Guest  Giuseppea Gazzanige; S.: 86 probni primjerak]
 String Quartet in F Major "The Moose", S. Y2K   [Gudački kvartet u F-duru "Los"; moguće po naslovu String Quartet No. 1 "Y2K" Marka Scearcea iz 1999. godine]
 Suite from "The Civilian Barber", S. 4F   [Suita iz "Civilnog brijača"; prema operi Seviljski brijač na engleskom: The Sevillian barber]
 Suite No. 1 for Cello All By Its Lonesome, S. 1a   [Suita br. 1 za čelo potpuno usamljeno]
 Suite No. 2 for Cello All By Its Lonesome, S. 1b   [Suita br. 2 za čelo potpuno usamljeno]
 Three Chorale-Based Piecelets for organ, S. III   [Tri koralna komadića za orgulje]
 Three Teeny Preludes for piano, S. 001   [Tri tinejdžerska preludija za klavir; igra riječi teeny (tinejdžerski) i tiny (mali, sitan)]
 Toot Suite for calliope four hands, S. 212°   [Tut suita za kaliope četveroručno; toot - onomatopeja trubljenja; kaliope su orgulje na paru; S.: 212° Fahrenheita = 100°C (točka ključanja vode)]
 Traumarei for unaccompanied piano, S. 13   [Traumiranje za solo klavir, kalambur na Träumerei (Sanjarenje) Roberta Schumanna]
 Trio (sic) Sonata, S. 3(4)   [Trio (sic) sonata; po latinskom sic = tako (stoji u originalu)]
 The "Trite" Quintet, S. 6 of 1, Half a Dozen of the Other   ["Otrcan" kvintet; S.: 6 od 1, pola tuceta ostalog]
 Twelve Quite Heavenly Songs (Arie Proprio Zodicale), S. 16°   [Dvanaest božanskih pjesama (Samo zodijačke arije); S.: 16° je ukupna širina pojasa zodijaka]
 Two Hearts, Four Lips, Three Little Words, S. 9   [Dva srca, četiri usne, tri male riječi]
 Two Madrigals from The Triumphs of Thusnelda, S. 1601   [Dva madrigala iz Thusneldinog trijumfa; Thusnelda je Germanka koju je zarobio Germanik i prikazao kao trofej na svom trijumfu 26. svibnja 17. godine]
 Variations on an Unusually Simple-Minded Theme for piano and orchestra, S. 1   [Varijacije na neuobičajeno glupu temu, za klavir i orkestar]

"Neotkrivena" djela
Djela koja "još nisu otkrivena", ili su "namjerno izgubljena":

Opere
 The Barren Gypsy   [Jalovi Ciganin; prema Straußovoj opereti Barun Ciganin, en. The Gypsy Baron: Baron (barun) → Barren (jalov)]
 The Civilian Barber, S. 4F   [Civilni brijač; prema operi Seviljski brijač na engleskom: The Sevillian barber]
 Madame Butterbrickle   [prema Puccinijevoj operi Madama Butterfly, s kalamburom Butter Brickle (slatkiš popularan u Americi)]
 The Magic Fruit   [Čarobno voće; prema "The Magic Flute" (Čarobna frula)]
 Rosenkavalier and Guildenstern   [prema Straussovoj operi Kavalir s ružom, Der Rosenkavalier; Rosencrantz i Guildenstern su likovi iz Hamleta]

Religiozna glazba
 Famous Last Words of Christ   [Čuvene posljednje Kristove riječi]
 Half-Nelson Mass   [Polu-Nelsonova misa; prema naslovu Haydnove "Nelsonove mise", aluzija na Nelsonov gubitak oka i ruke; polunelson je također zahvat u hrvanju]
 The Mass in the Allah Mode   [Misa na Alahov način; kalambur na à la mode (u modernom stilu)]
 The Passion According to Hoyle   [Pasija prema pravilima; According to Hoyle je idiom u značenju "striktno prema pravilima" (Edmond Hoyle, britnski pisac kartaških pravila)]

Ostalo
 The Dairy Queen (pastoral masque)   [Dairy Queen je američki lanac restorana brze hrane; pastoral masque je oksimoron: masque je glazbeno-scensko djelo njegovano na engleskom dvoru, te nije pastoralno]
 Neo-Trio Sonata   [Moderna Trio sonata]

Schickeleova djela na zapisima
Peter Schickele je na nekim trajnim zapisima pod imenom Prof. Schickele objavio skladbe:
 Bach Portrait   [Bachov portret]
 Chaconne à son Goût   [Chaconne u njegovoj obradi]
 Eine Kleine Nichtmusik   [Mala nemoćna muzika; prema "Mala noćna muzika", Eine Kleine Nachtmusik W. A. Mozarta]
 Last Tango in Bayreuth   [Posljednji tango u Bayreuthu; prema naslovu filma Last Tango in Paris]
 New Horizons in Music Appreciation (Beethoven's Symphony No. 5)   [Novi horizonti u razumijevanju glazbe (Beethovenova Simfonija br. 5)]
 Quodlibet   [Kvodlibet]
 "Unbegun" Symphony   ["Nezapočeta" simfonija; treći i četvrti stavak, prema Nedovršenoj simfoniji Franza Schuberta koja ima samo prva dva stavka.]

Diskografija

 Peter Schickele Presents an Evening with P. D. Q. Bach (1807–1742)? (1965.)
 An Hysteric Return: P. D. Q. Bach at Carnegie Hall (1966.)
 Report from Hoople: P. D. Q. Bach on the Air (1967.)
 The Stoned Guest (1970.)
 The Intimate P. D. Q. Bach (1974.)
 Portrait of P. D. Q. Bach (1977.)
 Black Forest Bluegrass (1979.)
 Liebeslieder Polkas (1980.)
 Music You Can't Get Out of Your Head (1982.)
 A Little Nightmare Music (1983.)

 1712 Overture and Other Musical Assaults (1989.)
 Oedipus Tex and Other Choral Calamities (1990.)
 WTWP Classical Talkity-Talk Radio (1991.)
 Music for an Awful Lot of Winds and Percussion (1992.)
 Two Pianos Are Better Than One (1994.)
 The Short-Tempered Clavier and Other Dysfunctional Works for Keyboard (1995.)
 P. D. Q. Bach and Peter Schickele: The Jekyll and Hyde Tour (2007.)

Kompilacije
 The Wurst of P. D. Q. Bach (1971.)
 The Dreaded P. D. Q. Bach Collection (1996.)
 The Ill-Conceived P. D. Q. Bach Anthology (1998.)

Izvori
 Peter Schickele, službena stranica, www.schickele.com  (pristupljeno: 19. svibnja 2020.)
 Životopis Petera Schickelea
 Životopis profesora Petera Schickelea
 Životopis P. D. Q. Bacha
 Diskografija
 Peter Schickele, "The Definitive Biography of P.D.Q. Bach", Random House, New York 1976. ISBN 0-394-465369
 Popis djela P. D. Q. Bacha po S. broju (str. 2-6) i diskografija (7-180), www.yumpu.com  (pristupljeno: 19. svibnja 2020.)
 P. D. Q. Bach i American Serpent Players na stranici Douglasa Yeoa, www.yeodoug.com  (pristupljeno: 19. svibnja 2020.)
 Allan Kozinn: More P.D.Q. Is Dug Up And Imprudently Played To General Tittering (Nova iskopana djela P.D. Q. Bach nesmotreno odsvirana uz opće cerekanje), The New York Times, www.nytimes.com  (objavljeno: 28. prosinca 1996., pristupljeno: 19. svibnja 2020.)
 Joseph McLellan: The Misguided 'Missas' Of the Least of the Bachs (Pogrešne mise posljednjeg Bacha), The Washington Post, www.washingtonpost.com  (objavljeno: 14. listopada 1977., pristupljeno: 21. svibnja 2020.)
 John Henken: Adieu, P.D.Q., Los Angeles Times, www.latimes.com  (objavljeno: 14. listopada 1977., pristupljeno: 21. svibnja 2020.)
 P. D. Q. Wiki namijenjena djelima Petera Schickelea, wikipdq.fandom.com  (pristupljeno: 19. svibnja 2020.)

Humor
Bach PDQ

Popis djela P. D. Q. Bacha


سراوق أو ساراواك  أو سراواك (بالبهاسا: Sarawak) هو أحد الإقليمين الماليزيين على جزيرة بورنيو. و داخله تقع دولة بروناي. تعتبر سراوق هي الأكبر بين الولايات الـ13، بمساحة تكاد تساوي مساحة شبه الجزيرة الماليزية، وتقع في شمال غرب جزيرة بورنيو، وتحدها ولاية صباح الماليزية من الشمال الشرقي، وكاليمانتان (الجزء الإندونيسي من بورنيو) من الجنوب، وبروناي في الشمال. العاصمة، كوتشينغ، هي أكبر مدينة في سراوق، والمركز الاقتصادي للولاية، ومقر حكومة ولاية سراوق. تشمل المدن والبلدات الأخرى في سراوق ميري وسيبو وبينتولو. اعتباراً من تعداد عام 2015، كان عدد سكان سراوق 2،636،000.

تتمتع سراوق بمناخ استوائي مع غابات استوائية مطيرة ووفرة الأنواع الحيوانية والنباتية. لديها العديد من أنظمة الكهوف البارزة في حديقة جونونج مولو الوطنية. نهر راجانج هو أطول نهر في ماليزيا. يقع سد باكون، أحد أكبر السدود في جنوب شرق آسيا، على أحد روافده، نهر بالوي. قمة مورو هي أعلى نقطة في سراوق.

التاريخ
أقدم مستوطنة بشرية معروفة في ساراواك ، في كهوف نياه ، يعود تاريخها إلى 40 ألف عام.  تم اكتشاف سلسلة من الخزفيات الصينية مؤرخة من القرن الثامن إلى القرن الثالث عشر الميلادي في موقع سانتوبونغ الأثري.  وقعت المناطق الساحلية في ساراواك تحت تأثير سراوق دارالهنا في القرن السادس عشر.  في عام 1839 ، وصل المستكشف البريطاني جيمس بروك إلى ساراواك.  حكم هو ونسله البلاد من عام 1841 إلى عام 1946. خلال الحرب العالمية الثانية ،  احتلها اليابانيون لمدة ثلاث سنوات.  بعد الحرب ، تنازل تشارلز فينر بروك ، آخر راجا أبيض ، عن ساراواك لبريطانيا ، وفي عام 1946 أصبحت مستعمرة للتاج.  في 22 يوليو 1963 ، مُنحت ساراواك الحكم الذاتي من قبل البريطانيين وأصبحت فيما بعد أحد الأعضاء المؤسسين لماليزيا ، التي تأسست في 16 سبتمبر 1963. ومع ذلك ، عارضت إندونيسيا الاتحاد الذي أدى إلى إندونيسيا-  المواجهة الماليزية التي استمرت ثلاث سنوات.

أدى إنشاء ماليزيا أيضًا إلى تمرد  شيوعي استمر حتى عام 1990. رأس الدولة هو الحاكم ، بينما رئيس الحكومة هو رئيس الوزراء.  ساراواك مقسمة إلى أقسام ومقاطعات إدارية ، يحكمها نظام على غرار النظام البرلماني وستمنستر وكان أول مجلس تشريعي للولاية في ماليزيا.  بموجب الدستور الماليزي ، تتمتع ساراواك بحكم ذاتي أكثر من دول شبه جزيرة ماليزيا.  نظرًا لمواردها الطبيعية ، تتخصص ساراواك في تصدير النفط والغاز ،  الأخشاب ونخيل الزيت ، ولكن لديها أيضًا قطاعات قوية في التصنيع والطاقة والسياحة.  إنه متنوع عرقيا وثقافيا ولغويا.  المجموعات العرقية الرئيسية بما في ذلك إيبان ، الملايو ، الصينيون ، ميلانو ، بيدايو ، وأورانج أولو.  اللغة  الملايو و الإنجليزية هما اللغتان الرسميتان للبلد.

الديانة
المسيحية هي الديانة الأكبر في سراوق ، حيث تمثل 50.1٪ من إجمالي السكان حسب تعداد 2021. وهذا يجعل سراوق الولاية الوحيدة في ماليزيا حيث يفوق عدد المسيحيين عدد المسلمين. كان أوائل المبشرين المسيحيين في سراوق هم الكنيسة الإنجليزية (الأنجليكانية) في عام 1848، وتبعهم الروم الكاثوليك بعد ذلك بسنوات قليلة، ثم الميثوديون في عام 1903. وقد حدث التبشير لأول مرة بين المهاجرين الصينيين قبل أن ينتشر إلى الأرواحيون الأصليين. تُمارس البوذية والطاوية والدين الشعبي الصيني في الغالب من قبل الماليزيين الصينيين. الديانات الصغيرة الأخرى في سراوق هي العقيدة البهائية، الهندوسية، السيخية، والروحانية.

على الرغم من أن الإسلام هو الدين الرسمي لماليزيا، إلا أن سراوق ليس لديها دين رسمي للدولة.

خلال رئاسة عبد الرحمن يعقوب، عُدّل دستور سراوق لجعل يانغ دي بيرتوان أغونغ هو رأس الإسلام في سراوق  وتمكين مجلس الولاية من إصدار القوانين المتعلقة بالشؤون الإسلامية. مع مثل هذه الأحكام، يمكن صياغة السياسات الإسلامية في سراوق ويمكن إنشاء وكالات الدولة الإسلامية. مكّن قانون مجلس الإسلام لعام 1978 من إنشاء محاكم شرعية في سراوق مع صلاحيات قضائية في قضايا الزواج وحضانة الأطفال والخطبة والميراث والقضايا الجنائية في الولاية. كما شكلت محكمة استئناف ومحاكم للقاضي.

معرض صور

انظر أيضاً
 حديقة جبل مولو الوطنية
قاعة سراوق.
 كهف الحظ السعيد.

المراجع

بلدان وأقاليم ناطقة بالإنجليزية
بورنيو
بورنيو البريطانية
جنوب شرق آسيا البحرية
مستعمرات سابقة في آسيا
ولايات ماليزيا

سراوق


Hattian may refer to:

 someone or something related to Hattians, an ancient people of Anatolia
 Hattian language, an extinct language, spoken by the Hattians
 someone or something related to the land of Hatti, an ancient region in Anatolia
 Hattian Bala, a town in Azad Kashmir
 Hattian Bala District, a districts in Azad Kashmir
 Hattian Dupatta, a town in Azad Kashmir
 Hattian Graham (b. 1973), a Barbadian cricketer

See also
Hatti (disambiguation)

Language and nationality disambiguation pages

Hattian


An Platanthera correllii in uska species han Liliopsida nga ginhulagway ni Willi Jürgen Schrenk. An Platanthera correllii in nahilalakip ha genus nga Platanthera, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Platanthera

Platanthera correllii


Souq Waqif () est une station sur la Ligne Or du Métro de Doha. Elle est ouverte en 2019.

Situation sur le réseau

Histoire
La station est mise en service le .

Services aux voyageurs

Accès et accueil

Desserte

Intermodalité

Projets

À proximité

Notes et références

Voir aussi

Articles connexes
 Métro de Doha

Liens externes
 Doha metro - Lusail Tram - Qatar Rail
 Network map - metro tram Qatar Rail
 Qatar Rail Retail

Station du métro de Doha
Station de métro mise en service en 2019

Souq Waqif (métro de Doha)


Idrottsföreningen Kamraterna Norrköping ili skraćeno IFK Norrköping je švedski nogometni klub iz Norrköpinga. Osnovan je 29. svibnja 1897. godine. Norrköping je jedan od najtrofejnijih nogometnih klubova u Švedskoj, osvojio je trinaest prvenstava, šest kupova te jedan superkup. Tradicionalne boje kluba su bijela i plava. Svoje domaće utakmice igra na stadionu Nya Parken, poznatijem po nazivu Östgötaporten, a koji može primiti 17.234 gledatelja.

Vanjske poveznice
Službena stranica

Švedski nogometni klubovi

IFK Norrköping


Elmer Gantry es una ópera con música de Robert Aldridge y libreto en inglés de Herschel Garfein, basado en la novela homónima de Sinclair Lewis (1926). Se estrenó en la Ópera de Nashville en noviembre de 2007.

Elmer Gantry fue concebida casi dos décadas antes de su estreno. Se estrenó en la Ópera de Nashville con posteriores representaciones en la Universidad Estatal de Montclair en 2008.  La Compañía de Ópera Florentina produjo y grabó la ópera en marzo de 2010. Una producción reciente fue terminada en la Universidad de Minnesota en noviembre de 2010.

Referencias

Enlaces externos

Website promocional de "Elmer Gantry"
Preview de la producción de la Ópera Florentina

Óperas de 2007
Óperas en inglés
Óperas estrenadas en Estados Unidos
Óperas de Robert Aldridge

Elmer Gantry (ópera)


Hans-Peter Keller (11 March 1915 – 11 May 1988) was a German poet who authored several poem collections, e.g. Auch Gold rostet (Even Gold Rusts) or Panoptikum aus dem Augenwinkel (Panopticum seen from the corner of the eye). In the 1960s Hans-Peter Keller was teacher for literature at the vocational school for librarians in Düsseldorf.

1915 births
1988 deaths
Writers from the Rhine Province
20th-century German poets
German male poets
German-language poets
20th-century German male writers

Hans Peter Keller


A flashover is the near-simultaneous ignition of most of the directly exposed combustible material in an enclosed area. When certain organic materials are heated, they undergo thermal decomposition and release flammable gases. Flashover occurs when the majority of the exposed surfaces in a space are heated to their autoignition temperature and emit flammable gases (see also flash point). Flashover normally occurs at  or  for ordinary combustibles and an incident heat flux at floor level of .

An example of flashover is the ignition of a piece of furniture in a domestic room. The fire involving the initial piece of furniture can produce a layer of hot smoke, which spreads across the ceiling in the room. The hot buoyant smoke layer grows in depth, as it is bounded by the walls of the room. The radiated heat from this layer heats the surfaces of the directly exposed combustible materials in the room, causing them to give off flammable gases, via pyrolysis. When the temperatures of the evolved gases become high enough, these gases will ignite throughout their extent.

Types
The original Swedish terminology related to the term 'flashover' has been altered in its translation to conform with current European and North American accepted [scientific] definitions as follows:

 A lean flashover (sometimes called rollover) is the ignition of the gas layer under the ceiling, leading to total involvement of the compartment. The fuel/air ratio is at the bottom region of the flammability range (i.e. lean).
 A rich flashover occurs when the flammable gases are ignited while at the upper region of the flammability range (i.e. rich). This can happen in rooms where the fire subsided because of lack of oxygen. The ignition source can be a smouldering object, or the stirring up of embers by the air track. Such an event is known as backdraft.
 A delayed flashover occurs when the colder gray smoke cloud ignites after congregating outside of its room of origin. This results in a volatile situation, and if the ignition occurs at the ideal mixture, the result can be a violent smoke gas explosion. This is referred to as smoke explosion or fire gas ignition depending on the severity of the combustion process.
 A hot rich flashover occurs when the hot smoke with flammable gas ratio above the upper limit of flammability range and temperature higher than the ignition temperature leaves the compartment. Upon dilution with air it can spontaneously ignite, and the resultant flame can propagate back into the compartment, resulting in an event similar to a rich flashover. The common definition of this process is known as auto-ignition, which is another form of fire gas ignition.

Dangers
Flashover is one of the most-feared phenomena among firefighters. Firefighters are taught to recognize the signs of imminent rollovers and flashovers and to avoid backdrafts. For example, there are certain routines for opening closed doors to buildings and compartments on fire, known as door entry procedures, ensuring fire crew safety where possible.

Indicators

The following are some of the signs that firefighters are looking for when they attempt to determine whether a flashover is likely to occur.

 Fast dark smoke.
 The neutral plane is moving down towards the floor. In this situation, a flashover is plausible.
 All directly exposed combustible materials are showing signs of pyrolysis.
 "Rollover" or tongues of fire appear (known as "angel fingers" to firefighters) as gases reach their auto-ignition temperatures.
 There is a rapid build-up (or "spike") in temperature due to the compound effect of rapidly burning (i.e., deflagrating) gases and the thermal cycle they produce. This is generally the best indication of a flashover.
 The fire is in a ventilated compartment, so there is no shortage of oxygen in the room.

Firefighters memorize a chant to help remember these during training: "Thick dark smoke, high heat, rollover, free burning."

The colour of the smoke is often considered as well, but there is no connection between the colour of the smoke and the risk of flashovers. Traditionally, black, dense smoke was considered particularly dangerous, but history shows this to be an unreliable indicator. For example, there was a fire in a rubber mattress factory in London in 1975 which produced white smoke. The white smoke was not considered dangerous, so firefighters decided to ventilate, which caused a smoke explosion and killed two firefighters. The white smoke from the pyrolysis of the rubber turned out to be extremely flammable.

See also

 Air Canada Flight 797
 Backdraft
 Charleston Sofa Super Store fire
 Firestorm
 Kilbirnie Street fire (1972)
 King's Cross fire (1987) (flashover happened in escalator shaft)
 MGM Grand fire (1980)
 Ufa train disaster (1989) (caused by massive gas leak in the open air, triggered by sparks from trains' brakes)

References

External links

Living Room Flashover Video
Rapid Fire Progress & Flashover related fire development
Realistic hot fire training to deal safely with flashover and backdraft
Flashover / Backdraft training
Presentation and video of a flashover in a living room (Forschungsstelle für Brandschutztechnik (Karlsruhe Institute of Technology - KIT))
Flashover training Croatia
French site about structural firefighting
Flashover during house fire in Baltimore, MD.  Video taken January 2010
Flashover Slow Motion

Combustion
Fire protection
Firefighting
Thermodynamics
Types of fire

Flashover


التهاب العظم ونخاعه أو التهاب العظم والنقي أو ذات العظم والنقي  هو خمج يصيب نقي العظم وأجزاء العظم المجاورة للنقي. تصل العدوى للنقي عن طريق الدم أو من النسج المجاورة أو بالتطعيم المباشر (مثلا إبرة ملوثة). تعتبر العنقوديات المذهبة أشيع مسببات التهاب العظم والنقي بكافة أشكاله.

ذات العظم والنقي دموية المنشأ:

يحدث هذا الخمج بشكل أكبر في العظام الطويلة أو أجسام الفقرات إن هذا النوع من ذات العظم والنقي شائع بشكل خاص عند طرفي العمر : الأطفال وكبار السن كما إنه شائع عند مدمني المخدرات الوريدية والمضعفين مناعيا
يتظاهر المرضى عادة ببدء حاد للألم مضض وحمى وقد يوجد تورم نسج رخوة فوق العظم المصاب . في الأسبوعين الأولين من الإصابة يمكن أن تكون الصور الشعاعية سلبية أو تظهر تورم نسج رخوة فقط .
مخبريا ترتفع سرعة التثفل ويرتفع تعداد الكريات البيض أيضا .
تكون زروع الدم إيجابية عند نصف الحالات فقط . يجب أن يجرى للمرضى خزعة بالإبرة وزرع العظم المصاب مالم تكن نتائج زرع الدم معروفة قبل ذلك . ويجب أن تستمر المعالجة بالصادات المناسبة من 4 - 6 أسابيع

ذات العظم والنقي الثانوية لامتداد الخمج الموضعي :

إن أهم الحالات المؤهبة هي بعد الرض النافذ أو بعد الجراحة بالإضافة للقرحات الجلدية وأخماج حول السن وعضات الحيوانات
ويدخل التنضير الجراحي كجزء أساسي من العلاج بالإضافة إلى الصادات المناسبة .

ذات العظم والنقي المزمنة :

تؤدي ذات العظم والنقي غير المعالجة أو المعالجة بشكل غير ملائم إلى نخرة لاوعائية في العظم وتشكل الشظايا وحدوث ذات عظم ونقي مزمنة والتي قد تكون لاعرضية لسنوات عديدة .
تعد العنقوديات المذهبة هي أشيع  المسببة لهذا النمط من ذات العظم والنقي والاستثناء الرئيسي هو المرضى المصابين بفقر الدم المنجلي حيث تعد السالمونيلا هي المسبب عندهم .
كما يمكن للمتفطرات الدرنية أن تسبب ذات عظم ونقي مزمنة تتوضع في الفقرات غالبا ويحتاج علاجها للأدوية المضادة للسل .
من الاختلاطات النادرة لذات العظم والنقي المزمنة الداء النشواني والساركوما العظمية

العلاج
التهاب العظم والنقي غالبا ما يتطلب العلاج بالمضادات الحيوية لفترة طويلة مع مسار لمدة أسابيع أو أشهر. غالباً ما يتم وضع خط PICC أو قسطرة وريدية مركزية لهذا الغرض. التهاب العظم والنقي قد يتطلب أيضا التنضير الجراحي. الحالات الشديدة قد تؤدي إلى فقدان أحد أعضاء الجسم. يتم تحديد الخط الأول للمضادات الحيوية بحسب تاريخ المريض والاختلافات الإقليمية في الكائنات المعدية الشائعة.

المراجع

أمراض بكتيرية
اعتلال عظمي

التهاب العظم والنقي


ورقة نمط (Style sheet) أسلوب صحائف ويب هي شكل من أشكال الفصل بين الشكل والمضمون لتصميم مواقع تصميم الوب الإنترنت التي بالترميزية لغة رقم مثال (اللغة المستعملة في بناء وثائق النّصّ المتشعّب أو المتصفّحات وتسمى الويب" HTML" لغة رقم النص الفائق أو لغة رقم النص الفائق القابلة للتمديد الأقسام المختلفة) من صفحة ويب يحتوي على محتوى الصفحة الدلالات وهيكلها، ولكن لا يعرف عن التخطيط المرئي (النمط). بدلا من ذلك، هو نمط من أنماط المعرفة في ملف خارجي باستخدام لغة ورقة الأنماط مثل "CSS" صفحات الطرز المتراصة أو XSL. هذا التصميم هو التعرف على «فصل» لأنه إلى حد كبير محل المنهجية التي سابقة في صفحة والترميزية تعريف كل من النمط والهيكل.

الفلسفة الكامنة وراء هذه المنهجية هي في حالة محددة لفصل من الشواغل.

الفوائد
الفصل بين الشكل والمضمون له فوائد عديدة، ولكن قد لا تصبح العملية في السنوات الأخيرة نتيجة للتحسينات في مستعرض الويب (متصفح وب) شعبية ق تنفيذ "CSS".

السرعة
عموما، للمستخدمين تجربة موقع بالاستفادة من أوراق الأنماط عموما سيكون أسرع من المواقع التي لا تستخدم هذه التكنولوجيا. عموما، كما في الصفحة الأولى من المحتمل تحميل أكثر ببطء—لأن ورقة الأسلوب والمضمون سوف تحتاج إلى نقلها. الصفحات اللاحقة سيتم تحميل أسرع لأنه ليس لديه معلومات على غرار سوف تحتاج إلى تحميلها—الملف"CSS" بالفعل سوف يكون في المتصفح مخبأ.

الصيانة
تحمل كل أساليب العرض في ملف واحد يخفف كثيرا من الوقت وصيانة ويقلل من احتمال الأخطاء البشرية، وبالتالي تحسين الاتساق العرض. على سبيل المثال، لون الخط المرتبطة مع نوع من النص قد يكون العنصر المحدد—وبالتالي تعديلها بسهولة—طوال كامل الموقع ببساطة عن طريق تغيير واحد جملة قصيرة من الحروف في ملف واحد. نهج بديل، باستخدام أساليب راسخة في كل صفحة على حدة، ويتطلب ثقل كما هي مرهقة وتستغرق وقتا طويلا، وعرضة للخطأ تحرير كل ملف.

سهولة الدخول والوصول

المواقع التي تستخدم إما "CSS" مع الأقسام المختلفة أو"HTML"اللغة المستعملة في بناء وثائق النّصّ المتشعّب أو المتصفّحات وتسمى الويب أسهل أن يعدل بحيث تظهر للغاية مماثلة في مختلف المتصفحات إنترنت إكسبلورر (متصفح الويب، مجموعة برامج تعمل على الإنترنت وتحتوي على متصفّح وقاريء رسائل إلكترونيّة، أوبرا، سفاري، الخ).

المواقع باستخدام المغلقCSS" "يحط بأمان" في المتصفحات غير قادر على عرض محتوى رسومية، مثل "Lynx"الوشق، أو حتى تلك القديمة جدا التي لا يمكن استخدام المغلق"CSS". المستعرضات تتجاهل المغلق"CSS" أنهم لا يفهمون، مثل المغلق"CSS" 3 بيانات. هذا يتيح طائفة واسعة من وكيل المستخدم ليالي لتكون قادرة على الوصول إلى المحتوى من موقع حتى لو انهم لا يستطيعون تقديم أنماط أو ليست مصممة مع القدرة الرسومية في الاعتبار. على سبيل المثال، من شأنه أن متصفح عرض للتحديث باستخدام طريقة برايل للإخراج يمكن تجاهل المعلومات تخطيط تماما، ودليل لا تزال لديها إمكانية الوصول إلى جميع محتويات الصفحة.

التخصيص

إذا كان نسق الصفحة جميع المعلومات المخزنة في الخارج، يمكن للمستخدم أن تقرر تعطيل المعلومات وتخطيط تماما، وترك محتوى الموقع بدون تصميملا يزال في شكل مقروء. كتاب الموقع ويمكن أيضا تقديم أوراق أنماط متعددة، والتي يمكن استخدامها لتغيير مظهر تماما من الموقع دون تغيير أي من محتوياته.

معظم متصفحات الويب الحديثة كما تسمح للمستخدم تحديد أهدافها والأنماط الخاصة، التي يمكن أن تشمل القواعد التي تجاوز مقدم البلاغ قواعد تخطيط. هذا يسمح للمستخدمين، على سبيل المثال، لتركيز ارتباط كل وصلة فائقة"hyperlink " على كل صفحة التي يزورونها.

الاتساق
وذلك لأن الملف يحتوي فقط على الدلالات والمعاني كاتب ينوي أن ينقل، تحت غطاء من العناصر المختلفة للمحتوى وثيقة جدا متناسقة. على سبيل المثال، العناوين، والتأكيد على النص، والقوائم وجميع العبارات الرياضية تتلقى باستمرار تطبيق خصائص النمط من أنماط خارجية. الكتاب ليس من الضروري الاهتمام أنفسهم مع خصائص النمط في ذلك الوقت من تكوينها. هذه التفاصيل يمكن أن العرض يمكن تأجيلها حتى لحظة العرض.

التطابق
تأجيل تفاصيل العرض حتى وقت العرض يعني أن وثيقة يمكن بسهولة إعادة مقصود لمختلف تماما مع العرض المتوسطة مجرد تطبيق أنماط جديدة أعدت بالفعل لهذه الوسيلة الجديدة، وبما يتفق مع المفردات الأولي أو الهيكلي للالدلالية الوثيقة. يمكن الحصول على الوثيقة بعناية تأليف لصفحة ويب بسهولة يمكن طباعتها على الثابت حجم الالتزام الكامل مع الرؤوس والتذييلات، أرقام الصفحات وجدول المحتويات ولدت ببساطة عن طريق تطبيق أنماط جديدة.

عيوب العملية اليوم
مواصفات حاليا (على سبيل المثال، الأقسام المختلفة، XSL، المغلق"CSS") وأدوات البرمجيات تنفيذ هذه المواصفات لا يصلون إلا في المراحل الأولى من النضج. لذلك هناك بعض المسائل العملية التي تواجه الكتاب الذين يسعون إلى تبني هذا الأسلوب من فصل المضمون والأسلوب.

تصميمات مركبة

واحدة من المشاكل العملية هو عدم وجود الدعم المناسب لغات النمط في المتصفحات الرئيسية. الشبكة النموذجية تخطيطات الصفحة الدعوة لبعض العرض الجدولي للالأجزاء الرئيسية من الصفحة مثل أعمدة قائمة التنقل والحانات، رأس علامات الملاحة، وهلم جرا. ومع ذلك، دعم ناقص لالمغلق"CSS" وXSL في مستعرضات القوى الرئيسية من الكتاب لرمز هذه الجداول ضمن محتوياتها بدلا من تطبيق نمط جدولي إلى المحتوى من أنماط المرافق له.

ضيقة دون اعتماد أدوات تحويل وتوليد
في حين أن مواصفات النمط نهائية تماما وزالت في مرحلة الانتهاء، وأدوات البرمجيات كانت بطيئة في التكيف. معظم الأدوات الرئيسية للتنمية على شبكة الإنترنت لا تزال تحتضن عرضا طراز مختلط المحتوى. لذلك من الكتاب والمصممين يبحث عن واجهة المستخدم الرسومية الأدوات المستندة على عملهم تجد صعوبة في اتباع الأسلوب الشبكة الدلالية. بالإضافة إلى أدوات واجهة المستخدم الرسومية، وتقاسم مستودعات للمعدات الشكل معمم على الارجح مساعدات اعتماد هذه الأساليب.

الموارد الخارجية
 ببساطة جافا سكريبت: ثلاث طبقات للويب Simply JavaScript: The Three Layers of the WebCSS Zen Garden
 المغلق"CSS" حديقة زن: موقع التحديات التي المصممين لإنشاء تخطيطات صفحة جديدة من دون لمس مصدر الأقسام المختلفة. ويشمل العشرات من تخطيطات. المصدر المغلق"CSS" يمكن أن ينظر إليه على كل تخطيط.
 كشفت—لدينا هتمل والمغلق"CSS" رموز—cameraontheroad.com : يعطي أمثلة عملية على المغلق من مزايا الموقع التي انتقلت من الأساليب جزءا لا يتجزأ من عرض لأوراق الأنماط. ويشمل وصلات إلى الموارد المغلق"CSS".
 Brugbart : موقع عقد دروس ومراجع يستند إلى المغلق، وتخطيطات القياسية المتوافقة.
 SLIRK : ألف المغلق الجديدة / جافا سكريبت موقع تخطيط النهج.
 القوائم الحرة المغلق : موقع على الإنترنت باستخدام تقنيات متقدمة في المغلق. القوائم والأزرار والرسوم المتحركة المتغيرة. على خلاف المواقع الأخرى التي تعرض المغلق المغلق تصميم، وهذا واحد يتيح للمستخدمين تحميل فقط عن أي نوع من الإبداع المغلق. وهناك أيضا على الإنترنت المغلق القائمة الخالق، مما يسمح للمستخدمين لإنشاء verticle أو الأفقي القوائم المغلق دون برمجة أي رمز، وهي كلها W3C.

مراجع

تطوير الويب

ورقة نمط (تطوير الويب)


Le dinar de Bosnie-Herzégovine est l'ancienne unité monétaire de la Bosnie-Herzégovine de 1992 à 1998. Il a été remplacé par le mark convertible.

Abandonnant le dinar yougoslave, la Bosnie-Herzégovine proclame son indépendance en 1992 et en juillet, fabrique ses proches billets de banque, pour des valeurs allant de 10 à  dinars. Au début de la guerre de Bosnie-Herzégovine, le cours du dinar s'effondre, laissant place à une hyperinflation. En novembre, des coupures sont contremarquées en urgence pour des montants de  dinars.

En août 1994, est lancé un nouveau dinar au taux de 1 pour . Une nouvelle série de billets est fabriquée, pour des montants de 10 à 500 nouveaux dinars bosniaques, figurant le pont de Mostar.

Entre 1995 et 1997, la monnaie est de nouveau anéantie par l'hyperinflation du fait de la guerre. Seul le deutschemark circule, comme monnaie de confiance, au taux officiel de 100 dinars pour 1 mark.

En 1998, le dinar est remplacé par le mark convertible de Bosnie-Herzégovine.

Articles connexes
 Accords de Dayton
 Banque centrale de Bosnie-Herzégovine

Liens externes
 Les billets de banque de Bosnie-Herzégovine en dinars

Monnaie bosnienne
Monnaie moderne obsolète
Dinar

Dinar de Bosnie-Herzégovine