Albatrellus pes-caprae (Christian Hendrik Persoon, 1818 ex Zdeněk Pouzar, 1966), sin. Scutiger pes-caprae Appollinaris Semenovich Bondartsev și Rolf Singer, 1941) sau Polyporus pes-caprae (Christian Hendrik Persoon, 1818), din încrengătura Basidiomycota în familia Albatrellaceae și genul Albatrellus denumit în popor buretele caprelor sau picior de capră, este o specie de ciuperci comestibile saprofită care se hrănește cu material organic mort. Bureții, deveniți destul de rar, se găsesc în România, Basarabia și Bucovina de Nord pe sol în păduri de conifere, foioase și Pădure mixtă mixte, în regiuni montane și subalpine, dar numai rar în șes, crescând în grupuri mai mici, ocazional dintr-un trunchi comun. Timpul apariției este din (iulie) august până octombrie.

Istoric

Numele binomial corect este Polyporus pes-caprae, determinat de cunoscutul botanist Christian Hendrik Persoon în cartea sa Traité sur les champignons comestibles, contenant l'indication des espèces nuisibles din 1818,<ref>C. H. Traité sur les champignons comestibles, contenant l'indication des espèces nuisibles, Editura Belin-Le Prieur, Paris 1818, p. 241, tab. 3 </ref> deși specia a fost descrisă deja în trecut, anume mai întâi de savatul francez Jean-Jacques Paulet sub denumirile Fungus sapatella și Fungus tuber în 1793 apoi de micologul italian A. Cumino ca Boletus scobinaceus în 1805 (publicat în 1806).Mycobank 2 Taxonul lui Persoon a fost valabil mai mult de un secol și se mai găsește în publicații românești chiar până în prezent (2019).Societatea europeană România

În 1941, micologii Appollinaris Semenovich Bondartsev și Rolf Singer au alterat specia genului Scutiger, publicat în jurnalul  Annales Mycologici, iar micologul ceh Zdeněk Pouzar a transferat-o la genul Albatrellus (ca și alte specii), de verificat în publicația lui în Folia Geobotanica et Phytotaxonomica din 1966. În ambele cazuri, epitetul lui Persoon a fost preluat.

De atunci tabără micologilor este dezbinată. Pe când comitetul de nomenclatură Index Fungorum cu alții susțin taxonul Scutiger, mai prestigiosul comitet Mycobank, împreună cu mulți autori renumiți, îl acceptă doar sinonim, preferind Albatrellus pes-caprae, de verificat aici:Cătălin Tănase, Adriana Pop: "Red List of Romanian Macrofungi Species", Editura  Academiei  Române, București 2005, ISBN 973-27-1211-2, p. 102Canadian Journal of BotanyRevista Mexicana de Micologia etc. sau chiar și în publicațiile ONU.

Toate celelalte sinonime nu sunt folosite și pot fi neglijate.

 Descriere

 Pălăria: are un diametru de 4-12 (20) cm și o grosime de 1,5-3,5 cm, este cărnoasă, ușor elastică dar fragilă, inițial convexă cu marginea răsucită în jos, apoi neregulat întinsă, adesea adâncită în centru, marginea fiind ascuțită și ondulată. Cuticula este uscată și mată, regulat flocoasă, presărată cu solzișori pâsloși colanți, căpătând la maturitate crăpături poliedrice. Coloritul variază între gri-brun, brun ca scorțișoara și brun-negricios la bătrânețe. Solzi sunt brun-roșiatici până brun-negricioși.
 Tuburile și porii: cu sporifere foarte scurte, de 1-2 mm lungime și slab decurente la picior, au un colorit alb care schimbă mai târziu în gălbui. Porii destui de mari (6-10 pe centimetru pătrat), neregulat ovoidali și/sau rectangulari, sunt pentru timp lung albi, devenind în vârstă gălbui până ocru-gălbui.
 Piciorul: are o înălțime 2-5 (8) cm și un diametru de 1,5-2,5 cm, este plin, scurt, cilindric, dar câteodată deprimat, solid, mai bulbos către bază, de obicei setat lateral neuniform față de pălărie și crescând ocazional dintr-un trunchi comun, suprafața fiind netedă, mată și uscată precum de culoare inițial albă, apoi gălbuie, galben-portocalie până portocaliu-maronie.
 Carnea: este de consistență compactă, ușor elastică și fragilă, fiind albă până slab limonie. Exemplarele tinere sunt foarte savuroase și aromatice, amintind la gust de nuci și cu un miros plăcut de ciuperci.
 Caracteristici microscopice: Sporii sunt rotunjori, netezi și hialini (translucizi), cu o picătură mare de ulei în centru și o mărime de 8-10 x 6,5-7 microni. Pulberea lor este albă. Bazidiile cu 2-4 sterigme sunt clavate și măsoară 30-35 x 9-10 microni.
 Reacții chimice: nu sunt cunoscute.

 Confuzii
Piciorul de capră poate fi confundat în primul rând cu suratele lui care sunt cu toate comestibile cu o excepție, ca de exemplu: Albatrellus avellaneus, Albatrellus citrinus, Albatrellus confluens, Albatrellus cristatus (necomestibil), Albatrellus ovinus sin. Scutiger pes-caprae sau Albatrellus subrubescens. Începători ar putea să confundă specia chiar și cu deliciosul Hydnum repandum care însă nu are pori ci țepi pe dedesubt, dar de asemenea cu bureții necomestibili Jahnoporus hirtus și Osteina obducta sin. Grifola ossea.

 Specii asemănătoare

 Valorificare
Tânăr (bătrân devine mai elastic cu gust scăzut), buretele caprelor poate fi preparat, tăiat mărunt, asemănător gălbiorilor sau flocoșelului, având o notă destul de accentuată de ciuperci în miros și un gust de nuci.Renate & Wilhelm Volk: "Pilze sicher bestimmen und delikat zubreiten", Editura Ulmer, Stuttgart 1999, p. 89, ISBN 3-8001-3656-2 Este excepțional de potrivit pentru conservarea în ulei sau oțet.Albatrellus pes-caprae'' conține o concentrație ridicată de seleniu (până la 367 mg/kg greutate uscată), în plus, de asemenea, cantități extraordinare de fier (până la 4360 mg/kg greutate uscată), fiind astfel foarte vaoroase pentru nutriție.

De câtva timp, specia este listată din păcate pe "Lista Roșie de ciuperci a României", cu clasificarea "aproape amenințată cu dispariția".

Note

Bibliografie
 Marcel Bon: "Pareys Buch der Pilze", Editura Kosmos, Halberstadt 2012, ISBN 978-3-440-13447-4
 Giacomo Bresadola: "Iconographia Mycologica, vol. XIX, Editura Società Botanica Italiana, Milano 1931, p. + tab. 948
 Rose Marie Dähncke: "1200 Pilze in Farbfotos", Editura AT Verlag, Aarau 2004, ISBN 3-8289-1619-8
 Ewald Gerhard: "Der große BLV Pilzführer" (cu 1200 de specii descrise și 1000 fotografii), Editura BLV Buchverlag GmbH & Co. KG, ediția a 9-a, München 2018, ISBN 978-3-8354-1839-4
 Jean-Louis Lamaison & Jean-Marie Polese: "Der große Pilzatlas", Editura Tandem Verlag GmbH, Potsdam 2012, ISBN 978-3-8427-0483-1
 J. E. și M. Lange: "BLV Bestimmungsbuch - Pilze", Editura BLV Verlagsgesellschaft, München, Berna Viena 1977, ISBN 3-405-11568-2
 Till E. Lohmeyer & Ute Künkele: "Pilze – bestimmen und sammeln", Editura Parragon Books Ltd., Bath 2014, ISBN 978-1-4454-8404-4
 Meinhard Michael Moser: "Röhrlinge und Blätterpilze - Kleine Kryptogamenflora Mitteleuropas", ediția a 5-ea, vol. 2, Editura Gustav Fischer, Stuttgart 1983
 Andreas Neuner: "BLV Naturführer – Pilze", Editura BLV Verlagsgesellschaft, München-Bern-Viena 1976, ISBN 3-405-11345-8

Legături externe

 Albatrellus pes-caprae, film în limba croată
 Albatrellus pes-caprae, film în limba greacă
 Albatrellus pes-caprae, film în limba română

Albatrellus
Ciuperci saprofite
Ciuperci comestibile
1793 în știință

Albatrellus pes-caprae


Karl Steuerwald (1905, Strazburg - 1989), Alman dilbilimci ve öğretmen.

I. Dünya Savaşı'ndan sonra ailesiyle Renanya-Palatina'a yerleşti. 1924-28 yıllarında Frankfurt, Berlin ve Münih üniversitelerinde Alman, Latin ve İngiliz dilleri ve edebiyatları üzerinde çalışarak öğrenimini Londra argosuna ilişkin teziyle 1929'da tamamladı. 1930'da İstanbul Alman Lisesi'ne modern diller öğretmeni olarak atandı. 1931'de Gazi Eğitim Enstitüsü'nde Alman Dili ve Edebiyatı öğretmeni oldu. Bu görevi sırasında, zamanın başbakanı İsmet İnönü'nün Almanca öğretmenliğini de yaptı. 1935-44 yılları arasında Ankara Üniversitesi Dil ve Tarih Coğrafya Fakültesi'nde ordinaryüs profesör olarak hizmet gördü. Birkaç yılını Almanya'da geçirdikten sonra Türkiye'ye dönerek 1953-56 yılları arasında İstanbul Alman Lisesi'nin müdürlüğünü yaptı. Bundan sonraki yaşamının önemli bölümü Almanca - Türkçe sözlük hazırlama çalışmalarıyla geçti.

1905 doğumlular
1989 yılında ölenler
Alman dilbilimciler
Alman öğretmenler
Alman akademisyenler
Türkiye'deki Alman gurbetçiler
Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi öğretim üyeleri
Strazburg doğumlular

Karl Steuerwald


Die Windmühlen von Consuegra befinden sich in Consuegra, einer Gemeinde in der Provinz Toledo der Autonomen Region Kastilien-La Mancha (Spanien). Die Windmühlen auf dem Hügel Calderico, wo sich auch das Castillo de Consuegra befindet, sind als Baudenkmal geschützt.

Geschichte
Die elf Windmühlen aus dem 16. Jahrhundert tragen Namen wie El Blanco, La Turca und El Sancho Pansa, den Namen des Dieners im Roman Don Quijote von Miguel de Cervantes. Neben Consuegra beanspruchen auch die Orte Campo de Criptana und Mota del Cuervo als Vorlage des Schauplatzes für den Kampf des Ritters mit den Windmühlen gedient zu haben. In der Mühle Caballero del Verde Gabán (Ritter mit dem grünen Mantel) befinden sich zahlreiche Ausgaben des Buches Don Quijote.

In der Mühle Bolero, in der sich das Fremdenverkehrsbüro befindet, ist ein Mahlstein zu sehen und in der Mühle El Sancho Pansa ist noch der gesamte Mahlmechanismus erhalten. Die Mühle Cardeño war früher bewohnt und in der Mühle Rucio ist eine Ausstellung zum Wein zu sehen. Die Mühle Espartero enthält eine Ausstellung über das Kunsthandwerk in der Provinz Toledo.

Literatur
 Spanien. Baedeker-Reiseführer, 11. Auflage, Ostfildern 2006, ISBN 3-8297-1114-X.

Weblinks

Consuegra
Consuegra
Literarischer Schauplatz
Miguel de Cervantes
Bauwerk in der Provinz Toledo
Kulturdenkmal in der Provinz Toledo
Erbaut im 16. Jahrhundert
Consuegra
Mühle in Europa

Windmühlen von Consuegra


تقع بلدية عين العلوي جنوب ولاية البويرة، الجزائر بين بلدية عين الحجر و بلدية عين بسام.

مواضيع ذات صلة
 بلديات ولاية البويرة
 دوائر ولاية البويرة

مراجع

عين العلوي

عين العلوي


OK Stuchensko est une comédie d'espionnage britanno-espagnole réalisée par José Luis Madrid et sortie en 1975.

Le titre rappelle Opération frère cadet (OK Connery) d'Alberto De Martino, sorti en 1967, ainsi qu'OK patron de Claude Vital et Georges Lautner sorti en 1974.

Synopsis
À Madrid, le colonel Stuchensko, agent soviétique de premier plan, est enlevé sur un yacht par les services secrets albanais et un agent chinois. Leur plan consiste à lui soutirer des informations, puis à le tuer en accusant les services secrets britanniques. Le Royaume-Uni envoie Charles Vine du Portugal, mais Vine est capturé et emmené en République populaire socialiste d'Albanie avec Stuchensko.

Fiche technique
 Titre original : OK Stuchensko ou OK Yevtushenko
 Titre britannique :
 Réalisateur : José Luis Madrid
 Scénario : Michael Pittock, José Luis Madrid
 Photographie : Raúl Artigot
 Montage : José Antonio Rojo
 Musique : Ángel Arteaga
 Production : James Ward
 Société de production : Puck Films, Andorra Films
 Pays de production :  -
 Langue originale : espagnol, anglais
 Format : Couleur par Eastmancolor - Son mono - 35 mm
 Durée : 108 minutes ()
 Genre : Comédie d'espionnage
 Dates de sortie :
 Espagne :

Distribution
 : Charles Vine
Barta Barri : Colonel Stuchensko
Tim Barrett : Major Kovacs
Diana Lorys : Galina Samarav
 Mary Paz Pondal : Sara
Antonio Molino Rojo : Général Borodine
 : Pandora Loz
 Eric Chapman : Potts
Tito García : Captain Milhavikah
José Riesgo : Colonel Stenhoff
 Gene Reyes : Ly Chee
 Ingrid Thulin : La fille Nando
 José María Labernié : Muffin-Wells
 Antonio Jiménez Escribano : Rockwell

Notes et références

Liens externes

Film espagnol sorti en 1975
Film britannique sorti en 1975
Film réalisé par José Luis Madrid
Comédie d'espionnage britannique
Comédie d'espionnage espagnole
Film sur la guerre froide
Film en espagnol
Film en anglais
Film espagnol tourné en anglais
Film britannique tourné en espagnol
Film se déroulant en Albanie
Film tourné en Espagne
Film tourné au Portugal

OK Stuchensko


Reiko Arima (født 5. maj 1933 i Tokyo , Japan) er en japansk komponist, professor, lærer, rektor, pianist og arrangør.

Arima studerede komposition på Tokyo University of Fine Arts hos bl.a. Akira Ifukube. Hun har skrevet en symfoni, og har komponeret mest for orkester og klaver. Hun studerede japansk folklore og japansk musik som hun blander med den europæiske klassiske musik tradition. Hun blev senere lærer på Tokyo University of Fine Arts , og dernæst professor i komposition og rektor for stedets afdeling.
Hun har også udgivet undervisnings hæfter og partiturer.

Udvalgte værker

 Symfoni nr. 1 "Okinawa" (2004) - for orkester
 "Børnenes have" (1966) - for klaver
 "Vind dans" (1970) - for klaver
 "Dans" (19?) - for klaver

Kilde

 Om Reiko Arima på www.musicweb-international.com

 På Ja.wikipedia.org/wiki

Komponister fra Japan
Professorer fra Japan
Pianister
Lærere

Reiko Arima


Nesta página estão apontados os resultados do Carnaval de Vitória em 2023. Os desfiles no Sambão do Povo aconteceram nos dias 10, 11 e 12 de fevereiro. A Mocidade Unida da Glória foi a campeã do Grupo Especial, conquistando seu 8.º título na elite e quebrando o jejum de cinco anos sem vencer, com o enredo sobre a cidade de Colatina, no Noroeste capixaba. O desfile marcou a volta do carnavalesco Petterson Alves à agremiação, onde estava afastado desde 2014.

A Unidos de Jucutuquara foi vice-campeã com dois décimos de diferença para a MUG com um desfile sobre migrantes que escolheram o Espírito Santo para morar. A Pega no Samba venceu o Grupo A, conquistando vaga no Grupo Especial em 2024, enquanto a Independente de Eucalipto levou o título do Grupo B, que neste ano passou a desfilar no domingo.

Grupo Especial

Notas

A apuração do resultado foi realizada na tarde de quarta-feira, dia 15 de fevereiro de 2023, no Sambão do Povo, após a leitura das notas do Grupo A e B. De acordo com o regulamento, a menor nota recebida por cada escola, em cada quesito, foi descartada. As notas variam de nove à dez, podendo ser fracionadas em décimos.

Penalizações

 Unidos da Piedade perdeu cinco décimos por ultrapassar o tempo máximo de desfile em cinco minutos, sendo um décimo por minuto.
 Unidos de Jucutuquara perdeu um décimo devido a um empurrador de alegoria em desacordo com o regulamento e dois décimos por ultrapassar o tempo máximo de desfile em dois minutos, sendo um décimo por minuto.
 Novo Império perdeu três décimos devido a três empurradores de alegoria em desacordo com o regulamento e dois décimos por ultrapassar o tempo máximo de desfile em dois minutos, sendo um décimo por minuto.
 Independente de Boa Vista perdeu um décimo devido a um empurrador de alegoria em desacordo com o regulamento.
 Andaraí perdeu um ponto pela quantidade de alegorias superior ao permitido no regulamento.

Classificação
A Mocidade Unida da Glória conquistou seu oitavo título de campeã do carnaval capixaba, quebrando o jejum de três carnavais sem conquistas. O título anterior da escola foi conquistado em 2018. O enredo "A caminho das Terras do Sol Poente" foi desenvolvido pelo carnavalesco Petterson Alves, que conquistou seu quarto título de campeão pela agremiação.

A Unidos do Jucutuquara ficou com o vice-campeonato pela primeira vez desde o carnaval de 2016. A Independente de Boa Vista se classificou em terceiro lugar com um enredo de Márcio Puluker e Robson Goulart sobre o humor. A Chegou O Que Faltava conquistou o quarto lugar com um desfile sobre tesouros. A Unidos da Piedade foi a quinta colocada com um desfile sobre Bino Santo.

Penúltima colocada, a Novo Império realizou um desfile com temática Imperium. Recém promovida ao Grupo Especial, após vencer o Grupo A em 2020, a Andaraí foi rebaixada de volta à segunda divisão após se classificar em último lugar. A escola homenageou Carlos Magno.

Grupo A

Notas

A apuração do resultado foi realizada na tarde de quarta-feira, dia 15 de fevereiro de 2023, no Sambão do Povo, após a leitura das notas do Grupo B. De acordo com o regulamento, a menor nota recebida por cada escola, em cada quesito, foi descartada. As notas variam de nove à dez, podendo ser fracionadas em décimos.

Classificação

Grupo B

Notas

A apuração do resultado foi realizada na tarde de quarta-feira, dia 15 de fevereiro de 2023, no Sambão do Povo, antes da leitura das notas do Grupo A e do Grupo Especial. De acordo com o regulamento, as notas recebidas por cada escola, em cada quesito, foram validadas. As notas variam de nove à dez, podendo ser fracionadas em décimos.

Classificação

2023
Vitória
2023 no Espírito Santo

Resultados do Carnaval de Vitória em 2023


The Crisis is the official magazine of the National Association for the Advancement of Colored People (NAACP). It was founded in 1910 by W. E. B. Du Bois (editor), Oswald Garrison Villard, J. Max Barber, Charles Edward Russell, Kelly Miller, William Stanley Braithwaite, and Mary Dunlop Maclean. The Crisis has been in continuous print since 1910, and it is the oldest Black-oriented magazine in the world. Today, The Crisis is "a quarterly journal of civil rights, history, politics and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color."

History

The Du Bois era

Beginnings and the Du Bois era
The original title of the magazine was The CRISIS: A Record of The Darker Races. The magazine's name was inspired by James Russell Lowell's 1845 poem, "The Present Crisis". The suggestion to name the magazine after the poem came from one of the NAACP co-founders and noted white abolitionist Mary White Ovington. The first issue was typed and arranged by NAACP secretary Richetta Randolph Wallace.

As the founding editor of The Crisis, Du Bois proclaimed his intentions in his first editorial:

The object of this publication is to set forth those facts and arguments which show the danger of race prejudice, particularly as manifested today toward colored people. It takes its name from the fact that the editors believe that this is a critical time in the history of the advancement of men. …Finally, its editorial page will stand for the rights of men, irrespective of color or race, for the highest ideals of American democracy, and for reasonable but earnest and persistent attempts to gain these rights and realize these ideals." (The Crisis, November 1910, 10)

Although The Crisis was officially an organ of the NAACP, Du Bois had a large degree of control over the periodical's expressed opinion. Du Bois wrote in Dusk of Dawn (1940) that he intended for The Crisis to represent his personal opinions:

I determine to make the opinion of the Crisis a personal opinion; because, as I argued, no organization can express definite and clear cut opinions… the Crisis would state openly the opinion of its editor, so long, of course, as that opinion was in general agreement with that of the organization.

Affiliation with the NAACP
The NAACP was founded in response to the Springfield Race Riots of Illinois in 1908, calling attention to the injustices that the black community was subjected to. After this riot, William Walling composed an article in the newspaper, prompting his audience to fight racism in a united fashion. Oswald Villard responded to Walling's article in one of his own titled "The Call", an article welcoming individuals to attend a national meeting dedicated to intersectional justice for all citizens despite race. There were 60 individuals that attended the call, 7 of them were persons of color, including Mary Church Terrell, Ida B. Wells, and W. E. B. Du Bois. This meeting and signing of the call led to the formation of the NAACP in 1909.

The NAACP was largely recognized as a grassroots foundation, as it relied on the surrounding to community to sell subscriptions to the magazine, The Crisis. In its first year, the journal had a monthly circulation of 1,000. Ten years later, by 1918, it had more than 100,000 readers. It also grew in size, beginning at 20 pages and rising to as many as 68 pages; and in price, beginning at 10 cents per issue and later increasing to 15 cents. The Crisis would go on to become incredibly influential during the 1910s and 1920s and would take a large role in the Harlem Renaissance literature movement.

Literary and artistic impact during the Harlem Renaissance

While the magazine was originally intended to be much more of a political and news publication than a literary publication, it had undeniable impact on the Harlem Renaissance literary and arts movement during the 1920s, especially from 1918 to 1926 when Jessie Redmon Fauset served as Literary Editor.

It was primarily during Jessie Fauset's tenure that literature abounded. Though not nearly as well-known today as Du Bois, Fauset's literary contributions were equal in importance. The poet Langston Hughes described Fauset as one of the "midwives of the Harlem Renaissance. Hughes wrote in his 1940 autobiography The Big Sea that the parties at Fauset's Harlem home were rather exclusive "literary soirees with much poetry but little to drink" (Hughes 244).

Some of the best-known writers of the Harlem Renaissance were first published or became well known by being published in The Crisis during Fauset's tenure, including Hughes, Countee Cullen, Arthur Huff Fauset (Jessie Fauset's younger half-brother), Jean Toomer, James Weldon Johnson, Claude McKay, Effie Lee Newsome, Zora Neale Hurston, Gwendolyn Bennett, Arna Bontemps, Charles Chesnutt, Marita Bonner,  and Walter White. Despite Fauset's personal tastes and interests in her own writing, she featured poetry, prose, short stories, essays and plays in The Crisis. Fauset was also the primary force that kept the New York office going logistically between 1919 and 1926. Following her departure from The Crisis, the quality and quantity of the literature section of the magazine declined. In her biography of Fauset, Jessie Redmon Fauset, Black American Writer, Carolyn Wedin Sylvander writes that after Fauset's departure, several poets criticized Du Bois for neglecting literature, printing pieces the poets had specifically requested not be published, or printing old pieces.

In addition to literature, art played an important role in The Crisiss overall message and function. In his famous October 1926 essay "Criteria of Negro Art", which was delivered as an address at the Chicago conference of the NAACP in 1926, Du Bois stated one of his opinions on art:

Thus all art is propaganda and ever must be, despite the wailing of the purists. I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy. I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent.

This essay was published in conjunction with a seven-part series of responses to a symposium called The Negro in Art: How Shall He Be Portrayed?, which invited responses by black and white artists and intellectuals to seven questions on the freedoms and responsibilities of black artists.

In pursuing the use of art to positively portray the African-American race, Du Bois turned to photography as a favored medium. In Protest and Propaganda, Amy Helene Kirschke wrote: "Du Bois believed that art was in fact the embodiment of freedom of expression and that through art, truth could be expressed, creating something beautiful. Through the inclusion of art and poetry, creative writing, and photography, The Crisis could bring beauty into the home" (123). The arts were also used to capture current events. Political cartoons, illustrations and graphic photographs aligned with Du Bois' strong interest in social justice and in highlighting heinous crimes being committed against African Americans.

Educational impact under Du Bois
The Crisis magazine has played a major role in promoting the rise of African-American colleges and the rise of African-American studies. Early on, the magazine fostered an interest in higher education, reporting how the black universities were operating financially and administratively and on the hardships these colleges endured.

Children and education were two topics that mattered quite a bit to Du Bois, whose philosophy during that era was that a "Talented Tenth" of the African-American population should be bred, raised and trained to become elite intellectual and political leaders – a topic he first introduced in his 1903 book The Souls of Black Folk. Readers could see this reflected in the annual Children's and Education numbers, which came out in October and July, respectively, and which leaned heavily on photography as a medium for showing off the best of the best of African-American youth.

Fauset, who contributed articles to Crisis long before becoming the literary editor in 1918, also seemed to care deeply about children's literature, and contributed the large majority of content to The Brownies' Book, which was a monthly children's magazine that Du Bois, the Crisis business editor, Augustus Dill, and Fauset printed in 1920 and 1921. The Brownies' Book focused heavily on promoting standards of gender, class and racial behavior and pride, also using photographs to inspire young African-American children. Common themes in The Brownies' Book included doing well in school, taking pride in one's appearance, and learning about one's heritage, with many African folk tales and other African cultural issues mentioned.

Advertising also tended to focus heavily on education, with ads for various schools, institutions, training courses, and, of course, colleges and universities, featured in every issue during this time period, appearing before the table of contents in many cases.

Political impact under Du Bois
Du Bois tended to view The Crisis as his personal soapbox to a certain degree, heavily pushing his own opinions through the opinion section. Common concerns in his writings included promoting a positive, dignified, progressive image of African-American people; calling for action, social justice and an end to violence against blacks; and promoting good international relations, especially in regards to the Pan-African movement.

All of the issues between 1910 and 1934 feature an opinion section that was written by Du Bois (later renamed from "Opinion" to "Postscript"). Other Du Bois-authored columns included a "Men of the Month" column, which featured successful black men in various professions, a news column called "Along the Color Line", and a "Horizon" column, which read as more of a newsletter, detailing positive accomplishments by African Americans. Du Bois frequently included reviews of news articles from other publications that he felt were incorrect, and also tracked certain special causes. As an editor, Du Bois did not shy away from showing photographs of and writing about controversial issues, including lynching, racism in the U.S. military, labor issues, and political issues with as Booker T. Washington's views and Marcus Garvey's views.

The Crisis was also used to promote the production of black cinema. The center of their promotion was the Ethiopian Art Theatre, in Chicago. The theatre was a place that provided training and promotion of black actors as well as employment for black citizens of Chicago. It attracted thousands of blacks from the South, who saw it as evidence of success and pride within the black community.

However strongly Du Bois's opinions were expressed in the pages of The Crisis, he was certainly not the only contributor. During Fauset's tenure as literary editor, she wrote and edited a column entitled "The Looking Glass", which was primarily literature and art review, but also included other essays. The "Outer Pocket" column featured letters from readers. While Fauset's primary concern and duties were with the literature of the times, she shared other political outlooks with Du Bois, such as a concern for education and families. African cultural issues were also of concern to both Du Bois and Fauset in general, with their many trips overseas, their participation in several Pan-African Congresses and Conferences, and African-themed cover art and other art on the pages of The Crisis throughout the years.

After Du Bois
Du Bois's initial position as editor was in line with the NAACP's liberal program of social reform and racial equality, but by the 1930s Du Bois was advocating a form of black separatism. This led to disputes between Du Bois and the NAACP, resulting in his resignation as editor in 1934. He was replaced by Roy Wilkins. However, financial issues were also at play. In his 1940 memoir Dusk of Dawn, Du Bois wrote that the periodical suffered during the Great Depression as the "circulation dropped steadily until by 1933 it was scarcely more than ten thousand paid subscriptions."

While The Crisis has been published continually since 1910, its years under Du Bois are arguably far better-known than any of its other years. There have been 15 editors at the magazine's helm since Du Bois's departure. Roy Wilkins remained editor after Du Bois until 1949, when he became the acting NAACP secretary. James W. Ivy subsequently became the editor of the magazine until his retirement in 1966. The magazine continued to print news articles and opinion columns on current events and social concerns.

After Ivy's retirement, other persons who served as editor included Henry Lee Moon, Warren Marr II, Chester Arthur Higgins Sr. (1917–2000), Maybelle Ward, Fred Beauford, Garland Thompson, Denise Crittendon, Gentry Trotter, Paul Ruffins, Ida E. Lewis, Phil Petrie, and Victoria Valentine.

From 1997 to 2003, it appeared as The New Crisis: The Magazine of Opportunities and Ideas, but the title has since reverted to The Crisis.

On August 7, 2007, Jabari Asim was named editor of The Crisis by then publisher Roger Wilkins. Asim came to The Crisis from The Washington Post, where he was Book World deputy editor.

The Chicago Tribune named The Crisis one of its "50 Favorite Magazines" in 2008, stating: "This venerable publication of the National Association for the Advancement of Colored People has continued to evolve and illuminate since its premiere issue in November 1910 (one year after the creation of the NAACP)."[11]

Advertisement

Advertisements in The Crisis showcase jobs, education, and businesses in the African-American community. These advertisements often reflected the views of the current editor. Under Du Bois, advertisements on education are most prevalent. All types of schools, institutions, training courses, colleges and universities. Some of the schools advertised are Howard University, Fisk University, Paine College, The Cheyney Training School for Teachers and many others. The number one thing these schools had in common was they were all only for colored students. Another popular advertisement under Du Bois was job advertisements. Some of the jobs advertised were teachers, vendors, nurses, dentists, civil service and stenographers. There was always a need for advertising agents. The Crisis even had its own ad for agents specifically for the magazine. The advertisement section also includes ads for other magazines and books to read. One of these magazines is The Brownies' Book, a magazine for children; a double subscription to The Brownies' Book and The Crisis for a special price is even offered. Another was Locoma Magazine, an adult magazine featuring such topics as marriage, divorce, eugenics, and birth control. The Crisis also advertised books that claimed to be necessary reading for all African Americans; among these books weree Darkwater: Voices from Within the Veil by Du Bois, Scott's Official History of the American Negro in the Great War by Emmett Jay Scott, and As Nature Leads by J. A. Rogers. As the magazine continued its growth and influence, they added a table of books readers could buy from the magazine, which was called "The Crisis Book Mart". This range of books featured influential writers such as Langston Hughes, Alain Locke, Claude McKay and others. Many of the books and magazines advertised in The Crisis are aimed to showcase culture as well as to educate African Americans. Real estate was also included in the magazine's advertisements, as well as plots of land for building homes and even for vacationing in various locations such as Orchardville, Idlewood, Pleasantville, and Atlantic City. This showed the spread of African Americans across different cities as well as their prospering wealth.

Other types of advertisements in The Crisis promoted music as well as vocalists and musicians. Some of those promoted were lyric soprano Cleota Collins, concert violinist Wesley I. Howard, and high-class entertainers Invincible Concert Co. There were also advertisements for phonograph records as well as hymn books, and plays.

Other advertisements of The Crisis magazine covered a variety of topics: a Booker T Washington bust, colored dolls, hair grower/preparation (Madam C. J. Walker's preparations for the hair/ Nile Queen), wigs (fashion book), tooth polish (Dr. Welters antiseptic tooth powder), tuxedos, NAACP membership, Christmas Seals (for the NAACP/ protecting against tuberculosis), "On Health's Highway" to support cancer patients, laundry, Negro art photo calendar, undertaking and embalming, life health and accident insurance. Many of these advertisements showed the push for African Americans, women especially, to focus on their looks. One such advertisement even stated: "It is the duty of human beings to be attractive."

Editors
 1910–34:  W. E. B. Du Bois
 1934–49:  Roy Wilkins
 1949–66:  James W. Ivy
 1967–74:  Henry Lee Moon
 1974–80:  Warren Marr II
 1981–84:  Chester Higgins Sr.
 1984–85:  Maybelle Ward
 1985–92:  Fred Beauford; 1991–98: Walter Morrison, Associate Editor
 1992–94:  Garland Thomas
 1994:     Denise Crittendon
 1995–97:  Eric Clark, Managing Editor; Tsitsi Wakhisi, Contributing Editor
 1997–98:  Paul Ruffins
 1998–2000:  Ida E. Lewis
 2001 & 2007: Phil Petrie (interim)
 2001–07:  Victoria Valentine
 2007–17:  Jabari Asim
 2017:  Lottie Joiner (interim)

See also
 Opportunity: A Journal of Negro Life
 Phylon

References

Further reading
General resources – Books
 Bontemps, Arna. The Harlem Renaissance Remembered: Essays Edited With a Memoir. New York: Dodd, Mead, 1972. Print.
 Bornstein, George. "How to Read a Page: Modernism and Material Textuality." Material Modernism: The Politics of the Page. Cambridge: Cambridge University Press, 2001. 5–31. Print.
 Driskell, David, David Levering Lewis, and Deborah Willis Ryan. Harlem Renaissance Art of Black America. New York: Harry N. Abrams, 1987. Print.
 Farebrother, Rachel. "The Crisis (1910-34)". The Oxford Critical and Cultural History of Modernist Magazines. Eds. Peter Brooker and Andrew Thacker. Vol. 2. Oxford: Oxford University Press, 2012. 103–124. Print.
 Ferguson, Jeffrey B. The Harlem Renaissance: A Brief History with Documents. Boston: Bedford St. Martin's, 2008. Print.
 Hughes, Langston. The Big Sea. Ed. Joseph McLaren. Columbia: University of Missouri Press, 2002. Print.
 Ikonné, Chidi. From Du Bois to Van Vechten: The Early New Negro Literature, 1903–1926. Westport: Greenwood Press, 1981. Print.
 Kirschke, Amy Helene. Art in Crisis: W.E.B. Du Bois and the Struggle for African American Identity and Memory. Bloomington: Indiana University Press, 2007. Print.
 Marks, Carole, and Diana Edkins. The Power of Pride: Stylemakers and Rulebreakers of the Harlem Renaissance. New York: Crown, 1999. Print.
 New Voices on the Harlem Renaissance: Essays on Race, Gender, and Literary Discourse. Eds. Australia Tarver and Paula C. Barnes. Madison: Fairleigh Dickinson University Press, 2006. Print.
 Perry, Margaret. Silence to the Drums: A Survey of the Literature of the Harlem Renaissance. Westport: Greenwood Press, 1976. Print.
 Schäffer, Christina. The Brownies' Book: Inspiring Racial Price in African-American Children. Frankfurt: Peter Lang, 2012. Print.
 Taylor, Quintard. From Timbuktu to Katrina: Readings in African American History. Boston: Thomson, 2008. Print.
 Temples for Tomorrow: Looking Back at the Harlem Renaissance. Eds. Geneviève Fabre and Michel Feith. Bloomington: Indiana University Press, 2001. Print.
 Van Wienen, Mark W. Partisans and Poets: The Political Work of American Poetry in the Great War. Cambridge: Cambridge University Press, 1997. Print.

General resources – Journal articles
 Ardis, Ann. "Making Middlebrow Culture, Making Middlebrow Literary Texts Matter: The Crisis, Easter 1912". Modernist Cultures 6.1 (2011): 18–40. PDF.
 Austin, Addell. "The Opportunity and Crisis Literary Contests, 1924-27." CLA 32.2 (1988): 235–246. PDF.
 Carroll, Anne. "Protest and Affirmation: Composite Texts in the Crisis." American Literature 76.1 (2004): 89–116. PDF.
 Castronovo, Russ. "Beauty Along the Color Line: Lynching, Aesthetics, and the Crisis". MLA 121.5 (2006): 1443–1459. PDF.
 Digby-Junger, Richard. "The Guardian, Crisis, Messenger, and Negro World: The Early-20th-Century Black Radical Press". The Howard Journal of Communications 9 (1998): 263–282. PDF.
 Farebrother, Rachel. "The Lesson Which India is Today Teaching the World: Nationalism and Internationalism in The Crisis, 1910-1943". Journal of American Studies 46.3 (2012): 603–623. PDF.
 Kirschke, Amy Helen. "Du Bois and The Crisis Magazine: Imaging Women and Family". Notes in the History of Art 24.4 (2005): 35–45. PDF.
 ---. "The Burden of Black Womanhood: Aaron Douglas and the 'Apogée of Beauty.'" American Studies 49.1 (2008): 97–105. PDF.
 Musser, Judith. "African American Women's Short Stories in the Harlem Renaissance: Bridging a Tradition." Mellus 23.2 (1998): 27–47. PDF.
 Omodele, Remi. "'For Us, About Us, Near Us and By Us': American Women Playwrights and the Making of NAACP-DuBois's Edutainment Agenda". Women's History Review 11.1 (2002): 49–70. PDF.
 Reymond, Rhonda L. "Looking In: Albert A. Smith's Use of 'Repoussoir' in Cover Illustrations for the Crisis and Opportunity". American Periodicals 20.2 (2010): 216–240. PDF.
 Stavney, Anne. "'Mothers of Tomorrow': The New Negro Renaissance and the Politics of Maternal Representation". African American Review 32.4 (1998): 533–561. PDF.

Anthologies
 Breaking the Ties that Bind: Popular Stories of the New Woman, 1915-1930. Ed. Maureen Honey. Norman: U of Oklahoma P, 1992. Print.
 The Crisis Reader: Stories, Poetry, and Essays from the N.A.A.C.P.'s Crisis Magazine. Ed. Sondra Kathryn Wilson. New York: Modern Library, 1999. Print.
 Du Bois, W. E. B. W.E.B. Du Bois: The Crisis Writings. Ed. Daniel Walden. Fawcett: Greenwich, 1972. Print.
 Ferguson, Jeffrey B. The Harlem Renaissance: A Brief History with Documents. Boston: Bedford/St. Martin's, 2008. Print.
 "Girl, Colored" and Other Stories: A Complete Short Fiction Anthology of African American Women Writers in The Crisis Magazine, 1910–2010. Ed. Judith Musser. Jefferson, NC: McFarland, 2011.
 Harlem's Glory: Black Women Writing, 1900–1950. Eds. Lorraine Elene Roses and Ruth Elizabeth Randolph. Cambridge, Mass: Harvard UP, 1996. Print.
 The New Negro: Readings on Race, Representation, and African American Culture, 1892–1938. Eds. Henry Louis Gates Jr. and Gene Andrew Jarrett. Princeton: Princeton University Press, 2007. Print.
 The New Negro Renaissance: An Anthology. Eds. Arthur P. Davis and Michael W. Peplow. New York: Holt, 1975.
 Shadowed Dreams: Women's Poetry of the Harlem Renaissance. Ed. Maureen Honey. New Brunswick: Rutgers University Press, 1989. Print.
 W.E.B. Du Bois: A Reader. Ed. Meyer Weinberg. New York: Harper, 1970. Print.

Online resources
 The Crisis. Google Books. Web. Multiple access dates.
 The Crisis. Modernist Journals Project. Web. Multiple access dates.
 Encyclopedia of African American History 1896 to the Present. Ed. Paul Finkleman. Oxford: Oxford University Press, 2009. E-book resource. Web. Multiple access dates.

External links

 The Crisis archives at Modernist Journals Project
 The Crisis archives at Google Books

African-American magazines
Literary magazines published in the United States
Magazines established in 1910
Magazines published in Baltimore
Monthly magazines published in the United States
NAACP
Political magazines published in the United States
W. E. B. Du Bois

The Crisis


Benekli geyik (Axis axis), geyikgiller (Cervidae) familyasından bir geyik türü. Sri Lanka, Bangladeş ve Hindistan'ın büyük kısmında ormanlık arazide bulunur. Hindistan ormanlarında en yaygın olan geyik türüdür.

Kürkü kırmızımsı açık kahverengi ve beyaz beneklidir ve alt kısmı da beyazdır. Her yıl dökülen boynuzları genellikle üç uçlu olup lir şeklinde bükülür ve 75 cm'ye kadar uzayabilir. Kısmen tropik iklim nedeniyle uzun bir çiftleşme dönemi bulunur ve doğumlar yılın her döneminde olabilir. Bu nedenle erkeklerin boynuz dönüşümleri eşzamanlı değildir ve yıl boyunca doğurgan dişilere rastlanır. Sert boynuzları olan erkekler, boynuzları olmayan ya da henüz kadife içinde olanlara karşı üstünlük sağlarlar.

Geyikgiller
Hindistan'daki memeliler

Benekli geyik


Decapitated er et polsk teknisk dødsmetal-band dannet i Krosno i 1996 af brødrene Wacław "Vogg" Kiełtyka (guitar) og Witold "Vitek" Kiełtyka (trommer) sammen med klassekammeraterne Wojciech "Sauron" Wąsowicz (sang) Marcin "Martin" Rygiel (bas). Alle var teenagere fra 13-17 år gamle. Efter to demoer fik bandet kontrakt med pladeselskabet Earache Records, hvor de i 2000 udgav deres første LP Winds of Creation. I 2005 forlod Sauron bandet, og Adrian "Covan" Kowanek blev ny sanger. LP'en Organic Hallucinosis udkom i 2006. Under en tourné i Hviderusland den 28. oktober 2007 kørte deres tournébus galt. Vitek og Covan kom slemt til skade, og fem dage efter døde Vitek. Covan, der havde fået et slemt hovedtraume, kom sig aldrig efter sin hjerneskade. Decapitated blev derefter opløst. Vogg gendannede Decapitated i 2009 med ny besætning: Rafał Piotrowski (vokal) Filip "Heinrich" Hałucha (bas) (tidligere Vesania and Masachist) og Kerim "Krimh" Lechner (trommer). Decapitated fik pladekontrakt med Nuclear Blast record og indspillede Carnival Is Forever i 2011.

Decapitated har optrådt flere gange i Danmark, bl.a. på Copenhell i 2016.

Diskografi
 Winds of Creation (2000)

 Nihility (2002)

 The Negation (2004)

 Organic Hallucinosis (2006)

 Carnival Is Forever (2011)

 Blood Mantra (2015)

 Anticult (2017)

Medlemmer
 Wacław "Vogg" Kiełtyka – guitars (1996−2007, 2009− )
 Rafał "Rasta" Piotrowski – vocals (2009− )
 Michał Łysejko – Trommer (2014− )
 Hubert Więcek – Bas (2016− )

Tidligere medlemmer
 Witold "Vitek" Kiełtyka – trommer (1996–2007; død 2007)
 Wojciech "Sauron" Wąsowicz – vocals (1996–2005)
 Marcin "Martin" Rygiel – bas (1997–2005, 2006–2007)
 Adrian "Covan" Kowanek – vocals (2005–2007)
 Kerim "Krimh" Lechner – trommer (2009−2012)
 Filip "Heinrich" Hałucha – bas (2009−2011)
 Paweł Pasek – bas (2012−2016)

Musikgrupper fra 1996
Teknisk dødsmetal-grupper
Metalgrupper fra Polen

Decapitated


USA under Vinter-OL 1984. 107 sportudøvere, syvoghalvfjerds mænd og tredive kvinder fra USA deltog i ti sportgrene under Vinter-OL 1984 i Sarajevo i Jugoslavien. De deltog i Kælkning, alpint, Bobslæde, Langrend, Kunstskøjteløb, Skihop, Hurtigløb på skøjter, Ishockey, kombineret og Skiskydning. USA blev tredje bedste nation med fire guld- og fire sølvmedaljer. Frank Masley var USAs flagbærer under åbningsceremonien.

Medaljer

Medaljevinderne

Lande ved vinter-OL 1984
1984

USA ved vinter-OL 1984


Kolofan, çam sakızının damıtılmasıyla oluşan, saydam, sarı renkli reçine. Canlı ağaç gövdelerinde açılan yaralardan, ağacın dip kütük kısımlarının ekstraksiyonundan ve sülfat yönteminin yan ürünü olan tall-oil'in fraksiyonlu damıtılmasıyla elde edilir. Suda çözünmez, oda sıcaklığında katı, açık sarı-kahverengi arasında bir renktedir. Eter, alkol, klorlu hidrokarbon ve hidrokarbonlarda çözünür. Kolofanın değerini belirlemede en önemli etken renktir. Renk açık sarıdan koyu kahve rengine doğru harflerle değerlendirilir.

Doğal olarak çam ağaçlarından elde edilen reçine %80 kalofan, %20 terebenti yağı içerir. Kolofanın bileşimi ise %90 reçine asitleri ile %10 nötral maddeler içerir.

Kağıt endüstrisi, yapıştırıcılar, boya endüstrisi, baskı mürekkepleri gibi çeşitli alanlarda yaygın olarak kullanılır. Türkiye'de en çok kızılçamlardan (Pinus brutia) elde edilir.

Reçineler

Kolofan


Valdenir da Silva Vitalino (født 21. februar 1977) er en tidligere brasiliansk fodboldspiller.

Eksterne henvisninger

Fodboldspillere fra Brasilien

Valdenir da Silva Vitalino


Acțiunile militare din Oltenia au reprezentat o serie de lupte și ciocniri care s-au desfășurat între 5/18 noiembrie - 12/25 noiembrie 1916, după înfrângerea forțelor române în Bătălia de la Târgu Jiu și a avut ca rezultat ocuparea întregii Oltenii de către forțele Puterilor Centrale și silirea trupelor române, din compunerea Armatei 1 să se retragă peste Olt.

Contextul operativ strategic

Acțiunile militare din Oltenia au făcut parte din operația de apărare a teritoriului Munteniei, cea de-a patra operație de nivel strategic desfășurată de Armata României în campania anului 1916.

Marele Cartier General român, sub euforia succesului neașteptat din Prima bătălie de pe Valea Jiului, considerase că forțele Puterilor Centrale nu vor mai încerca o nouă lovitură pe Valea Jiului, până la sosirea iernii. După victoria în prima bătălie de pe Jiu, din prima parte a lunii octombrie, Armata 1 română, comandată de către generalul Paraschiv Vasilescu, a trecut la punerea în aplicare măsurilor din planul de reorganizare ordonat de Marele Cartier General, încă de la 9 octombrie, dar care trebuiseră să fie amânate de intervenția germană. Divizia 11 Infanterie a fost scoasă de pe front iar sectorul ocupat de aceasta a fost preluat de unități ale Diviziei 1 Infanterie.

Între 29 octombrie/11 noiembrie - 2/15 noiembrie 1916 s-a desfășurat A doua bătălie de pe Valea Jiului, urmată de Bătălia de la Târgu Jiu care au avut ca rezultat străpungerea apărării forțelor române și forțarea Munților Carpați de către trupele Puterilor Centrale, prin trecătorile Surduc și Vâlcan și ocuparea orașului Târgu Jiu.

Forțe participante

Dispozitivul forțelor române

Dispozitivul forțelor germane

Comandanți

Comandanți români
Comandant ai Armatei 1 - General de brigadă Paraschiv Vasilescu
Comandant al Diviziei 1 Infanterie - Colonel Ioan Anastasiu
Comandant al Diviziei 17 Infanterie - Colonel Constantin Neculcea

Comandanți ai Puterilor Centrale
Comandant al Armatei 9 - General de infanterie Erich von Falkenhayn
Comandant al Comandamentului General LIV Rezervă - General-locotenent Viktor Kühne
Comandant al Corpului de Cavalerie - General-locotenent Eberhard von Schmettow
Comandanți de divizie
 Divizia 41 Infanterie germană - General-maior Heinrich Schmidt von Knobelsdorff
 Divizia 109 Infanterie germană - General-maior Horst Ritter und Edler von Oetinger
 Divizia 11 Infanterie bavareză - General-locotenent Paul von Kneussl
 Divizia 301 Infanterie bavareză - General-locotenent Johannes von Busse
 Divizia 6 Cavalerie germană - General-maior Karl Stenger
 Divizia 7 Cavalerie germană - General-maior Albert von Mutius

Planurile de operații

Desfășurarea acțiunilor militare

Rezultate și urmări

Note

Bibliografie
 Dabija, Gheorghe (general), Armata română în răsboiul mondial (1916-1918), vol. I-IV, Tipografia "Lupta" N. Stroilă, București, 1932-1936
 Falkenhayn, Erich von, Campania Armatei a 9-a împotriva românilor și a rușilor, Atelierele Grafice Socec & Co S.A., București, 1937
 Kirițescu, Constantin, Istoria războiului pentru întregirea României, vol. I-II, Editura Științifică și Enciclopedică, București, 1989
 Ioanițiu, Alexandru (lt.col.), Războiului României, 1916-1918, vol. I, Tipografia Geniului, București, 1929
  ***, România în războiul mondial 1916-1919, Documente, Anexe, Volumul 1, Monitorul Oficial și Imprimeriile Statului, București, 1934
 ***, Istoria militară a poporului român, vol. V, Editura Militară, București, 1989
 ***, România în anii primului Război Mondial, Editura Militară, București, 1987

Vezi și
 Participarea României la Primul Război Mondial
 Ordinea de bătaie a Armatei României (1916)
 Bătălia de la Târgu Jiu

Bătălii de pe frontul românesc în Primul Război Mondial

Acțiunile militare din Oltenia (1916)


Accenture je multinacionalna stručna servisna tvrtka sa sjedištem u Irskoj specijalizirana za IT usluge i savjete. Tvrtka je uključena u popis Fortune Global 500 s prijavljenim prihodom od 50,53 milijarde dolara u 2021. Trenutni korisnici akcenture uključuju 91 članova Fortune Global 100 popisa i više od tri četvrtine Fortune Global 500 liste.

Od 1. rujna 2019. izvršni direktor tvrtke je Julie Sweet.

Društvo je registrirano u Dublinu u Irskoj od 2009. godine.

Izvori

Vanjske poveznice
 Accenture

Računalne tvrtke
Irske tvrtke

Accenture


WCNC-TV (channel 36) is a television station in Charlotte, North Carolina, United States, affiliated with NBC. The station is owned by Tegna Inc. WCNC-TV's studios are located in the Wood Ridge Center office complex off Billy Graham Parkway (Route 4), just east of the Billy Graham Library in south Charlotte, and its transmitter is located in north-central Gaston County.

Channel 36 was established as WCTU-TV, an independent television station, in 1967. After falling into receivership brought on by severe economic hardship, WCTU was purchased by Atlanta broadcast pioneer Ted Turner. Renamed WRET-TV, the station's fortunes turned around and thrived throughout the 1970s. WRET became Charlotte's NBC affiliate in 1978 following WSOC-TV's switch from NBC to ABC, launching local newscasts. Turner sold WRET to Westinghouse Broadcasting in 1979 to raise capital for his new venture CNN; as WPCQ-TV, the station struggled with limited resources, frequently preempting NBC fare—including the NBC Nightly News—and was used to develop talent for other stations in the Group W chain. Spun off to local ownership in 1984, WPCQ's status with NBC remained uncertain despite substantial technical upgrades and a reinvestment in local news. Purchased by The Providence Journal Company in 1988, the Belo Corporation in 1996, and Tegna Inc. predecessor Gannett in 2013, the station was renamed WCNC-TV in 1989 and has generally been Charlotte's third-rated television station since.

History

Prior use of channel 36 in Charlotte

The first station to operate on UHF channel 36 in Charlotte signed on the air January 5, 1954, as WAYS-TV; that station was sold and changed its call letters to WQMC-TV on January 24, 1955. Charlotte's second television station, WAYS-TV/WQMC-TV did not make any headway against WBTV (channel 3) because television set manufacturers were not required to include UHF tuning capability at the time; this would not change until Congress passed the All-Channel Receiver Act in 1961. It ceased operations in March 1955. A plan to return it to the air as WUTV under reconstituted ownership in 1957 was unsuccessful, but it aired educational programming from 1961 to 1963. Cy Bahakel bought the station in 1964 and returned it to the air as WCCB, which broadcast on channel 36 before moving to UHF channel 18 in November 1966.

Charlotte Telecasters era
The current incarnation of channel 36 signed on the air on July 9, 1967, as WCTU-TV. Dr. Harold W. Twisdale, a dentist from Charlotte, and Washington, D.C.-based engineer David L. Steel were the leaders of the original ownership group, operating as Charlotte Telecasters Inc. (The station had intended to take the call letters WCTI, but citing potential confusion, local educational station WTVI successfully objected; the U stood for UHF.) WCTU was North Carolina's first independent station, beating Hickory-based WHKY-TV (channel 14) to the air by eight months.

Twisdale and Steel were the lead investors in other planned UHF stations; though construction permits were never built for stations in Memphis and Richmond and the group lost out on channel 28 in Durham, WCTU-TV and WATU-TV (later WAGT) in Augusta, Georgia, made it to air. WATU-TV was a profitable operation; in comparison, debts incurred in starting WCTU-TV would prompt Twisdale to shelve his Memphis and Richmond plans.

WCTU was initially a low-budget independent station operating about eight hours a day from 3 pm to 11 pm. It ran a lineup of some very old movies, westerns, some comedy shows from the early 1950s, and public affairs shows. The station, which operated from studios on Hood Road in the Hickory Grove neighborhood of Charlotte, had very modern equipment for the time and broadcast some shows and movies in color, as well as all of its local programming in color.

The station hit hard times financially in 1969. In July, equipment supplier Ampex filed two lawsuits seeking $1.3 million from WCTU-TV for failing to pay for products it had purchased from them. Film distributor National Telefilm Associates had also sued channel 36 for $80,000 for breaching a film rental contract. That September, a court placed WCTU into receivership, though it continued to broadcast. Stating that "we feel there have been combined forces which hinder our operation", Twisdale foreshadowed a years-long antitrust case against the Jefferson-Pilot Corporation, owner of WBTV, which was not fully dismissed until 1977.

The Turner turnaround

Channel 36 found a buyer in February 1970: Atlanta broadcasting mogul Ted Turner, who purchased WCTU through Turner Broadcasting of North Carolina for $1.25 million. Turner had scouted out buying equipment from the bankrupt station but decided instead to buy the whole operation. At the time, he owned just one other television property, WJRJ-TV in his hometown Atlanta, as well as three radio stations in other southeastern cities. Turner renamed the station WRET-TV—using the initials of his full name, Robert Edward Turner III—in July and instituted a new and expanded program lineup in August. Just two programs, wrestling and the music video program The Now Explosion, were retained.

Turner's new Charlotte station was not an immediate success. Programming costs were high relative to ratings. The station had just one on-air personality: announcer Bob Chesson, who as "Dead Ernest" hosted the station's block of horror films. One Saturday morning in February 1972, Turner appeared on the station to appeal for contributions from viewers, saying that channel 36 had not broken even since he had purchased it. The station drew $53,000 in donations, enough to help pay its bills, and also received interest from several new advertisers. WRET-TV became a typical UHF independent, airing a lineup of cartoons, sitcoms, older movies, and a heavy slate of sporting events. It was among the early carriers of The 700 Club, produced by the Christian Broadcasting Network; at one point, the Charlotte area accounted for 15 percent of CBN's pledge contributions.

By 1975, buoyed by a stronger film library, WRET-TV had emerged as the country's fifth-best independent station of 65 nationwide in audience share, per an analysis by Television/Radio Age, and was making a profit. After five years of being independently operated from the rest of his Turner Communications Group, that company absorbed WRET-TV and its parent company later that year. Late that year, Turner was making plans to uplink one of its two stations nationwide for distribution to cable providers. While Turner preferred to uplink his Atlanta flagship, by then renamed, WRET-TV was a backup in the event that the Federal Communications Commission did not relax rules that prevented the existence of superstations in top-25 television markets. Channel 36 ended the year by announcing plans to repay the viewers whose contributions had saved it four years prior, doing so in February 1976. Each of the 3,600 contributors, who had sent in from 25 cents to $200, received checks returning their money—with interest—from Turner.

In 1976 and 1977, channel 36 became an even more aggressive buyer of programming, grabbing local rights to Mary Hartman, Mary Hartman from WSOC-TV and stepping in to run CBS coverage of NBA basketball when WBTV passed on the package; it also aired other network shows that Charlotte's affiliates preempted. It was airing on 148 cable systems in the Carolinas, Tennessee, and Virginia. However, WRET-TV remained a laggard in news and public affairs programming. Its 15-minute sign-off newscast—the only such program on the station as an independent—was read by Bill Tush from Turner's headquarters in Atlanta and fed to Charlotte by telephone.

From independent to NBC affiliate
In 1977, ABC announced that it had lured longtime NBC affiliate WSOC-TV to be its new outlet in the Charlotte market beginning July 1, 1978, replacing WCCB-TV. That decision set off a two-station showdown between WCCB and WRET for the NBC affiliation in Charlotte. WCCB was seen as the favorite; unlike WRET, it had a functioning news department. Sources at NBC were said to see channel 36 as their last option behind WCCB, with its stronger signal, and long-dominant WBTV, which the network was trying to woo from CBS to no avail.

Turner, however, promised NBC that he would spend $2.5 million on station improvements if the network moved its programming to WRET. Of that total, $1 million would go towards starting a full scale news department within one year; the proposed expansion would employ 22 people, compared to 26 at WSOC and 12 at WCCB. On April 29, news broke that channel 36 had been selected for the NBC affiliation, with the network preferring it over WCCB based on Turner's turnaround record with the station and his ownership of the Atlanta Braves and Atlanta Hawks. With the decision, WCCB became an independent station.

Two months after assuming the NBC affiliation, WRET launched its first newscasts in September, under the banner of "Action News"; Robert D. Raiford was the station's first news anchor. The main news was presented at 7 pm, but the different time slot failed to attract viewers. Where WBTV had a 52 share and WSOC a 23 for their 6 pm newscasts, WRET could only pull a 5. Bob Wisehart of the Charlotte News described WRET's news operation as "spend[ing] a great deal of effort going no place at all". The same could have been said of the station, which was said to be barely breaking even after the switch.

Group W era
Turner's ambitious and mostly successful ownership of the station would not last much longer after obtaining the NBC affiliation. By 1979, Turner was in the process of starting CNN, and he announced he would sell channel 36 to help raise the capital needed for the new venture. On May 16, 1979, the sale of WRET-TV to Westinghouse Broadcasting (also known as Group W) was announced for $20 million, setting a then-record for a single UHF television station. The news of a purchase by Group W, owner of regarded television and radio stations in other cities, was initially met with glee by the WRET-TV staff. Two station employees who had been looking for new jobs elsewhere decided to stay when the sale was announced. In 1984, Reese Schonfeld, who co-founded CNN with Turner, would note that by providing the collateral against which Turner obtained money for CNN in the WRET-TV purchase, Westinghouse financed the start of CNN and then of its own short-lived Satellite News Channel two years later.

Final approval of the sale was secured at the end of April 1980, when Westinghouse agreed to furnish $400,000 in grants and affirmative action programs in exchange for the withdrawal of a license renewal challenge by local civil rights groups; the Federal Communications Commission did find in their favor when it said the station did not employ enough minorities, renewing WRET-TV's license for a half-term of 18 months. Some of the funds went to improve the journalism school at the historically Black Johnson C. Smith University.

Westinghouse changed the station's call letters to WPCQ-TV, representing "People of the Carolinas and Queen City", on September 29; the station rebranded as "Q36" to go with the callsign change. The move came alongside a major programming reshuffle and an increase in effective radiated power from 1.3 to 2.5 million watts. The newscasts were moved from 6 and 11 p.m. to 5:30 p.m. and 12:30 a.m., and several new magazine shows were added, as was a Friday night public service-concept game show called Quibble, which was soon demoted to Saturdays. The early newscast was then moved back to 6 p.m., but WCCB, airing reruns of Good Times, drew 13 percent of the audience in May 1982 compared to the 2 percent that watched the WPCQ-TV newscast; the station was, again, losing money. Westinghouse's inability to make channel 36 more competitive surprised even local rivals, who had expected the company to do more with the station.

In August 1982, the station made another programming change, this time attracting considerable national attention: it dropped its low-rated early evening newscast. When it axed that program, it also decided to cease carrying the NBC Nightly News. This prompted NBC officials to shop the Nightly News to Charlotte's other stations, including WBTV. The station continued with its noon newscast, as well as short news capsules throughout the day and occasional news specials. Station officials blamed WPCQ-TV's signal, which—despite the power increase—was not strong enough to reach outer areas of the market that got better signals from WXII-TV in Winston-Salem, North Carolina, and WIS-TV in Columbia, South Carolina. John J. Spinola, the general manager of the station, admitted that he was "pretty well encircled by NBC affiliates".

"Q36" became known for frequent preemptions of NBC network fare, including the soap opera Texas, coverage of the 1984 Democratic National Convention, and network sporting events. It also delayed the David Brinkley-hosted NBC Magazine to midnight to air its own Action News Magazine. Even Westinghouse's own productions were not guaranteed an audience on the station; after two years of WPCQ-TV airing Hour Magazine, it moved to WBTV in 1982.

Seeing little positive progress with WPCQ-TV, Westinghouse soon chose to use the station's low expectations to their advantage elsewhere in the company. Westinghouse had long extensively promoted from within and thus used WPCQ as the equivalent of a "farm team". Its more promising on-air personalities merely treated WPCQ as a stepping stone towards promotion to Group W's well-regarded heritage radio and television stations outside Charlotte. When a union strike at the company's New York City all-news station WINS left it without announcers, Westinghouse sent WPCQ anchor Raiford there as part of a team of 20 employees from other Group W stations to keep it running. Talent often left for vacancies elsewhere in the company, such as when sports director Lou Tilley moved to Boston to become the weekend sports anchor at WBZ-TV. Amanda Davis, who had anchored the news three years for WPCQ-TV, became a correspondent for Group W's Satellite News Channel after turning down an offer to report for its Baltimore station, WJZ-TV.

A new Odyssey
Odyssey Partners, a New York investment partnership headed by Michael Finkelstein, acquired WPCQ-TV in 1984 after four years of Westinghouse ownership. For Westinghouse, the move was about focusing on major markets and shedding a station that was estimated to have lost $5 million in four years; Charlie Hanna, writing in Variety the year before, noted that Westinghouse had seemed to lose its "gung-hoism" for the station. Mark Wolf, television and radio columnist for The Charlotte Observer, would note that elements that Group W had used successfully elsewhere had failed to make a dent against two formidable and entrenched competitors in Charlotte, and that the company seemed to lack other ideas when its typical plans did not work.

When the sale closed in February 1985, Odyssey immediately announced the restoration of the NBC Nightly News to the station's schedule. Later that year, talk began of the potential return of local newscasts when station general manager Stan Rudick said that channel 36 was conducting market research on the idea. The station had reason to get back in the news game, as Charlotte was being cited as a potential market for NBC to move its affiliation. In February 1986, the station announced it would return to producing evening newscasts.

Following a $2 million investment, 5:30 and 11 pm news programs began airing September 8, 1986, anchored by former Atlanta newsman John McKnight and Karen Adams. Ratings were low but exceeded the levels of Action News in the Group W era. The original "36 News" early evening newscast expanded to an hour and became "News 36" in May 1988 in what amounted to a soft reboot of the operation. The revamp brought a string of new faces, notably including weekend sports anchor Hannah Storm.

Odyssey also implemented a technical overhaul for WPCQ-TV. In 1987, the station bought land north of Dallas to build a new tower near those owned by WBTV and newly built WJZY and filed to increase power to the maximum 5 million watts. After surviving an attempt by NBC to move its affiliation from channel 36, in which NBC attempted to court both Charlotte VHF stations and the new WJZY, the new tower and stronger signal were activated in September 1988, giving WPCQ-TV signal parity with other Charlotte stations.

Providence Journal
The Providence Journal Company (ProJo) purchased WPCQ-TV in 1988 for $30 million, marking its fourth television station purchase. ProJo immediately set out to build a new identity for the station. After initially pursuing the call letters WPJB-TV, formerly used by the Journals Providence radio stations, the station instead became WCNC-TV (for "Charlotte, North Carolina") on September 3, 1989. That same day, the station split its 5:30 p.m. news hour into two half-hour newscasts, and it also moved to cable channel 6 on most area systems. The station also built new studios, costing $6.5 million, on Billy Graham Parkway in the Wood Ridge office complex, where it would be joined by the new headquarters of the NBC News Channel affiliate service, which general manager John Hayes had successfully lured to Charlotte. ProJo also sprung for a new satellite truck, the only one in the market, and overnight ratings for the Charlotte market. The early months of NBC Nightside, an NBC News Channel production, came from the new WCNC set. Despite all the improvements, WCNC's news remained firmly in third.

Beginning in 1996, the station was branded on-air as "NBC 6", in reference to its cable channel location; it quietly shed that moniker to go by its call letters in 2004, seeking to avoid potential confusion in ratings diaries.

Belo ownership

In 1996, the Belo Corporation bought the Providence Journal Company. The station suffered from two anchor departures in just over a week in early 1997 as Belo completed the purchase; meanwhile, its newscasts were still in third place. Under new general manager Richard Keilty, WCNC lured Sonja Gantt, formerly of WBTV, back to the market from a stint in Chicago. The station also got a new $200,000 news set as Belo sought to raise the station from its perennial cellar.

The next year, Ray Boylan, a longtime meteorologist at WSOC-TV, unretired and did on-air reports on WCNC, while the station also hired Terri Bennett, who had been in the running to replace him on channel 9 but was passed over. Boylan and Bennett were backed up by the station's purchase of a new Doppler radar and other weather equipment. However, not all of the talent changes made were positively received; the ouster of Beatrice Thompson, who had been Charlotte's first full-time Black anchor at WBTV in the 1980s, led to protests by some viewers who felt she had been forced out because of her race.

Boylan retired in December 2000. The station showed momentum in local news ratings in the early 2000s, particularly in mornings and at 11, and between 2000 and 2002, it produced a 10 p.m. newscast for WB affiliate WFVT-TV.

On October 30, 2009, WCNC broke the record for most Halloween costume changes during a local news program, with 11 costumes worn by the station's anchor team (Jeff Campbell, Colleen Odegaard, and Larry Sprinkle, as well as producer Natalie Ridley) were involved in setting the record during its weekday morning newscast that day.

In 2008, after referring to itself simply with its call letters and using the slogan "Carolinas' News Connection", WCNC changed its branding to "NewsChannel 36", citing its over-the-air channel number and the coming arrival of digital television. In 2012, the station's branding was changed once again to "NBC Charlotte"; this time, the reasoning for the change was that few people actually watched the station over-the-air or on satellite on virtual channel 36.

Gannett/Tegna ownership
On June 13, 2013, the Gannett Company announced that it would acquire Belo for $1.5 billion. The sale was finalized on December 23. Investments made by Gannett in WCNC after the Belo purchase included the conversion of newscasts to high definition and a new computer system for the newsroom.

On June 29, 2015, Gannett split in two, with one side specializing in print media and the other side specializing in broadcast and digital media. WCNC was retained by the latter company, named Tegna.

Newscasts

WCNC-TV presently broadcasts 40½ hours of locally produced newscasts each week (with 6½ hours each weekday, and four hours each on Saturdays and Sundays); in addition, the station produces the hour-long entertainment and lifestyle program Charlotte Today, which airs weekday mornings at 11:00 am and was started in 2010.

After a solid, if low-rated, start under Turner's watch, the news department was severely hamstrung by Group W's bargain-basement approach to running the station. Group W immediately dropped the station's weekend evening newscasts and moved the 11 pm newscast to 12:30 am before canceling it altogether in 1981. The early evening newscast was shifted between the 5:30 and 6 pm timeslots until the fall of 1982, when it was canceled as well. For the remainder of Group W's ownership, the station's only remaining local news programming consisted of a half-hour newscast at noon, hourly cut-ins, five-minute local inserts during Today, a weekly magazine program, and occasional specials.

After Odyssey Partners bought the station, the noon newscast was discontinued in the spring of 1985. In September 1986, WPCQ relaunched a full-fledged news department. At first, the station scheduled its early-evening newscast for 5:30 pm, knowing at the time that it could not hope to compete with WBTV and WSOC-TV at 6 pm. In 1988, WPCQ expanded the 5:30 newscast to one hour and added a 6:00 pm newscast on weekends. After becoming WCNC, the station added a distinct 6 pm newscast to the weeknight schedule. Under Belo, the station expanded further into new timeslots in the late 1990s, including a 5:00 am morning show, unusual at the time.

In 1999, the station's news department was chronicled in the five-part PBS documentary series Local News. That same year, WCNC entered into a news share agreement with then-Fox affiliate WCCB to take over production of that station's 10:00 p.m. newscast, shortly after WSOC-TV ended its agreement to produce the program after WCCB announced it would launch its own news department. After WCCB's in-house news operation launched in 2000, WCNC began airing a 10:00 p.m. newscast on WB affiliate WWWB (channel 55, now WMYT-TV), which ran until the program was canceled due to low ratings in 2002. The station won a Peabody Award in 2003, the first for a Charlotte television station in 27 years, for an investigation into dental care through Medicaid and attracted notice in the market for its award-winning ways.

For much of the 2000s, WCNC had waged a spirited battle with WBTV for second place behind WSOC-TV, though it would later return to a distant third place in most timeslots as the performance of the NBC network in the late 2000s and poor daytime syndicated offerings dragged it down. This continued in the February 2016 sweeps, when its evening newscasts drew barely half the viewership of WBTV.

In late 2005, WCNC debuted the Charlotte market's first 4:30 pm newscast, creating a two-hour local news block from 4:30 to 6:30 pm. In 2007, the station phased out its longtime 6News brand and rebranded itself as "WCNC, Carolinas' News Connection". In August 2008, it rebranded once again to NewsChannel 36, marking the first time in 12 years that WCNC had used its over-the-air channel number in its branding. Beginning in September 2008, WCNC aired news at 4:00 pm, with Judge Judy at 4:30; in January 2012, the 4:00 news expanded to an hour and the noon news shrank from an hour to 30 minutes.

On May 18, 2009, WCNC began broadcasting its local newscasts in 16:9 widescreen standard definition; this change came alongside the revamping of the station's on-air news graphics. A conversion to full high definition followed on June 28, 2014.

Notable current on-air staff
 Sarah French – anchor

Notable former on-air staff
 Heather Childers – weekend anchor (1992–1995; Fox News Channel, now Newsmax TV as of late 2020)
 Amanda Davis – reporter (1979–1982; later at SNC as a correspondent in Washington, D.C. (1982–1983), WAGA in Atlanta (1986–2013), and WGCL in Atlanta (2015–2017); passed away on December 27, 2017)
 Allen Denton – anchor (1996–2000; later at KUSI-TV in San Diego)
 Doug McKelway – reporter (1980–1982; later at WRC-TV and WJLA-TV in Washington, D.C.; now at Fox News Channel)
 Bob Raiford – anchor and talk show host (1978–1986; later on The John Boy and Billy Big Show), deceased 2017
 Hannah Storm – sports anchor (1988–1989; later at NBC Sports and on The Early Show on CBS, now with ESPN)
 Beatrice Thompson – general assignment reporter (1988–1989)
 Beth Troutman – news anchor (2015–2017)

Technical information

Subchannels
The station's signal is multiplexed:

Prior subchannel offerings from WCNC have included NBC Weather Plus and the Live Well Network.

WCNC-TV was added to Charlotte's ATSC 3.0 (NextGen TV) deployment on WAXN-TV on July 7, 2021. As part of the change, WAXN's 64.4 subchannel of Laff was placed on WCNC-TV's multiplex, keeping it available in ATSC 1.0 format.

Analog-to-digital conversion
WCNC-TV shut down its analog signal, over UHF channel 36, on June 12, 2009, the official date on which full-power television stations in the United States transitioned from analog to digital broadcasts under federal mandate. The station's digital signal remained on its pre-transition UHF channel 22, continuing to use virtual channel 36.

WCNC-TV moved its digital signal from channel 22 to channel 24 on September 6, 2019, as part of the FCC's spectrum reallocation process.

Translators
WCNC-TV's signal is additionally rebroadcast over the following translators:

 Biscoe:
 Lilesville/Wadesboro:

See also
 Channel 6 branded TV stations in the United States
 Channel 24 digital TV stations in the United States
 Channel 36 virtual TV stations in the United States

References

External links

CNC-TV
NBC network affiliates
True Crime Network affiliates
Court TV affiliates
Quest (American TV network) affiliates
Twist (TV network) affiliates
Tegna Inc.
Television channels and stations established in 1967
Westinghouse Broadcasting
Peabody Award winners
1967 establishments in North Carolina
Former Gannett subsidiaries

WCNC-TV


An Cyperus grayioides in uska species han Liliopsida nga ginhulagway ni Robert H Mohlenbrock. An Cyperus grayioides in nahilalakip ha genus nga Cyperus, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Cyperus

Cyperus grayioides


Rejsen er en dansk film fra 2004 instrueret af Thomas Aue Sobol og Jacob Aue Sobol.

Handling
Filmen tager os med på Marias rejse fra sin landsby til havet. Hun er mayaindianer, traditionelt klædt i farverige vævede stoffer. Hun vil lære verden at kende uden for sin egen landsby, så hun besøger den lidt større regionalby og den store universitetsby for til sidst at nå ud til havet, som har en stor symbolsk betydning for hende. Hun er meget bevidst om sin egen fremtid og sine muligheder, men er hun realistisk? Eller er det drømme? Det bliver også en rejse fra det traditionelle samfund til det moderne samfund; - en rejse hvor det væsentlige spørgsmål er om traditionen og mayakulturen vil overleve undervejs?

Referencer

Eksterne henvisninger

Danske film fra 2004

Oplysningsfilm fra Danmark

Rejsen (film fra 2004)


An Polystachya mildbraedii in uska species han Liliopsida nga ginhulagway ni Friedrich Fritz Wilhelm Ludwig Kraenzlin. An Polystachya mildbraedii in nahilalakip ha genus nga Polystachya, ngan familia nga Orchidaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 P. m. angustifolia
 P. m. mildbraedii

Mga kasarigan

Polystachya

Polystachya mildbraedii


El distrito de Salitral  es uno de los ocho que conforman la provincia de Sullana ubicada en el departamento de Piura en el Norte del Perú.

Desde el punto de vista jerárquico de la Iglesia católica, forma parte de la Arquidiócesis de Piura.

Historia
En 1940, Salitral era ya un caserío bien demarcado y dependía de la jurisdicción de Querecotillo, En 1941 se conforma un comité pro-distrito de Salitral y en 1943 Simón Zapata Albán es nombrado presidente de este comité. En 1946 el diputado por Sullana Felipe Garcia Figallo presenta en el congreso el proyecto de ley para la creación del distrito de Salitral y es así como el 19 de junio de 1946 se promulga el decreto de Ley N° 10617 mediante el cual se crea el distrito de Salitral, mandato legal que fuera publicado por el entonces Presidente Constitucional de la República José Luis Bustamante y Rivero.

Geografía
Se halla ubicado a la margen derecha del río Chira, al noroeste de la capital provincial, entre los distritos de Querecotillo y Marcavelica.

Capital
El pueblo de Salitral, ubicado a 60  Cuenta con un colegio secundario "I.E 19 DE JUNIO".
EL DISTRITO DE SALITRAL ESTA: Comprendido por Cinco Sectores las cuales son
 Barrio Norte
 Barrio 6 de abril
 Barrio Sur
 Barrio Buenos Aires
 El Barrio 31 De Mayo

Caseríos
Además el distrito de salitral tienes sus caseríos que son:
 Miraflores
 Cabo verde
 La pedrera
 Puerto rico

Autoridades

Municipales
AP|Anexo:Alcaldes de Salitral (Sullana)|l1=Alcaldes de Salitral
 2015-2018
 Alcalde: Edgardo Rosas Gonzaga Ramírez, del Partido Aprista (APRA).
 Regidores: Alberto Ramírez Morales (APRA), Yrma Modesta Cahuas Cruz de Mena (APRA), Mirtha Beatriz Cruz Jiménez (APRA), Leyla Lisset Quispe Seminario (APRA), Franklin Erick Morales Prieto (Acción Popular).
 2011-2014
 Alcalde: Edgardo Rosas Gonzaga Ramírez, Partido Aprista Peruano (APRA).
 Regidores: Elmer Ramírez Ramos (APRA), Katherine del Milagro Visueta Agurto (APRA), Manuel Antonio García Rugel (APRA), Danitza Ivonne Sandoval Seminario (APRA), Manuel Germán Márquez Cruz (Acción Popular).
 2007-2010
 Alcalde: Nazario Molina Correa, Acción Popular.
 2003-2006: Alcalde: Edgardo Rosas Gonzaga Ramírez, Partido Aprista Peruano.
 1993-2002: Alcalde: Nazario Molina Correa, Acción Popular.

Policiales
 Comisaría de Sullana
 Comisario: Cmdte. PNP Roberto Alvarado Dextre.

Religiosas
 Parroquia San Francisco Javier
 Párroco: Pbro.dergi facundo facundo
.

Festividades
La fiesta de mayor importancia es la de la Sociedad de la Virgen del Carmen, quien es considerada como la Patrona del pueblo y cuya imagen se encuentra en el templo que lleva su nombre. Su día central es el 16 de julio.

Otra festividad es la de la Sociedad de la Santísima Cruz cuyo día central es el 3 de mayo. Anteriormente la Sociedad de la Santísima Cruz de Coposito celebraba su fiesta en dos fechas, el 31 de diciembre donde se "quemaba" el año viejo y el 1º de enero para celebrar el año nuevo.

Referencias

Véase también
 Organización territorial del Perú
 Sullana

Enlaces externos

 Blogger Victor Yacila Arévalo http://profvicya.blogspot.pe/

Salitral

Distrito de Salitral (Sullana)


Düş Gezginleri, Atıf Yılmaz'ın yönettiği, 1992 yapımı Türk filmi. Lale Mansur'a En İyi Kadın Oyuncu dalında Altın Portakal kazandırmıştır. Ne kadar heteroseksüel bakış açısıyla çekilse de halk tarafından ötekileştirilen, farklı gözle bakılan, toplumda yaşama şansı bırakılmayan eşcinsel ve seks işçisi insanları işleyerek yankı uyandırmış ve 1994'te Torino LGBT Film Festivali'ne katılıp uluslararası bir eşcinsel film şenliğine katılan ilk Türk filmi olma özelliğine sahip olmuştur.

Bunun dışında ego, paranın gücü, mevki/kariyer, toplumdaki namus ikiyüzlülüğü gibi konuların işlendiği filmde en çıkarsız, en temiz karakter olan Havva'nın bir seks işçisi olmasıyla bu ikiyüzlülük açıkça yüzümüze vurulmuştur.

1992 çıkışlı Türk filmleri
LGBT temalı Türk filmleri
Atıf Yılmaz'ın yönettiği filmler
Lezbiyen temalı filmler
1990'larda Türkçe filmler
Ertunç Şenkay'ın görüntülediği filmler

Düş Gezginleri


Kalretikulin je jedan od glavnih proteina endoplazmatskog retikuluma, a glavne uloge su mu potpomaganje smatanja proteina i održavanje homeostaze kalcija.  Iznimno je negativno nabijen protein čija je masa 60kDa, a izoelektrična točka mu ima vrijednost od 4,7.

Struktura
Struktura kalretikulina podijeljena je na tri funkcionalne domene: N, P i C domena. C domena posjeduje najveći kapacitet za vezanje kalcija, dok P domena bogata prolinom ima veliki afinitet za vezanje kalcija no mali kapacitet. N domena sadrži fosforilacijsko mjesto, mjesto za vezanje hormonskih receptora i podjedinica integrina.

Lokacija
Inače rezidentni protein ER-a, može se još naći i u perforinima CD8+ stanica, akrosomi spermija, slini krpelja i u krvi.

Funkcije
Kalretikulin sudjeluje u velikom broju funkcija stanice, a dvije su njegove najbitnije uloge u ER-u  regulacija homeostaze Ca2+  i uloga šaperona. Druge uloge u  ER-u su modulacija unosa i izlaska Ca2+   putem SERCA  i InsP3 proteina, modulacija degradacije ostalih šaperona itd. Osim funkcija unutar ER, kalretikulin izvan njega može modulirati staničnu adheziju, signalizaciju Ca2+ ionima ovisnu o integrinima, ekspresiju gena ovisnu o vezanju steroida itd.

Lektin-like šaperon
Ulogu šaperona kalretikulin obavlja poput lektina - veže nezrele glikoproteine tako što prepoznaje terminalnu glukozu te manozne dijelove preko Glc1Man9GlcNAc2  oligosaharida. Osim oligosaharida veže kalcij koji je neophodan za funkciju kalretikulina kao i za vezanje drugih proteina šaperona u kompleks. Ukoliko šaperoni pravilno smotaju protein, s njega će se ukloniti i zadnja molekula glukoze te će moći izaći iz ER-a. Iako je kalretikulin protein koji obavlja tako važnu ulogu ona i dalje nije dovoljno detaljno istražena.

Regulacija homeostaze Ca2+
Zbog brojnih šaperona koji vežu kalcijeve ione i time povećavaju kapacitet pohrane, luminalna koncentracija Ca2+ u ER-u tri je puta veća od koncentracije Ca2+ u citosolu. Deplecija Ca2+ u ER-u rezultirala bi inhibicijom funkcije šaperona, pogrješnim smatanjem proteina, narušavanjem interakcija kalretikulina s drugim šaperonima koje su Ca2+ ovisne, stabilnost šaperona itd.

Također, prekomjerna ekspresija kalretikulina ima velik efekt na unutarstanično pohranjen Ca2+ zbog povećanog vezanja kalcija na regije visokog kapaciteta.

Kalretikulin djeluje kao blokator SERCA proteina te tako smanjuje unos Ca2+ u ER, a njegova deplecija pokazuje smanjeno otpuštanje Ca2+ iz ER-a putem InsP3 proteina.

Kalretikulin i rak
Mutacije koje nastaju spontano ili inducirano, mogu dovesti do narušavanja stanične homeostaze i ugrožavanja imunosnog nazora što u konačnici može rezultirati stvaranjem raka. Insercije ili delecije, na C-terminalom dijelu 9. eksona kalretikulina, uzrokuju promjenu naboja amino kiselina iz negativnog u pozitivni.

Mutirani kalretikulin izlazi iz endoplazmatskog retikuluma i stvara komplekse sa trombopoetinskim receptorom, što posljedično rezultira njegovom dimerizacijom i aktivira signalnu kaskadu JAK2, MAPK i STAT. Prisutna je trombopoetin neovisna signalizacija koja dovodi do nekontrolirane klonalne ekspanzije hematopoetskih matičnih stanica i megakariocita. Terapeutski potencijal je vidljiv u upotrebi inbihitora JAK2 puta.

Izvori

Biologija

Kalretikulin


Sărurile de diazoniu sunt un tip de compuși organici ce conțin o grupă funcțională de tipul , unde R poate fi orice rest organic, precum alchil sau aril, iar X este un anion, organic sau anorganic, precum un ion halogenură. Sărurile de diazoniu, în special cele în care R este o grupă aril, sunt intermediari importanți în sinteza organică a coloranților azoici.

Obținere

Procedeul de obținere al sărurilor de diazoniu poartă numele de "reacție de diazotare". Această reacție a fost notată pentru prima dată de către Peter Griess în 1858, care mai apoi a descoperit diverse alte reacții ale compușilor din această clasă. Compușii de diazoniu se mai pot prepara prin tratarea aminelor aromatice cu acid azotos (sau azotiți) și un alt acid (de obicei, acid clorhidric). De obicei, acidul azotos este obținut in situ din azotit de sodiu și un exces de acid mineral:
NaNO2 + H+  →   HNO2 + Na+
ArNH2  +  HNO2  +  H+   →   ArN2+  +  2H2O

Soluțiile apoase de săruri de diazoniu sunt instabile la mai mult de  5 °C. Se pot separa cel mai ușor prin transformarea lor în borofluoruri, care sunt stabili la temperatura camerei. Sărurile de diazoniu au tendința de a se suprasatura în soluție, iar prin cristalizare, ele pot să explodeze ușor.

De obicei, sărurile de diazoniu nu se pot izola, de aceea se folosesc ca și reactanți in situ. Această utilizare a lor este ilustrată în reacția de obținere a unui arilsulfonil:

Proprietăți

Reacții de cuplare

Cea mai cunoscută și utilizată reacție a sărurilor de diazoniu este reacția de cuplare. Prin acest proces, compușii de diazoniu sunt atacați de un compus bogat în electroni. Când cuplarea se face cu arene precum aniline sau fenoli, reacția este o  substituție electrofilă aromatică (SEAr):

 + Ar′H → ArN2Ar′ + H+

Vezi și
 Azoderivat

Referințe

Bibliografie
 Constantin D. Albu, Maria Brezeanu, Mică enciclopedie de chimie, Editura Enciclopedică Română, 1974, p 428

Compuși organici
Grupe funcționale

Sare de diazoniu


Ortakonuş, Antalya ilinin Gündoğmuş ilçesine bağlı bir mahalledir.

Coğrafya
Antalya iline 167 km, Gündoğmuş ilçesine 14 km uzaklıktadır.

Nüfus

Gündoğmuş'un mahalleleri

Ortakonuş, Gündoğmuş


Gabriele Mandel (* 1924 in Bologna; † 1. Juli 2010 in Mailand) war ein italienischer Islamwissenschaftler, Psychologe, Schriftsteller und Künstler afghanischer Abstammung, der auch unter den Namen Gabriele Mandel Khân oder Gabriele Mandel Sugana veröffentlichte.

Gabriele Mandel war der Sohn des Historikers Jusuf Roberto Mandel (1895–1963) und der jüdischen Schriftstellerin Carlotta Rimini. Gabriele D'Annunzio war sein Patenonkel.

Gabriele Mandel studierte am Konservatorium von Vicenza Violine und Harmonielehre.  Nach dem Krieg absolvierte er ein Studium der klassischen Sprachen und Literatur an der Sorbonne und schloss ein Studium an der École des Beaux-Arts in Paris mit einem Diplom ab. Er führte archäologische Studien in Indien und dem Nahen Osten durch und publizierte die Ergebnisse. Gleichzeitig vertiefte er seine wissenschaftlichen Kenntnisse bei dem Psychoanalytiker Cesare Musatti. Danach arbeitete Mandel als Psychotherapeut.

Mandel war Professor für Geschichte und Kunst an der Universität Mailand. Er war Mitglied der Akademie des Islam in Cambridge und Gründungsmitglied der Islamischen Universität in Córdoba (inzwischen geschlossen).

Er publizierte unter anderem Werkkataloge von Botticelli (1967), Daumier (1971), Fragonard (1972), Gauguin (1972), Hogarth (1967) und Toulouse-Lautrec (1969).
Mandel übersetzt den Koran ins Italienische, ergänzt um einen ausführlichen Sufi-Kommentar, und er war Herausgeber der Mathnawi-Poesie, die C. Cerati Mandel ins Italienische übersetzt hat.

Gabriele Mandel verstarb 2010 in Mailand nach langer schwerer Krankheit, er wurde auf dem Friedhof von Bruzzano beigesetzt.

Ehrungen
 1975: Verdienstorden der Italienischen Republik, Komtur
 2010: Ehrendoktor der Selçuk Üniversitesi in Konya.

Werke (Auswahl)
Mandel hat 184 Bücher veröffentlicht, größtenteils in italienischen Verlagshäusern.

 Mohammed und seine Zeit. 1968
 Dschingis-Khan und seine Zeit. 1969
 Buddha und seine Zeit. 1974
 König Salomo. 1977
 Gemalte Gottesworte. Das arabische Alphabet. Geschichte, Stile und kalligraphische Meisterschulen. 2000
 Der Prophet Mohammed. 2002
 Buddha, der Erleuchtete. 2002
 Gezeichnete Schöpfung. Eine Einführung in das hebräische Alphabet und die Mystik der Buchstaben. Fourier, Wiesbaden 2000; 2. Auflage: Marix, Wiesbaden 2009.
 Das japanische Alphabet. Alle Schriftzeichen in der Hiragana- und der Katakanaversion. 2008
 L'Islam e l'Europa. Raccolta di saggi postumi, a cura di Nazzareno Venturi. Acireale, Tipheret, 2013.

Weblinks
 L'addio a Gabriele Mandel, intellettuale sufi e artista Nachruf, Corriere della Sera, 2. Juli 2010

Einzelnachweise

Islamwissenschaftler
Kunsthistoriker
Keramiker
Psychotherapeut
Übersetzer ins Italienische
Koranübersetzer
Hochschullehrer (Libera università di lingue e comunicazione)
Träger des Verdienstordens der Italienischen Republik (Komtur)
Italiener
Geboren 1924
Gestorben 2010
Mann

Gabriele Mandel