Medway på engelsk River Medway) er en flod i Sydøstengland. Den har sit udspring ved High Weald, Sussex og løber igennem til Tonbridge, Maidstone og byområdet Medway i Kent før den har sin udmunding i Themsen nær Sheerness. Den er i alt 113 km lang. Omkring 21 km ligger i Sussex, mens resten ligger i Kent.

Afvandingsområdet er 2.409 km2, og er dermed det største i Sydengland efter Themsen. En lang række mindre floder og åer løber ud i Medway. Disse bifloder starter i North Downs, Weald og Ashdown Forest.

Domesday Book fra 1086 lister en lang række herregårde ud til Medway. Langs floden ligger desuden adskillige slotte og fæstningsværker, hvilket bl.a. inkluderer Rochester Castle, Allington Castle, Leeds Castle, West Castle og Tonbridge Castle.

Referencer

Eksterne henvisninger

 Map of the Medway catchment area
 Detailed navigation information
 Leigh Flood Barrier page from the EA
 Flood protection measures
 Medway Valley Countryside Partnership
 Early Norman Churches In and Near the Medway Valley, Rev. Grevile M. Livett, Archaeologica Cantiana, Vol. 20, Kent Archaeological Society, 1893
 Bewl Canoe Club
 BCU Website

Floder i England
Kent
East Sussex
West Sussex

Medway (flod)


French Tech este o etichetă franceză acordată centrelor metropolitane recunoscute pentru ecosistemul lor de startup, precum și un brand comun care poate fi folosit de companiile inovatoare franceze.

French Tech urmărește, în special, să ofere o identitate vizuală puternică întreprinderilor franceze, precum și să încurajeze schimburile între ele.

Această etichetă a fost creată în 2013 de către guvernul francez.

Note

Legături externe
 French Tech (francezã)
 French Tech (englezá)

Economia Franței
Tehnologie

French Tech


El Resumen fue un programa de televisión que se encarga de resumir los programas de la televisión paraguaya, como Baila Conmigo Paraguay. Fue emitido por Telefuturo de lunes a viernes a las 11:00 horas, conducido por Carlos Ortellado junto con Magali Páez, Patricia Ginzo y Gustavo Corvalán.

Conductores

 Carlos Ortellado enero de 2017 - 2019
 Carlos Gómez: julio de 2017 - 2019
 César Trinidad: enero de 2018 - 2019
 Fátima Román: octubre de 2018 - 2019
 Fabi Martínez: julio - noviembre de 2019
Retirados
 Orlando "Bicho" Riveros: agosto de 2011 - diciembre de 2012.
 Paloma Ferreira: agosto - diciembre de 2011, marzo - diciembre de 2012, abril-junio de 2013.
 Rubén Rubín: diciembre de 2012 - septiembre de 2016.
 Patty Orué: diciembre de 2012 - julio de 2016
 Malala Olitte: 2015 - 2016
 Amparo Velázquez: 2016
 Patricia Ginzo: enero de 2017 - junio de 2019.
 Magali Páez: enero de 2016 - octubre de 2018.
 Gustavo Corvalán: agosto de 2011 - 2018.
 Kike Casanova: septiembre de 2018 - julio de 2019

Temporadas

Primera temporada (agosto de 2011 - febrero de 2012)

La primera temporada de El Resumen inició el miércoles 10 de agosto de 2011, al día siguiente del estreno de Baila Conmigo Paraguay 2011, conducido en un principio por Paloma Ferreira y Bicho Riveros. Luego incorporaron a Magali Páez (ya que fue dado de baja el programa La Previa de Calle 7, conducido por ella junto con Matías Vázquez) y Gustavo Corvalán (quien comenzó como notero y lo sigue siendo, cubriendo el backstage de los programas y eventos más importantes del país y visitando casas de famosos).

Verano

A comienzos de diciembre Paloma Ferreira se retiró del programa, priorizando su embarazo. En enero de 2012 Patricia Orué se incorporó como reemplazo de Paloma (dando inicio al verano), y se retiró el viernes 2 de marzo de 2012 (comenzando el programa El Mañanero desde junio).

Segunda temporada (marzo 2012 - marzo 2013)

La segunda temporada inició el lunes 5 de marzo de 2012, presentando una nueva escenografía, y con la reincorporación de Paloma Ferreira. Este nuevo ciclo se destacó por tener la temática de superhéroes. Estaba compuesto por las siguientes personas:
 Paloma Ferreira: Mujer Maravilla
 Orlando "Bicho" Riveros: Capitán América
 Magalí Páez: Superwoman
 Gustavo Corvalán: Flash

Verano

A comienzos de diciembre Paloma Ferreira y Bicho Riveros se retiraron del programa, incorporándose como reemplazos Patricia Orué y Rubén Rubín; además, volvió Magalí Páez después de tomarse vacaciones, y se incorporó en la edición verano.

Tercera temporada (abril 2013)

La tercera temporada de El Resumen inició el lunes 1 de abril de 2013, presentando una nueva escenografía llena de colores vivos, con la reincorporación de Paloma Ferreira como panelista, tras la salida de Magalí Páez, con la conducción de Rubén Rubín acompañado de Patricia Orué, Gustavo Corvalán y Julio Amarilla.

En junio del mismo año se retiró Paloma Ferreira (incorporándose a No somos ángeles) y en su lugar reingresó Magalí Páez.

Referencias

Programas de televisión de Paraguay

El Resumen


التريبانوسوما أو المثقبية  هي جنس من شعبة ذوات منشأ الحركة، وتعتبر أحادية التشعب ووحيدة الخلية من الطفيليات الأولية وأحد أنواع السوطيات. وتعني كلمة تريبانوسوما باليونانية (جسم ثاقب) بسبب حركته التي تشبه المثقب. تحتاج التريبانوسوما إلى أكثر من جسم عائل واحد لإكمال دورة حياتها وتنتقل من كائن حي لآخر عن طريق نواقل. وتنتقل غالبية الأنواع عن طريق اللافقاريات التي تتغذى على الدم، ولكن هناك آليات مختلفة بين الأنواع الأخرى. وتوجد التريبانوسوما في أمعاء اللافقريات، وفي الثدييات توجد في مجرى الدم أو داخل الخلايا.

المثقبيات تصيب مجموعة متنوعة من الفقاريات وتسبب له الأمراض، بما في ذلك الأمراض التي تُصيب الإنسان مثل: داء المثقبيات الأفريقي (مرض النوم) الذي يسببه المثقبية البروسية، وداء المثقبيات الأمريكي (داء شاغاس) التي تسببه المثقبيات الكروزية.

التاريخ
كانت المثقبيات الأولى التي تم اكتشافها في سمك السلمون المرقط بواسطة غابرييل فالنتين سنة 1841. وتم تحديدها في وقت لاحق في الثدييات بعد 50-80 سنة. وأطلق دافيد غروبي عليها اسم تريبانوسوما سنة 1843

انظر أيضاً
 مثقبية بروسية.
 طلائعيات.
 داء التريبانوسوما في الحيوانات

المراجع

أمراض الأسماك
طفيليات
مثقبيات

مثقبية


Albinizm ya da akşınlık, derideki melanositlerin melanin pigmentini üretebilmeleri için gerekli olan tirosinaze (tyrosinase) enziminin eksikliğinin sonucu ortaya çıkan doğumsal bir hastalıktır. Bu hastalığa albinizm,  hastalara ise albino denir (halk dilinde abraşlık olarak bilinir).

İnsanları ve hayvanları etkileyen genetik bir bozukluk olan albinizm renklenmeyi sağlayan melanin pigmenti yokluğu ya da azlığından kaynaklanır. Gözler, deri, saçlar ve bedenin öbür bölümlerini etkileyebilir. Akvaryum balıklarında da sık olarak görülmektedir.

Deri ve gözlerin etkilendiği albinizm türüne "okülokütane (oculocutaneous) albinizm" denir. Canlılarda deriye, gözlere, pullara, kıllara, kürklere, vb. rengini veren pigmentlerin doğumsal eksikliği içi yapılan tanımlamadır. Albinolarda (gerek insan, gerek hayvan) deri çok ince ve beyazımsı (ya da hafifçe pembe), kıllar (ya da tüyler) beyazdır. Derideki melanin pigmenti eksikliği, güneş ışınlarına duyarlılığı arttırır (güneş yanıkları) ve deri kanserlerine neden olur.  Gözlerin gözbebekleri pembemsi-kırmızımsı olmasının nedeni ağ tabakadaki (retina) damarlarındaki kanın yansımasıdır. Melanin içermeyen gözler ışığa duyarlıdır; hastalarda fotofobi (ışıktan etkilenme), nistagmus ve görme bozuklukları belirlenir. Albinizm ender de olsa, zeka geriliği ya da bedensel gerilikle birlikte olabilir.

Çeşitleri
2 tür albinizm vardır. Ancak, albinizm denildiğinde yaygın tip albinizm anlaşılmaktadır:

 Yaygın (generalize) albinizm' de deride, iriste ve kıllarda melanin yoktur (okülokütane albinizm).
 Yerel (lokalize) albinizm, vitiligo olarak bilinen tablodur.  İnsanlarda, deride beyaz lekeler saptanır. Yanık nedbelerdeki ve lepralı hastalardaki pigmentsiz deri lekeleri en iyi örneklerdir.

Kaynakça

Pigmentler
Dermatoloji hastalıkları
Göz hastalıkları

Albinizm


Nos moluscos gastrópodes opistobrânquios, os rinóforos são cada um dos dois quimiorreceptores que lhes encimam a cabeça, sendo, por vezes, considerados tentáculos cefálicos, por causa do formato.

Consoante a espécie, os rinóforos podem afigurar-se de diferentes feitios, podendo apresentar-se com formatos ondulados, simples ou ramificados, bem como, ainda, sob as formas de maça, varinha ou de folha.

Os rinóforos são também típicos dos aplisídeos e dos nudibrânquios.

Etimologia
O substantivo «rinóforo» refere-se à função olfactiva deste órgão.

O vocábulo é formado pelos elementos morfológicos rino- e -foro.

O primeiro deriva de genitivo do étimo grego antigo ῥίς, ῥινός rhís, rhinós, "nariz", e o segundo do sufixo do latim científico -phorus, tirado do grego antigo -φορος, -phoros "suporte", "que leva", derivado do verbo φέρειν phérein "levar em cima", "transportar".

Função
Os rinóforos são receptores de cheiros ou sabores, conhecidos como órgãos quimiossensoriais, situados na superfície dorsal da cabeça. Servem principalmente para quimiorrecepção e reorrecepção (percepção de fluxo de fluidos) a distancia.

Os odores detectados pelos rinóforos são substancias químicas dissolvidas na água do mar. A estrutura fina e os pêlos do rinóforo oferecem uma maior área de superfície, por molde a maximizar a detecção química. São estas valências do rinóforos que ajudam as espécies de nudibrânquios a detectar e captar as suas presas, bem como a descobrir parceiros sexuais. Na espécie Aplysia californica, os rinóforos são capazes de detectar feromonas.

Protecção dos rinóforos
Para proteger os rinóforos mais salientes contra as mordidelas dos predadores, a maioria das espécies de nudibrânquios, quando ameaçados, pode retrair os rinóforos sob a pele.

Estrutura
Nos adultos, reprodutivamente maduros, do género Aplysia, o rinóforo mede aproximadamente 1 centímetro de comprimento. A organização neuroanatómica inclui um sulco no rinóforo, onde a maioria das células sensoriais parecem estar concentradas. O seu epitélio sensorial contém neurónios sensoriais que projectam o axónio de volta aos gânglios e às dendrites do rinóforo e que terminam num cílio exposto à superfície ou numa pequena protuberância.

Galeria

Bibliografia

 Wertz A., Rössler W., Obermayer M. & Bickmeyer U. (2006): "Functional neuroanatomy of the rhinophore of Aplysia punctata". Frontiers in Zoology 3: 6. (Texto completo).

Zoologia
Anatomia animal

Rinóforo


පාලි - ප්‍රාකෘත - ධර්මපද
සංස්කෘත - ධර්මපද

ධම්මපදය (පාලි; ප්‍රාකෘත: धम्मपद ධමපද; සංස්කෘත धर्मपद ධර්මපද) යනු බුදුරජාණන් වහන්සේ විසින් විවිධ අවස්ථාවලදී දේශනා කොට වදාළ ගාථාවන්ගේ සංග්‍රහයකි .  ථේරවාද ත්‍රිපිටකයෙහි ඛුද්දක නිකායට අයත්වන ධම්මපදය පෙළ දහමේ ජනප්‍රියතම ග්‍රන්ථයක් ලෙස හැඳින්විය හැකිය.

ධම්මපද යනු ධර්ම පාඨ ඇතුළත් කාව්‍යමය ලක්ෂණවලින් යුතු ථෙරවාදී බුද්ධාගමේ ඉතා ප්‍රසිද්ධ සහ ජනප්‍රිය කෘතියකි. මෙය ඛුද්දක නිකායෙහි අන්තර්ගතය.

බොහෝ ගාථාවන් ධර්ම කරුණු  හා සම්බන්ධය. පාලි ධර්ම ග්‍රන්ථයන්හි කොටස්වල ගාථාවලින් භාගයක් පමණ දක්නට ලැබෙන්නේ වුවද, ධම්මපද යනු සූත්‍ර පිටකයේ ඛුද්දක නිකායේ කොටසකි. හතරවැනි හෝ පස් වැනි සියවසේ බුද්ධඝෝෂ හිමි විසින් අර්ථකථන දක්වා ඇත. එහි ගාථාවල අර්ථය පැහැදිලි කරන කථා 299 ක් අඩංගු වේ.

ධම්මපදයෙහි බොහෝ ප්‍රසිද්ධියට පත්ව ඇත්තේ පාලි මුද්‍රණය වුවද වෙනත් භාෂා අනුවාද ද ඇත.

ඛරෝස්ති අකුරෙන් ලියන ලද ධර්ම ගුප්තක අනුවාදය.
ලෝකෝත්තරවාද අනුවාදයක කොටස්.
පැට්නා ධර්මපද නමින් හැඳින්වෙන බෞද්ධ සංස්කෘත මිශ්‍ර භාෂාවකින් කරන ලද සම්මතිය අනුවාදය.
උදාන වර්ග වශයෙන් දන්නා මූල - ශ්‍රාවස්තිවාද ග්‍රන්ථවලට සම්බන්ධයයි.
සංස්කෘත අනුවාද තුනක්
ටිබෙට් පරිවර්තනයක්.මෙය ටිබෙට් සාම්ප්‍රදායික බුදු දහමෙහි ජනප්‍රියව පවතී.
චීන කෘතීන් 4 ක් - ෆජ්යු ජින් යනුවෙන් නම් කර ඇත. මෙයින් එකක්	පාලි අනුවාදයෙහි විශාල කරන ලද පරිවර්තනයක් බව පෙනේ. මෙය සාම්ප්‍රදායික වශයෙන් ජනප්‍රිය වී නැත.

ගාථා ගණන සහ වස්තු කතා

ධම්මපදයේ සංගෘහිත ගාථා 423 කි. ඒ බව මෙහි නිගමන ගාථාවල ගාථා සතානි චත්තාරි තෙ වීස ච පුනා පරෙ යන්නෙන් පෙනේ. එහෙත් පස්වැනි කාශ්‍යප රජුගේ (ව්‍යවහාරික වර්ෂ 913) දම්පියා අටුවා ගැටපදයේ ඇත්තේ ගාථා 422 කි. මෙහි එන පාද සයේ ගාථාවල පේලි හුවමාරු වීමෙන් මෙසේ වුණි යැයි මතයක් පවතී. සියම් හා මරම්ම පොත් අනුවද ගැණෙන්නේ ගාථා 422 කි. පස්වැනි කාශ්‍යප රජුට අනුව ගාථාවන්ගේ අර්ථෝප්පත්ති කතා ඇත්තේ 300 කි. පඤ්චාධිකානි තීණි වත්ථු සතානි ලෙස බුරුම ධම්මපද නිගමන වලින් කතා 305 ක් ඇති බවක් කියැවෙයි.
ලංකාවේ ධම්මපදට්ඨකථා නිගමනයේ සඳහන් වන්නේ කතා 304 කි. එකුණානි තීණි වත්ථු සතානි යනුවෙන් එහි සඳහන් වේ. වම්බටුවැවේ ධර්මකීර්ති ශ්‍රී ශ්‍රීනිවාස හිමියන් විසින් සම්පාදිත ධර්මපද ප්‍රදීපය ග්‍රන්ථයේද මෙසේ සඳහන් වේ.

සංවිධානය වී ඇති පිළිවෙල

පාලි ධම්මපදයෙහි ගාථා 423 ක් ඇතුළත් වේ. පරිච්ඡේද 25 කි. ඒවා පාලි භාෂාවෙන් පහත පරිදි වේ.

Excerpts
The following English translations are from Müller (1881).  The Pali text is from the Sri Lanka Tripitaka Project (SLTP) edition.
<table cellspacing="20">

Ch. I. Twin Verses (Yamaka-vaggo)

1.
වේදනා සංඤා සංස්කාර යන චතසික ධර්මයෝ සිත මූලික කරගෙන ඇතිවේ. නරක සිතුවිලි වලින් දූෂිත වූ සිත බොරු කේලම් පරුෂ වචන ආදී කතාවෙන් කරන වැරදි කරයි නම් හෝ පර පන නැසීම සොරකම් ආදී පව් කරයිද එසේ නම් ගොනුට බර දෙමින් ගොනු පසුපස යන කරත්තය මෙන් තම වැරදිද තමාට දඬුවම් දෙමින් තමා සමඟම පැමිනෙයි.

මනෝ පුබ්බඞ ගමා ධම්මා මනෝ සෙට්ඨා මනොමයාමනසා  චෙ  පදුට්ඨෙන භාසති  වා කරොති වාතතෝ  නං  දුක්ඛ මන්වෙති චක්කං'ව වහතෝ  පදං.

2.
වේදනා සංඤා සංස්කාර යන චතසික ධර්මයෝ සිත මූලික කරගෙන ඇතිවේ. යහපත් සිතුවිලි වලින් පැහැදුනා වූ සිත මනා තෙපුලක් කරයි නම් හෝදානය ආදී පින් කරයිද එසේ නම් ශරීරය අතනොහැර ශරීරය සමඟම ගමන් කරන සෙවනැල්ල මෙන් තම කුසලයන්ද සැපය දෙමින් තමා සමඟම පැමිනෙයි.

මනෝ පුබ්බඞ්ගමා ධම්මා මනෝ සෙට්ඨා මනෝමයාමනසා චේ පසන්නේන භාසතී වා කරෝති වාතතෝ නං සුඛමන්වේති ජායාව අනපායිනී.චිත්ත වග්ගය (චිත්ත වර්ගය) -සිත ගැන වදාළ කොටස-

37.5.දූරංගමං ඒකචරං - අසරීරං ගුහාසයං

යේ චිත්තං සඤ්ඤමෙස්සන්ති - මොක්ඛන්ති මාරබන්ධනා

41.9.අචිරං වත'යං කායො - පඨවිං අධිසෙස්සති

ඡුද්ධෝ අපේත විඤ්ඤාණෝ - නිරත්ථං'ව කලිංගරං

භික්ඛු වග්ගය(වර්ගය)-භික්ෂුව ගැන වදාළ කොටස-

367.8.සබ්බසෝ නාමරූපස්මිං - යස්ස නත්ථි මමායිතං

අසතා ච න සෝවතී - ස වේ භික්ඛු'ති වුච්චති

ධම්මපදය


Haluk Kurtoğlu (10 Haziran 1932, Aydın - 27 Eylül 2004, İstanbul), Türk tiyatro, sinema ve dizi oyuncusudur.

Hayatı
Ankara Devlet Konservatuvarı Tiyatro Yüksek Bölümünde eğitim gördü. 1953-1997 yılları arasında Devlet Tiyatroları'nda oyuncu olarak görev yaptı. Londra Royal Shakespeare Academy'de de bir süre çalışmalara katılan Kurtoğlu, 1982-1985 yılları arasında Mimar Sinan Üniversitesi Tiyatro Bölümünde ders verdi. Özel tiyatrolarda da oyuncu olarak çalışmalarda bulunan Kurtoğlu, 100'ü aşkın oyunda çeşitli roller üstlendi.

Günümüzde ünlü bir oyuncu ve televizyoncu olan Cem Kurtoğlu'nun babasıdır.

İskilipli Atıf Hoca rolünü oynadığı, Mesut Uçakan'ın yönettiği İskilipli Atıf Hoca / Kelebekler Sonsuza Uçar filmiyle daha geniş kitlelerce tanınmıştır.

Son yılları ve ölümü
Haluk Kurtoğlu, 27 Eylül 2004 yılında geçirdiği kalp krizi sonucu 72 yaşında ölmüştür. Karacaahmet Mezarlığı'nda toprağa verildi.

Tiyatro oyunları

 xxxx: Eskimeyen Oyun
 xxxx: Limon: Memet Baydur - İstanbul Devlet Tiyatrosu
 xxxx: Nereye Kadar
 xxxx: Uçamayan Kuşlar Tutulur
 1951: Cyrano de Bergerac (oyun): Edmond Rostand - Ankara Devlet Tiyatrosu
 1953: Güzel Helena: Selehattin Batu - Ankara Devlet Tiyatrosu
 1953: Lady Frederick: W. Somerset Maugham - Ankara Devlet Tiyatrosu
 1954: Maria Stuart: Friedrich Schiller - Ankara Devlet Tiyatrosu
 1954: Othello: William Shakespeare - Ankara Devlet Tiyatrosu
 1954: Tanrılar ve İnsanlar (Gılgameş): Orhan Asena - Ankara Devlet Tiyatrosu
 1954: Çayhane: John Patrick - Ankara Devlet Tiyatrosu
 1955: Genç Osman: Turan Oflazoğlu - Ankara Devlet Tiyatrosu
 1955: Harput'ta Bir Amerikalı: Cevat Fehmi Başkut - Ankara Devlet Tiyatrosu
 1955: Haydutlar: Friedrich Schiller - Ankara Devlet Tiyatrosu
 1955: Meraki (oyun): Moliere - Ankara Devlet Tiyatrosu
 1955: Nora (Bir Bebek Evi): Henrik İbsen - Ankara Devlet Tiyatrosu
 1955: Oğuz Ata: Selahttin Batu - Ankara Devlet Tiyatrosu
 1956: III. Selim: Celal Esad Arseven - Ankara Devlet Tiyatrosu
 1956: Korku (oyun): Orhan Asena - Ankara Devlet Tiyatrosu
 1956: Tahta Çanaklar: Edmund Morris - Ankara Devlet Tiyatrosu
 1957: Onunikinci Gece: William Shakespeare - Ankara Devlet Tiyatrosu
 1957: Sevmek (oyun): Paul Geraldy - Ankara Devlet Tiyatrosu
 1957: Su Kızı: Jean Giraudoux - Ankara Devlet Tiyatrosu
 1958: Cadı Kazanı: Arthur Miller - Ankara Devlet Tiyatrosu
 1958: Hürrem Sultan (oyun): Orhan Asena - Ankara Devlet Tiyatrosu
 1958: Kral Lear: William Shakespeare - Ankara Devlet Tiyatrosu
 1959: Karayar Köprüsü: Redik Erduran - Ankara Devlet Tiyatrosu
 1960: Büyük Jüstinyen: Refik Erduran - Ankara Devlet Tiyatrosu
 1960: Gergedan: Eugène Ionesco - Ankara Devlet Tiyatrosu
 1960: Hamlet: William Shakespeare - Ankara Devlet Tiyatrosu
 1960: Köroğlu (oyun): Ahmet Kutis Tecer - Ankara Devlet Tiyatrosu
 1960: Midasın Kulakları: Güngör Dilmen - Ankara Devlet Tiyatrosu
 1960: Şair Ruhu: Eugene O'Neill - Ankara Devlet Tiyatrosu
 1961: Ay Herkese Gülümser: Eugene O'Neill - Ankara Devlet Tiyatrosu
 1962: Foto Finiş: Peter Ustinov - Ankara Devlet Tiyatrosu
 1962: Rose Bernd: Gerhart Hauptmann - Ankara Devlet Tiyatrosu
 1963: Julius Cezar: William Shakespeare - Ankara Devlet Tiyatrosu
 1963: Tohum Ve Toprak: Orhan Asena - Ankara Devlet Tiyatrosu
 1964: Dünyanın Düzeni: Seán O'Casey - Ankara Devlet Tiyatrosu
 1964: Vanya Dayı: Anton Çehov - Ankara Devlet Tiyatrosu
 1964: Yaşlı Bayanın Ziyareti: Friedrich Dürrenmatt - Ankara Devlet Tiyatrosu
 1967: Candıda: George Bernard Shaw - Ankara Devlet Tiyatrosu
 1968: Andromak: Jean Racine - Ankara Devlet Tiyatrosu
 1970: Ayakta Durmak İstiyorum: Tarık Buğra - Ankara Devlet Tiyatrosu
 1970: IV.Murat (oyun): Turan Oflazoğlu - Ankara Devlet Tiyatrosu
 1970: Öfke: Slowomir Mrozek - Ankara Devlet Tiyatrosu
 1972: Chaillot'daki Deli: Jean Giraudoux - Ankara Devlet Tiyatrosu
 1972: Klinik Bir Olay: Dino Buzzatti - Ankara Devlet Tiyatrosu
 1973: Bağdat Hatun: Güngör Dilmen - Ankara Devlet Tiyatrosu
 1973: Uçmayan Kuşlar Tutulur: Aydın Arıt - Ankara Devlet Tiyatrosu
 1975: Koca Sinan: Fazıl Hayati Çorbacıoğlu - Ankara Devlet Tiyatrosu
 1975: Tarla Kuşuydu Juliet: Efraim Kişon - Ankara Devlet Tiyatrosu
 1976: Koç Yiğit Köroğlu: Ahmet Kutsi Tecer - Ankara Devlet Tiyatrosu
 1978: Güneşin Çocukları: Maksim Gorki - Ankara Devlet Tiyatrosu
 1979: Antigone: Jean Anouılh - İstanbul Devlet Tiyatrosu
 1979: Yaralı Geyik: Necati Cumalı - İstanbul Devlet Tiyatrosu
 1980: Akümülatörlü Radyo: Tarık Buğra - İstanbul Devlet Tiyatrosu
 1981: Rita (oyun): Willy Russel - İstanbul Devlet Tiyatrosu
 1983: Limon: Memet Baydur - İstanbul Devlet Tiyatrosu
 1984: Julius Caesar : William Shakespeare - İstanbul Devlet Tiyatrosu
 1984: Kızılderililer: Arthur Kopit - İstanbul Devlet Tiyatrosu
 1985: Martı: Anton Çehov - İstanbul Devlet Tiyatrosu
 1986: Tohum Ve Toprak: Orhan Asena - İstanbul Devlet Tiyatrosu
 1988: Altı Kişi Yazarını Arıyor: Luigi Pirandello - İstanbul Devlet Tiyatrosu
 1990: Hapşırık: Anton Çehov / Michael Frayn - İstanbul Devlet Tiyatrosu
 1992: Macbeth : William Shakespeare - İstanbul Devlet Tiyatrosu
 1994: Cadı Kazanı: Arthur Miller - İstanbul Devlet Tiyatrosu
 1995: Giydirici: Ronald Harwoorld - İstanbul Devlet Tiyatrosu
 2001: Altın Göl: Ernest Thomson - Tiyatro İstanbul

Filmografisi

Oyuncu olarak

 1953: Vadiler Aslanı
 1955: İlk Ve Son
 1963: Büyük Yemin
 1964: Çanakkale Aslanları
 1964: Manyaklar Köşkü (İhsan Tuna)
 1979: Bekçiler Kralı
 1979: Bir Ceza Avukatının Anıları: Kuma
 1979: Yorgun Savaşçı (Albay Bekir Sami)
 1981: Yaşamak Bu Değil
 1982: Bir Yudum Mutluluk (Sadık)
 1982: Elveda Dostum (Sibel'in babası)
 1982: Hacı Arif Bey
 1982: Yürek Yarası
 1983: Bataklıkta Bir Gül (Erol'un babası)
 1983: İhtiras Fırtınası (Recai Bey)
 1984: Aliş ile Zeynep
 1984: Fırtına Gönüller
 1984: Küçük Ağa (Dr. Yüzbaşı Haydar)
 1984: Yalnızlar
 1985: Acımak (Abdullah)
 1986: Duvardaki Kan (Talat Paşa)
 1986: Sultanoğlu (Murat'ın babası)
 1987: Aşkın İlk Yarısı
 1987: Ateşten Günler
 1987: Bir Muharririn Ölümü
 1987: Cennet Gözlüm (Ekrem)
 1987: Elif Ana - Ayşe Kız
 1987: Gecenin Öteki Yüzü
 1987: Gönülden Gönüle (Adil Paşa)
 1987: Hafız Yusuf Efendi (Paşa Adil Bey)
 1987: Kara Bir Gün - Süleyman Nazif
 1987: Kurtar Beni
 1987: Kuruluş "Osmancık" (Şeyh Edebali)
 1987: Yeniden Doğmak
 1987: Yolun Sonundaki Karanlık
 1988: Belki Yarın
 1988: Bu Devrin Kadını
 1988: Dönemeç
 1988: Kadın Dul Kalınca
 1988: Ölümünün 400. Yılında Mimar Sinan
 1988: Reis Bey (Reis Bey)
 1988: Türk Vakıf Medeniyeti
 1988: Yansıma
 1988: Yedi Uyuyanlar (Hasan Eker)
 1989: Doktorlar (Memduh)
 1989: İnsanlar Yaşadıkça
 1989: Minyeli Abdullah (Avukat Ali Bey)
 1989: Suçlu
 1990: Akdeniz Güneşi
 1990: Başka Olur Ağaların Düğünü
 1990: Dört Mevsim İstanbul ("İstanbul Bir Özlemdir")
 1990: Minyeli Abdullah 2
 1990: Sayın Başkan
 1990: Topkapı
 1990: Yalnız Değilsiniz
 1991: Issızlığın Ortası
 1991: Sonsuza Yürümek
 1991: Yıldızlar Gece Büyür (Saffet Zeki)
 1991: Yol Palas Cinayeti
 1992: Bişr-i Hafi / Bir Zamanlar Sarhoştu (Abdullah Bin Mübarek)
 1992: Eda Hanım
 1992: Mümin ile Kafir
 1992: Son Umut
 1992: Yağmur Beklerken
 1992: Yalnızız
 1993: Ağrı'ya Dönüş (Mehmet Şahin)
 1993: Behlül-i Dana Hz.
 1993: Beşinci Boyut (Hidayet)
 1993: Beyaz Gece / Mehmet Emin Tokadi Hz. (Efgan Efekan Seslendirmesi)
 1993: Borsa
 1993: Hasret
 1993: Hayatın İçinden
 1993: İbrahim Bin Ethem Hz. / İlahi Aşk (Fırıncı Tahir)
 1993: İki Kızkardeş
 1993: İskilipli Atıf Hoca / Kelebekler Sonsuza Uçar (Atıf Hoca)
 1993: Merhamet
 1993: Mukaddes Emanet
 1993: Süper Baba
 1993: Uyanış / Davud-i Tai (Efgan Efekan Seslendirmesi)
 1993: Yaz Evi (Durali)
 1993: Yorgun Savaşçı
 1994: Aylaklar
 1994: Babam Askerde
 1994: Garip Bir Kolleksiyoncu (Doktor)
 1994: Kanayan Yara - Bosna Mavi Karanlık
 1994: Karanlık Sular (Haşmet)
 1994: Kurtuluş (General Papulas)
 1994: Yumuşak Ten
 1995: Aslan Kral (Mufasa Seslendirmesi)
 1995: Gökkuşağı
 1995: Huzura Giden Yol / Fudayl Bin İyad Hz.
 1995: Kesişme
 1995: Ölümsüz Karanfiller (Prof.Dr.Erdinç Işık)
 1996: Sara ile Musa
 1997: Herkül
 1997: İlişkiler (Mustafa)
 1997: İlk Aşk (Doktor)
 1999: Aşkın Dağlarda Gezer (Mervan)
 2000: Dadı
 2001: Deli Yürek-Boomerang Cehennemi (Mustafa Ağa)
 2001: Derman Bey
 2001: Hırsız (Mevlevi Şeyhi)
 2001: Vasiyet (Kamil Ağa)
 2002: Abdülhamit Düşerken (Mehmet Şahabettin Paşa)
 2002: Bulutbey (Suphi)
 2002: Ekmek Teknesi
 2002: Emanet (Aslan)
 2004: Kadirşinas
 2004: Şeytan Sofrası (Haşmet)
 2004: Yusuf Yüzlü (Yakup Kaptan)

Ödüller
 1969: Sanat Sevenler Derneği - Övgüye Değer Görülenler, Andromak"daki oyunuyla
 1972: Sanat Sevenler Derneği - Övgüye Değer Görülenler, "Altı Kişi Yazarını Arıyor"daki oyunuyla
 1974: Sanat Sevenler Derneği - En İyi Erkek Oyuncu, "Uçamayan Kuşlar Tutulur" ve "Şair Ruhu"ndaki başarılarıyla
 2004: 41. Altın Portakal Film Festivali - Yıldırım Önal Anı Ödülü

Kaynakça

Dış bağlantılar
 Beyazperde'de Haluk Kurtoğlu
 IMDb'de Haluk Kurtoğlu
 Sinemalar.com'da Haluk Kurtoğlu
 SinemaTürk'da Haluk Kurtoğlu
 TSA'de Haluk Kurtoğlu

1932 doğumlular
Aydın doğumlu sanatçılar
2004 yılında ölenler
Türk erkek tiyatro oyuncuları
Türk erkek sinema oyuncuları
Türk erkek dizi oyuncuları
İstanbul'da kalp krizinden ölenler
Karacaahmet Mezarlığı'na defnedilenler
Devlet tiyatroları sanatçıları

Haluk Kurtoğlu


Le siège de Huy de 1595 est un épisode de la Guerre de Quatre-Vingts Ans au cours duquel la ville et le château de Huy, en principauté de Liège, sont d'abord pris le  par les troupes des états généraux, menées par Charles de Héraugière, avant d'être assiégés par les troupes espagnoles de Pedro Enríquez de Acevedo, menées par Valentin de Pardieu, seigneur de La Motte. Le siège se termine le  par la capitulation des troupes des états généraux.

Contexte

Le roi Philippe II d'Espagne ne veut pas reconnaître Henri de Navarre comme roi de France et, à ce titre, déclare ne pas vouloir mener une guerre contre le peuple français, mais exclusivement contre Henri. Peu après cette déclaration, la guerre éclate le long des frontières : l'Artois, fief de Philippe, mais aussi la Picardie, alors française, sont le théâtre de combats.

Les états généraux cherchent un couloir d'accès pour rallier au plus vite les troupes de Philippe de Nassau, qui se sont unies à celles du duc de Bouillon. La route la plus courte traverse la principauté de Liège, territoire neutre alors dirigé par le prince-évêque Ernest de Bavière. Afin d'emprunter cette route, la possession d'une place-forte comme le château de Huy était indispensable. Depuis la prise de Bréda, les états généraux envisagent de s'emparer de Huy, mais le château, construit en hauteur sur un rocher, est considéré comme imprenable : le pont de pierre qui y mène en traversant la Meuse est gardé par des canons opérés depuis le château qui le surplombe. La stratagème imaginé consiste à introduire des mutins italiens dans la ville et le château, afin d'ensuite se joindre aux forces des états généraux pour chasser les Espagnols hors des frontières méridionales. Charles de Héraugière (qui a déjà mené l'attaque surprise sur Breda) reçoit pour mission de s'emparer de Huy.

L'attaque surprise de Héraugière
Charles de Héraugière donne l'ordre à trente hommes de s'introduire dans la ville et de se cacher dans une maison, construite en contrebas de l'éperon rocheux où est perché le château. Dans la nuit du 5 au 6 février, les hommes gravissent l'éperon rocheux puis, à l'aide d'une échelle de corde, montent par une fenêtre à l'intérieur du château. Ils parviennent à maîtriser la garde et, connaissant bien les lieux et ses habitudes, tendent une embuscade aux habitants venant assister à la messe. Un à un, les principaux habitants sont bâillonnés et enfermés. Le lendemain matin, Héraugière se tient devant la ville avec dix-huit cents hommes, et la ville se rend sans offrir de résistance.

Pillage et violences

Bien que Huy bénéficie de la neutralité liégeoise pendant la guerre, la population souffre grandement de l'occupation de la ville par les troupes protestantes de Héraugière : les églises sont pillées et victimes de la furie iconoclaste, les femmes sont violées, les riches sont extorqués et les pauvres qui ne peuvent pas payer de rançon sont tués. Le prince-évêque s'en plaint aux princes allemands, mais ceux-ci sont impuissants. Les États affirment qu'ils ne quitteront la ville qu'après la conclusion de la paix et après que les Espagnols auront quitté les villes occupées. Le prince-évêque fait alors appel au comte Fuentes, gouverneur des Pays-Bas espagnols.

Le siège par La Motte

Fuentes envoie immédiatement Valentin de Pardieu, seigneur de La Motte, avec une armée de  pour assiéger la ville. L'armée est composée de deux tercios dirigés par Don  et Don Antonio de Zúñiga, deux régiments allemands, trois régiments wallons, et plusieurs pièces d'artillerie.

Dans le camp d'en face, la majorité des forces protestantes est composée de troupes hollandaises, environ , ainsi qu'un régiment d'Écossais commandé par le général Barthold Balfour, et un contingent de huguenots.

Les murs du château et de la ville sont si faibles qu'un seul coup de canon espagnol suffit à créer une brèche assez grande pour pénétrer dans l'enceinte. Les troupes des états généraux ne parviennent pas à contenir l'offensive, et Héraugière doit capituler et rendre la ville le 20 mars en échange d'une retraite libre.

Nouveau pillage
Martín Antonio Delrío rapporte qu'après la capitulation, « la vengeance divine fit alors éprouver aux Hutois, toujours mal disposés en faveur des catholiques, des châtiments aussi justes que tardifs. Ils furent dépouillés de tout leur mobilier, que le soldat vainqueur céda à vil prix à des marchands namurois, liégeois et maestrichtois accourus à cette fin ; le fleuve offrait toute facilité pour le transport des achats, à tel point qu'on s'empara des fenêtres, des portes et d'autres objets de quelque prix. Les soldats demeurés les derniers firent rafle du reste. »

Conséquences

Fuentes veut occuper la ville au nom de l'Empire espagnol, mais Philippe II ordonne que la ville soit rendue au prince-évêque :  les troupes espagnoles se retirent le 23 mars, laissant le château aux mains du capitaine Juan de Zornoza et d'une garnison de 150 soldats, en attendant la fin des réparations de l'artillerie endommagée et l'arrivée des troupes du prince-évêque.

Les États échouent dans leur entreprise et la violation de la neutralité porte atteinte à leur réputation.

Références

Articles connexes
 Chronologie de la guerre de Quatre-Vingts Ans
 Campagnes luxembourgeoises

Bataille impliquant l'Espagne
Bataille impliquant les Provinces-Unies
Bataille de la guerre de Quatre-Vingts Ans
Bataille de 1595
Histoire militaire des Wallons
Siège de Huy (1595)
Siège de Huy
Siège de Huy (1595)

Siège de Huy (1595)


Engineering tolerance  is the permissible limit or limits of variation in:

 a physical dimension;
 a measured value or physical property of a material, manufactured object, system, or service;
 other measured values (such as temperature, humidity, etc.);
 in engineering and safety, a physical distance or space (tolerance), as in a truck (lorry), train or boat under a bridge as well as a train in a tunnel (see structure gauge and loading gauge);
 in mechanical engineering, the space between a bolt and a nut or a hole, etc.

Dimensions, properties, or conditions may have some variation without significantly affecting functioning of systems, machines, structures, etc. A variation beyond the tolerance (for example, a temperature that is too hot or too cold) is said to be noncompliant, rejected, or exceeding the tolerance.

Considerations when setting tolerances
A primary concern is to determine how wide the tolerances may be without affecting other factors or the outcome of a process.  This can be by the use of scientific principles, engineering knowledge, and professional experience. Experimental investigation is very useful to investigate the effects of tolerances: Design of experiments, formal engineering evaluations, etc.

A good set of engineering tolerances in a specification, by itself, does not imply that compliance with those tolerances will be achieved.  Actual production of any product (or operation of any system) involves some inherent variation of input and output. Measurement error and statistical uncertainty are also present in all measurements.  With a normal distribution, the tails of measured values may extend well beyond plus and minus three standard deviations from the process average. Appreciable portions of one (or both) tails might extend beyond the specified tolerance.

The process capability of systems, materials, and products needs to be compatible with the specified engineering tolerances. Process controls must be in place and an effective quality management system, such as Total Quality Management, needs to keep actual production within the desired tolerances. A process capability index is used to indicate the relationship between tolerances and actual measured production.

The choice of tolerances is also affected by the intended statistical sampling plan and its characteristics such as the Acceptable Quality Level. This relates to the question of whether tolerances must be extremely rigid (high confidence in 100% conformance) or whether some small percentage of being out-of-tolerance may sometimes be acceptable.

An alternative view of tolerances
Genichi Taguchi and others have suggested that traditional two-sided tolerancing is analogous to "goal posts" in a football game: It implies that all data within those tolerances are equally acceptable.  The alternative is that the best product has a measurement which is precisely on target. There is an increasing loss which is a function of the deviation or variability from the target value of any design parameter. The greater the deviation from target, the greater is the loss. This is described as the Taguchi loss function or quality loss function, and it is the key principle of an alternative system called inertial tolerancing.

Research and development work conducted by M. Pillet and colleagues at the Savoy University has resulted in industry-specific adoption. Recently the publishing of the French standard NFX 04-008 has allowed further consideration by the manufacturing community.

Mechanical component tolerance

Dimensional tolerance is related to, but different from fit in mechanical engineering, which is a designed-in clearance or interference between two parts. Tolerances are assigned to parts for manufacturing purposes, as boundaries for acceptable build. No machine can hold dimensions precisely to the nominal value, so there must be acceptable degrees of variation. If a part is manufactured, but has dimensions that are out of tolerance, it is not a usable part according to the design intent. Tolerances can be applied to any dimension. The commonly used terms are:

 Basic size The nominal diameter of the shaft (or bolt) and the hole. This is, in general, the same for both components.
 Lower deviation The difference between the minimum possible component size and the basic size.
 Upper deviation The difference between the maximum possible component size and the basic size.
 Fundamental deviation The minimum difference in size between a component and the basic size.

This is identical to the upper deviation for shafts and the lower deviation for holes. If the fundamental deviation is greater than zero, the bolt will always be smaller than the basic size and the hole will always be wider. Fundamental deviation is a form of allowance, rather than tolerance.
 International Tolerance grade This is a standardised measure of the maximum difference in size between the component and the basic size (see below).

For example, if a shaft with a nominal diameter of 10mm is to have a sliding fit within a hole, the shaft might be specified with a tolerance range from 9.964 to 10 mm (i.e., a zero fundamental deviation, but a lower deviation of 0.036 mm) and the hole might be specified with a tolerance range from 10.04 mm to 10.076 mm (0.04 mm fundamental deviation and 0.076 mm upper deviation). This would provide a clearance fit of somewhere between 0.04 mm (largest shaft paired with the smallest hole, called the Maximum Material Condition - MMC) and 0.112 mm (smallest shaft paired with the largest hole, Least Material Condition - LMC). In this case the size of the tolerance range for both the shaft and hole is chosen to be the same (0.036 mm), meaning that both components have the same International Tolerance grade but this need not be the case in general.

When no other tolerances are provided, the machining industry uses the following standard tolerances:

International Tolerance grades

When designing mechanical components, a system of standardized tolerances called International Tolerance grades are often used. The standard (size) tolerances are divided into two categories: hole and shaft. They are labelled with a letter (capitals for holes and lowercase for shafts) and a number. For example: H7 (hole, tapped hole, or nut) and h7 (shaft or bolt). H7/h6 is a very common standard tolerance which gives a tight fit. The tolerances work in such a way that for a hole H7 means that the hole should be made slightly larger than the base dimension (in this case for an ISO fit 10+0.015−0, meaning that it may be up to 0.015 mm larger than the base dimension, and 0 mm smaller). The actual amount bigger/smaller depends on the base dimension. For a shaft of the same size, h6 would mean 10+0−0.009, which means the shaft may be as small as 0.009 mm smaller than the base dimension and 0 mm larger. This method of standard tolerances is also known as Limits and Fits and can be found in ISO 286-1:2010 (Link to ISO catalog).

The table below summarises the International Tolerance (IT) grades and the general applications of these grades:

An analysis of fit by statistical interference is also extremely useful: It indicates the frequency (or probability) of parts properly fitting together.

Electrical component tolerance
An electrical specification might call for a resistor with a nominal value of 100 Ω (ohms), but will also state a tolerance such as "±1%". This means that any resistor with a value in the range 99–101Ω is acceptable. For critical components, one might specify that the actual resistance must remain within tolerance within a specified temperature range, over a specified lifetime, and so on.

Many commercially available resistors and capacitors of standard types, and some small inductors, are often marked with coloured bands to indicate their value and the tolerance. High-precision components of non-standard values may have numerical information printed on them.

Low tolerance means only a small deviation from the components given value, when new, under normal operating conditions and at room temperature. Higher tolerance means the component will have a wider range of possible values.

Difference between allowance and tolerance
The terms are often confused but sometimes a difference is maintained. See .

Clearance (civil engineering)

In civil engineering, clearance refers to the difference between the loading gauge and the structure gauge in the case of railroad cars or trams, or the difference between the size of any vehicle and the width/height of doors, the width/height of an overpass or the diameter of a tunnel as well as the air draft under a bridge, the width of a lock or diameter of a tunnel in the case of watercraft. In addition there is the difference between the deep draft and the stream bed or sea bed of a waterway.

See also

Backlash (engineering)
Geometric dimensioning and tolerancing
Engineering fit
Key relevance
 Loading gauge
Margin of error
Precision engineering
Probabilistic design
Process capability
 Slack action
Specification (technical standard)
Statistical process control
Statistical tolerance
 Structure gauge
Taguchi methods
Tolerance coning
Tolerance interval
Tolerance stacks
Verification and validation

Notes

Further reading
 Pyzdek, T, "Quality Engineering Handbook", 2003,
 Godfrey, A. B., "Juran's Quality Handbook", 1999,
 ASTM D4356 Standard Practice for Establishing Consistent Test Method Tolerances

External links
Limits, Fits and Tolerance Calculator (ISO System)
Tolerance Engineering Design Limits & Fits
Online calculation of fits
Index of ISO Hole and Shaft tolerances/limits pages

Quality
Engineering concepts
Statistical deviation and dispersion
Mechanical standards
Metrology
Metalworking terminology
Approximations

Engineering tolerance


Un total de 199 equipos participaron en la fase de Clasificación para la Copa Mundial de Fútbol de 2002, compitiendo por un total de 32 plazas en el torneo final.  y , como los co-anfitriones, y , como los campeones defensores, clasificaron en forma automática, dejando 29 cupos disponibles.

Las 32 plazas para la Copa Mundial de la FIFA de 2002 fueron distribuidas entre las zonas continentales de las siguiente forma:
 Europa (UEFA): 14.5 plazas, una de ellas fue asignada automáticamente a Francia, mientras que las otras 13.5 fueron disputadas por 50 equipos. El ganador de la 0.5 plaza avanzó a la repesca interncontinental (contra un equipo de la AFC).
 Sudamérica (CONMEBOL): 4.5 plazas, disputadas por 10 equipos. El ganador de la 0.5 plaza avanzó a la repesca intercontinental (contra un equipo de la OFC).
 América del Norte, Central y el Caribe (CONCACAF): 3 plazas, disputadas por 35 equipos.
 África (CAF): 5 plazas, disputadas por 51 equipos.
 Asia (AFC): 4.5 plazas, 2 de ellas fueron asignadas a Corea del Sur y Japón, mientras que las otras 2.5 plazas fueron disputadas por 40 equipos. El ganador de la 0.5 plaza avanzó a la repesca intercontinental (contra un equipo de la UEFA).
 Oceanía (OFC): 0.5 plaza, disputada por 10 equipos. El ganador de la 0.5 plaza avanzó a la repesca intercontinental (contra un equipo de CONMEBOL).

Un total de 193 equipos jugó al menos un partido clasificatorio. Se jugaron un total de 777 partidos clasificatorios y se anotaron 2452 goles (un promedio de 3.17 por partido).

Zonas continentales

Europa (UEFA)

Grupo 1 - Rusia clasificó. Eslovenia avanzó a la Repesca de la UEFA.
Grupo 2 - Portugal clasificó. la República de Irlanda avanzó a la Repesca Intercontinental AFC/UEFA
Grupo 3 - Dinamarca clasificó. La República Checa avanzó a la Repesca de la UEFA.
Grupo 4 - Suecia clasificó. Turquía avanzó a la Repesca de la UEFA.
Grupo 5 - Polonia clasificó. Ucrania avanzó a la Repesca de la UEFA.
Grupo 6 - Croacia clasificó. Bélgica avanzó a la Repesca de la UEFA.
Grupo 7 - España clasificó. Austria avanzó a la Repesca de la UEFA.
Grupo 8 - Italia clasificó. Rumania avanzó a la Repesca de la UEFA.
Grupo 9 - Inglaterra clasificó. Alemania avanzó a la Repesca de la UEFA.
Repescas - Bélgica, Alemania, Eslovenia y Turquía clasificaron sobre la Républica Checa, Ucrania, Rumania, y Austria respectivamente.

Sudamérica (CONMEBOL)

Argentina, Ecuador, Brasil y Paraguay clasificaron. Uruguay avanzó a la  Repesca Intercontinental de la CONMEBOL/OFC.

América del Norte, Central y el Caribe (CONCACAF)

Costa Rica, México y Estados Unidos clasificaron.

África (CAF)

Grupo A - Camerún clasificó.
Grupo B - Nigeria clasificó.
Grupo C - Senegal clasificó.
Grupo D - Túnez clasificó.
Grupo E - Sudáfrica clasificó.

Asia (AFC)

Grupo A - Arabia Saudita clasificó. Irán avanzó a la Repesca de la AFC.
Grupo B - la República Popular de China clasificó. Los Emiratos Árabes Unidos avanzaron a la Repesca de la AFC.
Play-off - Irán avanzó a la Repesca Intercontinental AFC/UEFA sobre los Emiratos Árabes Unidos.

Oceanía (OFC)

Australia avanzó a la Repesca Intercontinental de la CONMEBOL/OFC.

Repescas Intercontinentales
Los equipos jugaron partidos de ida y vuelta. El ganador de la serie clasificaría.

Repesca Intercontinental UEFA–AFC

La República de Irlanda clasificó con el resultado agregado de 2–1.

Repesca Intercontinental OFC–CONMEBOL

Uruguay clasificó con el resultado agregado de 3–1.

Equipos clasificados

Notas
 En el camino a la Copa Mundial de Fútbol de 2002,  jugó su peor campaña clasificatoria de la historia, perdiendo 6 partidos (la única vez en la que habían perdido más de 2 partidos en una campaña clasificatoria) y terminaron terceros en el grupo clasificatorio de CONMEBOL (la única vez que no había liderado su grupo de clasificación hasta la fecha). Sin embargo, Brasil terminó ganando la Copa Mundial de Fútbol de 2002 ganando en forma récord los 7 partidos que jugó, sin enfrentarse a tiempos extras o penales. Otros equipos que terminaron ganando todos sus partidos en un mundial fueron Uruguay en 1930 (4 partidos),  en 1938 (4 partidos, uno de ellos en tiempo extra) y Brasil en 1970 (6 partidos). En 1970 Brasil también ganó los seis partidos preliminares que jugó.  no jugó ningún partido clasificatorio en 1930 ya que en ese entonces no había fase clasificatoria, al igual que Italia, ya que clasificaron en forma automática como campeones defensores en 1938.

  perdió un partido de clasificación por segunda vez en su historia el 1 de septiembre de 2001 cuando fueron derrotados por  5 goles a 1 en Munich. Habían jugado un total de 62 partidos clasificatorios hasta la fecha, con un récord de 47 victorias, 14 empates y 1 derrota. Además de Alemania, ningún otro equipo había jugado más de 20 partidos clasificatorio y perdido menos de tres de ellos. Curiosamente, la única otra derrota de Alemania en una eliminatoria también había sido de local, jugando contra  en Stuttgart en 1985.

  anotó 31 goles en su partido contra , marcando así el récord de la mayor cantidad de goles anotados en un solo partido internacional oficial y la mayor diferencia ganadora en un partido internacional oficial de la historia. Esto sucedió solo dos días después de que Australia aplastase 22-0 a , un resultado récord hasta esa fecha.  Además, los 13 goles de Archie Thompson en el partido contra Samoa Americana sobrepasó el récord anterior de 10.

 El jugador togolés, Souleymane Mamam, se convirtió en el jugador más joven en jugar un partido clasificatorio al mundial con 16 años y 310 días en Lomé en mayo de 2001.

 La tripleta más rápida en una competición internacional fue marcada por Abdul Hamid Bassiouny de  luego de tan solo 177 segundos en el partido clasificatorio contra .

 El suizo Kubilay Türkyilmaz anotó una tripleta exclusivamente desde el punto penal contra las Islas Feroe. Ronaldo lo igualó en la victoria 3-1 de Brasil contra Argentina en la fase clasificatoria de la Copa Mundial de Fútbol de 2006.

Referencias

Enlaces externos

 Preliminares a la Copa Mundial de Fútbol de 2002 en FIFA.com
 RSSSF - Clasificación para la Copa Mundial de Fútbol de 2002


El CFM International LEAP es un motor aeronáutico civil, tipo turbofán, de alto índice de derivación. Está siendo desarrollado por la compañía conjunta CFM International, formada por el fabricante aeronáutico francés Safran Aircraft Engines y el estadounidense GE Aviation.

Diseño y desarrollo
El LEAP ("Leading Edge Aviation Propulsion") incorpora la tecnología que CFM desarrolló en el programa LEAP56, que la misma lanzó en el año 2005. El motor LEAP fue presentado oficialmente el 13 de julio de 2008. Está previsto que este motor sustituya a las variantes CFM56-5B y CFM56-7B.

La variante CFM LEAP-1A (24 500-32 900 lb) fue certificada FAA y AESA el 23 de noviembre de 2015, y CFM International entregó los 2 primeros ejemplares de producción a Airbus el 2 de abril de 2016.

La compañía Commercial Aircraft Corporation of China (COMAC) fue la primera en seleccionar el motor LEAP, que será empleado en el COMAC C919. Está previsto que esta compañía sea una de las primeras en poner en servicio una variante del LEAP, el LEAP-1C (27 980-30 000 lb), en el año 2016. También Boeing tiene previsto emplear la variante CFM LEAP-1B (23.000–28.000 lb), tras aprobar el 30 de agosto de 2011 el desarrollo del Boeing 737 MAX.

Innovaciones 3D
Los 19 inyectores de combustible se fabricaran con impresoras 3D, a partir de polvos de aleación de cobalto-cromo: son hasta un 25 % más ligero y 5 veces más duraderos que los fabricados tradicionalmente.

Aplicaciones
 Airbus A320neo
 Airbus A321neo
 Boeing 737 MAX
 COMAC C919

Véase también

Referencias

Motores turbofán de alto índice de derivación

it:CFM International CFM56#CFM International LEAP

CFM International LEAP


Prodidomus reticulatus est une espèce d'araignées aranéomorphes de la famille des Prodidomidae.

Distribution
Cette espèce est endémique de Namibie. Elle se rencontre vers Okorosave, Sesfontein, Namakunde et Ongandjera.

Description
La femelle holotype mesure

Le mâle décrit sous le nom Prodidomus hirsutus par Lawrence en 1927 mesure

La femelle décrite par Cooke en 1964 mesure .

Systématique et taxinomie
Cette espèce a été décrite par Lawrence en 1927.

Prodidomus hirsutus a été placée en synonymie par Cooke en 1964.

Publication originale
 Lawrence, 1927 : « Contributions to a knowledge of the fauna of South-West Africa V. Arachnida. » Annals of the South African Museum, , ,  (texte intégral).

Liens externes

Notes et références

Prodidomidae
Espèce d'araignées (nom scientifique)
Faune endémique de Namibie

Prodidomus reticulatus


Adam Botek (Komárno, 5 de março de 1997) é um canoísta eslovaco, medalhista olímpico.

Carreira

Botek conquistou a medalha de bronze nos Jogos Olímpicos de Verão de 2020 em Tóquio na prova de K-4 500 m, ao lado de Samuel Baláž, Denis Myšák e Erik Vlček com o tempo de 1:23.534 minuto.

Canoístas olímpicos da Eslováquia
Canoístas nos Jogos Olímpicos de Verão de 2020
Medalhistas nos Jogos Olímpicos de Verão de 2020

Adam Botek


القوة الصحراوية الغربية  هي وحدة عسكرية بريطانية أيام الحرب العالمية الثانية مرابطة على الحدود المصرية الليبية تم تشكيلها في يونيو 1940 من فرقة المشاة السادسة البريطانية تحت قيادة القائد البريطاني ريتشارد أوكونور بهدف التصدي للغزو الإيطالي المرتقب على مصر، وكانت تتبع قيادة القوات البريطانية في الشرق الأوسط. وبعد أن أسر أوكونور في أبريل 1941 على يد القوات الألمانية تولى القائد البريطاني  القيادة.

مع تزايد حجم القوات البريطانية في حملة شمال أفريقيا صار من الضروري تغير صفة القوات المقاتلة فيها، فأصبحت تحمل اسم الجيش الثامن البريطاني في سبتمبر 1941، وأصبحت القوة الصحراوية الغربية جزءاً منه.

مراجع

الحرب العالمية الثانية
جيوش
قوات الجيش البريطاني في الحرب العالمية الأولى
قوات الجيش البريطاني في الحرب العالمية الثانية
قوات ميدانية بريطانية
وحدات وتشكيلات الإمبراطورية البريطانية العسكرية في الحرب العالمية الثانية
وحدات وتشكيلات الهند العسكرية في الحرب العالمية الثانية

القوة الصحراوية الغربية


The Little Rascals refers to producer Hal Roach's Our Gang theatrical short film comedies - specifically the 1929–1938 entries - syndicated for television under this title since 1955.

The Little Rascals or Little Rascals may also refer to:
 The Little Rascals (animated TV series), a 1982–1984 Hanna-Barbera Saturday morning cartoon series based on Our Gang
 The Little Rascals (film),  a 1994 feature film based on Our Gang
 The Little Rascals Save The Day, a 2014 direct-to-video feature film based on Our Gang
 Oriental Heroes, a Hong Kong comic book series originally titled Little Rascals
 The child actors from the Our Gang comedies, described in Our Gang personnel

The Little Rascals (disambiguation)


Hämeenkyrö (Tavastkyro en idioma sueco) es un municipio de Finlandia, ubicado en la provincia de Finlandia Occidental, parte de la región de Pirkanmaa.

Hämeenkyrö tiene una población de 10 524 habitantes, de los que alrededor de 6500 son población urbana. El sector de servicios ocupa a más del 50% de dicha población, la industria al 40% y la agricultura y la silvicultura al resto.

El área del municipio es de 505.10 km², de los cuales 41.34 km² es agua.
La superficie cultivada es de alrededor de 10000 hectáreas, mientras que la superficie forestal asciende de 32000 hectáreas.

Si bien la ciudad tiene una antigüedad de unos 700 años, su desarrollo reciente siguió a la expansión de la cercana ciudad de Tampere, también en la provincia de Pirkanmaa, cuya población actual alcanza los 500 000 habitantes.

Con una planta de 600 personas, el principal empleador es el mismo municipio, responsable del cuidado de los niños, la educación, los servicios de salud y de atención a discapacitados y los servicios públicos esenciales. Algunas empresas son M-Real (papel), Metsäliitto (madera), Kyrel Oy (electrónica), Pekka Kynnös Oy (construcción) y Mattilan Säiliö Oy (recipientes).

Los «lagos azules, verdes campos y colinas con densos bosques crearon un rico y variado entorno que se ha convertido en uno de los más valiosos paisajes de Finlandia».
Los rápidos del Kyröskoski, identificados por algunos con el Hämeen Hälläpyörä del Kalevala, son otra de las atracciones naturales del municipio.

En la ciudad la principal atracción turística es la iglesia, com más de 225 años de antigüedad. Frente a la misma puede verse un almacén de granos que servía como reserva de alimentos de la población durante los períodos de hambruna.

El escritor Frans Eemil Sillanpää (1888 - 1964) primer y único finlandés en obtener el Premio Nobel de Literatura nació en Myllykolu, municipio de Hämeenkyrö. Sillanpää se hizo acreedor del premio en 1939 «por su profundo conocimiento de los campesinos de su país y el arte exquisito con el que ha retratado su forma de vida y su relación con la Naturaleza».

Otros ciudadanos ilustres de Hämeenkyrö son el ministro y militar Arvo Pentti (1915-1986), condecorado con la Cruz de Mannerheim, y el atleta Paavo Yrjölä (1902-1980), ganador de la medalla de oro en Decatlón en los Juegos Olímpicos de Ámsterdam 1928.

Notas y referencias

Enlaces externos

 Municipalidad de Hämeenkyrö
 Arteles International Artist in Residency Program

Municipios de Pirkanmaa

Hämeenkyrö


Erich Pawlak (* 14. Dezember 1933; † 24. Juli 2007) war ein deutscher Fußballspieler. Von 1954 bis 1961 hat er als Aktiver des VfL Bochum in der damals erstklassigen Fußball-Oberliga West 131 Ligaspiele absolviert und dabei 33 Tore erzielt.

Laufbahn
Pawlaks Anfänge im Vereinsfußball fanden in Dortmund bei den Vereinen SV Husen 19 und SuS Kaiserau statt. Er war in beiden Clubs Mannschaftskamerad des späteren Nationaltorhüters Hans Tilkowski. Die Wege der beiden Talente trennten sich erst mit dem Wechsel von Pawlak 1954 zum VfL Bochum, beziehungsweise von Tilkowski im Jahr 1955 zu Westfalia Herne, in die Oberliga West. Der Keeper des Weltmeisterschaftsturniers 1966 in England hält über die gemeinsamen Jugendtage in seiner Biografie "Und ewig fällt das Wembley-Tor" fest:

In seiner ersten Saison mit VfL Bochum in der Oberliga West, 1954/55, stieg der wegen seiner Laufstärke "Lunge" gerufene Mittelfeldspieler mit dem VfL in die 2. Oberliga West ab. In 23 Ligaspielen erzielte er sechs Tore. Umgehend kehrte er  nach dem Meisterschaftsgewinn in der 2. Oberliga West 1955/56 mit der Mannschaft von der Castroper Straße in die Oberliga zurück. Der Oberligarückkehrer belegte 1956/57 den 10. Platz in der Oberliga West und das "Laufwunder" Pawlak hatte zumeist als linker Außenläufer im damals praktizierten WM-System eingesetzt, alle 30 Rundenspiele bestritten.

Am 3. März 1957 stand er in der Auswahl von Westdeutschland im Repräsentativspiel in Bochum gegen Berlin. Beim 3:1-Erfolg der West-Elf spielte er wie gewohnt als linker Außenläufer und versorgte mit seinen Vorlagen die Stürmer Felix Gerritzen, Alfred Preißler, Alfred Kelbassa, Aki Schmidt und Helmut Kapitulski. Er spielte mit seinem Jugendkameraden zusammen, Hans Tilkowski hütete das Tor des Gastgebers. Durch seine konstant gute Leistung wird er im "Revier-Team der Saison" geführt. Gegen seinen Jugendkameraden Tilkowski verlor er beide Spiele in dieser Runde mit seinem VfL gegen Westfalia Herne.

Als Bochum unter Trainer Herbert Widmayer in der Runde 1958/59 überraschend den vierten Platz erreichen konnte, waren für Pawlak infolge Verletzungspausen nur sieben Einsätze mit drei Toren möglich. Persönlich hatte er in der Saison 1960/61 mit 28 Ligaspielen und zwölf Toren nochmals eine ausgezeichnete Rundenbilanz vorzuweisen, der VfL stieg aber als Tabellenschlusslicht in die 2. Oberliga West ab. Am 23. April 1961 kam er mit seinen Mannschaftskameraden im Heimspiel gegen Westfalia Herne mit Torhüter Hans Tilkowski zu einem 3:0-Sieg. Sein letztes Oberligaspiel absolvierte Pawlak am 30. Spieltag, den 13. Mai 1961, bei der 1:4-Heimniederlage gegen Hamborn 07.

Nach dem Abstieg setzte er seine Karriere zwar in der 2. Oberliga West fort, aber nicht mehr in Bochum, er schloss sich dem Dortmunder SC 95 an.

Literatur
 Hardy Grüne, Lorenz Knieriem: Enzyklopädie des deutschen Ligafußballs. Band 8: Spielerlexikon 1890–1963. AGON Sportverlag, Kassel 2006, ISBN 3-89784-148-7.
 Harald Landefeld, Achim Nöllenheidt (Hrsg.): Helmut, erzähl mich dat Tor... Neue Geschichten und Porträts aus der Oberliga West 1947–1963. Klartext, Essen 1993, ISBN 3-88474-043-1.
 Heinz Formann, Tief im Westen. Das Phänomen VfL Bochum, Klartext-Verlag, 1994, ISBN 3-88474-177-2
 Markus Franz, Die Jungs von der Castroper Straße. Die Geschichte des VfL Bochum, Verlag Die Werkstatt, 2005, ISBN 3-89533-506-1

Einzelnachweise

Fußballspieler (VfL Bochum)
Fußballspieler (Dortmunder SC 95)
Deutscher
Geboren 1933
Gestorben 2007
Mann
Fußballspieler (SuS Kaiserau)

Erich Pawlak


Manuel Rodriguez (March 2, 1940 – November 28, 2012), better known as Spain or Spain Rodriguez, was an American underground cartoonist who created the character Trashman. His experiences on the road with the motorcycle club, the Road Vultures M.C., provided inspiration for his work, as did his left-wing politics. Strongly influenced by 1950s EC Comics illustrator Wally Wood, Spain pushed Wood's sharp, crisp black shadows and hard-edged black outlines into a more simplified, stylized direction. His work also extended the eroticism of Wood's female characters.

Biography

Early life
Manuel Rodriguez was born March 2, 1940, in Buffalo, New York. He picked up the nickname Spain as a child, when he heard some kids in the neighborhood bragging about their Irish ancestry, and he defiantly claimed Spain was just as good as Ireland. Rodriguez studied at the Silvermine Guild Art School in New Canaan, Connecticut alongside cartoonist M.K. Brown.

Career

In New York City, during the late 1960s, he became a contributor to the underground newspaper the East Village Other, which published his own comics tabloid, Zodiac Mindwarp (1968). He covered the 1968 Democratic National Convention in Chicago as a reporter for the East Village Other, adventures which were chronicled in My True Story (Fantagraphics Books, 1994). One of his earliest strips, "Manning," featured a hard-boiled, over-the-top cop and was later cited as an influence on the British comics character Judge Dredd.

A co-founder (with Robert Crumb) of the United Cartoon Workers of America, Spain contributed to numerous underground comics in the 1960s–2000s, including San Francisco Comic Book, Young Lust, Arcade, Bijou Funnies, Weirdo, and Harvey Pekar's American Splendor. Spain joined the Zap Comix collective in issue #4 (August 1969), and contributed stories to every issue from then until the comic's demise in 2005. In such classics as Spain's Mean Bitch Thrills (Print Mint, 1971), Spain's women are raunchy, explicitly sexual, and sometimes incorporated macho sadomasochistic themes.

Trashman's first appearance was as a full-page serial in the East Village Other. After moving from New York City to San Francisco in 1970, Spain's Subvert Comics series (1970–1976) featured "three full length Trashman: Agent of the Sixth International stories." Trashman later appeared in such publications as High Times, Heavy Metal, Weirdo, San Francisco magazine, Zap #11–13, and the Fantagraphics anthology Zero Zero #2.

From 1976 to 1998, Spain contributed cover art to more than a dozen issues of the popular pornographic magazine Screw.

Spain drew Salon's continuing graphic story, The Dark Hotel, which ran on the website in 1998–1999. His starkly forceful, naturalistic style perfectly matched Conan Doyle's eerie stories in Sherlock Holmes' Strangest Cases (Word Play Publications, 2001).

Spain's later work included an illustrated biography of Marxist revolutionary Ernesto "Che" Guevara, Che: A Graphic Biography (Verso Books, 2008). Published in several different languages, it was described by cartoonist Art Spiegelman as "brilliant and radical." His history of the California farmworker movement, Farmworker Comix was published posthumously in 2014 by the California Federation of Teachers.

Spain designed several posters for the San Francisco Mime Troupe, a political satirist theatre company.

Rodriguez taught art classes at Mission Cultural Center for Latino Arts for many years, and he supported the creation of murals in the Mission District.

Death
Rodriguez died at his home in San Francisco on November 28, 2012, after battling cancer for six years.

Awards
In July 2013, during the San Diego Comic-Con, Rodriguez was one of six inductees into the Will Eisner Hall of Fame. The award was presented posthumously by Mad magazine cartoonist and Groo the Wanderer creator Sergio Aragonés. The other inductees were Lee Falk, Al Jaffee, Mort Meskin, Joe Sinnott, and Trina Robbins.

Exhibitions
 1988 (June 27 – August 10) Galería Esquina de la Libertad (San Francisco) — "Spain : a View from the Bottom: Posters, Comic Strips, Caricatures and More"
 2012 (September 14, 2012 – January 13, 2013) Burchfield Penney Art Center at Buffalo State College (Buffalo, NY) — "Spain: Rock, Roll, Rumbles, Rebels & Revolution"

Bibliography
 Subvert Comics #1–2 (Rip Off Press, 1970–1972); #3 (Saving Grace, 1976)
 Mean Bitch Thrills (Print Mint, Sept. 1971)
 Food Price Blackmail: Who's Behind the High Cost of Eating, text by Margaret Lobenstein & John Schommer. United Front Press, 1973.
 Trashman Lives!: The Collected Stories from 1968 to 1985 (Fantagraphics, 1989).
 She: Anthology of Big Bitch (with Susie Bright). San Francisco: Last Gasp, 1993.
 My True Story. Seattle: Fantagraphics Books, 1994.
 Nothing in This Book Is True, But It's Exactly How Things Are, text by Bob Frissell. Berkeley: Frog Ltd., 1994.
 Alien Apocalypse 2006 (with Kathy Glass and Harold S. Robbins). Berkeley: Frog Ltd., 2000.
 Sherlock Holmes' Strangest Cases by Sir Arthur Conan Doyle.  San Francisco: Word Play Publications, 2001.
 Nightmare Alley by William Lindsay Gresham. Seattle: Fantagraphics Books, 2003.
 You Are a Spiritual Being Having a Human Experience, text by Bob Frissell. Berkeley: Frog Ltd., 2003.
 Che: A Graphic Biography, edited by Paul Buhle. London/New York: Verso, 2008.
 Devil Dog: the Amazing True Story of the Man Who Saved America, text by David Talbot. Simon & Schuster, 2010.
 Cruisin' with the Hound (Fantagraphics Books, 2012).
 Farmworker Comix: a History of the Farm Labor Struggle in California, text by Bill Morgan. (California Federation of Teachers, 2014).
 Dies Irae: One Man Against the American Empire (A Graphic Story of 9/11), text by Wolcott Wheeler. Independently Published, 2003,2018.

References

Notes

Sources
 Ascher, Jon. "Sifting Through the Trash: Spain and Trashman," JonAscher.com (1998).
 Hodler, Tim. "Spain Rodriguez: Tributes," The Comics Journal (NOV 29, 2012).
 Talbot, David. "Death of an American original: Cartoonist Spain Rodriguez subverted the youth of America," Salon (DEC. 1, 2012).
 Vallen, Mark. "Trashman Lives!" Art for a Change website (Dec. 5, 2012).
 Viglietta, Sal. "Road Vultures and Rumbles," Artvoice Weekly Editionvol. 8, #42 (Oct. 14, 2009).

External links

 Cartoonist Tributes to Spain
 Spain Rodriguez Fought the Good Fight, Comics Journal website
 New York Times obituary
 "SPAIN: ROCK, ROLL, RUMBLES, REBELS, & REVOLUTION" exhibition, Burchfield Penney Art Center website
 A Salute to Spain by Ed Sanders
 Spain Rodriguez (1940–2012) by Paul Buhle

1940 births
American cartoonists
American comics artists
American erotic artists
Artists from Buffalo, New York
Underground cartoonists
2012 deaths
Deaths from cancer in California
Artists from San Francisco
American Splendor artists

Spain Rodriguez


Edward Edwards henviser til blandt andre:

 Edward Edwards (admiral) (1742-1815) – britisk admiral
 Edward Edwards (zoolog) (1803-1879) – britisk zoolog
 Edward Edwards (bibliotekar) (1812-1886) – britisk bibliotekar

Edward Edwards


El Hospital Municipal Santa Lucía, de la ciudad valenciana de Alcira, fue un histórico centro hospitalario español, fundado en el . Tras setecientos años de actividad asistencial, fue clausurado en 1997 por la Generalidad Valenciana, siendo sustituido por el actual Hospital de La Ribera.

Historia
Si bien no se conoce con certeza su fecha exacta de fundación, existe constancia escrita de su existencia desde 1337, en concreto en el testamento de su fundador, Pedro Esplugues, capellán de Su Santidad, canónigo de Lérida y archidiácono de Alcira, y en otros documentos del Archivo municipal de Alcira que recogen la existencia de otros dos hospitales en el municipio, llamados En-Scuder y En-Bossera, y su fusión en el de Santa Lucía, en 1465, por bula del Papa Pablo II. El hospital, destinado principalmente a la atención de pobres y peregrinos, se financiaba en su origen con las rentas de sus fundadores y con donaciones de sus bienhechores, siendo patronos y administradores del mismo los Jurados de la entonces villa de Algezira. Los mismos jurados realizaron campañas de financiación que permitieron al centro disponer de bienes propios y contratar a médicos, farmacéuticos, cirujanos, etcétera durante los siglos XV y XVI.

En el  se realizó la construcción de un nuevo edificio para el hospital, en realidad ampliación y mejora del antiguo, por impulso de Juan Guerau, perteneciente a una noble familia de la ciudad, cuya primera piedra fue colocada en 1635. Desde la fundación de Juan Guerau, el hospital fue evolucionando en su funcionamiento, incrementó sus rentas y patrimonio y no dejaron de sucederse las donaciones, si bien su economía se vio afectada a lo largo de los años por guerras y ocupaciones, impuestos reales y trabas legales. No obstante, el hospital continuó funcionando con normalidad y alcanzó tanto renombre como el de la ciudad de Valencia. Sus bienes en 1853 eran muy numerosos y abarcaban doscientas hanegadas de tierra, setenta y tres censos y cartas de gracia, ciento treinta y nueve censos enfiteuticos y veintidós casas de gran valor, disfrute de cuyas rentas le pertenecía.

Tras la Desamortización de Mendizábal, el hospital fue trasladado al antiguo Convento de los capuchinos en 1845.

En 1875 fue encargada la asistencia hospitalaria a la orden de las Hijas de la Caridad de San Vicente de Paul. Durante el período de la Guerra Civil Española fueron sustituidas por personal seglar.

Finalizada la Guerra Civil Española el hospital continuó su labor, principalmente de carácter caritativo y asistencial. En los años 40 ofrecía servicios de traumatología, medicina interna, aparato digestivo, pulmón, corazón y rayos X, obstetricia y ginecología, tisiología-aparato respiratorio, enfermedades de los niños, y cirugía-riñón-vías urinarias. Solo contaba con un quirófano. Es a partir de los años 50 cuando diversos médicos solicitan los servicios del hospital para tratar a sus enfermos privados, con un compromiso de asistencia quirúrgica a los enfermos de beneficencia. El hospital se amplió con un nuevo pabellón y comenzaron a atenderse partos a requerimiento de las clínicas privadas. Llegó a disponer de 112 camas.

Gobierno y administración
El Hospital Santa Lucía era de propiedad municipal, por lo que desde su fundación estuvo patrocinado primero por los Jurados de la entonces Villa de Algezira y , finalizado el Antiguo régimen, por el Ayuntamiento de Alcira. A partir del , bajo patrocinio del Ayuntamiento, una Junta administrativa regía la gobernación del mismo. A mediados de los años 60 se creó también una Junta facultativa. A principio de los años 70 se firmó el concierto con la Seguridad social. Durante esta etapa, el hospital atendió enfermos procedentes de cuarenta municipios de la provincia de Valencia, de Agres, Elche, Javea y Teulada-Moraira, en la provincia de Alicante, Yecla, en la provincia de Murcia, y Villarreal y Castellón de la Plana, en la provincia de Castellón.

La Junta administrativa
La Junta administrativa ejercía el gobierno exclusivo del hospital hasta los años 60 en que se creó además la Junta facultativa. La Junta administrativa estaba compuesta por un presidente, un vicepresidente, un director médico y los vocales. Eran vocales natos el arcipreste de Alcira, la Madre superiora de las Hijas de la Caridad de San Vicente de Paul y el Jefe local de Sanidad.
Desde los años 40 hasta los años 70, fueron presidentes de la Junta, José Durá Roig y Alfredo Suñer Oliver; vicepresidentes, José Tudela Ferrán y el doctor Miguel Rodríguez de Arellano Corbí; gerente, el doctor Abelardo Oliver Clari. Formaron parte como miembros natos de la misma Sor María Luisa Domingo Calvo y Sor Concepción Casado, el reverendo Francisco Albiol, el jefe local de Sanidad, Juan Calabuig Más y el presidente de la comisión de sanidad del Ayuntamiento, Octavio Daries. Fueron miembros electos de la Junta, entre otros, los tenientes de alcalde de Alcira Antonio Pastor Aracil y José Vila Onrubia, los concejales Ramón Flor Ortells y Germán Palop Gimeno, y los señores Agustín Forcadell Solé, Vicente Sifre Pelufo, Salvador montaner, José L. Martí, Enrique Montalvá, Gregorio Canet, Rafael Presencia y Francisco Colom. Fue secretario de la Junta Bernardo Pellicer Martínez y administrador Bernardo Martínez Segura.

Fueron directores médicos del hospital el doctor Lisardo Piera Rosario, desde 1940 hasta 1957, el doctor Vicente Ferrer Calatayud, desde 1957 hasta 1960, el doctor Enrique Montalvá Albentosa, desde 1960 hasta 1966, el doctor Miguel Rodríguez de Arellano Corbí, desde 1966 hasta 1976 y, por último, el doctor David Cuesta Caselles, desde 1977 hasta 1985. A partir de este momento se produjo su transferencia a la dirección de zona de la Seguridad social.

La Junta facultativa
Fueron miembros de la Junta facultativa los doctores Rodríguez de Arellano, David Cuesta, José Aguilar López del Valle, Camilo Dolz, Antonio Gil, Salvador Sanchis, Miguel Presencia, José Luis Sebastiá Vila, Adrián Medina, Francisco Salvador, y Rafael Presencia Redal como secretario de la Junta.

Clausura
El Hospital Santa Lucía fue adquirido en 1994 por la Generalidad Valenciana, que inició un proceso de cierre paulatino, que fue definitivo en 1997. Mantuvo su actividad asistencial durante setecientos años.

Bibliografía

Santa Lucía (Alcira)
Alcira
Arquitectura de la provincia de Valencia

Hospital Santa Lucía de Alcira


Vera Aceva - Dosta () a fost o comunistă macedoneană, participantă la al Doilea Război Mondial în Iugoslavia și o eroină națională.

Între cele două războaie mondiale
Din cauza unei situații financiare precare, Aceva a trebuit să-și întrerupă educația după cel de-al doilea an de gimnaziu și să-și găsească de lucru. A lucrat în industria tutunului.

Ea a devenit o parte din mișcarea forței de muncă la vârsta de 16 ani. A devenit membră a Ligii Comuniștilor din Iugoslavia la începutul anilor 1940. În luna septembrie a aceluiași an, la conferința provincială a fost aleasă ca membră a Comitetului Regional al Ligii Comuniștilor din Iugoslavia pentru Macedonia. Din septembrie 1940 până în iunie 1941 a fost Secretara Comitetului Local în Prilep.

Al Doilea Război Mondial în Iugoslavia
Aceva a fost una dintre primii organizatori ai Detașamentului de Partizani din Prilep. La începutul anului 1942 a lucrat în Liga Comuniștilor din Iugoslavia în Skopje, apoi ca instructor de partid în Strumica, Bitola și Štip. În august 1943 a devenit comisar al detașamentului Shar, iar când la 11 noiembrie 1943 a fost formată prima brigadă Macedonia-Kosovo, Aceva a fost aleasă comisar politic adjunct. Ea a fost în această poziție până în ianuarie 1944, când a devenit secretara politică a celui de-al Treilea și al Patrulea Comitet Districtual al Ligii Comuniștilor din Macedonia. În august 1944 a participat la prima sesiune de mișcare anti-fascistă pentru Eliberare Națională din Macedonia, la care a fost selectată în prezidiu.

După eliberare
După eliberare, Aceva a avut mai multe funcții manageriale. În 1948 a fost Primar al orașului Skopje. La cel de-al Cincilea Congres al Partidului Comunist din Iugoslavia, în iulie 1948, a fost aleasă în Comitetul Central al Ligii Comuniștilor din Iugoslavia. În martie 1949, în timpul reconstrucției guvernului Republicii Socialiste Macedonia, a fost aleasă în funcția de Ministru al Agriculturii. Au  urmat ca funcțiiː membru al Consiliului Federal Executiv, Membru al Parlamentului în mai multe adunări ale Poporului Republicii Macedonia și RSFI.

În 1960 Aceva a intrat în conflict cu Secretarul Partidului Comunist din Macedonia, în acel moment fiind Lazăr Koliševski, acuzându-l de luare a deciziilor împreună cu Vidoe Smilevski - Bato în afara Comitetului Executiv al Ligii Comuniștilor din Macedonia. La reuniunea din 18 octombrie 1960, Aleksandar Rankovic a venit de la Belgrad și a stat de partea lui Koliševski. Aceva a fost forțată să se retragă și s-a mutat să lucreze în Belgrad.

În 1991 a publicat cartea "Letter to Svetozar Vukmanovik - Tempo" ("Scrisoare către Svetozar Vukmanovik - Tempo").

Note

Nașteri în 1919
Decese în 2006
Oameni din Skopje
Comuniști iugoslavi

Vera Aceva


HSwMS Orion (A201) je brod za prikupljanje obavještajnih podataka švedske mornarice.

HSwMS Orion porinut je 1984. Izgrađen je uz veliku potporu Agencije za nacionalnu sigurnost Sjedinjenih Država. U studenom 1985. sovjetski minolovac udario je HSwMS Orion nakon što se previše približio sovjetskoj pomorskoj vježbi. Godine 1998. Orion je primio lažnu prijetnju bombom, o čemu su naširoko izvještavale švedske novine. Brodom upravljaju časnici i mornari Švedske mornarice, kao i osoblje iz Nacionalne obrambene radio ustanove (FRA). Orion dijeli dizajn trupa s brodom Fiskeriverkets Argos, službenim brodom za kontrolu ribolova.

Zamjena
Dana 22. travnja 2010. švedska vlada odobrila je kupnju novog broda koji će zamijeniti HSwMS Orion budući da više ne zadovoljava trenutna pravila sigurnosti na moru.

17. travnja 2017. naručen je novi obavještajni brod, HSwMS Artemis, iz Saab grupe. Novi brod trebao bi biti pušten u službu do 2020. godine i imati deplasman od 2200 tona. Gradnja je započela 1. ožujka 2018. u poljskom brodogradilištu Nauta koje je Švedska odabrala za gradnju novog broda.

Izvori

Švedska vojna oprema

HSwMS Orion (A201)


Fatouma Amadou Djibril est une femme politique béninoise. Sous la présidence de Boni Yayi, Fatouma Amadou Djibril à occupé deux postes ministériels.

Biographie
Fatouma Amadou Djibril est native de Kandi dans le nord du Bénin. Sous la présidence de Boni Yayi, elle occupe dans un premier temps, le poste de ministre de la famille, des affaires sociales, de la solidarité nationale, des handicapés et des personnes de troisième âge en 2011.

En 2013, elle quitte ce poste pour prendre le portefeuille du ministère de l'agriculture, de l'élevage et de la pêche. Le 29 novembre 2015, elle quittera à nouveau son poste ministériel et se verra nommer conseiller spécial à l'agriculture du Président de la République.

Articles connexes
 Gouvernement Yayi Boni
 Christine Ouinsavi
 Marie Joe Mamatou Mèba Bio
 Flore Gangbo
 Céline Seignon Kandissounon

Références

Ministre béninoise

Fatouma Amadou Djibril


Bogø-Stubbekøbing er betegnelsen for færgeruten, som forbinder Bogø Havn med Falsters købstad, Stubbekøbbing. Færgen sejler på farvandet Grønsund.

Færger på ruten
En tidligere færge på ruten havde navnet Gudrun.

Den nuværende færge hedder Ida.

Rutens økonomi
Tidligere dækkede Storstrøms Amt, Møn Kommune og Stubbekøbing Kommune fægrerutens drift, idet billetindtægter ikke formåede at finanisciere overfartens drift.

Færgelejet i film
En af den første Olsen-Banden-films sidste scener er optaget på Bogø Havn. Her spiller færgelejet en central rolle, for Egon Olsen bliver arresteret på Bogø Havn, og en betjent kører sin politibil i færgelejet ved Bogø Havn.

Referencer

Færgeruter i Danmark

Bogø-Stubbekøbing


Alfred Zehelein (* 25. März 1902 in Miltenberg; † 25. Oktober 1978 in Volkach am Main) war ein deutscher Komponist, Musikwissenschaftler, Musikpädagoge und Kirchenmusiker. Er widmete sich vorwiegend der sakralen Musik und der Kammermusik. Das Spektrum von 400 Kompositionen reicht von Konzerten, Instrumental- und Kammermusik, Liedern und Chorgesang bis hin zu Kirchenmusik und Orgelwerken. Sein Werk zählt 108 Opus-Ziffern.

Leben und Wirken
Alfred Zehelein war Schüler der Kirchenmusikschule Regensburg (heute Hochschule für Katholische Kirchenmusik und Musikpädagogik). Er begann seine musikalische Laufbahn 1923 als Chordirektor an der St. Sylvesterkirche in München-Schwabing, wozu ihn Domkapellmeister Ludwig Berberich ermunterte. Hier gründete er einen Chor, der durch seine Schulung zur Aufführung anspruchsvoller Werke der Kirchenmusikliteratur heranreifte. Von Palestrina bis zu den Meistern des 20. Jahrhunderts reichte die musikalische Palette sowohl für das liturgische Kirchenjahr als auch für Kirchenkonzerte.

1928 übernahm Zehelein eine Dozentenstelle für musikwissenschaftliche Fächer am Trapp'schen Konservatorium in München. 1945 führte er dieses Institut treuhänderisch als Händel Konservatorium weiter. 1962, nach der Überführung des Instituts in das Richard-Strauss-Konservatorium (heute Münchner Musikhochschule) wurde er Leiter der Abteilung für Katholische Kirchenmusik bis zu seinem altersbedingten Ausscheiden im Jahre 1969. Zu seinen Schülern zählten u. a. Rudolf Bojanovski, Josef Brandlmeier, Gerhard Dorda Wolfgang Hein und Raimund Walter Sterl.

In den Amerikahäusern der Bundesrepublik und den Volkshochschulen Bayerns hielt Zehelein Vorträge. Ab 1968 leitete er die Volksmusiklehrerprüfungen. Für Volksmusikinstrumente, Solobass und Chor schrieb er 1975 die Ökumenische Messe sowie Bearbeitungen für Bläser, für Orgel und für Streicher.

Zusammen mit Heinrich Simbriger verfasstes er das Handbuch für musikalische Akustik. Er initiierte die Zeitschrift für geistliche Musik. 1928 gründete er die Bruckner Gemeinde zur Pflege geistlicher Musik e. V. und konzertierte mit diesem Chor in Berlin, in süddeutschen Städten sowie in Österreich. Beide Institutionen wurden durch den Nationalsozialismus unterbunden. 1945/1946 war er Stadtrat im ersten Kommunalparlament Münchens. 1966 wurde er in den Vorstand des Verbandes Münchner Tonkünstler e. V. berufen.

Die Pflege zeitgenössischer Musik war Zehelein immer eine Verpflichtung. Werke von Komponisten wie Joseph Haas, Ludwig Berberich, Joseph Meßner waren fester Bestandteil seiner Aufführungstätigkeit. Seine lateinischen und deutschen Motetten für gemischten Chor und Orgel für den liturgischen Gebrauch wurden in St. Sylvester uraufgeführt. Auch als Konzertorganist war Zehelein im In- und Ausland tätig, besonders als Interpret frühbarocker und zeitgenössischer Orgelmusik, nicht zuletzt mit Aufführung eigener Werke.

Auf einer Vortragsreise im Oktober 1978 starb Zehelein in Unterfranken am Herztod. Seine letzte Ruhestätte fand er in Weilheim.  Seine Originalpartituren sind in der Handschriftenabteilung der Staatsbibliothek in München eingegliedert. Im Deutschen Tonkünstlerverband sind Kopien aller Werke zugänglich. Im Münchener Stadtmuseum werden zahlreiche Dokumente aus dem Leben Alfred Zehelieins dokumentiert.

Kompositorischen Schaffen
Zeheleins kompositorischer Ausgangspunkt lag stilistisch in der Spätromantik. Er vertonte Lieder nach Eichendorff und auch japanische und chinesische Texte. Dabei strebte er weg von Chromatik, Klangaufwand und Pathos und hin zur reinen Diatonik, der durchsichtigen Führung weniger Stimmen, die sich zu herben Klängen vereinen. Seine spätromantische Tonsprache vereinigte sich mit dem Impressionismus.

Entscheidend für Zehelein waren die Jahre nach 1950, in denen er den Schritt zur teilweisen Atonalität vollzog (Beispiele dafür Die Statica für Orgel und die Musik zur Eröffnung einer Ausstellung für Schlagwerk). Zeheleins Beschäftigung mit weltanschaulichen Fragen, den Naturwissenschaften und der Astronomie und deren Gesetzmäßigkeiten führten ihn in den 1960er Jahren zu den strengen Strukturen und zur absoluten Logik Anton Weberns. Er bediente sich in seinem Stil der Zwölftönigkeit, verwendete aber das Gesetz der Logik in eigener Weise. Der punktuelle und athematische Stil führte zur Konzentration auf knappste Formen. Beispiele hierfür sind das Klavierkonzert aus dem Jahre 1971, einer Auftragskomposition der Landeshauptstadt München. Die Vier Statica für Orgel sind durch eine "statische Zwölftönigkeit" gekennzeichnet. Der Verbundenheit Zeheleins mit der Antike entsprangen die Attische Kantate und Der junge Pan. Seine Verehrung Weberns dokumentiert Zehelein in seinen Metamorphosen über ein Thema von Anton Webern, die von ihm selbst zum hundertjährigen Jubiläum der Kirchenmusikschule Regensburg uraufgeführt wurden. Im Gegensatz zu dieser Stilrichtung hat Zehelein in seiner geistlichen Musik neomodale Tendenzen bewusst weitergeführt.

Sein musikhistorisches Interesse galt besonders auch der Alten italienischen Musik. Er bearbeitete einige Werke Frescobaldis und gab diese heraus. Anknüpfend an Frescobaldis "chromatische Modalität" komponierte Zehelein Werke wie die Variation über ein Thema von Frescobaldi (1974), die Vier Inventionen für Cembalo (1976) und die Barocke Suite für Cembalo.

Zeheleins komponierte auch eine Reihe von Werken für die Musikerziehung, so die 1960 in Bamberg uraufgeführte Schuloper Die Barke des Odysseus nach der Dichtung von Friedrich Deml sowie zahlreiche Kammermusik für Soloinstrumente, Klavier und Kammerorchester. Zum Eucharistischen Kongress 1960 erklang erstmals die Dorische Messe für Solosopran, Solobass, gemischten Chor, Bläser und Orgel. Hier entstanden auch das erste (op. 61) und zweite Orgelbuch (op. 91) mit Toccaten, Präludien, Postludien, Variationen und Choralvorspielen.

Vom Bayerischen Rundfunk wurden das Oratorium Von der Schönheit der Welt, die Kantate Von der Güte nach Worten des Lao Tse aufgenommen und gesendet, außerdem das Konzert für Harfe und Orchester, das Konzert für Zither und Streichquartett, die Drei Meditationen, zahlreiche Orgelstücke und viele seiner über 100 Liedkompositionen.

Veröffentlichungen
 Joseph Michl (1745–1810), ein vergessener südbayerischer Komponist. Sein Leben und seine Werke. Dissertation. W. Berntheisel, München 1928.
 Die Geschichte von einer Mutter. In: Tim Klein, Hermann Rinn (Hrsg.): Buch vom Opfer. Mit Bildern von Hans Meid. Höfling, 1934, S. 11–17.
 mit Heinrich Simbriger: Handbuch der musikalischen Akustik. J. Habbel, 1951; Neuauflage 1974.
 Leitgedanken zur Pädagogik. Kleine Musikstudienreihe, Musikverlag Preissler, München 1975.
 mit Siegfried Frischmuth: Alfred Zehelein. Werkverzeichnis. 2002.

Ehrungen und Auszeichnungen
 1973: Bundesverdienstkreuz 1. Klasse
 1977: Päpstlicher Silvesterordens für seine Verdienste um die katholische Kirchenmusik
 Porträtrelief in der Kirche St. Sylvester in München-Schwabing.

Weblinks

 Nachlass in der Bayerischen Staatsbibliothek

Komponist (Deutschland)
Kirchenmusiker
Träger des Bundesverdienstkreuzes 1. Klasse
Träger des Silvesterordens
Wikipedia:Träger des Silvesterordens (Ausprägung ungeklärt)
Deutscher
Geboren 1902
Gestorben 1978
Mann

Alfred Zehelein


Panjshir may refer to:

 Panjshir Valley, Afghanistan
 Panjshir Province, Afghanistan
 Panjshir River, Afghanistan
 Panjshir conflict, Afghanistan
 Panjshir offensives (Soviet–Afghan War), Afghanistan
 Panjshir Front, Afghanistan
 Panjshir University, Afghanistan
 Panjshir alliance
 Panjshir Lion

Panjshir


Rudolf (von) Laban, also known as Rudolph von Laban (; 15 December 1879 – 1 July 1958), was an Austro-Hungarian, German and British dance artist, choreographer and dance theorist. He is considered a "founding father of expressionist dance", and a pioneer of modern dance. His theoretical innovations included Laban movement analysis (a way of documenting human movement) and Labanotation (a movement notation system), which paved the way for further developments in dance notation and movement analysis. He initiated one of the main approaches to dance therapy. His work on theatrical movement has also been influential. He attempted to apply his ideas to several other fields, including architecture, education, industry, and management.

Following a rehearsal of choreography he had prepared for the 1936 Summer Olympics in Berlin, Laban was targeted by the Nazi party. He eventually found refuge in England in 1937. Between 1945 and 1946, he and his long-term partner Lisa Ullmann founded the Laban Art of Movement Guild in London, and The Art of Movement Studio in Manchester, where he worked until his death. The Trinity Laban Conservatoire of Music and Dance in London has continued this legacy.

Life and work

Laban was the son of Rudolf Laban Sr. (1843–1907), a military governor in Pressburg (Pozsony) and (from 1899) field marshal in the Austro-Hungarian Army in the provinces of Bosnia-Herzegovina, and Marie (née Bridling; 1858–1926). In 1897, Laban senior was ennobled by the Hungarian monarchy in recognition of his military merit and received the nobiliary predicate "de" to his family name (choosing Laban de Váralja; a place name associated with the Laban family), whereupon Laban junior was rightly entitled to use "von" in his family name in the German-speaking world. Laban grew up in the courtly circles of Vienna and Sarajevo.

At a young age, Laban joined a csárdás dance group. At age 15 Laban entered the Theresian Military Academy, but later turned his back on military service. In 1899, Laban moved to Munich and began studying at the Academy of Fine Arts (Akademie der bildenden Künste). There Laban met the painter Martha Fricke from Hanover, whom he married on 15 December 1900. They moved to Arcisstr 44, where their daughter Azraela was born in 1901.

Parallel to Laban's studies at the art academy, he took courses at the newly opened teaching and experimental studio for free and applied art (Lehr- und Versuchsatelier für Freie und Angewandte Kunst). There Laban met his future friend Hermann Obrist, who ran the nature studies course. In 1904 Laban decided to leave Munich to visit the most famous art school in Europe, the École des Beaux-Arts in Paris to study architecture.

Laban's son, Arpad, was born in Paris in 1905. After three years of a fulfilled bohemian lifestyle with his wife, Martha Fricke died suddenly. Barely two months after the death of Laban's wife, his father also died, who had made it possible for Laban to lead an independent life with substantial financial support. From then onwards, Laban's two children grew up with their maternal grandparents.

In the years that followed, Laban led an unsteady life between Paris and Vienna, Sanremo and Nice. Financially bankrupt, Laban completed an apprenticeship as an accountant in Nice, from which he also successfully graduated. That was to be Laban's only encounter with a regular working life.

Living with his mother in Vienna, Laban made a living as a graphic artist and caricaturist. Laban drew for the magazines Simplicissimus and Jugend and continued the studies he had begun in Paris on historical dance forms. At a cultural event, Laban met the singer Maja Lederer from Munich and married her on 8 May 1910 in Pressburg. In the same year, they moved to Munich. With his second wife, Laban moved into a dwelling in Schwabing at Hohenzollernstraße 120.

In 1911, Laban rented a room in a rear building in Munich's Theresienstraße, which he set up as a makeshift movement studio. Laban couldn't make a living with his school; he had to continue working as a commercial artist and caricaturist. Overworked to the point of exhaustion, Laban collapsed in 1912 and went to the  near Dresden for a cure, where patients were cared for according to the life-reform (Lebensreform) principles. In this natural healing institution, Laban met and fell in love with Suzanne Perrottet, who was also a patient there. In the years that followed, a largely harmonious triangular relationship developed between Perrottet, Laban and his wife.

Perrottet was to become Laban's most important collaborator (along with Mary Wigman and Katja Wulff), lover and mother of his child Allar Perrottet (later André Perrottet von Laban) in Ascona and Zurich. During the First World War, Laban created a school on the natural healing colony Monte Verità in the Swiss canton of Ticino, in the municipality of Ascona, which soon attracted many followers of the new dance art. It was here that Laban conducted his famous summer dance courses from 1913 to 1919. Here the students also strived to live in harmony with nature by growing their own food, vegetarianism, weaving cloth and making their own reform-style clothing, and dancing in the great outdoors nature often nude experimenting with dynamic improvisations. Here Laban experienced his intellectual and artistic breakthrough, celebrating the "neuen Menschen", "Fiur-Menschen", "Anarchos", and "Orgiastos" in expressionist dance dramas.

In 1915 Laban, his wife and their two children and Perrottet and son Allar moved to Hombrechtikon near Zurich. There, the extended family lived a self-sufficient lifestyle similar to that on Monte Verità, growing their own food, doing a lot of manual work and sewing their own clothes (e.g. Perrottet developed comfortable clothing for everyday work and dance, which can be attributed to the dress reform movement). At the same time, Laban founded a school for the art of movement (Schule für Bewegungskunst) in Zurich. It included interdisciplinary dance art, pantomime, improvisation and experiments with the body, voice, instruments, texts and even drawing. Later Laban only mentioned the terms: form, sound, word.

The conclusion of a large vegetarian and pacifist congress at the end of summer 1917 on Monte Verità in Ascona was the three-part dance drama  to a text by Otto Borngräber. It began with the setting of the sun, which was followed by the dance of the demons of the night. This part was staged at midnight high in the mountains in front of poet-prophet Gustav Gräser's rock grotto. The face masks were created by the Dadaist Marcel Janco. Early in the morning the rising, "victorious" sun was greeted as an expression of the hope of overcoming the war and a utopian higher development of mankind. At these performances worked also Mary Wigman, Sophie Taeuber and Suzanne Perrottet.

Freemasonry
Laban had been a member of a Freemason association since 1913, and had founded his own masonic lodge "Johannis lodge of ancient Freemasons of the Scottish-and-Memphis-and-Misraim-Rites in the valley of Zurich" which had six brothers and ten sisters. Whilst on Monte Verità, Laban met the occultist Theodor Reuss, who had been on Monte Verità for some time and had established a local Freemason lodge. On 24 October 1917, Reuss issued a charter to Laban and Hans Rudolf Hilfiker-Dunn (1882-1955) to operate a III° Ordo Templi Orientis Lodge in Zurich called Libertas et Fraternitas.

Weimar Germany

After the end of World War I, Laban returned to Germany. The Zurich Laban School was taken over and continued by Perrottet. After an interlude in Stuttgart, where Laban worked with the painter Max Ackermann, Laban founded the Tanzbühne Laban (Dance Stage Laban) in Hamburg, Weimar Germany in 1922.

The first public performance of a dance poem by Laban took place in Lübeck in the autumn of 1922 in the State Theatre. They called the performance poster by Karl Gatermann the Elder Der schwingende Tempel (The Swinging Temple), archived under the number PLK-Laban 29 in the Dance Archive Leipzig. In 1923, the first Laban school was founded, which had its own movement choir. The numerous graduates of the Hamburg School successfully carried Laban's method on to various cities in Germany and Europe. In the years that followed, 24 Laban schools were set up across Europe.

In addition, Laban built up a "Choreographic Institute" in Würzburg (1926/27) and Berlin (1928/29). Together with Dussia Bereska, Laban also directed the Chamber Dance Stage (Kammertanzbühne) (1925-1927). Bereska from the Laban School in Hamburg features in the popular 1925 German cultural silent film Wege zu Kraft und Schönheit (Ways to Strength and Beauty) performing Die Orchidee (The Orchid); also featuring in the same film is Mary Wigman and her dance group and the end scene from Laban's dance drama Das lebende Idol (The living Idol) where Laban himself makes an appearance.

From 1930 to 1934, Laban took over the direction of the ballet of the Berlin State Opera. Laban integrated the ideas of psychologist Carl Jung, and in Laban's warm up program the practices of Joseph Pilates, whom according to Pilates, Laban had observed whilst Pilates was working with patients in Hamburg.

Laban under National Socialism
Laban directed major festivals of dance under the funding of Joseph Goebbels' propaganda ministry from 1934 to 1936. Laban even wrote during this time that "we want to dedicate our means of expression and the articulation of our power to the service of the great tasks of our Volk (People). With unswerving clarity our Führer points the way". In 1936 Laban become the chairman of the association "German workshops for dance" and received a salary of 1250 ℛℳ per month, but a duodenal ulcer in August of that year bed bound him for two months, eventually leading him to ask to reduce his responsibilities to consultancy. This was accepted and his wage reduced to 500 ℛℳ, Laban's employment then ran until March 1937 when his contract ended.

Several allegations of Laban's attachment to Nazi ideology have been made, for instance, as early as July 1933 Laban was removing all pupils branded as non-Aryan from the children's course he was running as a ballet director. However, some Laban scholars have pointed out that such actions were necessary for survival in Nazi Germany at that time, and that his position was precarious as he was neither a German citizen nor a Nazi party member. In fact, the seizure of power by the National Socialists in 1933 had an immediate effect on Laban's work through the new law passed against racial overcrowding in German schools and universities of 25 April 1933 (), Laban was thus bound by this new law of vetting students with the racial characteristic of a "non-Aryan" descent. His work under the Nazi regime culminated in 1936 with Goebbel's banning of Vom Tauwind und der Neuen Freude (Of the Spring Wind and the New Joy), a choreography intended for  the 1936 Summer Olympics in Berlin, for not furthering the Nazi agenda.

England
In very poor health, Laban managed to travel to Paris in August 1937. Eventually, he was invited to England, where in February 1938 he joined up with two of his former students Kurt Jooss and Sigurd Leeder at the Jooss-Leeder Dance School they had founded at Dartington Hall in  Devon (thanks to the philanthropy of Leonard Elmhirst and his wife Dorothy Whitney), where innovative dance was already being taught by other refugees from Nazi Germany.

Laban was greatly assisted in his dance teaching during these years by his close associates and long-term partners Lisa Ullmann and Sylvia Bodmer. Their collaboration led to the founding of the Laban Art of Movement Guild (now known as Trinity Laban Conservatoire of Music and Dance) in 1945 and The Art of Movement Studio in Manchester in 1946.

In 1947, together with management consultant Fredrick Lawrence, Laban published a book Effort, Fordistic study of the time taken to perform tasks in the industrial workplace and the energy used. Laban tried to provide methods intended to help eliminate "shadow movements" (which he believed wasted energy and time) and to focus instead on constructive movements necessary to the job at hand. Laban published Modern Educational Dance in 1948 when his ideas on dance for all including children were taught in many British schools. Laban died in England in 1958.

Notable Laban dance students and associates
Among Laban's students, friends, and associates were Mary Wigman, Suzanne Perrottet, Katja Wulff, Kurt Jooss, Lisa Ullmann, Albrecht Knust, Dussia Bereska, Lilian Harmel, Sophie Taeuber-Arp, Hilde Holger, Ana Maletić, Gertrud Kraus, Gisa Geert, Warren Lamb, Elizabeth Sneddon, Dilys Price, Yat Malmgren, Sylvia Bodmer, Betty Meredith-Jones, and Irmgard Bartenieff.

Legacy
The Laban Collection in the Laban Archive at Trinity Laban Conservatoire of Music and Dance documents Laban's life and work in the 1920s-1950s. The Rudolf Laban Archive at the National Resource Centre for Dance documents his educational work in the UK and contains many of his original drawings. The John Hodgson Collection in the Brotherton Library at Leeds University holds original documents relating to Laban's career in Europe in the early twentieth century. Other archives holding material about Laban include the Tanzarchiv Leipzig, Dartington Archive, and the German Dance Archives, Cologne.

Laban's students went on to found their own schools of modern dance, influencing their own pupils through the 20th century:

Rudolf von Laban
Kurt Jooss (Ausdruckstanz)
Pina Bausch (Tanztheater)
Mary Wigman (Expressionist dance)
Ursula Cain
Heike Hennig (see Dancing with Time)
Hanya Holm
Valerie Bettis
Alwin Nikolais—decentralization
Murray Louis
Beverly Schmidt Blossom

Works and publications
 (Undated). Harmonie Lehre Der Bewegung (German). (Handwritten copy by Sylvia Bodmer of a book by Rudolf Laban) London: Laban Collection S. B. 48.
 (1920). Die Welt des Taenzers [The world of Dancers] (German). Stuttgart: Walter Seifert. (3rd edition, 1926)
 (1926). Choreographie: Erstes Heft (German). Jena: Eugen Diederichs.
 (1926). Gymnastik und Tanz (German). Oldenburg: Stalling.
 (1926). Des Kindes Gymnastik und Tanz (German). Oldenburg: Stalling.
 (1928). Schriftanz: Methodik, Orthographie, Erlaeuterungen (German). Vienna: Universal Edition.
 (1929). "Das Choreographische Institut Laban" in Monographien der Ausbildungen fuer Tanz und Taenzerische Koeperbildung (German). Edited by Liesel Freund. Berlin-Charlottenburg: L. Alterthum.
 (1947). with F. C. Lawrence. Effort: Economy of Human Movement London: MacDonald and Evans. (4th reprint 1967)
 (1948). Modern Educational Dance. London: MacDonald and Evans. (2nd Edition 1963, revised by Lisa Ullmann)
 (1948). "President's address at the annual general meeting of the Laban art of movement guild". Laban Art of Movement Guild News Sheet. 1 (April): 5–8.
 (1950). The Mastery of Movement on the Stage. London: MacDonald and Evans.
 (1951). "What has led you to study movement? Answered by R. Laban". Laban Art of Movement Guild News Sheet. 7 (Sept.): 8–11.
 (1952). "The art of movement in the school". Laban Art of Movement Guild News Sheet. 8 (March): 10–16.
 (1956). Laban's Principles of Dance and Movement Notation. London: MacDonald and Evans. (2nd edition 1975, annotated and edited by Roderyk Lange)
 (1960). The Mastery of Movement. (2nd Edition of The Mastery of Movement on the Stage), revised and enlarged by Lisa Ullmann. London: MacDonald and Evans. (3rd Edition, 1971. London: MacDonald and Evans) (1st American Edition, 1971. Boston: Plays) (4th Edition, 1980. Plymouth, UK: Northcote House)
 (1966). Choreutics. Annotated and edited by Lisa Ullmann. London: MacDonald and Evans.
 (1974). The Language of Movement; A Guide Book to Choreutics. Annotated and edited by Lisa Ullmann. Boston: Plays. (American publication of Choreutics)
 (1975). A Life For Dance; Reminiscencs. Translated and annotated by Lisa Ullmann. London: MacDonald & Evans. (Original German published 1935.)
 (1984). A Vision of Dynamic Space. Compiled by Lisa Ullmann. London: The Falmer Press.

References

External links

Guide to the Rudolf Laban Icosahedron. Special Collections and Archives, The University of California Irvine Libraries, Irvine, California
Rudolf Laban - biography from Trinity Laban site
Limsonline Laban/Bartenieff Institute of Movement Studies - LIMS NYC
Short biographies of Laban and some leading Laban practitioners - website of Laban Project
EUROLAB - European Association of Laban/Bartenieff Movement Studies
EUROLAB Certificate Programs in Laban/Bartenieff Movement Studies

1879 births
1958 deaths
People from Bratislava
People from the Kingdom of Hungary
Hungarian nobility
French untitled nobility
19th-century Hungarian people
20th-century Hungarian people
19th-century Austrian people
20th-century Austrian people
Dance scholars
Dance notators
Dance teachers
Hungarian male dancers
Austrian male dancers
Austrian dancers
Austrian choreographers
Hungarian choreographers
Hungarian people of French descent
Hungarian people of British descent
Austrian people of French descent
Austrian people of Hungarian descent
Laban movement analysis

Rudolf von Laban


Raymond William Stacy Burr () a fost un actor americano-canadian de teatru, film și de televiziune. Este cel mai cunoscut pentru rolurile din serialele TV Perry Mason și Ironside.

Biografie

Filmografie

Note

Legături externe

 Raymond Burr  at the MBC Encyclopedia of Television
 Complete biography of Raymond Burr

Vezi și
Listă de actori americani
Listă de actori canadieni

Nașteri în 1917
Decese în 1993

Actori americani din secolul al XX-lea
Actori canadieni
Absolvenți ai Universității Columbia
Decese cauzate de cancer
Actori LGBT
Absolvenți ai Universității Stanford

Raymond Burr


An Kyllinga coriacea in uska species han Liliopsida nga ginhulagway ni Henri Chermezon. An Kyllinga coriacea in nahilalakip ha genus nga Kyllinga, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Kyllinga

Kyllinga coriacea