The Fiat 124 is a small family car manufactured and marketed by Italian company Fiat between 1966 and 1974. The saloon superseded the Fiat 1300 and was the basis for several variants including a station wagon, a four-seater coupé (124 Sport Coupé), and a two-seater convertible (124 Sport Spider)

The Russian-built VAZ-2101 "Zhiguli" and its many derivatives (known universally as the Lada outside the Soviet Union) were based on the Fiat 124, and are the best known of the many licensed variants of the 124 manufactured around the world.  The Lada constitutes the vast majority of 124 production, and makes it the fifth best selling automotive platform in history.

The 124 was superseded in its home market by the Fiat 131.

History
Following its introduction in 1966 with a publicity stunt, with Fiat filming the dropping of the car by parachute from a plane, the 124 won the 1967 European Car of the Year.
As a clean-sheet design by Oscar Montabone, the chief engineer responsible for its development, the 124 used only the all-synchromesh gear box from the Fiat 1500. The 124 featured a spacious interior, advanced coil spring rear suspension, disc brakes on all wheels and lightweight construction.

A 5-door station wagon variant (named 124 Familiare on its home market) as well as the 124 Sport Spider variants debuted at the 48th Turin Motor show in November 1966. A few months later, at the March 1967 Geneva Motor Show, the 124 Sport Coupé completed the range. The two Sport models were powered by an all-new 1.4-litre dual overhead camshaft engine producing  at 6,500 rpm.

The 124 Special
In October 1968 Fiat launched the 124 Special; like Fiat's other Special models, it was an upmarket, better appointed and higher performance variant of the standard saloon. A month after, in November, it was displayed at the 50th Turin Motor Show alongside its larger sibling, the new 125 Special.
In addition to a 1.4-litre overhead valve engine, the 124 Special notably introduced all-new 5-link (four longitudinal, one transverse) solid axle rear suspension in place of the original 3-link design. Starting from late 1968 the same improved rear axle was adopted by both Sport models.

In detail the Special's 1,438 cc type 124 A2 engine had the same bore and stroke of the Sport Coupé and Sport Spider engines (80 × 71.5 mm), but eschewed the dual overhead camshafts of the two sportscars in favour of the more conventional overhead valve setup from the 124 saloon. With a downdraught (instead of the 1.2's sidedraught) twin-choke Weber 32 DHS or Solex C32 EIES carburettor and a 9.0:1 compression ratio, engine output was  at 5,400 rpm and  of torque at 3,300 rpm. Fiat advertised a top speed of over . Besides engine and rear axle, notable mechanical changes from the regular 124 were an alternator replacing the dynamo, an uprated clutch, standard 155R13 Pirelli Cinturato radial tyres, and the addition of a vacuum servo to the all-disc braking system.

Visually the Special could be immediately distinguished from the standard model by its new, rectangular grille with four inset round headlamps. Less evident differences were larger vertical bumper over-riders, wheels with round ventilation holes as on the Sport models, new flush door handles, different tail lamps with integrated reflectors, and a central back-up light. The interior featured a redesigned padded dashboard with an oval binnacle housing two round instruments and a car radio console, a steering wheel without horn ring, new door cards, and more supportive seats.

1970 revisions and the 124 Special T

At the November 1970 Turin Motor Show Fiat introduced a round of updates for the entire saloon and wagon 124 range, as well as a new model variant—the 124 Special T.

All models had gained air outlets added to the C-pillar for better ventilation, and a split brake circuit; while some features previously exclusive to the 124 Special such as servo-assisted brakes, back-up light and an alternator were made standard across the range. Berlina and Familiare both had a new grille with alternated chrome and black horizontal bars, and larger bumper over-riders. Additionally the Berlina had large, nearly square tail lamps made up by two stacked rectangular elements.

The renewed Special sported a completely redesigned front end. A black, square-mesh radiator grille was crossed by a horizontal bright bar joining the dual headlamps; each of the four round lamps was set in its own square, bright-edged housing. The grille-headlamps assembly was flanked by the turn indicators. Front and rear the bumpers had lost their over-riders, replaced by full-width rubber strips. At the rear the lamps were also new—still horizontal and rectangular in shape unlike the ones used on the standard saloon—and the whole tail panel was surrounded by a chromed profile.
Inside there was a new dashboard with imitation wood inserts, carpets instead of rubber mats, and cloth upholstery.
The "T" in 124 Special T stood for twin cam, hinting at the car's 1,438 cc dual overhead camshaft engine, derived from the Sport Coupé and Spider but in a milder state of tune. Coded 124 AC.300, this engine had revised valve timing and fuel system and produced  at 5,800 rpm and  of torque at 4,000 rpm. According to the manufacturer top speed was . Externally the Special T was identical to the Special, save for model badging at the rear.

Engines
Power came from a 1.2 L (1,197 cc) Fiat OHV inline-four engine. Also, there were the 124 Special with a 1,438 cc OHV engine and the 124 Special T with 1,438 cc and 1,592 cc twin cam OHC engines. The twin cams are connected to a four-speed and five-speed gearbox.

1200 (1,197 cc) –  –  (1966–1974)
1400 (1,438 cc) –  –  (1968–1974)
1400 Special T (1,438 cc) Twin cam –  (1968–1972)
1600 Special T (1,592 cc) Twin cam –  (1973–1974)
Abarth Rally (1,756 cc) Twin cam –  (1972–1973)
2000 (1,920 cc)  Twin cam –  (1979)

Foreign production
Throughout the 1960s and 1970s, Fiat sought to extend its worldwide reach by entering into various collaborative agreements with smaller manufacturers (mostly in developing nations) by licensing the 124 design following its discontinuation in mainstream Western European markets.  The best known (and most produced) of all the 124 derivates is the Russian-built Lada, which has to date, sold over 15 million units.

Soviet Union/Russia

In 1966, Fiat entered into a collaborative agreement with the Soviet government to establish car manufacture in the Samara region of Russia. Fiat was contracted to take part in the creation of the massive VAZ plant in the newly created town of Togliatti, named after the Italian communist leader of the same name. The factory produced an adapted version 124R of the 124, known as the VAZ-2101 "Zhiguli" (sold as the Lada 1200/1300 in export markets), until 1982, and 1200s until 1987. Based on the 124, they were modified at more than 800 points, the major modifications having an entirely different OHC engine, hydraulic clutch, drum brakes at the rear, modified suspensions, etc. Early modifications include the VAZ-2102 (station wagon), 2103 (Lada 1500), 2106 (Lada 1600) and 21011 (Lada 1300). The updated and restyled versions of the 124-based design were produced until September 2012, as the VAZ-2104, 2105 and 2107 – marketed as the Lada Riva in UK markets. Production of this line reached 17,332,954 cars, this being the second largest production volume for a car in automotive history.

India

The Fiat 124 was also introduced in India by Premier Automobiles Limited. In 1981 Premier began the process of acquiring the production tooling for the facelifted SEAT 124 D after authorisation from Fiat. The model was released in the autumn of 1985 as the Premier 118NE. The car was very similar to the 1966 version except for a few cosmetic changes to the front and rear. However, Premier incorporated the Nissan A12 (1,171 cc and 52 bhp) powertrain instead of the original Fiat engine along with a Nissan manual gearbox. Added in 1996, there was also a version called the 1.38D which sported a diesel engine, built under license from Fratelli Negri Macchine Diesel Sud of Italy.

Near the end of production an improved model called Viceroy was released in collaboration with Peugeot. Production ended in 2001.

Malaysia
The 124 was also built at the Kilang Pembena Kereta-Kereta (KPKK) factory in Tampoi, Johor, since the latter half of 1967. The cars were distributed by Sharikat Fiat Distributors. Originally only available with the 1.2-liter engine with , in late 1969 the sportier 124 Special joined the lineup. This version has twin headlamps, and the larger, pushrod 1.4-liter engine with . In late 1971, about a year after its introduction in Italy, the twin-cam 124 Special T also joined the Malaysian production line.

Spain

In the frame of the licence agreement between SEAT and Fiat, it was produced and sold in Spain with the name SEAT 124 from 1968 to 1975. Also a clone from the 124 Special with some elements from Fiat 125 was produced from 1969 to 1975 with the 1438 cc engine along with the twin-cams known as the "FUs" 1,600 cc (1970–72), and 1,800 cc (1972–75) branded as SEAT 1430. In 1975 when Fiat stopped production of the Fiat 124, the SEAT 124 had a minor facelift done by Giorgetto Giugiaro changing the aesthetics of the car by changing the round headlamps to rectangular design and integrating taillights into the body, car was known as the SEAT 124D and remained in production until 1980 with the Sport versions now codenamed the "FLs", FL-40/45 1,600 cc 90HP, FL-80/82 1,800 cc 114HP and FL-90 1,919 cc 114HP
The car was very successful in Spain, and was sold in both the four-door and station wagon versions.

Bulgaria
The Fiat 124 was also produced under the name Pirin-Fiat in Lovech, Bulgaria, on the basis of complete knockdown (CKD) kits between 1967 and 1971.

Turkey

The Fiat 124 was also produced by Tofaş under the names "Murat 124" between 1971-1977 and "Serçe" ("sparrow" in Turkish) between 1984 and 1994, in Bursa, Turkey. 134,867 Murat 124s were produced between 1971 and 1994. Tofaş concurrently produced the Fiat 131 series under the name Murat 131 between 1976 and 2002. Today, the company manufactures bona fide Fiat models.

Korea
The Fiat 124 was also produced under the name Fiat-KIA 124 by Asia Motors in South Korea, between 1970 and 1975. In total 6775 units were assembled.

Egypt
From 2002 to 2007, Lada-Egypt company built at least 9,000 cars (2,200 in 2006) in the shell of VAZ-2107 (Riva), and it continues in 2012.

124 Cabriolet
At Salone dell'Automobile of Torino in 1966, Carrozzeria Touring presented a convertible version of Fiat 124 saloon. It was the last car built by Touring. Only one example was made. Reactions were positive, but the Fiat CEO terminated this project in favour of the Pininfarina-styled 124 Sport Spider.

References

Notes

Bibliography

Further reading

External links

Italian site dedicated to the Fiat 124 (English pages)
Italian forum dedicated to the Fiat 124

124
Mid-size cars
Sedans
Station wagons
1970s cars
Cars introduced in 1966
Rally cars
Rear-wheel-drive vehicles
Cars powered by longitudinal 4-cylinder engines
Cars of Turkey
Cars of India

Fiat 124


A1 liga Košarkaškog saveza Herceg-Bosne predstavlja drugi rang košarkaškog prvenstva Bosne i Hercegovine. U sezoni 2016./17. sudjeluje 11 klubova koji igraju dvokružnu ligu, a potom četiri najuspješnije momčadi igraju doigravanje.
Ligu je osvojila momčad Studenta iz Mostara.

Ljestvica

Doigravanje
Poluzavršnica se igra na dvije pobjede, a završnica na tri pobjede.

Poveznice
 Košarkaški savez Herceg-Bosne

Izvori
 kshb.ba, A1 liga Herceg-Bosne M 2016/2017 - rezultati , pristupljeno 30. svibnja 2017.
 kshb.ba, Pregled 22. kola seniorske lige HB  , objavljeno 9. svibnja 2017., pristupljeno 30. svibnja 2017.
 pogled.ba, Polufinale doigravanja za prvaka Herceg-Bosne: Student domaćin Posušju, Široki II dočekuje Grude, objavljeno 8. svibnja 2017., pristupljeno 30. svibnja 2017.
 kshb.ba, Prve utakmice play off-a: Student i Grude poveli 1:0 , objavljeno 15. svibnja 2017., pristupljeno 30. svibnja 2017.
 pogled.ba, Poraz košarkaša Studenta u Posušju, objavljeno 17. svibnja 2017., pristupljeno 30. svibnja 2017.
 kshb.ba, ''Student i Grude se plasirali u finale KS HB , objavljeno 22. svibnja 2017., pristupljeno 30. svibnja 2017.
  pogled.ba, FOTO: Student uvjerljiv u prvoj utakmici finala; Grude ostale na minus 24, objavljeno 25. svibnja 2017., pristupljeno 30. svibnja 2017.
 pogled.ba, Student pobjedom u Grudama stigao na korak od titule prvaka, objavljeno 27. svibnja 2017., pristupljeno 30. svibnja 2017.
 eurobasket.com, BiH 2016./17. - drugi rang lige, pristupljeno 30. svibnja 2017.
 hercegbosna.org, Student prvak Lige Herceg-Bosne, objavljeno 31. svibnja 2017., prisupljeno 1. lipnja 2017.

2016-17

A1 liga Košarkaškog saveza Herceg-Bosne 2016./17.


38. længdegrad kan henvise til:

 38. vestlige længdekreds
 38. østlige længdekreds

38. længdegrad


Marie-Joseph Ollivier (1835-1910) est un prêtre dominicain, prédicateur, historien et biographe français.

Biographie
Né à Saint-Malo le 18 février 1835, Marie-Joseph Ollivier est ordonné prêtre pour le diocèse de Rennes en décembre 1858. Il entre dans l'ordre des Prêcheurs et en devient prédicateur général. Il se distingue dans le prêche du carême à Notre-Dame de Paris en pleine Commune de Paris, puis dans de nombreux prêches qu'il fait dans la cathédrale.

Il se distingue également plus tard en 1897, mais pour des raisons moins glorieuses, dans l'hommage officiel rendu aux victimes de l'incendie du Bazar de la Charité, qui fait 130 victimes et 255 blessés, devant le président de la République Félix Faure et les membres du gouvernement, en donnant un caractère politique à son prêche.

Il est nommé évêque d'Ajaccio en 1906.

Il décède le 19 septembre 1910 à Levallois-Perret.

Œuvres

 La Passion, essai historique, Paris, P Lethielleux, 1891
 Les Amitiés de Jésus, simple étude, Paris, P Lethielleux, 1895
 Un curé breton au ; vie de M. Huchet, archiprêtre de la cathédrale de Saint-Malo, vicaire général de Rennes, 1888
 Le Père Checarne, de l'Ordre de Saint Dominique, P Lethielleux, 1901
 De Bethléem à Nazareth : étude historique sur l'enfance et la jeunesse du Rédempteur, 1908
 Vie de Maria Nelly, 1869
 Alexandre VI et les Borgia, Paris, Joseph Albanel Libraire, 1870

Notes et références

Liens externes

 Dictionnaire biographique des frères prêcheurs (Dominicains des provinces françaises-s) sur OpenEdition Journal

Naissance en février 1835
Naissance à Saint-Malo
Décès en septembre 1910
Décès à 75 ans
Dominicain français
Historien français du XIXe siècle
Historien français du XXe siècle

Marie-Joseph Ollivier


Ağcakoyun, Çorum ilinin Mecitözü ilçesine bağlı bir köydür.

Tarihçe
Köyün adı, 1928 yılı kayıtlarında Akçakoyun olarak geçmektedir.

Coğrafya
Köy, Çorum il merkezine 30 km, Mecitözü ilçe merkezine 8 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Mecitözü belde ve köyleri

Ağcakoyun, Mecitözü


في الحوسبة؛ البرمجة موجهة بالسمات  هي نمط برمجة يهدف إلى زيادة التركيبية، إذ تسمح بالفصل بين الاهتمامات المتقاطعة. وذلك بإضافة إجراء إضافي (إرشاد) إلى كود موجود دون تعديل الكود نفسه، فبدلًا من التحديد المنفصل الذي يُعدَل فيه الكود من خلال مواصفات «نقطة القطع (pointcut)»، مثل «تسجيل جميع الاستدعاءات الوظيفية للوظائف التي يبدأ اسمها بـ «set». تتيح هذه البرمجة إضافة إجراءات غير أساسية لمنطق الأعمال (مثل التسجيل) إلى البرامج دون تشويش الكود الأساسي للوظيفة. تعد البرمجة الموجهة بالسمات أساسًا لتطوير البرمجيات ذات السمات.

تتضمن البرمجة الموجهة بالسمات التوجه طُرق وأدوات برمجية تدعم نمذجة الاهتمامات على مستوى الكود المصدري، بينما يشير «تطوير البرمجيات ذات السمات» إلى تخصص هندسي كامل.

تستلزم البرمجة الموجهة بالسمات تقسيم منطق البرنامج إلى أجزاء مميزة (تسمى الاهتمامات، مجالات أداء وظيفي متماسكة). تدعم جميع أنماط البرمجة تقريبًا مستوى ما من تجميع وتغليف الاهتمامات في كيانات مستقلة منفصلة بتقديم التجريدات (مثل الوظائف والإجراءات والوحدات النمطية والأصناف والطرق) التي يمكن استخدامها لتنفيذ هذه الاهتمامات وتجريدها وتجميعها. تتقاطع بعض الاهتمامات مع تجريدات متعددة في البرنامج، تستعصي على أشكال التنفيذ هذه. وتسمى هذه الاهتمامات الاهتمامات المتقاطعة أو الاهتمامات الأفقية.

يمثل التسجيل اهتمامًا متقاطعًا لأن إستراتيجية التسجيل تؤثر بالضرورة على كل جزء مسجل من النظام. وبالتالي يتقاطع التسجيل جميع الأصناف والطرق المسجلة.

تحتوي جميع تطبيقات البرمجة الموجهة بالسمات بعض التعبيرات المتقاطعة التي تُغلّف كل اهتمام في مكان واحد. يكمن الاختلاف بين التطبيقات في القوة والآمان وسهولة الاستخدام للبنيات المقدمة. مثلًا، الاعتراضات التي تحدد طرق للتعبير عن شكل محدود للتقاطع، دون الدعم الجيد لسلامة الأنواع أو تصحيح الأخطاء. يملك امتداد AspectJ عددًا من هذه التعبيرات التي يغلفها في صنف خاص، يدعى جانب. مثلًا، يمكن للجانب أن يغير إجراء الكود الأساسي (الجزء غير الجانبي من البرنامج) من خلال تطبيق إرشاد (إجراء إضافي) في نقاط الربط المختلفة (نقاط في البرنامج) المحددة في تقدير الكمي أو استعلام يسمى نقطة القطع (يحدد ما إذا كانت نقطة ربط معينة مطابقة). يمكن للجانب أيضًا إجراء تغييرات هيكلية ثنائية متوافقة للأصناف الأخرى، مثل إضافة أصناف أعضاء أو أصناف آباء.

تاريخيًا
للبرمجة الموجهة بالسمات العديد من السوابق المباشرة إي1 وإي2: الانعكاس، وبروتوكولات الكائن ميتا، والبرمجة غرضية التوجه، ومرشحات التركيب والبرمجة التكيفية.

طور غريغور كيتشالا وزملاؤه في زيروكس بارك المفهوم الصريح للبرمجة الموجهة بالسمات، وتُبع ذلك بإضافة امتداد البرمجة الموجهة بالسمات AspectJ إلى الجافا. اتبع فريق أبحاث آي بي إم منهجًا للأدوات حول طرق تصميم اللغات، واقترحوا عام 2001 Hyper/J وبيئة معالجة الاهتمامات لكنها لم تشهد استخدامات واسعة.

تستخدم الأمثلة في هذه المقالة AspectJ.

يعتبر خادم أعمال مايكروسوفت أول تطبيق رئيسي للبرمجة الموجهة بالسمات يليه وحدة جافا للأعمال.

الدافع والمفاهيم الأساسية
عادةً ما يكون الجانب (المظهر) موزّع أو متشابك ككود، مما يصعّب فهمه والحفاظ عليه. يكون موزعًا بحكم الوظيفة (مثل التسجيل) الموزعة على عدد من الوظائف غير المترابطة التي قد تستخدمها، وربما في الأنظمة غير المرتبطة كليًا، أو اللغات مختلفة المصدر... إلخ. هذا يعني أن تغيير التسجيل قد يتطلب تعديل جميع الوحدات المتأثرة. تصبح الجوانب متشابكة، ليس فقط مع الوظيفة الرئيسية للأنظمة المعبر عنها فيها، ولكن أيضًا مع بعضها البعض. وهذا يعني أن تغيير اهتمام واحد يستلزم فهم جميع الاهتمامات المتشابكة أو وجود بعض الوسائل التي تمكننا من استنتاج تأثير التغييرات.

مثلًا، باعتبار لدينا تطبيق مصرفي يتضمن طريقة بسيطة للغاية من الناحية المفاهيمية لتحويل مبلغ من حساب إلى آخر:void transfer(Account fromAcc, Account toAcc, int amount) throws Exception {
  if (fromAcc.getBalance() < amount)
      throw new InsufficientFundsException();

  fromAcc.withdraw(amount);
  toAcc.deposit(amount);
}تتجاهل طريقة التحويل هذه بعض الاعتبارات التي قد يتطلبها التطبيق المستخدم: فهي تفتقر إلى فحوصات الأمان للتحقق من أن المستخدم الحالي لديه الإذن لإجراء هذه العملية؛ ويجب أن تُغلف معاملات قاعدة البيانات العملية لمنع فقدان البيانات العرضي؛ وبالنسبة للتشخيصات، يجب تسجيل العملية في سجل النظام، وما إلى ذلك.

يمكن أن يبدو النص الذي يتضمن جميع هذه الاهتمامات الجديدة كما يلي:void transfer(Account fromAcc, Account toAcc, int amount, User user,
    Logger logger, Database database) throws Exception {
  logger.info("Transferring money...");

  if (!isUserAuthorised(user, fromAcc)) {
    logger.info("User has no permission.");
    throw new UnauthorisedUserException();
  }

  if (fromAcc.getBalance() < amount) {
    logger.info("Insufficient funds.");
    throw new InsufficientFundsException();
  }

  fromAcc.withdraw(amount);
  toAcc.deposit(amount);

  database.commitChanges();  // Atomic operation.

  logger.info("Transaction successful.");
}في هذا المثال، أصبحت الاهتمامات الأخرى متشابكة مع الوظيفة الأساسية (تسمى أحيانًا «اهتمامات الأعمال المنطقية»). فتمثل كل من المعاملات، والأمان، والتسجيل اهتمامات متقاطعة.

فكّر الآن فيما سيحدث إذا احتجنا فجأةً إلى تغيير اعتبارات الأمان للتطبيق مثلًا. في النسخة الحالية للبرنامج، تبدو العمليات المتعلقة بالأمان موزعة في عدة طرق، ويتطلب تغييرها جهدًا كبيرًا.

تحاول البرمجة الموجهة بالسمات حل هذه المشكلة بالسماح للمبرمج بالتعبير عن الاهتمامات المتقاطعة في وحدات مستقلة التي تسمى الجوانب. يمكن أن تحتوي الجوانب على إرشاد (كود متصل بنقاط محددة في البرنامج) وتصريحات بين الأنواع (أعضاء هيكلية تضاف إلى أصناف أخرى). مثلًا، يمكن أن تتضمن وحدة الأمان إرشادًا يقوم بفحص أمني قبل الوصول إلى حساب مصرفي. تحدد نقطة القطع الأوقات (نقاط الانضمام) التي يمكن للشخص فيها الوصول إلى حساب مصرفي، ويحدد الكود الموجود في جسم الإرشاد كيفية تنفيذ فحص الأمان. بهذه الطريقة، يمكن الاحتفاظ بالتحقق والأماكن في مكان واحد. علاوةً على ذلك، يمكن أن تشير نقطة القطع الجيدة إلى تغييرات لاحقة في البرنامج، وبالتالي إذا أنشأ مطور آخر طريقة جديدة للوصول إلى الحساب المصرفي، فسيطبق الإرشاد على الطريقة الجديدة عند تنفيذها.

لذا يمكن تنفيذ التسجيل للمثال السابق في جانب كالتالي:aspect Logger {
  void Bank.transfer(Account fromAcc, Account toAcc, int amount, User user, Logger logger)  {
    logger.info("Transferring money...");
  }

  void Bank.getMoneyBack(User user, int transactionId, Logger logger)  {
    logger.info("User requested money back.");
  }

  // Other crosscutting code.
}يمكن التفكير في البرمجة الموجهة بالسمات بوصفها أداة لتصحيح الأخطاء أو كأداة على مستوى المستخدم. يجب حفظ الإرشاد للحالات التي لا يمكنك فيها تغيير الوظيفة (مستوى المستخدم) أو لا ترغب في تغيير الوظيفة في كود الإنتاج (تصحيح الأخطاء).

مراجع

أنماط برمجة

برمجة موجهة بالسمات


الطيرة أو المرج أو الزعبية تقع في أقصى شمال قضاء بيسان، عند الحدود الجنوبية لقضاء طبريا وقضاء الناصرة، وتبعد عن مدينة بيسان حوالي 17.5 كم، وترتفع عن سطح البحر 125م. تبلغ مساحة أراضيها 10,207 دونمات. تحيط بها أراضي قرى سرين وكفر مصر ووادي البيره ودنة والطيبة. وقدر عدد سكانها عام 1922 حوالي (130) نسمة، وفي عام 1945 (200)نسمة، منهم 150 عربياً و50 يهودياً تضم القرية جبل طيرة الخاربة في الجنوب ويحتوي على مدافن ومغائر وصهاريج. قامت المنظمات الصهيونية المسلحة بهدم القرية وتشريد أهلها البالغ عددهم عام 1948 حوالي 174 نسمة، وكان ذلك في 15 أبريل 1948، ويبلغ مجموع اللاجئين من هذه القرية في عام 1998 حوالي 1,609 نسمة. بالقرب من موقع القرية بنيت «ظإرغون بوروحوف» عام 1943، وأعيد تسميتها عام 1948 لتصبح «كيبوتس غازيت». وقد ضمت قرية الطيرة إليها أواخر عام 1948.

القرية اليوم
لم يبق منها سوى خرائب المنازل الحجرية، تغطيها الأعشاب والأشواك. والموقع مسيّج ويستخدمه المزارعون الإسرائيليون مرعى للمواشي. وتنمو أشجار السرو في الأراضي المجاورة.

المغتصبات الصهيونية على اراضي القرية
تقع مستعمرة إرغون بوروخوف، التي أُسست في سنة 1943، بالقرب من موقع القرية. وفي 10 أيلول/سبتمبر 1948، تسلمت منظمة استيطانية أخرى المستعمرة، وأعادت تسميتها لتصبح كيبوتس غازيت، وفي أواخر سنة 1948 ضمّت قرية الطيرة إليها. وتقع غازيت على بعد 105 كيلومتر إلى الجنوب الغربي من موقع القرية، وعلى أراضيها. وثمة مستعمرة أخرى هي   أُسست في سنة 1946، وهي تقع على أراضي قرية معذر في قضاء طبرية، وعلى بعد نحو كيلومتر إلى الشمال الغربي من الطيرة.

مراجع

روابط خارجية
 موقع فلسطين في الذاكرة
SWP map IX، IAA
خريطة SWP 9، ويكيميديا كومنز

قرى بيسان
قرى فلسطينية أخليت من سكانها في الحرب العربية الإسرائيلية 1948
مقالات تتضمن معلومات من موقع فلسطين في الذاكرة

الطيرة (بيسان)


The TI-83 series is a series of graphing calculators manufactured by Texas Instruments.

The original TI-83 is itself an upgraded version of the TI-82. Released in 1996, it was one of the most popular graphing calculators for students. In addition to the functions present on normal scientific calculators, the TI-83 includes many features, including function graphing, polar/parametric/sequence graphing modes, statistics, trigonometric, and algebraic functions, along with many useful applications. Although it does not include as many calculus functions, applications and programs can be written on the calculator or loaded from external sources.

The TI-83 was redesigned twice, first in 1999 and again in 2001. TI replaced the TI-83 with the TI-83 Plus in 1999. The 2001 redesign introduced a design very similar to the TI-73 and TI-83 Plus, eliminating the sloped screen that had been common on TI graphing calculators since the TI-81, and included Flash memory, enabling the device's operating system to be updated if needed, or for large new Flash Applications to be stored, accessible through a new Apps key. The Flash memory can also be used to store user programs and data. In 2001, the TI-83 Plus Silver Edition was released, which featured approximately nine times the available flash memory, and over twice the processing speed (15 MHz) of a standard TI-83 Plus, all in a translucent grey case inlaid with small "sparkles". The 2001 redesign (nicknamed the TI-83 "Parcus") introduced a slightly different shape to the calculator itself, eliminated the glossy grey screen border, and reduced cost by streamlining the printed circuit board to four units.

Additional models

TI-83 Plus

The TI-83 Plus was designed in 1999 as an upgrade to the TI-83. The TI-83 Plus is one of TI's most popular calculators. It uses a Zilog Z80 microprocessor running at 6 MHz, a 96×64 monochrome LCD screen, and 4 AAA batteries as well as backup CR1616 or CR1620 battery. A link port is also built into the calculator in the form of a 2.5 mm jack. The main improvement over the TI-83, however, is the addition of 512 KB of Flash ROM, which allows for operating system upgrades and applications to be installed. Most of the Flash memory is used by the operating system, with 160 KB available for user files and applications. Another development is the ability to install Flash Applications, which allows the user to add functionality to the calculator. Such applications have been made for math and science, text editing (both uppercase and lowercase letters), organizers and day planners, editing spread sheets, games, and many other uses.

Designed for use by high school and college students, though now used by middle school students in some public school systems, it contains all the features of a scientific calculator as well as function, parametric, polar, and sequential graphing capabilities; an environment for financial calculations; matrix operations; on-calculator programming; and more. Symbolic manipulation (differentiation, algebra) is not built into the TI-83 Plus. It can be programmed using a language called TI-BASIC, which is similar to the BASIC computer language. Programming may also be done in TI Assembly, made up of Z80 assembly and a collection of TI provided system calls. Assembly programs run much faster, but are more difficult to write. Thus, the writing of Assembly programs is often done on a computer.

TI-83 Plus Silver Edition

The TI-83 Plus Silver Edition was released in 2001. Its enhancements are 1.5 MB of flash memory, a dual-speed 6/15 MHz processor, 96 KB of additional RAM (but TI has yet to code support for the entire RAM into an OS), an improved link transfer hardware, a translucent silver case, and more applications preinstalled. This substantial Flash memory increase is significant. Whereas the TI-83+ can only hold a maximum of 10 apps (or more often less, dependent on size), the Silver Edition can hold up to 94 apps. It also includes a USB link cable in the box. It is almost completely compatible with the TI-83 Plus; the only problems that may arise are with programs (e.g. games) that may run too quickly on the Silver Edition or with some programs which have problems with the link hardware. The key layout is the same.

A second version of the TI-83 Plus Silver Edition exists, the ViewScreen (VSC) version. It is virtually identical, but has an additional port at the screen end of the rear of the unit, enabling displays on overhead projectors via a cable and panel. It looks similar to the standard TI-83 Plus, but has a silver-colored frame, identical to the standard Silver Edition, around the screen.

The TI-83 Plus Silver Edition is listed on the Texas Instruments website as "discontinued."
In April 2004, the TI-83 Plus Silver Edition was replaced by the TI-84 Plus Silver Edition. They feature the same processor and the same amount of Flash memory, but the TI-84 Plus Silver Edition features a built-in USB port, clock, and changeable faceplates.

Technical specifications

 CPU: Zilog Z80 CPU, 6 MHz (TI-83, 83+), or 15 MHz (Silver Edition), or Inventec 6SI837 (TI-83+ revision A)
 ROM
 24 kB ROM (TI-83)
 Flash ROM: 512 KB with 163 KB available for user data and programs (83+) or 2 MB (Silver Edition)
 RAM: 32 KB RAM with 24 KB available for user data and programs (128 KB on Silver Edition, however the extra 96 KB is not user accessible by default, this extra memory is used in some Applications such as Omnicalc for a RAM recovery feature and a virtual calc)
 Display
 Text: 16×8 characters (normal font)
 Graphics: 96×64 pixels, monochrome 3" LCD
 I/O
 Link port, 9.6 kbit/s
 50 button built-in keypad
 Power: 4 AAA batteries plus 1 CR1616 or CR1620 for backup
 Integrated programming languages: TI-BASIC, Assembly language and machine code. C requires a computer with a Z80 cross-compiler or an on-calc assembler.

Programming

The TI-83 Plus series are very similar in the languages natively supported by the calculator. These include "TI-BASIC", an interpreted language used by all of TI's calculators, and "TI-ASM", an unofficial name for the native Z80 assembly language on which the calculator is based.

TI-BASIC

TI-BASIC is the built-in language for TI-83 series calculators, as well as many other TI graphing calculators. TI-BASIC is a non-structured programming language, meaning it is arranged sequentially, without the use of methods or organized blocks of code. Due to its simplicity and the ubiquity of TI calculators in school curricula, for many students it is their first experience with programming. Below is an example of a hello world program equivalent to the assembly language example.

:ClrHome
:Disp "Hello World!"

Assembly language

The TI-83 was the first calculator in the TI series to have built-in assembly language support. The TI-92, TI-85, and TI-82 were capable of running assembly language programs, but only after sending a specially constructed (hacked) memory backup. The support on the TI-83 could be accessed through a hidden feature of the calculator. Users would write their assembly (ASM) program on their computer, assemble it, and send it to their calculator as a program. The user would then execute the command "Send (9prgmXXX" (where XXX is the name of the program), and it would execute the program. Successors of the TI-83 replaced the Send() backdoor with a less-hidden Asm() command.

Z80 assembly language gives a programmer much more power over the calculator than the built-in language, TI-BASIC. On the downside, Z80 assembly is more difficult to learn than TI-BASIC. Z80 assembly language can be programmed on the computer and sent to the calculator via USB port, written by hand directly into the program editor (using the hexadecimal equivalents to the op-codes) or compiled using third party compiler programs. Programs written in assembly are much faster and more efficient than those using TI-BASIC, as it is the processor's native language, and does not have to be interpreted.
An example program that displays "Hello World!" on the screen is given. Note that b_call() is not an instruction, but a macro (syntactic sugar) for calling an OS routine.

.nolist ; Standard header
#include "ti83plus.inc"
.list
.org userMem-2
.db t2ByteTok,tAsmCmp

Main:
 b_call(_ClrScrnFull) ; Clears the screen
 b_call(_HomeUp) ; Moves the cursor to the top-left corner of the screen
 ld hl,Hello ; Loads the address that points to "Hello World" into register hl (16-bit)
 b_call(_PutS) ; Displays "Hello World" on the screen
 ret ; Pops the last value pushed onto the stack into the program execution register
 ; May be used to end the program depending on what's on the stack

Hello: ; Gives the label an equate address in memory
.db "Hello World!",0 ; The hex values of "Hello World" are stored in program data

.end ; Marks the end of a file
.end ; Two .ends must be used because of a bug in the standard compiler

Firmware replacement

TI continued to rely on RSA cryptographic signing keys only 512 bits long for many years after it was known that longer keys were necessary for security. 512-bit keys had been publicly cracked in 1999 as part of the RSA Factoring Challenge.

In 2009, a group of enthusiasts used brute force and distributed methods to find all of the cryptographic signing keys for the TI calculator firmware, allowing users to directly flash their own operating systems to the devices. The key for the TI-83+ calculator was first published by someone at the unitedti.org forum. They needed several months to crack it. The other keys were found after a few weeks by the unitedti.org community through a distributed computing project. Texas Instruments then began sending out DMCA take-down requests to a variety of different websites mirroring the keys, including unitedTI and reddit.com. They then became subject to the Streisand effect and were mirrored on a number of different sites.

Successor

The TI-84 Plus series was introduced in April 2004 as a further update to the TI-83 Plus line. Despite the new appearance, there are very few actual changes. The main improvements of the TI-84 Plus and TI-84 Plus Silver Edition are a modernized case design, changeable faceplates (Silver Edition only), a few new functions, more speed and memory, a clock, and USB port connectivity. The TI-84 Plus also has a brighter screen with a clearer contrast, though this caused a bug with the LCD driver in some calculators sold. The TI-84 Plus has 3 times the memory of the TI-83 Plus, and the TI-84 Plus Silver Edition has 9 times the memory of the TI-83 Plus. They both have 2.5 times the speed of the TI-83 Plus. The operating system and math functionality remain essentially the same, as does the standard link port for connecting with the rest of the TI calculator series.

While mobile devices and the internet have superseded any calculator's capabilities, standardized testing precludes the use of those devices. Furthermore, textbooks have been tailored for the TI-83 effectively giving the calculator a "monopoly in the field of high school mathematics."

See also

 Comparison of Texas Instruments graphing calculators
 Calculator Gaming
 Cemetech
 Small Device C Compiler
 Z88DK

References

External links

 Features of the TI-83 Plus, and TI-83 Plus Silver Edition Texas Instruments Product Info
 TI-83 Plus Guide Book Texas Instruments Product Documentation
 How Texas Instruments Monopolized Math Class How students are using DonorsChoose to raise money to buy TI graphing calculators

Graphing calculators
TI-83
Products introduced in 1996
Z80

TI-83 series


Arkitektur i live er en dokumentarfilm fra 2012 instrueret af Carsten Dahl.

Handling
Seks korte filmfortællinger om den arkitektur vi bor i, arbejder, og bevæger os i til dagligt. En række portrætter af arkitekturværker, vist gennem de mennesker der gør arkitekturen til en levende størrelse.

Referencer

Eksterne henvisninger

Danske film fra 2012

Live
Dokumentarfilm fra Danmark

Arkitektur i live


Spiralna opruga izrađuje se od žice s kružnim ili pravokutnim presjekom, najčešće u obliku Arhimedove spirale, tako da je razmak među zavojima jednak (konstantan). Upotrebljavaju se u mehaničkim satovima, povratnim mehanizmima kazaljki električnih mjernih instrumenata, elastičnim spojkama i tako dalje. Te su opruge opterećene zakretnim momentom, gdje je sila ona sila kojom se opruga navije radi akumuliranja energije. Ta sila, već prema izvedbi, može imati hvatište na vanjskom ili na unutarnjem kraju opruge.

Za izradu spiralnih opruga najčešće se upotrebljavaju okrugla žica za opruge prema DIN 17 223 i čelične trake od toplo valjanog čelika za opruge prema DIN 17 211. Krajevi spiralnih opruga vođeni su s odgovarajućim nastavcima, pri čemu opterećenje djeluje samo na vanjskom ili samo na unutarnjem kraju. Pri opterećenju opruge pojedini navoji jednakomjerno se pomiču prema središtu opruge, tako da razmak između navoja ostaje čitavo vrijeme jednak za sve navoje. Ovisno o broju navoja i udaljenosti među njima, takva opruga može se okrenuti za vrlo velike kutove (i za više navoja). Pri tome među navojima mora još uvijek ostati određena zračnost jer bi u slučaju doticanja navoja nastali preveliki gubici zbog trenja.

Nemirnica

Nemirnica je sklop ili mehanizam koji se koristi u preciznoj mehanici a sastoji se od spiralne opruge i zamašnjaka, a po zadaći su dinamički spremnici jer pri njihanju pretvaraju potencijalnu energiju u kinetičku energiju i obratno. Zamašnjak nemirnice može biti s dvama, trima ili četirima palcima. Spiralna opruga ima stalan razmak između zavoja i kružan (češće) ili pravokutan poprječni presjek. Zamašnjak, obično s trima, a rjeđe dvama ili četirima palcima, može biti izrađen od bronce ili mjedi, a spiralna opruga od bronce ili čelika za opruge legiranoga s Ni, Cr, W i Mn. Preporučuje se berilijska bronca. Nemirnicu s obama elementima od berilijske bronce, popularno nazivaju jednomaterijalnom.

Izvori

Strojarstvo

Spiralna opruga


سكيك هي إحدى القرى المحتلة والمدمرة التابعة لمركز مسعدة التابع لمحافظة القنيطرة في هضبة الجولان بجنوب غرب سوريا.

قرية مدمرة وهجر سكانها عام 1967 وكان عددهم 883 نسمة تتبع ناحية مسعدة، ترتفع عن سطح البحر 836 م وتقع في أرض بازلتية وعرة على المنحدر الغربي لهضبة الجولان، جنوب غرب تل الأحمر، تنتشر فيها حراج السنديان والبلوط والزعرور في جهتي الشمال والشرق على بعد 15 كم إلى الشمال الغربي من مدينة القنيطرة، اعمارها قديم لوجود آثار فيها تعود للعهدين الروماني والبيزنطي. منها قلعة، بيوتها قديمة وفيها آبار. عرفت بزراعة الحبوب بعلا وتربية الأبقار والأغنام، وتشرب من مشروع مياه قرية بيت جن. وبعض الآبار من ينابيع السماق القريبة.  وسكنها سبعة عشائر من عشائر قبيلة الفضل هم الباخات والحمدان والجشين والهناتشة والمشاعلة والكبيهات وبيت مثقال من التدامرة كما سكنها من النعيم بيت علي الحسيكي.

مراجع

قرى الجولان المحتلة
قرى الجولان المدمرة
قرى محافظة القنيطرة

سكيك (القنيطرة)


Metatrophis, monotipski biljni rod iz porodice koprivovki s otočja Tubuai (otok Rapa Iti) u Francuskoj Polineziji. Jedina vrsta je grm ili drvo M. margaretae

Izvori

Koprivovke
Flora Tubuaija

Metatrophis


O Prêmio AFI Life Achievement foi estabelecido pelo conselho de diretores do American Film Institute em 26 de fevereiro de 1973, para homenagear um único indivíduo por sua contribuição vitalícia para o enriquecimento da cultura americana por meio do cinema e da televisão.

Histórico do prêmio
O diretor de cinema John Ford foi a escolha unânime do conselho de curadores para o primeiro prêmio, uma vez que ele "se destaca claramente na história do cinema".

O conselho de curadores posteriormente alterou o requisito de "teste do tempo" para permitir que o prêmio fosse concedido a indivíduos com carreiras ativas, como o diretor Steven Spielberg.

Destinatários
O American Film Institute concedeu o Life Achievement Award a uma pessoa a cada ano desde 1973. O 49º Prêmio será entregue a Nicole Kidman em 10 de junho de 2023.

Veja também

 Prêmio Cecil B. DeMille

Notas

Prémios de carreira

Prêmio AFI Life Achievement


Laponlar ya da Samiler, Norveç ve İsveç'in Kuzey Kutup Dairesi içinde kalan bölgelerinde çok eski tarihlerden bu yana yaşamakta olan bir etnik grup. Laponların günümüzdeki sayıları 60.000 kadardır ve %70'i Ural dil ailesine bağlı Sami (Saame) dili olan Laponca konuşur.

Laponların temel uğraşı, ren geyiği yetiştiriciliğidir (topraklarında 700.000 dolaylarında ren geyiği yaşar). Laponların dokuma giysilerinin kullanışlı ve güzel olması dikkat çeker. Laponların kendi bayrakları, ulusal marşları ve ulusal günleri vardır.

Tarih

Toplam 80.000 – 100.000 arası nüfusa sahip olan bu halk kendilerine Lapyalı denmesini kesinlikle istemiyorlar, çünkü 'Lapp' yama anlamına geliyor ve Samiler rengârenk giysileri dolayısıyla kendilerine verilen bu ad ile, alay edildiğini düşünüyorlar.

Samiler bu bölgeye yaklaşık 4000 yıl önce gelmişler. Vikingler ve onları takip eden Orta Çağ yıllarında en kalabalık toplumun Samiler olduğu biliniyor. Bu yıllarda Vikinglerle sürekli savaş halinde olan Samiler, Vikingler tarafından kutup dairesi dolaylarına doğru sürülürler. Bir süre sonra dünyayı keşfe çıkan Vikingler, Samilerin ticaret ortağı haline gelirler.

17. yüzyıldan itibaren Norveç ve İsveç krallıkları tarafından, asimile edilmeye başlanan halk, animist geçmişlerini bırakarak, Hristiyanlığı seçmeye zorlanır, dillerini konuşmaları yasaklanır. İsveç, Norveç, Finlandiya ve Rusya ulusal sınırlarının çizilmesinden sonra, Samiler yaşamak zorunda oldukları ülkenin kültürüne ve diline adapte olmak zorunda kalırlar.

1956'da Finlandiya, İsveç ve Norveç te yaşayan Samiler, Kuzey Sami Konseyini kurduktan sonra hakları için mücadele etmeye başladılar ve bugün bu ülkelerde resmî olarak azınlık statüsünde olsalar, dillerini ve kültürlerini okullarında öğrenebilseler de, halen toprak ve doğal kaynaklar konusundaki mücadeleleri devam ediyor.

11 Aralık 2006 günü yayınlanan Banu Avar'la Sınırlar Arasında//İsveç'in Nobeli bölümünde (TRT) 1900'lü yıllarda soykırıma uğradığı ve zorla kısırlaştırıldığı iddia edilmiştir.

Mitoloji
İsveç'in modern tarih biliminin kurucusu olarak da anılan Prof. Sven Lagerbring, yaklaşık 250 yıl önce yazdığı kitaptan ''İsveç İmparatorluğu Tarihi'' verilere dayanarak Kuzey Avrupalı halkların esas olarak Türk kökenli olduklarını ya da en azından Laponların Türk olabileceklerini ileri sürmektedir. Ayrıca Avrupa kuzey halkları mitolojisi hakkında araştırma yapan belgesel yönetmeni Tekin Gün İskandinavların Türk Ata'ları adlı araştırma yazı notları arasında geçen Şamanlara, Eskimolar'da Angakok, Sabir Türkleri'nde Soyok, Laponlar'da Noide, Samoyetler'de Tadibca, diğer bazı Türk kâvimleri arasında "Kam" ismi verildiğini aktarmaktadır. Abdullah Gürgün'ün kitabında geçen Laponlar, kendilerini Same diye adlandırıyor ve yerleşik oldukları yere de Sampi diyor. Bunlar uzun süre Fin kökenli olarak görülmüş ama hem Şaman özellikleriyle  hem de kullandıkları araç ve gereçler dikkate alındığında, yani kültürel özellikleri nedeniyle Türklerle aynı kökene sahip olduklarını aktarmaktadır.

Müzik
En bilinen Sami müzikleri, İngiliz edebiyatında da rastlanan "joik"lerdir. Joiklerde taklit önemli bir yer tutar. Sözleri özellikle ruhani konularla ilgilenir.

Lavu denen diğer bir şarkı türünün şiirsi sözleri vardır. Vuelie'ler ise bir kişi ya da olayın müzik eşliğinde anlatılmasıdır. Bu üç müzik türü de halen Samiler arasında biliniyor. Genç kuşaklar ise modern ritim aletleri ile müziklerini besliyorlar. Yerli çalgılar son derece ilkel. Bir ağaç parçasına ya da bir boynuza tel gerilerek yapılıyor. Müzisyen, telin boyu ve gerginliği ile oynayarak nota üretiyor.

Samiler, Enigma isimli müzik grubunun kendi müziklerini tanıttığını düşünüyorlar. Ayrıca ünlü caz saksafoncusu Jan Garbarek'in "Legend Of The Seven Dreams" albümünde Sami melodileri Finlandiya'da yaşayan Sami sanatçı Nils-Aslak Valkeapää'nın eşliği ile çalınıyor. Yine Norveç'te yaşayan Marie Boine de Peter Gabriel'in albümlerinden tanınıyor. Sami müziğinde Şaman ayinleri de önemli bir yer tutuyor.

Vikipedi versiyonları

Lapon dillerinde Vikipedi versiyonları arasında şimdilik Kuzey Laponcası  (Sámegiella) versiyonu bulunmaktadır.

Dipnotlar

Fin-Ugor halkları

Modern göçebeler

Samiler (Laponya)


Otto Diderik lensgreve Schack (født 21. september 1652, død 1. juli 1683) var en dansk godsejer og stiftamtmand.

Biografi
Han var søn af greve Hans Schack og hustru Anna Blome. I 1674 overtog hans faderens position som stiftamtmand i Ribe Stift. Ved faderens død i 1676 arvede han godserne Schackenborg, Gram og Gisselfeld. Senere samme år fik han den 23. juni 1676 erektionspatent, da Grevskabet Schackenborg blev oprettet af hovedgårdene Schackenborg, Sødamgård, Solvig og Store Tønde.

Han blev i 1667 dansk hofjunker, var 1670—71 på det ridderlige akademi i Saumur, blev 1671 kammerjunker, 1674 stiftsbefalingsmand over Ribe Stift og amtmand over Riberhus Amt, 14. juni samme år hvid ridder. Han døde allerede i 1683, blot 30 år gammel.

Ægteskab og børn
Schack blev gift 26. april 1674 med Sophie Dorothea von Marschalck (1656–1707). I ægteskabet blev der født 6 børn, hvoraf den ældste overlevende søn Hans Schack efterfulgte sin far som lensgreve.

Kilder
 Danmarks Adels Aarbog 1932

Otto Didrik
Lensgrever fra Danmark
Godsejere fra Danmark
Personer fra Kiel
Danskere i 1600-tallet
Stiftamtmænd over Ribe Stift
Amtmænd fra Danmark
Riddere af Dannebrog (1671-1808)

Otto Didrik Schack (1652-1683)


Lička kapa je odjevni predmet i važan kulturni simbol Like, dio je narodne nošnje.

Kapa ima oblik cilindra s ravnim vrhom u crvenoj boji, a sa strane je crne boje. Crne rese vise niz leđa.

Prema Supičiću i Ivančeviću, lička kapa je moderna verzija pokrivala za glavu korištenog još u vrijeme Japoda. Tijekom brončanog doba Japodi su upotrebljavali brončanu ploču kao podlogu kape koja je bila obložena tekstilom ili kožom i pričvršćena brončanim rubom. Slaveni su usvojili dio autohtone japodske kulture i odjeće poput kape. Od svih kratkih okruglih kapa, lička je najbliža onima koje vidimo na ilirskim brončanim ulomcima.

U Kordunu, dijelu Vojne krajine, austrijska vojna odjeća kasnije je postala dio narodne nošnje, no lička kapa je zamijenila austrijsku vojnu kapu. Lički hajduci nosili su je u borbama protiv Turaka.

Ima sličnosti s drugim dinarskim kapama, poput crnogorske i šibenske kape. Neke ličke kape imaju hrvatski grb na vrhu. Nose se uglavnom kao dio narodne nošnje.

Izvori

Hrvatska kulturna baština
Pokrivala za glavu
Lika
Narodne nošnje

Lička kapa


Sheldon "Shelly" Manne (June 11, 1920 – September 26, 1984) was an American jazz drummer. Most frequently associated with West Coast jazz, he was known for his versatility and also played in a number of other styles, including Dixieland, swing, bebop, avant-garde jazz, and later fusion. He also contributed to the musical background of hundreds of Hollywood films and television programs.

Family and origins
Manne's father Max Manne and uncles were drummers. In his youth he admired many of the leading swing drummers of the day, especially Jo Jones and Dave Tough. Billy Gladstone, a colleague of Manne's father and the most admired percussionist on the New York theatrical scene, offered the teenage Shelly tips and encouragement.

From that time, Manne rapidly developed his style in the clubs of 52nd Street in New York in the late 1930s and 1940s. His first professional job with a known big band was with the Bobby Byrne Orchestra in 1940. In those years, as he became known, he recorded with jazz stars like Coleman Hawkins, Charlie Shavers, and Don Byas. He also worked with a number of musicians mainly associated with Duke Ellington, like Johnny Hodges, Harry Carney, Lawrence Brown, and Rex Stewart.

In 1942, during World War II, Manne joined the Coast Guard and served until 1945.

In 1943, Manne married a Rockette named Florence Butterfield (known affectionately to family and friends as "Flip"). a marriage that would last 41 years, until his death.

When the bebop movement began to change jazz in the 1940s, Manne loved it and adapted to the style rapidly, performing with Dizzy Gillespie and Charlie Parker. Around this time he also worked with rising stars like Flip Phillips, Charlie Ventura, Lennie Tristano, and Lee Konitz.

Manne rose to stardom when he became part of the working bands of Woody Herman and, especially, Stan Kenton in the late 1940s and early 1950s, winning awards and developing a following at a time when jazz was the most popular music in the United States. Joining the hard-swinging Herman outfit allowed Manne to play the bebop he loved. The controversial Kenton band, on the other hand, with its "progressive jazz", presented obstacles, and many of the complex, overwrought arrangements made it harder to swing. But Manne appreciated the musical freedom that Kenton gave him and saw it as an opportunity to experiment along with what was still a highly innovative band. He rose to the challenge, finding new colors and rhythms, and developing his ability to provide support in a variety of musical situations.

In California
In the early 1950s, Manne left New York and settled permanently on a ranch in an outlying part of Los Angeles, where he and his wife raised horses. From this point on, he played an important role in the West Coast school of jazz, performing on the Los Angeles jazz scene with Shorty Rogers, Hampton Hawes, Red Mitchell, Art Pepper, Russ Freeman, Frank Rosolino, Chet Baker, Leroy Vinnegar, Pete Jolly, Howard McGhee, Bob Gordon, Conte Candoli, Sonny Criss, and numerous others. Many of his recordings around this time were for Lester Koenig's Contemporary Records, where for a period Manne had a contract as an "exclusive" artist (that is, he needed permission to record for other labels).

Manne led a number of small groups that recorded under his name and leadership. One consisting of Manne on drums, trumpeter Joe Gordon, saxophonist Richie Kamuca, bassist Monty Budwig, and pianist Victor Feldman performed for three days in 1959 at the Black Hawk club in San Francisco. Their music was recorded on the spot, and four LPs were issued. Highly regarded as an innovative example of a "live" jazz recording, the Black Hawk sessions were reissued on CD in augmented form years later.

West Coast jazz

Manne is often associated with the once frequently criticized West Coast school of jazz. He has been considered "the quintessential" drummer in what was seen as a West Coast movement, though Manne himself did not care to be so pigeonholed. In the 1950s, much of what he did could be seen as in the West Coast style: performing in tightly arranged compositions in what was a cool style, as in his 1953 album named The West Coast Sound, for which he commissioned several original compositions. Some of West Coast jazz was experimental, avant-garde music several years before the more mainstream avant-garde playing of Cecil Taylor and Ornette Coleman (Manne also recorded with Coleman in 1959); a good deal of Manne's work with Jimmy Giuffre was of this kind. Critics would condemn much of this music as overly cerebral.

Another side of West Coast jazz that also came under critical fire was music in a lighter style, intended for popular consumption. Manne made contributions here too. Best known is the series of albums he recorded with pianist André Previn and with members of his groups, based on music from popular Broadway shows, movies, and television programs. (The first and most successful of these was the My Fair Lady album based on songs from the musical, recorded by Previn, Manne, and bassist Leroy Vinnegar in 1956.) The recordings for the Contemporary label, with each album devoted to a single musical, are in a light, immediately appealing style aimed at popular taste. This did not always go over well with aficionados of "serious" jazz, which may be one reason why Manne has been frequently overlooked in accounts of major jazz drummers of the 20th century.

Much of the music produced on the West Coast in those years, as Robert Gordon concedes, was in fact imitative and "lacked the fire and intensity associated with the best jazz performances". But Gordon also points out that there is a level of musical sophistication, as well as an intensity and "swing", in the music recorded by Manne with Previn and Vinnegar (and later Red Mitchell) that is missing in the many lackluster albums of this type produced by others in that period.

West Coast jazz, however, represented only a small part of Manne's playing. In Los Angeles, and occasionally returning to New York and elsewhere, Manne recorded with musicians of all schools and styles, ranging from those of the swing era through bebop to later developments in modern jazz, including hard bop, usually seen as the antithesis to the cool jazz frequently associated with West Coast playing.

Collaborations

From the 78-rpm recordings of the 1940s to the LPs of the 1950s and later, to the hundreds of film soundtracks he appeared on, Manne's recorded output was enormous and often hard to pin down. According to the jazz writer Leonard Feather, Manne's drumming had been heard on well "over a thousand LPs"—a statement that Feather made in 1960, when Manne had not reached even the midpoint of his 45-year-long career.

An extremely selective list of those with whom Manne performed includes Benny Carter, Earl Hines, Clifford Brown, Zoot Sims, Ben Webster, Maynard Ferguson, Wardell Gray, Lionel Hampton, Junior Mance, Jimmy Giuffre, and Stan Getz. In the 1950s, he recorded two solid albums with Sonny Rollins—Way Out West (Contemporary, 1957) received particular acclaim and helped dispel the notion that West Coast jazz was always different from jazz made on the East Coast—and, in the 1960s, two with Bill Evans. Around the same time in 1959, Manne recorded with the traditional Benny Goodman and the iconoclastic Ornette Coleman, a striking example of his versatility.

One of Manne's most adventurous 1960s collaborations was with Jack Marshall, the guitarist and arranger celebrated for composing the theme and incidental music for The Munsters TV show in that period. Two duet albums (Sounds Unheard Of!, 1962, and Sounds!, 1966) feature Marshall on guitar, accompanied by Manne playing drums and a wide variety of percussion instruments unusual in jazz, from "Hawaiian slit bamboo sticks", to a Chinese gong, to castanets, to piccolo Boo-Bam.

Another example of Manne's ability to transcend the narrow borders of any particular school is the series of trio albums he recorded with guitarist Barney Kessel and bassist Ray Brown as "The Poll Winners". (They had all won numerous polls conducted by the popular publications of the day; the polls are now forgotten, but the albums endure, now reissued on CD.) Manne even dabbled in Dixieland and fusion, as well as "Third Stream" music. He participated in the revival of that jazz precursor ragtime (he appears on several albums devoted to the music of Scott Joplin), and sometimes recorded with musicians best associated with European classical music. He always, however, returned to the straight-ahead jazz he loved best.

Style and influences
In addition to Dave Tough and Jo Jones, Manne admired and learned from contemporaries like Max Roach and Kenny Clarke, and later from younger drummers like Elvin Jones and Tony Williams. Consciously or unconsciously, he borrowed a little from all of them, always searching to extend his playing into new territory.

Despite these and numerous other influences, however, Shelly Manne's style of drumming was always his own—personal, precise, clear, and at the same time multilayered, using a very broad range of colors. Manne was often experimental, and had participated in such musically exploratory groups of the early 1950s as those of Jimmy Giuffre and Teddy Charles. Yet his playing never became overly cerebral, and he never neglected that element usually considered fundamental to all jazz: time.

Whether playing Dixieland, bebop, or avant-garde jazz, in big bands or in small groups, Manne's self-professed goal was to make the music swing. His fellow musicians attested to his listening appreciatively to those around him and being ultra-sensitive to the needs and the nuances of the music played by the others in the band, his goal being to make them—and the music as a whole—sound better, rather than calling attention to himself with overbearing solos.

Manne refused to play in a powerhouse style, but his understated drumming was appreciated for its own strengths. In 1957, critic Nat Hentoff called Manne one of the most "musical" and "illuminatively imaginative" drummers. Composer and multi-instrumentalist Bob Cooper called him "the most imaginative drummer I've worked with". In later years this kind of appreciation for what Manne could do was echoed by jazz notables like Louie Bellson, John Lewis, Ray Brown, Harry "Sweets" Edison, and numerous others who had worked with him at various times. Composer, arranger, bandleader, and multi-instrumentalist Benny Carter was "a great admirer of his work". "He could read anything, get any sort of effect", said Carter, who worked closely with Manne over many decades.

Though he always insisted on the importance of time and "swing", Manne's concept of his own drumming style typically pointed to his melody-based approach. He contrasted his style with that of Max Roach: "Max plays melodically from the rhythms he plays. I play rhythms from thinking melodically".

Manne had strong preferences in his choice of drum set. Those preferences, however, changed several times over his career. He began with Gretsch drums. In 1957, intrigued by the sound of a kind of drum made by Leedy (then owned by Slingerland), he had a line made for him that also became popular with other drummers. In the 1970s, after trying and abandoning many others for reasons of sound or maintainability, he settled on the Japanese-made Pearl Drums.

Singers
Manne was also acclaimed by singers. Jackie Cain, of the vocal team of Jackie and Roy ("Roy" being Roy Kral), claimed that she had "never heard a drummer play so beautifully behind a singer". Jackie and Roy were only two of the many singers he played behind, recording several albums with that husband-and-wife team, with their contemporary June Christy, and with Helen Humes, originally made famous by her singing with the Count Basie orchestra.

Over decades, Manne recorded additional albums, or sometimes just sat in on drums here and there, with renowned vocalists like Ella Fitzgerald, Mel Tormé, Peggy Lee, Frank Sinatra, Ernestine Anderson, Sarah Vaughan, Lena Horne, Blossom Dearie, and Nancy Wilson. Not all the singers Manne accompanied were even primarily jazz artists. Performers as diverse as Teresa Brewer, Leontyne Price, Tom Waits, and Barry Manilow included Manne in their recording sessions.

Film and television
At first, jazz was heard in film soundtracks only when a jazz-band performance was an element of the story. Early in his career, Manne was occasionally seen and heard in the movies, for example in the 1942 film Seven Days Leave, as the drummer in the highly popular Les Brown orchestra (soon to be known as "Les Brown and His Band of Renown").

In the 1950s, however, jazz began to be used for all or parts of film soundtracks, and Manne pioneered in these efforts, beginning with The Wild One (1953).  As jazz quickly assumed a major role in the musical background of films, so did Manne assume a major role as a drummer and percussionist on those soundtracks. A notable early example was 1955's The Man with the Golden Arm; Manne not only played drums throughout but functioned as a personal assistant to director Otto Preminger and tutored star Frank Sinatra. The Decca soundtrack LP credits him prominently for the "Drumming Sequences".

From then on, as jazz became more prominent in the movies, Manne became the go-to percussion man in the film industry; he even appeared on screen in some minor roles. A major example is Johnny Mandel's jazz score for I Want to Live! in 1958.

Soon, Manne began to contribute to film music in a broader way, often combining jazz, pop, and classical music. Henry Mancini in particular found plenty of work for him; the two shared an interest in experimenting with tone colors, and Mancini came to rely on Manne to shape the percussive effects in his music. Breakfast at Tiffany's (1961), Hatari! (1962) and The Pink Panther (1963) are only a few of Mancini's films where Manne's drums and special percussive effects could be heard.

Manne frequently collaborated with Mancini in television as well, such as in the series Peter Gunn (1958–1961) and Mr. Lucky (1959–1960). Although Mancini developed such a close partnership with Manne that he was using him for practically all his scores and other music at this time, the drummer still found time to perform on movie soundtracks and in TV shows with music by others, including the series Richard Diamond (music by Pete Rugolo, 1959–1960), and Checkmate (music by John Williams, 1959–1962), and the film version of Leonard Bernstein's West Side Story (1961).

In the late 1950s, Manne began to compose his own film scores, such as that for The Proper Time (1959), with the music also played by his own group, Shelly Manne and His Men, and issued on a Contemporary LP. In later years, Manne divided his time playing the drums on, adding special percussive effects to, and sometimes writing complete scores for both film and television. He even provided a musical setting for a recording of the Dr. Seuss children's classic Green Eggs and Ham (1960) and later performed in and sometimes wrote music for the backgrounds of numerous animated cartoons. For example, he joined other notable jazz musicians (including Ray Brown and Jimmy Rowles) in playing Doug Goodwin's music for the cartoon series The Ant and the Aardvark (1969–1971). Notable examples of later scores that Manne wrote himself and also performed in are, for the movies, Young Billy Young (1969) and Trader Horn (1973), and, for television, Daktari, 1966–1969. With these and other contributions to cartoons, children's stories, movies, television programs (and even commercials), Manne's drumming became woven into the popular culture of several decades.

Shelly's Manne-Hole
Manne was part-owner of the Los Angeles nightclub Shelly's Manne-Hole on North Cahuenga Boulevard, which existed from roughly 1960 to 1973.  The house band at the nightclub was Shelly Manne and His Men, which featured some of Manne's favorite sidemen, such as Russ Freeman, Monty Budwig, Richie Kamuca, Conte Candoli, and later Frank Strozier, John Morell, and Mike Wofford, among many other notable West Coast jazz musicians. Also appearing at the club was a roster of jazz stars from different eras and all regions, including Ben Webster, Rahsaan Roland Kirk, John Coltrane, Sonny Stitt, Thelonious Monk, Michel Legrand, Carmen McRae, Milt Jackson, Teddy Edwards, Monty Alexander, Lenny Breau and Miles Davis. A substantial number of live albums were recorded there, including Live! Shelly Manne & His Men at the Manne-Hole (1961), Bill Evans's At Shelly's Manne-Hole (1963), Cannonball Adderley's Cannonball Adderley Live! (1964), Les McCann's Live at Shelly's Manne-Hole (1965) and Keith Jarrett's Somewhere Before (1969)

Late in 1973, Manne was forced to close the club for financial reasons. Stan Getz was the last artist to be featured there, at a briefly-occupied second location at Tetou's restaurant on Wilshire Boulevard.

Later career
After the close of Shelly's Manne-Hole, Manne refocused his attention on his own drumming. It might be argued that he never played with more taste, refinement, and soulful swing than in the 1970s, when he recorded numerous albums with musicians like trumpeter Red Rodney, pianist Hank Jones, saxophonists Art Pepper and Lew Tabackin, and composer-arranger-saxophonist Oliver Nelson.

From 1974 to 1977 he joined guitarist Laurindo Almeida, saxophonist and flutist Bud Shank, and bassist Ray Brown to perform as the group The L.A. Four, which recorded four albums before Manne left the ensemble.

In the 1980s, Manne recorded with such stars as trumpeter Harry "Sweets" Edison, saxophonist Zoot Sims, guitarists Joe Pass and Herb Ellis, and pianist John Lewis (famous as the musical director of the Modern Jazz Quartet).

Meanwhile, he continued to record with various small groups of his own. Just one representative example of his work in this period is a live concert recorded at the Los Angeles club "Carmelo's" in 1980 with pianists Bill Mays and Alan Broadbent and bassist Chuck Domanico. With their enthusiasm and spontaneity, and the sense that the audience in the intimate ambience of the club is participating in the music, these performances share the characteristics that had been celebrated more than two decades before in the better-known Black Hawk performances. Although this phase of his career has frequently been overlooked, Manne, by this time, had greatly refined his ability to back other musicians sympathetically, yet make his own musical thoughts clearly heard.

Manne's heavy load of Hollywood studio work sometimes shifted his attention from his mainstream jazz playing. Even in lackluster films, however, he nevertheless often succeeded in making art of what might be called hackwork. Still, for all his tireless work in the studios, Manne's labor of love was his contribution to jazz as an American art form, to which he had dedicated himself since his youth and continued to work at almost to the last day of his life.

Manne died somewhat before the popular revival of interest in jazz had gained momentum. But in his last few years, his immense contribution to the music regained at least some local recognition, and the role Manne had played in the culture of his adopted city began to draw public appreciation. Two weeks before his sudden death of a heart attack, he was honored by the City of Los Angeles in conjunction with the Hollywood Arts Council when September 9, 1984 was declared "Shelly Manne Day".

Discography

Notes

References
Arganian, Lillian. Stan Kenton: The Man and His Music (Artistry Press, 1989)
Balliett, Whitney. Collected Works: A Journal of Jazz 1954-2001 (St. Martin's Press, 2002)
Brand, Jack. Shelly Manne: Sounds of the Different Drummer (Discography and filmography by Bill Korst) (Percussion Express, 1997)
Collier, James Lincoln. The Making of Jazz: A Comprehensive History (Dell Publishing Co., 1978)
Feather, Leonard. The Encyclopedia of Jazz (Horizon Press, 1960)
Gioia, Ted. West Coast Jazz: Modern Jazz in California 1945-1960 (Oxford University Press, 1992)
Gordon, Robert. Jazz West Coast: The Los Angeles Jazz Scene of the 1950s (Quartet Books, 1986)
Lees, Gene. Singers and the Song II (Oxford University Press, 1998)
Meeker, David. Jazz in the Movies (Da Capo Press, 1981)
Simon, George T. The Big Bands: Revised Edition (Macmillan Publishing Co., 1974)

External links
Bailey, C. Michael. Review of The Best of Shelly Manne (Web site all about jazz)
Bruil, Rudolf A. "Shelly Manne & His Men Play Checkmate", Audio & Music Bulletin, June 28, 2010.
Library of Congress. Shelly Manne Collection (U.S. Library of Congress Web site)

"Mrs. Shelly 'Flip' Manne", American Society of Music Arrangers and Composers Web site
Manne, Shelly. "Shelly Manne Offers His Concept of Jazz Drums" (12/14/1955; posted on Web site downbeat.com)
Shelly Manne Exhibit (Web site of the Percussive Arts Society)
Shelly Manne Pictures and Piography (Web site Drummers Unlimited)
"Shelly Manne" (Web Site Drummerworld)
O'Connell, Sean J. "Five Historic L.A. Jazz Spots", L.A. Weekly, April 30, 2013.
[ Yanow, Scott. "Shelly Manne" (Web site allmusic)]

Cool jazz drummers
American jazz drummers
American session musicians
West Coast jazz drummers
1920 births
1984 deaths
Jazz musicians from New York City
Jazz musicians from Los Angeles
Contemporary Records artists
Concord Records artists
Mainstream Records artists
Burials at Forest Lawn Memorial Park (Hollywood Hills)
20th-century American drummers
American male drummers
20th-century American male musicians
American male jazz musicians
Brass Fever members
The L.A. Four (band) members

Shelly Manne


Auerodendron es un género de plantas de a la familia Rhamnaceae. Es originario del Caribe.

Taxonomía
Auerodendron fue descrito por Ignatz Urban y publicado en Symbolae Antillanae seu Fundamenta Florae Indiae Occidentalis 9: 221, en el año 1924. La especie tipo es: Auerodendron cubense (Britton & N. Wilson) Urb.

Especies

 Auerodendron acuminatum (Griseb.) Urb.
 Auerodendron acunae Borhidi & O.Muñiz
 Auerodendron cubense (Britton & N.Wilson) Urb.
 Auerodendron glaucescens Urb.
 Auerodendron jamaicense (Urb.) Urb.
 Auerodendron martii Alain
 Auerodendron northropianum Urb.
 Auerodendron pauciflorum Alain
 Auerodendron reticulatum (Griseb.) Urb. - almendrillo de Cuba
 Auerodendron truncatum Urb.

Referencias

Rhamneae

Auerodendron


Sprint for damer bliver afviklet over 7,5 km. Konkurrencen blev afholdt 10. februar 2018.

Konkurrencen
Hver deltager skyder to gange à 5 skud, en gang liggende og en gang stående. For hver forbier må deltageren ud på en strafferunde.
Resultatet af denne konkurrence bestemmer udgangspunktet for jagtstarten, der afvikles 12. februar 2018, hvor kun de 60 bedste i sprinten får lov at deltage.

Resultater

Medaljeoversigt

Referencer

Eksterne henvisninger
 https://www.pyeongchang2018.com/en/venues/alpensia-biathlon-centre

Sprint - Damer

Skiskydning under vinter-OL 2018 – sprint – Damer


Tanyaradzwa Adel Muzinda (nascida em 2004) é uma piloto de motocross do Zimbábue. Ela foi a primeira mulher a vencer um campeonato de motocross no Zimbábue.

Vida
Tanyaradzwa Adel Muzinda nasceu em Harare, capital do Zimbábue, em 31 de agosto de 2004, e começou a andar de moto quando tinha cinco anos, incentivada por seu pai, Tawanda. Sua mãe se chama Adiyon e ela tem três irmãos. Ela fez sua escola primária na Eaglesvale Primary School, em Harare.

Sua primeira motocicleta custou 2.000 dólares mais 900 dólares do kit de proteção. Ela e a família se mudaram para a Flórida, nos Estados Unidos, em 2019.

Carreira
Em 2017, sofreu uma queda que danificou o quadril e teve dificuldades para andar por vários meses. No mesmo ano, ela competiu em sua primeira corrida no exterior, no HL Racing British Master Kids Championships, realizado na pista de Motoland, perto de Mildenhall, na Inglaterra. Ela gostou da corrida e ficou em terceiro lugar.

Os campeonatos de motocross foram organizados pela primeira vez na Rodésia (atual Zimbábue), em 1957. Nenhuma mulher jamais havia vencido um campeonato. Tanyaradzwa Muzinda foi a primeira. Seu pai só podia assistir aos campeonatos do alto das árvores nos arredores da pista.

O sindicato africano a reconheceu como a esportista júnior do ano, em 2018. No final de 2019, ela e sua família se mudaram para a Flórida, nos Estados Unidos, com o apoio do italiano três vezes campeão mundial de motocross Stefy Bau. Ele se tornou seu gerente enquanto seu pai continuou como seu treinador (e dois de seus irmãos). Tanyaradzwa Muzinda é embaixadora honorária da União Europeia para Juventude, Gênero, Esportes e Desenvolvimento no Zimbábue.

Seus ganhos permitiram que ela pagasse as taxas escolares de 100 crianças em Harare, capital do Zimbábue.

Prêmios e reconhecimento

 2012 - Segundo lugar no campeonato de motocross no Zimbábue.
 2013 - Troféu e medalha de ouro no FIM Africa Motocross das Nações Africanas, em Muldersdrift, nos arredores de Joanesburgo, capital da África do Sul.
 2015 - National Sports Awards 2015 Junior Sportswoman of the Year.
 2015 - Prêmio Anual de Esportes Nacionais 2015 Atleta Júnior do Ano.
 2015 - Zimbabwe International Women's Awards 2015 Sportswoman of the Year em Birmingham, Inglaterra.
 Motociclista feminina mais jovem e destacada Classe 65cc-2013 FIM Africa Motorcross das nações africanas em Muldersdrift, África do Sul.
 Bog Wheelers Club Melhor piloto da temporada.
 2017 - 3º lugar no 2017 HL Racing British Master Kids Championships na pista de Motoland na Inglaterra.
 Embaixadora honorária da União Europeia no Zimbabué para a Juventude, Género, Desporto e Desenvolvimento.
 2018 - Esportista Júnior do Ano em 2018 na África do Sul pelos Cinco Prêmios Anuais de Esportes da Região do Conselho de Esportes da União Africana.
 2020 - Selecionada para o prêmio Nickelodeon Kid of the Year, da Time Magazine.
 2021 - Nomeada uma das 100 mulheres mais inspiradoras do mundo, da BBC.

Veja também

 100 Mulheres (BBC)
 Mulheres na categoria BBC 100 Mulheres

Pessoas vivas
Nascidos em 2004
Corredores de cross country
Mulheres do Zimbabwe
Pessoas na lista BBC 100 Mulheres de 2021

Tanya Muzinda


الإشعاع الحراري هو أحد صور انبعاث الطاقة وانتقالها، وكمية الطاقة التي يحملها الإشعاع تعتمد علي درجة حرارة وطبيعة السطح الباعث للأشعة. وهذا النوع من وسائل إنتقال الحرارة لا يحتاج إلي وسيط بين السطح الباعث والمستقبل للأشعة. وتنتقل الأشعة علي هيئة موجات كهرومغناطيسية، هذه الموجات التي تنتقل بها موجات الراديو وأشعة x وأشعة جاما وغيرها، والاختلاف يكون فقط في الطول الموجي للأشعة.
ومن الناحية النظرية فإن الطول الموجي للأشعة الحرارية يقع في المدي من صفر إلى مالا نهاية، وعلى كل فإن معظم هذه الأشعة يتراوح طولها الموجي ما بين 0٫1 إلي 100 ميكرومتر، كما أن الجزء المرئي من الأشعة الحرارية يتراوح طوله الموجي ما بين 0٫4 إلى 0٫7 ميكرومتر. ودرجة حرارة سطح الشمس الفعالة تقدر بحوالي 5760 كلفن، وتبعث أشعة في المدي من 0٫1 إلي 3 ميكرومتر شاملة الأشعة المرئية.
وتنتقل الأشعة عامة بسرعة الضوء والتي تقدر بحوالي 300 مليون متر/ثانية في الفراغ. ويمكن التعبير عن العلاقة بين الطول الموجي وسرعة الضوء والتردد للأشعة بالمعادلة التالية:
C = λν
حيث:
C: سرعة الضوء
λ: الطول الموجي
ν: التردد
ولحساب الطاقة المحملة في هذه الموجات فإنه وطبقا لنظرية الكم
E = hv
حيث:
E: طاقة الفوتون
h:ثابت بلانك

سقوط الأشعة على الأسطح
عند سقوط الأشعة علي الأسطح فإن جزء منها قد ينعكس بعيدا عن السطح وجزء آخر قد يمتص بواسطة السطح والجزء الثالث قد ينفذ من خلال السطح. ويتوقف ذلك على ثلاث خواص إشعاعية للسطح المستقبل للأشعة وهي الإنعكاسية والامتصاصية و، ومجموع قيم هذه الخواص الثلاثة لابد أن يكون مساويا للواحد الصحيح أي أن
ρ + α + τ = 1
حيث:
 ρ: معامل الانعكاس
 α: معامل الامتصاص
 τ: معامل النفاذية
والمعاملات السابقة لا تعتمد فقط علي طبيعة السطح الماص ولكن أيضا على إتجاه الأشعة والطول الموجي لها. وتكون المعادلة السابقة صحيحة في حالة استخدام القيم المتوسطة للمعاملات السابقة على مدي الاطوال الموجية المختلفة.

ظاهرة البيوت الزجاجية
بالحديث عن الطول الموجي واعتماد خواص الأشعة عليه فإنه من الجدير بالذكر الحديث عن الظاهرة المعروفة باسم البيوت الزجاجية أو الاحتباس الحراري. وهذه الظاهرة تنتج عن اختلاف معامل النفاذية الطيفي  للزجاج باختلاف الطول الموجي، حيث تكون هذه النفاذية عالية في منطقة الموجات المرئية وقرب الموجات تحت الحمراء، أما الموجات المنبعثة من داخل الصوبة الزجاجية والتي تكون في مدي الأطوال الموجية الطويلة نسبيا والبعيدة عن منطقة الأشعة تحت الحمراء فإن النفاذية عندها تكون أقل، ومن هنا فإن الأشعة التي تنفذ من خلال الزجاج ترفع درجة حرارة الأجسام الموجودة بداخله ثم تشع هذه الأجسام موجات طويلة نسبيا يصعب نفاذها من الداخل للخارج مما يؤدي لرفع درجة الحرارة داخل هذه البيوت الزجاجية.

الخصائص الإشعاعية للأسطح الحقيقية

إن مفهوم الجسم الأسود هو مفهوم نظري ولهذا كان من الضروري أن يتم تعريف السطح الحقيقي من وجهة نظر الانبعاث. فالجسم الأسود يبعث كل الأشعة أي أن معامل الانبعاثية للسطح الحقيقي أقل من الواحد.
وتعرف الانبعاثية  أنها:
«النسبة بين القدرة المنبعثة من السطح الحقيقي إلي تلك المنبعثة من سطح الجسم الأسود عند نفس درجة الحرارة».
ويمكن التعبير عنها رياضيا باستخدام المعادلة التالية:

ε = E / Eb

حيث:
 ε: معامل الانبعاث للسطح.
 E: معدل الطاقة المنبعثة من الجسم الحقيقي عند درجة حرارة T.
 Eb: معدل الطاقة المنبعثة من الجسم الأسود عند نفس درجة الحرارة.
بالإضافة لاعتماد الانبعاثية علي درجة الحرارة فإنها تعتمد على الطول الموجي للأشعة وإتجاهها، والمعادلة السابقة تعطي قيمة متوسطة للانبعاثية على مدى الموجات المختلفة وفي كل الإتجاهات. وتعرف أحيانا بالانبعاثية الكلية أو الانبعاثية النصف كروية .
و يمكن التعبير عن الانبعاثية أحادية الطول الموجي  بأنها:
«النسبة بين القدرة الإشعاعية للجسم عند طول موجي محدد إلي تلك القدرة للجسم الأسود عند نفس الطول الموجي ودرجة الحرارة».
و يعبر رياضيا عنها بالمعادلة التالية:
ελ = Eλ / Eλb
حيث:
 ε: معامل الانبعاث للسطح عند طول موجي λ.
 Eλ: معدل الطاقة المنبعثة من الجسم الحقيقي عند نفس الطول الموجي.
 Ebλ: معدل الطاقة المنبعثة من الجسم الأسود عند نفس درجة الحرارة ونفس الطول الموجي.
و يوضح الجدول التالي بعض القيم المتوسطة للانبعاثية ومعامل الامتصاص لعض الأسطح الحقيقية

أهم أستخدامات الإشعاع الحراري للاجسام
1. تحديد مناطق الثروات الطبيعية في باطن الأرض
2. وتعد من أهم طرق اكتشاف الادلة الجنائية المبهمة حيث يظل الإشعاع الحراري لشخص ما في كمان الجريمة مدة ليست طويلة وقد تصل من 12 ساعة حتى 16 على أقصي تقدير
وبهذه التقنية يستطيع الشرطة تحديد هوية المجرمين بدقة خلال تلك المدة.

اقرأ أيضا
 الاشعاع الشمسي
 شدة الإشعاع و الفيض الإشعاعي
 جسم أسود
 تصوير حراري
 طيف كهرومغناطيسي
 ماكس بلانك
 قانون بلانك
 قانون فين للإزاحة
 حرارة
 الكومة الحرارية

المراجع

انتقال الحرارة
إشعاع كهرومغناطيسي
ديناميكا حرارية
هندسة الميكانيك

إشعاع حراري


Sancak Kaplan (* 25. Mai 1982 in Oltu) ist ein türkischer Fußballspieler.

Karriere

Vereinskarriere
Sancak Kaplan startete seine Profifußballkarriere beim türkischen Erstligisten Malatyaspor. In der Hinrunde seiner ersten Saison spielte er ausschließlich für die Reservemannschaft. In der Winterpause wurde er in den Kader der Profimannschaft involviert und kam auch regelmäßig zu Einsätzen. In der zweiten Saison kam er lediglich in der Hinrunde in einem Pokalspiel zum Einsatz.

Ab der Rückrunde in der Saison 2003/04 wurde er für eineinhalb Spielzeiten an den damaligen Erstligisten Adanaspor ausgeliehen.

Im Sommer 2005 wechselte er dann zu Altay Izmir und war hier zwei Spielzeiten tätig. Anschließend spielte er zwei Spielzeiten für den Erstligisten Istanbul Büyükşehir Belediyespor.

Zur Spielzeit 2009/10 verpflichtete ihn der türkische Erstligist Kasımpaşa Istanbul. Hier saß er in seiner ersten Saison überwiegend auf der Ersatzbank und machte nur drei Ligapartien. Mit seiner zweiten Spielzeit kam er regelmäßig zum Einsatz. Im Sommer 2015 musste der Kasımpaşa verlassen, nachdem sein ausgelaufener Vertrag nicht verlängert wurde.

Weblinks

Fußballspieler (Adanaspor)
Fußballspieler (Altay Izmir)
Fußballspieler (Istanbul Başakşehir FK)
Fußballspieler (Kasımpaşa Istanbul)
Fußballspieler (Malatyaspor)
Türke
Geboren 1982
Mann

Sancak Kaplan


Der Dodge M4S war ein Konzeptfahrzeug der Automarke Dodge; die Abkürzung steht für "Midengine, 4 cylinder, Sport".
Es wurde in Zusammenarbeit mit PPG Industries in den frühen 1980er-Jahren entwickelt, unter anderem als Indy 500 Pace Car und wurde von 1984 bis 1987 zeitweise eingesetzt, andere Quellen sprechen von 1982 und 1983. Bekannt wurde das Fahrzeug, da es im Film Interceptor – Phantom der Ewigkeit (engl. Titel The Wraith, 1986, Science-Fiction) den titelgebenden Sportwagen inspirierte.

Nach den Filmaufnahmen wurde es teilweise mit dem Namen "1981 PPG Turbo Interceptor" bezeichnet, obwohl ein solches Fahrzeug im Film kaum verwendet wurde. Mindestens ein M4S wurde aber von Chrysler zur Verfügung gestellt und war – unter Bewachung – während mehrerer Wochen auf dem Filmset präsent. Vom "echten" M4S wurde nur eine, nachträglich bearbeitete, Sequenz verwendet, welche Details des Motorraums zeigt. Ansonsten waren an den Filmaufnahmen
lediglich Replikas im Einsatz, die zusätzlich verändert waren. Das Aussehen des Dodge M4S weicht erheblich vom Film-Interceptor ab.

Das Originalfahrzeug war Bestandteil der Sammlung des mittlerweile geschlossenen Walter P. Chrysler Museums in Auburn Hills (Michigan).

Entwicklung

Die Rolle von PPG Industries
Der Anstoß zum Projekt und dessen Finanzierung gingen von PPG Industries aus. Das Unternehmen war einer der bedeutenden Zulieferer, vor allem von Autolacken, für die großen drei US-Konzerne General Motors, Ford und Chrysler. PPG stellte als Sponsor jährlich je ein Fahrzeug jedes Konzerns als Pace car für die CART-Serie (CART steht für Championship Auto Racing Teams) bereit. solche Pace cars sind üblicherweise besonders vorbereitete Serienfahrzeuge, die oft in limitierter Auflage als sog. "Repliken" auch in den Verkauf gelangen. In diesem Zusammenhang war es bereits früher zu einer Zusammenarbeit von PPG mit der Engineering-Firma Specialized Vehicles, Inc. (SVI) sowie Chrysler gekommen. Dass es mit dem M4S zu einem deutlich aufwendigeren Projekt für einen Mittelmotorsportwagen mit Heckantrieb kam, geht wohl auf eine Idee zurück, die bei Chrysler gereift war.

Kooperation
Bob Ackermann, einer der Chef-Stylisten bei Chrysler, wurde mit den Vorarbeiten betraut. Von ihm stammt das Design, und er koordinierte die Arbeiten von Chrysler Styling- und Engineering mit SVI, wo der Projektleiter Joe Pappas zuständig war. Die eigene Entwicklung eines Mittelmotorfahrgestells unterblieb aus Kostengründen. Stattdessen gelangte Ackermann an Huffaker Engineering in Kalifornien, wo man ein ähnliches Konzept für eine IMSA-Version (IMSA steht für International Motor Sports Association) des Pontiac Fiero entwickelt und gebaut hatte. Der Fiero war zwar als Mittelmotorwagen konzipiert worden, dieser Rennwagen erhielt aber ein komplett neues Chassis aus Rohrprofilen, auf das eine seriennahe Karosserie aufgesetzt wurde. Huffaker baute in Zusammenarbeit mit dem Chrysler-Renningenieur Larry Rathgeb eine von 93 Zoll (2362 mm) auf 100 Zoll (2540 mm) verlängerte Version dieses Fahrgestells für den M4S. Rathgeb hatte viel Erfahrung aus der NASCAR-Serie (NASCAR steht für National Association for Stock Car Auto Racing) und hatte eng mit dem Team von Richard Petty zusammengearbeitet. Von ihm stammte auch die Anregung, im Heck einen großen Heckspoiler anzubringen, wie er ihn bereits früher für den Plymouth Superbird entwickelt hatte. Damit bekam der M4S genug Fahrstabilität, um annähernd 200 mph zu erreichen. SVI und Rathgeb nutzten den Windkanal des Flugzeugherstellers Lockheed für den aerodynamischen Feinschliff.

Technik

Karosserie
Bei SVI wurde das Fahrgestell an den 2,2-Liter-Motor angepasst. Das Design von Ackermann wurde bei Chrysler in einem damals neuartigen Verfahren auf ein Modell übertragen. Dabei wird auf eine Grundstruktur aus Holz eine Beschichtung aus einem Styropor-ähnlichen Schaum aufgetragen und im CAD-Verfahren geformt. Anschließend wird das Modell von Hand nachbearbeitet. Danach wird darauf die Fiberglaskarosserie hergestellt. Die Lackierung erfolgte bei PPG.

Motor
Der 2,2-Liter-Motor wurde 1981 eingeführt für einige Versionen des Dodge Omni / Plymouth Horizon ("L-Body") und des Dodge Aries / Plymouth Reliant ("K-Body") und war zunächst nur als Vergaserversion erhältlich. In Europa war er vor allem bekannt in den Baureihen Chrysler ES und Chrysler/Dodge Daytona. Carroll Shelby baute später eine eigene Turbovariante.

Davon unabhängig, hatte SVI bereits früher eigene Turbo-Versionen entwickelt. Der M4S erhielt eine daraus abgeleitete Anlage mit zwei Garrett-Turboladern sowie Einspritzung und Elektronik von Bosch. SVI-Ingenieur Tom Coddington entwickelte für die Doppelturboversion einen eigenen Zylinderkopf unter Verwendung eines solchen vom Cosworth Typ BDG, einer Cosworth Moldex Kurbelwelle und zwei Cosworth Rallye-Nockenwellen. Die dazu notwendigen, angepassten Motorblöcke lieferte Chrysler.

Motordaten
Reihen-("Trans")-4-Zylinder Mittelmotor von Mopar (Chrysler-Motorenhersteller) und SVI
2,2 L Hubraum, Cosworth Zylinderkopf mit 16 Ventilen, zwei Turbolader Garrett T25 mit Intercooler im Heck
Leistung: 440 hp (328 kw)
Drehmoment: ca. 600 Nm
Gewichtsverteilung: 50 % / 50 %

Leistungsdaten
Höchstgeschwindigkeit: 194,8 mph
Beschleunigung 0—60 mph: 4,1 Sekunden

Getriebe
Das originale Chrysler Fünfganggetriebe war bei weitem nicht für die angedachte Leistung ausgelegt. Chrysler bestellte daher bei Weissman Transmissions in Kalifornien eine verstärkte Version. Als sich zeigte, dass ein Getriebewechsel 12 bis 14 Arbeitsstunden in Anspruch nahm, sollte es bei Liberty Gears in Allen Park (Michigan) entsprechend überarbeitet werden. Am Ende stand eine völlig neue, sehr stabile aber auch eher laute Konstruktion mit ebenfalls fünf Gängen.

Filmfahrzeug "Turbo Interceptor"
Für den Film stellte der bekannte Customizer Gene Winfield wohl vier Attrappen her, die während der Filmaufnahmen zerstört wurden, sowie zwei fahrbereite Fahrzeuge (teilweise als "stunt cars" bezeichnet). Eines der beiden Fahrzeuge gelangte 2003 in einem schlechten Zustand in den Besitz eines Sammlers aus Wichita im US-Bundesstaat Kansas, der es mit Unterstützung von Chrysler und Bob Ackermann restaurierte.

Weblinks
 Homepage von SVI Specialized Vehicles, Inc. (englisch)
 kustomrama.com über den Custom_Shop von Gene Winfield (englisch)

Einzelnachweise

Sportwagen
Coupé
Einzelautomobil

Dodge M4S


Faramondo (título original en italiano; en español, Faramundo, HWV 39) es una ópera en tres actos con música de Georg Friedrich Händel y libreto en italiano adaptado del Faramondo de Apostolo Zeno.

Se estrenó en el King's Theatre de Londres el 3 de enero de 1738. Hubo 8 representaciones y no volvió a reponerse. La primera producción moderna fue en Halle el 5 de marzo de 1976. Una traducción al inglés, por Bruce Wetmore (arias) y Guy Pugh (recitativos) se estrenó en una representación de la Handel Opera Company en Berkeley (California) el 23 de febrero de 1985. Actualmente es muy poco representada; en las estadísticas de Operabase aparece con sólo 3 representaciones en el período 2005-2010.

Véase también
 Anexo:Óperas de Georg Friedrich Händel

Referencias

Enlaces externos

Óperas de Georg Friedrich Händel
Óperas en italiano
Óperas de 1738
Óperas estrenadas en Londres
Mitología germana en la ópera

Faramondo


Bandé ist eine Landgemeinde im Departement Magaria in Niger.

Geographie

Bandé liegt am Übergang der Großlandschaft Sudan zur Sahelzone. Die Nachbargemeinden sind Dogo im Norden, Dungass im Osten, Dantchiao im Südosten, Magaria im Süden, Kwaya im Südwesten und Yaouri im Nordwesten. Bei den Siedlungen im Gemeindegebiet handelt es sich um 87 Dörfer, 167 Weiler und eine Wasserstelle. Der Hauptort der Landgemeinde ist das Dorf Bandé. Es liegt auf einer Höhe von  und hat den Charakter einer Oase.

Durch Bandé verläuft das Trockental Korama. Die Forêt classée de Karbala ist ein 950 Hektar großes unter Naturschutz stehendes Waldgebiet im Gemeindegebiet von Bandé. Die Unterschutzstellung erfolgte 1950.

Geschichte
Bandé lag wie andere Dörfer im Gebiet um den Ort Magaria Anfang des 20. Jahrhunderts im britischen Einflussgebiet. Frankreich erlangte 1906 die Herrschaft in der Region und richtete 1908 einen Kanton in Bandé ein. Die 227 Kilometer lange Piste für Reiter zwischen den Städten Zinder und Kano, die durch Bandé führte, galt in den 1920er Jahren als einer der Hauptverkehrswege in der damaligen Kolonie Niger.

Im Jahr 2002 ging im Zuge einer landesweiten Verwaltungsreform aus dem Kanton Bandé die Landgemeinde Bandé hervor.

Bevölkerung
Bei der Volkszählung 2012 hatte die Landgemeinde 114.242 Einwohner, die in 18.818 Haushalten lebten. Bei der Volkszählung 2001 betrug die Einwohnerzahl 59.203 in 10.754 Haushalten.

Im Hauptort lebten bei der Volkszählung 2012 9523 Einwohner in 1339 Haushalten, bei der Volkszählung 2001 5701 in 1024 Haushalten und bei der Volkszählung 1988 2136 in 347 Haushalten.

In ethnischer Hinsicht ist die Gemeinde ein Siedlungsgebiet von Damagarawa, Daurawa, Fulbe und Kanuri. Die Hausa-Untergruppen Damagarawa und Daurawa betreiben vor allem Ackerbau, während die Fulbe auf Agropastoralismus spezialisiert sind.

Politik
Der Gemeinderat (conseil municipal) hat 25 gewählte Mitglieder. Mit den Kommunalwahlen 2020 sind die Sitze im Gemeinderat wie folgt verteilt: 14 PNDS-Tarayya, 3 ARD-Adaltchi Mutunchi, 2 CPR-Inganci, 2 PJP-Génération Doubara, 2 RDP-Jama'a und 2 RDR-Tchanji.

Jeweils ein traditioneller Ortsvorsteher (chef traditionnel) steht an der Spitze von 67 Dörfern in der Gemeinde.

Wirtschaft und Infrastruktur
Die Gemeinde liegt in jener schmalen Zone entlang der Grenze zu Nigeria, die von Tounouga im Westen bis Malawa im Osten reicht und in der Bewässerungsfeldwirtschaft für Cash Crops betrieben wird. In Bandé wird regenabhängiger Reisanbau praktiziert. Wochenmärkte werden im Hauptort sowie in den Dörfern Gocholo und Rouboundji abgehalten. Der Markttag im Hauptort ist Dienstag. Das staatliche Versorgungszentrum für landwirtschaftliche Betriebsmittel und Materialien (CAIMA) unterhält im Hauptort eine Verkaufsstelle. Die Niederschlagsmessstation im Hauptort wurde 1981 in Betrieb genommen.

Gesundheitszentren des Typs Centre de Santé Intégré (CSI) sind im Hauptort und in der Siedlung Kaki Tamma vorhanden. Beide Gesundheitszentren verfügen jeweils über ein eigenes Labor und eine Entbindungsstation. Der CEG Bandé ist eine allgemein bildende Schule der Sekundarstufe des Typs Collège d'Enseignement Général (CEG). Beim Centre de Formation aux Métiers de Bandé (CFM Bandé) handelt es sich um ein Berufsausbildungszentrum.

Die 980,9 Kilometer lange Nationalstraße 11 zwischen Nigeria und Algerien führt durch den Hauptort und das Dorf Babban Rouwa. Im Hauptort zweigen die 89,5 Kilometer lange Landstraße RR7-003 nach Gouchi und die 22,02 Kilometer lange Route 747 über Gocholo nach Gomba ab.

Literatur

Einzelnachweise

Ort in Niger
Zinder (Region)
Ort in Afrika

Bandé (Niger)


El autillo vermiculado o lechuza chocó (Megascops centralis) es una especie de búho de la familia Strigidae.

Distribución
Se encuentra en los bosques húmedos de tierras bajas en el oeste de Ecuador, este de Colombia, Panamá y Costa Rica. Como sugiere su nombre, una gran parte de su gama está en el Chocó.

Taxonomía
Es reemplazado en América del Sur, al este de los Andes por la lechuza roraima (M. roraimae), y al norte de Costa Rica por el autillo guatemalteco (M. guatemalae). El autillo vermiculado fue originalmente descrito como una subespecie de las últimas y algunos aún los tratan de este modo, pero, inexplicablemente, otros lo han omitido por completo (no reconocido como especie ni subespecie). La lechuza roraima, El autillo guatemalteco, y el autillo vermiculado son muy similares en apariencia, pero fácilmente separados por voz.

Referencias

centralis
Aves del Neotrópico

Megascops centralis


අහුරුකුක්කා එසේත් නැත්නම් අහරකුක්කා (, විද්‍යාත්මක නාමය: Amphiesma stolatum) යනු නිර්විෂ සර්පයෙකි.

මූලාශ්‍ර

නිර්විෂ සර්පයෝ

අහරකුක්කා


Edduverðlaunin 2013 voru veitt við hátíðlega athöfn í Hörpu 18. febrúar 2013. Pétur Jóhann Sigfússon var kynnir kvöldsins. Kvikmyndin Djúpið var aðsópsmest á hátíðinni.

2013

Edduverðlaunin 2013