Am 14. August 1958 verunglückte eine Lockheed L-1049H Super Constellation (Name: Hugo de Groot, Luftfahrzeugkennzeichen: PH-LKM) der niederländischen Fluggesellschaft KLM auf dem KLM-Flug 607-E westlich von Shannon über dem Atlantik. Dabei kamen alle 99 Insassen ums Leben. Die definitive Ursache des Unglücks konnte nicht festgestellt werden. Das "E" in der Flugnummer stand für "extra". Der Flug war zusätzlich zum regulären Linienflug KL607 eingerichtet worden, um der saisonal erhöhten Nachfrage nachzukommen.

Bau und Indienststellung
Die Hugo de Groot war eine Maschine der letzten Constellation-Variante L-1049H, die ab 1957 gefertigt wurde und für den gemischten Passagier- und Frachtverkehr vorgesehen war. Die Hugo de Groot verfügte über zwei große Frachtluken an der Backbordseite des Rumpfes. Außerdem war ein verstärkter Schwerlastboden als sogenannter Roller-Floor eingebaut, der die Verwendung von Flurfördergeräten für Transportpaletten ermöglichte.

Die Hugo de Groot wurde 1958 mit der Werknummer 4841 gebaut und erhielt das Kennzeichen PH-LKM. Das Flugzeug wurde von KLM nach dem niederländischen Theologen, Philosophen und Aufklärer Hugo Grotius (1583–1645) benannt.

Absturz
Die Super Constellation befand sich auf der zweiten Etappe eines Transatlantikflugs von Amsterdam nach New York City mit Zwischenlandungen in Shannon und Gander, Neufundland. Die Maschine startete planmäßig am 14. August in Shannon um 03:05 GMT zu ihrer Atlantiküberquerung nach Gander. An Bord waren 91 Passagiere, Kapitän und Copilot sowie sechs weitere Besatzungsmitglieder. Der letzte Sprechfunkkontakt mit dem Flugzeug fand um 03:40 GMT statt, also 35 Minuten nach dem Start. Danach gab es keinen Kontakt mehr.

Der Absturz geschah wahrscheinlich rund 200 Kilometer (110 Seemeilen) westlich von Shannon, Irland, über dem Atlantischen Ozean. Wrackteile wurden in diesem Bereich nordnordwestlich vor der Irischen Küste in der See gefunden. Die berechnete Position der Maschine verortete sie weiter auf dem Atlantik, weshalb angenommen wurde, dass die Piloten nach einem technischen Problem versucht hatten umzudrehen. Die Leichen von 34 der Personen wurden geborgen. Aufgrund der unbekannten Tiefe der Absturzstelle wurde keine Bergung in Erwägung gezogen.

Hintergrund und Ursache
Laut Untersuchungsbericht der irischen und niederländischen Ermittler über den Absturz konnte keine eindeutige Absturzursache festgestellt werden. Mit einer gewissen Wahrscheinlichkeit wurde overspeeding von einer Luftschraube eines der beiden Außenmotoren durch verschmutztes Motoröl angenommen. Durch mögliche Metallpartikel könnten die Regelventile des Reglers des Constant-Speed-Verstellpropellers, der von der Motorschmierung mit Drucköl als Arbeitsmedium versorgt wird, beeinträchtigt worden sein, so dass sich der Anstellwinkel der Propellerblätter des betroffenen Triebwerkes unzulässig verringerte, andererseits die widerstandsarme Segelstellung (Feathering) des Propellers nicht herbeigeführt werden konnte. Durch den für die Fluggeschwindigkeit zu geringen Anstellwinkel entsteht trotz maximal ansteigender Motordrehzahl im Vergleich zu den restlichen drei, korrekt arbeitenden Triebwerken keine Vortriebskraft mehr, stattdessen ein Bremsmoment. Dadurch kann, wenn die Situation von der Besatzung nicht umgehend erkannt und konsequent durch Gegensteuern entgegengewirkt wirkt, durch die unsymmetrisch verteilten Antriebskräfte ein unkontrollierbarer Flugzustand eintreten, der zum Absturz geführt haben könnte.
Hypothesen, wonach Pilotenfehler oder eine Bombenexplosion zum Absturz geführt hätten, stufte der Bericht als unbewiesene Hypothese ein.

Das Hamburger Nachrichtenmagazin Der Spiegel berichtete im August 1958 ausführlich über den Absturz der Super Constellation und die verspätete Suche nach der Maschine wegen mangelnden Funkverkehrs. Störungen des Sprechfunkbetriebs über dem Nordatlantik galten in der Fliegerei in dieser Zeit als alltäglich. Nachdem sich die Hugo de Groot nicht turnusgemäß per Funk meldete, beschränkte sich die Flugsicherung in Shannon zunächst darauf, über die Küstenfunkstation "Valentia Radio" in Irland der Schifffahrt mitzuteilen, dass sich das Flugzeug nicht mehr gemeldet habe. Positionsangaben oder ein berechneter Kurs wurden nicht genannt, so dass die Schifffahrt mit dieser Information nichts anfangen konnte. Der Spiegel schrieb, dass die Störanfälligkeit des Funkverkehrs zwischen Flugzeug und Bodenstation "paradoxerweise auf eine technische Neuerung zurückzuführen" sei. Einige Luftverkehrsgesellschaften, darunter auch die KLM hatten in Übereinstimmung mit den Sicherheitsempfehlungen der internationalen Zivilluftfahrt-Organisation ICAO im Transatlantik-Verkehr die Morsetelegrafie abgeschafft und setzten nur noch Sprechfunkverkehr ein. Die über dem Nordatlantik abgestürzte KLM-Maschine hatte deshalb keinen hauptamtlichen Funker an Bord. Die KLM-Direktion hatte vor dem Absturz erklärt: "Der Sprechfunk hat sich bewährt. Er macht die Übermittlung von Nachrichten zwischen dem Funker und den Piloten, bei der leicht Mißverständnisse auftreten können, überflüssig, weil der Pilot alle Meldungen selbst empfängt oder abgibt."

Funkexperten schlossen damals die Möglichkeit nicht aus, dass vielleicht doch einige Überlebende hätten gerettet werden können, wenn für Notfälle ein übliches Telegrafiefunkgerät an Bord der Maschine gewesen wäre. Dass ein Berufsfunker vielleicht noch Zeit gefunden hätte, einen Notruf zu senden, schlossen Experten u. a. aus dem Indiz, dass von den Rettungsschiffen ein Kind gefunden wurde, dem eine Schwimmweste angelegt worden war. Bei einem plötzlichen Absturz oder einer Explosion wäre dazu keine Zeit mehr gewesen.

In der Maschine befanden sich auch sechs Mitglieder der ägyptischen Nationalteams im Fechten.

Folgen
Nach dem Unfall nahm die Untersuchungskommission wohlwollend zur Kenntnis, dass die Fliehkraftregler (Governor) der Verstellpropeller mit Sicherheitsmechanismen ausgerüstet wurden, die sicherstellen sollen, dass der Verstellmechanismus zuverlässig die Segelstellung (Feathering) der Propellerblätter herbeiführt. Basierend auf den Ergebnissen der Untersuchung empfahl der Untersuchungsbericht ferner, die Druckölversorgung der Propellerregler von der Motorschmierung zu trennen, um Fehlfunktionen der Propellerverstellung durch Verschmutzungen im Öl zu vermeiden.

Einzelnachweise

Flugunfall (Atlantischer Ozean)
Flugunfall 1958
Flug 0607
Verkehrsgeschichte (Niederlande)
Lockheed Super Constellation

KLM-Flug 607-E


Muzej Istočne Bosne je muzej u Tuzli.
Posjeduje etnološku, povijesnu, biološku, numizmatičku i umjetničku zbirku s pripadajućim im odjelima. Među 50.000 eksponata sačuvani su tragovi kontinuiteta od 6500 godina života u tuzlanskom kraju.
Spada u muzeje kompleksne vrste. Opremljen je bogatom stručnom knjižnicom. Izdaje vlastiti časopis, Članci i građa za kulturnu historiju istočne Bosne. Prije velikosrpske agresije na BiH išao je u razmjenu za stručna i znanstvena izdanja u tuzemstvu i inozemstvu.

Od 1957. godine izdaje stručni časopis Članci i građa za kulturnu istoriju istočne Bosne. Suradnici u časopisu bili su veliki arheološki autoriteti kao što su Đuro Basler, Milica Baum, Alojz Benac, Ivo Bojanovski, Borivoj Čović, Radmila Jovanović, Milica D. Kosorić, Veljko Milić, Dragoslav Srejović, Ivan Puš i drugi.

Izvori

Vanjske poveznice
Muzej Istočne Bosne - službena stranica
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Arheološki portal Snežana Banović: Muzej istočne Bosne Tuzla i borba za očuvanje kulturne baštine

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Građevine u Tuzli

Muzej istočne Bosne


El Valle Verde (yavapai: Matk'amvaha) es un valle en la zona central del estado estadounidense de Arizona. El río Verde atraviesa el valle. Tiene vistas al Monte Mingus y el Borde Mogollón.

Pueblos que se encuentran en el valle

 Camp Verde
 Clarkdale
 Cornville
 Cottonwood
 Jerome
 Lake Montezuma
 Sedona

Verde

Valle Verde (Arizona)


EDM Schiaparelli este sonda de apropiere, coborâre și aterizare (în engleză: Entry, Descent and Landing Demonstrator Module) a proiectului ExoMars. A fost lansată la 14 martie 2016 pentru a furniza Agenției Spațiale Europene (ESA) și Agenției Federale Spațiale Ruse (Roskosmos) date privitoare la tehnologia necesară pentru aterizarea pe Marte; ea urmează să ia contact cu suprafața planetei la 19 octombrie 2016. Este echipată cu o baterie electrică neîncărcabilă cu o capacitate suficientă pentru două până la opt zile marțiene.

La 19 octombrie 2016, între orele 13:05 și 15:24 GMT, modulul ExoMars Trace Gas Orbiter s-a plasat pe orbita plănuită în jurul planetei Marte. EDM Schiaparelli a intrat în atmosfera marțiană cu 107 minute mai târziu și a început propria manevră de inserare pe orbită. La orele 20:55 CEST echipa ESA din Darmstadt încă nu confirmase stabilirea contactului cu Schiaparelli. În conferința de presă care a urmat în 20 octombrie, experții ESA au comunicat că EDM Schiaparelli a colectat în întregime datele din planul misiunii, care au fost recepționate de sonda ExoMars TGO, dar nu a satisfăcut exact așteptările. La 21 octombrie 2016, directorul misiunii ExoMars a declarat: "Schiaparelli a ajuns la sol cu o viteză mult mai mare decât ar fi trebuit, câteva sute de kilometri pe oră, și apoi, din păcate, sonda a fost distrusă de impact".

Note

2016 în zboruri spațiale
Lander (navă spațială)
Misiuni spre Marte
Sonde ale Agenției Spațiale Europene

EDM Schiaparelli


التضامن ، ، هو الاندماج في مجتمع ما أو بين مجموعة من الأشخاص وجيرانهم ونوع ذلك الاندماج ودرجته.
وهو يشير إلى الروابط في المجتمع التي تصل بين شخص وآخر. يتم أحيانا تصنيف التضامن الاجتماعي كنوع من الاشتراكية السياسية، حيث يُرَى كأنه القوة المحركة التي تصنف القوى العاملة بشكل مثالي. ويستخدم المصطلح في علم الاجتماع والعلوم الاجتماعية.

والأساسيات التي يتشكل عليها التضامن الاجتماعي يختلف من مجتمع لآخر، ففي المجتمعات البسيطة يقوم التضامن على أسس القرابة والقيم المشتركة، بينما في المجتمعات الأكبر والأكثر تعقيدا يوجد العديد من النظريات حول ما يقوم بتفعيل التضامن الاجتماعي. قد لا نبالي في حياتنا اليومية بما يعانيه بعض الناس من حالات الفقر أو المرض أو العاهة المستديمة٬ الا انه بالتضامن مع هؤلاء يمكن التخفيف عنهم ومساعدتهم.

ابن خلدون

العصبية كما أسماها بن خلدون، تشير إلى التضامن الاجتماعي بمفهوم أقرب للوحدة، والضمير الجماعي والتماسك الاجتماعي، وهي في الأساس نوع من القبلية أو العشرية، ولكن يتم استخدامها كمثال للقومية بشكلها الحالي أيضًا.

ويصف ابن خلدون العصبية في مقدمته كاللبنة الأساسية في المجتمع الإنساني والقوة الدافعة لعجلة التاريخ. فالعصبية لا تحمل بالضرورة شكلا بدائيا أو تقوم على صلات الدم. ففي الوقت الحالي، يتوازى المصطلح مع التضامن.
يطرح بن خلدون فكرة أن كل سلالة حاكمة تبذر بنفسها بذور انهيارها. ويشرح أن البيوت الحاكمة تقوم على صراعاتها مع الإمبراطوريات الكبرى ويعتمدون على تأييد الأقاليم الموالية لهم لتثبيت أنفسهم في الحكم ووضع قيادات جديدة، والتي ما أن تثبت أقدامها في الحكم حتى يتراخوا شيءًا فشيئًا ويعطون الاهتمام الأكبر لمحافظتهم على مراكزهم، وبالتالي تقوم سلالات جديدة تحت وطأة تلك الأساليب في الحكم وتبدأ في الدائرة من جديد.

وتقارن تلك النظرية بنظرية إميل دوركايم حول التضامن الميكانيكي خلافًا للتضامن العضوي الذي يقول بوجوده في المجتمعات الحالية.

دوركايم

بالنسبة إلى إميل دوركايم، فأنواع التضامن الاجتماعي ترتبط يأنواع المجتمع. لقد قدم دوركايم مصطلحي «التضامن الميكانيكي» و«العضوي» كجزء من نظريته حول تطور المجتمعات في تقسيم العمالة في المجتمع (1983). ففي المجتمع الذي يحتوي على تضامن ميكانيكي، يأتي تماسكه واندماجه من تجانس الأفراد عن طريق العمل المتماثل، والتدريب التعليمي والديني، وأسلوب الحياة. ويتواجد التضامن الميكانيكي عادة في المجتمعات التقليدية والصغيرة.
ففي المجتمعات البسيطة (مثال: القبائل)، يقوم التضامن على روابط القرابة والشبكات العائلية. فالتضامن العضوي يأتي من الاستقلال الناتج عن تخصصات العمل وتكاملها، وهو ما يحدث في المجتمعات الحديثة والصناعية.
وتعريف ذلك هو: التماسك الاجتماعي الناتج عن اعتماد الأفراد في المجتمعات المتقدمة على بعضهم البعض، بالرغم من ممارسة أولئك الأفراد لأعمال مختلفة وحملهم لقيم واهتمامات مختلفة. العضوية هنا تشير لتراكب العناصر المختلفة على بعضها البعض، وعليها يقوم التضامن الاجتماعي في ال المجتمعات المعقدة.
 (مثال: ينتج الفلاحون الغذاء الذي يأكله العمال الذين يقومون بإنتاج الآلات الزراعية التي تسمح للفلاحين بالزراعة).

ويمكن التفريق بين هذين النوعين من التضامن عن طريق المورفولوجيا والصفات الديموغرافية، وأنواع العادات الموجودة، وكثافة ومحتويات الضمير المتكامل.

المؤسسات الوطنية والدولية التي تساهم في عملية التضامن بالمغرب
توجد بالمغرب عدة مؤسسات تعمل على نشر ثقافة التضامن ومنها:

على الصعيد الوطني
 مؤسسة محمد الخامس للتضامن
 الصندوق الوطني للضمان الاجتماعي CNSS

على الصعيد الدولي
 الصليب الأحمر
 الهلال الأحمر

انظر أيضًا
 تفكك اجتماعي
 تضامن اجتماعي

مصادر

إطلاعات أخرى
 Ankerl, Guy: Toward a social contract on world-wide scale: Solidarity contract. Geneva, ILO, 1980, ISBN 92-9014-165-4

إيثار
بناء المجتمعات
قانون الالتزامات
مصطلحات علم الاجتماع

تضامن


Charles Hatchett FRS FRSE () a fost un chimist englez care a descoperit elementul niobiu.

Viața
Hatchett s-a născut în , Londra, în familia lui John Hatchett, producător de canapele.

În 1800, a înființat o fabrică chimică la Chiswick în Londra.

În 1801, în timp ce lucra pentru British Museum din Londra, Hatchett a analiza o bucată de  din colecția muzeului. Columbitul s-a dovedit a fi un mineral foarte complex, și Hachett a descoperit că aceasta conținea un "pământ nou", care implica existența unui element nou. Hatchett a numit acest nou element columbiu (Cb) în onoarea lui Cristofor Columb, descoperitorul Americii.
Pe 26 noiembrie a acelui an el și-a anunțat descoperirea în fața Societății Regale. Elementul a fost redescoperit ulterior și rebotezat "niobiu" (numele actual).

Mai târziu, Hatchett a renunțat la activitatea de chimist pentru a lucra în afacerea de familie în producția de canapele.

El a trăit la Mount Clare, Roehampton între 1807-1819.

Hatchett a murit în Casa Bellevue din , și este înmormântat la biserica St. Laurence Biserica din Upton, Slough, la aceeași biserică unde este înmormântat și William Herschel.

Recunoașterea
Din 1979, Institutul de Materiale, Minerale și Minerit ("IOM3") din Londra acordă premiul Charles Hatchett pentru metalurgie. Premiul este acordat "autorului celei mai bune lucrări științifice pe tema niobiului și aliajelor sale."

Familia
La 24 martie 1787, s-a căsătorit cu Elizabeth Collick la St Martin-in-the-Fields. Au avut mai mulți copii, printre care:
 John Charles Hatchett (botezat la 27 ianuarie 1788 la St Martin-in-the-Fields)
 Fiica lui, Anna Frederica Hatchett, căsătorită cu chimistul William Thomas Brande.

Note

Bibliografie

Legături externe

 Charles Hatchett Award

Nașteri în 1765
Decese în 1847
Englezi din secolul al XVIII-lea
Chimiști din secolul al XVIII-lea
Englezi din secolul al XIX-lea
Chimiști din secolul al XIX-lea
Descoperitori de elemente chimice
Chimiști englezi
Fellows of the Royal Society
Laureați ai Medaliei Copley

Charles Hatchett


An Habenaria decaryana in uska species han Liliopsida nga ginhulagway ni Joseph Marie Henry Alfred Perrier de la Bâthie. An Habenaria decaryana in nahilalakip ha genus nga Habenaria, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Habenaria

Habenaria decaryana


Porcelain er en animationsfilm fra 2013 instrueret af Christoffer Andersen efter manuskript af Nicolai Brus Hansen, Morten Bøhne og Carmen Hannibal.

Handling
Povl er en stolt fisker, der lever sit liv på Danmarks barske vestkyst i 1800-tallet. Efter et forlis, hvor kun han selv overlever, udstødes han af de lokale og står overfor en rå og ensom tilværelse. I et sidste desperat forsøg på at vinde sit gamle liv tilbage beslutter Povl, at han vil bruge de lokales overtro til sin egen fordel.

Referencer

Eksterne henvisninger

Animationsfilm fra Danmark
Danske film fra 2013

Porcelain


මංගල යාපා (ඉංග්‍රීසි: Mangala Yapa) යනු ආයෝජන මණ්ඩලයේ (BOI) සභාපතිවරයායි.

ඔහු හිටපු බස්නාහිර මහ නගර සැලැසුම් ව්‍යාපෘති සංවර්ධන ඒජන්සියේ කළමනාකරණ අධ්‍යක්‍ෂ, කොළඹ ඩොක්යාර්ඩ් ආයතනයේ (ශ්‍රී ලංකාවේ විශාලතම නැව් තැනීම් ආයතනය) හිටපු ප්‍රධාන විධායක අධ්‍යක්ෂක හා සාමාන්‍ය අධිකාරි වරයායි.

ජීවන සටහන්

මංගල යාපා  කොළඹ නාලන්දා විද්‍යාලයයේ ආදි සිසුවෙකි.  ඔහු වරලත් (මරීන්) වෙළඳඳනැව් ඉංජිනේරු වරයෙකි.

ආශ්‍රිත
  මංගල යාපානන් ගේ ඉංග්‍රීසි විකිපීඩියා පිටුව

 කොළඹ නාලන්දා විද්‍යාලයයේ ආදි සිසු වෙළඳ ව්‍යාපාර නියමුවන්

 මංගල යාපා, ඩොක්යාර්ඩ් මුල් පුටුවට සමුදෙයි

චරිත කතා
ශ්‍රී ලාංකිකයෝ
ආදි නාලන්දියයෝ
ශ්‍රී ලාංකික බෞද්ධයෝ
ලාංකික සිංහලයෝ
1957 උපත්

මංගල යාපා


Svjetsko prvenstvo u nogometu 2018 – grupa D jedna je od osam grupa grupne faze natjecanja na Svjetskom prvenstvu 2018. u Rusiji.

Natjecanja u grupi D odvijaju se od 16. do 26. lipnja 2018. godine. U grupi D nalaze se četiri reprezentacije: Hrvatska, Island, Argentina i Nigerija.

Momčadi

Utakmice

Izvori

Svjetsko prvenstvo u nogometu – Rusija 2018.

Svjetsko prvenstvo u nogometu 2018. – grupa D


Kosti smiraj traže je hrvatski dokumentarni film iz BiH iz listopada 2012. godine. Filmske usluge u ovom projektu napravio je StudioM.

Dokumentarni film govori o radu Povjerenstva za obilježavanje i uređivanje grobišta iz Drugog svjetskog rata i poraća na području općine Široki Brijeg i o Vicepostulaturi postupka mučeništva »Fra Leo Petrović i 65 subraće«. Govore svjedoci komunističkih ubojstava, sudionici Križnog puta, stručnjaci za sudsku medicinu, patologiju i arheologiju, te ljudi koji su se iz ljubavi prema istini i poštovanju prema žrtvama uključili u rad ovog Povjerenstva. Film se sastoji od kombiniranih arhivskih fotografija i igranih prizora.

Izvori

Povijest Hrvata Bosne i Hercegovine
Rimokatolička Crkva u Bosni i Hercegovini
Hrvatski dokumentarni filmovi o partizanskim zločinima

Kosti smiraj traže


Die Liste der denkmalgeschützten Objekte in Podhorie enthält das eine nach slowakischen Denkmalschutzvorschriften geschützte Objekt in der Gemeinde Podhorie im Okres Banská Štiavnica.

Denkmäler

Legende

Einzelnachweise

!
Podhorie

Liste der denkmalgeschützten Objekte in Podhorie (Banská Štiavnica)


Linofrinidele (Linophrynidae) reprezintă o familie de pești marini teleosteeni mezopelagici și batipelagici răspândiți în Oceanul Atlantic, Oceanul Indian și Golful Panama, caracterizați printr-un dimorfism sexual extrem în care masculii sunt pigmei, fiind cu mult mai mici decât femelele. Masculii maturi se hrănesc în mod parazitar pe femele, de care se prind prin intermediul unor denticuli în formă de pensetă aflați la vârfurile fălcilor. Au 2 înotătoare dorsale, prima este spinoasă, a doua moale. La femele primul spin (iliciul) al înotătoarei dorsale spinoase are o nadă (esca) terminală bioluminiscentă, cu care ademenește prada. Esca adăpostește bacterii bioluminiscente simbiotice. A doua înotătoarea dorsală și înotătoarea anală au de obicei trei radii moi. Înotătoarele ventrale lipsesc. Femelele din genul Linophryne au pe bărbie un tentacul special  (numit mustață hioidă), alungit; pe el se găsesc numeroase formațiuni mici globulare luminescente. La femele gura este foarte mare și prevăzută cu dinți lungi în formă de pumnal. Familia linofrinide include 27 de specii grupate în cinci genuri: Linophryne (22 specii), Acentrophryne (2 specii), Borophryne (1 specie), Haplophryne (1 specie) și Photocorynus (1 specie). Nu au importanță economică.

Descrierea
Linofrinidele sunt caracterizate printr-un dimorfism sexual extrem în care masculii sunt pigmei, fiind cu mult mai mici decât femelele. Femelele ating o lungime de 23 cm, iar masculi de 2,9 cm.

Înotătoarea dorsală moale are 3 radii moi (rareori 2 sau 4). Înotătoarea anală are 3 radii moi (rareori 2 sau 4). Înotătoarele ventrale lipsesc. Anusul este sinistral (așezat la stânga).

Femelele au un corp scurt, globular; pielea este golașă (fără solzi), primul spin (iliciul) al înotătoarei dorsale este mai mic decât lungimea capului și a corpului la cele mai multe exemplare, purtând o nadă (esca) terminală bioluminiscentă proeminentă. Femelele au pe bărbie un tentacul alungit, numit mustață hioidă, care poartă numeroase formațiuni mici globulare luminescente. Mustață hioidă lipsește  la Haplophryne și Photocorynus. La femele în spatele ochilor se află spinii sfenotici.

Masculii adulți parazitează pe femele; ei au ochii mari, ușor tubulari, îndreptați anterior; organele olfactive ale masculilor sunt mari; pielea lor este golașă.

Coloritul
Culoarea variază de la cafeniu închis până la negru pe întreaga suprafață a capului, corpului, înotătoarelor (cu excepția porțiunii distale a nadei) la Linophryne și Photocorynus; însă pielea este nepigmentată la Haplophryne.

Răspândirea și habitatul
Linofrinidele sunt pești marini solitari, mezopelagici și batipelagici, răspândiți în Oceanul Atlantic, Oceanul Indian și Golful Panama.

Hrana

Femelele adulte se hrănesc mai ales cu pești abisali batipelagici (din familiile Myctophidae, Gonostomatidae, Chauliodontidae, Sternoptychidae, Melamphaidae etc.), crustacee. Femelele atrag pasiv prada cu ajutorul nadei (esca) bioluminiscente,  care este primului spin al înotătoarei dorsale modificat pentru a servi ca momeală.

Masculii adulți înainte de a deveni parazitari pe femele, se hrănesc, ca și larvele acestor pești, cu copepode și chetognate. Masculul adult ulterior penetrează în pielea femelei cu ajutorul dinților săi ascuțiți în formă de pensetă. În curând buzele și limba acestui mascul fuzionează complet cu corpul femelei, iar fălcile, dinții, ochii și intestinele se reduc treptat, astfel încât în cele din urmă el se transformă într-o anexă, care produce spermă. Alimentara masculului parazit se realizează prin intermediul sângelui femelei, deoarece vasele sangvine ale ei se unesc cu vasele masculului.

Reproducerea
Masculul caută în mod activ perechea cu ajutorul unor organe de simț foarte dezvoltate, fixându-se pe femele prin intermediul unor denticuli specializați în formă de pensetă de pe vârfurile fălcilor, devenind astfel parazitari pe femele prin fuziunea țesuturilor epidermice și dermice și, probabil, a vaselor sanguine.

Importanța economică
Linofrinidele nu au importanță economică, ele nefiind pescuite în scop comercial.

Sistematica
Familia linofrinide cuprinde  27 de specii grupate în cinci genuri:
 Linophryne
Linophryne lucifer  Collett, 1886
Linophryne indica  (Brauer, 1902)
Linophryne arborifera  Regan, 1925
Linophryne macrodon  Regan, 1925
Linophryne polypogon  Regan, 1925
Linophryne arcturi  (Beebe, 1926)
Linophryne bicornis  Parr, 1927
Linophryne coronata  Parr, 1927
Linophryne argyresca  Regan & Trewavas, 1932
Linophryne brevibarbata  Beebe, 1932
Linophryne racemifera  Regan & Trewavas, 1932
Linophryne algibarbata  Waterman, 1939
Linophryne densiramus  Imai, 1941
Linophryne quinqueramosa  Beebe & Crane, 1947
Linophryne maderensis  Maul, 1961
Linophryne sexfilis  Bertelsen, 1973
Linophryne trewavasae  Bertelsen, 1978
Linophryne parini  Bertelsen, 1980
Linophryne pennibarbata  Bertelsen, 1980
Linophryne bipennata  Bertelsen, 1982
Linophryne escaramosa  Bertelsen, 1982
Linophryne andersoni  Gon, 1992
 Haplophryne
Haplophryne mollis  (Brauer, 1902)
 Borophryne
Borophryne apogon  Regan, 1925
 Photocorynus
Photocorynus spiniceps  Regan, 1925
 Acentrophryne
Acentrophryne longidens  Regan, 1926
Acentrophryne dolichonema  Pietsch & Shimazaki, 2005

Note

Bibliografie
  Theodore W. Pietsch. Dimorphism, parasitism, and sex revisited: modes of reproduction among deep-sea ceratioid anglerfishes (Teleostei: Lophiiformes). Ichthyological Research 52.3 (2005): 207-236.
  M. Eric Anderson and Robin W. Leslie. Review of the deep-sea anglerfishes (Lophiiformes: Ceratioidei) of southern Africa. JLB Smith Institute of Ichthyology, 2001.
 Theodore W. Pietsch and James Wilder Orr. Phylogenetic Relationships of Deep-sea Anglerfishes of the Suborder Ceratioidei (Teleostei: Lophiiformes) Based on Morphology. Copeia 2007.1 (2007): 1-34.
 Kjeld Hansen, Peter J. Herring. Dual bioluminescent systems in the anglerfish genus Linophryne (Pisces: Ceratioidea). Journal of Zoology 182(1):103-124
 Dianne J. Bray, Leftvent anglerfishes, LINOPHRYNIDAE in Fishes of Australia
 Ilan Karplus. Symbiosis in Fishes: The Biology of Interspecific Partnerships. Wiley-Blackwell. 2014

Legături externe
 Family Linophrynidae - Leftvents. FishBase

Linophrynidae

Linofrinide


Lukavec, Stari grad Lukavec, utvrda u mjestu Lukavec, općini Velika Gorica, zaštićeno kulturno dobro.

Opis dobra
Stari grad Lukavec smješten je u središtu Turopolja, nedaleko Velike Gorice. Na mjestu stare drvene utvrde iz 1422. g. podignuta je nova drvena utvrda u kojoj je 1612. održano prvo turopoljsko "spravišće" – zbor turopoljskog plemstva, a polovicom 18. st. na istom mjestu nastao je današnji Lukavec. Riječ je o četverokutnom renesansnom kaštelu s pravokutnim dvorištem i ugaonim kulama, s visokim ulaznim tornjem ispod kojeg je u prvom katu kapela sv. Lucije. Lukavec nikada nije služio za stanovanje, njegova je funkcija bila obrambena, a u njemu se održavao tradicionalni zbor turopoljskog plemstva. Svojim tipološkim i arhitektonskim zauzima značajno mjestu u okviru srodne tipološke skupine.

Zaštita
Pod oznakom Z-1722 zavedena je kao nepokretno kulturno dobro - pojedinačno, pravna statusa zaštićena kulturnog dobra, klasificirano kao "profana graditeljska baština".

Izvori

Zaštićene vojne i obrambene građevine u Zagrebačkoj županiji
Velika Gorica
Dvorci u Hrvatskoj

Stari grad Lukavec


Bernardino Rivadavia (født 20. maj 1780 i Buenos Aires, død 2. september 1845 i Cádiz) var en argentinsk advokat og politiker, der blev Argentinas første præsident, han fungerede på posten mellem 8. februar 1826 og 7. juli 1827.

Argentinas præsidenter
Politikere fra Argentina
Personer fra Buenos Aires

Bernardino Rivadavia


O Urso da Cocaína, também conhecido como Pablo Eskobear (às vezes escrito como Escobear), foi um urso negro americano de 79 quilos que sofreu uma overdose fatal após consumir uma grande quantidade de cocaína em 1985. A cocaína havia sido jogada de um avião por traficantes no deserto do Tennessee, Estados Unidos. O urso foi encontrado morto no norte da Geórgia e foi então empalhado e exposto em um shopping no estado de Kentucky. Sua história inspirou a comédia de terror Urso do Pó Branco.

História
No dia 11 de setembro de 1985, um ex-policial do departamento de narcóticos de Lexington, Kentucky Andrew C. Thornton II, traficava cocaína da Colômbia para os Estados Unidos. Após despejar um carregamento em Blairsville, Geórgia, Thornton e um cúmplice partiram em um avião bimotor de piloto-automático Cessna 404 Titan. No caminho, a dupla descarregou 40 recipientes plásticos de cocaína sobre o deserto de Knoxville, Tennessee, abandonando o avião em pleno ar logo depois. Thornton morreu instantaneamente ao atingir o solo após uma falha em seu paraquedas o impossibilitou de abri-lo. De acordo com o FBI, Thornton e seu companheiro se livraram da carga pois o peso da mesma e dos dois passageiros sobrecarregou o avião.

Em 23 de dezembro, a Agência de Investigações da Georgia relatou ter encontrado o corpo de um urso-negro que havia consumido grande parte da cocaína que os traficantes haviam jogado do avião. Os recipientes descartados continham cerca de 34 quilos de cocaína, avaliados em US$ 2 milhões (US$ 5,56 milhões ajustados pela inflação). Quando as autoridades governamentais chegaram no local, todos os recipientes haviam sido abertos, com seu conteúdo espalhado. O Dr. Kenneth Alonso, médico legista chefe do Laboratório Criminal do Estado da Geórgia, afirmou que o estômago do urso estava "literalmente lotado de cocaína", embora estimasse que o urso havia absorvido apenas 3 a 4 gramas em sua corrente sanguínea na hora de sua morte.

Não querendo desperdiçar o corpo do urso, Dr. Alonso arranjou para que ele fosse empalhado e o doado para a Chattahoochee River National Recreation Area. Porém, o urso desapareceu por certo tempo até ser encontrado novamente em uma casa de penhores. Eventualmente, ele foi parar no "Kentucky for Kentucky Fun Mall" em Lexington, Kentucky, onde permanece até hoje. Relatos indicam que o urso pertenceu ao músico country Waylon Jennings por um determinado período de tempo, tendo sido mantido em sua casa em Las Vegas, porém isso não foi confirmado.

Adaptação para o cinema
No dia 9 de março de 2021, a Universal Pictures anunciou a produção de um filme baseado na história do urso. O filme "O Urso do Pó Branco" foi dirigido por Elizabeth Banks e estreou dia 24 de fevereiro de 2023.

Ursos famosos
!Artigos com microformatos 'espécies'

Urso da Cocaína (urso)


Hickeliinae, je podtribus jednosupnica iz porodica trava (Poaceae), dio tribusa Bambuseae. Postoji devet rodova.

Rodovi
 Hickelia A. Camus (4 spp.)
 Nastus Juss. (12 spp.)
 Decaryochloa A. Camus (1 sp.)
 Sirochloa S. Dransf. (1 sp.)
 Cathariostachys S. Dransf. (2 spp.)
 Hitchcockella A. Camus (1 sp.)
 Perrierbambus A. Camus (2 spp.)
 Valiha S. Dransf. (2 spp.)
 Sokinochloa S. Dransf. (7 spp.)

Izvori

Bambuseae

Hickeliinae


Ulvophyceae incertae sedis, rodovi zelenih algi iz razreda Ulvophyceae čija pripadnost porodici i redu još nije utvrđena. Na popisu su tri roda s četiri vrste.

Rodovi
 Blastophysa Reinke
 Symbiochlorum S.Q.Gong & Z.Y.Li
 Trichophilus Weber Bosse

Izvori

Ulvophyceae

Ulvophyceae incertae sedis


An Fosterella spectabilis in uska species han Liliopsida nga ginhulagway ni Hans Edmund Luther. An Fosterella spectabilis in nahilalakip ha genus nga Fosterella, ngan familia nga Bromeliaceae.

Mabibilngan ini ha Bolivia. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Fosterella

Fosterella spectabilis


Karl Braunias (* 16. Juni 1899 in Wien; † 19. August 1965 ebenda) war ein österreichischer Botschafter, Jurist und Hochschullehrer.

Leben
Von 1924 bis 21. März 1933 lehrte Braunias als Privatdozent am "Institut für Statistik der Minderheitsvölker" der Universität Wien, IX, Michelblumengasse 8, deutschnationale Volkstumsforschung, Deutsches und Vergleichendes Recht und veröffentlichte er in der Zeitschrift für Geopolitik von Karl Haushofer, Erich Obst. Am 22. März 1927 trat Braunias in den Chiffredienst der Abteilung Auswärtiges Amt des Bundeskanzleramtes ein. Von 21. März 1933 bis 19. Dezember 1956 war er Universitätsdozent für Allgemeine Staatslehre an der Universität Wien.

Karl Braunias wurde am 1. Mai 1938 mit Verweis auf seine Verdienste um die NSDAP in Österreich während diese in Österreich illegal war in die NSDAP aufgenommen und in den auswärtigen Dienst des Deutschen Reichs übernommen. 1939 war er Konsularreferent in der Reichstatthalterei Wien und Zugeteilter bei Andor Hencke, Vertreter des Auswärtigen Amtes im Protektorat Böhmen und Mähren. Von 1939 bis 1942 wurde er in der Wilhelmstraße (Berlin-Mitte) beschäftigt. Von 1942 bis 1943 wurde er im Reichsarchiv-Wien beschäftigt, dann wurde auch auf ihn das Gesetz zur Wiederherstellung des Berufsbeamtentums angewendet, er wurde am 31. Dezember 1943 als Oberregierungsrat in den dauernden Ruhestand versetzt.

Am 30. April 1945 wurde er zum Sektionsrat im Bundeskanzleramt in Wien berufen. Von Mai bis November 1946 war er Geschäftsträger in Moskau.
Am 8. Dezember 1949 wurde er zum Legationsrat zweiter Klasse befördert.
Von 1949 bis 1952 war er Geschäftsträger in Belgrad.
Am 7. März 1952 besprach er mit dem britischen Botschafter in Belgrad, Sir William Ivo Mallet das Thema Österreichischer Staatsvertrag.
Von März 1955 bis April 1956 war er außerordentlicher Gesandter und bevollmächtigter Minister in Budapest.
Im April 1956 wurde er zurückberufen und zum 31. Dezember 1963 in den Ruhestand versetzt. Er wurde am Döblinger Friedhof bestattet. Das Grab ist bereits aufgelassen.

Auszeichnungen
 1962: Großes Silbernes Ehrenzeichen für Verdienste um die Republik Österreich

Veröffentlichungen
 Die Deutschen in Bessarabien. In: Deutsche Politische Hefte aus Großrumänien, Mai 1923.
 Die politischen Parteien in Rumänien. In: Die politischen Parteien der Staaten des Erdballs, H. 17, 1926.
 Die Minderheiten in Rumänien. S. 46–80.
 Das parlamentarische Wahlrecht: Allg. Th., Band 2. de Gruyter, 1932; 320 S.
 F.: Staatsrecht, allgemeine Staatslehre; Verö.: Das parlamentarische Wahlrecht 1932
 Nationalgedanke und Staatsgestaltung. 1933.
 Volume 2 of Parlamentarische Wahlrecht: ein Handbuch über die Bildung der gesetzgebenden Körperschaften in Europa
 Das Wahlrecht in den einzelnen Staaten
 Österreich als Völkerreich. In: J. Nadler, Heinr. v. Srbik (Hrsg.): Österreichs Erbe und Sendung im deutschen Raum. Salzburg / Leipzig 1936
 Die Fortentwicklung des altösterreichischen Nationalrechts. 1938.
 Das tschechoslowakische Verfassungsleben im Spiegel der Demokratie.
 Die Grund- und Freiheitsrechte nach der neuen Sowjetverfassung. 1939.
 Die Slowaken. Stuttgart/Berlin 1942.
 Braunias, Neraviglia (Hrsg.): Die modernen Wissenschaften u.d. Aufgaben d. Diplomatie. Graz 1965.

Literatur
 Maria Keipert (Red.): Biographisches Handbuch des deutschen Auswärtigen Dienstes 1871–1945. Herausgegeben vom Auswärtigen Amt, Historischer Dienst. Band 1: Johannes Hürter: A–F. Schöningh, Paderborn u. a. 2000, ISBN 3-506-71840-1, S. 266 f.

Weblinks

Einzelnachweise

Österreichischer Botschafter in Jugoslawien
Österreichischer Botschafter in der Sowjetunion
Österreichischer Botschafter in Ungarn
Botschafter (Republik Österreich)
Jurist im auswärtigen Dienst (Österreich)
Jurist (Nationalsozialismus)
Hochschullehrer (Universität Wien)
Mitglied des Deutschen Klubs (Verein)
Deutscher Diplomat
Person (Protektorat Böhmen und Mähren)
Person der deutschen Außenpolitik 1933–1945
Träger des Großen Silbernen Ehrenzeichens für Verdienste um die Republik Österreich
NSDAP-Mitglied
Österreicher
Geboren 1899
Gestorben 1965
Mann

Karl Braunias


Piero Livi (* 1. April 1925 in Olbia; † 2. September 2015 in Rom) war ein italienischer Kurzfilmregisseur und Drehbuchautor.

Leben
Livi leitete fast zwanzig Mal (von 1957 bis 1974) das Amateurfilmfestival Rassegna Internazionale (ab 1967 ein Festival des Unabhängigen Films) seiner Heimatstadt und wirkte als Synchronregisseur. Für das Kino drehte Livi etliche Kurzfilme und legte ein über 35 Jahre sich erstreckendes Werk von vier Spielfilmen vor. Der 1969 entstandene Pelle di bandito erzählt im Stil des Neorealismus die Geschichte von Barbagia (die auch Carlo Lizzani in Der blauäugige Bandit verfilmte); zehn Jahre später folgte eine weitere sardinische Rachegeschichte, Dove volani i corvi d'argento. 2001 erschien SOS Laribiancos über sardische Kämpfer im Russland des Ersten Weltkrieges und drei Jahre später Maria sì, die Geschichte einer Lebenskrise.

Filmografie
 1969: Pelle di bandito
 1977: Dove volani i corvi d'argento
 2001: SOS laribiancos
 2004: Maria sì

Weblinks

Einzelnachweise

Filmregisseur
Drehbuchautor
Person (Sardinien)
Italiener
Geboren 1925
Gestorben 2015
Mann

Piero Livi


Amoureux fous est une chanson de 1983 interprétée en duo par Julie Pietri et Herbert Léonard. Elle est écrite par Vline Buggy et composée par Julien Lepers. Le 45 tours se vend à plus de  exemplaires et devient l'un des tubes de l'été 1983.

Contexte
Au printemps 1983, Julie Pietri souhaite adapter en français une chanson de blues américaine et la chanter en duo avec un homme. Son producteur Claude Carrère, convaincu, fait alors appel à l'équipe artistique d'Herbert Léonard qui lui propose d'enregistrer à la place un titre inédit. La chanteuse, qui est d'abord gênée par les paroles, finit par accepter. Les deux artistes se forment alors pour enregistrer la chanson, écrite par Vline Buggy et composée par Julien Lepers.

Le titre devient l'un des tubes de l'été 1983 et se vend à plus de  exemplaires. Le bon accueil du public conduit Julie Pietri et Herbert Léonard à entamer une tournée en France. L'idée d'un album commun est envisagée, mais Julie Pietri préfère se consacrer à des projets personnels. En 2013, le duo se reforme dans le cadre d'une tournée, intitulée Amoureux fous Tour.

Liste des titres

Crédits
 Julie – chant
 Herbert Léonard – chant
 Vline Buggy – paroles
 Julien Lepers – musique
 Mat Camison – arrangements
 Katherin Hibbs – photographie
Enregistré au studio Marcadet.

Classements

Classements hebdomadaires

Classements de fin d'année

Historique de sortie

Références

Chanson interprétée par Herbert Léonard
Chanson interprétée par Julie Pietri
Chanson écrite par Vline Buggy
Chanson composée par Julien Lepers
Single musical sorti en 1983
Single publié par Disques Carrère

Amoureux fous


En jordemoders vej er en dansk oplysningsfilm fra 2008, der er instrueret af Lise Hauge og Camilla Møberg Jørgensen.

Handling
Det er afgørende, at børn får en god start på livet. Det gælder om at beskytte det nye liv under graviditeten og lige efter fødslen. I den periode har de mange unge mødre i Nicaraguas fattige områder stort behov for støtte og vejledning af en jordemoder. Filmen følger en jordemoder på hendes vej.

Referencer

Eksterne henvisninger

Danske film fra 2008

Oplysningsfilm fra Danmark

En jordemoders vej


Repuša (Morikandija; lat. Moricandia), biljni rod iz porodice kupusovki (Brassicaceae) rasprostranjen od Kanarskog otočja preko Sredozemlja na istok do Arapskog poluotoka i Pakistana.

Postiji 8 vrsta. U Hrvatskoj raste jedna vrsta poljska repuša .

Vrste
 Moricandia arvensis (L.) DC.
 Moricandia foetida Bourg. ex Coss.
 Moricandia moricandioides (Boiss.) Heywood
 Moricandia nitens (Viv.) E.A.Durand & Barratte
 Moricandia rytidocarpoides Lorite, Perfectti, J.M.Gómez, Gonz.-Megías & Abdelaziz
 Moricandia sinaica (Boiss.) Boiss.
 Moricandia spinosa Pomel
 Moricandia suffruticosa (Desf.) Coss. & Durieu

Sinonimi
 Moricanda St.-Lag. in Ann. Soc. Bot. Lyon 8: 173 (1881), orth. var.
 Oudneya R.Br. in Narr. Travels Africa: 220 (1826)

Izvori

Vanjske poveznice

Brassiceae

Repuša


Editorial Kairós es una editorial española fundada en 1964 por Salvador Pániker y dirigida por su hijo Agustín Pániker, con sede en Barcelona, focalizada en el diálogo entre ciencia y espiritualidad, entre Oriente y Occidente, entre la razón y la intuición. Dispone de un fondo con más de 1000 títulos publicados, siendo una editorial de referencia para el público general interesado en las tradiciones de Oriente, en la psicología profunda, en el diálogo entre ciencia y mística o en el ensayo en general.

Catálogo
 Biblioteca de la Salud
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Editorial Kairós


Mersenius ist ein Einschlagkrater am westlichen Rand der Mondvorderseite, westlich des Mare Humorum.
Der stark erodierte Kraterwall weist Terrassierungen auf, das Innere des Kraters ist eben und durchzogen von Brüchen, die zum Rillensystem der Rimae Mersenius gehören, dessen westliche Hauptrille östlich von Mersenius beginnt und in nordöstlicher Richtung verläuft, um westlich von Gassendi, in der Nähe von Gassendi G zu enden.
Die östliche, parallel verlaufende Hauptrille bezeichnet den Rand der Ebene des Mare Humorum, setzt die Rupes Liebig fort und endet am Wall von Gassendi.

Der Krater wurde 1935 von der IAU nach dem französischen Mathematiker Marin Mersenne offiziell benannt.

Weblinks

 Mersenius auf The-Moon Wiki

Einzelnachweise

Einschlagkrater (Mond)

Mersenius (Mondkrater)


Aderus ciliatus é uma espécie de inseto besouro da família Aderidae. Foi descrita cientificamente por George Charles Champion em 1915.

Distribuição geográfica
Habita em Borneo.

Referências

ciliatus
Fauna do Bornéu
Insetos descritos em 1915
Espécies descritas por George Charles Champion

Aderus ciliatus


Kurttepe, Adana ilinin Çukurovailçesine bağlı bir mahalledir.

Tarihçe

Coğrafya
Adana ili merkezine 10 km, Seyhan ilçesi merkezine 10 km uzaklıktadır.

Nüfus

Çukurova'nın mahalleleri

Kurttepe, Çukurova


Little Willie, Mark I Tankı için İngiliz gelişiminde bir prototip oldu. Landships Komitesi'nin Emriyle 1915 sonbaharında inşasına başlanmıştır, bu tarihte tamamlanmış ilk tank prototipi olan Little Willie, ayakta kalan en eski tanktır ve İngilizlerin koleksiyonunun en ünlü parçalarından biri olarak Bovington Tank Müzesi'nde korunmuştur.

Tank Hakkında

Aracın 105 beygir Daimler iki benzin tankı tarafından beslenen motoru vardır, arka tarafta, taretin altında sadece yeteri kadar oda oluşturulmuştur. Prototipe monte olmayan bir makineli tüfek ve bir de dönebilen kukla taret takıldı, Vickers 2-pounder topun yerini ikincil silahlanma olarak, Madsen makineli tüfekleri aldı. Ana silahda 800 mermi ile büyük bir mühimmat deposu vardı.

Tankın tareti raylar üzerinde ileri kaydırılamıyordu, bu sebeple Tritton tarafından üzeri açık bir yapı kullanma fikri kabul edildi. Aracın önünde iki erkek dar bir bankta oturur, biri direksiyon, debriyaj, birincil vites kutusu ve gaz, diğeride freni kontrol eder. Uzatılmış parça direksiyon ve yerde arka tekerlekler ile son versiyonun toplam uzunluğu 8.08 m (26 '6 ") idi. Yüklü arka tekerlekler direksiyonu olmadan ana ünite uzunluğu 5.87 m'dir.

Radyatör dahil çoğu mekanik bileşenler, Foster-Daimler traktöründen adapte edilmişti. En az dört erkek silahlanma için gerekliydi, mürettebat 6 kişiden daha az olamazdı. Maksimum hızı saatte en fazla 2 km olarak Tritton tarafından belirlendi. Aracın gerçek zırh çeliği yoktu, sadece kazan sacı kullanılmaktaydı; üretim için 10 mm kaplama kullanılmıştır.

Kaynakça
 www.Tanktarihi.tr.gg - Little Willie

Birleşik Krallık tankları
I. Dünya Savaşı tankları

Little Willie


Jurassic Park III is a 2001 American science fiction action film directed by Joe Johnston and written by Peter Buchman, Alexander Payne and Jim Taylor. It is the third installment in the Jurassic Park franchise and the final film in the original Jurassic Park trilogy, following The Lost World: Jurassic Park (1997). It is also the first film in the franchise not to be directed by Steven Spielberg, as well as the first not to be based on a novel by Michael Crichton; however, the film features characters and ideas by Crichton. Sam Neill and Laura Dern reprise their roles from the first film. New cast members include William H. Macy, Téa Leoni, Alessandro Nivola, Trevor Morgan and Michael Jeter. The plot follows a divorced couple who deceive paleontologist Dr. Alan Grant into helping them find their son, who has gone missing on Isla Sorna.

After the release of Spielberg's Jurassic Park, Joe Johnston expressed interest in directing a sequel, which Spielberg agreed to. Universal Pictures announced the third film in June 1998, with a release scheduled for mid-2000. A draft written by Peter Buchman was rejected five weeks ahead of filming in favor of a simpler story idea suggested by David Koepp, the writer of the previous two films. Payne and Taylor were hired to rewrite the earlier script by Buchman, who made further revisions to their draft. Filming lasted five months, beginning in Hawaii in August 2000 before moving to California. A final draft of the script was never completed during production, a circumstance Johnston considered quitting over. Jurassic Park III features a combination of computer-generated and animatronic dinosaurs. A Spinosaurus replaces the Tyrannosaurus from previous films as the principal dinosaur antagonist.

Jurassic Park III premiered on July 16, 2001, and was theatrically released on July 18. Despite receiving mixed reviews from critics, the film was successful at the box office, grossing $368.8 million worldwide to become the eighth highest-grossing film of 2001; however, it is the lowest-grossing installment in the franchise to date. In 2015, it was followed by Jurassic World, which started the Jurassic World sequel trilogy.

Plot

Twelve-year-old Eric Kirby and his mother's boyfriend, Ben Hildebrand, are parasailing near the restricted Isla Sorna. As the boat enters a thick fog, the crew is killed by an unknown attacker, prompting Ben to detach the line before the vessel crashes into rocks. Eric and Ben drift towards the island.

Eight weeks later, paleontologist Dr. Alan Grant struggles to secure funding for his Velociraptor research, and rebuffs the public's obsession with the events on Isla Nublar. Grant discusses his research with a longtime colleague Ellie, hypothesizing that Velociraptors were intellectually and socially advanced beyond even primates. In Montana, his assistant, Billy Brennan, uses a three-dimensional printer to replicate a Velociraptor larynx.

Paul and Amanda Kirby, a seemingly wealthy couple, offer to fund Grant's research if he gives them an illegal aerial tour of Isla Sorna. Grant reluctantly agrees, flying there with Billy, two of the Kirbys' mercenary associates (Udesky and Cooper), and their pilot (Nash). Grant learns that the Kirbys intend to land; he protests, but Cooper knocks him unconscious. Grant awakens to find that the group has landed, although they reboard the plane when a large theropod approaches the runway, leaving Cooper behind. During takeoff, a Spinosaurus emerges and devours Cooper. The aircraft hits the dinosaur and crashes into the trees. The Spinosaurus attacks the plane and eats Nash, who has Paul's satellite phone. The survivors flee, only to encounter a Tyrannosaurus. The two dinosaurs fight, and the Spinosaurus kills the Tyrannosaurus as the humans escape.

Grant furiously confronts the Kirbys, who reveal they are a middle-class divorced couple, searching for their son Eric and Amanda's boyfriend Ben. Government agencies declined to help, so they deceived Grant and brought him along, mistakenly believing him to have experience on Isla Sorna. The group begins searching for Eric and Ben, as they travel to the coast. They find Ben's corpse attached to the parasail, which Billy takes. They also stumble upon a Velociraptor nest, and Billy secretly places two eggs in his bag.

They soon discover an InGen compound, where a Velociraptor ambushes them, before vocalizing for its pack. The humans escape within a herd of Corythosaurus and Parasaurolophus, causing a stampede; Grant and Udesky become separated from the others, who take refuge in the trees. The Velociraptors injure Udesky and thus attempt to lure Paul, Amanda, and Billy into rescuing him; their trap is unsuccessful, and they soon kill Udesky. Elsewhere, Grant observes the pack communicating, and suspects that they are searching for something; as he tries to slip away, they ambush him. Eric appears, dispersing the attack with canisters of tear gas, before taking Grant to an overturned supply truck where he has been taking shelter. The following morning, they reunite with Billy and the Kirbys, and narrowly escape the Spinosaurus again.

Grant, wary of Billy, checks his bag and sees the Velociraptor eggs, which Billy says he planned to sell for funding. Grant decides to keep the eggs, hoping the Velociraptors may spare the group if the eggs are returned. The group enters an aviary, which they realize is filled with Pteranodons. A flock attacks the group and flies away with Eric. Billy rescues him using the parasail; the flock then attacks Billy, who is seemingly killed. Boarding a barge, the group escapes the aviary but unintentionally leaves the cage unlocked. That night, they retrieve the ringing satellite phone from a pile of Spinosaurus feces. Grant contacts Ellie for help, but the Spinosaurus attacks them. Fuel from the boat leaks into the water, and Grant ignites it using a flare gun, forcing the Spinosaurus to flee.

The following day, the group hears the sound of the ocean and arrive at the coast, but they are ambushed by the Velociraptors, who have come for the eggs. Grant uses the replica larynx to confuse the pack into thinking more of their troops need help. Upon hearing distant helicopters, the raptors spare the group and reclaim their eggs before disappearing into the jungle. United States Marines and Navy, summoned by Ellie, land on the beach and rescue the survivors. On a military helicopter, they discover that Billy has also been rescued, albeit in a seriously injured state. They watch the now-freed Pteranodons fly alongside them as they leave the island.

Cast

Production

When Steven Spielberg's film Jurassic Park was released in 1993, his friend Joe Johnston became interested in directing a potential sequel. While Spielberg expected to direct the first sequel, he agreed Johnston could direct a possible third film. The second film, entitled The Lost World: Jurassic Park, includes a scene showing a Tyrannosaurus rampaging through San Diego; Spielberg had intended to use this scene for a third film but later decided to add it into the second film after realizing he probably would not direct another film in the series. After the release of the second film in May 1997, Spielberg was busy with other projects; when asked about the possibility of a third Jurassic Park film, he responded that it would give him a tremendous headache to make it. Spielberg had no intention of returning to the Jurassic Park series as a director, stating that the films were difficult to make. He had been satisfied with directing the previous films, and felt that the third film needed someone new to take over. After the release of the second film, Johnston again asked Spielberg about directing a Jurassic Park sequel.

Pre-production
Universal Pictures announced the film in June 1998, with Spielberg as a producer. Michael Crichton, who wrote the Jurassic Park novels, was to collaborate with Spielberg to create a storyline and write a script, although Johnston later said that Crichton had no involvement with the project. The film was initially set for release in mid-2000. Spielberg initially devised a story involving Dr. Alan Grant, who was discovered to have been living on one of InGen's islands. According to Johnston: "He'd snuck in, after not being allowed in to research the dinosaurs, and was living in a tree like Robinson Crusoe. But I couldn't imagine this guy wanting to get back on any island that had dinosaurs in it after the first movie".

Craig Rosenberg, who previously wrote and directed Hotel de Love, began writing the first draft of Jurassic Park III in June 1999. Spielberg and Johnston were impressed by Rosenberg's prior work, which included thriller screenplays for Spielberg's company DreamWorks. Rosenberg's draft involved teenagers becoming marooned on Isla Sorna, and it included a sequence involving the aquatic reptile Kronosaurus, which was not featured in the final film. Another scrapped scene would involve characters on motorcycles trying to evade raptors.

Johnston was announced as the film's director in August 1999, with Rosenberg still attached. Spielberg gave complete creative freedom to Johnston, who said that Spielberg "has strongly pointed out that I shouldn't try to copy him". Production was expected to begin in early 2000. The previous films were shot in Hawaii, and the island of Kauai was the preferred filming location for the third film, although no decisions would be made until the finalization of the script. Rosenberg's draft about teenagers on Isla Sorna was rejected in September 1999. Johnston said it was "not a badly written script", but he felt that viewers would not want to see such a story, also saying that it read like a bad episode of Friends.

Buchman draft
Peter Buchman was hired to rewrite Rosenberg's draft, and did so going into early 2000. Buchman's draft involves dinosaurs causing a series of mysterious killings on the mainland, followed by an investigation. The script also has a parallel story that involves Alan Grant, Billy, and a family crash-landing on Isla Sorna.

The draft begins with a vacationing couple who go parasailing over Isla Sorna, becoming the latest tourists to go missing there. A representative for the U.S. State Department, Harlan Finch, goes to Costa Rica and meets environmentalist Simone Garcia, who informs him of a recent dinosaur attack. Meanwhile, Grant is seeking financial donors for a raptor research station that he wants to build on Isla Sorna. Finch offers Grant exclusive research rights to the island if he will help the U.S. government acquire jurisdiction over it. Grant agrees and is scheduled to testify along with Simone at a hearing, to be held the next day in San José, Costa Rica.

Grant also meets Paul Roby, a wealthy businessman who offers him a donation if he will host an aerial tour of Isla Sorna. Grant agrees, and they fly over the island prior to the hearing, along with Grant's graduate student Billy Hume and Paul's 12-year-old son Miles, a dinosaur enthusiast. Also on the tour is Paul's bodyguard Cooper, and Susan Brentworth, Paul's business associate and girlfriend. The plane is forced to land on the island after hitting an unidentified object. As it takes off again, it hits a Spinosaurus and crashes. The story would then alternate between the island and San José. The hearing would reveal that dinosaur attacks have taken place in various mainland locations, ranging from the Baja California Peninsula to Panama. Finch becomes concerned that the dinosaurs are breeding, thus posing a worldwide problem.

The island scenes would largely play out the same as the final film, although the aviary and InGen laboratory sequences were much longer and more complex in this draft. Part of the script would involve the humans spending the night in the laboratory and making it their base of operations, although velociraptors would eventually sneak into the lab, after Billy stole their eggs. The humans would escape on dirt bikes and later take refuge in treetops. Cooper would die to velociraptors while protecting Miles, and Billy would die to a Pteranodon during the aviary sequence. Near the end of the draft, the U.S. government sends in fighter jets to bomb the island and destroy its dinosaur population. In the process, Roby is spotted by a pilot and he and his family are rescued from the island. However, Grant refuses to leave and, in his final scene, retreats into the jungle, incorporating Spielberg's initial idea.

These final scenes inspired the title Jurassic Park: Extinction, although the filmmakers decided against this name as it seemed to suggest a definitive end to the franchise. Johnston also considered it a vague title, with Extinction potentially referring to the dinosaurs, the human population, or Grant. The name was eventually simplified as Jurassic Park III. Johnston said that no one was "particularly fond" of the title "but you certainly knew what it meant". Other potential titles included Jurassic Park: Breakout and The Extinction: Jurassic Park 3.

Filming locations were scouted for this draft, including Fiordland, New Zealand, which was once considered as a location for the previous film. In March 2000, Maui, Hawaii, reportedly had been chosen instead of New Zealand.

Casting and further rewrites
Sam Neill signed to the project in June 2000, reprising his role from the first film as Dr. Alan Grant. Johnston later described Grant in the third film as being more cynical and sarcastic following the character's experience in the first film. Neill was happy to return, as he felt his performance in the first film could have been better. Hawaii was confirmed as a filming location for a three-week shoot, and filming overall was expected to take 18 weeks. Filming was scheduled to begin by August 2000, with a projected release in July 2001. William H. Macy originally turned down his role due to scheduling conflicts, so filming was delayed by a month. Macy had been working with Laura Dern on the 2001 film Focus, and she urged him to accept the role in Jurassic Park III. Trevor Morgan and Téa Leoni were subsequently announced as cast members.

Johnston felt that Buchman's draft was too complicated, particularly in getting Alan Grant back to an island of dinosaurs. When screenwriter David Koepp held discussions with Johnston, Koepp suggested the simpler "rescue mission" plot. Koepp had written the previous two films, but had no involvement in writing the script for Jurassic Park III. In July 2000, about five weeks before filming began, Johnston and Spielberg rejected the entire second script because they were dissatisfied with it; $18 million had already been spent on the film, which had been storyboarded and budgeted. Some set-building had already begun, as well. The rejection came after Johnston and Spielberg approved Koepp's story idea, believing it to be superior to the earlier story. Many sequences from the second rejected draft, and some from the original draft, were incorporated into the final film as a way of salvaging the work that had been put into the project up to that point. At the time, Utah's Dinosaur National Monument and a military base at Oahu were being considered as filming locations.

Alexander Payne and Jim Taylor began rewriting Buchman's script in July 2000, while Spielberg signed a deal with Universal to receive 20% of the film's profits. Payne and Taylor were hired to improve the film's characters and story, as the script primarily consisted of action. They were surprised to receive the writing offer, as the project differed from past films on which they had worked, but Universal had been impressed with their rewrite on the studio's film Meet the Parents. Payne and Taylor were not hardcore fans of the Jurassic Park franchise, although Taylor enjoyed its premise. The two writers watched the previous Jurassic Park films and spent the next four weeks writing their draft of the script.

Payne and Taylor had previously written Citizen Ruth (1996), which starred Dern. She had also portrayed Ellie in the first Jurassic Park film. The character was absent from the previous Jurassic Park III script, so Payne and Taylor decided to write in a small part for Dern to reprise the role. She was initially hesitant to reappear only for a cameo, so Spielberg suggested that Ellie have an important role in saving the characters on the island. Dern was convinced after learning that Payne and Taylor were working on the script. In one draft, Neill and Dern's characters were a couple in the process of splitting up. Johnston said: "I didn't want to see them as a couple anymore. For one thing, I don't think they look like a couple. It would be uncomfortable to still see them together. And Laura Dern doesn't look like she's aged for the past 15 years!"

Buchman made subsequent revisions to the script, and John August did uncredited work on it, as well. Much of the humor added by Payne and Taylor was not used in the final film. According to Payne: "We gave them a new script, and then we saw the movie, and it's all action. They took the rest out!" Writing credit ultimately went to Buchman, Payne, and Taylor. Johnston described the final film as simpler, faster-moving, and more intense than the earlier films.

Filming
A final draft of the script was never completed during production. While the first act was mostly in place, the middle portion of the script was not as complete, and the ending had yet to be written. Principal photography began on August 30, 2000, and it lasted five months. Filming the script was a lengthy process because of technical preparations before scenes. Macy criticized the project during filming. Commenting on the slow pace of filming, Macy said "we would do a quarter-page, [or] some days, an eighth of a page. And that would be a full 12-hour day". Johnston said that filming ultimately went over schedule by a few days, primarily because of weather and unexpected technical issues, although he was satisfied with how the schedule eventually turned out considering these issues.

Macy also noted that executive producer Spielberg was not seen on set, despite a chair bearing his name that was always present, with Macy saying, "You don't know if it's a threat or a promise!" Spielberg was busy creating the 2001 film A.I. Artificial Intelligence. While Macy was impressed with the Jurassic Park III footage, he criticized the project for starting without a finished script: "The script has been evolving and being rewritten as we go, and what you want to say is, 'Who launched a $100 million ship without a rudder, and who's getting fired for this?' But that's the way it goes. That's the way they make these movies... big deal. I think someone should be shot, but I'm not in charge". Johnston said the actors went through an uncomfortable production shoot and that Macy may have simply made the critical comments on a bad day of filming. As the film approached its release, Macy said: "It was about the most amazing thing I've ever done in this business".

Johnston thought about quitting the project on a few occasions because of uncertainty about how the film would turn out, considering that it did not have a finished script. He said that making the film was "a living hell on a daily basis", and that shooting without a finished script was "nerve-wracking, but it was also a way of freeing up the whole creative process. We could literally decide on the day how we wanted a scene to progress. I'm not saying it's the way to make movies, but it gives you more freedom". Johnston said the actors were "very flexible" and that they dealt with the lack of a finished script "the best they could". Alessandro Nivola criticized the film after its release, saying in a 2002 interview: "It was like the only part I've ever done that just had nothing for me to latch on to, character-wise. [...] It was kind of maddening". The actors were frequently bruised during filming. Leoni said "more of my makeup was to cover the real bruises than to create fake ones". Michael Lantieri, who worked on the previous films, returned as the special effects consultant. Lantieri said that Jurassic Park III was the most physically demanding film of the series: "We had a cast that was willing to get real bruises and bumps, be around real heat, and actually go underwater".

Locations

Filming began at Dillingham Airfield in Mokulēia, Hawaii, and continued on Oahu during early September 2000. Filming in Oahu included Heeia Kea Ranch. Aerial footage of Molokai's North Shore cliffs was then filmed over a two-day period, followed by a week of filming in Kauai, where locations included Hanalei Valley and rain forests in the Manoa Valley. Filming in Hawaii concluded in mid-September 2000, after scenes were shot at the South Fork of Kauai's Wailua River. By that time, John August had been hired to do the uncredited script revisions, which were followed by additional work from Buchman. Macy also wrote a scene.

After the Hawaii shoot, production moved to California. A dinosaur lecture given by the character of Alan Grant was filmed at Occidental College in Los Angeles on October 10, 2000. Scenes were filmed at Center Bay Studios in Los Angeles at the end of October. Other filming locations in California included a rock quarry in Irwindale, while the interior of the InGen compound was filmed in a warehouse located east of downtown Los Angeles. Another scene was filmed at El Mirage Lake, where Udesky and the mercenaries prepare for their visit to Isla Sorna. Dern's small role as Ellie was filmed in a day. Scenes set at Ellie's house were filmed in South Pasadena, California.

Filming subsequently moved to Universal Studios' backlot in Los Angeles for 96 days. Production designer Ed Verreaux and greensman Danny Ondrejko created a jungle rain forest at Universal's Stage 12. Ondrejko and his 14-member team took two months to create the jungle set, and Lantieri's team created mist and fog through the use of pipes. Johnston was impressed with the set and had difficulty distinguishing it from the jungles in Hawaii.

The most challenging scene for Lantieri was the Spinosaurus attack on the plane, which was filmed on a soundstage. Lantieri's team built four plane props for the scene. The beginning of the scene depicts the crashed airplane in a tree,  above ground, before the plane later falls to the ground and is rolled around by the Spinosaurus. For the early portion of the sequence, Lantieri created a pneumatic gimbal disguised as a tree, with the plane placed on top. The gimbal had 100 horsepower and was powered by hydraulics and hoses. It allowed the plane to be shaken and tilted. The plane also had a breakaway cockpit area for a shot in which the Spinosaurus tears the front end off. A later portion of the attack scene required close collaboration with Winston's team, which created a full-scale Spinosaurus leg prop, controlled by puppeteers. The leg, suspended in the air by two poles, was slammed down into one of the plane fuselage props for a series of shots. Another prop plane was rigged with a hydraulic machine, which crushed the fuselage from the inside, giving the impression that it was being crushed by the Spinosaurus. With another prop plane, the actors were filmed inside the fuselage as it is rolled around. The actors agreed to do their own stunts for the scene, which Macy compared to being inside a clothes dryer. Stunt people were only used for one shot during this scene.

The film is the first in the series not to be based on a novel, although it includes characters and ideas from Crichton, who wrote the novels that inspired the previous two films. For Jurassic Park III, Crichton received a "based on characters created by" credit. Scenes involving a pterosaur aviary and a T. rexs attempted attack on a river raft were featured in the first novel Jurassic Park (1990). Although these scenes were absent from the novel's film adaptation, they were added into Jurassic Park III. The film's Spinosaurus attack on the boat is a modified version of the scene from the novel. At Falls Lake, located on the Universal lot, Verreaux and his team built a giant rock wall as part of a set that would depict InGen's Pteranodon aviary. Three months were spent laying foam blocks that were molded by hand to form jagged rock. A team subsequently built a 10-story, three-sided scaffold covered with netting to simulate the aviary. The aviary scene was filmed in early December 2000. The set was then redecorated for the nighttime exterior sequence in which the Spinosaurus attacks the boat. The scene involved rain and fire and took nine nights of filming. Part of the scene required Macy to stand on a giant crane and distract the Spinosaurus. Macy fell off the crane, but had a harness. Another portion of the scene required the actors to perform under water. The scene depicting the satellite phone in Spinosaurus feces was filmed using  of oatmeal.

In a November 2000 draft of the script, the U.S. State Department was to send in a helicopter and Ellie to rescue the characters, with Ellie explaining that she arrived thanks to a good friend at the department. This ending was not considered exciting enough, resulting in the final ending with the Marines and Navy coming to rescue the characters, while excluding Ellie from coming to the island. In the final film, Ellie's husband is an employee of the State Department, although his involvement in rescuing the group is not specified. The new ending was written in December, and the Pentagon lent two Sikorsky SH-60 Seahawks to the production, as well as four assault amphibious vehicles and 80 Marines. Production returned to Hawaii in January 2001 to film the ending on Kauai's Pila'a Beach. The film's longest rough cut without credits was around 96 minutes long. The final film, including credits, is 92 minutes, making it the shortest installment in the series.

Creatures on screen

As with the previous films, Industrial Light & Magic (ILM) provided dinosaurs through computer-generated imagery (CGI), while Stan Winston and his team provided animatronics. The animatronics were more advanced than those used in previous films, and included the ability to blink, for an increased sense of realism. While animatronics were used for close-up shots, other scenes used sticks with pictures of dinosaur heads attached, as placeholders to which the actors could react. Puppeteers worked together to create the T. rex, Spinosaurus, and Velociraptor movements. Multiple puppeteers were assigned to operate different parts of each animatronic dinosaur, and in some cases, hours of practice were needed for a dinosaur's puppeteers to perform in synchrony. The animatronics were powerful and considered dangerous, as one wrong move could kill someone. One scene, depicting Udesky's death, was filmed with Winston team member John Rosengrant wearing a partial raptor suit. Winston's team took roughly 13 months to design and create the various practical dinosaurs. ILM scanned dinosaur sculptures, also created by Winston's team, to create the computer-generated versions of the animals. ILM also designed some dinosaurs entirely through CGI, including Ankylosaurus and Brachiosaurus. New dinosaurs not featured in earlier films included the Ankylosaurus, in addition to Ceratosaurus and Corythosaurus.

Paleontologist Jack Horner worked as the film's technical advisor, as he had done for the previous films. Horner was brought on early in the film's development when story ideas were being considered. After two films, the filmmakers wanted to replace the T. rex with a new dinosaur antagonist. Baryonyx was originally considered, and early concept posters reflected this. Horner ultimately convinced the filmmakers to replace the T. rex with the larger Spinosaurus, an animal which had a distinctive sail on its back. Johnston said that "a lot of dinosaurs have a very similar silhouette to the T. rex ... and we wanted the audience to instantly recognize this as something else". Horner hypothesized that T. rex was more of a scavenger, while Spinosaurus was a true predator. The roars of the Spinosaurus in the film were created by mixing the low guttural sounds of a lion and an alligator, a bear cub crying, and a lengthened cry of a large bird that gave the roars a raspy quality.

Winston and his sculptors created an initial Spinosaurus design, and Horner then provided his scientific opinion. Winston's team began with a 1/16 maquette version of the Spinosaurus, before creating a 1/5-scale version with more detail, leading to the creation of the final, full-scale version. The process took 10 months. The Spinosaurus animatronic was built from the knees up, while full body shots of the animal were done through CGI. The Spinosaurus animatronic measured 44 feet long, weighed 13 tons and was faster and more powerful than the 9-ton T. rex. Winston and his team had to remove a wall to get the Spinosaurus animatronic out of Winston's studio, located in Van Nuys, California. It was then transported by flatbed truck to the jungle set at Universal Studios' Stage 12. Verreaux had to design the set to accommodate the dinosaur. At the soundstage, the Spinosaurus was placed on a track that allowed the creature to be moved backward and forward. Four Winston technicians were required to fully operate the Spinosaurus animatronic.

The fight between the Spinosaurus and T. rex was one of the last scenes shot for the film, and the two animatronics were put to extensive use for the fight. A T. rex animatronic from the previous film was re-skinned for its appearance in Jurassic Park III. The Spinosaurus animatronic was so powerful that it ripped the head off of the T. rex during filming. Johnston said the fight was meant as a modern homage to various earlier films that featured dinosaurs created by Ray Harryhausen. An early script featured a death sequence for the Spinosaurus near the end of the film, as Alan Grant would use the resonating chamber to call a pack of raptors which would attack and kill it.

Because of new discoveries and theories in the field of paleontology, several dinosaurs are portrayed differently in this film from in previous ones. Discoveries suggesting velociraptors were feathered prompted the addition of quill-like structures on the head and neck of the males in the film. Horner said: "We've found evidence that velociraptors had feathers, or feather-like structures, and we've incorporated that into the new look of the raptor".

Spielberg insisted that Johnston include Pteranodons, which had been removed from the previous films for budget reasons, with the exception of a brief appearance in The Lost World: Jurassic Park. The Pteranodons featured in Jurassic Park III are a fictionalized version of the actual animal. The animals were created with a combination of animatronics and puppetry. Winston and his team created a Pteranodon model with a wingspan of 40 feet, although the creatures are predominantly featured in the film through CGI. ILM animators studied footage of bats and birds while in flight, and also closely worked with a Pteranodon expert to create the creatures' flight movements. Winston's team also designed and created five rod puppets to depict baby pteranodons in a nest, with puppeteers working underneath the nest to control them. Johnston chose the pteranodons to end the film because he wanted an ending shot of "these creatures being beautiful and elegant". At one point, there were discussions about a final sequence in which the pteranodons would attack the survivors in their helicopter after departing from the island. This was scrapped for budgetary reasons.

The film contains more than 400 effects shots, about twice the number featured in the two previous films combined. Most of the shots were for the fight between the T. rex and Spinosaurus, and for the Pteranodon aviary sequence. Less than half of the 400 effects shots involved dinosaurs, as the animators also had to focus on environmental surroundings, such as jungle foliage brushed by dinosaurs. Some shots were only a few seconds long, but required months of work.

Music

Composer John Williams, who worked on the previous films, was busy writing the music for A.I. Artificial Intelligence; he recommended Don Davis to write the Jurassic Park III score. Williams' original themes and several new ones—such as one for the Spinosaurus that focused on low sounds, with tubas, trombones, and timpani—were integrated into the score. The fight between the Spinosaurus and the Tyrannosaurus, which Davis compared to King Kong's fight with dinosaurs in the 1933 film, juxtaposes the Spinosaurus theme with the one Williams wrote for the T. rex. In addition, "Big Hat, No Cattle", a song by Randy Newman, was used in a restaurant scene. The soundtrack was released in July 2001.

Marketing and merchandise
A teaser trailer of Jurassic Park III was released online in September 2000, which was also found on the DVD releases of its predecessors. The first image from the film was released four months later. Universal avoided excessive early marketing to prevent a possible backlash; the studio believed awareness of the film was already sufficient. Marketing began in April 2001, three months before the film's release. The first footage from the film was aired during the second-season finale of Survivor in May 2001, and the official website went online at the end of June. Promotional partners included Kodak and the Coca-Cola Company. No fast-food promotions took place in the United States, although children's meal toys based on the film were offered in Canadian Burger King outlets.

A novelization by Scott Ciencin, aimed at young children, was published, as well. Ciencin also wrote three children's books to tie in with the film's events: Jurassic Park Adventures: Survivor, the first book, details the eight weeks Eric spent alone on Isla Sorna; Jurassic Park Adventures: Prey has Eric and Alan returning to Isla Sorna to rescue a group of teenage filmmakers; and Jurassic Park Adventures: Flyers involves Eric and Alan leading the Pteranodon home after they nest in a Universal Studios theme park.

In early 2001, Hasbro released a line of  action figures including electronic dinosaurs, humans, and vehicles, to coincide with the film's release. The figures were scaled down from the original Kenner action figures from the pre-Jurassic Park III toy lines. A line of toys were also released through the Lego Studios brand. Playskool released a line of toys called Jurassic Park Junior, which were aimed at young children. A smaller line of die-cast toys and a range of clothes were also produced. In November 2001, to promote the film's impending home media release, Universal launched a viral marketing website for Isla Travel, a fictional Isla Sorna travel agency.

Cell phone promotion
For the film's home media release, Universal partnered with cell-phone company Hop-On to produce "the world's first disposable cell phone", which would have been available through an in-package offer upon purchase of the film. The telephones were to be delivered free to customers who responded to a winning promotional card that was supplied with selected copies of the film. Around 5,000 copies of the film contained a winning promotional card; around 1,000 of them were redeemed.

The promotion was cancelled because the handsets could not be finished on time. An investigation by the San Francisco Chronicle revealed that sample versions of Hop-On's cell phones were actually modified Nokia handsets; Hop-On was having problems with its own design. Customers who were to receive the cell phones received a $30 check and a free DVD, instead.

Release
Jurassic Park III premiered at the Universal Amphitheater in Los Angeles, California, on July 16, 2001; two days later the film was released in the United States and other countries. Neill, a resident of New Zealand, hosted the film's Australasian premiere in the city of Dunedin in August.

Home media
The film was released on VHS and DVD on December 11, 2001. It was re-released with both sequels in December as the Jurassic Park Trilogy, and as the Jurassic Park Adventure Pack in November 2005. In 2011, the film was released on Blu-ray as part of the Jurassic Park: Ultimate Trilogy Blu-ray collection. Jurassic Park III is also included in the Jurassic Park 4K UHD Blu-ray collection, which was released on May 22, 2018.

Reception

Box office
Jurassic Park III opened on July 18, 2001 with $19 million. At the time, it had the second-highest Wednesday opening of any film, after Star Wars: Episode I – The Phantom Menace. In just five days, it generated a total of $80.9 million. The film had also grossed $50.3 million during its three-day opening weekend. When the film opened, it had the fourth-highest July opening weekend, behind Independence Day, Men in Black and X-Men. This marked the first time that four consecutive films had made an opening weekend over $45 million, joining Planet of the Apes, Rush Hour 2 and American Pie 2. Additionally, it was one of the four consecutive Universal films of 2001 to gross $40 million in their opening weekends, with The Mummy Returns, The Fast and the Furious and American Pie 2 being the others. The film ultimately earned $181.2 million in the United States and $368.8 million worldwide, making it the eighth-highest-grossing film of the year worldwide. Despite this, it is the lowest-grossing film in the franchise.

Critical response

On Rotten Tomatoes, the film holds an approval rating of 49% based on 186 reviews, with an average rating of 5.30/10. The site's critics consensus reads: "Jurassic Park III is darker and faster than its predecessors, but that doesn't quite compensate for the franchise's continuing creative decline." On Metacritic the film has a weighted average score of 42 out of 100, based on 30 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale. On Metacritic, it was the lowest-rated film of the Jurassic Park franchise until  the release of Jurassic World Dominion in 2022 and remains the lowest rated film in the original Jurassic Park trilogy. The films' distributor Universal did not allow reviews to be published until the film's release.

Entertainment Weeklys Owen Gleiberman, who praised the previous Jurassic Park films, awarded the third film a C grade, writing "Jurassic Park III has no pretensions to be anything more than a goose-bumpy fantasy theme-park ride for kids, but it's such a routine ride. Spielberg's wizardry is gone, and his balletic light touch as well, and that gives too much of this 90-minute movie over to the duller-than-dull characters". Derek Elley of Variety called the film "an all-action, helter-skelter, don't-forget-to-buy-the-computer-game ride that makes the two previous installments look like models of classic filmmaking". Ben Varkontine of PopMatters called it "not as good a ride as the first, but a damn sight better than the second". Apollo Movie Guide panned the film as being "almost the same as the first movie" with "no need for new ideas or even a script". Empire magazine gave the film 3 stars out of 5, calling it "short, scrappy and intermittently scary".

On Ebert and Roeper, Richard Roeper gave it a Thumbs Down while Roger Ebert awarded a Thumbs Up. In a subsequent review, Ebert called it "the best blockbuster of the Summer". In his review, Ebert gave the film three stars and said it "is not as awe-inspiring as the first film or as elaborate as the second, but in its own B-movie way it's a nice little thrill machine". He also wrote: "I can't praise it for its art, but I must not neglect its craft, and on that basis I recommend it". Paleontologist Robert T. Bakker, an early pioneer of the dinosaur-bird connection, said the feather quills added to the Velociraptor for Jurassic Park III "looked like a roadrunner's toupee", but conceded that feathers are difficult subjects for computer animation and speculated that Jurassic Park IV's raptors would have more realistic plumage. Spielberg, according to his spokesman, was "very happy" with Johnston's work on the film. In 2002, Crichton said he had not watched the film. Some fans of the series were upset with the decision to kill off the T. rex and replace it with a new dinosaur.

Retrospective assessments
Some later reviews of the film have been positive, with a couple of critics declaring it superior to The Lost World: Jurassic Park. Retrospective reviews have also praised the aviary sequence. Simon Brew, writing for Den of Geek, stated in 2007 that the film has "an efficiency and focus" that was missing in the previous film. He enjoyed the set pieces, but criticized the abrupt ending. Comparing the first film with Jurassic Park III, David Chen of /Film wrote in 2009 that the original managed to "thrill audiences and make them think", while the latter "did neither particularly well".

Several critics reviewed the film in 2015, when Jurassic World was released. Justin Harp of Digital Spy wrote that despite the shortcomings of Jurassic Park III, it "remains immensely watchable and visually impressive. It manages to strike a clear balance between moments of terror and genuine laughs". Although Harp considered the film to be the black sheep of the series, he described it as "fresh, exciting and, most of all, a whole lot of fun". Matt Goldberg of Collider wrote that the film "doesn't really have any reason to exist beyond proving that the franchise maybe never should have been a franchise to begin with". Goldberg stated that the film "is overly excited to let you know [the raptors] can vocally speak to each other, which ends up just looking funny. It feels like we're missing subtitles". Zaki Hasan of Sequart Organization enjoyed the film, but wrote that it has issues such as the abrupt ending.

Entertainment Weekly, in 2018, wrote "what the plot lacks in credibility it makes up for with relatability". The magazine praised it as the only film in the series that "has zero to do with scientific stupidity or sinister corporate forces", writing that it was "perhaps the most narratively original" film out of all them. Neill said in 2021 that he believes the film is "dismissed too easily", opining that it is "pretty damn good" aside from the final 10 minutes and "hurried" ending.

Accolades

Video games

Several film-based video games were released in 2001. Knowledge Adventure produced three games, Jurassic Park III: Danger Zone!, Jurassic Park III: Dino Defender, and Scan Command: Jurassic Park, all for Microsoft Windows. Three other games were released by Konami for the Game Boy Advance, including Jurassic Park III: The DNA Factor, Jurassic Park III: Island Attack, and Jurassic Park III: Park Builder. An arcade game, also titled Jurassic Park III, was also released.

See also
 List of films featuring dinosaurs

Notes

References

External links

 Official website
 Jurassic Park III at Amblin

Jurassic Park films
Films about dinosaurs
Giant monster films
American monster movies
2000s monster movies
2001 films
2001 science fiction action films
2000s science fiction adventure films
2000s science fiction thriller films
Amblin Entertainment films
American science fiction action films
American science fiction adventure films
American science fiction thriller films
American sequel films
Fiction about animal communication
Films scored by Don Davis (composer)
Films about dysfunctional families
Films based on works by Michael Crichton
Films directed by Joe Johnston
Films produced by Kathleen Kennedy
Films set in Costa Rica
Films set in Montana
Films set on fictional islands
Films shot in California
Films shot in Los Angeles
Films shot in Hawaii
Jungle adventure films
Universal Pictures films
Films with screenplays by Peter Buchman
Films with screenplays by Alexander Payne
Films with screenplays by Jim Taylor (writer)
2000s English-language films
2000s American films

Jurassic Park III


Isthmios () ist in der griechischen Mythologie:

 Isthmios (Beiname), ein Beiname des Poseidon und des Zeus
 Isthmios (Sohn des Glaukos), König von Messenien
 Isthmios (Sohn des Temenos)

Isthmios


Karl Johann Kaiser (* 3. November 1866 in Schellenberg; † 21. Februar 1935 ebenda) war ein liechtensteinischer Landwirt und Politiker.

Biografie
Kaiser war ein Bürger der Gemeinde Schellenberg und arbeitete als Landwirt. Von 1903 bis 1915 gehörte er dem Gemeinderat von Schellenberg an und war im Anschluss von 1915 bis 1927 Vorsteher dieser Gemeinde. Bereits sein Vater Franz-Sepp Kaiser hatte dieses Amt bekleidet. 1918 war Karl Kaiser eines der Gründungsmitglieder der Fortschrittlichen Bürgerpartei. Für seine Partei sass er von 1918 bis 1932 als Abgeordneter im Landtag des Fürstentums Liechtenstein.

Des Weiteren war er von 1922 bis 1927 stellvertretender Richter am Obergericht.

Kaiser heiratete 1895 Rosa Goop. In zweiter Ehe war er mit Engelina Hasler verheiratet. Aus beiden Ehen gingen mehrere Kinder hervor.

Weblinks

 e-archiv.li, Landesarchiv Fürstentum Liechtenstein

Einzelnachweise

Landtagsabgeordneter (Liechtenstein)
Gemeindevorsteher (Schellenberg)
FBP-Mitglied
Landwirt (Liechtenstein)
Liechtensteiner
Geboren 1866
Gestorben 1935
Mann

Karl Kaiser (Politiker)


Eve Lindley (Danbury, 12 de janeiro de 1993)  é uma atriz estadunidense. Ela é mais conhecida por seus papéis na série de televisão Dispatches from Elsewhere e no filme All We Had. Em 2016, ela foi nomeada no OUT100 da revista Out.    Como modelo, ela trabalhou com a Barneys New York.

Biografia
Eve Lindley nasceu em 12 de janeiro de 1993, em Danbury, Connecticut, filha de pai americano e mãe cubana. Ela tem duas irmãs mais velhas. Seus pais se divorciaram quando ela tinha dois anos e receberam a custódia conjunta. Quando ela estava na sétima série, ela morava em tempo integral com o pai. Lindley é uma mulher trans. Ela começou a transição no ensino médio com o apoio de seu pai.

Antes de fazer sua estreia no cinema em All We Had, Lindley trabalhou em figurinos, vendas e como barista e passeadora de cães, entre outros empregos. Ela é mais conhecida por estrelar a série da AMC, Dispatches from Elsewhere como Simone, estrelando junto de Jason Segel, Sally Field e André Benjamin.

Filmografia

Cinema

Televisão

Ligações externas

Pessoas vivas
Nascidos em 1993
Atrizes de cinema dos Estados Unidos
Atrizes de televisão dos Estados Unidos
Modelos femininos dos Estados Unidos
Norte-americanos de ascendência cubana
Atrizes transgênero
Modelos transfemininas

Eve Lindley


Trinidad Ruiz Téllez (Badajoz, España, 1 de junio de 1960) es una botánica y profesora española, que desarrolla sus actividades académicas en la Facultad de Ciencias de la Universidad de Extremadura.

Biografía
Se doctoró en Farmacia, por la Universidad de Salamanca en febrero de 1986. Ha sido profesora en la Facultad de Farmacia de la Universidad de Salamanca y en la Facultad de Ciencias de la Universidad de Extremadura, como titular ordinaria del Área de Botánica, en el Departamento de Biología Vegetal, Ecología, y Ciencias de la Tierra.

En su trayectoria universitaria, ha ocupado el cargo de Secretaria Académica de la Facultad de Ciencias (1993-1996) y de Adjunta al Vicerrector de Profesorado de la Universidad de Extremadura (1998-1999).

Entre 2008-2011 ha sido Directora General de Educación Superior y Liderazgo de la Junta de Extremadura.

A lo largo de su vida profesional, ha trabajado con diversos equipos en proyectos de investigación y transferencia científico-tecnológica, desarrollando las líneas siguientes:
 Ecología de plantas y comunidades vegetales, y Fitosociología integrada
 Flora mediterránea, distribución de especies, taxonomía y sistemática de plantas vasculares
 Biología de la reproducción, fenología y germinación de semillas
 Plantas aromáticas y medicinales
 Biodiversidad, especies invasoras y acuáticas
Etnobotánica
Flora de la amazonía ecuatoriana

Durante su trayectoria académica, ha dirigido multitud de Tesis Doctorales, Tesis de Licenciatura, así como Cursos de posgrado y doctorado, participando en proyectos de investigación de ámbito autonómico, nacional e internacional. Ha formado parte de varios procesos de patentes. Además, ha desempeñado diversas responsabilidades tanto en el gobierno universitario, como en la Administración autonómica Extremeña.

Perito Mercantil por la Universidad de Extremadura, desde 1983, ha tenido una oficina de farmacia en Oliva de la Frontera, Badajoz (2000-2008). Desde el año 1997, es Profesora Titular en la Universidad de Extremadura.

Docencia y proyectos de innovación docente

Desde 1982, ha llevado a cabo una intensa labor docente, tanto en la Facultad de Farmacia de Salamanca, como en la Facultad de Ciencias de la UEx, en Badajoz, impartiendo las materias de Botánica General, Biología Vegetal Botánica Aplicada, Micología aplicada, Botánica Farmacéutica, Geobotánica, Criptogamia, Fanerogamia e Introducción a la Experimentación en Botánica.

También ha desarrollado esta tarea en Cursos de Postgrado y Doctorado sobre Desarrollo Rural y Desarrollo Local Sostenible, Etnobotánica, Fitosociología, Micología, Fitofarmacia, Fitoquímica, Botánica Forestal y Germinación de plantas.

Ha liderado Acciones de Adaptación al Espacio Europeo de Educación Superior entre los años 2004 y 2007. Es autora del Proyecto de Aprendizaje Basado en Problemas A-precio su valor (2008) y ha promovido el club de debate Universitario 2012 del Vicerrectorado de Estudiantes de la Universidad de Extremadura el Convenio Internacional de Intercambio de Estudiantes de la Universidad de Extremadura  (Uex) con la Universidad Estatal Amazónica (UEA) de Ecuador

En el campo de la Innovación Docente, ha dirigido proyectos novedosos en el ámbito didáctico, tales como: Estar en Babia (1997); Fitoexpositor del ICE (1998); ¿Subimos a Nuria? (1999); La Universidad en Las Hurdes, Las Hurdes en la Universidad (2000); C+C, Créditos + Calidad (2001) y Los Viernes Geobotánicos (2003). Desde 2013 es miembro del Grupo de Innovación Didáctica "Ética del Profesorado Universitario" de la Universidad de Extremadura.

Ha dirigido las siguientes Tesis Doctorales:

 "Biología reproductiva de una masa de alcornoque (Quercus suber L.) en el sur de Badajoz (España)" de la alumna Soledad Ramos Maqueda (Ramos, 2003).

 "Contribución al conocimiento de los recursos fitogenéticos en Extremadura: el caso de los tomillos" del alumno José Blanco salas (Blanco, 2005).

 "Reproducción sexual del Jacinto de Agua (Eichhornia crassipes): germinación, anatomía y banco de semillas" de la alumna Eva Albano Pérez (Albano-Pérez, 2012).

 "Estudio Etnobotánico en Comunidades Kichwas Amazónicas de Pastaza, Ecuador" de la alumna Carmen Ximena Luzuriaga-Quichimbo (Luzuriaga-Quichimbo, 2017).

Desde 2015 ha ejecutado proyectos de Aprendizaje por Servicio y Cooperación Universitaria al Desarrollo de estudiantes de Biotecnología y Ciencias Ambientales de la Uex con estudiantes de grado y posgrado de la UEA en la Amazonía Ecuatoriana y Extremadura.

En la actualidad, está interesada en la Innovación Docente en el marco de los ODS (Objetivos de Desarrollo Sostenible de la Agenda 2030)

Honores

Membresías
 Panel de expertos de la Europaean and Mediterranean Plant Protection Organization- EPPO
 Organization for the Phyto-taxonomic Investigation of the Mediterraenan Area- OPTIMA
 Société Botanique de France
 Federation Internationale de Phytosociologie -FIP
 Sociedad Micológica Extremeña.
 Sociedad Española de Fitoterapia - SEFIT

Responsabilidades de gestión
En su trayectoria universitaria, ha ocupado el cargo de Secretaria Académica de la Facultad de Ciencias (1993-1996) y de Adjunta al Vicerrector de Profesorado de la Universidad de Extremadura (1998-1999).

Entre 2008-2011 ha sido Directora General de Educación Superior y Liderazgo de la Junta de Extremadura.

Perfiles científicos
Puede consultarse la labor investigadora de Trinidad Ruiz Téllez en los siguientes portales científicos:
 Google Scholar
 Research Gate
 ORCID ID: 0000-0001-8829-1559

Referencias

Enlaces externos

Botánicas de España
Botánicos de España del siglo XX
Botánicos de España del siglo XXI
Escritores en español del siglo XXI
Escritores en inglés del siglo XXI
Profesores de la Universidad de Extremadura
Alumnado de la Universidad de Salamanca en el siglo XX
Profesores de la Universidad de Salamanca
Españolas del siglo XX
Españolas del siglo XXI
Nacidos en Badajoz

Trinidad Ruiz


دانييلي ديسينا  (مواليد 10 مايو 1987 في بارما - إيطاليا) لاعب كرة قدم إيطالي يلعب حاليا لصالح نادي الدرجة الأولى كالياري الإيطالي منذ 2009 في مركز الوسط المحوري .

روابط خارجية

مراجع

لاعبو وسط كرة قدم رجالية
أشخاص على قيد الحياة
رياضيون من بارما
لاعبو الدوري الإيطالي
لاعبو الدوري الإيطالي الدرجة الثالثة
لاعبو الدوري الإيطالي الدرجة الثانية
لاعبو أولبيا كالسيو 1905
لاعبو بارما
لاعبو بريشيا
لاعبو بسكارا 1936
لاعبو سامبدوريا
لاعبو كالياري
لاعبو كرة قدم إيطاليون
لاعبو كرة قدم إيطاليون أولمبيون
لاعبو كرة قدم في الألعاب الأولمبية الصيفية 2008
لاعبو كرة قدم من إميليا-رومانيا
لاعبو منتخب إيطاليا تحت 21 سنة لكرة القدم
لاعبو منتخب إيطاليا لكرة القدم للشباب
مواليد 1987
إيطاليون من أصل سرديني
لاعبو كرة قدم من بارما

دانييلي ديسينا


Principiul lanului este un film românesc din 1979 regizat de Adrian Petringenaru.

Prezentare

Note

Legături externe

Vezi și
 1979 în film

Filme românești
Filme în limba română
Filme din 1979
Filme regizate de Adrian Petringenaru

Principiul lanului


Formosa er hovedstaden i den argentinske provins Formosa, som ligger i den nordøstlige del af Argentina, på grænsen til Paraguay. Byen ligger omkring 1.200 km fra Buenos Aires og omkring 150 km fra Asunción. Der bor omkring 234.000 mennesker i byen.

Referencer

Byer i Argentina

Formosa (Argentina)


Der Brutteich ist ein vier Hektar großes Staugewässer und liegt etwa einen Kilometer südwestlich von Neuhaus an der Eger, einem Ortsteil der Stadt Hohenberg an der Eger im Landkreis Wunsiedel im Fichtelgebirge (Nordostbayern). Er liegt im Naturraum Selb-Wunsiedler Hochfläche und ist Teil einer Teichkette, bestehend aus Brutteich, Zipfelteich, Hirtenteich, Flachteich und Schützteich.

Naturschutz
Die Teichanlage und ihr Umfeld sind seit 1994 Naturschutzgebiet mit etwa zehn Hektar Gesamtfläche. Die ausgedehnten Verlandungszonen und umgebenden Gehölz- und Wiesenbereiche bieten einen Lebensraum für hochgradig gefährdete Tier- und Pflanzenarten.

Geschichte
Der Teich wird im Landbuch der Sechsämter von 1499 als "Prutweyer" erwähnt. In ihm "zeucht man prutt und setzling" für die Karpfenzucht.

Karten
 Digitale Ortskarte 1:10000 Bayern (Nord) des Landesamtes für Vermessung und Geoinformation Bayern 2007
 Fritsch Wanderkarte Nr. 106 Selb-Schönwald, Maßstab 1:35.000

Literatur
 Friedrich Wilhelm Singer: Landbuch der Sechsämter von 1499. Wunsiedel 1987. S.298,404.
 Siegfried Röder: Die Freistatt XV (Hohenberg a. d. Eger 1995), S. 115
 Dieter Arzberger: Mühlen und Müller im Sechsämterland (Selb 2006), S. 357

Weblinks
http://www.regierung.oberfranken.bayern.de/nsg/f78.htm
http://www.bayern-fichtelgebirge.de/gewaesserkunde/7.htm?7

See in Europa
Teich in Bayern
SBrutteich
See im Landkreis Wunsiedel im Fichtelgebirge
Hohenberg an der Eger

Brutteich


PL/SQL (Procedural Language/Structured Query Language), Oracle tarafından geliştirilen Oracle veritabanı sistemlerine özel dildir. Oracle veri tabanı sistemlerinde tetikleyici(trigger) ve Saklı yordam (stored procedure) yazmak üzere geliştirilmiş temel sql komutlarının yanında programlamada akış kontrollerini ve değişkenleri kullanmaya olanak sağlayan yani yapısal dillere ait özelliklerin standart SQL'e eklenmesi sonucu oluşan bir dildir. Ada dili örnek alınarak tasarlanmıştır.

Programlama dilleri
Oracle yazılımları

PL/SQL