Der Hellsee ist ein natürliches Gewässer im Südosten des Ortes Lanke im Brandenburger Landkreis Barnim. Der See ist Teil einer zwischen Wandlitz und Biesenthal gelegenen Seenkette in einer zuletzt von der Weichseleiszeit geformten Rinne, die im Osten in das Naturschutzgebiet Biesenthaler Becken übergeht. Weitere Seen in dieser Rinne sind der Rahmer See und der Wandlitzsee, die beide zur Havel entwässern, der Regenbogensee, die Heiligen Drei Pfühle sowie der Liepnitz- und der Obersee (Lanke).

Geografie

Der Hellsee ist ein ca. zwei Kilometer langer, von Mischwald umgebener Rinnensee. Er hat eine Fläche von 42,91 ha. Die Breite variiert zwischen 40 und 300 Metern. Die durchschnittliche Tiefe liegt bei 3 Metern, die maximale Tiefe soll bei 11 Metern liegen. Die mittlere Sichttiefe beträgt fast 2 Meter.

An der Nordspitze des Sees befindet sich, bedingt durch die Zuflüsse aus dem Obersee und der Krummen Lanke ein Sumpfgebiet, das von einem Steg durchquert wird. Ein weiteres Sumpfgebiet findet sich im Südosten des Sees. Der See entwässert bei Hellmühle über das in Richtung Norden verlaufende Hellmühler Fließ in die Finow und weiter in Richtung Oder.

Umgebung
Der Hellsee, als Name aus der Zeit um 1600 als Hellen Sehe überliefert, ist ein beliebtes Ausflugsziel. Um den See führt ein Wanderweg, der innerhalb der Ortslage von Lanke einen im 19. Jahrhundert nach Plänen von Peter Joseph Lenné angelegten, heute verwilderten Park des Schlosses Lanke passiert. Bis kurz vor Ende des Zweiten Weltkriegs existierte an der schmalsten Stelle des Sees, etwa 500 Meter westlich der Mündung des Hellmühler Fließes, die Rote Brücke, über die Nord- und Südufer miteinander verbunden waren.

Insel

Besonders reizvoll zeigt sich das Nordostufer des Sees, wo der Rundweg als Teil des 66-Seen-Wanderweges in unmittelbarer Seenähe verläuft. Hier führt er an einer vom Ufer nur durch einen Graben getrennten künstlichen Insel vorbei, auf der sich ein durch Vandalismus zerstörtes Grabmal der Familie Wülknitz, ehemals Besitzer des Schlosses Lanke, befindet. Die Insel war ursprünglich über eine Brücke zu erreichen, die heute nicht mehr existiert.

Der Graben, durch den die ehemalige Halbinsel zur Insel wurde, entstand im 18. Jahrhundert. Im Jahr 1796 ließ Major Hans Heinrich Otto von Wülknitz das Grabmal auf der Insel für seine verstorbene Frau errichten. In der Gruft wurde das Ehepaar von Wülknitz und dessen Enkelsohn bestattet. Bis nach dem Ende des Zweiten Weltkriegs erhalten, wurde das Grabmal in den Folgejahren, wie auch die Brücke über den Graben, nach und nach zerstört.

Hellmühle

An der Ostseite des Sees liegt die ehemalige Hellmühle. Sie wurde bereits 1347 urkundlich erwähnt, als Markgraf Ludwig die damals im Besitz des Arnold von Bredow befindliche Mühle nebst Mühlengraben der Propstei Bernau übereignete. Im Jahre 1539, mit der von Kurfürst Joachim II. veranlassten Verlegung der Bernauer Propstei nach Berlin, gelangte die Hellmühle an das Domstift zu Cölln. Im Dreißigjährigen Krieg verödete die Mühle, wurde später aber wieder in Betrieb genommen. Erst in den 1920er Jahren wurde der Mühlenbetrieb endgültig eingestellt. Bis 1945 gehörte der Mühlenkomplex zum Schloss und Gut Lanke. In der DDR wurde die Hellmühle dann dem Volkseigenen Gut Lanke zugeeignet. Das Gebäude diente ab 1950 als Landschulheim und später als Jugendherberge. Seit 1989 stand das Gebäude leer, wird aber gegenwärtig (2012) wieder in Stand gesetzt.

In unmittelbarer Nähe der Hellmühle befindet sich die Uli-Schmidt-Hütte, das Haus der Ortsgruppe Biesenthal-Hellmühle der Naturfreunde Brandenburg, und der Ferienpark am Hellsee.

Am Westufer verläuft der Weg über ein Steilufer, das schöne Ausblicke auf den See erlaubt.

Freizeitwert
Nicht nur als Wandergebiet erfreuen sich der Hellsee und die ihn umgebende, von der Eiszeit geformte Landschaft großer Beliebtheit. Der Hellsee ist ein ausgewiesenes Angelgewässer (F 03-124). Am See haben zwei Angelvereine ihr Domizil. Hechte, Zander, Welse, Karpfen, Aale, Schleie und verschiedene Weißfische gehören zu den im See vorkommenden Arten. Für Badelustige gibt es am Nordostufer des Sees diverse Zugangsmöglichkeiten zum Wasser. Unweit der Hellmühle, in westlicher Richtung unterhalb der damaligen Ferienanlage, bestand bis kurz nach der Wende eine offizielle Badestelle mit Steganlage.

Galerie

Siehe auch
 Liste der Seen in Brandenburg

Literatur

 Manfred Reschke: 66-Seen-Wanderung. Trescher Verlag, 2011
 Manfred Schmid-Myszka: Rund um Berlin. Von der Ruppiner Schweiz bis in den Spreewald. Bergverlag Rother GmbH, München 2008, ISBN 978-3-7633-4343-0
 Gerd Koischwitz: Märkische Geschichte und Geschichten. Zwischen Havel und Oder. Müller Druck und Verlag, Berlin o. J., ISBN 3-9801001-6-2

Weblinks

 Tourenbeschreibung, Kartenansicht und Track-Download der Wanderung um den Hellsee

Einzelnachweise

Geographie (Biesenthal)
Gewässer im Landkreis Barnim
See in Brandenburg
SHellsee
See in Europa

Hellsee


El edificio del ayuntamiento es la sede de la alcaldía pedánea de Tomellosa, en el municipio de Brihuega (Guadalajara, España).

Es un edificio renacentista y fue construido a finales del  o principios del . En los autos de 1712 aparecen ubicados en el edificio del ayuntamiento la cárcel, la carnicería, el pósito y el archivo de documentos.

Destaca la fachada, característica de una construcción de arquitectura popular mostrando una estructura sencilla y tosca de entramado de madera, sin ningún tipo de ornamento ni elemento que la singularice. La fachada tiene dos pisos constituidos por dos soportales adintelados con seis columnas de madera. Los paramentos del edificio son de adobe y la cubierta es a dos aguas con teja árabe.

Referencias

Bienes de interés cultural de la provincia de Guadalajara
Brihuega
Tomellosa
Monumentos de la provincia de Guadalajara
Casas consistoriales de España del siglo XVII
Casas consistoriales renacentistas de España

Casa consistorial de Tomellosa


Le HMS Sjölejonet était le navire de tête d'une classe de neuf sous-marins au service de la Suède dans l'Entre-deux-guerres. Ils ont été lancés entre 1936 et 1941. Seulement trois d'entre eux étaient en service en septembre 1939, au début de la Seconde Guerre mondiale. Lorsqu'ils sont entrés en service, ils étaient les submersibles suédois les plus rapides.

Carrière
Le navire a été commandé à Kockums Mekaniska Verkstads AB à Malmö et sa quille a été posée en 1935. Le navire a été lancé le  et a rejoint la flotte le .

Le navire a été retiré du service le  et vendu en 1962 à Ystad pour démolition.

Notes et références

Notes

Références

Voir aussi

Bibliographie
 .
 .

Liens externes
 .
  : plusieurs photos du HMS Sjölejonet.
 .

Articles connexes
 Liste des sous-marins de la Suède

Sous-marin de la Marine royale suédoise
Sous-marin d'attaque conventionnel
Bateau lancé en 1936
Nom de bateau
Navire construit en Suède

HMS Sjölejonet (1936)


Odsherredbuerne er et system af bueformede bakkedrag i Odsherred og det nordvestlige Sjælland, som er dannet som randmoræner under sidste istid. Landskabet udgør et skoleeksempel på den såkaldte glaciale landskabsserie og var det første sted i Danmark, hvor randmoræner påvistes. De øst for buerne liggende områder Lammefjord og Sidinge Fjord blev i sidste halvdel af 1800-tallet og første halvdel af 1900-tallet inddæmmet i et storstilet landvindingsprojekt, og på den frugtbare jord i de tørlagte fjorde har områdets efter danske forhold tørre og solrige klima muliggjort en storstilet dyrkning af grønsager. Siden 1960-erne er de markante bakkedrag og især de foranliggende smeltevandssletter ud mod Sejerø Bugt blevet benyttet som et yndet rekreativt område præget af badestrande og sommerhusområder.

Geografi
Odsherredbuerne udgøres af fire bueformede bakkedrag, som fra området nord for Åmosen strækker sig mod nordvest lige vest om Skarresø ved Jyderup og ud til Nekselø Bugt, og herfra videre mod nordøst over Høve og Vig til Nykøbing Sjælland. Sydligst ligger Bjergsted-buen med den bagvedliggende Kundby moræneflade, dernæst Vejrhøj-buen med Lammefjorden, så Vig-buen med Sidinge Fjord og endelig længst mod nord Højby-buen med Nykøbing Bugt. Buerne når flere stedet op i mere end 80 m højde, og det højeste punkt Vejrhøj (121 m) lige nord for Dragsholm er Sjællands tredjehøjeste punkt (efter Gyldenløveshøj og Kobanke). Herfra kan man i klart vejr se spirene på Roskilde domkirke 46 km borte, samt over til Østjylland.

Geologi

De bueformede bakkedrag er dannet under det såkaldte Bælthav-fremstød i slutningen af Weichsel-istiden. Øst for bakkedragene ligger de lavtliggende områder Nykøbing Bugt, Sidinge Fjord og Lammefjord som såkaldte inderlavninger, foruden Kundby moræneflade. Fra disse områder har isen fjernet materiale ved at høvle eller skubbe det foran sig, for senere at efterlade det i de imponerende bakkedrag, hvis omrids viser israndens placering. Vest for bakkedragene, og i dag mestendels beliggende på Sejerø-bugtens bund, dannede smeltevand fra isranden store smeltevandssletter, eller hedesletter, opbygget af sandede materialer. De tre landskabstyper, inderlavning mod øst, randmoræne i midten og smeltevandsslette mod vest udgør klassiske eksempler på den glaciale landskabsserie, som er et at de tydeligste spor af glacial aktivitet, man kender. I Danmark findes lignende landskaber bla langs den østjyske israndslinie, fx i Mols Bjerge og ved Hedensted mellem Vejle og Horsens.

Den østvendte side af de nordlige af randmorænebuerne består overvejende af moræneler, mens den vestvendte side, ud mod Sejerø Bugt, er mere præget af sandede og grusede smeltevandsaflejringer, som isen har skubbet foran sig. Lokalt fremviser randmorænerne og de tilknyttede smeltevandssletter mange store sten og blokke, fx i det store grusgravsområde NØ for Svebølle og i Vejrhøjbuens nordlige del mellem Asnæs og Vig, hvilket også afspejler sig i stednavnene Stenrand, hhv Stenbjerg. I sidstnævnte område har landmænd opbygget talrige stengærder af marksten.

Det var den unge assistent ved DGU Vilhelm Milthers, som under karteringsarbejde i det nordvestlige Sjælland i midten af 1890-erne kom på sporet af områdets specielle geologiske oprindelse. Hans kolleger forholdt sig dog skeptiske til teorien om randmoræner, og hans medforfatter til den geologiske kortbladsbeskrivelse fra 1900 over området lod Milthers publicere sine resultater under eget navn. Under en ekskursion til området i foråret 1901 lod Milthers' kolleger sig dog overbevise, og da statsgeolog Victor Madsen efter ekskursionen blev spurgt "Nå, hvordan er det gået?" svarede han "Jo, det har sin rigtighed."

Milthers' overordnede tolkning har siden stået uantastet, men i de senere år har resultater fra moderne analysemetoder nuanceret billedet. Bla anses de forskellige randmorænebuer således for dannet én efter én, af flere forskellige isstrømme hen over området.

Biologi
Det stærkt kuperede terræn i bakkedragenes højere dele består ofte af næringsfattig jord, som nemt kommer til at mangle vand, og disse kuperede og forblæste arealer har gennem tiderne kun i mindre grad været opdyrket, men har henligget som overdrev, brugt til græsning. I dag findes her nogle af Sjællands fineste overdrev med stor artsdiversitet, med sjældne planter som fx vellugtende skabiose, hylde-gøgeurt og bakkesoløje, foruden et stort antal sommerfuglearter.

Landbrug

Inddæmningen og udtørringen af et 700 ha stort område af Sidinge Fjord påbegyndtes i 1841 og afsluttedes i 1884.

Lammefjorden var oprindeligt kun adskilt fra Nekselø Bugt ved en 2 km bred tange. Inddæmningen og udtørringen af Lammefjord fandt sted i perioden 1874-1943, og indledtes med anlæggelsen af en godt 2 km lang jorddæmning nord for Avdebo, som afsnørede et havområde på 55 km2.

På de inddæmmede arealer dyrkes især kartofler, gulerødder og asparges, mens man på sydvendte skråninger i bakkedragene i de senere år er begyndt at dyrke vin.

Kultur og samfund
Odsherredbuerne fremviser et stort antal gravhøje, de fleste fra bronzealderen, og buernes højeste punkt Vejrhøj udgøres af en 8 m høj gravhøj. I hele Odsherred er der registreret op mod 1000 gravhøje.

I 1930-erne slog bla Karl Bovin og Ole Kielberg, begge medstiftere af kunstnersammenslutningen Corner, foruden Ernst Syberg og flere andre sig ned i Odsherred, med det formål at dyrke det naturalistiske maleri. Gruppen, hvis medlemmer følte sig tiltrukket af områdets landskaber og specielle lys, blev kendt som Odsherredsmalerne.

Efter en ide lanceret i 2005 i et samarbejde mellem de gamle kommuner Nykøbing-Rørvig, Trundholm og Dragsholm, et arbejde som fortsattes efter kommunalreformen i 2007 i den nye Odsherred kommune, blev i 2013 sendt en ansøgning om optagelse af Geopark Odsherred i den internationale sammenslutning af geoparker i UNESCO-regi. I september 2014 blev ansøgningen imødekommet, og herved fik Danmark sin første geopark.

Noter

Glacialmorfologi
Danmarks geologi
Danmarks geografi
Odsherred Kommunes geografi

Odsherredbuerne


ميرتشا إلياده  (9 مارس 1907 - 22 أبريل 1986) كان رومانيًا ومؤرخ أديان وكاتب قصص خيالية وفيلسوفًا وأستاذًا في جامعة شيكاغو. كان مفسرًا رائدًا للتجارب الدينية، إذ أسس نماذج في الدراسات الدينية استمرت حتى يومنا هذا. أثبتت نظريته القائلة بأن الظهورات الكشفية المقدّسة تشكل أساس الدين، وتقسم التجربة الإنسانية للواقع إلى مكان وزمان مقدسين ومدنسين، فعاليتها بشكل واضح. من أهم إسهاماته في الدراسات الدينية نظريته حول «العودة الأبدية»، التي تنص على أن الأساطير والطقوس لا تحيي ذكرى الظهورات الكشفية المقدّسة فحسب، بل وتشارك فيها فعليًا، على الأقل من وجهة نظر المتدينين.

تُعتبر أعماله الأدبية من الأنماط الخيالية العجائبية والسير الذاتية. أشهرها روايات «الليالي البنغالية»، «الغابة المحرمة»، «إيزابيل ومياه الشيطان»، «رواية مراهق قصير النظر»، الروايتان القصيرتان «الآنسة كريستينا» و«شباب بلا شباب»، «سر الدكتور هونيغبرغر»، و«مع الفتيات الغجريات».

في وقت مبكر من حياته، كان إلياده صحفيًا وكاتبًا، وهو تلميذ للفيلسوف والصحفي الروماني اليميني المتطرف ناي إيونسكو، وعضوًا في جمعية كرايتيريون الأدبية. في الأربعينات  من القرن العشرين، شغل منصب الملحق الثقافي في المملكة المتحدة والبرتغال. عبر إلياده عدة مرات خلال أواخر ثلاثينيات القرن العشرين، علنًا عن دعمه للحرس الحديدي، وهو منظمة سياسية فاشية ومعادية للسامية. تعرضت مشاركته السياسية في ذلك الوقت، إلى جانب ارتباطاته اليمينية المتطرفة الأخرى، لانتقادات متكررة بعد الحرب العالمية الثانية.

اشتهر إلياده بسعة اطلاعه، وكان يجيد التحدث بخمس لغات (الرومانية والفرنسية والألمانية والإيطالية والإنجليزية) ويجيد القراءة بثلاث لغات أخرى (العبرية والفارسية والسنسكريتية). انتخب عضوًا في الأكاديمية الرومانية بعد وفاته.

سيرته الذاتية

مرحلة الطفولة
ولد في بوخارست، وكان ابن ضابط القوات البرية الرومانية جورجي إلياده (الذي كان اسم شهرته الأصلي يريميا) وجينا فاسيليسكو. كان جورجي إلياده أرثوذكسيًا، وسجل ميلاد ابنه قبل أربعة أيام من التاريخ الفعلي، ليتزامن مع عيد الشهداء الأربعين في التقويم الليتورجي. كان لدى ميرتشا إلياده أخت تُدعى كورينا، وهي والدة عالم العلامات سورين ألكسندريسكو. انتقلت عائلته بين تيكوتشي وبوخارست، واستقرت في النهاية في العاصمة في عام 1914 واشترت منزلًا في شارع ميلودي، بالقرب من بيازا روزيتي، حيث أمضى ميرتشا أغلب فترة مراهقته.

احتفظ إلياده بذكريات طفولته، وكتب في وقت لاحق من حياته عن تأثير مختلف الأحداث واللقاءات غير العادية عليه. في إحدى المرات أثناء الحملة الرومانية للحرب العالمية الأولى، عندما كان إلياده في سن العاشرة تقريبًا، شهد قصف بوخارست من قبل مناطيد زبلين الألمانية والقوى الوطنية في العاصمة المحتلة وسط أنباء أن رومانيا كانت قادرة على وقف تقدم القوى المركزية في مولدافيا.

المراهقة والظهور لأول مرة
بعد الانتهاء من تعليمه الابتدائي في مدرسة في شارع  مانتوليزا، التحق إلياده بكلية  سبيرو هاريت الوطنية في نفس صف أرشافي أكتريان وهيغ أكتريان وبيتر فيفورانو. من بين زملائه الآخرين الفيلسوف المستقبلي كونستانتين نويكا وصديق نويكا، مؤرخ الفنون المستقبلي باربو بريزيانو. عندما كان طفلاً، كان إلياده مفتونًا بالعالم الطبيعي، الذي شكل أولى محاولاته الأدبية، وكذلك بالفولكلور الروماني والإيمان المسيحي. أثناء نشأته، كان يهدف إلى إيجاد وتسجيل ما اعتقد أنه المصدر المشترك لجميع التقاليد الدينية. قاده اهتمامه بممارسة الرياضة والمغامرات إلى احتراف تسلق الجبال والملاحة الشراعية، وانضم أيضًا إلى الكشافة الرومانية.

صمم وأبحر بقارب على نهر الدانوب مع مجموعة من الأصدقاء، من تولتشيا إلى البحر الأسود. نأى إلياده عن البيئة التعليمية، وأصبح غير راضٍ عن الانضباط المطلوب ومهووسًا بفكرة أنه كان أقبح وأقل رجولةً من زملائه. بغرض تقوية إرادته، كان يجبر نفسه على ابتلاع الحشرات وينام أربع إلى خمس ساعات فقط في الليلة الواحدة. في إحدى الفترات، فشل إلياده بأربع مواد، من بينها دراسة اللغة الرومانية.

بدلاً من ذلك، أصبح مهتمًا بالعلوم الطبيعية والكيمياء، وكذلك التنجيم، وكتب مقالات قصيرة في علم الحشرات. على الرغم من قلق والده من أنه كان في خطر فقدان بصره الذي كان ضعيفًا بالفعل، كان إلياده يقرأ بحماس. كان أحد كتابه المفضلين أونوريه دي بلزاك، ودرس أعماله بعناية. ألمّ إلياده أيضًا بالقصص القصيرة الحديثة لجيوفاني بابيني ودراسات علم الإنسان الاجتماعي لجيمس جورج فريزر.

الدراسات الجامعية والإقامة الهندية
بين عامي 1925 و 1928، التحق بكلية الفلسفة والآداب بجامعة بوخارست في عام 1928، وحصل على شهادته من خلال دراسة حول الفيلسوف الإيطالي الحديث توماسو كامبانيلا. في عام 1927، سافر إلياده إلى إيطاليا، حيث التقى ببابيني وتعاون مع الباحث جوزيبي توتشي.

خلال سنوات دراسته، التقى إلياده بناي إيونسكو، الذي ألقى محاضرات في المنطق، ليصبح أحد تلاميذه وأصدقائه. انجذب بشكل خاص إلى أفكار إيونسكو الراديكالية واهتمامه بالدين، ما دل على الانفصال في التقليد العقلاني الذي يمثله كبار الأكاديميين مثل قسطنطين رولزديوليسكو-موترو وديمتري غوستي وتيودور فيانو.

بدأت الأعمال العلمية لإلياده بعد فترة طويلة من الدراسة في الهند البريطانية، بجامعة كلكتا. عندما وجد أن مهراجا كاسيمبازار كان راعيًا للعلماء الأوروبيين ليدرسوا في الهند، تقدم إلياده بطلب ومُنح بدلًا لمدة أربع سنوات، وتضاعف لاحقًا بواسطة منحة رومانية. في خريف عام 1928، أبحر إلى كلكتا لدراسة اللغة السنسكريتية والفلسفة تحت يدي سوريندراناث داسغوبتا، وهو خريج جامعة كامبريدج البنغالية وأستاذ بجامعة كلكتا، ومؤلف كتاب «تاريخ الفلسفة الهندية» المؤلف من خمسة مجلدات. قبل وصوله إلى شبه القارة الهندية، قام إلياده أيضًا بزيارة قصيرة لمصر. وبمجرد وصوله إلى الهند، زار عدة مناطق فيها، وقضى فترة قصيرة في الأشرم في جبال الهيمالايا.

مراجع

روابط خارجية

أشخاص من بوخارست
أعضاء الكنيسة الرومانية الأرثوذكسية
أعضاء هيئة تدريس جامعة بوخارست
أعضاء هيئة تدريس جامعة شيكاغو
أعضاء هيئة تدريس جامعة كلية اللاهوت بجامعة شيكاغو
أكاديميون في الفلسفة
أنطولوجيون
خريجو جامعة بوخارست
خريجو جامعة كلكتا
دبلوماسيون رومانيون
دبلوماسيون من بوخارست
دراميون وكتاب مسرحيون رومانيون في القرن 20
روائيون
روائيون رومانيون
روائيون رومانيون في القرن 20
روحانيون رومانيون
رومانيون في الحرب العالمية الثانية
رومانيون كتبوا بالفرنسية
رومانيون مغتربون في الولايات المتحدة
رومانيون مغتربون في فرنسا
رومانيون منشقون
زملاء مراسلون في الأكاديمية البريطانية
شامانية
صحفيون رومانيون
صحفيون في القرن 20
صحفيون من بوخارست
علماء أساطير
علماء أنثروبولوجيا رومانيون
علماء أنثروبولوجيا في القرن 20
فاشيون مسيحيون
فلاسفة الأديان
فلاسفة التاريخ
فلاسفة الثقافة
فلاسفة القرن 20
فلاسفة رومانيون
فلاسفة رومانيون في القرن 20
فلاسفة سياسيون
فلاسفة علم الاجتماع
فلاسفة كتبوا حول النشاط والتغيير الاجتماعي
فلاسفة معاصرون
فلاسفة الزمن
فلاسفة نظرية المعرفة
كاتبو الوثنية الجرمانية
كتب فلسفية
كتاب دراما ومسرح
كتاب سفر رومانيون
كتاب سيرة ذاتية رومانيون
كتاب عن الدين والعلم
كتاب فنتازيا رومانيون
كتاب قصة قصيرة ذكور رومانيون
كتاب قصة قصيرة رومانيون
كتاب مذكرات رومانيون
كتاب مذكرات في القرن 20
كتاب مقالات رومانيون
كتاب مقالات في القرن 20
كتاب من بوخارست
متخصصون في دراسة الدين
مربون في القرن 20
مستشرقون رومانيون
معاداة الماسونية
معلقون اجتماعيون
منظرو المجاز
منظرون أدبيون
منظرون على الحضارة الغربية
مواليد 1907
مواليد في بوخارست
ميتافيزيقيون
مؤرخو أديان رومانيون
مؤرخون رومانيون في القرن 20
نقاد اجتماعيون
نقاد ثقافيون
نقد أدبي روماني
وفيات 1986
وفيات بسبب مرض دماغي وعائي
وفيات في شيكاغو

ميرتشا إلياده


Ağcayazı, Samsun ilinin Vezirköprü ilçesine bağlı bir Çerkes mahalleüdür.

Tarihçe
 Mahallenin tamamı Çerkezlerden oluşup 1878-1888 Osmanlı-Rus savaşı'nda sürgün edilen Çerkezlerin yerleştiği sanılmaktadır.

Coğrafya
Samsun iline 132 km, Vezirköprü ilçesine 17 km uzaklıktadır.

Nüfus

Kaynakça

https://www.e-icisleri.gov.tr/Anasayfa/MulkiIdariBolumleri.aspx  Genel Mahalle Listesi, T.C.İçişleri Bakanlığı, Mart 2020.

Vezirköprü'nün mahalleleri

Ağcayazı, Vezirköprü


Radek Ťoupal (* 16. August 1966 in Písek, Tschechoslowakei) ist ein ehemaliger tschechischer Eishockeyspieler. Sein jüngerer Bruder Kamil Ťoupal ist ebenfalls ein professioneller Eishockeyspieler.

Karriere
Radek Ťoupal begann seine Karriere als Eishockeyspieler bei TJ Motor České Budějovice, für dessen Seniorenmannschaft er zwischen 1982 und 1990 in der 1. Liga, der höchsten tschechoslowakischen Spielklasse, aktiv war. Zur Saison 1990/91 wechselte der Center innerhalb der 1. Liga zum HC Dukla Trenčín. Für Dukla erzielte er in 50 Hauptrundenspielen 22 Tore und 54 Vorlagen. Als Topscorer und bester Vorlagengeber der Liga wurde er in das All-Star-Team der höchsten tschechoslowakischen Spielklasse gewählt. Zur Saison 199/91 wurde er von HPK Hämeenlinna aus der finnischen SM-liiga verpflichtet. Mit der Mannschaft scheiterte er in der Saison 1992/93 erst im Meisterschaftsfinale.

Die Saison 1993/94 verbrachte Ťoupal bei seinem Ex-Klub HC České Budějovice in der nach Teilung der Tschechoslowakei erstmals ausgetragenen tschechischen Extraliga. Die Saison 1994/95 begann er beim Sportbund DJK Rosenheim in der ebenfalls neu gegründeten Deutschen Eishockey Liga. Für die Bayern erzielte er in 20 Spielen 21 Scorerpunkte, davon sechs Tore, ehe er zur Saisonmitte wieder zum HC České Budějovice zurückkehrte. Bei seinem Stammverein war er von 1997 bis 1999 Mannschaftskapitän. Zuletzt lief der zweifache Olympiateilnehmer in der Saison 2000/01 für den Kapfenberger SV in der Österreichischen Bundesliga auf, ehe er seine Karriere im Alter von 35 Jahren beendete.

Seit seinem Karriereende betreibt Ťoupal eine Immobiliengesellschaft. Während der Saison 2003/04 kehrte er zum HC České Budějovice als Trainer zurück und betreute das Team in der Abstiegsrunde, konnte den Abstieg in die 1. Liga jedoch nicht verhindern. In der Saison 2005/06 betreute er eine Juniorenmannschaft des Vereins als Nachwuchstrainer.

International
Für die Tschechoslowakei nahm Ťoupal an der U20-Junioren-Weltmeisterschaft 1986 teil. Zudem stand er im Aufgebot seines Landes bei der Weltmeisterschaft 1991 sowie den Olympischen Winterspielen 1992 in Albertville. Bei den Winterspielen 1992 gewann er mit seiner Mannschaft die Bronzemedaille.

Für Tschechien nahm er an der Weltmeisterschaft 1993, bei der er mit seiner Mannschaft die Bronzemedaille gewann, sowie den Olympischen Winterspielen 1994 in Lillehammer teil. Insgesamt erzielte Ťoupalin 79 Länderspielen 13 Tore.

Erfolge und Auszeichnungen
 1991 All-Star Team der 1. Liga
 1991 Topscorer der 1. Liga
 1991 Bester Vorlagengeber der 1. Liga

International
 1984 Silbermedaille bei der U18-Junioren-Europameisterschaft
 1992 Bronzemedaille bei den Olympischen Winterspielen
 1993 Bronzemedaille bei der Weltmeisterschaft

Weblinks

Eishockeynationalspieler (Tschechoslowakei)
Eishockeynationalspieler (Tschechien)
Eishockeyspieler (HC České Budějovice)
Eishockeyspieler (HK Dukla Trenčín)
Eishockeyspieler (Österreich)
Eishockeyspieler (Hämeenlinnan Pallokerho)
Eishockeyspieler (Starbulls Rosenheim)
Eishockeytrainer (HC České Budějovice)
Olympiateilnehmer (Tschechoslowakei)
Olympiateilnehmer (Tschechien)
Teilnehmer der Olympischen Winterspiele 1992
Teilnehmer der Olympischen Winterspiele 1994
Universiadeteilnehmer (Tschechoslowakei)
Teilnehmer der Winter-Universiade 1987
Sieger bei den World University Games (Eishockey)
Tschechoslowake
Tscheche
Geboren 1966
Mann

Radek Ťoupal


Slepčany este o comună slovacă, aflată în districtul Zlaté Moravce din regiunea Nitra. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 808 locuitori.

Istoric
Localitatea Slepčany este atestată documentar din 1165.

Note

Legături externe

Localități din Slovacia

Slepčany


Gara Aluniș Mureș este o stație de cale ferată care deservește comuna Aluniș, județul Mureș, România.

Aluniș Mureș

Gara Aluniș Mureș


A União Sacerdotal Marcel Lefebvre (USML) é uma associação apostólica católica tradicionalista, fundada em 15 de julho de 2014 por Dom Williamson após sua expulsão da Fraternidade Sacerdotal São Pio X.

História
Em forte oposição ao bispo Bernard Fellay, que gostaria de obter um acordo canônico com o Papa de Roma, vários sacerdotes pertencentes à Fraternidade Sacerdotal de São Pio X reuniram-se em Avrillé, na França, em julho de 2014 , em torno do bispo Richard Williamson e eles deram origem a esta nova união nascida de todos os ex-membros da FSSPX. Os padres reunidos na Igreja Lefebvriana representam "a ala mais extrema" dos tradicionalistas católicos, os chamados resistentes: em oposição à proposta de um (possível) acordo canônico, procurado pelo bispo Bernard Fellay com o papado romano; como profundamente oposto ao modernismo e ao ecumenismo. Uma união de tradicionalistas católicos que visa reunir todos aqueles sacerdotes seculares que se dizem autenticamente herdeiros do pensamento do arcebispo, Monsenhor Marcel Lefebvre, e que reivindicam São Pio X como seu padroeiro.

Em 19 de março de 2015 em Nova Friburgo no Brasil em um mosteiro beneditino Williamson ordenou bispo Jean-Michel Faure sem mandato papal. Dom Jean-Michel Faure retorna à França e abre o seminário da USML sob o patrocínio de São Luís Maria Grignion de Montfort e do beato Noël Pinot.

Itens relacionados
 Católicos tradicionalistas
 Fraternidade Sacerdotal de São Pio X
 Jean Michel Faure
 Marcel Lefebvre
 Richard Williamson

Ligações externas
 (FR) Site da União Sacerdotal Marcel Lefebvre

União Sacerdotal Marcel Lefebvre


Carlos Augusto da Silva Ramos (* 10. Oktober 1907 in Lissabon; † 9. November 1969 ebenda) war ein Fado-Sänger und ein Gitarrist der Portugiesischen Gitarre.

Werdegang
Als Jugendlicher sah er Gitarristen in den Lokalen von Alcântara spielen und lernte das Instrument. Später besuchte er Fado-Lokale, wo er u. a. Armandinho (1891–1946) spielen sah. Er begleitete Fado-Sänger wie Alfredo Marceneiro und Hermínia Silva auf der Portugiesischen Gitarre, bevor er 1930 erstmals selbst öffentlich sang, mit eigener Begleitung. 1939 spielte er erstmals im Ausland, als Begleitung portugiesischer Sänger auf der internationalen Messe von New York. Seine Karriere als Fado-Sänger begann im März 1944, als er im Café Luso unter Vertrag genommen wurde, dem damals bedeutendsten Fado-Lokal. Er begleitete sich selbst auf der Portugiesischen Gitarre, auch in seinen anschließenden Engagements in anderen Fado-Häusern, u. a. dem O Faia. Er trat auch in verschiedenen Filmen als Gitarrist auf, u. a. in Fado (Perdigão Queiroga, 1947) und O Fado Corrido (Jorge Brum do Canto, 1964). 1953 siedelte er für einige Engagements nach Brasilien über, u. a. im Rádio Nacional do Rio de Janeiro. 1958 ging er auf Einladung der staatlichen Schifffahrtsgesellschaft (Companhia Nacional de Navegação) auf Tournee durch Afrika und den Mittelmeerraum, zusammen mit Tony de Matos. Noch im gleichen Jahr wurde er Besitzer eines Restaurants, in dem Sänger wie Alfredo Marceneiro, Maria Teresa de Noronha u. a. auftraten.

Nach zahlreichen Auftritten im Radio (Emissora Nacional und Rádio Clube Português) und im Fernsehprogramm Melodias de Sempre (dt.: in etwa "Evergreens") der RTP wuchs seine Popularität stark an. Seine Fados waren teils Klassiker, teils auf ihnen aufbauende neue Stücke anderer Komponisten. Die von ihm selbst geschriebenen Lieder betonten die in seinem Repertoire ohnehin vorherrschende Thematik der Saudade, der vergangenen Zeiten, alten Traditionen und typischen Alltagszenen der alten Viertel seiner Heimatstadt. Nach einer Thrombose Mitte der 1960er Jahre endete seine Karriere abrupt. 1969 starb Carlos Ramos.

Diskografie (Auswahl)
 1961: Onde Estás? EP
 1962: Com Orquestra EP
 1963: Mas Sou Fadista EP
 1965: Maria Só EP
 1967: E Foi-Se a Mocidade EP
 1971: Sempre Que Lisboa Canta EP
 1976: Successos de Carlos Ramos (Best of-EP)
 1988: Êxitos (Best of)
 1989: O Melhor de Carlos Ramos (Best of)
 1993: O Melhor de Carlos Ramos, vol. 2 (Best of)
 1998: Biografias do Fado: Carlos Ramos (Best of-Serie)

Weblinks

Einzelnachweise

Musiker (Portugal)
Fadosänger
Person (Lissabon)
Portugiese
Geboren 1907
Gestorben 1969
Mann

Carlos Ramos


The Church are an Australian rock band formed in Sydney in 1980. Initially associated with new wave, neo-psychedelia, and indie rock, their music later came to feature slower tempos and surreal soundscapes reminiscent of alternative rock, dream pop, and post-rock. Glenn A. Baker has written that "From the release of the 'She Never Said' single in November 1980, this unique Sydney-originated entity has purveyed a distinctive, ethereal, psychedelic-tinged sound which has alternatively found favour and disfavour in Australia." The Los Angeles Times has described the band's music as "dense, shimmering, exquisite guitar pop".

The founding members were Steve Kilbey on lead vocals and bass guitar, Peter Koppes and Marty Willson-Piper on guitars, and Nick Ward on drums. Ward played only on their debut album, and the band's drummer for the rest of the 1980s was Richard Ploog. Jay Dee Daugherty (ex-Patti Smith Group) played drums from 1990 to 1993, followed by "timEbandit" Tim Powles (ex-The Venetians), who remains with them to the present day. Koppes left the band from 1992 to 1997,
and Willson-Piper left in 2013. Ian Haug, formerly of Powderfinger, replaced him. Kilbey, Koppes, and Powles also recorded together as the Refo:mation in 1997.

The Church's debut album, Of Skins and Heart (1981), delivered their first radio hit, "The Unguarded Moment", and they were signed to major labels in Australia, Europe, and the United States. However, the US label, dissatisfied with their second album, dropped the band without releasing it. This put a dent in their international success, but they returned to the charts in 1988 with the album  Starfish and the US Top 40 hit "Under the Milky Way". Subsequent mainstream success has proved elusive, but the band retains a large international cult following and were inducted into the ARIA Hall of Fame in Sydney in 2010. The Church continue to tour and record, releasing their 25th studio album, Man Woman Life Death Infinity, in October 2017, and their 26th and most recent, The Hypnogogue, in February 2023.

History

1980–1981: Early days, Of Skins and Heart
Singer, songwriter, and bass guitarist Steve Kilbey first played with guitarist Peter Koppes in a glam rock band called Baby Grande in Canberra, Australia in the mid-1970s. After each had left to travel and play in other bands, including Tactics (Kilbey) and Limazine (Koppes), they met again in Sydney in March 1980 and formed the initial three-piece version of The Church, with Limazine drummer Nick Ward. The name was a shortened version of the original name proposed by Kilbey: "The Church of Man". A month later, Marty Willson-Piper, originally from Liverpool, United Kingdom, witnessed one of their gigs and met Kilbey afterwards. That same night he was invited to join the band on guitar, establishing the classic two-guitar formation.

A four-song demo was recorded in Kilbey's bedroom studio and sent, through contacts from his and Koppes's old band Baby Grande, to the Australian branch of the Beatles' publishing company, ATV Northern Songs. The song "Chrome Injury" attracted the attention of managing director Chris Gilbey, who signed the band to his recently formed record production company, in association with EMI and their recently resurrected Parlophone label. Gilbey went to band rehearsals and helped shape their sound—he bought Willson-Piper a 12-string Rickenbacker guitar and equipped Koppes with an Echolette tape delay. Of that first batch of demos, only "Chrome Injury" would go on to be recorded for release.

The band's debut album, Of Skins and Heart, was recorded late in 1980, produced by Gilbey and mixed by Bob Clearmountain. Seven of the nine tracks were written solely by Kilbey and two co-written with others. The first single, "She Never Said", was released in November, but did not chart. At the start of 1981, Ward was replaced on drums by Richard Ploog. Ploog was recruited by their manager, Michael Chugg, after hearing of his reputation in Adelaide. Ploog's arrival established The Church's first stable line-up. The second single, "The Unguarded Moment", co-written by Kilbey and Michelle Parker, was issued alongside the album in March 1981, but only in Australia initially. "The Unguarded Moment" became an Australian top forty hit, reaching No. 22 on the Australian Kent Music Report Singles Chart, while Of Skins and Heart went gold, achieving the same position on the related Albums Chart. To promote the releases, the band undertook their first national tour.

The first recordings with Ploog were released as a five-track double 7-inch EP, Too Fast for You, in July. It included the first collectively written track, "Sisters". Another track, "Tear It All Away", later released as a separate single, showed a development towards the more elaborate guitar structures which would become part of the band's signature sound. Their image and sound now evoked comparisons with 1960s psychedelic groups, with tight jeans, paisley shirts, and Byrds-style jangly guitars.

Of Skins and Hearts commercial success enabled Gilbey to present the release to Freddie Cannon of French label Carrere and Rupert Perry of U.S. label Capitol. Both labels released the album in 1982, renaming it simply The Church and slightly altering the track listing to include songs from Too Fast for You and using a crop of that EP's artwork as the cover. The Church peaked at No. 7 in the New Zealand Albums Chart and No. 13 in Sweden. Ploog was incorrectly credited as the sole drummer on the release, despite only playing on one or three tracks, depending on the version. Capitol also released an edited single version of "The Unguarded Moment", without the band's approval.

1982–1985: The Blurred Crusade, Seance, Remote Luxury, Persia
The band's second album, The Blurred Crusade, was issued in March 1982 and was both produced and mixed by Bob Clearmountain. Sonically and stylistically more complex than the debut, it is "a smoother, fuller release", which showed the clear influence of 1960s psychedelia. "With its mystical lyrics the second album ... brought the group's own style more into focus". The album peaked at No. 10 and its first single, "Almost with You" resulted in a second Top 30 hit, peaking at No. 21.

The Church undertook a second Australian tour, while Carrere released the album in Europe, generating enough sales for them to tour there in October. However, Capitol declined to release The Blurred Crusade in North America and demanded that they write more radio-friendly material, as exemplified by their stable-mates Little River Band, which horrified the band. After another recording session, five new songs were offered to Capitol but the label was still unimpressed and dropped the band. The five songs were later released in Australia as the EP  Sing-Songs, which reached the Top 100 Albums Chart in December. Meanwhile, their manager, Michael Chugg, arranged a U.K. tour supporting the hugely successful pop group Duran Duran, but after eight gigs The Church pulled out, feeling that audiences were unsympathetic. Chugg later recalled, "They were hard work. All four of them were strong-willed and had their own ideas of how things should be." The band also toured Scandinavia and Europe in 1982, and both of their albums were released there to critical acclaim.

In May 1983, the band released their third album, Seance, co-produced by The Church and engineer John Bee (Hoodoo Gurus, Icehouse, The Divinyls), which peaked at No. 18. It used more keyboards and synthesizers and was typically described as "That stark release [which] explored the band's darker side, and [whose] tracks ... were awash with strings and other effects". The accompanying live shows included a guest keyboardist, Melbourne-based session player Dean Walliss.

For Seance, the band employed mixing engineer Nick Launay, who had worked with Midnight Oil. He favoured a gated reverb drum sound, popular in the 1980s, which produced a staccato-like snare sound. Unsatisfied with this, the band asked Launay to redo the mix, but the effect was only lightened. The first single, "Electric Lash", featured this effect especially prominently and it was likened to a "machine gun". Despite dissatisfaction over the mix, Seance featured a lusher, more atmospheric sound with highlights including "Now I Wonder Why" and "Fly". Internationally, the album sold poorly, being considered dark and cryptic, and the general public seemed to lose interest. Some critics in Europe and the U.S. did like the album however, with Creem hailing the band as "one of the best in the world".

Seance was again dominated by Kilbey's songwriting. Some 20 songs were put together on his home 4-track. Only one band composition made the album: the experimental "Travel by Thought". Kilbey and Willson-Piper had co-written another track, "10,000 Miles", but the label rejected it. Kilbey was upset by the label's interference, finding the track essential to their live set (it would be included on their next EP). Despite the difficulties, the album yielded two minor hits - "It's No Reason" and "Electric Lash" - and stayed in the British independent charts for several months.

The group had built a devoted fan base with their paisley shirts, catchy melodies, and solid live performances. Following the release of Seance, they toured Australia and New Zealand for the rest of the year to pay off debts incurred on the European tour. Meanwhile, Capitol Records released their first album in Canada, where it reached the Top 20. The Sing-Songs EP also became one of the bestselling Canadian imports of 1983.

Forgoing a full album, the band released two EPs in 1984, Remote Luxury in March and Persia in August, but only in Australia and New Zealand. Both EPs reached the Top 50 on the Australian Albums Chart. Again, almost all tracks were written by Kilbey, but compared to Seance, the atmosphere was lighter and less gloomy. The band's trademark guitar sound was complemented by the keyboards of guest musicians Davey Ray Moor (from the Crystal Set, which included Kilbey's brother Russell) and Craig Hooper (from the Reels), who joined as an auxiliary member. Hooper soon left to form the Mullanes.

The band then signed to Warner Bros. Records in the United States. Internationally, the two EPs were repackaged as a single album titled Remote Luxury. Its U.S. release was their first record there since the debut album – although The Blurred Crusade and Seance had sold well on import. Due to the interest raised in the U.S., they left Michael Chugg Management in Sydney and signed with Malibu Management's owner John Lee. They toured the US in October and November and while venues in New York and Los Angeles saw audiences of about 1,000 people, other gigs had as few as 50. In financial terms, the tour went poorly and the band lost thousands of dollars a week.

The Church seemed to reach a nadir in 1984. Unable to repeat the commercial success of the first two albums, there was a perception that their creativity was declining. Kilbey later said: "I think we released a few dud records that weren't as good as they should have been, after The Blurred Crusade ... The band was just drifting along in a sea of apathy, I was writing not-so-good songs and the band wasn't playing them very well, so everyone's enthusiasm just waned".

The start of 1985 was quiet for the band as members spent time apart in Stockholm, Sydney, and Jamaica. Kilbey's debut solo single, "This Asphalt Eden", was released by EMI Parlophone and he was also the producer on the single "Benefit of the Doubt" for the Crystal Set.

1985–1988: Heyday, Starfish

The Church reconvened at Studios 301 in mid-1985 to work on their next album, Heyday, with British producer/engineer Peter Walsh (Simple Minds, Scott Walker, Peter Gabriel). Their first single in almost two years, "Already Yesterday", appeared in October and just made the Top 100. Heyday followed in November and brought new stylistic elements with the addition of real strings and horns, creating a warm, organic sound. The songs "were among the richest moments in The Church canon". While Kilbey still wrote the lyrics, the band were now largely writing the music together, a practice which they would continue thereafter.

Released in Australia, New Zealand, Europe, and the US, the album was warmly received. In Australia, it peaked at No. 19, and it also appeared on the U.S. Billboard 200. A promotional tour started in April 1986, with concerts both at home and abroad. Unexpectedly, Willson-Piper suddenly quit mid-tour after rising in-band tensions and on 10 July, The Church performed as a three-piece in Hamburg, Germany. Willson-Piper returned within a week after Kilbey agreed that future releases would contain more group efforts.

Despite the charged atmosphere and warm press, low sales for the album's singles in Australia prompted EMI to drop them. Plans for a double live album, Bootleg, were also scrapped. Since the band had greater sales overseas than in Australia, they decided to record in a studio abroad and opted for a four-album deal with U.S. label Arista Records in 1987. For Australian releases they signed with Mushroom Records.

Recording sessions in Los Angeles, with producers Waddy Wachtel (Bob Dylan, Rolling Stones, Robbie Williams) and Greg Ladanyi (Warren Zevon, Jackson Browne, Fleetwood Mac), were a new challenge according to Kilbey: "It was Australian hippies versus West Coast guys who know the way they like to do things. We were a bit more undisciplined than they would have liked". Personality clashes occurred as the two sides bickered over guitar sounds, song structures, and work ethic. Under pressure from the producers, Kilbey took vocal lessons, an experience he later regarded as valuable.

The stress of living in the US influenced their recording, and left Kilbey feeling out of place:  Album tracks such as "North, South, East and West", "Lost," "Reptile", and "Destination" bore the imprint of the faces, scenery, and daily life of the group's new, temporary home.

Four weeks of gruelling rehearsals resulted in Starfish, which focused on capturing the band's core sound. Bright, spacious, and uncluttered, the recording was a departure from the layered orchestrations of Heyday. The group wanted as live and dynamic an album as possible; Willson-Piper said that trying to record a live atmosphere lacked a real gig's sense of "being there". They found the results bare and simplistic; however, the public reception was unexpected.

Released in April 1988, Starfish found its way into the mainstream, marking a new worldwide commercial peak for the band. It reached No. 11 in Australia and the Top 50 in the US. The album was awarded a gold record in December 1992 by the Recording Industry Association of America. Also released in February, the single "Under the Milky Way" reached #24 on the US Hot 100, #22 in Australia, and entered the Canadian Top 100. It peaked at No. 2 on the Billboard Mainstream Rock Tracks. The song was written by Kilbey and then-girlfriend Karin Jansson (ex-Pink Champagne). A near five-minute video received airtime on music television programs. "Under the Milky Way" won an ARIA Award in 1989 for 'Single of the Year'. In 2008, readers of The Australian voted it the best Australian song of the last 20 years. In response, Kilbey said, "it's not really about anything at all. I just wanted to create an atmosphere and I didn't even put a lot of thought into that. History has given it something that it never really had".

A second single from Starfish, "Reptile", charted on the Australian Top 100 in August and Billboard Mainstream charts.

EMI responded with a double compilation album, Hindsight 1980-1987, which contained selections from the band's prior albums, together with hitherto-uncollected singles and B-sides. It peaked in the ARIA Top 40 Albums Chart in July.

1989–1992: Gold Afternoon Fix, Priest=Aura
The Church promoted Starfish with a nine-month tour before they returned to the studio for a follow-up. With a US Top 50 album under their belt, there was pressure from Arista to create another. The band started negotiations with former Led Zeppelin bass guitarist and keyboardist John Paul Jones, who had a reputation as a sophisticated producer, but the record company and management vetoed their suggestion. In an attempt to duplicate the success of Starfish, The Church returned to Los Angeles, with Waddy Wachtel producing.

While the prior sessions were tense, these were volatile. Already unenthusiastic about the forced pairing, there was the stress of having to create another hit album, and this took its toll. All members were outspoken about the role that drugs played in The Church's creative process, but drummer Richard Ploog began to retreat further into his own habit as pressure increased. The number of attempted studio takes spiralled and Ploog's relationship with Kilbey deteriorated, accentuated by Wachtel's demands for a consistently reliable tempo. Eventually, Ploog's isolation led to exclusion and his drum tracks were replaced by rigid, but meter-perfect, programmed drums on all but three tracks. He left the band after the sessions.

The resulting album, Gold Afternoon Fix, while different from its predecessor, reached No.12 on the Australian Recording Industry Association (ARIA) Albums Chart. While Starfish focused on a raw, live sound, Gold Afternoon Fix employed more ambient aspects including piano, acoustic guitars, and keyboards. On some tracks, the music was punctuated by clanging metal, rustling wind, or sharp, industrial sounds.

Gold Afternoon Fix was heavily backed by a promotional campaign from Arista and the band went on tour, hiring Patti Smith's drummer Jay Dee Daugherty. The album spawned a hit single, "Metropolis" (No. 19 in Australia, No. 11 on U.S. Mainstream Rock), but the follow-up, "You're Still Beautiful", did not chart. Ultimately, the album's sales were lower than Starfish'''s and press was mixed. The band, particularly Kilbey, would later dismiss the album as "lousy", "hashed together", and "hideous", although many of the songs have since become fixtures in the band's setlists.

After the dust had settled on Gold Afternoon Fix, The Church returned to their old haunt at Sydney's Studios 301 to commence work on their next album. With lowered commercial expectations and less pressure from Arista, the atmosphere was more relaxed. Bringing in British producer Gavin MacKillop (Barenaked Ladies, Toad the Wet Sprocket, Straitjacket Fits) to supervise the sessions, the band began to improvise the framework for the next set of songs. The use of opium and, for Kilbey, heroin, saw the material take on a more expansive and surreal quality, while Daugherty's jazzier approach on drums was a fresh change.Priest=Aura, titled from Kilbey's misreading of a Spanish fan's English vocabulary notes ('priest' = 'cura'), contains fourteen songs, many over six minutes long, and was their longest album yet at 65 minutes. With song concepts derived from cryptic, one-word working titles (an idea originally proposed by Willson-Piper), the lyrics leaned towards the abstract and esoteric. Emphasizing free association and undirected coincidence between music and motif, Kilbey declined to define their meanings. Sonically, the music had numerous layers, courtesy of numerous guitar overdubs and MacKillop's rich production. The interplay between Koppes and Willson-Piper dominated throughout, especially on tracks such as "Ripple", "Kings", and the epic, aptly titled "Chaos", whose lyrics were a reflection of Steve Kilbey's unsettled lifestyle at the time.

Upon its release on 10 March 1992, Priest=Aura was given a mixed reception. It peaked in the ARIA Top 30, but reviews were varied, with some critical and others uncertain how to react. The band only went on a limited tour, confined to Australia, as Kilbey prepared for the birth of his twin daughters with Karin Jansson.

Adding to the decline in The Church's outlook was the announcement of Koppes' departure. His decision reflected two main factors: that the band had earned nothing for the two-week tour of Australia, and that he felt shut out of the creative process - a long-standing complaint that stretched back at least as far as Seance, if not further. Despite a completely sold-out tour, increasing personality conflicts within the band and frustration over their lack of success had made the situation intolerable. Despite its muted reception at the time of release, Priest=Aura is considered by both the band and fan base to be an artistic high point. In his 2014 autobiography, Something Quite Peculiar, Kilbey calls it their "undisputed masterpiece".

1993–1996: Sometime Anywhere, Magician Among the Spirits
Despite the loss of Koppes, Arista decided to stand by the band's contract and back another Church album, and so Kilbey and Willson-Piper began to write new material. When it became clear that Daugherty would not be returning to the fold either, the remaining two took the opportunity to approach their music from new perspectives, abandoning their long-established roles and stylistic elements in favour of experimentation, spontaneity, and electronica.

Early in 1994, the two brought in Willson-Piper's childhood friend Andy 'Dare' Mason to produce, record, and mix. The album was mostly recorded at Sydney's Karmic Hit Studios and mixed at Karmic Hit and Studios 301. New Zealand drummer Tim Powles (ex-The Venetians) was hired for the sessions, having already played with Kilbey on his Jack Frost project. Considered temporary at the time, Powles would soon become a permanent member of the band and is still with them over 20 years later.

The resulting album, Sometime Anywhere, released in May 1994, was generally well received and peaked in the Top 30. It is described as a "rich, dark, epic release [which] picked up where Priest left off with lush, lengthy tracks". Sales, however, were paltry and the first single, "Two Places at Once", did not chart. Promotion was minimal as Arista saw insufficient commercial promise in the release. With another commercially unsuccessful album on their hands, Arista did not renew The Church's contract and pulled financial support for a tour. Ambitious plans to stage full electric shows were scaled back, leaving Kilbey and Willson-Piper with only a short run of acoustic gigs as a duo.

Without a recording deal, the band's future looked bleak as Kilbey and Willson-Piper began work on new recordings in 1995. Although initially a two-man project, the new material saw input from new drummer Powles and hired violinist Linda Neil. Renewed contact between Kilbey and Peter Koppes led to the latter agreeing to guest on four songs - a welcome surprise for fans. Simon Polinski (Yothu Yindi) was drafted in to co-produce, engineer, and mix the sessions. The music saw a return to guitar-based material, infused with krautrock and art rock influences. A 15-minute atmospheric piece called "Magician Among the Spirits" dominated the sessions, named after a book by Harry Houdini. Additional contributions by Utungun Percussion added a new, primal aspect to several songs.

The album, also called Magician Among the Spirits, received mixed reviews, despite the guitar rock hook of its single "Comedown". It was released on the band's own Deep Karma label, but due to financial constraints, they had to arrange outside distribution for the North American and European markets. This almost doomed the album from the beginning, but worse events were to come. Within a short time, the U.S. distributor went bankrupt, leaving the band stripped of its earnings from North American sales. Although exact figures remain unknown due to disputes, up to A$250,000 worth of merchandise (some 25,000 discs) was lost. For a band already on shaky ground, this was nearly the death knell. Comments by Kilbey in May of that year summed up the situation: "There's no immediate future for The Church.....Our management, the whole thing is broken down.....We don't really have a label. We're owed lots and lots of money and we're broke. We're trying to pursue lawyers to get our money back. Marty and I aren't having any communication. There's no one really managing us so.....that could have been the last record."

1997–1999: The Refo:mation, Hologram of Baal, A Box of Birds
Following the commercial failure of Magician Among the Spirits, the members of The Church turned their attention to other projects and Willson-Piper left Australia again in order to collaborate with other artists and write new solo material. In his absence, Kilbey, Powles, and Koppes spent some studio time together and quickly wrote and recorded an album as The Refo:mation, utilizing Powles also as a mix engineer. Loose in feel but rich in atmosphere, the eccentrically-titled Pharmakoi/Distance-Crunching Honchos with Echo Units saw a greater focus on concise, guitar-dominated songs, in contrast to the experimentation of Magician Among the Spirits.

Group tensions within The Church proper were still simmering, however. More than anyone else, it was new drummer Tim Powles who tried to alleviate the outstanding disagreements. While Koppes and Willson-Piper had already had differences for some time, Kilbey and Willson-Piper's relationship was also strained by recent problems. Kilbey declared that the end was nigh: after a final, worthy swan song, with the working title Au Revoir Por Favor, the Church would be put to rest. The four agreed to play a string of farewell concerts around Australia, which turned out to be extremely successful. The roaring success of the intended "final concert" in Sydney put a quick end to talk of the band's demise.

The results of the new recording sessions saw a return to the band's roots: the material was once again based around Koppes and Willson-Piper's guitar interplay. Also, for the first time, the band completely produced the work themselves, under Powles' aegis. Originally given the name Bastard Universe, the forthcoming album was re-titled Hologram of Allah after Willson-Piper found the original too negative. Concerns about fundamentalist Muslim reaction to the potentially blasphemous title made the band finally opt for the more neutral Hologram of Baal, after the Canaanite god. Released under a new contract with UK independent label Cooking Vinyl, the album was distributed in the U.S. by Thirsty Ear. A limited edition featured a bonus disc with a nearly 80-minute continuous improvised instrumental, which received the original title of the album, Bastard Universe.

The reformed and rejuvenated band went on their first fully electric tour of the U.S., Australia, and Europe in many years. A plan to release a live album called Bag of Bones was put into motion, but then cancelled.

Instead, a collection of cover songs was recorded in Sweden, shedding light on the band's influences. Arriving in August 1999 - less than a year after Hologram of Baal - A Box of Birds contained an unusual selection of songs from Ultravox and Iggy Pop to The Monkees and Neil Young. The insert for the CD was designed as interchangeable, with 10 separate sleeve designs created by fans. As with Hologram of Baal, a tour followed the album's release, but new drama hit the band mid-tour in New York City when Kilbey was arrested for trying to purchase heroin. The band was forced to improvise a set after he failed to show, with Willson-Piper covering vocals. A night in jail and a day's community service on the Manhattan subway were Kilbey's only punishment. "A drug bust is something every aging rock star should have under his belt", he was later quoted as saying.

2000–2007: After Everything Now This, Forget Yourself, Uninvited, Like the Clouds
In 2001, "Under the Milky Way" was featured in the film Donnie Darko, helping to raise the band's profile once again. However, recording for their next album turned out to be painstakingly slow due to numerous side projects and simple geography. With Kilbey now living in Sweden, Willson-Piper in England, and the others in Australia, the bandmates met across several separate sessions. Partially recorded in Sweden, NYC, and Australia, the resulting After Everything Now This, released in January 2002, saw a focus on the softer elements of the band, with responsibility for production and final mixing again resting on Powles. With only three obvious "rock" tracks out of ten, gentler moods dominated. The album achieved the biggest international success for The Church in almost ten years. The successive world tour featured the band in a more subtle setting as well, with most tracks performed primarily acoustically alongside guest David Lane on piano.

Fans would not have to wait long for another group release.  The double-disc remix/outtakes set Parallel Universe hit stores in late 2002. Unique among the band's catalogue, the first disc, subtitled "remixture", featured a reshuffled, remixed, electronic version of the After Everything Now This album, the result of Tim Powles' collaboration with Sydney EDM musicians. The second disc, subtitled "mixture", compiled leftover songs from the After Everything Now This recording sessions.

Around the time that Parallel Universe was released, the Church had returned to the studio to record yet another album, eventually titled Forget Yourself. Rather than fleshing the songs out over a long, gradual process, the band decided to keep the music as close to the original jam-based material as possible. Stylistically, this made for a much rawer sound, primarily recorded live and with minimal overdubs. As had become routine since Sometime Anywhere, songs saw numerous instrument changes between members, with Powles playing lead guitar on "Sealine","Maya", and "Reversal", and Willson-Piper switching to drums on "Maya". Forget Yourself was engineered and co-produced by Nic Hard and was released in Australia in October 2003 and in the U.S. in February 2004. The band toured extensively to support the album in Australia, the U.S., and Europe.

Their prolific output continued into 2004 with the release of three ancillary albums. Under the guidance of manager Kevin Lane Keller - an American fan and marketing professor who had been working with the band since 2001 - the Church began capitalizing on the advantages offered by the internet and the independent music industry. First, in August, came the entirely improvised album Jammed, containing just two long tracks and available exclusively from the band's website. Next, in October, came their third outtakes album, Beside Yourself, covering the Forget Yourself sessions. Finally, only six weeks later, came El Momento Descuidado, in which the band presented old and new material in an acoustic setting, for the Liberation Blue label. The title was a rough tongue-in-cheek translation of "The Unguarded Moment", a version of which was included. A short acoustic tour followed in late 2004, which initiated a new practice amongst the band members: that of swapping instruments on stage. The album was eventually nominated in 2005 for "Best Adult Contemporary Album" at the Australian ARIA Music Awards, although it did not win.

In 2005, The Church returned to full electric mode and began work on new material once again. The first release from these sessions was the outtakes album Back with Two Beasts, released via their website as a teaser for the main album which would follow a few months later. Back with Two Beasts has over time come to have a "main" album life of its own, with tracks being featured on Apple music and the like, being seen by many fans as the band at its fluid and fresh artistic best. Uninvited, Like the Clouds, their 20th studio album, was released to rapturous reviews in April 2006 and was followed once again by extensive touring in Europe, the U.S., and Australia. Just before its release, in March, they performed "Under the Milky Way" with the Melbourne Symphony Orchestra as part of the 2006 Commonwealth Games opening ceremony.

In February 2007 came El Momento Siguiente, a second album of acoustic re-interpretations of earlier songs plus several new compositions and a cover version of the Triffids classic "Wide Open Road". Later that year, the band toured Australia with the Pretenders, and EMI released the double-CD collection Deep in the Shallows – The Classic Singles Collection.

2008–2011: Shriek, Untitled #23, ARIA Hall of Fame induction, 30th anniversary
In 2006, The Church had embarked on their third improvised music project: to provide the soundtrack for a short film based on the renowned American science fiction writer Jeff Vandermeer's novel Shriek: An Afterword. The music was released in 2008 as the album Shriek: Excerpts from the Soundtrack, and was the first release on their new label, Unorthodox Records, a partnership with MGM Distribution.

In February 2009, the band began the build-up to their next major studio album with the Coffee Hounds EP, which featured the original, non-album composition "The Coffee Song", and a cover of Kate Bush's classic "Hounds of Love". The following month they released the Pangaea EP, whose title track would also be on the upcoming album.

Unorthodox Records released the album Untitled#23 in Australia in March and the U.S. label Second Motion Records released it to the rest of the world shortly thereafter. Recorded at Powles' Spacejunk III Studios by engineer/artist Jorden Brebach, who mixed many of the tracks, a double vinyl version quickly sold out. It was the band's 23rd album-length Australian release of original studio material, while Kilbey also alluded to the mystical significance of the number 23 in an interview with music publication Music Feeds. Another major international tour followed, the "So Love May Find Us" tour, named after a non-album track from the Pangaea EP.

Coinciding with the tour, a book entitled No Certainty Attached: Steve Kilbey and The Church by Robert Dean Lurie was published in Australia, the US, and the UK by Verse Chorus Press. While primarily a biography of Kilbey, the book also traced the evolution of the band from his perspective. This was not an official band project but Kilbey, Koppes, and various friends and family members did participate.

On 27 November 2009, the Church released another EP, Operetta. The title track was taken from Untitled #23 but the remaining tracks, including the 34-minute improvisation "Particles Matter", were unique to this release.

In February 2010, the band announced that they would be celebrating their thirtieth anniversary with an acoustic tour entitled "An Intimate Space". In a unique programme, the band chose one song from each of their many albums and performed them in reverse chronological order. The shows included a 28-page program and the Deadman's Hand EP, which included more unreleased material from the Untitled #23 sessions and some tracks specifically shaped by Powles for the release. The US leg of the tour spanned April and May, including a performance of "Under the Milky Way" on KUSI News in San Diego.

In October, Second Motion Records re-released six early Church albums in the US, with bonus tracks and extensive liner notes by Willson-Piper, along with the Deep in the Shallows singles collection.

On 27 October 2010, the Church were inducted into the Australian Recording Industry Association Hall of Fame by media commentator George Negus, while young pop singer Washington performed "The Unguarded Moment". After their acceptance speech, the band performed "Under the Milky Way" and "Tantalized". In November and December, they continued with the Australian leg of their "An Intimate Space" tour.

The band travelled to the US once again in February 2011 in full electric mode for the "Future Past Perfect" tour, performing three albums in their entirety: Untitled#23, Priest=Aura, and Starfish. Sold-out dates were played in Los Angeles, San Francisco, Seattle, Chicago, Alexandria, Philadelphia, New York, Foxborough, and Atlanta. This tour was the first on which the band was augmented onstage by the Australian multi-instrumentalist Craig Wilson, from the band ASTREETLIGHTSONG.

On 10 April 2010, The Church further celebrated their 30th anniversary with a special show entitled "A Psychedelic Symphony" at the Sydney Opera House, which had been a year in preparation. Accompanied by conductor George Ellis and the George Ellis Symphony Orchestra, the concert was performed to a sold-out 2,000+ capacity crowd and was recorded and filmed. A DVD and double CD were released by Unorthodox in June 2014, the band's first official live album. The show was also broadcast on the Australian music TV channel MAX during October 2011.

In December 2010, they concluded the "Future Past Perfect" tour with a dozen Australian dates. Their show of 17 December at the Enmore Theatre, Sydney, was filmed and is available to stream online.

2012 onward: Royalty dispute, member departures, new releases
In November and December 2012, The Church played a major series of concerts across Australia and New Zealand, together with Simple Minds, Devo, and Models. As part of the tour, they also played several "A Day on the Green" events with Models. During this tour, they also played two intimate "Art Rock 'n' Roll" shows, one at the Corner Hotel in Melbourne and the other at the Factory Theatre in Sydney, where each member chose four songs from the band's catalogue, interspersed with a selection of concert staples.

In March 2013, there were the outward signs of internal problems in the band when Steve Kilbey issued a series of statements which indicated that he was considering leaving The Church due to a dispute over royalty payments. Then, later in the year, Kilbey announced on the band's Facebook page that Marty Willson-Piper would not be returning and had been replaced by former Powderfinger guitarist Ian Haug. Kilbey explained that Willson-Piper was "not available" for the recording of a new album and subsequent touring, and praised Haug as "a brilliant guitarist". Kilbey also provided a pre-emptive response to disgruntled fans: "... if you can't dig it I'm sorry. this is my fucking band after all and it has existed at times without Peter and in the beginning without Marty."

In early October 2014, Kilbey explained that Willson-Piper was not asked to leave the band but that he had simply not replied to the various attempts made to contact him. Realizing that Willson-Piper would not respond, and in agreement with Powles at the time, Kilbey said "Yes, we have to find someone with stature. He has to have his own trip, he can't be some weedy little guy coming in to play guitar. It has to be somebody with experience and gravitas." As part of the same interview, Haug explained that he had received a phone call from Kilbey while he was returning home from a funeral. Without first greeting Haug, Kilbey simply asked, "If I asked you to join The Church, what would you say?" and ended the call after Haug's affirmative, but bewildered, response. Haug said that joining the Church was the "last thing" that would have entered his mind, but that "it just really seemed to work".

Entitled Further/Deeper, the Church's 24th studio album was released on 17 October 2014. Recorded over a period of eight days in late 2013, Further/Deeper was produced and engineered by Powles. Writing for the Courier-Mail, Noel Mengel rated the album with 4.5 stars, while Jeff Apter assigned the album 4 stars in Rolling Stone Australia. The band performed the album in its entirety during the "Further/Deeper" tours of Australia, then headed to North America and Europe, with a guest spot and select shows at SXSW Festival in Austin, Texas, and then a career-defining set on one of the prestigious PrimaVera festival's main stages in Barcelona, Spain.

In July, August, and September 2015, the band toured Australia, finishing at Splendour in the Grass festival, and then going to the U.S. again, co-headlining with The Psychedelic Furs on most of these dates. On this tour, at select headline side shows, the band played most of Further/Deeper plus The Blurred Crusade in their entirety. Upon arriving back in Australia, they headlined the boutique Small World Festival in Sydney's Newtown neighbourhood.

In 2016, the band returned to the U.S. again twice, first for a more comprehensive headline tour playing The Blurred Crusade in its entirety and including an invite to the main stage with The Flaming Lips and Young Fathers at Mavericks Festival in San Antonio, Texas. Then, in July, they toured the US again, repeating the success of 2015 by once again sharing larger venues with The Psychedelic Furs.

2017 brought the recording and release of The Church's 25th album, Man Woman Life Death Infinity. It was released on 6 October and was preceded by two singles, the album opener "Another Century" and the fourth track, "Undersea". About the album, Steve Kilbey commented, "This is The Church's water record. I've always marveled at the seas, rivers, and rain. It wasn't conscious at all, but on reflection, it definitely is a preoccupation on this record." The band toured North America in September and October before returning home to Australia for a string of dates in November and December.

On 1 February 2020, Steve Kilbey announced on Facebook that Peter Koppes had departed the group, and that touring member Jeffrey Cain had been promoted to full member status, with Even guitarist Ashley Naylor also being brought into the lineup.

Members
Current members
 Steve Kilbey – bass, lead vocals, keyboards, guitars (1980–present)
 Tim Powles – drums, percussion, backing vocals, guitars (1994–present; on hiatus since 2022)
 Ian Haug – guitars, backing vocals (2013–present)
 Jeffrey Cain – guitars, bass, keyboards, backing vocals (2020–present; touring 2017–2019)
 Ashley Naylor – guitars, backing vocals (2020–present)

Current touring musicians
 Nicholas Meredith – drums, percussion (2022–present)

Former members
 Peter Koppes – guitars, keyboards, backing vocals (1980–1992, 1997–2019)
 Nick Ward – drums, percussion, backing vocals (1980–1981)
 Marty Willson-Piper – guitars, backing vocals, bass (1980–2013)
 Richard Ploog – drums, percussion (1981–1990)
 Jay Dee Daugherty – drums, percussion (1990–1993)

Former touring musicians
 Craig Wilson – guitars, bass, keyboards, backing vocals (2009–2017, 2021)

Timeline

Discography

 Of Skins and Heart (1981) released internationally as The Church in 1982 with variant tracks
 The Blurred Crusade (1982)
 Seance (1983)
 Heyday (1985)
 Starfish (1988)
 Gold Afternoon Fix (1990)
 Priest=Aura (1992)
 Sometime Anywhere (1994)
 Magician Among the Spirits (1996)
 Hologram of Baal (1998)
 A Box of Birds (1999)
 After Everything Now This (2002)
 Parallel Universe (2002)
 Forget Yourself (2003)
 Jammed (2004)
 Beside Yourself (2004)
 El Momento Descuidado (2004)
 Back with Two Beasts (2005)
 Uninvited, Like the Clouds (2006)
 El Momento Siguiente (2007)
 Shriek (Excerpts from the Soundtrack) (2008)
 Untitled #23 (2009)
 Further/Deeper (2014)
 Man Woman Life Death Infinity (2017)
 The Hypnogogue (2023)

Awards and nominations
ARIA Music Awards
The ARIA Music Awards is an annual ceremony presented by Australian Recording Industry Association (ARIA), which recognise excellence, innovation, and achievement across all genres of the music of Australia. They commenced in 1987.

!
|-
| rowspan="2"| 1989|| rowspan="2"| "Under the Milky Way" || ARIA Award for Single of the Year ||  ||
|-
| ARIA Award for Song of the Year ||  ||
|-
| 2005 || El Momento Descuidado || ARIA Award for Best Adult Contemporary Album ||  ||
|-
| 2010 || The Church || ARIA Hall of Fame ||  ||

Helpmann Awards
The Helpmann Awards is a ceremony celebrating live entertainment and performing arts in Australia, presented by the industry group Live Performance Australia since 2001. Note: 2020 and 2021 were cancelled due to the COVID-19 pandemic.

!
|-
| 2011
| "A Psychedelic Symphony" – 30th Anniversary Concert ''
| Helpmann Award for Best Australian Contemporary Concert
|
|
|-

References

General

  Note: Archived [on-line] copy has limited functionality.

Specific

External links

ARIA Award winners
ARIA Hall of Fame inductees
Musical groups from Sydney
Australian rock music groups
Australian post-punk groups
Australian new wave musical groups
Parlophone artists
Musical groups established in 1980
Australian alternative rock groups
Neo-psychedelia groups
Australian dream pop musical groups
Cooking Vinyl artists
Thirsty Ear Recordings artists
Mushroom Records artists
Carrere Records artists
Second Motion Records artists

The Church (band)


Oliver Bundgaard, né le  à Randers au Danemark, est un footballeur danois qui évolue au poste d'arrière gauche au Viborg FF.

Biographie

En club
Né à Randers au Danemark, Oliver Bundgaard est formé par le club de sa ville natale, le Randers FC. En , il est promu en équipe première et prolonge son contrat de quatre ans, tout comme Tobias Klysner. Il joue son premier match en professionnel le 4 septembre 2019, lors d'une rencontre de coupe du Danemark face au Kolding IF. Il entre en jeu à la place de Björn Kopplin et son équipe s'impose par quatre buts à zéro. Le 31 mai 2021, il prolonge son contrat avec son club formateur jusqu'en juin 2024.

Le 27 octobre 2021, Bundgaard inscrit son premier but en professionnel à l'occasion d'une rencontre de coupe du Danemark contre le . Il ouvre le score d'une frappe lointaine et son équipe s'impose par quatre buts à zéro.

Le 31 août 2022, Filip Bundgaard rejoint le Viborg FF. Il signe un contrat de quatre ans, soit jusqu'en juin 2026 et arrive notamment pour renforcer le poste d'arrière gauche après le départ de Christian Sørensen au FC Copenhague.

En sélection nationale
En 2021, Oliver Bundgaard représente l'équipe du Danemark des moins de 20 ans, jouant deux matchs.

Vie privée
Oliver Bundgaard est le frère aîné de Filip Bundgaard, lui aussi footballeur professionnel formé au Randers FC.

Notes et références

Liens externes

Footballeur danois
Joueur du Randers FC
Joueur du Viborg FF
Naissance en juin 2001
Naissance à Randers

Oliver Bundgaard


La  est une ancienne gare ferroviaire belge de la ligne 164, de Bastogne à Benonchamps (frontière) située à Benonchamps, village de la commune de Bastogne, dans la province de Luxembourg en Région wallonne. Il s'agissait d'une ancienne gare frontalière desservant l'entité de Wardin.

Situation ferroviaire
La gare de Benonchamps était située au point kilométrique (PK) 7,4 de la ligne 164, de Bastogne à Benonchamps à seulement  de la frontière d'une part, et à  du point d'arrêt de l'autre part. La frontière entre la Belgique et le Luxembourg constitue le point d'amorce de la ligne 1b (Benonchamps - Wiltz - Kautenbach) des chemins de fer luxembourgeois.

Histoire
La Compagnie des chemins de fer Prince-Henri obtient par la loi du  une concession pour construire et exploiter près de  de lignes ainsi que des gisements de fer. La ligne de Kautenbach à Wiltz et à la frontière belge ne figure pas dans cette loi mais fait partie d'une série de lignes internationales demandées en  par Simon Philippart, actionnaire majoritaire du chemin de fer Prince-Henri, afin de mieux relier ce réseau aux lignes belges concédées à ce dernier, dont le réseau "Forcade" comprenant une ligne reliant Bastogne et Vielsalm à Saint-Vith (alors en Allemagne) et à la frontière française près de Bouillon et Sedan. Le réseau Forcade ne sera jamais construit mais, en 1873, l'État belge concède aux Bassins Houillers la construction de plusieurs lignes recoupant parfois celles de ce projet, dont une ligne de Bastogne à Gouvy achevée en 1885 qui permet de relier Bastogne à Liège. La ligne de Bastogne à Benonchamps doit quant à elle prolonger la ligne "Prince-Henri" de Kautenbach à Wiltz, raccourcissant ainsi le trajet entre Bastogne et le Luxembourg. Après la faillite du premier chemin de fer Prince-Henri, la nouvelle compagnie inaugure la section de Kautenbach à Wiltz le .

Les Chemins de fer de l'État belge inaugurent le  la section de  entre la halte de Bastogne-Nord et la gare de Benonchamps. Les rails atteignent la frontière le  mais il faut attendre le  pour que la société du Prince-Henri mette en service la section de Wiltz à la frontière entre la Belgique et le Luxembourg.

Malgré la présence d'une grande gare frontalière à Benonchamps, et d'une autre à Schimpach-Wampach en territoire luxembourgeois, l'exploitation de la ligne jusque Bastogne sera confiée au Prince-Henri puis, après la seconde guerre, aux chemins de fer luxembourgeois (CFL), le trafic des voyageurs et marchandises étant assez faible.

La SNCB supprime les trains de voyageurs de la ligne 164 en 1951 au profit de bus en correspondance avec les autorails des CFL en gare de Benonchamps. Jusqu'en 1967, il arrivait lors des hivers rigoureux que ces trains soient prolongés jusque Bastogne. Elle ferme finalement le  en raison de l'abandon par les CFL de la ligne entre Wiltz et la frontière.

Le bâtiment de la gare sera démoli, et les rails arrachés en 1973. Un chemin RAVeL a depuis été créé entre Bastogne et la frontière et se prolonge sur le territoire luxembourgeois jusqu'à l'entrée de Wiltz. Cette section de  contient plusieurs tunnels.

Patrimoine ferroviaire
Le , démoli depuis, était une très grande construction, plus vaste que celle de la gare de Bastogne-Sud. Reprenant la disposition traditionnelle des gares frontalière : une longue aile centrale encadrée par deux parties hautes servant de logement pour le chef de station et le receveur des douanes, elle a la particularité de posséder des corps de logis à quatre travées. Les portes et fenêtres sont surmontées d'arcs en anse de panier et une double loge décorative orne les pignons extérieurs. Les ailes latérales et leurs annexes apparaissent également symétriques. Une halle aux marchandises flanque cet édifice ; elle servait au déchargement des marchandises et à leur dédouanement.

Tout comme la gare de Sterpenich, également démolie, rien ne rattache stylistiquement ce bâtiment des recettes à ceux construits par l'État belge et les compagnies luxembourgeoises. .

Plus rien ne subsiste des bâtiments ferroviaires de Benonchamps longeant le RAVeL, une prairie à vaches occupe leur emplacement.

À près d'un kilomètre au sud, les bâtiments de la gare de Schimpach-Wampach existent toujours et ont été transformés en centre de vacances.

Notes et références

Voir aussi

Articles connexes
 Liste de gares en Belgique
 Gare de Schimpach-Wampach (au Luxembourg)
 Ligne 164 (Infrabel)
 Ligne 1b (CFL)

Liens externes
  Pandora : la ligne 164
 Hugo de Bot, Architecture des gares en Belgique, tome I (de 1835 à 1914), Brepols, Turnhout, 2002.

Gare dans la province de Luxembourg

Gare de Benonchamps


An Setaria faberi in uska species han Liliopsida nga ginhulagway ni R.A.W.Herrm.. An Setaria faberi in nahilalakip ha genus nga Setaria, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Setaria

Setaria faberi


Uma madrasta é uma mulher casada com alguém já com filhos, em relação aos filhos dessa pessoa. Os filhos, em relação à madrasta, são denominados enteados.

Cultura
Madrastas podem enfrentar alguns desafios sociais devido ao estigma em torno do personagem "madrasta má", que pode ter um impacto negativo na autoestima das madrastas.

Ficção
Na ficção, as madrastas são frequentemente retratadas como perversas e más. A personagem "madrasta má" surge principalmente em contos de fadas.

Nestes, enteadas são as suas vítimas mais comuns (Cinderela, Branca de Neve), seguidas do par enteada/enteado (Hansel e Gretel), mas também enteados por si só (A Árvore de Zimbro, conto alemão;  ou Leste do Sol e Oeste da Lua, norueguês - neste último, por o enteado se recusar a casar com a filha da madrasta). Excecionalmente, no conto romeno Os Meninos com as Estrelas Douradas, a vítima da madrasta é a esposa do seu enteado.

Nalguns contos de fadas, como La Gatta Cennerentola de Giambattista Basile ou o conto dinamarquês O Cavaleiro Verde, a madrasta alcança o casamento conquistando as boas graças da enteada, tornando-se cruel assim que o oficializa.

Madrastas malvadas não são temas exclusivos da literatura ocidental, estando também presentes em contos familiares chineses. No tratado Clássico da Piedade Final é relatada a história de Min Ziqian, que perdeu a mãe em idade jovem. Durante o Inverno, a sua garantia que os seus dois filhos biológicos estivessem sempre bem agasalhados do frio, mas negligenciava o enteado. Quando o marido o descobriu, decidiu divorciar-se dela. No entanto, Min intercedeu, alegando que a madrasta o negligenciava apenas a ele, mas com o casamento dissolvido, todas as três crianças acabariam neglicenciadas. O pai cedeu e a madrasta, daí por diante, passou a cuidar dos três filhos. Por esta razão, Min foi considerado um modelo de piedade filial.

Um tema recorrente nalguns contos é, após o nascimento do primeiro filho da enteada, a tentativa por parte da madrasta de assassinar a enteada e substituí-la pela sua própria filha. Alguns exemplos são A Bétula Maravilhosa (russo/finlandês), Irmãozinho e Irmãzinha e Os Três Homenzinhos da Floresta (alemães).

Apenas arruinando o plano da madrasta (e geralmente executando-a) é que a história pode atingir o final feliz.

Em várias histórias envolvendo "madrastas más", a hostilidade entre madrasta-enteado/a é contrastada pela ajuda da mãe morta que permite à criança atingir o sucesso. Esta temática está presente desde a mitologia nórdica - Svipdagr invoca a sua mãe Gróa da sepultura para esta o aconselhar na realização de uma tarefa imposta pela madrasta - até contos de fadas como Cinderela dos Irmãos Grimm - Aschenputtel (Cinderela) recebe as suas vestimentas de uma árvore que cresce no túmulo da sua mãe -, o conto russo Vasilissa, a Bela - Vasilissa é auxiliada por uma boneca oferecida pela sua mãe - e o conto do folclore indonésio Cebola Roxa e Alho - a mãe da heroína reencarna como um peixe para a proteger.

Nas primeiras edições de Branca de Neve e Hansel e Gretel, os Irmãos Grimm escolheram a mãe biológica como vilã, sendo este papel alterado para uma madrasta em edições posteriores. Alguns autores estipulam que esta mudança pode ter ocorrida visando mitigar a violência da história, com base na crença de que "as mães são sagradas", não sendo credível para os leitores que uma mãe pudesse nutrir tamanha má vontade e animosidade para com os seus filhos. O conto de fadas islandês O Cavalo Gullfaxi e a Espada Gunnföder é uma exceção rara, contendo uma "madrasta boa" que auxilia o príncipe, como uma fada-madrinha.

Em certos contos, a madrasta pode não desempenhar o papel de vilã principal, mas estar profundamente relacionada a outros males que os personagens encontram. Por exemplo, em Hansel e Gretel, tanto a madrasta quanto a bruxa apresentam preocupações relativas a comida - a madrasta, temendo a fome que se alastra na região, convence o marido a abandonar os filhos; a bruxa possui uma casa construída com doces e deseja comer as crianças. No final do conto, após Hansel e Gretel matarem a bruxa e retornarem a casa, a madrasta faleceu misteriosamente.

A dualidade hostilidade da madrasta / ternura da mãe são interpretadas de diversas formas. Na vertente psicológica, Bruno Bettelheim descreve esta dicotomia como um fenómeno de divisão da mãe "verdadeira" em "mãe ideal" e "mãe falsa", contendo esta última as características que a criança não gosta na mãe real. Outra interpretação deste dualismo baseia-se em factos históricos - estão documentados vários casos em que, após o falecimento da mulher no parto e posterior casamento do marido, as novas madrastas competiam com os filhos do primeiro casamento por recursos - tal como sucede em A Árvore de Zimbro.

Contemporaneamente, na abordagem revisionista de contos de fadas, o papel da madrasta é frequentemente alterado ou mesmo invertido face à sua postura classicamente antagónica. Em Vermelho como Sangue de Tanith Lee, a rainha madrasta tenta desesperadamente proteger o seu reino da magia negra da sua enteada malvada. Mais subtilmente, em Crewel Lye: A Caustic Yarn, Piers Anthony relata a maldição lançada à princesa Threnody pela sua madrasta - se a jovem alguma vez entrasse no Castelo Roogna, ele cairia. No entanto, é explicado que a presença da princessa no castelo desviava as atenções do rei (o seu pai, que a idolatrava) dos seus deveres, conduzindo à destruição do reino - a madrasta apenas tornou literal o seu potencial destrutivo, forçando a princessa a confrontar as consequências das suas ações.

Mais recentemente, o personagem da "madrasta má" pode também está presente, principalmente no género de ficção/romance para jovens adultos. Em Borboletas de Papel de Lisa Heathfield, a protagonista June esconde do pai os terríveis abusos que sofre às mãos da madrasta.

Não obstante os múltiplos exemplos de madrastas más ou cruéis, madrastas boas e amorosas também existem no mundo da ficção. Em Kevin e Kell, Kell ama a sua enteada Lindesfarne, que o seu marido Kevin adotou no seu casamento anterior e, simultaneamente, a jovem considera Kell a sua mãe, e preferindo-a substancialmente à sua mãe adotiva Angelique, ex-esposa de Kevin, que a negligenciou durante a infância.

No filme da Disney Encantada, embora a vilã seja uma madrasta, a heroína Giselle explica a uma criança que o facto de uma mulher ser madrasta não muda a sua personalidade de repente; no caso da vilã, a sua maldade provém do seu egoísmo e sede de poder, e não do simples facto de ela ser uma madrasta. No final do filme, Giselle casa com o pai da criança, tornando-se ela mesma uma madrasta "boa".

No filme Nanny McPhee, um grupo de crianças teme o novo casamento do seu pai devido à crença, baseada em contos de fadas, de que as madrastas são uma "raça do mal". As suas suspeitas são confirmadas quando a nova madrasta se revela cruel. No entanto, quando o casamento é cancelado e o pai decide casar-se com a empregada doméstica, uma das crianças comenta que a personificação de "madrasta má" não se aplica a ela.
Contrastando com outras obras de autoria da Disney, ambas as séries Phineas e Ferb e Drake & Josh protagonizam uma família adotiva em que ambos os pais têm uma boa relação com seus três filhos.

Num episódio da série As Aventuras de Shirley Holmes, uma princesa herdeira ao trono do seu país temia que a sua madrasta estivesse a planear o seu assassinato, pois o seu próprio filho era o próximo na linha de sucessão. No entanto, no final do episódio é revelado que a madrasta realmente desejava que a sua enteada herdasse o trono e tentou inclusive desmantelar os planos de assassinos que não queriam o seu país governado por uma mulher.

Relações madrasta-enteado/a são também frequentemente examinadas em novelas. Um exemplo disso é a rivalidade de longa data entre Victoria Lord Banks e a sua madrasta Dorian Lord na novela americana One Life to Live.

Referências

Madrasta (parentesco)


Aleksandr Dmitrievici Litovcenko (în ; ) a fost un pictor rus de origine ucraineană care s-a specializat în realizarea de picturi ale Rusiei Moscovite din secolele al XVI-lea și al XVII-lea.

Biografie
Litovcenko a urmat cursurile Academiei Imperiale de Arte și, deși criticat de colegii lui pentru compozițiile sale destul de pompoase, a fost distins cu o medalie de aur pentru reprezentarea luntrașului Charon transportând sufletele morților peste Styx. Împreună cu alți câțiva tineri pictori, a provocat spiritul academismului care era răspândit în Academie și în 1863 a abandonat-o pentru a deveni un pictor independent, aderând la mișcarea Peredvijniki în 1876.

În 1868, Litovcenko a fost recunoscut ca membru al Academiei de Arte pentru reprezentarea unui vânător de șoimi de la curtea țarului Alexei (unul din numeroasele versiuni ale acestui subiect). Unele dintre cele mai mari picturi ale sale au fost achiziționate de personalitățile vremii sale: Ivan cel Groaznic arătând comorile sale lui Jerome Horsey (1875) a fost achiziționat de către țar pentru Muzeul Alexandru al III-lea din St. Petersburg, iar Țarul Alexei și arhiepiscopul Nikon venerând moaștele patriarhului Filip (1886) a fost achiziționat de către Pavel Tretiakov pentru colecția sa din Moscova (așa cum au fost cele mai bune dintre portretele sale).

Litovcenko este amintit, de asemenea, ca autor a șapte picturi murale din Catedrala Hristos Mântuitorul din Moscova și al unei colecții de icoane de la memorialul Războiului din Crimeea din Sevastopol.

Referințe

Legături externe

Nașteri în 1835
Decese în 1890
Artiști ruși
Ruși de origine ucraineană
Pictori ucraineni

Aleksandr Litovcenko


GLEAM-X J162759.5−523504.3 est un signal radio très puissant et extrêmement variable. Ce signal est apparu pour la première fois en janvier 2018. Le signal a été découvert par le radio astronome Tyrone O'doherty lors d'une cartographie de la Voie lactée faite avec le radiotélescope MWA (Murchison Widefield Array). Ce signal a été détecté lors de la cartographie de la constellation de la Règle. À ce moment le signal apparaissait comme une source irrégulière et erratique que l'on apparente à un pulsar. Le seul problème c'est que le signal apparait dans une période de 18,18 minutes mais un pulsar émet un signal dans une période moyenne d'environ 1 seconde, ce qui fait que cet objet n'en est pas un.

Caractérisation du signal
Au vu de l'étrangeté du signal, l'équipe de l'université de Curtin en Australie utilisera le MWA pour effectuer des photos de cette région pour permettre des mesures sur ce fameux signal. Le MWA prendra des photos toutes les 24 heures pour voir l'évolution de cet objet. Le signal restera actif et régulier pendant le mois de janvier 2018, il ne donnera pas de signe de vie la moitié du mois suivant puis il redeviendra actif le reste du mois de mars 2018 et ensuite silence radio. L'équipe du MWA fouillera dans les archives de ce dernier pour voir si le signal n'avait pas été détecté avant, il s'apercevront que ce signal n'avait jamais été observé avant et que donc ils sont les premiers à l'avoir détecté.

Théorie du complot
Évidemment un tel signal pose bien des questions et la presse prendra vite l'argument explicatif des extraterrestres, mais cette hypothèse ne se base sur aucune preuve pour s'étayer. De plus le signal semble totalement erratique et il agit dans une large bande de fréquences, ce qui montre qu'il s'agit bien d'un phénomène naturel et non d'un signal émis par une éventuelle technologie extraterrestre.

Possibilité de l'identification
Avec toutes ces caractéristiques, cet objet semble être un objet d'un type jamais vu. Il y a trois possibilités :
 Première possibilité : Il serait un magnétar qui interagirait avec un nuage de gaz ce qui causerait un ralentissement de la rotation de ce dernier. Cette théorie semble convaincante surtout que le signal est polarisé ce qui signifie qu'il possède un très grand champ magnétique et donc il serait un magnétar d'un nouveau type, pouvant entretenir un fort champ magnétique tout en gardant une vitesse de rotation inhabituellempent faible. Cette hypothèse explique la polarisation du signal mais pas l'irrégularité de ce dernier et le seul problème c'est qu'avec une rotation aussi lente, cela serait impossible que le magnétar conserve son champ magnétique.
 Deuxième possibilité : GLEAM-X J162759.5−523504.3 serait une naine blanche qui possèderait un disque d'accrétion ainsi que deux jets de matière dont l'un aurait pointé vers nous. Ce deuxième cas expliquerait l'irrégularité du signal mais il n'explique pas pourquoi cet objet aurait un tel champ magnétique.
 Mais ces deux cas n'expliquent pas pourquoi le signal a disparu. Une troisième hypothèse voudrait que ce soit une exoplanète qui masque l'astre, mais là encore le signal aurait été masqué selon une période régulière ce qui n'est pas le cas.
Depuis le MWA reste en veille sur cette région du ciel pour savoir si le signal réapparait.

Références

Étoile à neutrons
Pulsar
Naine blanche
Phénomène stellaire
Source radio

GLEAM-X J162759.5−523504.3


Kamyshevátskaya  es una stanitsa del raión de Yeisk del krai de Krasnodar, en Rusia. Está situada en la orilla del mar de Azov junto a la punta arenosa Kamyshevátskaya, en la península de Yeisk, 40 km al suroeste de Yeisk y 170 km al noroeste de Krasnodar, la capital del krai.  Tenía 5 029 habitantes en 2010.

Es cabeza del municipio Kamyshevátskoye.

Historia

La localidad tiene su origen en un asentamiento de nombre Kamyshevatski formado por campesinos huidos de Rusia y Ucrania. En 1798, en el avance de los atamanes desde el Dniéper al Kubán, el pueblo fue asignado a las tierras de los cosacos del Mar Negro. En 1848 recibió el estatus de stanitsa y el nombre actual, por lo que es considerado el año de su fundación. Al año siguiente habitaban la localidad 1 048 personas. Para 1878 eran 3 259. A finales del  se habían establecido 4 835 habitantes y había tres escuelas y varios establecimientos de pequeña industria. Hasta 1920 pertenecía al otdel de Yeisk del óblast de Kubán.

En 2007 se produjo un incendio en una residencia geriátrica en el que murieron 62 ancianos.

Composición étnica

De los 5 135 habitantes en 2002, el 97 % era de etnia rusa, el 1.4 % era de etnia ucraniana, el 0.5 % era de etnia bielorrusa, el 0.2 % era de etnia armenia, el 0.2 % era de etnia tártara, el 0.1 % era de etnia adigué, el 0.1 % era de etnia georgiana, el 0.1 % era de etnia azerí, el 0.1 % era de etnia georgiana, el 0.1 % era de etnia alemana y el 0.1 % era de etnia griega.

Lugares de interés

La población se halla en un lugar de importancia turística debido a sus playas naturales. En la localidad se hallaba uno de los últimos molinos de viento del krai que se incendió a principios de la década de 2000.

Economía

Aparte de los ámbitos relacionados con el turismo, la pesca y la agricultura son de importancia para la economía de los habitantes de la población.

Enlaces externos y referencias

 Este artículo contiene datos geográficos extraídos de Google Earth y el mapa de Rusia de Yandex.ru, accesible desde este enlace.
 Este artículo es una traducción parcial de su correspondiente en la edición en ruso de Wikipedia, Камышеватская.
 Sitio web sobre la localidad .
 El municipio en el sitio web del raión .
  en Panoramio
 Calle de la localidad en Panoramio
 Vista de la localidad en Panoramio
 Mapa topográfico soviético en maps.vlasenko.net .

Localidades del raión de Yeisk del krai de Krasnodar
Localidades establecidas en 1848

Kamyshevátskaya


«القصر الملكي» أو «قصر الملك إدريس السنوسي» يرجع بنائه في بداية المملكة الليبية ويقع قصر الملكي في الجهة الغربية لمدينة البيضاء خلف حي الكاوه ويطل على شارع العروبة وبجانبه ضريح رويفع الأنصاري، مما يجعل موقعه أستراتجيا في المدينة.
حيث أن هذا القصر لا يحظي بأهمية كبيرة الآن بعد قيام الثورة حيث يعتبر من رموز ليبيا في الفترة السابقة، حيث تم أقتحمه وتبعثر كل ما بداخله، وتم فصل حديقته لتصبح منتزه الزهور.
ومن أشهر ما كان يقام به من الخارج والداخل ما يعرف «حول الشلحي» ويوزع في هذا الحول اللحم والكبده مجانا على أهل المدينة ويدخل من يريد يدخل للقصر لكي يشكي أو يلقى التحية للملكة فاطمة حرم الملك إدريس.

المراجع

معالم ليبيا
قصور في ليبيا

قصر الملك إدريس السنوسي


في الفيزياء والرياضيات, توزيع بولتزمان هو دالة لاحتمالية توزيع نظام من الجسيمات على مستويات للطاقة، هي تدعم مبدأ المجموعة المنتظمة (canonical ensemble) على شرط أن تقع ضمن التوزيع، هناك حالة خاصة من توزيع بولتزمان وهي تـُستخدم لوصف توزيع سرعات الجسيمات في الغاز وتسمى توزيع ماكسويل-بولتزمان. في صياغات رياضية أكثر عموما يسمى توزيع بولتزمان أيضا مقياس جيبس.

مقدمة

يعطينا ثابت بولتزمان k متوسط طاقة الجزيئ أو الذرة في غاز مثالي تحت درجة حرارة ثابتة T :

=3/2 kT جول

وبفرض أن لدينا 1/4 مول من الغاز، يمكننا حساب الطاقة الكلية للنظام عند درجة حرارة 300 كلفن،

أولا :

عدد الدرات في ربع مول (وليكن غاز الهيليوم)== 1/4. 6,022. 10**23 == 1,5. 10**23.. جزيئ

ونظرا لأن درجة الحرارة 300 كلفن نحصل على متوسط طاقة الذرة :

3/2 eV) 0,039 = 300. (-5)**10. 8,6  kT)

حيث ثابت بولتزمان eV (-5)**10. 8,6 = k

ونحصل على الطاقة الكلية للنظام :

039و0 (eV.. 10**23. 0,06  23**10. 1,5. (eV

 = eV.. 21**10. 6

تعطينا الحسبة السابقة الطاقة الكلية للنظام الغازي عند درجة حرارة 300 كلفن، وتعطينا أيضا متوسط طاقة كل ذرة (طاقة حركة) وهي 039و0 إلكترون فولت (eV).

ولكن هذا الحساب تقريبي حيث يعتبر أن كل ذرة من ذرات الغاز تحمل نفس الطاقة التي قدرها 039و0 إلكترون فولت عند 300 كلفن، وهذا ليس صحثحا تماما لأن هذه هي طاقة حركة ذرات الغاز، وهذه الطاقة متغيرة من ذرة إلى ذرة لأنها تعتمد على سرعة الذرة الغاز، طبقا للعلاقة :

طاقة الحركة = 1/2 m.v2

حيث m كتلة الذرة بالكيلوجرام، و v سرعته بالمتر/ثانية.

لذلك فالمعالجة السابقة تعطينا متوسط طاقة الحركة لذرات الغاز، كما لوكانت كل ذرة تحمل نفس المقدار من الطاقة، ولكن لكي نعرف التوزيع الحقيقي لطاقة الذرات في الغاز وهو التوزيع الذي نجده عمليا ً، فعلينا التدقيق في معالجتنا لتلك المسألة. وذلك هو الداعي لكي يقوم بولتزمان لتوسيع حساباته، وهو الجزء التالي :

التوزيع في الحالة الغازيه

نفترض أن لدينا نظام معزول مكون من مجموعة من الجسيمات عددها N عند درجة حرارة ثابتة، موزعة على عدد من مستويات الطاقة.ونفترض وجود عدد من تلك الجسيمات Ni تشغل الحالة i ومقدار طاقتها Ei. تعطينا معادلة بولتزمان التوزيع الآتي لجميع الجزيئات :

حيث :

 ثابت بولتزمانT درجة الحرارة

 عدد يعطي عدد المستويات ذات الطاقة Ei

Ni:عدد الجزيئات ذات الطاقة

حيث

وتسمى (Z(T دالة التوزيع، وهي تساوي:

أي أنها تعطي احتمال وجود نظام الجسيمات في تلك الحالة من حالات الطاقة.

وينطبق توزيع بولتزمان في حالة الجسيمات عند درجة حرارة عالية وكثافة منخفضة بحيث يمكن إهمال التأثيرالكمي، ان تتبع الجسيمات شروط توزيع ماكسويل-بولتزمان.

وكثيرا ما يعبر عن توزيع بولتزمان بالعلاقة β = 1/kT حيث β يسمي بيتا الحرارية.

وبالنسبة للعبارة  أو العبارة  فتسميان معامل بولتزمان وتظهر كثيرا في درارسة الفيزياء والكيمياء، وهي تعطي الاحنمال النسبي لتواجد الحالة الطاقية.ان التا,

وعندما تكون الحالة الطاقية للجسيم منحصرة في طاقة الحركة، نحصل على:

بهذا يعطينا هذا التوزيع التوزيع المعروف باسم توزيع ماكسويل-بولتزمان والذي يعطينا توزيع سرعات الجسيمات والذي توصل إليه ماكسويل من قبل عام 1859.

والاختلاف بين التوزيعين أن توزيع بولتزمان أكثر عموميا، فيمكن به- علي سبيل المثال - حساب تغير كثافة الجسيمات بتأثير الجاذبية الأرضية بالارتفاع عن سطح الأرض، أي عندما تكون :

كما يمكن صياغة توزيع ماكسويل-بولتزمان بطريقة تفاضلية عندما تمثل g(E) dE عدد حالات الطاقة الموجودة في حيز للطاقة بين E to E + dE، فيعطينا توزيع بولتزمان احتمالا لتوزيع الطاقة بالعلاقة.

في هده الحالة تسمى (g(E'' كثافة الحالات عندما يكون طيف الطاقة مستمر. ويقال عن الجسيمات التي لها مثل هذا التوزيع للطاقة بأنها تتبع إحصاء ماكسويل-بولتزمان.

اقرأ أيضا
 توزيع ماكسويل
 احصاء ماكسويل-بولتزمان
 احصاء بوز-اينشتاين
 قانون فين للإزاحة

مراجع

ديناميكا حرارية
لودفيغ بولتزمان
ميكانيكا إحصائية

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