Suprafețele articulare sunt în număr de două: suprafața articulară gambieră (tibia și fibula) și suprafața articulară tarsiană (talusul); ele sunt acoperite cu un strat de cartilaj hialin.

Articulația talocrurală sau articulația gleznei (Articulatio talocruralis) este o articulație sinovială de tip ginglim (articulație trohleană), situată în regiunea gleznei membrului inferior, care leagă oasele gambei (tibia și fibula), prin intermediul talusului, de scheletul piciorului. Această articulație joacă un rol primordial în mersul omului, asigurând statica și mișcarea membrului inferior, în stațiunea bipedă. Zilnic solicitată, ea este cea mai predispusă articulație la entorse, cel mai adesea la entorsele laterale ca urmare a unei inversiuni forțate a piciorului. Suprafețele articulare sunt în număr de două: suprafața articulară gambieră (tibia și fibula) și suprafața articulară tarsiană (talusul); ele sunt acoperite cu un strat de cartilaj hialin. Mijloacele de unire sunt reprezentate de o capsulă articulară întărită pe laturi de două ligamente colaterale puternice, ligamentul colateral lateral și ligamentul colateral medial, care mențin în contact cele două suprafețe articulare. Ligamentul colateral lateral al articulației talocrurale este așezat pe fața laterală a articulației, pe care o întărește. Acest ligament radiază de la maleola laterală a fibulei la oasele tarsiene învecinate, talus și calcaneu, și este format din fibre grupate în trei fascicule distincte, denumite în raport cu situația lor: fasciculul anterior sau ligamentul talofibular anterior, fasciculul mijlociu sau ligamentul calcaneofibular, fasciculul posterior sau ligamentul talofibular posterior. Ligamentul colateral medial al articulației talocrurale  este un ligament compus aflat pe partea medială a articulației. Are forma unui evantai sau a unei lame triunghiulare și de aceea se mai numește și ligament deltoidian al articulației talocrurale. Își are originea superior pe marginile și pe vârful maleolei mediale a tibiei și de acolo se răspândește în evantai în jos la oasele tarsiene posterioare (talus, calcaneu, navicular). În constituția lui intră două straturi: superficial (ligamentul deltoidian propriu-zis) și profund. I se descriu patru părți sau fascicule: tibiotalar anterior, tibionavicular, tibiocalcanean și tibiotalar posterior.

Suprafețele articulare
Scripetele astragalian și cu cele două fețe maleolare sunt acoperite de un strat gros de cartilaj hialin, a cărui grosime maximă (2 mm) se află la nivelul șanțului scripetelui și pe povârnișul medial. Fiecare din cele două suprafețe articulare descrise mai sus pot fi considerate ca reprezentând un segment de circumferință. Dar ele sunt inegale: suprafața gambieră reprezintă a patra sau a cincea parte dintr-o circumferință; suprafața talară reprezintă a treia parte dintr-o circumferință. În consecință scoaba tibiofibulară este mai redusă sagital decât scripetele talusului și, prin urmare, totdeauna va rămâne o parte a acestui scripete în afara contactului cu tibia. Cele două segmente de circumferință nu sunt reprezentate de câte un arc de cerc regulat, ci se formează fiecare prin reunirea mai multor arce de cerc cu raze diferite. Aceasta are importanță în elucidarea mișcărilor acestei articulații. Suprafața trohleară a talusului este mai lungă antero-posterior, decât suprafața tibiofibulară, permițând astfel mișcări ample de flexie dorsală și plantară a piciorului.

Suprafața gambieră
Suprafața gambieră sau tibiofibulară este reprezentată de extremitățile distale (inferioare) ale tibiei și fibulei, care realizează o formațiune comparabilă cu o scoabă, formată în sus de fața articulară inferioară a tibiei, iar pe lături de fețele articulare ale maleolelor medială (de pe tibie) și laterală (de pe fibulă). Rezultă astfel o suprafață articulară concavă, în sens transversal, acoperită în toată întinderea sa de un strat de cartilaj hialin gros de 1,5-2 mm. În scoabă pătrunde trohleea talusului, care dă articulației o mai mare soliditate. Față articulară inferioară a tibiei (Facies articularis inferior tibiae) este dreptunghiulară și prezintă o concavitate sagitală, care descrie un arc de circa 80° și o convexitate transversală ușoară, cu o creasta antero-posterioară cu vârful rotunjit. Față articulară a maleolei mediale a tibiei (Facies articularis malleoli medialis tibiae) se află în continuitate cu față articulară inferioară a tibiei și formează cu ea un unghi obtuz deschis în jos și lateral; ea este convexă și triunghiulară. Față articulară a maleolei laterale a fibulei (Facies articularis malleoli lateralis fibulae) este convexă și triunghiulară.

Suprafața articulară tarsiană
Suprafața articulară tarsiană este formată de trohleea talusului, care este o proeminență articulară voluminoasă cu trei fețe: fața superioară a trohleei talusului, fața maleolară medială și fața maleolară laterală. Fața superioară a trohleei talusului mai largă în partea anterioară decât în cea posterioară, descrie un arc de circa 120° și are forma unui scripete convex în sens antero-posterior și ușor concav în sens transversal, mai mult lung decât lat. Elementele acestui scripete sunt următoarele: două povârnișuri inegale (cel mai mare fiind cel lateral), un șanț antero-posterior și două margini, dintre care cea laterală este mai înaltă. Fața superioară a trohleei talusului se articulează cu fața articulară inferioară a tibiei. Fața maleolară laterală a talusului se articulează cu fața articulară a maleolei laterale a fibulei. Ea este concavă și triunghiulară,  cu vârful în jos și baza în sus, care se continuă cu procesul lateral al talusului curbat spre exterior. Fața maleolară medială a talusului este ușor excavată și are forma unei virgule culcate, care are capul înainte și coada înapoi.  Ea se articulează cu față articulară a maleolei mediale a tibiei.

Capsula articulară
Capsula articulară (Capsula articularis) este formată din două straturi: unul extern, stratul fibros, și altul intern, membrana sinovială. Stratul fibros al capsulei articulare este un manșon fibros, care se inseră la periferia cartilajului articular al suprafețelor articulare; el se prinde în sus pe oasele gambei, lăsând extraarticular (în afară articulației) cele două maleole, iar în jos pe talus, la nivelul cartilajului hialin. Capsula articulară este subțire și foarte strânsă pe laturi; ea este mult mai laxă și mai subțire, dar rezistentă, în partea anterioară și posterioară. De capsulă aderă intim tendoanele mușchilor extensori, care o feresc de a fi prinsă între oase în timpul mișcărilor. Sinoviala (stratul intern al capsulei articulare) căptușește la interior fața profundă a stratului fibros, apoi se reflectă la nivelul de inserție al acestuia, și se termina la limita cartilajului hialin. Formează între tibie și fibulă două funduri de sac: unul anterior și altul posterior, și uneori un diverticul în partea superioară, între oasele gambei,  pentru sindesmoza tibiofibulară.

Ligamentele

Ligamentul colateral lateral al articulației talocrurale
Ligamentul colateral lateral al articulației talocrurale (Ligamentum collaterale laterale articulationis talocruralis)  este așezat pe fața laterală a articulației, pe care o întărește.  Acest ligament radiază de la maleola laterală a fibulei la oasele tarsiene învecinate, talus și calcaneu, și este constituit din fibre grupate în trei fascicule distincte, denumite în raport cu situația lor: fasciculul anterior sau ligamentul talofibular anterior, fasciculul mijlociu sau ligamentul calcaneofibular, fasciculul posterior sau ligamentul talofibular posterior. Fasciculul anterior sau ligamentul talofibular anterior (Ligamentum talofibulare anterius), numit  și ligamentul peroneoastragalian anterior  sau "ligament entorsei gleznei", este scurt și lat și se află pe fața laterală a articulației talocrurale. Are originea pe marginea anterioară a maleolei laterale a fibulei, de aici se îndreaptă în jos, înainte și medial și se termină pe fața laterală a colului talusului, înaintea feței maleolare laterale a talusului. În entorsele laterale a gleznei prin flexia plantară ligamentul talofibular anterior este primul lezat și este dureros la presiune. Fasciculul posterior sau ligamentul talofibular posterior (Ligamentum talofibulare posterius), numit și ligamentul peroneoastragalian posterior, este gros și foarte rezistent și se află pe fața posterioară a articulației talocrurale. El se inseră în fosa maleolei laterale a fibulei; de aici se îndreaptă orizontal înapoi și medial, terminându-se pe tuberculul lateral al procesului posterior al talusului. Acest ligament, acoperit de tendoanele mușchilor peronieri, este situat profund, pare îngropat în grosimea capsulei articulare și dă impresia că ar fi intraarticular, dar nu este. În fractura procesului posterior al talusului are loc avulsia tubercului lateral prin ligamentul talofibular posterior. Fasciculul mijlociu sau ligamentul calcaneofibular (Ligamentum calcaneofibulare), numit și ligamentul peroneocalcanean, este un cordon lung aflat pe fața laterală a articulației talocrurale. El se inseră pe vârful maleolei laterale a fibulei, de aici se îndreaptă oblic în jos și înapoi, terminându-se pe fața laterală a calcaneului. Ligamentul calcaneofibular acoperă ligamentul talocalcanean lateral și este încrucișat pe fața sa superficială de tendoanelor mușchilor peronier scurt (Musculus peroneus brevis) și peronier lung (Musculus peroneus longus), participând de altfel la formarea culiselor acestor tendoane. Ligamentul calcaneofibular este cel mai puternic ligament lateral al articulației talocrurale și primul lezat în entorsele laterale prin flexia dorsală a gleznei.

Note

Legături externe
  Articulatio talocruralis. Terminologia Anatomica

Articulații
Anatomia membrelor inferioare

Articulația talocrurală


Sergei Karassjow ist der Name folgender Personen:

* Sergei Gennadjewitsch Karassjow (* 1979), russischer Fußballschiedsrichter
 Sergei Wassiljewitsch Karassjow (* 1993), russischer Basketballspieler

Sergei Karassjow


Waldspirale es un complejo residencial en Darmstadt, Alemania. Construido en los 1990, el nombre se traduce como "bosque en espiral", reflejando tanto el plano general del edificio así como el hecho de que tiene un tejado verde. Lo diseñó el artista austriaco Friedensreich Hundertwasser, y fue planeado e implementado por el arquitecto Heinz M. Springmann, y construido por la empresa Bauverein Darmstadt. El edificio se completó en el año 2000.

Descripción
El edificio de apartamentos Waldspirale tiene 105 viviendas, garaje para los residentes así como un café y un bar, estos últimos están en la parte superior de la espiral. El patio interior tiene una zona de juego para los niños residentes y un pequeño lago artificial.

Las peculiaridades del edificio en forma de U son que cuenta con una sola fachada, que no sigue ninguna organización en rejilla, y las ventanas descolocadas, que aparecen como si estuviesen fuera de contexto, todas diferentes y sin ningún orden, y a menudo con tres árboles que salen de las ventanas. El tejado diagonal, plantado con césped, arbustos, flores y árboles, se alza como una rampa a lo largo de la forma de U. En su punto más alto, el Waldspirale tiene 12 plantas.

Enlaces externos

 Información y fotografías acerca del edificio Waldspirale
 http://www.bauvereinag.de/
 http://www.oekosiedlungen.de/waldspirale/ Galería fotográfica y pequeña descripción DE
 Página de fotos

Arquitectura de Alemania de 2000
Edificios y estructuras de Alemania
Arquitectura de Alemania del siglo XX
Darmstadt
Edificios de viviendas

Waldspirale


Bratislava
 Košice
 Prešov
 Žilina
 Nitra
 Banská Bystrica
 Trnava
 Martin
 Trenčín
 Poprad
 Prievidza
 Zvolen
 Banská Štiavnica
 Bardejov
 Komárno
 Ružomberok
 Spišská Nová Ves
 Vlkolínec
 Žehra

Ülkelerine göre şehir listeleri

Slovakya'daki şehirler listesi


Feodor Ivanovich Chaliapin (; April 12, 1938)  was a Russian opera singer. Possessing a deep and expressive bass voice, he enjoyed an important international career at major opera houses and is often credited with establishing the tradition of naturalistic acting in his chosen art form.

During the first phase of his career, Chaliapin endured direct competition from three other great basses: the powerful  (1869–1942), the more lyrical  (1871–1948), and Dmitri Buchtoyarov (1866–1918), whose voice was intermediate between those of Sibiriakov and Kastorsky. The fact that Chaliapin is far and away the best remembered of this magnificent quartet of rival basses is a testament to the power of his personality, the acuteness of his musical interpretations, and the vividness of his performances.

Spelling note
He himself spelled his surname, French-style, Chaliapine in the West, and his name even appeared on early HMV 78s as Theodore Chaliapine. In English texts, his given name is most usually rendered as Feodor or Fyodor, and his surname is most usually seen as Chaliapin.  However, in the Russian pronunciation the initial consonant Ш is pronounced like sh in shop, not as ch in chop, and in reference books the surname is sometimes given a strict romanization as Shalyapin.
This spelling also better reflects the fact that the name is pronounced with three syllables (Sha-LYA-pin), not four.

Early life
Feodor Chaliapin was born into a peasant family on February 1 (OS), 1873 in Kazan, in the wing of merchant Lisitzin's house on Rybnoryadskaya Street (now Pushkin Street) 10. This wing no longer exists, but the house with the yard where the wing was situated is still there. The next day, Candlemas (The Meeting of Our Lord), he was baptized in Epiphany (Bogoyavlenskaya) Church on Bolshaya Prolomnaya street (now Bauman Street). His godparents were his neighbors: the shoemaker Nikolay Tonkov and Ludmila Kharitonova, a 12-year-old girl. The dwelling was expensive for his father, Ivan Yakovlevich, who served as a clerk in the Zemskaya Uprava (Zemstvo District Council), and in 1878 the Chaliapin family moved to the village of Ametyevo (also Ometyevo, or the Ometyev settlements, now a settlement within Kazan) behind the area of Sukonnaya Sloboda, and settled in a small house.

Early career
His vocal teacher was Dmitri Usatov (1847-1913). Chaliapin began his career at Tbilisi and at the Imperial Opera in Saint Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); he first appeared there as Mephistopheles in Gounod's Faust, in which role he achieved considerable success.

At Mamontov Chaliapin met Sergei Rachmaninoff (1873-1943), who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character. Chaliapin returned the favor by showing Rachmaninoff how he built each of his interpretations around a culminating moment or "point". Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. Rachmaninoff put this approach to considerable use when he became a full-time concert-pianist after World War I.

On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, and he appeared there regularly from 1899 until 1914. During the First World War of 1914-1918 Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini. At the end of his career, Toscanini observed that the Russian bass was the greatest operatic talent with whom he had ever worked. The singer's Metropolitan Opera debut in the 1907 season was disappointing due to the unprecedented frankness of his stage acting; but he returned to the Met in 1921 and sang there with immense success for eight seasons, New York's audiences having grown more broad-minded since 1907. In 1913 Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev (1872-1929), at which point he began giving well-received solo recitals in which he sang traditional Russian folk-songs as well as more serious fare. Such folk songs included "Along Peterskaya" (which he recorded with a British-based Russian folk-instrument orchestra) and the song which he made famous throughout the world: "The Song of the Volga Boatmen". In 1925, when he performed in New York, his piano accompanist was a young Harry Lubin (1906-1977), later to become a composer of music for the television series The Outer Limits.

Later life

Chaliapin toured Australia in 1926, giving a series of recitals which were highly acclaimed.
Privately, Chaliapin's personal affairs were in a state of disarray as a consequence of the Russian Revolution of 1917. At first he was treated as a revered artist of the newly emerged Soviet Russia. However, the harsh realities of everyday life under the new regime, and the unstable climate which followed because of the ensuing Civil War, combined with, reportedly, the encroachment on some of his property by the Communist authorities, caused him to remain perpetually outside Russia after 1921. He still maintained, however, that he was not anti-Soviet. Chaliapin initially moved to Finland and later lived in France. Cosmopolitan Paris, with its significant Russian émigré population, became his base, and ultimately, the city of his death. He was renowned for his larger-than-life carousing during this period, but he never sacrificed his dedication to his art.

Chaliapin's attachment to Paris did not prevent him from pursuing an international operatic and concert career in England, the United States, and further afield. In May 1931 he appeared in the Russian Season directed by Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of Boris Godunov (excerpts of which he recorded 1929–31 and earlier). He is remembered also for his interpretations of Ivan the Terrible in Rimsky-Korsakov's The Maid of Pskov and Salieri in Mozart and Salieri, Mephistopheles in Gounod's Faust, Don Quixote in Massenet's Don Quichotte, and King Philip in Verdi's Don Carlos.

Largely owing to his advocacy, Russian operas such as Mussorgsky's Boris Godunov and Khovanshchina, Glinka's Ivan Susanin, Borodin's Prince Igor and Rimsky-Korsakov's The Tsar's Bride and Sadko, became well known in the West.

Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom. Chaliapin starred in all three versions, each of which used the same script, sets, and costumes, but different supporting casts. The English and the French versions are the most often seen, and both were released in May 2006 on a DVD. Pabst's film was not a version of the Massenet opera but a dramatic adaptation of Miguel de Cervantes' novel, with music and songs by Jacques Ibert.

In 1932, Chaliapin published a memoir, Man and Mask: Forty Years in the Life of a Singer. While touring Japan in 1936 he was suffering from a toothache, and a hotel chef devised a way to cook a steak to be extra tender for him. This dish is known in Japan as a  to this day.

Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukemia, aged 65, in Paris, where he was interred. In 1984, his remains were transferred from Paris to Moscow in an elaborate ceremony. They were re-buried in the Novodevichy Cemetery.

Personal life
Chaliapin was married twice. He met his first wife, Italian ballerina Iola Tornaghi (1873–1965), in Nizhny Novgorod. They married in Russia in 1898 and had six children: Igor, Boris (1904–1979), Irina, Lidia and twins Feodor Jr. (1905–1992) and Taniya. Igor died aged four. Feodor Jr. was a character actor featured in Western motion pictures including Moonstruck and The Name of the Rose opposite Sean Connery. Boris was a well-known graphical artist, who painted the portraits used on 414 covers of the Time magazine between 1942 and 1970.

While married to Tornaghi, Chaliapin lived with Marina Petsold (1882–1964), a widow who already had two children from her first marriage. She had three daughters with Chaliapin: Marfa (1910–2003),  (1912–2009), and Dasya (1921–1977). Chaliapin's two families lived separately, one in Moscow and the other in Saint Petersburg, and did not interact. Chaliapin married Petsold in 1927 in Paris.

Chaliapin had his portrait painted a number of times by the Russian artist Konstantin Korovin. They had been introduced to each other in 1896 and became close friends.

Gallery

Honours and awards

 1902 – Order of the Golden Star of Bukhara, 3rd class
 1907 – Golden Cross of the Prussian eagle
 1908 – Commander of the officer's rank
 1910 – Soloist of His Majesty (Russia)
 1912 – Soloist of His Majesty the King of Italy
 1914 – British award for special achievements in the arts
 1914 – Order of St. Stanislaus, 3rd class (Russia)
 1916 – The title of the officer
 1918 – People's Artist of the Republic (The Soviet government withdrew the title in 1927)
 1934 – Commander of the Legion of Honour (France)

Autobiographical works

Chaliapin's autobiographical collaboration with Maxim Gorky occurred in 1917. He had already begun writing his autobiography long before, in the Crimea. In 1917, while he was in the south of France, he was urged to write such a work by a French journalist who hoped to ghost-write it. Gorky, who was his intimate friend and was then living in Capri, persuaded Chaliapin to stay with him there and with the help of a secretary a great deal of information was taken down which Gorky fashioned into a long manuscript, published in Russia in 1917 as a series of articles in the journal Letopis. Meanwhile, Chaliapin attempted to sell it to an American publisher, who refused it on learning that it had been published in Russian. There was a rift with Gorky, and Chaliapin worked with another editor to produce a 'new' version of his original text. The new book, published in America as Pages of My Life (Harper and Brothers, New York 1927), took the story only up to 1905, and lacked the depth, style and life of Gorky's version. Then, in 1932, Chaliapin published Man and Mask (Alfred A. Knopf, New York) to celebrate the fortieth anniversary of his first stage appearance. The original manuscript of the Gorky version was first translated and published in English in 1967, by Nina Froud and James Hanley, as Chaliapin: An autobiography as told to Maxim Gorky (Stein and Day, New York), and included an appendix of original correspondence including a section relating to Gorky.

Recordings
Chaliapin possessed a high-lying bass voice with an unmistakable timbre which recorded clearly. He cut a prolific number of discs for His Master's Voice, beginning in Russia with acoustical recordings made at the dawn of the 20th Century, and continuing through the early electrical (microphone) era. Some of his performances at the Royal Opera House, Covent Garden, in London were recorded live in the 1920s, including a haunting version of the "Death of Boris" from Boris Godunov. His last disc, made in Tokyo in 1936, was of the famous The Song of the Volga Boatmen. Many of his recordings were issued in the United States by RCA Victor. His legacy of recordings is available on CDs issued by EMI, Preiser, Naxos and other commercial labels. In 2018 his complete recordings were issued on 13 CDs by Marston Records. They consist of songs as well as a range of arias from Italian, French and, Russian opera.

Opinions on his art
 Opera commentator/historian Michael Scott avers that: "Chaliapin ranks with Caruso and Maria Callas as one of the three greatest singers and most potent and influential artists of the twentieth century."
 "At the Met he sang the role of Basilio in Rossini's The Barber of Seville as a vulgar, unctuous, greasy priest, constantly picking his nose and wiping his fingers onto his cassock. Audiences were appalled. Defending himself, Chaliapin said in an interview that Basilio 'is a Spanish priest. It is a type I know well. He is not the modern American priest, clean and well-groomed; he is dirty and unkempt, he is a beast, and this is what I make him, a comic beast.' " (Harold C. Schonberg)
 Some accused Chaliapin of brawling backstage. Rachmaninoff agreed. "Feodor is a brawler. They are all scared of his very spirit. He shouts suddenly or even hits someone! And Feodor's fist is powerful ... He can take care of himself. And how else should one behave? Backstage at our own theater it's just like a saloon. They shout, they drink, they swear in the foulest language." In a letter from November 1910 to the editor of Utro Rossii, the publication which supposedly quoted the above remarks and which attributes them to Rachmaninoff, the composer categorically denies the quotation and wrote "The article publishes without my knowledge words of mine about the Bolshoi Theater and Chaliapin...I said that we often have regrettable confusion backstage at the Bolshoi Theater...I also said that I had heard rumors that since Chaliapin had been appointed régisseur of those operas in which he sings, there is more quiet backstage.  That is all I said... S. Rachmaninoff".
 Met diva Geraldine Farrar said Chaliapin had a voice like "melodious thunder" but warned of his unannounced antics to hog the limelight onstage. "Chaliapin was a wonderful opera partner, but one had to be watchful for sudden departures from the rehearsal plan, and the touches of originality favorable only for the aggrandizement of Chaliapin."
 Dale Carnegie, referencing a story by impresario Sol Hurok, says that Chaliapin was often temperamental, even acting like a "spoiled child." On hearing the concert basso's complaint that his throat was raw and that he would not be able to sing at a scheduled performance at the Metropolitan Opera, Hurok agreed immediately to cancel the engagement, commenting: "It will only cost you a couple of thousand dollars, but that is nothing in comparison to your reputation." Chaliapin left open the possibility that he might nevertheless perform if he felt better later, and Hurok dutifully checked on him twice before the concert time. Finally he agreed to perform, provided that Hurok would announce to the audience that Chaliapin "had a very bad cold and was not in good voice." Carnegie comments approvingly: "Mr. Hurok would lie and say he would do it, for he knew that was the only way to get the basso out on the stage."

References
Notes

Bibliography

External links

Tatar Museums (in English)
Chalyapin and Kazan
Kazan: Kultura
Theodore Chaliapine includes two recordings
Theodore Chaliapine ten recordings
Chaliapine – six photographs in character
Another biography of Fyodor Shalyapin
Memorial house of F. I. Shalyapin, Moscow , many pictures, five recordings
History of the Tenor – Sound Clip and Narration
 – (Doppelgänger Шуберта в исполнении на русском языке)

Chaliapine discography on Russian-Records.com

1873 births
1938 deaths
20th-century Russian male opera singers
Musicians from Kazan
People from Kazansky Uyezd
Opera singers from the Russian Empire
Operatic basses
Russian opera singers
Victor Records artists
White Russian emigrants to Finland
White Russian emigrants to France
Commanders of the Legion of Honour
Burials at Novodevichy Cemetery

Feodor Chaliapin


Bradykinin (BK) (Greek brady-, slow; -kinin, kīn(eîn) to move) is a peptide that promotes inflammation. It causes arterioles to dilate (enlarge) via the release of prostacyclin, nitric oxide, and endothelium-derived hyperpolarizing factor and makes veins constrict, via prostaglandin F2, thereby leading to leakage into capillary beds, due to the increased pressure in the capillaries. Bradykinin consists of nine amino acids, and is a physiologically and pharmacologically active peptide of the kinin group of proteins.

A class of drugs called angiotensin-converting-enzyme inhibitors (ACE inhibitors) increase bradykinin levels by inhibiting its degradation, thereby increasing its blood pressure lowering effect. ACE inhibitors are FDA approved for the treatment of hypertension and heart failure.

Structure
Bradykinin, sometimes referred to as BK, is a 9–amino acid peptide chain. The amino acid sequence of bradykinin is: Arg-Pro-Pro-Gly-Phe-Ser-Pro-Phe-Arg (RPPGFSPFR). Its empirical formula is therefore .

Metabolism

The kinin–kallikrein system makes bradykinin by proteolytic cleavage of its kininogen precursor, high-molecular-weight kininogen (HMWK or HK), by the enzyme kallikrein. Moreover, there is compelling evidence that plasmin, a fibrinolytic enzyme, is able to generate bradykinin after HMWK cleavage.

In humans, bradykinin is broken down by many different kininases: angiotensin-converting enzyme (ACE, kininase II), neprilysin, NEP2, aminopeptidase P (APP), carboxypeptidase N (CPN, kininase I), Carboxypeptidase M, Neutral endopeptidase 24.15, Endothelin converting enzyme-1, Endothelin converting enzyme-2.

Function

Effects
Bradykinin is a potent endothelium-dependent vasodilator and mild diuretic, which may cause a lowering of the blood pressure. It also causes contraction of non-vascular smooth muscle in the bronchus and gut, increases vascular permeability and is also involved in the mechanism of pain.

During inflammation, it is released locally from mast cells and basophils during tissue damage. Specifically in relation to pain, bradykinin has been shown to sensitize TRPV1 receptors, thus lowering the temperature threshold at which they activate, thus presumably contributing to allodynia.

Initial secretion of bradykinin post-natally causes constriction and eventual atrophy of the ductus arteriosus, forming the ligamentum arteriosum between the pulmonary trunk and aortic arch. It also plays a role in the constriction and eventual occlusion of a number of other fetal vessels, including the umbilical arteries and vein. The differential vasoconstriction of these fetal vessels compared to the vasodilator response of other vessels suggests that the walls of these fetal vessels are different from other vessels.

Receptors

 The B1 receptor (also called bradykinin receptor B1) is expressed only as a result of tissue injury, and is presumed to play a role in chronic pain. This receptor has been also described to play a role in inflammation. It was shown that the kinin B1 receptor recruits neutrophil via the chemokine CXCL5 production. Moreover, endothelial cells have been described as a potential source for this B1 receptor-CXCL5 pathway.
 The B2 receptor is constitutively expressed and participates in bradykinin's vasodilatory role.

The kinin B1 and B2 receptors belong to G protein coupled receptor (GPCR) family.

Disorders
Bradykinin is also thought to be the cause of the dry cough in some patients on widely prescribed angiotensin-converting enzyme (ACE) inhibitor drugs. It is thought that bradykinin is converted to inactive metabolites by ACE, therefore inhibition of this enzyme leads to increased levels of bradykinin; increased bradykinin sensitizes somatosensory fibers and thus causes hyperalgesia. Bradykinin may mediate this via pro-inflammatory peptides (e.g. substance P, neuropeptide Y) and a local release of histamine.

In severe cases, the elevation of bradykinin may result in angioedema, a medical emergency. People of African descent have up to five times increased risk of ACE inhibitor induced angioedema due to hereditary predisposing risk factors such as hereditary angioedema. This refractory cough is a common cause for stopping ACE inhibitor therapy.

Overactivation of bradykinin is thought to play a role in a rare disease called hereditary angioedema.

Low levels of bradykinin in the body correlate to a high body mass index in adolescents; it has been proposed that bradykinin can be used as a biomarker for metabolic syndrome.

Bradykinins have been implicated in a number of cancer progression processes. Increased levels of bradykinins resulting from ACE inhibitor use have been associated with increased lung cancer risks.  Bradykinins have been implicated in cell proliferation and migration in gastric cancers, and bradykinin antagonists have been investigated as anti-cancer agents.

Bradykinin has been proposed as an explanation for many symptoms associated with COVID-19, including dry coughs, myalgia, fatigue, nausea, vomiting, diarrhea, anorexia, headaches, decreased cognitive function, arrhythmia and sudden cardiac death.

Therapeutic implications
A bradykinin-potentiating factor (BPF) which increases both the duration and magnitude of the effects of bradykinin on vasodilation and the consequent fall in blood pressure, was discovered in Bothrops jararaca venom. On the basis of this finding, a non-protein analog of BPF which was effective orally was developed: the first angiotensin converting enzyme inhibitor captopril.  It was approved by the FDA for the treatment of hypertension in 1981.{citation needed April 2019}

Currently, bradykinin inhibitors (antagonists) are being developed as potential therapies for hereditary angioedema. Icatibant is one such inhibitor. Additional bradykinin inhibitors exist.  It has long been known in animal studies that bromelain, a substance obtained from the stems and leaves of the pineapple plant, suppresses trauma-induced swelling caused by the release of bradykinin into the bloodstream and tissues. Other substances that act as bradykinin inhibitors include aloe and polyphenols, substances found in red wine and green tea.

History
Bradykinin was discovered in 1948 by three Brazilian physiologists and pharmacologists working at the Biological Institute, in São Paulo, Brazil, led by Dr. Maurício Rocha e Silva. Together with colleagues Wilson Teixeira Beraldo and Gastão Rosenfeld, they discovered the powerful hypotensive effects of bradykinin in animal preparations. Bradykinin was detected in the blood plasma of animals after the addition of venom extracted from the Bothrops jararaca (Brazilian lancehead snake), brought by Rosenfeld from the Butantan Institute. The discovery was part of a continuing study on circulatory shock and proteolytic enzymes related to the toxicology of snake bites, started by Rocha e Silva as early as 1939. Bradykinin was to prove a new autopharmacological principle, i.e., a substance that is released in the body by a metabolic modification from precursors, which are pharmacologically active. According to B.J. Hagwood, Rocha e Silva's biographer, "The discovery of bradykinin has led to a new understanding of many physiological and pathological phenomena including circulatory shock induced by venoms and toxins." In 1957 Dr. Mauricio Rocha e Silva became full-professor at Department of Pharmacology of the Faculdade de Medicina de Ribeirão Preto of Universidade de São Paulo, in Ribeirão Preto, São Paulo, Brazil, in which he led an outstanding team of pharmacologists.

See also

Hypotensive transfusion reaction

References

Peptide hormones
Kinin–kallikrein system
Nonapeptides

Bradykinin


Albert Kunze ist der Name folgender Personen:

* Albert Kunze (Sänger) (1872–1954), deutscher Opernsänger (Bass), Komiker, Schauspieler und Mundartschriftsteller
 Albert Kunze (Maler) (1877–1949), deutscher Maler
 Albert Kunze (Bergsteiger) (1879–1965), deutscher Eisenbahninspektor und Kletterer sowie Erstbegeher in der Sächsischen Schweiz

Albert Kunze


La que no podía amar es una telenovela mexicana producida por José Alberto Castro para Televisa, historia basada en la radionovela "La mujer que no podía amar", original de Delia Fiallo y bajo la adaptación de Ximena Suárez.

Protagonizada por Ana Brenda Contreras, Jorge Salinas y José Ron, con las participaciones antagónicas de Susana González, Julián Gil, Ana Bertha Espín, Mar Contreras y Jorge Aravena y con las actuaciones estelares de Ana Martín, Ignacio López Tarso, Humberto Elizondo, Ingrid Martz y Osvaldo Benavides.

Las grabaciones comenzaron el 13 de junio de 2011.

Argumento
En la ciudad de Tuxtla Gutiérrez en el estado de Chiapas vive Ana Paula, una joven noble y trabajadora que se gradúa como enfermera. Ella ha quedado huérfana desde muy pequeña, por lo que con su hermano Miguel quedan al cuidado de su tía, Rosaura, una mujer amargada, egoísta y ambiciosa que finge estar enferma del corazón y que los culpa de no haber podido disfrutar de su vida como hubiera querido al estar al pendiente de ellos.

La situación económica de la familia es muy precaria, viven en una humilde casita que les renta Don Máximo un hombre malintencionado que al no poder cortejar a Ana Paula, decide en venganza echarlos a la calle y denunciar a la muchacha por intento de asesinato, ya que cuando Máximo trata de abusar de ella, Ana Paula lo impide cortándole la mano con una botella rota.

Rogelio, dueño de la Hacienda Del Fuerte ubicada en el pueblo de San Gabriel, vive amargado por quedar inválido a causa de un accidente y porque su prometida Vanessa lo abandonó. Desde entonces es un hombre despiadado, amargado y ruin. Bruno como abogado de Rogelio, le ofrece ayuda a Ana Paula con su trabajo de enfermera para cuidar a Rogelio, ella sin dudar lo acepta.

Ana Paula acude a la hacienda pero se asusta al conocer el carácter de Rogelio, y se ve resignada a trabajar para un hombre con tan mal carácter. Además de Rogelio, en la casa vive su hermana Cynthia, que se siente obligada a cuidar de su hermano y soportarlo pues él se niega a darle la parte de la herencia que le corresponde, esto como la manera de retenerla a su lado. También están Efraín, un peón de la hacienda que ama a Cynthia pero ésta solo lo utiliza como su amante; Consuelo una joven sirvienta que le tiene un inocente y sincero amor a Efraín y María, la madrina de Consuelo, una mujer abnegada y generosa que ha criado a Rogelio y Cynthia como si fueran sus propios hijos. Además junto a ella vive Margarito, un niño al que María protege.

Por otra parte, Ana Paula conoce a Gustavo, un joven ingeniero, honesto y trabajador, que vive con su hermana Mercedes, también enfermera. Entre ambos surge un amor que a su vez despierta un peligroso conflicto, pues Rogelio también se ha enamorado de Ana Paula.

Debido a un trágico accidente que provoca Miguel, en el que queda herido y con posibilidades de ir a la cárcel de por vida, Rogelio le propone a Ana Paula que salvará la vida de su hermano si ella acepta ser su esposa. Ana Paula acepta después de que Bruno y Rosaura le hacen creer que Gustavo ha muerto.

Sin embargo, el verdadero amor triunfa si Ana Paula puede escoger con libertad si se queda con Rogelio o con Gustavo, o dejar de ser "La que no podía amar".

Elenco
 Ana Brenda Contreras: Ana Paula Carmona Flores / Ana Paula Carmona Flores de Montero / Ana Paula Galván Flores de Montero
 Jorge Salinas:  Rogelio Montero Báez
 José Ron: Gustavo Durán Esquivel
 Susana González: Cynthia Montero Báez
 Ana Martín: María Gómez
 Ana Bertha Espín: Rosaura Flores Nava
 Ingrid Martz: Daniela "Dany" Gutiérrez
 Julián Gil: Bruno Rey
 Fabián Robles: Efraín Ríos
 Paty Díaz: Macaria de Hernández
 Osvaldo Benavides: Miguel Carmona Flores
 Mar Contreras: Vanesa Galván Villaseñor
 Alejandro Ávila: Ernesto Cortés
 Marco Méndez: Esteban
 Michelle Ramaglia: Consuelo Herrera
 Anaís: Mercedes Durán Esquivel
 Germán Gutiérrez: Ulises Hernández
 Adanely Núñez: Carmen
 Ignacio López Tarso: Fermín Peña
 Jorge Aravena: David Romo
 Elizabeth Dupeyrón: Elsa Villaseñor de Galván
 Humberto Elizondo: Federico Galván
 Javier Ruán: Don Máximo Pinos
 Polly: Helena
 Elena Torres: Rocío "Chio"
 Mario del Río: Juan
 Ricardo Mendoza "El Coyote": Ingeniero
 Uriel del Toro: Hugo Dueñas
 Tania Lizardo: María de la Paz "Maripaz" Hernández
 Martín Brek: Ingeniero
 Aurora Clavel: Doña Milena
 Yolanda Ventura: Gloria de Cortés
 Marina Marín: Felipa Pérez
 Juan Bernardo Flores: Margarito Montero Carmona / Margarito Montero Galván
 Rigoberto Carmona: Comandante
 Zaneta Seilerova: Hilda
 Eduardo Liñán: Iván Montero
 Georgina Domínguez: Manuela
 Marcos Montero: Simón
 Jorge Abraham: El Tuerto
 Fernando Moya: Amigo de David
 Javier Villareal: González
 Albert Chávez: Labriego
 Daniela García: Melina
 Maria Luísa Rubino: Marcela de Cortés
 Martín Palomares: Rutilio
 Antônio Fortier: Pablo
 Mario Sauret: Doctor
 Enrique Montaño: Edgar
 Marco Sánchez
 Raúl Magaña
 Arturo Paulet
 Alisa Vélez
 Gladys Huitron

DVD
Fue lanzada en formato DVD en México y Estados Unidos. Se compone de 4 discos y contiene un resumen de la telenovela con duración de más de 14 horas. En el DVD de Estados Unidos contiene subtítulos en inglés.

Premios y nominaciones

TV Adicto Golden Awards

Premios Oye 2013

Versiones
 La mujer que no podía amar, radionovela original de Delia Fiallo.
 Monte Calvario, producida por Valentín Pimstein, protagonizada por Edith González y Arturo Peniche.
 Te sigo amando, producida por Carla Estrada, protagonizada por Claudia Ramírez y Luis José Santander.

Referencias

Enlaces externos
 Página oficial en Televisa.

Telenovelas de 2011
Telenovelas de México
Telenovelas de Televisa

La que no podía amar


CGFC er fjöllistahópur sem samanstendur af Arnari Geir Gústafssyni, Ýri Jóhannsdóttur, Birnir Jóni Sigurðssyni og Hallveigu Kristínu Eiríksdóttur. Hópurinn var stofnaður árið 2015 þegar meðlimir hans kynntust í Skapandi Sumarstörfum í Kópavogi og hefur verið starfandi síðan. Frá stofnun hefur hópurinn sett upp fjöldann allan af sýningum og innsetningum, þar sem þau leggja áherslu á myndræna túlkun, heimildavinnu og tilraunir í frásagnaraðferðum. Árið 2020 hlaut hópurinn tilnefningu til Grímunnar sem Leikrit Ársins fyrir sviðsverkið "Kartöflur".

Íslenskir fjöllistahópar

CGFC


Alacabük, Tatvan - Bitlis ili Tatvan ilçesine bağlı köy
 Alacabük, İspir - Erzurum ili İspir ilçesine bağlı mahalle
 Alacabük, Ereğli - Zonguldak ili Karadeniz Ereğli ilçesine bağlı köy

Alacabük


Skt. Clemens Torv i Aarhus ligger mellem Skt. Clemens Bro og Bispetorv mod Store Torv. Torvet er opkaldt efter Sankt Clemens, som er Aarhus' skytshelgen.

Skt. Clemens Torv hed tidligere Svinetorv. Torvet var blevet skabt ved nedrivning af en række ejendomme for at skaffe mere plads til torvehandelen. Det var specielt slagterne, der manglede plads, og det var dem, pladsen blev opkaldt efter. På et kort fra 1865 vises et torv på samme sted, som Skt. Clemens Torv ligger, ved navn Kjødtorvet. Torvet var bebygget på tre sider og åbent mod Aarhus Domkirke.

Bispetorv blev etableret i 1880 og Skt. Clemens Bro i 1884, dette skabte Skt. Clemens Torv, som vi kender det i dag med bebyggelse på to sider og åben gennemgang mod Strøget.

Bygningsværker på Skt. Clemens Torv
Wormhus – Skt. Clemens Torv 11
Bropalæet – Skt. Clemens Torv 15 og 17
Rømerhus - Skt. Clemens Torv 8
Clemensborg - Skt. Clemens Torv 10

Telefonkiosken, som i dag findes i Den Gamle By, blev åbnet på Skt. Clemens Torv i 1900. Den var tegnet af arkitekt Thorkel Luplau Møller.
Skt. Clemens Torv 1-7 var ejendomme der lå på vestsiden af Bispetorvet. Disse ejendomme er i dag nedrevet, så der ikke længere er bebyggelse mellem Bispetorvet og Skt. Clemens Torv. Ligeledes er Hotel Skandinavien, som i mange år prydede torvet nedrevet i dag. Til gengæld ligger Nordeas bankfilial i stedet på grunden.

Kilder og henvisninger

Gader i Aarhus

Skt. Clemens Torv


أوبري جونJohn Aubrey مؤلف وعالم أثار إنكليزي ولد عام (1626-1697م) في إيستون بيرسي بالقرب من تشبنهام في ويلتشير في جنوب غرب إنجلترا, اكتشف أوبري جوندائرة الحجر العظيمة في أفبوري، والحُفَر التي في ستونهينج والتي سُميت باسمه. ويرى أن ستونهينج والدوائر الحجرية الأخرى كانت أصلاً معابد للدروديين.
. اشتهر أوبري جون بكتابه الحياة المختصرة، وهو حكايات عن مشاهير الرجال مثل فرانسيس بيكون وبن جونسون والسير والتر رالي. ورغم أنها ممتعة ومسلِّية إلا أن بعض النقاد انتقده في سرد بعض السير لأنها تميل إلى القذف والتشهير. وتكون في كثير من الأحيان غير دقيقة.

مراجع

روابط خارجية

أشخاص مرتبطون بستونهنج
زملاء الجمعية الملكية
علماء آثار إنجليز
علماء عصر ما قبل التاريخ
عاملون إنجليز في التراث الشعبي
كتاب سيرة إنجليز
كتاب مقالات إنجليز
مواليد 1626
مؤرخون معماريون إنجليز
وفيات 1697
وفيات في أكسفورد
خريجو كلية الثالوث الأقدس

جون أوبري


Agrilus fabricii é uma espécie de inseto do género Agrilus, família Buprestidae, ordem Coleoptera.

Foi descrita cientificamente por Obenberger, 1933.

Referências

fabricii

Agrilus fabricii


Los saltos son los elementos más reconocibles del patinaje artístico y los que más contribuyen a la puntuación técnica en las competiciones de la ISU. Aunque en el patinaje sobre hielo se denomina salto a toda maniobra en la que el
patinador se eleva en el aire por su propio impulso, el reglamento de
la ISU solo asigna una puntuación específica para seis tipos de saltos, en los que el
patinador salta sobre un pie (con o sin ayuda de la serreta del otro
patín), ejecuta al menos una rotación y aterriza sobre un pie patinando hacia
atrás. Los mejores patinadores ejecutan regularmente saltos de
tres y hasta cuatro revoluciones en el aire. Los saltos de menos de una rotación se pueden incluir en las
secuencias de pasos o utilizarse como movimientos de transición o para
enlazar diferentes elementos del programa.

Técnica del salto

Según los reglamentos del patinaje artístico, los saltos deben
efectuarse en un movimiento continuo; el patinador debe iniciar el
salto sobre uno de los dos filos (interno o externo) de la cuchilla
del patín, efectuar el número estipulado de rotaciones en el aire y
aterrizar sobre un pie con la menor pérdida de
velocidad lineal posible.

La dificultad técnica de los saltos tiene su origen en la
tendencia a la curvatura de la trayectoria seguida por los patines al
deslizarse cuando el patinador se inclina hacia uno u otro lado. Este
efecto es similar a lo que ocurre a una moneda rodando. El patinador
debe de ser capaz de dominar perfectamente las fuerzas causantes de
momento angular para evitar una cantidad excesiva de rotación antes
del despegue (lo cual causa pérdida de velocidad y disminuye la altura
del salto); adquirir la velocidad angular necesaria para completar los
giros necesarios en el aire, que puede llegar hasta a 7 revoluciones por
segundo;
y frenar la rotación al aterrizar sin perder el equilibrio. La
ejecución correcta de los saltos requiere una buena preparación
física y mucha práctica.

En los saltos se distinguen cinco fases:
 Preparación: Pasos y movimientos que preceden al salto. Cada salto cuenta con una o dos preparaciones que se consideran estándar por facilitar las fases siguientes y que se suelen usar en el aprendizaje del salto; sin embargo en los programas la elección de la preparación es totalmente libre. Es importante adquirir y mantener una velocidad alta. Una preparación compleja, con pasos variados y difíciles incrementa el valor del salto.
 Transición: Paso o movimiento final en el que el patinador se sitúa sobre el filo desde el cual se inicia el salto. El control de la postura y la trayectoria sobre el hielo son muy importantes.
 Despegue: Momento crítico en la que el patinador efectúa el salto, y genera el momento angular que da lugar a la rotación. La mayoría de los errores resultantes en un salto de baja calidad tienen lugar en esta fase.
 Suspensión: En esta fase es importante adoptar una postura que minimice el momento de inercia para girar lo más rápidamente posible, manteniendo los brazos y piernas firmemente sujetos al eje vertical de rotación.
 Aterrizaje: Se frena la rotación extendiendo los brazos y la pierna libre. Los saltos multirrotacionales se aterrizan sobre el filo externo patinando hacia atrás, la posición más idónea para controlar el momento angular sin perder el equilibrio. El impacto con un hielo suele reducir la velocidad lineal en aproximadamente .

La mayoría de los patinadores efectúa los saltos girando hacia la izquierda (la dirección contraria a las agujas del reloj), aterrizando sobre la pierna derecha. La preferencia rotacional está relacionada con la lateralidad o preferencia por una mano o lado del cuerpo, aunque la relación no es perfecta: aunque la mayor parte de patinadores diestros prefieren girar hacia la izquierda, la correlación entre la preferencia por la mano izquierda y por la rotación hacia el lado derecho es más débil. La dirección de la rotación no influye en la puntuación y muy pocos patinadores intentan saltos de más de una revolución en la dirección contraria a su preferencia natural.

Tipos de saltos

Hay seis tipos de saltos en el patinaje artístico sobre hielo que se puntúan como elementos individuales en las competiciones de patinaje individual y parejas. El tipo de salto es parcialmente determinado por el filo —interno o externo— y el pie de despegue —el mismo que el pie de aterrizaje o el otro—; una distinción adicional importante se basa en el uso de la serreta del patín libre para impulsar el salto. Los saltos en los que se usa —toe loop o «bucle picado», flip y lutz— reciben el nombre de «saltos de punta» o «saltos picados»; en estos saltos la pierna libre cumple un cometido similar al de la pértiga en un salto de altura, proporcionando al patinador un impulso adicional vertical y horizontal. Los saltos que parten del filo sin asistencia del pie libre —salchow, loop o «bucle» y axel— se denominan «saltos de filo». En todos los saltos el despegue se realiza patinando hacia atrás, con la excepción del axel. Todos ellos deben aterrizarse sobre un pie: el derecho si la rotación se realiza en sentido contrario de las agujas de reloj, y el izquierdo si la rotación se efectúa en el sentido opuesto.

Salchow

El salchow fue inventado por el patinador sueco Ulrich Salchow, figura destacada del patinaje a principios del . Este salto parte del filo interno del patín del pie contrario al de aterrizaje. Durante el despegue la pierna libre se lanza hacia delante, lo cual contribuye a propulsar el salto.

El salchow es uno de los saltos más fáciles y algunos patinadores realizan cuatro rotaciones, aunque el cuádruple no es tan frecuente como el toe loop. El primer patinador que logró aterrizar el cuádruple salchow en competición fue el estadounidense Timothy Goebel en 1998, cuando aún competía en categoría júnior. La patinadora de Kazajistán, Elizabet Tursynbayeva, es oficialmente la primera mujer en aterrizar un cuádruple salchow en una competencia mundial senior de la Unión Internacional de Patinaje sobre Hielo

Toe loop

El toe loop también se conoce como bucle picado, metz y cherry flip. Fue inventado por Bruce Mapes, y en el patinaje artístico sobre ruedas se conoce como «mapes».

El despegue se realiza desde el filo externo del patín, usando el mismo pie en el despegue y el aterrizaje. La serreta del otro pie se usa para propulsar el salto. Si el despegue se efectúa desde el filo interno, el salto se conoce como toe walley («walley picado»). En competición no se hace ninguna distinción práctica entre los dos saltos, otorgándose a ambos el mismo valor básico.

El toe loop es uno de los saltos más fáciles. Kurt Browning realizó el cuádruple en competición en los Campeonato Mundial de Patinaje Artístico sobre Hielo de 1988, y los mejores patinadores masculinos lo ejecutan habitualmente. La primera patinadora que intentó realizar el cuádruple toe loop en una competición fue Surya Bonaly, en 1991. Sin embargo este salto no fue reconocido oficialmente al considerarse que parte de la rotación fue completada sobre el hielo. La primera patinadora que realizó un cuádruple toe loop ratificado oficialmente en competición es Aleksandra Trusova, en el Campeonato Mundial Juvenil de  en 2018..

Loop

El loop es también conocido como bucle o rittberger, en honor de su inventor, el patinador alemán Werner Rittberger. El loop parte del filo externo del patín de despegue y aterriza sobre el mismo pie. Este pie describe uno o más bucles en el aire, razón por la cual se le da su nombre al salto. Es el único salto que se realiza sin ningún tipo de apoyo o asistencia de la pierna libre.

A pesar de ser más difícil que el toe loop y el salchow, el loop fue el primer salto triple ejecutado en una competición. Richard Button fue el patinador que lo realizó, en 1952. En septiembre de 2016, Yuzuru Hanyu realizó el primer bucle cuádruple ratificado oficialmente.

Flip

La invención del flip o toe salchow (salchow picado) se atribuye también al inventor del toe loop, Bruce Mapes, aunque no hay acuerdo total sobre su origen. El flip se inicia sobre el filo interno del pie opuesto al de aterrizaje, con impulso de la serreta del otro pie. Para realizar un salto óptimo es necesario efectuar la transición y despegue en una trayectoria casi recta. Esto lo distingue de otros saltos, en los que el deslizamiento antes del despegue tiene lugar sobre una trayectoria más curvada. Shoma Uno realizó el primer flip cuádruple en competición en 2016.

 Lutz

El lutz fue inventado por el austríaco Alois Lutz. Parte del filo externo del pie opuesto al de aterrizaje, con impulso de la serreta del otro pie. Es el único salto multirrotacional en el que el patinador parte desde una trayectoria de sentido opuesto a la del aterrizaje. Por este motivo se lo considera el salto más difícil, exceptuando al axel. Un error común consiste en cambiar la inclinación del patín durante la fase de despegue, partiendo del filo interno de tal modo que el salto es técnicamente un flip.
Este error técnico se conoce coloquialmente como flutz, contracción de flip-lutz.

El canadiense Donald Jackson realizó el primer lutz en el Campeonato del Mundo de 1962. La suiza Denise Biellmann fue la primera patinadora que completó las tres revoluciones en competición. En 2011, el estadounidense Brandon Mroz efectuó el primer cuádruple lutz validado por la ISU. En 2018, la ISU ratificó el primer cuádruple lutz por una mujer, la rusa Aleksandra Trusova.

Axel

El axel fue inventado por el patinador noruego Axel Paulsen, que ejecutó este salto en la primera competición internacional de patinaje, celebrada en Viena en 1882. El despegue del axel se realiza desde el filo externo del pie contrario al de aterrizaje. Puesto que el salto se inicia patinando hacia delante, incluye media vuelta más que los otros saltos — es decir, un axel triple cuenta en realidad con tres revoluciones y media o 1260°, por lo que es considerado el salto más difícil.

Richard Button completó el doble axel en 1948. El canadiense Vern Taylor realizó el primer axel triple en el Campeonato Mundial de 1978. La primera mujer que logró hacer el axel triple fue la patinadora Japonesa Midori Ito, en el Campeonato mundial de 1989.
Tonya Harding fue la primera estadounidense en hacerlo en competición en 1991 (Nacionales de Minneapolis).

Otros saltos

Los saltos no listados se pueden utilizar en las secuencias de pasos, como inicio o transición en las piruetas, o como elementos coreográficos y no reciben una puntuación individual, sino que se evalúan en el contexto global del elemento que los incluye o del programa. Ciertos saltos no listados son importantes por su frecuencia o por su valor como etapas de aprendizaje para los saltos de más dificultad. Entre estos se pueden destacar los siguientes:

 Salto de vals: Se inicia y aterriza exactamente igual que el axel, pero solo se efectúa media rotación (180°) en el aire. Es uno de los primeros saltos que aprenden los patinadores principiantes y muy utilizado como ejercicio para el aprendizaje correcto del axel.
 medio bucle o half loop: Se inicia como el bucle o loop, pero aterriza sobre el filo interno del otro pie. Por ser un salto no listado hasta 2010 no se puntuaba, pero en el Congreso General que tuvo lugar en enero de ese año la ISU decidió hacer una excepción si se efectúa en combinación, y otorgar en este caso el mismo valor base que el bucle.
 walley: Se considera que este salto fue realizado por primera vez por el estadounidense Nate Walley, aunque en Gran Bretaña se atribuye su invención al escocés Pat Low. Parte del filo interno y se aterriza sobre el mismo pie tras efectuar una rotación. Como ocurre con el toe walley, lutz, la trayectoria de entrada discurre en el sentido opuesto de la de aterrizaje; sin embargo, el walley, al no ser un salto picado, no cuenta con asistencia del pie opuesto para cambiar la dirección de rotación durante el despegue, lo cual dificulta el salto y have difícil efectuar múltiples revoluciones en el aire. Se suelen realizar varios en secuencia, encadenándolos con un cambio del filo externo al interno.
 medio flip y medio lutz: despegan como un flip o lutz, pero solo se realiza media rotación en el aire y se aterrizan patinando hacia delante. Estos saltos se utilizan por su efecto coreográfico, y existen muchas variantes, dependiendo de la postura que el patinador adopta en el aire.

Los saltos mortales están penalizados en el patinaje de competición, pero son comunes en programas de exhibición, galas y en el patinaje profesional.

Combinaciones y secuencias de saltos

Las combinaciones y secuencias consisten en el enlace de dos o más saltos ejecutados consecutivamente. En una combinación, el segundo salto debe realizarse desde el mismo filo sobre el que se aterrizó el salto anterior. Los únicos saltos que parten del filo exterior en el que acaban los saltos multirotacionales son el toe loop y el loop, por lo cual la totalidad de las combinaciones de dos saltos y la mayoría de las de tres o más saltos cuentan con uno o ambos de estos saltos. La excepción la constituyen las combinaciones de tres saltos con un medio bucle como el segundo salto en la combinación; en este caso el tercer salto puede ser un salchow o un flip. El primer salto debe efectuarse con muy buena técnica y gran velocidad para poder conseguir el mayor número de revoluciones posibles en el segundo salto. En el patinaje masculino se han llegado a aterrizar combinaciones de saltos cuádruple–triple y en el femenino, de triple–triple.

En las secuencias puede haber un giro (cambio de dirección), cambio de filo o de pie entre los saltos. Un ejemplo de secuencia común es el axel–axel. Las secuencias suelen considerarse más fáciles que las combinaciones, pues el movimiento adicional puede utilizarse para corregir el equilibrio o recobrar velocidad entre saltos, por lo tanto la puntuación recibida por una secuencia es algo menor que si los mismos saltos hubieran sido efectuados en combinación.

Saltos en pareja

Los saltos también son un elemento obligatorio en le patinaje en pareja. Los elementos de saltos en pareja pueden ser de dos tipos:
 saltos en paralelo, realizando los dos miembros de la pareja el mismo salto o combinación en sincronía
 saltos lanzados, en los que el hombre lanza a la mujer en el despegue. Con el impulso adicional, esta puede llegar a recorrer 6 o 7 metros en el aire antes de aterrizar.

Existe además un elemento de pareja, los twist lifts, a medio camino entre un salto y una elevación. Se inician de manera similar a un salto lanzado, pero el lanzamiento se realiza exclusivamente en la dirección vertical, de tal manera que la mujer efectúa las rotaciones por encima del hombre, en una posición horizontal o casi horizontal. EL hombre debe atrapar a la mujer en el aire antes de que esta aterrice.

Los saltos son los mismos que realizan los patinadores individuales. Los saltos en paralelo más comunes son el triple toe loop y el doble axel. Los saltos lanzados y suelen ser de más dificultad, debido a la mayor altura alcanzada en ellos, pero el axel triple y los cuádruples son poco comunes. El primer triple axel lanzado fue efectuado en los Juegos Olímpicos de 2006, por los estadounidenses Rena Inoue and John Baldwin.
En la primera década del S XXI, varias parejas chinas intentaron el cuádruple salchow y toe loop, pero no fue hasta 2007 que los estadounidenses Tiffany Vise y Derek Trent lograron realizar el cuádruple salchow lanzado por primera vez.

Evaluación de los saltos

En el sistema de puntuación utilizado por la ISU, cada elemento tiene un valor base fijo. En el caso de los saltos, el valor base está determinado por el tipo salto y el número de revoluciones. Cada juez evalúa la calidad del salto y otorga una puntuación llamada grado de ejecución o GOE ('Grade Of Execution'), que varía entre +5 y -5, incluyendo el 0. Un GOE de 0 indica que el salto se ha efectuado correctamente, sin errores, pero sin ningún virtuosismo o cualidades especiales; en este caso el salto recibe exactamente el valor base. Un GOE positivo no se añade directamente al valor base, sino que se multiplica por un factor que depende del nivel del salto; por ejemplo, el GOE de un salto triple cuenta más que el mismo GOE de un salto doble del mismo tipo. Un GOE negativo se resta al valor base.

Las combinaciones se puntúan de acuerdo con el mismo principio, sumando los valores bases para cada salto de la combinación. El factor que se aplica al GOE es el del salto más difícil de la combinación. En el caso de las secuencias de saltos, el valor base es la suma del valor de cada salto multiplicado por 0,8.

Los factores que pueden resultar en un GOE positivo son:
 Una fase de preparación técnicamente difícil o creativa.
 Una fase de transición rápida, sin pausas entre los pasos precedentes y el salto.
 Posiciones variadas en la fase de suspensión (por ejemplo, con uno o ambos brazos por encima de la cabeza)
 Pasos difíciles o creativos tras el aterrizaje.
 Movimiento excepcionalmente fluido en todas las fases del salto.

En el programa libre, la puntuación de los saltos ejecutados en la segunda mitad del programa se bonifica con un factor de 1,1, por la mayor dificultad de realizar los saltos bajo condiciones de fatiga física.

Errores
El error más reconocible es una caída, pero hay otros errores técnicos que resultan en una puntuación baja del salto.
Los errores más comunes en la ejecución de los saltos son los siguientes:
 Pérdida de velocidad excesiva en el aterrizaje.
 Cambios pronunciados en la curvatura de la trayectoria horizontal seguida por el patinador entre las distintas fases del salto.
 Rotación excesiva sobre el hielo, tanto en el despegue como el aterrizaje.
 Despegue desde el filo incorrecto, sobre todo en el flip o el lutz.
 Mala postura, movimientos excesivos del cuerpo para recobrar el equilibrio tras finalizar el salto, como realizar uno o más giros tras el aterrizaje, o apoyarse sobre el pie libre o las manos para evitar una caída.
 Aterrizaje sobre los dos pies.

Estas faltas afectan a la puntuación final del elemento dependiendo del grado del error. Si el error se considera menor, como una subrotación de tan solo unos pocos grados, y si los demás aspectos del salto se han realizado muy bien, no es obligatorio puntuar el salto por debajo del valor básico. Otros errores, como aterrizar sobre los dos pies, un cambio de filo evidente en el despegue o una caída, se consideran más serios y en estos casos el salto recibe siempre un GOE negativo.

Un error muy costoso en términos de la puntuación consiste en realizar más de un cuarto (90°) de la rotación sobre el hielo. En este caso el salto no solo se considera de baja calidad, sino que es rebajado de nivel —por ejemplo, un salto triple cuenta solo como un doble— con lo que la puntuación base del elemento disminuye drásticamente y la puntuación final puede llegar ser más baja que la de un salto de rotación completa acabado en caída.

Tabla de valor de saltos

(<) Rotación insuficiente al aterrizar.

(e) Filo incorrecto a la hora del despegue.

Véase también

 Patinaje artístico sobre hielo

Notas

Referencias

Enlaces externos

 Reglamentos técnicos de la Federación Española de Deportes sobre Hielo

Patinaje artístico sobre hielo
Terminología del patinaje

Saltos del patinaje artístico sobre hielo


George and Mildred is a British sitcom produced by Thames Television and first aired between 1976 and 1979. It is a spin-off from Man About the House, and starred Brian Murphy and Yootha Joyce as constantly-sparring married couple George and Mildred Roper. The premise of the series had George and Mildred leaving their flat as depicted in Man About the House and moving to a modern, upmarket housing estate in Hampton Wick. Their arrival horrifies their snobbish neighbour Jeffrey Fourmile, a middle-class estate agent who fears the Ropers' presence will devalue his home.

It was written by Brian Cooke and Johnnie Mortimer. Like many British sitcoms, George and Mildred was made into a film. The movie was dedicated to actress Yootha Joyce who died suddenly in August 1980, just as the cast were about to film a sixth and final series.

Cast

Yootha Joyce as Mildred Roper
Brian Murphy as George Roper
Norman Eshley as Jeffrey Fourmile
Sheila Fearn as Ann Fourmile
Nicholas Bond-Owen as Tristram Fourmile

Recurring guest cast
Roy Kinnear as Jerry
Avril Elgar as Ethel Pumphrey
Reginald Marsh as Humphrey Pumphrey
Gretchen Franklin as Mildred's Mother
Simon Lloyd as Tarquin Fourmile (from series 3)

Premise
George and Mildred Roper have left their old house after receiving a compulsory purchase order from the council, and move to 46 Peacock Crescent in upmarket Hampton Wick. While Mildred enjoys the chance to better herself in her new surroundings, she is always being thwarted—usually by the lazy, inept and generally unemployed George, who has no interest in climbing the social ladder, and also continues to show a lack of interest in sexual relations with Mildred.

George and Mildred's next-door neighbours are Jeffrey Fourmile, a snobbish estate agent and his wife Ann. Ann and Mildred become good friends, but Jeffrey is frequently irritated by George, with their spats providing much of the show's humour. The Fourmiles have a young son, Tristram, who gets on well with George, much to the chagrin of Jeffrey (particularly because Jeffrey supports the Conservative Party, while George puts socialist ideas into Tristram's head). In series three, Ann gives birth to a second child; Tarquin.

Mildred's snobbish sister Ethel and her rich husband Humphrey occasionally visit, as does Mildred's elderly mother. Having married wealth, Ethel enjoys trying to make Mildred feel inferior by showing off her latest car or fur coat, at which point Mildred often makes subtle digs at Ethel's age, or social status and pretensions. George however, is far less subtle. George's friend Jerry, a jack-of-all-trades and common swindler, also visits occasionally, much to Mildred's annoyance. Jerry is fond of referring to Mildred as "Mildew". Jerry is the only other character from Man About the House to reappear in this series.

In the first series, George buys Mildred a Yorkshire Terrier called Truffles after the Ropers are unable to adopt a child (Mildred later registers her with the kennel club as "Truffles duBorbon Fitzwilliam III").

Episodes

Props
George Roper's 1933 Brough motorcycle combination—shown to regular comic effect in the opening titles of series 2, 3 and 5—is now exhibited at the London Motorcycle Museum. It also appeared in the BBC sitcom Dad's Army. In episodes 1-6 of Series 1, George drives a Reliant Regal three-wheeler – which he swaps for a caravan in the episode "Where My Caravan Has Rested". The Fourmiles' car was Ford Granada Mk1 in Series 1–4 changing to a Volvo 240 estate in Series 5.

Filming locations
The exterior shots for the Roper and Fourmile residences were filmed at 46 and 44 Manor Road, Teddington, Middlesex (now South West London) TW11 8AB. Interior scenes were filmed at the nearby Thames Television studios in Teddington.

Theme Music
The theme music for the show is Graphic Brown by Roger Webb (Media Music Number 22, Multi Images, 1978)

Stage show
During 1977, Brian Murphy and Yootha Joyce, joined at one point by Reginald Marsh, toured in a successful stage version of the programme. The tour included appearances at The King's Theatre, Edinburgh. In 1976 and 1977, Murphy and Joyce appeared as the ugly sisters, Georgina and Mildred, in the London Palladium pantomime, Cinderella.

Film version

Following the fifth series, a feature film version of the series was produced in 1980. The film was not written by Cooke and Mortimer but by Dick Sharples. The Fourmiles only played a small role in the film, which focused on George and Mildred celebrating their wedding anniversary, at Mildred's insistence, at an upmarket London hotel. It featured several guest stars including Stratford Johns, Kenneth Cope and Vicki Michelle. The film was neither a critical nor box office success. It was shown on ITV on Christmas Day 1980.

The end
The final caption of the George and Mildred film read "The End – or is it the beginning?" It would prove to be the former as Yootha Joyce died from portal cirrhosis of the liver due to chronic alcoholism on 24 August 1980, before the film was released. Friends and colleagues were unaware that Joyce had been habitually consuming half a bottle of brandy every day for over 10 years.

In 2004, on an audio commentary on the Australian Umbrella DVD release of George and Mildred: the Complete Series 2, Brian Murphy revealed that there had been plans for a sixth series of eight episodes of the show. These were to have been recorded in late 1980. Murphy also revealed that this was due to have been the final series of George and Mildred, as he and Yootha Joyce were afraid of being typecast after playing the characters since 1973 on television and in two films. However, despite scripts being written, Joyce's hospitalisation and subsequent death brought a premature end to the show. Her funeral took place on the day the cast were due to begin rehearsals for the new series. Speaking of their relationship in a 2001 ITV programme, The Unforgettable Yootha Joyce, Murphy said that when they had first met at Joan Littlewood's Theatre Workshop he had, "always regarded Yootha as very stylish and very confident. I was rather over-awed by her at first, full of admiration for her. "At her death, "People said, 'You've lost a working partner' and I said, 'No, I've lost a chum'... and then I realised I've lost my working partnership as well...".

Thames Television did consider producing a spin-off for the character of George, looking at him cope with life as a widower. However, this project did not materialise, with Brian Murphy briefly moving to the BBC the following year for L for Lester which was cancelled after just one series.

He did reunite with George and Mildred co-star Roy Kinnear and writers Johnnie Mortimer and Brian Cooke for The Incredible Mr. Tanner, a comedy produced by Thames Television.

Adaptations
George and Mildred was adapted in the United States as The Ropers, a spin-off from Three's Company (itself the US adaptation of Man About the House).

Book
Man About the House – George and Mildred: The Definitive Companion by Tex Fisher was published on 1 July 2010. The book includes contributions from many of the original cast, including Brian Murphy, Paula Wilcox, Sally Thomsett and Nicholas Bond-Owen. It explains the background and history of both programmes, together with an episode and film guide, full cast biographies, details of the stage play, full catalogue of support cast, and a 1970s phrase dictionary. . The book is published by Deck Chair Publishing.

Home releases

UK
The first DVD of George and Mildred was released by Clear Vision in the UK in 2001, featuring six episodes of series one (four episodes of the first series were omitted). The DVD was criticised for poor image quality and changes to the original captions.

The George and Mildred movie was released on DVD in 2003.

Network DVD in Region 2 (UK) from 2005–2007 with superior image quality and unedited captions.

Region 2 "Network DVD" Releases:
 Series 1 – 2005
 Series 2 – 30 January 2006
 Series 3 – 20 March 2006
 Series 4 – 7 August 2006
 Series 5 – 22 January 2007
 The Complete Series (all 5 individual seasons in a box) – 24 September 2007
 The Complete Series (repackaged into slimmer packaging) – 26 May 2008

Australia
In Australia, the first series was released by Umbrella on 15 May 2003. Unlike the Clear Vision release of Series 1, all ten episodes were included, as were the original advertising captions, the Thames TV idents at the start and original end boards. A DVD of Series 2 was released on 19 March 2004. A DVD of the movie was released on 18 November 2004. Unlike the UK Network release of Series 2, the Australian version contained some audio commentaries with series star Brian Murphy. Series 3, 4 and 5 were released in Australia on DVD in 2008.

In 2009, FremantleMedia re-released DVDs of each of the five series with the same cover art as the UK releases with Season 1 released on 14 May 2009 and remainder seasons following. In 2011, Fremantle once again re-released all five series with new cover art with Series 1, 2 & 3 on 3 March 2011 and Series 4 & 5 on 1 September 2011, and a complete box set was released on 8 April 2015.

Via Vision Entertainment later released "The Complete Series" on 17 March 2021.

See also
List of films based on British sitcoms

References

External links

British TV Comedy Guide for George and Mildred.

1970s British sitcoms
1976 British television series debuts
1979 British television series endings
British television spin-offs
English-language television shows
Fictional married couples
Hampton Wick
ITV sitcoms
Man About the House
Television duos
Television series about couples
Television series about marriage
Television series by Fremantle (company)
Television shows adapted into films
Television shows adapted into plays
Television shows produced by Thames Television
Television shows set in London
Television shows shot at Teddington Studios
Works about social class

George and Mildred


Gruszowiec ist eine Ortschaft mit einem Schulzenamt der Gemeinde Dobra im Powiat Limanowski der Woiwodschaft Kleinpolen in Polen.

Geographie
Der Ort liegt in den Inselbeskiden, südlich des Bergs Śnieżnica (1007 m), etwa 17 km westlich von Limanowa und 41 Kilometer südlich von Krakau.

Geschichte
Der Ort wurde im Jahr 1618 erstmals urkundlich erwähnt.

Politisch und administrativ gehörte das private Dorf zum Königreich Polen (ab 1569 in der Adelsrepublik Polen-Litauen), Woiwodschaft Krakau. Nach der Ersten Teilung Polens kam Gruszowiec zum neuen Königreich Galizien und Lodomerien des habsburgischen Kaiserreichs (ab 1804).

1918, nach dem Ende des Ersten Weltkriegs und dem Zusammenbruch der k.u.k. Monarchie, kam Gruszowiec zu Polen. Unterbrochen wurde dies durch die Besetzung Polens durch die Wehrmacht im Zweiten Weltkrieg, während der es zum Distrikt Krakau im Generalgouvernement gehörte.

Von 1975 bis 1998 gehörte Gruszowiec zur Woiwodschaft Nowy Sącz.

Einzelnachweise

Weblinks

Ort der Woiwodschaft Kleinpolen
Gmina Dobra (Powiat Limanowski)

Gruszowiec


In cryptography, a random oracle is an oracle (a theoretical black box) that responds to every unique query with a (truly) random response chosen uniformly from its output domain. If a query is repeated, it responds the same way every time that query is submitted.

Stated differently, a random oracle is a mathematical function chosen uniformly at random, that is, a function mapping each possible query to a (fixed) random response from its output domain.

Random oracles as a mathematical abstraction were first used in rigorous cryptographic proofs in the 1993 publication by Mihir Bellare and Phillip Rogaway (1993). They are typically used when the proof cannot be carried out using weaker assumptions on the cryptographic hash function. A system that is proven secure when every hash function is replaced by a random oracle is described as being secure in the random oracle model, as opposed to secure in the standard model of cryptography.

Applications
Random oracles are typically used as an idealised replacement for cryptographic hash functions in schemes where strong randomness assumptions are needed of the hash function's output. Such a proof often shows that a system or a protocol is secure by showing that an attacker must require impossible behavior from the oracle, or solve some mathematical problem believed hard in order to break it. However, it only proves such properties in the random oracle model, making sure no major design flaws are present. It is in general not true that such a proof implies the same properties in the standard model. Still, a proof in the random oracle model is considered better than no formal security proof at all.

Not all uses of cryptographic hash functions require random oracles: schemes that require only one or more properties having a definition in the standard model (such as collision resistance, preimage resistance, second preimage resistance, etc.) can often be proven secure in the standard model (e.g., the Cramer–Shoup cryptosystem).

Random oracles have long been considered in computational complexity theory, and many schemes have been proven secure in the random oracle model, for example Optimal Asymmetric Encryption Padding, RSA-FDH and Probabilistic Signature Scheme. In 1986, Amos Fiat and Adi Shamir showed a major application of random oracles – the removal of interaction from protocols for the creation of signatures.

In 1989, Russell Impagliazzo and Steven Rudich showed the limitation of random oracles – namely that their existence alone is not sufficient for secret-key exchange.

In 1993, Mihir Bellare and Phillip Rogaway were the first to advocate their use in cryptographic constructions. In their definition, the random oracle produces a bit-string of infinite length which can be truncated to the length desired.

When a random oracle is used within a security proof, it is made available to all players, including the adversary or adversaries.

Domain separation
A single oracle may be treated as multiple oracles by pre-pending a fixed bit-string to the beginning of each query (e.g., queries formatted as "1|x" or "0|x" can be considered as calls to two separate random oracles, similarly "00|x", "01|x", "10|x" and "11|x" can be used to represent calls to four separate random oracles). This practice is usually called domain separation. Oracle cloning is the re-use of the once-constructed random oracle within the same proof (this in practice corresponds to the multiple uses of the same cryptographic hash within one algorithm for different purposes). Oracle cloning with improper domain separation breaks security proofs and can lead to successful attacks.

Limitations
According to the Church–Turing thesis, no function computable by a finite algorithm can implement a true random oracle (which by definition requires an infinite description because it has infinitely many possible inputs, and its outputs are all independent from each other and need to be individually specified by any description).

In fact, certain artificial signature and encryption schemes are known which are proven secure in the random oracle model, but which are trivially insecure when any real function is substituted for the random oracle. Nonetheless, for any more natural protocol a proof of security in the random oracle model gives very strong evidence of the practical security of the protocol.

In general, if a protocol is proven secure, attacks to that protocol must either be outside what was proven, or break one of the assumptions in the proof; for instance if the proof relies on the hardness of integer factorization, to break this assumption one must discover a fast integer factorization algorithm. Instead, to break the random oracle assumption, one must discover some unknown and undesirable property of the actual hash function; for good hash functions where such properties are believed unlikely, the considered protocol can be considered secure.

Random Oracle Hypothesis
Although the Baker–Gill–Solovay theorem showed that there exists an oracle A such that PA = NPA, subsequent work by Bennett and Gill, showed that for a random oracle B (a function from {0,1}n to {0,1} such that each input element maps to each of 0 or 1 with probability 1/2, independently of the mapping of all other inputs), PB ⊊ NPB with probability 1. Similar separations, as well as the fact that random oracles separate classes with probability 0 or 1 (as a consequence of the Kolmogorov's zero–one law), led to the creation of the Random Oracle Hypothesis, that two "acceptable" complexity classes C1 and C2 are equal if and only if they are equal (with probability 1) under a random oracle (the acceptability of a complexity class is defined in BG81). This hypothesis was later shown to be false, as the two acceptable complexity classes IP and PSPACE were shown to be equal despite IPA ⊊ PSPACEA for a random oracle A with probability 1.

Ideal Cipher

An ideal cipher is a random permutation oracle that is used to model an idealized block cipher. A random permutation decrypts each ciphertext block into one and only one plaintext block and vice versa, so there is a one-to-one correspondence. Some cryptographic proofs make not only the "forward" permutation available to all players, but also the "reverse" permutation.

Recent works showed that an ideal cipher can be constructed from a random oracle using 10-round or even 8-round Feistel networks.

Ideal Permutation
An ideal permutation is an idealized object sometimes used in cryptography to model the behaviour of a permutation whose outputs are indistinguishable from those of a random permutation. In the ideal permutation model, an additional oracle access is given to the ideal permutation and its inverse. The ideal permutation model can be seen as a special case of the ideal cipher model where access is given to only a single permutation, instead of a family of permutations as in the case of the ideal cipher model.

Quantum-accessible Random Oracles
Post-quantum cryptography studies quantum attacks on classical cryptographic schemes. As a random oracle is an abstraction of a hash function, it makes sense to assume that a quantum attacker can access the random oracle in quantum superposition. Many of the classical security proofs break down in that quantum random oracle model and need to be revised.

See also
 Sponge function
 Oracle machine
 Topics in cryptography

References

Sources

Cryptographic hash functions
Theory of cryptography
Computation oracles

Random oracle


إيما دي كونز (بالفرنسية: Emma de Caunes) ممثلة فرنسية من مواليد 9 سبتمبر 1976، وقد لعبت دور سابين في فيلم إجازة السيد بين.

أفلامها
 إجازة السيد بين
 أيام الظلام

مصادر

مواقع خارجية

أشخاص على قيد الحياة
حائزون على جائزة سيزار
ممثلات أفلام فرنسيات
ممثلات تلفاز فرنسيات
ممثلات فرنسيات في القرن 20
ممثلات فرنسيات في القرن 21
ممثلات من باريس
مواليد 1976

إيما دي كونز


හුඹස් හූනා, Hemidactylus lankae, යනු  ශ්‍රී ලංකාවට ආවේණික වූ හූනන් විශේෂයකි.

ව්‍යාප්තිය
ශ්‍රී ලංකාවේ වියලි කලාපයේ ව්‍යාප්ත මෙම හූනන් බොහෝ විට කණ්ඩලම, දඹුල්ල, ගිරිතලේ, බකමූණ, පුත්තලම, විල්පත්තු ජාතික උද්‍යානය සහ මැණික්දෙණ යන ප්‍රදෙශයන්හී දැකගත හැකි වේ.

ආශ්‍රිත

හුඹස් හූනා


Göran Persson er navnet på flere personer:
 Göran Persson (født 1949) – svensk socialdemokratisk politiker og statsminister 1996-2006
 Göran Persson (født 1960) – svensk socialdemokratisk politiker fra Skåne
 Göran Persson (musiker) (født 1948) – svensk musiker
 Göran Persson (kunstner) (født 1956) – svensk skulptør
 Göran Persson (oberst) (1921-2001) − svensk oberst af første grad
 Göran Persson (fiktiv figur) − hovedpersonen i en krimiserie af Lennart og Monica Brohed

Göran Persson (flertydig)


Gordon Matthew Thomas Sumner, tanındığı sahne adıyla Sting (d. 2 Ekim 1951), İngiliz müzisyendir.

Ufak yaşlarda klasik piyano eğitimi alan Sting'in müzikal kariyerinde önemli isimlerden biri olan annesi aynı zamanda onun ilk öğretmeniydi. Müziğe ilgisini fark eden annesinden aldığı klasik piyano eğitimi sayesinde kazandığı müzik bursuyla aynı alanda eğitimine okullu olarak devam etti. Piyano eğitiminin üretkenliğinde ve yarattığı müzikal çeşitlilikteki etkisi önemli ölçülere ulaştı. Eğitimini tamamladıktan sonra Londra yollarına düşen Sting burada tanıştığı baterist Stewart Copeland ve gitarist Andy Summers ile birlikte The Police grubunu kurdu. 1977 yılında kurdukları Police'i 1983 yılına kadar sürdüren grup yaptıkları birçok parçayla müzik listelerini altüst etti. Keskin duruşları ve şarkılarının içerdiği sözler nedeniyle dönem dönem BBC tarafından çalınması yasaklanan parçalara imza attılar. Tüm bu sürece ve Police grubunun gördüğü ilgiye rağmen Sting'in solo kariyerinde aldığı başarılar son derece arttı. Grup müziğinden solo albümlere geçen birçok müzisyenin eski başarısını yakalayamadığı müzik piyasasında Sting adeta yeniden doğdu.

The Police ile yollarını ayırdıktan sonra yükselişe geçen sanatçı daha sonra yaptığı albümlerle müzik listelerinde her zaman istikrarlı bir duruş sergiledi ve büyük bir hayran kitlesi edindi. Müzik dünyasının starlarından olan Sting bu dönemde yaptığı 'Englishman In New York, Shape of My Heart, Mad About You' 'Desert Rose' gibi klasikleşmiş birçok parça ile müzik dünyasında hatırı sayılır bir yer edindi. Çok yönlü kişiliği Rock'çı çevreci, politik eylemci, yogacı gibi birçok sıfatın üzerine yapışmasına neden olsa da Sting'in özellikle son yıllarda meditasyon ile olan içli dışlı ilişki içindedir.

1998 yılında Guy Ritchie'nin filmi Ateşten Kalbe, Akıldan Dumana filminde ufak rol oynadı.

Sting ismi Phoenix Jazzmen ile beraberken takılmıştır. Bir performansta siyah ve sarı çizgili bir süveter ile çıktığı için grubun lideri Gordon Solomon kendisine bal arısı gibi göründüğünü söylemiştir. Bundan sonra da lakabı Sting (arı iğnesi) olarak kalmıştır.

Diskografi

The Police
Outlandos d'Amour (1978)
Reggatta de Blanc (1979)
Zenyatta Mondatta (1980)
Ghost in the Machine (1981)
Synchronicity (1983)

Solo
 The Dream of the Blue Turtles (1985)
 ...Nothing Like the Sun (1987)
 The Soul Cages (1991)
 Ten Summoner's Tales (1993)
 Mercury Falling (1996)
 Brand New Day (1999)
 Sacred Love (2003)
 Songs from the Labyrinth (2006)
 If on a Winter's Night... (2009)
 Symphonicities (2010)
 The Last Ship (2013)
 57th & 9th (2016)
 44/876, Shaggy ile (2018)
 My Songs (2019)
 The Bridge (2021)

Kaynakça

Dış bağlantılar

1951 doğumlular
İngiliz erkek sinema oyuncuları
İngiliz öğretmenler
İngiliz şarkıcı-şarkı yazarları
İngiliz erkek şarkıcılar
İngiliz gitaristler
İngiliz aktivistler
İngiliz agnostikler
İngiliz vejetaryenler
Emmy Ödülü sahipleri
Britanya İmparatorluk Nişanı
Grammy Ödülü sahipleri
BRIT Ödülü sahipleri
A&M Records sanatçıları
Yaşayan insanlar
İngiliz şarkı yazarları
21. yüzyıl İngiliz şarkıcıları
Altın Küre Ödülü kazanan müzisyenler
En İyi Şarkı Altın Küre Ödülü sahipleri
Yılın MusiCares Kişisi Grammy Ödülü sahipleri
En İyi Pop Vokal Albüm Grammy Ödülü sahipleri
En İyi Erkek Pop Vokal Performansı Grammy Ödülü sahipleri
Amerikan Müzik Liyakat Ödülü sahipleri

Sting


Innri-Mongólía (kínverska: 内蒙古; rómönskun: Nèi Měnggǔ) er landlukt sjálfstjórnarhérað í norðurhluta  Alþýðulýðveldisins Kína. Það er víðfeðmt sigðlaga landsvæði, sem teygir sig um 2.400 kílómetra og afmarkast í norðri af landamærunum við lýðveldið Mongólíu. Stór hluti héraðsins eru gresjur og eyðimerkur. Árið 2020 voru Íbúar um 24 milljónir, að mestu Han Kínverjar, en mongólskur minnihluti er fjölmennur. Höfuðborg héraðsins er Hohhot.

Landfræðileg afmörkun
Héraðið sem heitir opinberlega Sjálfstjórnarhérað Innri-Mongólíu, er víðfeðmt sigðlaga landsvæði sem teygir sig um 2.400 kílómetra yfir Norður-Kína. Það afmarkast að miklu í norðri af lýðveldinu Mongólíu (áður "Ytri-Mongólía") og að litlu Tsabajkalfylki Rússneska sambandsríkisins; í austri við kínversku héruðin Heilongjiang, Jilin og Liaoning; til suðurs með héruðunum Hebei, Shansi og Shaanxi og sjálfstjórnarsvæðinu Ningxia; og vestur af héraðinu Gansu.

Skipulag
Innri-Mongólía spannar 1.177.500 ferkílómetra sem er meira en 12 prósent af heildarflatarmáli Kína. Þetta mikla flatarmál gerir héraðið að þriðju stærstu stjórnsýsludeild Kínverja.

Stór hluti héraðsins eru gresjur og eyðimerkur. Helmingur landsins er beitiland aðallega fyrir sauðfé og geitur.

Vegna þess hve langt er frá austri til vesturs er Innri-Mongólíu skipt upp landfræðilega í austur- og vesturdeild. Austursvæðið er oft talið með í Norðaustur-Kína (fyrrum Mansjúría) með borgunum Tongliao, Chifeng, Hailaer og Ulanhot. Vestursvæðið er talið til Norðvestur-Kína og þar eru helstu borgirnar Baotou, Hohhot.

Borgir
Höfuðborg Innri-Mongólíu er Hohhot. Nafn borgarinnar er dregið úr mongólsku og þýðir "Bláa borgin". Hohhot borg er við jaðar mongólska graslandsins, mikilvægasta kvikfjárræktarsvæðis Kína. Árið 2010 voru íbúar Hohhot um 2.9 milljónir.

Í borginni Baotou 150 km vestan Hohhot, bjuggu árið 2020 um 3,4 milljónir. Hún er mikilvægasta iðnaðarborgin Innri-Mongólíu.  Í grennd við hana er grafhýsi Djengis Khan. Nafn borgarinnar er dregið úr mongólsku og þýðir "staður dádýrsins"

Borgin Duolun er 430 km norðaustan Hohhot og 270 km norðan Beijing.  Borgin er álitin vera fyrirmyndin að 'Xanadu', hinum dularfulla bústað mongólafurstans Kublai Khan (barnabarns Dshingis Khan), sem sigraði Sungættina árið 1229 og Yuanættin (til 1368) stofnaði.

Nágrenni Chifeng borgar í suðausturhluta Innri-Mongólíu er auðugt af jarðefnum. Árið 2020 bjuggu þar um 4 milljónir manna.

Íbúar
Samkvæmt manntali Kína sem var framkvæmt 2020 var fólksfjöldi  Innri-Mongólíu 24,049,155. Meirihluti íbúa svæðisins eru Han Kínverjar, en mongólskur minnihluti er fjölmennur eða um 5 milljónir (árið 2019).

Efnahagur
Í kínverskum samanburði er Innri-Mongólía er efnahagslega þróað hérað.

Saga
Árið 1206 stofnaði Djengis Khan Mongólaveldið sem var gríðarstórt landveldi. Sonarsonur hans Kúblaí Kan lagði undir sig Kína og kom á fót Júanveldinu sem náði yfir það sem í dag er Mongólía, Kína og Kórea. Eftir hrun Júanveldisins, hörfuðu Mongólar til Mongólíu.

Á 16. öld breiddist Tíbeskur búddismi til Mongólíu og var sú þróun enn frekar styrkt af Tjingveldinu sem tók yfir landið á 17. öld. Eftir að Kínverjar höfðu náð völdum í Mongólíu skiptu þeir landinu upp í Innri- og Ytri-Mongólíu sem héruð innan Kína. Ytri-Mongólía sagði síðan skilið við Lýðveldið Kína árið 1921 með stuðningi Sovétríkjanna og tók upp nafnið Alþýðulýðveldið Mongólía árið 1924.

Eftir sat Innri Mongólía á kínversku yfirráðasvæði. Sjálfstjórnarsvæðið var stofnað árið 1947 og innlimaði svæðin í héruðunum Suiyuan, Chahar, Rehe, Liaobei og Xing'an ásamt norðurhluta héraðanna Gansu og Ningxia.

Myndir

Tenglar

 Vefsíða Encyclopaedia Britannica  um Innri-Mongólíu. Inniheldur ýmsar upplýsingar um héraðið t.d. sögu, landslag, skipulag og markverða staði.
 Kínverskur vefur héraðsstjórnar Innri-Mongólíu. Inniheldur margvíslegar upplýsingar t.d. um sögu, skipulag, fréttir og ferðaþjónustu.

Heimildir

Tilvísanir

Héruð í Kína

Innri-Mongólía


Twist and Shout (Tro, håb og kærlighed) est un film danois réalisé par Bille August, sorti en 1984.

Synopsis
En 1963, alors que les Beatles ont énormément de succès au Danemark, Bjørn et Erik, deux adolescents, sont meilleurs amis. Kirsten voudrait sortir avec Bjørn mais celui-ci aime Anna. Erik s'occupe de sa mère malade et est amoureux de Kirsten.

Fiche technique
 Titre : Twist and Shout
 Titre original : Tro, håb og kærlighed
 Réalisation : Bille August
 Scénario : Bjarne Reuter et Bille August
 Musique : Bo Holten
 Photographie : Jan Weincke
 Montage : Janus Billeskov Jansen
 Production : Per Holst
 Société de production : Per Holst Filmproduktion, Palle Fogtdal et Danmarks Radio
 Pays :
 Genre : Comédie dramatique et film musical
 Durée : 108 minutes
 Dates de sortie :
 :

Distribution
 Adam Tønsberg : Bjørn
 Lars Simonsen : Erik
 Camilla Søeberg : Anna
 Ulrikke Bondo : Kirsten
 Bent Mejding : le père d'Erik
 Aase Hansen : la mère d'Erik
 Arne Hansen : le père de Bjørn
 Lone Lindorff : la mère de Bjørn
 Kurt Ravn : Kurt

Distinctions
Le film a été nommé pour quatre prix Robert.

Notes et références

Liens externes

Film danois sorti en 1984
Comédie dramatique danoise
Film musical danois
Film réalisé par Bille August
Film sur l'adolescence
Film sur la sexualité des mineurs
Film sur l'avortement
Film sur l'amitié
Film se déroulant dans les années 1960

Twist and Shout (film)


Louise af Anhalt-Dessau (1. marts 1798–11. juni 1858) var en tysk prinsesse af Anhalt-Dessau, der var landgrevinde af Hessen-Homburg fra 1846 til 1848 som ægtefælle til landgreve Gustav af Hessen-Homburg. Hun tilhørte Huset Askanien og var datter af arveprins Frederik af Anhalt-Dessau.

Biografi
Prinsesse Louise blev født den 1. marts 1798 i Dessau i Anhalt som det ældste barn af arveprins Frederik af Anhalt-Dessau i hans ægteskab med landgrevinde Amalie af Hessen-Homburg. Hendes far var det eneste overlevende barn af fyrst Leopold 3. af Anhalt-Dessau og var arving til det lille fyrstendømme (og fra 1807 hertugdømme) Anhalt-Dessau i det centrale Tyskland. Prinsesse Louise var døvstum fra fødslen.

Prinsesse Louise giftede sig den 12. februar 1818 i Dessau med sin onkel landgreve Gustav af Hessen-Homburg (1781–1848. Gustav var bror til Louises mor og en yngre søn af landgreve Frederik 5. af Hessen-Homburg og Caroline af Hessen-Darmstadt. I ægteskabet blev der født tre børn, 2 døtre og en søn.

Landgreve Gustav døde den 8. september 1848 i Bad Homburg. Landgrevinde Louise overlevede sin mand med 9 år og døde som 60-årig den 1. marts 1858 i Bad Homburg.

Børn
 Prinsesse Caroline af Hessen-Homburg (1819–1872); gift i 1839 med Henrik 20., Fyrst Reuss til Greiz
 Prinsesse Elisabeth af Hessen-Homburg (1823–1864)
 Prins Frederik af Hessen-Homburg (1830–1848)

Eksterne links

Landgrevinder af Hessen-Homburg
Huset Askanien
Personer fra Dessau
Tyskere i 1800-tallet

Louise af Anhalt-Dessau (1798-1858)


Malatya Devlet Hastanesi, 1939 yılında Malatya'da kurulmuş olan devlet hastanesidir.
Malatya Devlet Hastanesi 460 yatak kapasitesi ve 794 personeli ile hizmet vermektedir.

Devlet Hastanesi
1939'da kurulan kuruluşlar
Türkiye'deki devlet hastaneleri

Malatya Devlet Hastanesi


Die Canada Open 2003 im Badminton fanden vom 2. bis zum 6. September 2003 in Vancouver statt.

Sieger und Platzierte

Weblinks
 http://tournamentsoftware.com/sport/tournament.aspx?id=D10767B5-7F12-4297-812B-5D38794946BA

2003
Badminton 2003
Badmintonwettbewerb in Vancouver

Canadian Open 2003


Samferdselsdepartementet er et norsk ministerium, der blev oprettet, da Arbeidsdepartementet blev omorganiseret i 1946.

Ministeriets opgaver
Ministeriet har ansvaret for trafik og kommunikation i Norge. Ministeriet styrer syv etater (forvaltningsorganer): Jernbanedirektoratet, Luftfartstilsynet, Nasjonal kommunikasjonsmyndighet, Statens havarikommisjon for transport, Statens jernbanetilsyn, Statens vegvesen og Vegtilsynet.

Samferdselsdepartementet forvalter også statens interesser i aktieselskaber, som ejes helt eller delvist af staten: Avinor (lufthavne og flyvepladser), Bane NOR, NSB (tog for passagerer), Nye Veier, Posten Norge, Reiseplan og billett, Togmateriell og Togvedlikehold.

Ministeriets historie
Fra 1818 til 1846 hørte vejvæsenet og trafikpolitiken under justitsministeriet (justisdepartementet). Derefter kom området under indenrigsministeriet (Indredepartementet eller Departementet for det Indre).

Fra 1885 til 1946 hørte trafikpolitiken under Arbeidsdepartementet.

I 1944 – maj 1945 var Arbeidsdepartementet kendt som Trafikkdepartementet.

Den 20. december 1948 afgav samfærdselsministeriet en række opgaver (fortrinsvis opgaver i forbindelse med arbejdsmarkedet) til det nyoprettede Kommunal- og arbeidsdepartementet. Disse opgaver varetages i dag af Arbeids- og sosialdepartementet.

Samfærdselsministre
 1946 – 1952: Nils Langhelle (Langhelle var arbejdsminister i 1945–1946)
 1952 – 1955: Jakob Martin Pettersen
 1955 – 1960: Kolbjørn Varmann
 1960 – 1963: Trygve Bratteli (1. første gang) (senere statsminister)
 1963: Lars Leiro
 1963 – 1964: Trygve Bratteli (2. første gang)
 1964 – 1965: Erik Himle
 1965 – 1971: Håkon Kyllingmark
 1971 – 1972: Reiulf Steen (senere formand for Ap)
 1972 – 1973: John Austrheim (formand for Sp)
 1973 – 1976: Annemarie Lorentzen
 1976 – 1978: Ragnar Christiansen
 1978 – 1979: Asbjørn Jordahl
 1979 – 1981: Ronald Bye
 1981 – 1983: Inger Koppernæs
 1983 – 1986: Johan J. Jakobsen (formand for Sp)
 1986 – 1988: Kjell Borgen
 1988 – 1989: William Engseth
 1989 – 1990: Lars Gunnar Lie
 1990 – 1996: Kjell Opseth
 1996 – 1997: Sissel Rønbeck
 1997 – 1999: Odd Einar Dørum
 1999 – 2000: Dag Jostein Fjærvoll
 2000 – 2001: Terje Moe Gustavsen
 2001 – 2005: Torild Skogsholm
 2005 – 2009: Liv Signe Navarsete
 2009 – 2012: Magnhild Meltveit Kleppa
 2012 – 2013: Marit Arnstad
 2013 - 2018: Ketil Solvik-Olsen
 2018 - 2020: Jon Georg Dale
 2020 - nu: Knut Arild Hareide

Norges politik

Norges ministerier

Samferdselsdepartementet