රාජ්‍ය මන්ත්‍රණ සභාවේ එවකට අධ්‍යාපන ඇමැතිව සිටි සී. ඩබ්ලිව්. ඩබ්ලිව්. කන්නන්ගර මහතා විසින් ඉදිරිපත් කොට සම්මත කරගනු ලැබූ නිදහස් අධ්‍යාපන පනතින් පසු ශ්‍රී ලංකාවේ අධ්‍යාපන ක්‍රමයේ විශාල වෙනසක් ඇතිකිරීම අරමුණු කොටගත් අධ්‍යාපන ප්‍රතිසංස්‌කරණ යෝජනා හෙවත් අධ්‍යාපන ධවල පත්‍රිකාව එක්‌සත් ජාතික පක්‍ෂ ආණ්‌ඩුවේ යෞවන කටයුතු, රැකීරක්‍ෂා සහ අධ්‍යාපන ඇමැති රනිල් වික්‍රමසිංහ මහතා විසින් පාර්ලිමේන්තුවට ඉදිරිපත් කරනු ලැබුවේ 1982 ජනවාරි මස 21 දාය.

එහෙත් මෙම අධ්‍යාපන ප්‍රතිසංස්‌කරණ යෝජනා මුලින්ම ප්‍රකාශයට පත්කරන ලද්දේ 1981 අගෝස්‌තු මාසයේ දීය. පවතින අධ්‍යාපන ක්‍රමය උඩුයටිකුරු කිරීමට හේතුවන මෙම අධ්‍යාපන ධවල පත්‍රිකාවට රටපුරා සිව්දෙසින් දැඩි විරෝධයක් එල්ල විය.

මෙම අධ්‍යාපන ප්‍රතිසංස්‌කරණ යෝජනා වල අඩංගු වී තිබූ ප්‍රධාන යෝජනා කිහිපයක් මෙසේය.

 පෙර පාසල් පවත්වාගෙන යැම පෞද්ගලික අංශයට පැවැරේ.

 බාලාංශ පංතිය අහෝසි කෙරේ.

 පහේ ශිෂ්‍යත්ව විභාගය අහෝසි කෙරේ.

 ඒ වෙනුවට 8 වැනි ශ්‍රේණියේ සිසුන් සඳහා විභාගයක් පවත්වනු ලබන අතර ඉහළ පංති වලට යොමු කරන්නේ ඉන් සමත්වන අය පමණි. එමෙන්ම අ.පො.ස. සාමාන්‍ය පෙළ විභාගයට පෙනී සිටීමට ඉඩ ලැබෙන්නේද 8 වැන්නේ රජයේ විභාගයෙන් සමත්වන අයට පමණි.

 අ.පො.ස. සාමාන්‍ය පෙළ විභාගයට ඉංග්‍රීසි භාෂාව අනිවාර්ය කෙරේ.

 එසේම අ.පො.ස. උසස් පෙළ පංතිවලටද ඉංග්‍රීසි භාෂාව අනිවාර්යවේ.

 පෞද්ගලික පාසල් ආරම්භ කිරීමට අවසර දෙනු ලැබේ.

 පෞද්ගලික වෛද්‍ය විද්‍යාලයක් පිහිටුවීමටද අවසර දෙනු ඇත.

 රජයේ පාසල් ඒකීය පාසල් හා පර්ෂද (පොකුරු) පාසල් වශයෙන් වර්ග කරනු ඇත.

 ඒකීය පාසල් පවත්වාගෙන යැම සඳහා රජයේ ආධාර නොලැබෙන අතර එම පාසල්වල නඩත්තු කටයුතු දෙමාපියන් විසින් දැරිය යුතුය.

 පෞද්ගලික පාසල් ආරම්භ කළ විට ඒවායේ ගුරුවරුන්ගේ වැටුප් රජය මගින් ගෙවනු ලැබේ.

 විශ්වවිද්‍යාලවලට සිසුන් ඇතුළත් කරගනු ලබන්නේ අ.පො.ස. උසස් පෙළ ප්‍රතිඵල මත නොව ඒ සඳහා පවත්වන විශ්වවිද්‍යාල ප්‍රවේශ පරීක්‍ෂණය මගිනි. සිසුන්ට මෙම විශ්වවිද්‍යාල ප්‍රවේශ පරීක්‍ෂණයට පෙනී සිටිය හැක්‌කේ දෙවතාවක් පමණි.

මෙවැනි යෝජනා රාශියකින් යුත් අධ්‍යාපන ධවල පත්‍රිකාවට විපක්‍ෂයේ දේශපාලන පක්‍ෂවලින් මෙන්ම රටේ සෑම දෙසින්ම දැඩි විරෝධතා එල්ලවන්නට වූයෙන් එය පාර්ලිමේන්තුවට ඉදිරිපත් කිරීමද කිහිපවරක්‌ම කල් දැමීමට අධ්‍යාපන ඇමැතිවරයාට සිදුවිය.
මහාචාර්ය විශ්වා වර්ණපාල, මහාචාර්ය මැන්දිස් රෝහණධීර, මහාචාර්ය බන්දුසේන ගුණසේකර,නීල් ප්‍රැන්සිස්කු මහතා ඇතුළු  ප්‍රවීණ අධ්‍යාපනඥයන් විශ්වවිද්‍යාල ආචාර්යවරුන්, ගුරු සංගම් ද මෙම අධ්‍යාපන ධවල පත්‍රිකාවේ අදාළ යෝජනා පිළිබඳව මාධ්‍ය මගින් ජනතාව දැනුවත් කළහ.

මෙම අධ්‍යාපන ප්‍රතිසංස්‌කරණ යෝජනා ඇතුළත් අධ්‍යාපන ධවල පත්‍රිකාව මගින් බෞද්ධ අධ්‍යාපනයට සිදුවන හානිය පෙන්වාදෙමින් මඩිහේ පඤ්Æසීහ මහ නාහිමියන්, බද්දේගම විමලවංශ අනුනායක හිමියන්, අකුරැටියේ අමරවංශ නායක හිමියන් වැනි සම්භාවනීය පැවිදි නායක හිමිවරුන්ගේ අනුශාසකත්වයෙන්ද ගිහි බෞද්ධ නායකයකු වූ අධිනීතිඥ සිරි පෙරේරා මහතාගේ සභාපතිත්වයෙන් යුත් ශ්‍රී ලංකා බෞද්ධ සමිති නියෝජිත සභාව රටපුරා ප්‍රබල විරෝධතා ව්‍යාපාරයක් ගෙන ගියේ මේ පිළිබඳව ගිහි බෞද්ධ ජනතාව සහ භික්‍ෂුන් වහන්සේලා දැනුවත් කිරීම සඳහාය.

මේ හැර කොළඹ පරම විඥනාර්ථ බෞද්ධ සංගමයද මෙම ධවල පත්‍රිකාව මගින් සිංහල භාෂාවට සහ බෞද්ධ අධ්‍යාපනයට සිදුවන විනාශය පැහැදිලි කරමින් දීර්ඝ ප්‍රකාශනයක් නිකුත් කොට තිබිණි.

එක්‌සත් ජාතික පක්‍ෂ ආණ්‌ඩුව මෙම අධ්‍යාපන ප්‍රතිසංස්‌කරණ යෝජනා ගෙන එන්නේ ශ්‍රී ලංකාවට ණය ලබාදීමේ දී ලෝක බැංකුව සහ ජාත්‍යන්තර මූල්‍ය අරමුදල විසින් අධ්‍යාපනය කප්පාදු කිරීම සඳහා ඉදිරිපත් කොට ඇති කොන්දේසි ඉටු කිරීමක් වශයෙන් යෑයි විපක්‍ෂ නායකයෝ පෙන්වා දුන්හ.

රජයේ පාසල්වලින් වැඩි ප්‍රමාණයක ඉංග්‍රීස s ඉගැන්වීම සඳහා අවශ්‍ය තරම් ගුරුවරුන් නොමැති වීම හා පහසුකම් නොතිබීම හේතුවෙන් (විශේෂයෙන් ගම්බද පාසල්වල) සිසුන්ගෙන් බහුතරයකට ඉංග්‍රීසි ඉගෙන ගැනීමට අවස්‌ථාවක් නොමැති තත්ත්වයක් තුළ අ.පො.ස. සාමාන්‍ය පෙළ විභාගයට හා විශ්වවිද්‍යාල ප්‍රවේශ පරීක්‍ෂණයට ඉංග්‍රීසි අනිවාර්ය කිරීම අධ්‍යාපනඥයන්ගේ හා දේශපාලන පක්‍ෂවල දැඩි විරෝධයට හේතු විය. ගම්බද දුප්පත් දෙමවුපියන්ගේ දරුවන්ට මේ නිසා උසස් අධ්‍යාපනය ලබා ගැනීමේ අවස්‌ථාව අහිමි වන බවත් උසස් අධ්‍යාපනය ධනවතුන්ගේ දරුවන්ට සීමාවන බවත් ඔවුහු පෙන්වා දුන්හ.

එසේම ප්‍රධාන නගරවල තිබෙන සියලු පහසුකම් වලින් යුත් පාසල් ඒකීය පාසල් වශයෙන් හඳුන්වා, ඒවා පවත්වාගෙන යැම දෙමවුපියන්ට පැවැරීමට යැමෙන් දුප්පත් දෙමවුපියන්ගේ දරුවන්ට ඒවායේ දොර වැසී එම පාසල් ධනවතුන්ගේ දරුවන්ට සීමාවන බවටද ඔවුහු චෝදනා කළහ.

පෞද්ගලික පාසල් ආරම්භ කිරීමට ඉඩදීම හා ඒවායේ ගුරුවරුන්ගේ වැටුප් රජය මගින් ගෙවීමට යැම හේතුවෙන් එම පාසල්ද ධනවතුන්ගේ දරුවන්ට සීමාවනු ඇතැයිද මෙරට අධ්‍යාපනය හැසිරවීම පෞද්ගලික අංශය යටතට පත්වනු ඇතැයිද බොහෝ අධ්‍යාපනඥයන් පෙන්වා දී තිබිණි.

තවද ධවල පත්‍රිකාව මගින් යෝජිත තාක්‍ෂණික අධ්‍යාපන ආයතන පිහිටුවීම හා ඒවා පවත්වාගෙන යැමට පෞද්ගලික අංශයට පැවැරීමෙන්, ඒවායේ අධ්‍යාපනය ලැබීමට දුප්පත් දරුවන්ට අවස්‌ථාව නොලැබෙන අතර ඒවාද ධනවතුන්ගේ දරුවන්ට සීමාවනු ඇතැයි ද විද්වත්හු පෙන්වා දුන්හ.

සී. ඩබ්ලිව්. ඩබ්ලිව්. කන්නන්ගර මහතා විසින් ආරම්භ කළ නිදහස් අධ්‍යාපන ක්‍රමය මෙම අධ්‍යාපන ප්‍රතිසංස්‌කරණ යෝජනා ක්‍රියාත්මක වුවහොත් මුළුමනින්ම විනාශ වී ගොස් අධ්‍යාපන පහසුකම් සියල්ල සුපිරි පන්තියට සීමාවන බව පවසමින් විශ්වවිද්‍යාල සිසුන්, පාසල් සිසුන්, වෘත්තිය සමිති, මහජන සංවිධාන මෙයට විරුද්ධව රටපුරා විශාල උද්ඝෝෂණ ව්‍යාපාර ආරම්භ කරන්නට විය.

මෙම අධ්‍යාපන ප්‍රතිසංස්‌කරණ යෝජනා ඇතුළත් අධ්‍යාපන ධවල පත්‍රිකාව කෙසේ හෝ පාර්ලිමේන්තුවට ඉදිරිපත් කොට සම්මත කරගැනීමට අධ්‍යාපන ඇමැති රනිල් වික්‍රමසිංහ මහතා දැඩි උත්සාහයක් ගත්තේය. ඒ අනුව 1982 ජනවාරි 6 දින මෙය පාර්ලිමේන්තුවට ඉදිරිපත් කිරීමට නියමිතව තිබිණි. එහෙත් ආණ්‌ඩු පක්‍ෂයේ සෙසු මැති ඇමැතිවරුන්ගෙන් එයට යහපත් ප්‍රතිචාර නොලැබිණි. එදින පෙරවරුවේ පැවැති ආණ්‌ඩු පක්‍ෂ පාර්ලිමේන්තු කණ්‌ඩායම් රැස්‌වීමේදී කතා කළ මන්ත්‍රීවරුන් බොහෝ දෙනකු තමන්ට මෙම ධවල පත්‍රිකාවේ අඩංගු යෝජනා තවදුරටත් අධ්‍යයනය කිරීමට අවශ්‍ය බැවින් එය පාර්ලිමේන්තුවේ සාකච්ඡා කිරීම කල් දමන්නැයි ඉල්ලා සිටියහ. ජනාධිපති ඡේ. ආර්. ජයවර්ධන මහතා එම ඉල්ලීමට ඉඩදීම නිසා ධවල පත්‍රිකාව එදින පාර්ලිමේන්තුවට ඉදිරිපත් කිරීමට නොහැකි වූ අතර එය 1982 ජනවාරි 21 වැනි දින පාර්ලිමේන්තුවේ විවාදයට ගැනීමට තීරණය විය.

ඒ අනුව යළිත් ජනවාරි 21 දා මෙම ධවල පත්‍රිකාව පාර්ලිමේන්තුවට ඉදිරිපත් කරද්දී රටපුරා පාසල්, විශ්වවිද්‍යාල, කාර්මික විද්‍යාලවල සිසුන් පාරට බැස එයට විරුද්ධව උද්ඝෝෂණ කරන්නට වූහ.

ගාලුමුවදොර පිහිටි පාර්ලිමේන්තු ගොඩනැඟිල්ල අවට දැඩි පොලිස් ආරක්‍ෂාව යොදවා තිබූ නමුත් දහස් ගණන් සරසවි සිසුන් හා භික්‍ෂුන් වහන්සේලා අධ්‍යාපන ධවල පත්‍රිකාවට විරෝධය පළ කිරීම සඳහා ගාලු මුවදොර පාර්ලිමේන්තුව ඉදිරිපිට රැස්‌වූහ.

එහිදී පොලිසිය සිසුන්ට පහරදුන් අන්දම 'ඇත්ත' පුවත්පත වාර්තාකොට තිබුණේ මෙසේය.

"අධ්‍යාපන ධවල පත්‍රිකාව ඉරාදමව්, නිදහස් අධ්‍යාපනය කප්පාදු නොකරනු, වරප්‍රසාද ලත් කොටසකට උසස් අධ්‍යාපනය යළි සීමා නොකරව්" ආදී වශයෙන් වූ සටන් පාඨ ලියූ පුවරු ප්‍රදර්ශනය කරමින් සාමකාමීව පදිකවේදිකාවේ පෙළගැසී සිටි භික්‍ෂුන් වහන්සේලාට සහ ශිෂ්‍ය ශිෂ්‍යාවන්ට පොලිසිය පහරදුන්නේය. අශ්වයින් පිට නැඟුණු පොලිස් නිලධාරීහු පිරිසක් සිසුන්ගේ ඇඟට අශ්වයන් පැන්නවූහ. කරකියා ගන්නට දෙයක් නැතිවූ අහිංසක සිසුහු මුහුදට පැන්නාහ. මෙහිදී ශිෂ්‍ය ශිෂ්‍යාවන් කිහිප දෙනෙක්‌ම තුවාල ලැබූහ.

අශ්වාරෝහක පොලිස්‌කාරයන් සිසුන් වෙත අශ්වයන් පන්නා ඔවුන් පලවා හැරියේ අශ්වයාට තලන කසයෙන් සිසුන්ට පහර දෙමිනි. ඇතැම් භික්‍ෂුන් වහන්සේලාටද එම පොලිස්‌කාරයෝ අශ්ව කසයෙන් පහර දුන්හ.

මේ අවස්‌ථාවේදී ඇතැම් පාර්ලිමේන්තු මන්ත්‍රීවරුන් පාර්ලිමේන්තු ගොඩනැඟිල්ලේත්, ඇතැමුන් එම බිම් ප්‍රදේශයේත් සිට මේ දර්ශනය නරඹනු දක්‌නා ලදී.

පොලිසියේ මෙම අස්‌ප පහරදීම වරින්වර සිදුවූ නමුත් සිසුහුද සටන් පාඨ කියමින් යළි යළිත් පදික වේදිකාවේ පෙළ ගැසුණාහ.

කීප වතාවක්‌ම මෙසේ සිදුවෙද්දී කුළු පොලු රැගත් කැරලි මර්දන පොලිස් හමුදාවක්‌ද එම ස්‌ථානයට පැමිණ සිසුන් පසුපස එළව එළවා පහර දෙන්නට වූයේය. එයින් සිසුහු කීප දෙනෙක්‌ම තුවාල ලැබූහ.

විරෝධතා සටන් පාඨ කියමින් මුලින්ම රැස්‌ව සිටි පිරිස පන්සියයක් පමණ වූ අතර, පසුව එම පිරිසට හතරවටින්ම පැමිණි විශ්වවිද්‍යාල ශිෂ්‍ය ශිෂ්‍යාවෝ සහ මහා සංඝරත්නයද එක්‌වූහ. අන්තිමේදී මේ විරෝධතා ව්‍යාපාරයට දෙදහසකට අධික පිරිසක් එක්‌ව සිටියහ".

මේ අතර කොළඹ ආනන්ද ,නාලන්ද, තර්ස්‌ටන්, ඉසිපතන ආදී ප්‍රධාන පාසල්වල සිසුන්ද වෛද්‍ය විදයාලය, නීති විද්‍යාලය, කාර්මික විද්‍යාලය ආදී ප්‍රධාන අධ්‍යාපන ආයතනවල සිසුන්ද පිට පළාත් වල පාසල් සිසුන්ද අධ්‍යාපන ධවල පත්‍රිකාව පාර්ලිමේන්තුවට ඉදිරිපත් කළ දිනයේ (21 දා) පාර ට බැස උද්ඝෝෂණ පැවැත්වූහ.

අන්තිමේදී රටේ සෑම දෙසින්ම එල්ල වූ විරෝධය මධ්‍යයේ යෝජිත අධ්‍යාපන ප්‍රතිසංස්‌කරණ ඇතුළත් අධ්‍යාපන ධවල පත්‍රිකාව ඉවත්කර ගැනීමට එවකට අධ්‍යාපන ඇමැතිව සිටි රනිල් වික්‍රමසිංහ මහතාට සිදුවිය.

ධවල පත්‍රිකාව


ضيعة ضايعة مسلسل سوري كوميدي ساخر بلهجة أهل الساحل السوري في اللاذقية، تجري أحداثه في ضيعة (قرية) بسيطة وفقيرة اسمها أم الطنافس الفوقا، جرى عرضه لأول مرة على قناة أبوظبي الفضائية عام 2008. وفي 2010 تم إنتاج موسم ثانٍ للمسلسل باعتبار أنه الأخير. وفي الموسم الثاني ظهر أبو شملة (المهرّب) من قرية التخريمة وقام بدوره الفنان محمد حداقي.

جرى تصوير حلقات المسلسل في المناطق الجبلية لقرية السمرا الواقعة بمنطقة كسب في محافظة اللاذقية السورية، ويشتمل على حلقات متكاملة لكن لكل حلقة قصتها المتميزة، ويصوّر المسلسل حياة البساطة والفطرة في العيش مع جمال التعايش بين الإنسان والطبيعة المحيطة به في سبيل التخلص من العبودية المطلقة للتقنية في عصر الرقميات والتكنولوجيا.

أهم ما يميز هذا العمل هو اللهجة المحكية فيه، حيث يتحدث الممثلون لهجة مشتقة من لهجة أهالي مدينة اللاذقية، ويستعملون فيه مفردات غاية في الطرافة والغرابة ولا زالت مستخدمةً في أرجاء المنطقة، حيث تتم ترجمة هذه المصطلحات إلى اللغة العربية الفصحى في المسلسل.

أغلب الممثلين في المسلسل من مدينة اللاذقية، والشخصيتان الأساسيتان في ضيعة ضايعة هما أسعد خشروف (نضال سيجري) وجوده أبو خميس (باسم ياخور) وهما جاران، أسعد الطيب والساذج يبقى عرضة باستمرار لمقالب جوده الحسود والمحتال الذي يسلبه نقوده من خلال المراهنات على أي شيء وكل شيء هنالك العديد من الشخصيات الأخرى الرمزية كعادل الفسّاد (عبد الناصر مرقبي) عضو الجمعية الفلاحية و«كتّيب» التقارير التي يرفعها للسلطة المحلية ويسمى (الفسّاد) في اللهجة المحكية، وهو مالك الجرّار الزراعي الوحيد في القرية، والشخصيات التي تمثّل السلطة كرئيس المخفر (قسم الشرطة) أبو نادر (جرجس جبارة) الذي رماه حظه العاثر في قرية وادعة، وهو يحلم أن تحدث جريمة قبل خروجه من الخدمة والمختار (زهير رمضان) الذي فقد قيمته كسلطة إقطاعية ولم يعد أحد بحاجة إليه. أما ديبة زوجة جودة (تولاي هارون) فهي تعاني من قلة احترام زوجها وضربه لها، وبديعة زوجة أسعد (آمال سعد الدين) فتحاول جاهدةً أن تجعل من زوجها رجلاً يقف أمام حيل جوده وسرقاته، وتشاهَدُ دائما في المسلسل وهي تفصفص حب الشمس.

نبذة
«ضيعة ضايعة»، يمتد جزؤه الأول إلى 27 حلقة وجزؤه الثاني إلى 30 حلقة، التأليف للدكتور ممدوح حمادة، وإخراج السوري الليث حجو صاحب سلسلة بقعة ضوء الشهيرة، والإنتاج لشركة «سامة».

تبدأ كافة حلقات المسلسل بالمقطع الصوتي التالي الذي قام بأدائه المذيع محمد سعيد:

وهو عملٌ كوميدي تقوم فكرته على وجود قرية اسمها أم الطنافس الفوقا في الزمن الحالي لكنها (نفذت) من التكنولوجيا العصرية.
إنها عبارة عن وجهة نظر ثانية بخصوص التكنولوجيا والاتصالات ومدى تأثيرها وبالتالي تأثير غيابهما عن مجموعة من الناس البسطاء كيف ستكون مشاكلهم التي هي باعتقادهم كبيرة، إلا أنها قد تبدو من وجهة نظر المشاهد صغيرة وبسيطة. والقصد بالطبع ليس السخرية من سذاجة هؤلاء بقدر ما هو سخرية من تبعات الحضارة السلبية وتعقيدات الحياة العصرية لأنه ورغم كافة سلبيات الشخصيات المقدمة إلا أنها نحاول الوصول بالمشاهد إلى النتيجة بأن هؤلاء الناس بكل سلبياتهم هم شخصيات إيجابية مقارنة مع الشخصيات التي يمكن ان نجدها بيننا اليوم.

الممثلين
 باسم ياخور بدور جوده أبو خميس
 نضال سيجري بدور أسعد خشروف
 آمال سعد الدين بدور بديعة، زوجة أسعد خشروف
 تولاي هارون بدور ديبة، زوجة جوده أبو خميس
 فادي صبيح بدور سليم أخ بديعة
 جرجس جبارة بدور أبو نادر، رئيس مخفر أم الطنافس
 حسين عباس بدور حسان، شرطي في مخفر أم الطنافس
 زهير رمضان بدور عبد السلام البيسة، مختار أم الطنافس
 غادة بشور بدور نظمية، زوجة البيسة
 رواد عليو بدور عفاف، ابنة البيسة
 عبد الله شيخ خميس بدور صالح صاحب الدكان
 سوسن عطاف بدور زهرة زوجة صالح
 عبد الناصر مرقبي بدور عادل الفسّاد
 جمال العلي بدور المساعد محسن.
 محمد آل رشي بدور الطبيب في مستوصف أم الطنافس
 محمد حداقي بدور أبو شملة، من قرية تخريمة الفوقا، وهي شخصية كانت موجودة بالاسم فقط في الجزء الأول وظهرت في الجزء الثاني، ويتمثل دوره بمطلوب أمني يعمل بالتهريب.
 جورج باندو بدور عجاج الشخصية الملازمة للمساعد محسن والتي تتميز بالحزم والغضب في جميع الحلقات.

ضيوف الضيعة
الجزء الأول
 الحلقة الرابعة «لا تمطّا» أندريه سكاف بدور المخرج، محمد خاوندي بدور الممثل.
 الحلقة التاسعة «كسرنا الدف» حسن اسرب بدور المرشح لانتخابات مجلس الشعب.
 الحلقة السادسة عشر «العاشق» محمد خير الجراح بدور العريس.
 الحلقة الثامنة عشر «الضيوف» عدنان أبو الشامات بدور الصحفي.
 الحلقة العشرين «س + هـ» نسرين طافش بدور هيام.
 الحلقة الثالثة والعشرين «الحظ» أحمد الزين بدور المستثمر.
الجزء الثاني
 الحلقة الخامسة عشر «عازف اليقطين» رافي وهبي بدور أستاذ الموسيقى الوافد إلى الضيعة.

حلقات الجزء الأول
 الحلقة الأولى أم الطنافس: تعريف بشخصيات المسلسل وطبيعة العلاقة بينهم
 الحلقة الثانية الدكان: يقرر أسعد أن يقوم بفتح دكان في أم الطنافس فما هي ردة فعل جوده جاره العزيز؟
 الحلقة الثالثة جبصين: يتسبب أسعد بإصابة لجوده ويبدأ أسعد محاولات لمساعدة صديقه ولكن كما يقول بيت الشعر الشهير: «إذا أكرمت الكريم ملكته - وإذا أكرمت اللئيم تمردا»!
 الحلقة الرابعة لاتمطى: مخرج تلفزيوني يزور أم الطنافس لتصوير مسلسل وتعجبه شخصية أسعد فيقرر انه سيشاركهم التصوير ولكن جوده له بالمرصاد ويخطف الدور من اسعد فهل سيصبح نجماً لأم الطنافس أم لا؟
 الحلقة الخامسة الحمير: يقرر جوده وأسعد العمل بالتجارة، إلا أن هذا القرار لم يكن موفقاً جداً.
 الحلقة السادسة الأرض لمن يفلحها: يقرر أخو جوده الذي يعيش بالمدينة ان يبيع حصته من الأرض فما هي ردة فعل جوده على هذ القرار وماذا يحدث؟
 الحلقة السابعة البقرة: يشتري أسعد بقرة مدرارة الحليب ويغضب جوده لأن الحظ يحالف أسعد (مثلما يحدث دائماً) ويقوم جودة بالتخطيط للتخلص من البقرة.
 الحلقة الثامنة ليلة القبض الكبيرة: يتم القبض على كافة أهالي القرية ووضعهم في السجن دون معرفة السبب! ويحاول المساعد أدهم معرفة ملابسات التهم فهل نعلم سبب اعتقالهم؟
 الحلقة التاسعة بطلنا الدف: يقرر أحدهم من قرية مجاورة الترشح لانتخابات مجلس الشعب واستمالة أهالي أم الطنافس من خلال جوده وأسعد أملاً في حصوله على مزيد من الأصوات.
 الحلقة العاشرة جريمة: يختفي عادل الفسّاد ويجد جوده وأسعد جراره الزراعي متروكاً على جانب الطريق لتبدأ محاولات البحث عنه
 الحلقة الحادية عشرة كلاوي: يصيب أسعد ألم في ظهره ليتضح فيما بعد أن لديه كلوة إضافية! مما يثير بالطبع غيظ جوده أبو خميس
 الحلقة الثانية عشرة عربي ثقيل: يحاول أسعد أن يميز الحدود بين أرضه وأرض جوده ولكن تحدث مفاجئة مع الجارين العزيزين فهل تكون نتائجها ايجابية عليهم أو سلبية يا ترى؟
 الحلقة الثالثة عشرة العريس: يقرر المختار أخيراً القبول بتزويج ابنته لسليم، فهل يحدث ذلك حقاً؟
 الحلقة الرابعة عشرة صيدة خربان بيت: أسعد وجوده يجدون لغم بحري أثناء صيدهم السمك فماذا سيفعلون به؟
 الحلقة الخامسة عشرة عطس: ينتشر خبر وباء قاتل في أم الطنافس فما هي الاجراءات التي يقومون بها لمكافحته؟
 الحلقة السادسة عشرة العاشق: يحاول جوده وأسعد مساعدة المغرم سليم لمنع حدث خطير قد يبعده عن عفاف إلى الأبد فماذا يحدث لهما نتيجة هذه الخدمة؟
 الحلقة السابعة عشرة واسطة: ينشأ خلاف بين المختار والمساعد أدهم والقرية تنقسم بينهم بين مؤيد ومعارض فهل ينصلح الامر ام تبقى الخلافات قائمة؟
 الحلقة الثامنة عشرة ضيوف: يصادف أسعد مجموعة من السياح الأجانب على شاطئ البحر، فكيف سيتصرف معهم؟
 الحلقة التاسعة عشرة  يأس: يقرر المحقق أدهم ان يستقيل من عمله فما هي أسباب هذا القرار وما هي مخططات أسعد وجوده لحمله على تغيير رأيه؟
 الحلقة العشرون س + هـ =: فتاة جذابة تزور أم الطنافس الفوقا كي تبحث عن قبر جدها وفهل سيميل قلب سليم لها أم يبقى وفياً لعفاف؟
 الحلقة الواحدة والعشرون الفرارية: يتحول أسعد وجوده فجأة إلى خارجين عن القانون بسبب ممازحة من حسان الشرطي
 الحلقة الثانية والعشرون البطل: يصبح أسعد بطل أم الطنافس الفوقا بعد قيامه بالتغلب على ضبع شرس، ولكن أين جوده من كل هذا؟
 الحلقة الثالثة والعشرون الحظ: يأتي مستثمر إلى القرية لشراء الأرضي والقيام باعمال تنمية للقرية لتبدأ الخلافات بين الأهل فماذا يحدث؟
 الحلقة الرابعة والعشرون خلاف: نساء القرية تتركن أزواجهن بسبب ظلمهم الجائر، وتتحالفن مع بعضهن ضدهم فما هو السبب وما هي نتائج هذا الحدث؟
 الحلقة الخامسة والعشرون إنزال: يأتي أمر مفاجئ بإخلاء شاطئ أم الطنافس الفوقا ولكن يحدث لغط فما الذي حدث بالضبط؟
 الحلقة السادسة والعشرون الختم: يضيع ختم المخترة الخاص بعبد السلام البيسة وتبدأ سلسلة الاتهامات والبحث عنه في أرجاء القرية
 الحلقة السابعة والعشرون  الفراق صعب: يقرر جوده السفر خارج البلاد وتبدأ التحضيرات لوداعه فهل سيقوم فعلاً بذلك؟

حلقات الجزء الثاني
 الحلقة الأولى استراتيجيات فاشلة: في هذه الحلقة الافتتاحية للجزء الثاني نرى أسعد ينتقل من منزله بدون علم جاره «جوده» هرباً منه بسبب نفاد صبره من أفعال جوده الشائنة تجاهه فينطلق جوده باحثاً عن صديقه ويجده في آخر المطاف وينتقل هو الآخر ضمن أحداث مشوقة
 الحلقة الثانية تملق: يتلقى المساعد أدهم «أبو نادر» اتصالاً هاتفياً من الجهات العليا وتأتيه الأوامر بالقبض على أي شخص لا يبدي رأيه ويتملق «السلك» مثل أبو نادر وحسان حيث نرى جواً فكاهياً جميلاً ضمن الحلقة
 الحلقة الثالثة اللبطة القوية: يعتزم أحد أهالي الضيعة الزواج فيرسل دعوات لحضور عرسه لجميع أهالي الضيعة ما عدا أسعد الذي يأخذ على خاطره لاحقاً ويقرر الصعود إلى الجبل ليعيش مع «الوحوش الضارياطي» على حد قوله بدلاً من العيش مع البشر فما الذي سيحصل؟ ومن سيراضيه؟ سنرى
 الحلقة الرابعة التهمة سردين: تنتشر مناشير في الضيعة ويبدأ التحقيق بإدارة أبو نادر ضمن أحداث مشوقة ستتابعونها تباعاً..
 الحلقة الخامسة صيت فقر ولا صيت غني: تنتشر استئناءات ورقية للحصول على مازوت مجاني للفقراء فيهرع أهل الضيعة إلى المختار للحصول على ورقة فقر حال فيأخذونها ولكن ترسل الحكومة شخصاً مع الطبيب للتأكد ممن يستحق المازوت أو لا يستحقه ضمن جو كوميدي رائع
 الحلقة السادسة في الليلة الظلماء يفتقد البدر: غضب شديد من قبل أهل الضيعة للفساد عادل فيقرر عادل ترك الضيعة، فيبدأ المساعد أبو نادر بالبحث عن فساد غيره من أهل الضيعة فكيف يتأقلم أهل الضيعة مع الوضع الجديد؟
 الحلقة السابعة الدخيل: يختبئ المهرب أبو شملة في الضيعة هرباً من الحكومة فيدخل في قن الدجاج الذي يملكه أسعد ويطلب من جوده وأسعد عدة طلبات ليفعلوها فما هي ؟؟ وهل سيوافقون عليها؟؟
 الحلقة الثامنة سقوط أم الطنافس: يقع الاختيار على ضيعة أم الطنافس من أجل بناء سد والذي بسببه ستغرق الضيعة بأكملها وتبدأ إنذارات الإخلاء بالهطول تباعاً على رؤوس أهل الضيعة فما الحل ؟؟ وما الذي سيفعلونه
 الحلقة التاسعة غلطان بالنمرة: تبدأ الحلقة بوصول جوده إلى منزله والغضب يملأ وجهه بسبب نصب أحد باعة اليانصيب عليه وتوريطه بشراء ورقة يخشى جوده أن تكون فيبدأ باستمالة صاحبه أسعد لشرائها فيقول له أنها ستربح المليون وهكذا .. ما الذي سيحصل يا ترى ؟؟
 الحلقة العاشرة يوم لك ويوم عليك: يكون أسعد منشغلاً بصيد السمك وإذا به يرى طفلاً قد غرق وطاف على ضفاف البحر فيهرع لمساعدته فيتضح بعد ذلك أن الولد هو ابن مسؤول مهم والذي بدوره يقول لأسعد أنه أخاه والذي سيتطلبه سيتم تلبيته فيغضب جوده من ذلك غضباً عرماً.. شاهدوا الأحداث المشوقة
 الحلقة الحادية عشر حاجز طيار: يسرق جوده من أسعد كيس «الشمينتو» الذي اشتراه لحاجة ما فيهرع أسعد إلى المخفر الذي يستحقره ويصرفه فيرى أسعد الثياب المعلقة لكل من أبو نادر وحسان فيقرر سرقتها انتقاماً ... ما الذي سيحدث ؟؟ لنرى !
 الحلقة الثانية عشر المنارة: بسبب عدم وجود منارة في الضيعة فإن العديد من أهالي الضيعة يموتون غرقاً حين يخرجون للصيد ليلاً لعدم معرفتهم طريق العودة فيقرر أسعد أن يطالب الجهات العليا بأن تبني منارة في الضيعة .. فهل سيردون عليه أم لا ؟؟
 الحلقة الثالثة عشر خرز أزرق: يصيب عادل حادث وهو يقود «التركتور» فيطلب الهمالالي المساعد محسن ويقول له أن أسعد يصيب بالعين حيث أنه وللمرة الثانية أصاب تركتوره بالأذى وهو موجود على نفس الطريق الذي يعبره عادل بتركتوره فهل يصدقه المساعد محسن وأهل الضيعة ؟؟ تابعو الأحداث الرائعة ضمن هذه الحلقة الجميلة
 الحلقة الرابعة عشر ليس لدى جودة من يراسله: تأتي رسالة لأسعد من عمه المغترب في فنزويلا فيضطرب جوده بسبب الغيرة كالعادة فماذا يفعل ؟؟ شاهدوا هذه الحلقة بما تحمله من كوميديا وفكاهة مميزة .
 الحلقة الخامسة عشر عازف اليقطين: يوفد إلى الضيعة أستاذ موسيقى فلا يجد مدرسة ولا حتى أطفال كثر لتدريسهم الموسيقى فيقنعه سلنغو بضرورة بقائه وتعليم أهل الضيعة الموسيقى فما الذي سيحدث ؟؟ لنرى
 الحلقة السادسة عشر وفد نسائي: تأتي مكالمة هاتفية لأبو نادر من الجهات العليا التي تبلغه بضرورة اختيار مجموعة من نساء الضيعة لحضور فعاليات إحدى المهرجانات في العاصمة .. فمن النساء اللاتي سيتم اختيارهن ؟؟
 الحلقة السابعة عشر قضايا معلقة: تحدث اشتباكات بين جماعة أبو شملة والحكومة وتشتد شيئاً فشيئاً .. الأحداث الأخرى مشوقة للغاية ..تابعوها
 الحلقة الثامنة عشر الولد غالي: تتألم بديعة زوجة في منطقة البطن فيهرع أسعد لأخذ النصيحة فيذهب إلى صالح الذي قد نفد من عنده دواء تهدئة الألم فتقترح زهرة زوجة صالح على أسعد أن يذهب إلى بيت المختار ويطلب منه عدة حبات دواء فتسأله زوجة المختار عن السبب فيقول لها السبب فتهنئه بأن زوجته حامل ...حلقة تحمل في ثناياها العديد من المشاهد الكوميديا الرائعة والتي اعتدناها..
 الحلقة التاسعة عشر سر المهنة: يقاطع أسعد جوده ويبزق عليه كلما يراه فيزيد الله رزقه شيئاً فشيئاً ويتعجب جوده من الأشياء التي أصبح أسعد بمقدوره أن يشتريها .. ما الذي سيحدث ؟؟ وهل سينجح جوده بإعادة صلة الصداقة مع أسعد ؟؟ لنرى
 الحلقة العشرون يا بحر يابو اليتامى: تبدأ الحلقة ليلاً على ضفاف البحر مع أبو شملة الذي بدأ بتهريب الناس عبر قوارب إلى «بلاد الإكريك» أي اليونان عبر البحر فيأخذ جوده وأسعد معه باستخدام قاربهما لأنه احتاجه ويدفع لهم عمولتهم فيفكروا في فتح خط تهريب عبر البحر وحدهم .. فهل سينجحون ؟؟
 الحلقة الواحدة والعشرون الفساد: يفقد المساعد محسن اللاسلكي خاصته ويلتقطه جوده وأسعد وتبدأ عملية معرفة من السارق ضمن كوميديا رائعة طيلة أحداث الحلقة ..
 الحلقة الثانية والعشرون الجثة: يخرج المختار عن طوره بسبب أفعال سليم وخروجه مع ابنته عفوفة دائماً فيقرر إرسالها إلى أخيها في العاصمة ليرتاح باله فترة من الزمن فيظن سلنغو «سليم» أن المختار قد قتلها فيجن وتبدأ الأحداث بعد معرفة المخفر وأهل الضيعة بالشائعة .. أحداث مشوقة ترونها ضمن هذه الحلقة .
 الحلقة الثالثة والعشرون ظواهر مدهشة: تكتئب الضيعة بأكملها فلا وجود لأي ضحك أو فكاهة بين بعضهم فقط الخمول هو الدارج بينهم فماذا سيفعل «السلك» حيال هذا الأمر ؟؟ لنشاهد ..
 الحلقة الرابعة والعشرون جزر الكنار: تصل رسالة لديبة زوجة جوده من خالتها في جزر الكنار تعلمها بها أنها سلمت كل أملاكها لها فلا يطلع جوده زوجته على هذه الرسالة .. إذاً ما الذي سيفعله ؟؟ لنرى
 الحلقة الخامسة والعشرون أم الطنافس التحتا: يأتي خبير تنقيب إلى الضيعة فيخبرهم أن هنالك ضيعة تدعى أم الطنافس التحتا في أسفل ضيعتهم فيتوافد الخبراء الروس للتنقيب عن الآثار القديمة ضمن أحداث مشوقة ورائعة .
 الحلقة السادسة والعشرون إلى مالطا: تصل إفسادية إلى المساعد محسن حول أمر خطير عن جوده فيلقي القبض عليه فيقول له «والله لخلي جعيرك يوصل لمالطا» فيبدو أن الأمر خطير للغاية فهو في العادة يقول لقبرص أما مالطا فهي بعيدة .. ما السبب ؟؟ لنرى
 الحلقة السابعة والعشرون عن طريق التسلسل: تكثر مطالب الضيعة ولا يستجيب مدير الناحية فيقررون إرسالها عبر سليم إلى الجهات العليا مباشرة فيثقلون في الكلام ... فما الذي سيحدث ؟؟ لنرى
 الحلقة الثامنة والعشرون الوسام وطنجرة البخار: يعد المساعد محسن المساعد أدهم بأن يقدم له عن قريب وسام ويهديه طنجرة بخار فيفقد أبو نادر سلاحه ويخاف أن يكتشف المساعد محسن ذلك .. تتوالى الأحداث المشوقة التي ستشاهدونها تباعاً في هذه الحلقة
 الحلقة التاسعة والعشرون زمور الخطر: جاءت الإخباريات بأن العدو سيهاجم البلاد فيبدأ أبو نادر بتوعية أهل الضيعة وإخبارهم بالأشياء الواجب عملها والزمور الذي تم تركيبه مخصص لحالات الطوارئ عند هجوم العدو .. فما الذي سيحدث ؟؟ أحداث مضحكة تشاهدونها في هذه الحلقة ..
 الحلقة الثلاثون لم تعد كذلك: يقوم أبو شملة وجماعته بدفن مواد كيماوية في بئر على شكل علب دهان فيكون جوده وأسعد مراقبين لأعمالهم وعندما يذهبون يخرجون عدة علب ظناً منهم أنها علب دهان فيوزعونها على أهل الضيعة الذين يصابون بالمرض لاحقاً وتتوالى الأعراض ويتوافد البشر إلى المستوصف حيث يشارفون على الموت .. أحداث حزينة تختم الجزئين الذين سيظلان خالدين في أذهان المشاهدين العرب ..

الفريق الفني
 تاليف وسيناريو وحوار: ممدوح حمادة
 مدير إضاءة وتصوير: عبد الناصر شحادة
 مشرف إضاءة: إياد يونس
 تصوير: محمد عبادي – راكان حمود
 مشرف الصوت: أحمد الفياض
 تصميم الملابس: حكمت داوود
 مساعد الديكور والاكسسوار: مازن عوده
 الديكور والاكسسوار: داوود حسن
 المكياج ردينة تابت السويدلني
 مشرفو الإنتاج: باسم الخولي – فراس حربه – أشرف البيك
 الموسيقى: طاهر مامللي
 غناء الشارة: علي الديك
 المكساج: مامر أباظة
 غرافيك: وليم عنيني
 الإدارة المالية: عادل مارديني
 المونتاج: حسام الرنتيسي
 مخرج منفذ: محمد غياث الجاجة
 إنتاج سامه للإنتاج الفني
 منتج منفذ: أديب خير
 إخراج: الليث حجو

الجزء الثالث
استبعد كاتب المسلسل ممدوح حمادة بشكل كامل إمكانية إنتاج جزء ثالث، لكنه أشار إلى إلى أنه بصدد إنتاج عمل جديد "يتقاطع مع ضيعة ضايعة في بعض النواحي ولكنه ليس مشابهاً له بالتأكيد".

معلومات إضافية

في مقابلة مع الممثل حسين عباس ذكر أن الاسم الأصلي للمسلسل كان «جار الرضا» وتم تغيير الاسم إلى ضيعة ضايعة أثناء التصوير بعد الانتهاء من تصوير سبع حلقات.

المفردات والمصطلحات الغريبة
ورد العديد من الألفاظ والمصطلحات المحكية التي تختص بها منطقة اللاذقية دون غيرها مراراً ضمن المسلسل، ولتسهيل الأمر على المشاهدين لكون هذه المفردات غريبة وصعبة الفهم أحياناً، تمت ترجمتها ضمن المسلسل إلى معانيها في اللغة العربية الفصحى، يمكن العثور على قائمة بهذه الكلمات والمصطلحات في صفحة اللهجة الساحلية.

المراجع

مسلسلات تلفزيونية سورية بدأ عرضها في 2008
مسلسلات تلفزيونية سورية بدأ عرضها في 2010
مسلسلات تلفزيونية كوميدية سورية

ضيعة ضايعة (مسلسل)


EM i banecykling 2015 for U-23 og juniorer var det 15. kontinentale europæiske mesterskab for unge under 23 og juniorer i banecykling, og det sjette mesterskab, siden mesterskabet fik nyt navn i forbindelse med omstruktureringer i 2010. Mesterskaberne fandt sted i Athens Olympic Velodrome i Athen, Grækenland fra 14. til 19. juli 2015. Amalie Dideriksen vandt to guldmedaljer, Andreas Stokbro og Mathias Dahl Pedersen vandt sølv og Andreas Stokbro og Mathias Dahl Pedersen vandt bronze for Danmark.

Medaljeoversigt

Referencer

2015 (under-23 & junior)
Cykelløb i 2015

EM i banecykling 2015 (under-23 & junior)


Chad Coombes (9 de septiembre de 1983 en Hamilton) es un futbolista neozelandés que juega de mediocampista en el Waitakere United. Además de desempeñarse en el fútbol es profesor de Educación Física y el actual director de deportes del Onehunga High School en Auckland.

Carrera

Jugó un año en el club de su ciudad natal, el Hamilton Wanderers, y luego de dos pasos cortos por el Melville United y el North Shore United llegó en 2003 al New Zealand Knights donde solo jugó 6 partidos. En 2004 jugó para el Central United y ese mismo año recaló en el Auckland City FC, una de las 8 franquicias del NZFC que recién había sido creada. Jugó 6 años allí, con 112 partidos y 9 goles, entre 2010 y 2011 tuvo un paso corto por el Fleet Town FC inglés, para regresar al Auckland City. En 2012 firmó con el Waitakere United. Luego de una temporada irregular, prefirió incorporarse al WaiBOP United en 2014, la franquicia de su ciudad natal, Hamilton. En 2015 regresó al Waitakere.

Clubes

Selección nacional

Coombes jugó un solo partido en la selección neozelandesa, fue el 3 de marzo de 2010 en un partido de preparación para la Copa Mundial de Fútbol de 2010 contra  que terminó en derrota para Nueva Zelanda por 2-0.

Referencias

Enlaces externos
 Coombes en transfermarkt

Nacidos en Hamilton (Nueva Zelanda)
Futbolistas de Nueva Zelanda
Futbolistas de Nueva Zelanda en la Copa de las Naciones de la OFC 2008
Futbolistas del Hamilton Wanderers
Futbolistas del Melville United
Futbolistas del North Shore United
Futbolistas del Central United
Futbolistas del Auckland City Football Club
Futbolistas del New Zealand Knights FC
Futbolistas del Waitakere United
Futbolistas del WaiBOP United

Chad Coombes


El Arroyo del Durazno es un curso de agua uruguayo que atraviesa el departamento de  Soriano perteneciente a la cuenca hidrográfica del Río de la Plata.

Nace en la Cuchilla del Bizcocho y desemboca en el arroyo del Perdido tras recorrer alrededor de  28 km.

Referencias

Durazno
Durazno

Arroyo del Durazno


ليو كلايسترز ، من مواليد 9 نوفمبر 1956 ، لاعب كرة قدم بلجيكي سابق، وهو والد لاعبتي التنس كيم كلايسترز، و إلك كلايسترز.

لعب مع منتخب بلجيكا لكرة القدم.

توفي في 4 يناير 2009.

مسيرته الكروية
لعب ليو كليسترز خلال مسيرته الاحترافية مع 6 أندية في تسعة عشر موسمًا وسجل خلالها 41 هدفًا ضمن 511 مباراة. حيث فاز في موسم واحد بالكأس وفي موسم واحد بالدوري.

خاض ليو كليسترز مسيرته مع نادي كلوب بروج في موسم 1974–75 لمدة موسم واحد، مشاركًا في مباراة ولم يسجل أي هدف. ثم انتقل إلى  في موسم 1975–76 لمدة موسم واحد، حيث شارك في 29 مباراة سجل خلالها هدفًا واحدًا. لينتقل بعدها إلى  في موسم 1976–77 ليلعب معه ستة مواسم، مشاركًا في 167 مباراة سجل خلالها 21 هدفًا. ثم انتقل إلى نادي واترشاي ثور في موسم 1982–83 ليلعب معه أربعة مواسم، مشاركًا في 119 مباراة سجل خلالها 6 أهداف. هذا وانتقل لاحقًا إلى نادي كيه في ميخيلين في موسم 1986–87 ليلعب معه ستة مواسم، مشاركًا في 174 مباراة سجل خلالها 13 هدفًا. ثم انتقل بعدها إلى نادي لييج في موسم 1992–93 لمدة موسم واحد، مشاركًا في 21 مباراة ولم يسجل أي هدف.

روابط خارجية

مراجع

لاعبو كرة قدم رجالية بلجيكيون
مدافعو كرة قدم رجالية
لاعبو كرة قدم من ليمبورغ (بلجيكا)
أشخاص من بري (بلجيكا)
رياضيون فلاميشيون
رياضيون من ليمبورغ (بلجيكا)
لاعبو الدوري البلجيكي للمحترفين
لاعبو بطولة أمم أوروبا 1984
لاعبو كأس العالم 1986
لاعبو كأس العالم 1990
لاعبو كرة قدم بلجيكيون
لاعبو كلوب بروج
لاعبو كيه في ميخيلين
لاعبو منتخب بلجيكا لكرة القدم
لاعبو نادي لييج
لاعبو نادي واترشاي ثور
مدربو دياست
مدربو كرة قدم بلجيكيون
مدربو كيه في ميخيلين
مدربو نادي غينت
مواليد 1956
وفيات 2009
وفيات السرطان في بلجيكا
وفيات بسبب سرطان الرئة

ليو كليسترز


La 14ª edición del Tour Down Under (llamado: Santos Tour Down Under), se disputó entre el 17 y el 22 de enero de 2012 en Adelaida y sus alrededores, al sur de Australia.

La prueba fue la primera carrera del UCI WorldTour 2012.

La novedad de esta edición fue que la 5.ª etapa culminó en alto, luego de ascender 2 veces el alto de Old Willunga Hill (3,5 km de longitud) en la 2.ª oportunidad será el final de etapa. Esto mermó las posibilidades de los esprínteres, habituales ganadores de esta carrera. Además, hasta esta edición los puertos o cotas puntuables tenían una catalogación única debido a las pocas ascensiones y a partir de este año se siguió la catalogación clásica de 1.ª, 2.ª y 3.ª teniendo Old Willunga Hill catalogación de 1.ª.

El ganador final fue Simon Gerrans con el mismo tiempo del segundo clasificado Alejandro Valverde (vencedor de una etapa). Completó el podio Tiago Machado.

Equipos participantes
Tomaron parte en la carrera 19 equipos: los 18 de categoría UCI ProTour (al ser obligada su participación); más una selección de Australia (con corredores de equipos de los Circuitos Continentales UCI) bajo el nombre de UniSA Australia. Formando así un pelotón de 133 ciclistas, con 7 corredores cada equipo, de los que acabaron 126. En el Down Under Classic, que ganó André Greipel, el GreenEDGE salió sin Luke Durbridge debido a una caída previa en este caso siendo un total de 132 corredores de los que acabaron 128. Los equipos participantes fueron:

Carrera de exhibición

Down Under Classic, 15-01-2012: Adelaida (Rymill Park)-Adelaida (Rymill Park), 51 km
Dos días antes del comienzo del Tour Down Under se disputó una clásica de exhibición, no oficial de categoría .NE, en el Rymmil Park de Adelaida, en la que participaron los ciclistas que iniciaron el Tour Down Under excepto Luke Durbridge (GreenEDGE) debido a una caída previa. La prueba fue en un circuito de 1,7 km que se recorrió en 30 oportunidades para totalizar 51 km.

Recorrido
El Tour Down Under dispuso de seis etapas para un recorrido total de 803 kilómetros, donde se contempla en las cinco primeras etapas algunas dificultades en varios puntos de la carrera. Así mismo, la quinta etapa terminó en la subida final a Willunga Hill con una ascensión de 3,5 kilómetros de longitud y 7% de desnivel, lo que a menudo desempeña un papel decisivo en la carrera. La etapa seis marca el final de la carrera con un circuito urbano por los alrededores del centro de Adelaida.

Etapas

Etapa 1

Etapa 2

Etapa 3

Etapa 4

Etapa 5

Etapa 6

Clasificaciones finales

Clasificación general

Clasificación de la montaña

Clasificación de las metas volantes

Clasificación de los jóvenes

Clasificación por equipos

Más agresivo

Evolución de las clasificaciones

UCI WorldTour
El Tour Down Under 2012 otorgó puntos para el UCI WorldTour 2012 a aquellos corredores que pertenecen a equipos UCI ProTour.

Siendo este el reparto de puntos:

Referencias

Enlaces externos
 Web oficial del Tour Down Under
 Tour Down Under 2012 (web oficial del UCI WorldTour 2012)
 Tour Down Under 2012 (web oficial de la UCI)

UCI WorldTour 2012
2012
Australia en 2012

Tour Down Under 2012


The Alexander Hamilton U.S. Custom House (originally the New York Custom House) is a government building, museum, and former custom house at 1 Bowling Green, near the southern end of Manhattan in New York City, New York, United States. Designed by Cass Gilbert in the Beaux-Arts style, it was erected from 1902 to 1907 by the government of the United States as a headquarters for the Port of New York's duty collection operations. The building contains the George Gustav Heye Center museum, the United States Bankruptcy Court for the Southern District of New York, and the New York regional offices of the National Archives. The facade and part of the interior are New York City designated landmarks, and the building is listed on both the New York State Register of Historic Places and the National Register of Historic Places (NRHP) as a National Historic Landmark. It is also a contributing property to the Wall Street Historic District, listed on the NRHP.

The Custom House is a seven-story steel-framed structure with a stone facade and elaborate interiors. The exterior is decorated with nautical motifs and sculptures by twelve artists. The second through fourth stories contain colonnades with Corinthian columns. The main entrance consists of a grand staircase flanked by Four Continents, a set of four statues by Daniel Chester French. The second-story entrance vestibule leads to a transverse lobby, a rotunda, and offices. The rotunda includes a skylight and ceiling murals by Reginald Marsh. The George Gustav Heye Center, a branch of the National Museum of the American Indian, operates on the ground and second stories, while the upper stories contain U.S. government offices.

The building was proposed in 1889 as a replacement for the previous New York Custom House at 55 Wall Street. Because of various disagreements, the Bowling Green Custom House was not approved until 1899; Gilbert was selected as architect following a competition. The building opened in 1907, and the murals in the rotunda were added in 1938 during a Works Progress Administration project. The United States Customs Service moved out of the building in 1974, and it remained vacant for over a decade until renovations in the late 1980s. The Custom House was renamed in 1990 to commemorate Alexander Hamilton, one of the Founding Fathers of the United States and its first Secretary of the Treasury. The Heye Center opened in 1994.

Site
The Alexander Hamilton U.S. Custom House occupies a trapezoidal plot bounded by Bowling Green to the north, Whitehall Street to the east, Bridge Street to the south, and State Street to the west. The Whitehall Street and State Street elevations are  wide; the main elevation on Bowling Green is  wide; and the rear elevation on Bridge Street is  wide. Nearby buildings include the International Mercantile Marine Company Building and the Bowling Green Offices Building to the northwest, 26 Broadway to the northeast, 2 Broadway to the east, and One Battery Park Plaza to the south.

There are entrances to two New York City Subway stations immediately outside the Custom House. An entrance to the Whitehall Street station is adjacent to the eastern side of the building, while an entrance to the Bowling Green station is to the north. The building occupies the site of Fort Amsterdam, constructed by the Dutch West India Company to defend their operations in the Hudson Valley. The Dutch colony of New Amsterdam, the precursor to modern-day New York City, was developed around the fort. Bowling Green, immediately to the north, is the oldest park in New York City. The Government House occupied the site in the late 18th century before its demolition in 1815. The houses of several wealthy New Yorkers were subsequently developed at that location.

Architecture

The Alexander Hamilton U.S. Custom House is seven stories high with a stone facade and an interior steel frame. It was designed by Cass Gilbert in the Beaux-Arts style. The design is similar to those of previous custom houses in New York City, namely Ithiel Town's Federal Hall at 26 Wall Street and Isaiah Rogers's Merchants' Exchange building at 55 Wall Street.

The building's design incorporates Beaux-Arts and City Beautiful planning principles, combining architecture, engineering, and fine arts. Gilbert had written in 1900 about his plans for a wide-ranging, site-specific decorative program, which would "illustrate the commerce of ancient and modern times, both by land and sea". Sculptures, paintings, and decorations by well-known artists of the time, such as Daniel Chester French, Karl Bitter, Louis Saint-Gaudens, and Albert Jaegers, embellish various portions of the interior and exterior.

Facade
Unlike most custom houses, which face the waterfront, the Alexander Hamilton Custom House faces inland toward Bowling Green. Its main entrance is on the northern facade, the only side that does not overlook the Lower Manhattan waterfront. The exterior is decorated throughout with nautical motifs such as dolphins and waves, interspersed with classical icons such as acanthus leaves and urns.

The first-floor facade is composed of rusticated blocks and is  tall. There are six entrances to the building. The main entrance is on the northern elevation, where a wide stairway leads to the second floor. Under the main entrance arch is a carving of the municipal arms of the city of New York. The keystone at the top of the arch depicts the head of Columbia, the female personification of the United States, and was designed by Vicenzo Albani. Andrew O'Connor created a cartouche for the space above the main entrance. The lintel above the main entrance, quarried in Maine, weighed  and measured .

The second through fourth stories contain engaged columns in the Corinthian style; some of these columns are paired while the others are single. There are 44 columns in total: twelve each on the north, east, and west elevations and eight on the south elevation. The second story is the piano nobile; the windows on this story are flanked by brackets and capped by enclosed pediments, with carved heads above them (see ). The third- and fourth-story windows, conversely, are less ornately decorated; this was normal for Beaux-Arts buildings, which generally had greater detailing on the more visible lower levels. The lintels above the third-story windows are decorated with wave motifs, while those above the fourth floor depict shells. The center portion of the Bridge Street facade reaches only to the third story.

The fifth-story facade consists of a full-story entablature with a frieze and short rectangular windows. The sixth story is directly above it, while the seventh story consists of a red-slate mansard roof with dormer windows and copper cresting. The mansard roof is extremely steep, allowing the seventh-story attic to be designed as a full floor of usable space.

Sculptures

Twelve sculptors were hired to create the figural groups on the exterior. The major work flanking the front steps, the Four Continents, was contracted to Daniel Chester French, who designed the sculptures with associate Adolph A. Weinman. The work was made of marble and sculpted by the Piccirilli Brothers; each sculptural group cost $13,500 (). The sculptures were produced at the Piccirilli Brothers' studio in the Bronx. From east to west, the statues depict larger-than-life-size personifications of Asia, America, Europe, and Africa. The primary figure of each group is a woman and is flanked by smaller human figures. In addition, Asia's figure is paired with a tiger, and Africa's figure is paired with a lion.

The capitals of each of the 44 columns are decorated with carved heads depicting Hermes, the Greek god of commerce. The windows on the main facade are topped by eight keystones, which contain carved heads with depictions of eight human races. One source described the keystones as representing "Caucasian, Hindu, Latin, Celt and Mongol, Italian, African, Eskimo, and even the Coureur de Bois".

Above the main cornice are a group of standing sculptures that personify seafaring nations. There are twelve such statues, which depict commercial hubs through both ancient and modern history. Each sculpture is  tall and weighs . These sculptures are arranged in chronological sequence from east to west, or from left to right as seen from directly in front of the building. The easternmost sculptures are of ancient Greece and Rome, while the westernmost sculptures are of the more recent French and British empires. Eight sculptors were commissioned for this work. One of these sculptures, Germania by Albert Jaegers, was modified in 1918 to display Belgian insignia rather than German insignia. Bitter created a cartouche of the United States' coat of arms for the roof.

Interior
A barrel-vaulted entrance vestibule, supported by marble columns and decorated with multicolored mosaics, is just inside the entrance. Behind bronze gates is a passageway to the Great Hall. At the center of the building is a double-height rotunda, rising to the third story. On and above the third story, the building is arranged as a hollow quadrilateral, surrounding the rotunda. This creates a light court above the rotunda, which measures  wide on its north end,  wide on its south end, and  deep.

Stairways, made of marble with iron handrails, connect the interior spaces. There are elevators in each corner; the southwestern and southeastern banks contain two elevators each, while the northwestern and northeastern banks have three elevators apiece. The northwestern and northeastern elevators were originally open cages but were replaced with enclosed cabs in 1935. Because the original appropriation was limited in scope, decorative elements in the initial construction were limited to several important rooms, including the rotundas, hallways, lobby, and collector's office. The walls of these spaces are clad with marble in multiple hues, and there are nautical motifs in numerous locations.

Second floor

The second-floor ceiling is generally  tall. This floor consists of the former office spaces in the front and rear, the transverse lobby, and the rotunda. Gilbert planned the Custom House's interior so "all entrances, corridors, stairways and passages [were] arranged on the most direct and simple axial lines". The second-floor space, including the former offices, is almost entirely occupied by the Heye Center of the National Museum of the American Indian.

Transverse lobby
The transverse lobby spans the northern end of the second floor from west to east. Generally, the more important offices were positioned north of the lobby, while divisions dealing in more routine work were relegated to the south. Following the conversion of the second floor into the Heye Center, the former back offices have been occupied by various exhibition galleries; the cashier's office houses the museum store; and a café occupies the Northwest office adjacent to the main entrance.

Membrane arches divide the lobby into five bays. The floors are decorated in marble mosaic patterns. An entablature runs around the top of the lobby, with galleries on the third story. There are two doorways on the walls, each topped by carved architraves with nautical symbols. The doors from the lobby to the former offices are made of varnished oak and stippled glass. At the center of the lobby is a three-bay-wide foyer with a pair of round arches to the north and south, which are supplemented by green Doric-style marble columns with white capitals. The bays of the foyer are separated by marble piers. Three bronze lanterns are suspended from the vaulted ceiling, hanging above a red-marble disc on the floor. Elmer E. Garnsey designed murals for the ceiling.

Semicircular staircases, with bronze railings and marble stair treads, flank the lobby. The stairs do not have any metal support structures and are composed entirely of flat, hard-burned clay tiles. Under each stair are timbrel vaults, which connect each landing. The stairs rise to the seventh floor, which contains a skylight that is meant to evoke the design of a ship's cabin. Only the western stair between the first and second floors is open to the public. The elevator doors in the lobby are topped by bronze transom grilles that depict a caravel or sailing ship. There are two additional stairs at the rear, or southern, end of the building.

Offices and rotunda
The collector's office is at the northwestern corner of the second floor. The office contains elaborate hardwood floors and oak wainscoting designed by Tiffany Studios; the wainscoting measures  high. Garnsey painted ten oil paintings, which are installed above the wainscoting. Each painting has a gold frame and depicts a Dutch or English port in the New World. The office also included a stone fireplace mantel with a plaque referencing Fort Amsterdam and the Government House. The coffered plaster ceiling has molded decorations, including a motif of the collector's monogram. Fourteen lighting fixtures, covered in gold leaf, hang from the ceiling. The room is normally closed to the public but can be rented for events.

The manager's office is next to the collector's office and is decorated with plain plaster walls, topped by a cornice in the Ionic order. The northeastern corner housed the cashier's office, which featured a white-marble countertop with a bronze screen. The southern half of the cashier's room has white-marble walls and was originally where members of the public conducted their transactions. The northern half, where the cashiers themselves worked, has plaster walls. The ornate plasterwork ceiling is decorated to resemble Renaissance "boxed beams", while the marble floor has a geometric border. The former cashier's office has been incorporated into the Heye Center's museum store.

The elliptical rotunda, within the building's interior courtyard, measures  and rises to the third story. The walls and floors are composed of geometric marble tiles in several hues. The ceiling is self-supporting, without any interior metal structure; it uses the Guastavino tile arch system created by Spanish architect Rafael Guastavino. It consists of numerous layers of fireproof tiles, each of which measures  across and  thick. The tiles and layers are bonded using Portland cement. The center of the ceiling is occupied by a  oval skylight. The underside of the ceiling bears eight trapezoidal panels, as well as eight long, narrow panels between them. The panels contain fresco-secco murals, which were painted in 1937 by Reginald Marsh and eight assistants as part of the Treasury Relief Art Project. The larger murals portray shipping activity in the Port of New York and New Jersey, while the smaller murals depict notable explorers of the New World and the Port of New York. Several shipping companies bought lunch for Marsh while he was painting the murals; as such, the murals depict these companies' ships. The rotunda can be rented for special events. When the Heye Center opened within the building in 1994, it built several permanent galleries around the rotunda.

Other stories
The ground story is  tall. It originally had six entrances: two on the front and two each on State and Whitehall Streets. The Bowling Green post office, operated by the United States Postal Service, was formerly near the building's south end. The post office was located around a west–east corridor accessed by both State and Whitehall Streets. There are also two ramps for delivery vehicles. The floor surface, wainscoting, and pilasters are made of marble, and the ceilings are  high. In the early 1990s, a 350-seat auditorium was built on the ground story. About  of storage space on the ground floor, under the rotunda, was converted into the George Gustav Heye Center's Diker Pavilion for Native Arts and Cultures in 2006. This pavilion consists of a slightly sloped circular space seating 400 people, surrounding a maple dance floor.

The Custom House's trapezoidal site was excavated to an average depth of . Two stories were placed beneath the ground level. The first basement was just above sea level and had a  ceiling, while the second basement had a waterproof asphalt-and-tar floor. When the post office was in operation, mail arrived through the delivery docks and was sorted in the basement.

The upper stories contain office space. The outer portion of the fifth story was initially used for document storage; the windows are small apertures within the entablature, making that story unsuitable for office use. The ceilings of the upper stories are between  tall. Some of the offices on the upper stories were ornately decorated. In particular, the Naval Commander of the Port's office at the northwest corner of the third floor was decorated in dark oak. The Treasury Secretary's office at the northeast corner of the seventh floor was finished in quartered oak and contained Circassian-walnut furniture.

History

The United States Customs Service had been formed in 1789 with the passage of the Tariff Act, which authorized the collection of duties on imported goods. The Port of New York was the primary port of entry for goods reaching the United States in the 19th century and, as such, the New York Custom House was the country's most profitable custom house. Import taxes were a major revenue stream for the federal government before a national income tax was implemented in 1913 with the passage of the 16th Amendment. The New York Custom House had supplied two-thirds of the federal government's revenue at one point. Because the salary of the collector was tied to the custom house's revenue, the New York Custom House's collector earned more than the U.S. president, and the position was extremely powerful. The New York Custom House had occupied several sites in Lower Manhattan before the Alexander Hamilton Custom House was built. The first such house was established in 1790 at South William Street. The custom house moved to the Government House on the site of Fort Amsterdam in 1799. The customs service relocated numerous times in the 19th century before opening an office at 55 Wall Street in 1862. The Wall Street location had been optimal during the mid-19th century because it was close to the Subtreasury at 26 Wall Street, thereby making it easy to transport gold.

Planning and construction
In February 1888, William J. Fryer Jr., superintendent of repairs of New York City's federal government buildings, wrote to the United States Department of the Treasury's Supervising Architect about the "old, damp, ill-lighted, badly ventilated" quarters at 55 Wall Street. Architecture and Building magazine called the letter "worthy of thoughtful investigation". The 55 Wall Street building's proximity to the Subtreasury was no longer advantageous, as it was easier to use a check or certificate to make payments on revenue. On September 14, 1888, Congress passed an act that would allow site selection for a new custom house and appraiser's warehouse. Soon after, Fryer presented his report to the New York State Chamber of Commerce. The Chamber said in 1889: "We have not seriously considered the removal of the present Custom House proper, since it is well located, and, if found inadequate, can easily be easily be enlarged to meet all the wants of the Government for an indefinite time to come."

Site selection
Fryer recommended Bowling Green as his first preference for a new custom house, followed by a site immediately south, along State Street north of Battery Park. The U.S. House and Senate both passed a bill in March 1889, appropriating $750,000 () for a new custom house in the vicinity of Bowling Green. That September, Treasury secretary William Windom selected Bowling Green as the new site of the custom house and appraiser's warehouse. Almost immediately, Windom was accused of exceeding his authority in selecting the new site. In addition, many local businessmen opposed moving the custom house, and a judge ruled in 1891 that the federal government could not take the Bowling Green site by eminent domain as it had proposed to do.

Both houses of the U.S. Congress passed a bill to acquire land for a new custom house in New York City, and to sell the old building, in March 1891. The federal government appointed three commissioners to appraise the cost of acquiring land at Bowling Green; in July 1892, the appraisers estimated that the site would cost $1.96 million (about $ million in ). Still, in January 1893, there was not enough money to purchase the lots at Bowling Green. The lessees and landowners were supposed to receive $2.1 million (equivalent to $ million in ), but there was only $1.5 million on hand (equivalent to $ million in ). The 1891 bill had allowed up to $2 million for land acquisition and had required that the previous building be sold for at least $4 million. Members of Congress voted against a bill in March 1893 to appropriate an additional $800,000 for the site. Because of a lack of funding, the planned custom house at Bowling Green was abandoned at the end of that month.

The project did not proceed further until January 1897, when bills for the acquisition of the Bowling Green site were introduced in both houses of Congress. Federal legislators proposed further appropriations, but the Treasury retained the disbursements that would have gone to the landowners. The federal government chose an alternate site for the appraiser's warehouse in the West Village of Manhattan.

Competition and site acquisition
Architectural writer Donald Reynolds stated that the new custom house was to be as modern as possible, with "an architectural style that embodied the tradition of the customs service, the federal government, and the United States with the latest building technology". The Tarsney Act, passed in 1893, permitted the Supervising Architect to host a competition to hire private architects to design federal-government buildings. The act did not take effect until Treasury secretary Lyman J. Gage took office in 1897. Furthermore, it was difficult for the federal government to sell the old building for the required price of $4 million (about $ million in ). The new New York Custom House was only the fourth building to be built under the Tarsney Act.

Republican Party officials wished to have complete control over spending for the new custom house building. Originally, the Chamber of Commerce and many business interests advocated for erecting a new custom house on the Wall Street site, even though it was less than half the size of the proposed Bowling Green site. In 1897, Senator Thomas C. Platt and Representative Lemuel E. Quigg, both Republicans, proposed bills in the United States Senate and House of Representatives for building a new custom house at Wall Street, with Platt's bill calling for a five-person commission to oversee the process. The bills died at the end of the 54th United States Congress in March 1897. During the 55th Congress in February 1898, legislation for the acquisition of the Bowling Green site was again proposed in the U.S. House and Senate, providing $5 million (about $ million in ) for land acquisition and construction. The U.S. House and Senate passed the Bowling Green bills the next year. At the time, most of the structures on the site were three-story houses used by steamship offices; by April, agreements had been made with most of the sixteen landowners. The federal government disbursed $2.2 million (about $ million in ) to landowners at the Bowling Green site that July. The next month, the old Custom House was sold for $3.21 million (about $ million in ).

Twenty firms were invited in May 1899 to submit designs to the competition under the terms of the Tarsney Act; according to The New York Times, the federal government took "great care" in selecting the architects who were to be invited. The government stipulated that any plan include a ground-level basement and up to six stories, as well as a southward-facing light court above the third story. A committee of three men was appointed to look over the submissions. By September 1899, there were two finalists: architecture firm Carrere & Hastings and architect Cass Gilbert. After a plan for the two finalists to collaborate failed, Supervising Architect James Knox Taylor picked Gilbert, who had been his partner at the Gilbert & Taylor architecture firm in St. Paul, Minnesota. The selection of Gilbert was controversial, drawing opposition from Platt and several groups. Some of the opposition centered around the fact that Gilbert was a "westerner" who had just moved from Minnesota to New York City, and several opponents raised doubts about the jury's competence. After Gage certified Gilbert's selection in November 1899, opposition to his selection decreased significantly.

Construction and opening
Demolition of existing buildings on the site began in February 1900, and demolition contractor Seagrist & Co. had cleared the site by that July. The next month, workers drilled test bores for the new Custom House's foundations. Contracts for the building's foundations and structural steel were delayed because the federal government had received several bids, whose estimated completion dates differed significantly. Isaac A. Hopper was contracted to excavate the site that December. The collector of the Port of New York, George R. Bidwell, claimed the contract should have been awarded to the next highest bidder, Charles T. Wills, who like Bidwell was a Republican. The site was excavated to a depth of , and some  of dirt was removed. The New-York Tribune called the site "the biggest hole that was ever made in this city over which to erect a building". In December 1901, the federal government accepted contractor John Peirce's bid to erect the Custom House building's first floor. Pending further appropriations, the rest of the building would also be built by Peirce. At the time, there was only $3 million budgeted toward the Custom House's completion (equal to $ million in ). The following November, Peirce was authorized to complete the remaining stories after another $1.5 million (equal to $ million in ) was allocated.

The cornerstone of the building was laid on October 7, 1902, in a ceremony attended by Treasury secretary Leslie M. Shaw. After a ticker tape parade down Broadway, the cornerstone, filled with contemporary souvenirs and artifacts, was placed at the northeast corner of the site. The new Custom House's construction lagged due to government bureaucracy, while work on comparable private buildings nearby proceeded more quickly. The slow construction was attributed to various reasons, such as concurrent jobs being undertaken by the building's contractors, money shortages, and lack of supplies. Nonetheless, the building's imminent completion sparked the development of other nearby sites. The Custom House was reportedly 70 percent complete by February 1905, according to Peirce. That September, J. C. Robinson was contracted to furnish the interior of the building, while New-York Steam Fitting was hired to install the mechanical equipment.

The building's first tenant was a United States Post Office Department station, which opened on the Bridge Street side of the building's ground floor in July 1906. The same year, an additional $465,000 was allocated for the building's completion (equivalent to $ million in ). By September 1907, the Custom House was ready to open. The general contractors turned the building over to the federal government on October 1, 1907, after they had completed all major construction. At the time, many of the interior furnishings had not been added. The U.S. Customs Service moved its offices to Bowling Green on November 4, 1907. With a proposed final cost of $4.5 million (approximately $ million in ), it would be more expensive than any other public building in New York City except for the Tweed Courthouse.

Use by U.S. Customs Service

1900s to 1930s

Following the Customs Service's relocation to the Custom House, other government agencies with offices in New York City, such as the Weather Bureau, also moved to the Bowling Green Custom House. By 1908, the Custom House was fully occupied by these other agencies, as the Treasury's chief architect had assigned space to other departments without consulting with the collector. The next year, the House of Representatives approved the installation of a pneumatic-tube system so the post office and custom house could send packages to the appraiser's warehouse. A bronze tablet, marking the historical site of a Native American gathering place, was dedicated at the Custom House's main entrance in 1909. Another tablet was dedicated at the Custom House in 1912, marking the site of the first mass in New York City, which had taken place in 1683.

The Consular Bureau opened an office at the Custom House in 1910. A regional tax office, where companies and residents in Manhattan south of 23rd Street paid taxes, opened at the Bowling Green Custom House in 1914. Following the U.S. entry into World War I in 1917, "individuals and patriotic societies" objected to the presence of Germany from the Custom House's sculptures, since Germany was one of the Central Powers against which the United States was fighting. Federal officials determined that it was not feasible to remove the Germania statue, which weighed . Instead, in September 1918, Gilbert was directed to remove the German insignia on the entablature's Germania statue and replace them with Belgian insignia. The U.S. Passport Agency moved to the Custom House building the next year. The U.S. government proposed relocating the Customs Service's administrative offices in 1927 to the Appraiser's Stores Building, but shipping companies spoke out against the move.

A plaque honoring Richard Nicolls, the first colonial governor of the Province of New York, was dedicated at the Custom House in 1931. Large amounts of dirt had accumulated on the facade over the years, and workers steam-cleaned the facade and refurbished the interior in 1934.  During the Great Depression, in April 1937, collector Harry M. Durning commissioned Reginald Marsh to paint murals in the main rotunda as part of the Treasury Relief Art Project, with funds and assistance from the Works Progress Administration (WPA). Marsh accepted the commission for $1,560 (), less than five percent of what he would have normally charged. The ceiling of the rotunda had been undecorated white plaster when the building was erected. The installation of the murals was delayed for several months because of what Marsh described as red tape; the murals were completed by February 1938. The Bureau of Foreign and Domestic Commerce also relocated from the building in late 1937.

1940s to early 1970s
U.S. president Franklin D. Roosevelt requested in May 1939 that Congress appropriate $190,000 to renovate the Custom House. Congress approved the appropriation but later reduced it by $90,000. Durning asked Congress in 1940 to restore the appropriation, saying that "men [were] falling out of ancient chairs, and [...] our valuable records and current papers stacked on desks and improperly filed in decrepit cabinets and bookshelves". At the time, the building had 1,865 employees, of which 847 worked for the Customs Service; according to Durning, the New York Custom House handled half of the United States' customs business. The building also housed the Bureau of Internal Revenue, the U.S. Post Office, the Commerce Department, and eight other agencies of the U.S. government.

The Custom House's regional tax office began serving additional taxpayers in Staten Island and Midtown Manhattan in 1951. The offices of the Taxpayer Assistance Program, which helped residents file their taxes, relocated from the Custom House to Lafayette Street in 1955; the tax office itself relocated to Houston Street the next year.  Although the Port of New York remained the United States' busiest port after World War II, it had begun to decline in importance by the 1950s because of several factors. These included increasing cargo-handling and trucking costs; the decline of local railroads; the rapid growth of the southern and southwestern United States and the development of ports in these regions; and the opening of the St. Lawrence Seaway in Canada, which allowed ships to deliver cargo directly to the Upper Midwest.

As early as 1964, the U.S. Customs Service was considering moving to the World Trade Center, which was under construction. The building's other tenants at the time included the United States Coast Guard, whose Third District Search and Rescue Command was headquartered on the sixth floor. As a money-saving measure, in 1965, the Custom House began using a computerized system to record ships' arrivals. The Public Buildings Service, an agency of the federal government, conducted a study of the Custom House in 1967, finding that the building needed at least $8 million in renovations. By the early 1970s, the facade was extremely dirty, and the front steps had been shuttered for several years because of security concerns.
The Customs Service leased space at Six World Trade Center from the Port Authority of New York and New Jersey in 1970. That year, the New York City Planning Commission considered transferring the site's unused air rights across the street to 1 Broadway, where the Walter Kidde Company planned to build a 50-story skyscraper. In exchange, the Walter Kidde Company would have been required to help preserve the Custom House. When the Customs Service moved out during 1973, the building had 1,375 employees, and the land under the building was estimated to be worth between $15 million and $20 million (about $– million in ). The General Services Administration (GSA) acquired the Bowling Green Custom House after the Customs Service relocated.

Abandonment and restoration proposals

1970s plans
Several lawyers and businessmen had formed the nonprofit Custom House Institute in late 1973. With assistance from several organizations and the city government's Office of Lower Manhattan Development, the institute raised $40,000 to conduct a feasibility study of the various plans for the Custom House. In March 1974, the institute recommended a proposal by architect I. M. Pei, who suggested converting the upper floors into office space, keeping the second-floor rotunda open, and converting the first floor to commercial use. The next year, the federal government declared the building "surplus" property, making it available to the city government. Pei's proposal was not carried out, as the GSA found the proposal to be impractical. Instead, the GSA cleaned the facade during the mid-1970s.

From 1974 on, the Custom House was largely vacant. The building's primary occupant was the United States Bankruptcy Court for the Southern District of New York, which occupied two stories; the Custom House Institute occupied the first floor. The other floors remained unused and were seldom open to the public except for special events. These included the bicentennial of the United States in 1976, a summer arts program in 1977, and another arts exhibition in 1979. Different parts of the building fell into various states of disrepair. Marsh's ceiling murals and the commissioner's room remained relatively intact, but there was peeling paint in other offices, and weeds were growing from the statues outside.

The GSA announced a plan in 1977 to convert the building into federal offices for $20 million, but there was no progress for a year. The agency indicated in January 1979 that it would spend $25 million on renovating the Bowling Green Custom House (about $ million in ). U.S. senator Daniel Patrick Moynihan gave U.S. House representatives a tour of the building to convince them to fund its renovation. In September 1979, in part because of his advocacy, Congress approved $26.5 million for the renovation, including the restoration of Marsh's murals. The GSA decided to host a competition for the Custom House's restoration and reuse. The entrance and rotunda were to be refurbished; the upper stories would contain upgraded offices for the federal government, while the lower stories would host a public institution.

1980s plans
A joint venture of Marcel Breuer Associates, James Stewart Polshek Associates, Stewart Daniel Hoban and Associates, and Goldman-Sokolow-Copeland was selected in January 1980 to restore the building. The joint venture planned to restore the rotunda in a way that would allow the space to be used by a variety of tenants, rather than tailoring it for a specific use. Under this proposal, four  atriums would have been built around the rotunda on the upper floors. In addition, the space beneath the rotunda would have been renovated, and a subway entrance would have been added. This proposal was never carried out because of bureaucratic delays. The federal government contemplated declaring the building surplus property in February 1983, allowing federal officials to sell it to a private owner, but Moynihan intervened and convinced federal officials to keep the building.

The GSA opened a request for proposals in November 1983, soliciting tenants for  at the Custom House. Six plans were presented to Manhattan Community Board 1 in August 1984. The GSA gave the most consideration to two plans: one for a Holocaust museum and the other for a cultural and educational center with an ocean liner museum, restaurants, and theaters. The community board's members were overwhelmingly in favor of the cultural and educational center, while Jewish groups preferred the Holocaust museum. The Holocaust museum proposal was selected in October 1984, prompting objections from preservationists who thought it was "inappropriate" for a Holocaust museum to be located in the Custom House. New York governor Mario Cuomo proposed an alternate site in nearby Battery Park City for the museum (later known as the Museum of Jewish Heritage), and the museum agreed in 1986 to open in Battery Park City instead.

An $18.3 million renovation (equivalent to $ million in ) began in August 1984. Ehrenkrantz and Eckstut Architects conducted the renovation. They cleaned, restored, and conserved exterior and ceremonial interior spaces. The restoration architects renovated old office space into federal courtrooms and ancillary offices; rental offices and meeting rooms; and a 350-seat auditorium. The building's fire-safety, security, telecommunications, and heating, ventilation, and air conditioning systems were also upgraded.

Museum of the American Indian operation

Agreement and renovation
By early 1987, Moynihan was proposing legislation that would turn over the building to the Museum of the American Indian (later the George Gustav Heye Center). The museum had outgrown its existing headquarters at Audubon Terrace in Upper Manhattan, and it was considering either relocating to Texas or merging with the American Museum of Natural History. The American Indian Community House, which wished to occupy a part of the Custom House, argued against giving the building to the Museum of the American Indian because the museum was run mostly by non-Indians. At the time, the Museum of the American Indian wished to relocate because its Upper Manhattan facility was insufficient, and the Custom House was being offered as an alternative for the museum's possible relocation to Washington, D.C.  U.S. Senator Daniel Inouye introduced the National Museum of the American Indian Act the next month, which would have brought the collection to Washington, D.C., instead.

A compromise was reached in 1988, in which the Smithsonian would build the National Museum of the American Indian in Washington, D.C. The Smithsonian would also acquire the Heye collection and operate a satellite location of the museum at the Custom House. The museum would only occupy the lowest floors of the Custom House; the fifth through seventh floors would be reserved for the Bankruptcy Court. City officials and museum officials agreed to this compromise in January 1989, and the National Museum of the American Indian Act was passed that November. The architecture firm Ehrenkrantz Eckstut & Whitelaw was hired in May 1990 to renovate the building. The same year, the building was officially renamed after Alexander Hamilton, the first Secretary of the Treasury, by act of Congress. The building's renovation included constructing an auditorium on the ground level; converting the cashiers' office into a visitor center; and adding gallery space, two gift shops, a theater, offices, and classrooms. The renovation cost $24 million in total.

Opening of museum and 21st century
The George Gustav Heye Center's space in the Custom House opened for previews in November 1992. The galleries to the west, south, and east of the rotunda formally opened on October 30, 1994. At that time, most of the space had been closed for 20 years. The Heye Center was housed in the three lower stories, while the Bankruptcy Court occupied two additional stories. One of the Bankruptcy Court's rooms on the fifth floor, known as the Eastern Airlines Room, had been renovated to accommodate bankruptcy hearings for large companies such as Eastern Air Lines. The other two stories were vacant and had not been renovated, but the GSA planned to refurbish these stories.

The museum and building were mostly undamaged by the September 11 attacks in 2001, but airborne debris from the collapse of the World Trade Center had to be cleared from some of the interior spaces. The Heye Center's exhibition and public access areas originally totaled about . The museum expanded into part of the ground floor in 2006. Six years later, the National Archives and Records Administration offices in New York moved to the Custom House. , U.S. Customs and Border Protection owns the Custom House. In addition, the building contains the United States Bankruptcy Court for the Southern District of New York and offices for the United States Department of Transportation.

Impact

Reception

Gilbert stated that, during the design process, a tall dome was suggested in order to make the building into a "landmark" but that "this would wholly destroy the proportions of the building per se, and as a matter of plan, seriously impair its practical usefulness". Gilbert said a  storage tower would be more appropriate if a "landmark" was necessitated, but he believed such a tower "would add considerably to the cost".

From the start, the Alexander Hamilton Custom House was architecturally distinguished from other buildings in the area. The New York Times said in 1906 that "it is the unity of idea embodied in the new Custom House and enforced by the wealth of sculpture with which it is embellished, more than its mere costliness, that gives to the edifice its unique value". A Times editorial the same year said that, despite the federal government's initial reluctance to decorate the Custom House lavishly, "few recall the money sunk into stone, bricks and mortar; they enjoy the final touches inside on which millions were not squandered". The Crockery & Glass Journal stated in 1907 that the building's quality was derived from its "proportion, with rich simplicity—the Roman recipe". The same year, Charles DeKay wrote for Century magazine that "at least something has been done to blunt the reproof that New York, a city by the sea, great through the ocean and our magnificent waterways, rarely remembers the sources of her wealth and greatness". The Wall Street Journal wrote in 1914 that the Custom House "represents the national Government in its economic bases and financial life".

Acclaim for the building continued in the decades after its completion. Architectural writer Henry Hope Reed Jr. regarded the Custom House in 1964 as "the finest public building in New York". When the U.S. Customs Service relocated in 1973, Ada Louise Huxtable wrote that 6 World Trade Center's "functional, featureless grid" contrasted with the "splendor" of the Alexander Hamilton Custom House. Architectural writer Robert A. M. Stern and his co-authors, in the 1983 book New York 1900, said that the Custom House and the Ellis Island immigration station were the two structures that reinforced New York City's role as "the leading American metropolis, representative of America's role in the world".

After the lower floors were converted into the Heye Center, Benjamin Forgey of The Washington Post wrote that the galleries were "conceived as neutral containers, a sequence of vaulted rooms ingeniously constructed within the old building frame in order not to damage (or indeed even to touch) the original walls". A writer for USA Today called the building "itself a sight to see". Stern and his co-authors wrote in the 2006 book New York 2000 that the building, which had been one of the Financial District's "most distinguished white elephants", became a "destination spot" once the Heye Center moved in. Several critics wrote about the juxtaposition of the Custom House's classical architecture and the Heye Center's focus on Native American culture, which, according to Stern and his co-authors, was largely characterized as "a culturally and stylistically inconsistent mix". A writer for The Wall Street Journal believed that the museum clashed with "the Custom House itself, which with its newly cleaned ceiling murals depicting ferries and ships seems a bizarre venue for looking at Indian art".

Landmark designations
The Custom House was one of the earliest designations of the New York City Landmarks Preservation Commission, becoming an official exterior landmark in October 1965, six months after the city's landmarks law was signed. At the time of the exterior designation, the commission said that "At some time in the future this building may be in jeopardy", since the federal government had doubted whether the Custom House should be made a city landmark. The Custom House's interior was also designated as a city landmark in January 1979. The building was listed on the National Register of Historic Places in 1972, the designation covering both its exterior and public interior spaces. The site was also declared a National Historic Landmark in 1976 and was added to the New York State Register of Historic Places in 1980. In 2007, it was designated as a contributing property to the Wall Street Historic District, an NRHP district.

See also
 List of New York City Designated Landmarks in Manhattan below 14th Street
 National Historic Landmarks in New York City
 National Register of Historic Places listings in Manhattan below 14th Street

References

Notes

Citations

Sources

External links
  GSA: Alexander Hamilton U.S. Custom House

 "Reginald Marsh's Custom House Murals" , Museum of the City of New York

Allegorical sculptures in New York City
Beaux-Arts architecture in New York City
Bowling Green (New York City)
Broadway (Manhattan)
Cass Gilbert buildings
Custom houses in the United States
Custom houses on the National Register of Historic Places
Financial District, Manhattan
Government buildings completed in 1907
Government buildings on the National Register of Historic Places in Manhattan
Historic district contributing properties in Manhattan
Individually listed contributing properties to historic districts on the National Register in New York (state)
National Historic Landmarks in Manhattan
New York City Designated Landmarks in Manhattan
New York City interior landmarks
New York State Register of Historic Places in New York County
Sculptures by Karl Bitter
Treasury Relief Art Project

Alexander Hamilton U.S. Custom House


Vanderson est le surnom de deux footballeurs brésiliens
Vanderson, né en 1979, milieu défensif de Vitória devenu entraîneur.
Vanderson, né en 2001, arrière latéral droit.

Homonymie de surnom

Vanderson


Omega Orionis (ω Ori / 47 Orionis) es una estrella en la constelación de Orión de magnitud aparente +4,57 situada aproximadamente a 1380 años luz de distancia del sistema solar.
Se halla rodeada por una nube de polvo, formando una modesta nebulosa de reflexión de más de una año luz de un extremo a otro.

Omega Orionis es una gigante azul de tipo espectral B3 IIIe con una temperatura efectiva de 19.100 K.
Incluyendo una gran cantidad radiación ultravioleta emitida, Omega Orionis brilla con una luminosidad 15.275 veces mayor que la del Sol.
Con un radio 11,4 veces más grande que el radio solar, su velocidad de rotación proyectada —181 km/s— implica un período de rotación inferior a 3,15 días.
Sin embargo, su velocidad de rotación real puede alcanzar los 450 km/s, estimándose que su eje se halla inclinado 24º respecto a la línea de visión.
Tiene una masa 10,5 veces superior a la del Sol, justo por encima del límite a partir del cual las estrellas explosionan como supernovas. Su edad se estima en 19 millones de años y sólo recientemente ha comenzado su etapa como gigante.

Como consecuencia de su rápida rotación, Omega Orionis es una estrella Be.
Entre las estrellas de esta clase, fue la primera en donde se midió el campo magnético, resultando ser 1000 veces mayor que el de la Tierra.
Omega Orionis es, como muchas estrellas Be, una estrella variable cuyo brillo varía 0,19 magnitudes.
Asimismo, se han observado pequeñas variaciones debidas a pulsaciones no radiales, con periodos de 0,97 y 2,19 días.

Referencias

Gigantes azules
Constelación de Orión

Omega Orionis


Olfert Viggo Fischer Kampmann (21. júlí 1910 – 3. júní 1976) var danskur hagfræðingur, þingmaður Jafnaðarmannaflokksins og forsætisráðherra Danmerkur í frá 1960 til 1962. Þar á undan hafði hann gegnt embætti fjármálaráðherra um alllangt skeið.

Ævi og störf
Kampmann fæddist í Frederiksberg og gekk menntaveginn. Hann lauk hagfræðiprófi frá Kaupmannahafnarháskóla og varð fyrsti leiðtogi Jafnaðarmanna til að koma úr röðum menntamanna. Hann komst snemma í raðir helstu efnahagsráðgjafa flokksins og varð fjármálaráðherra utan þings um skamma hríð árið 1950. Hann var kjörinn á þing árið 1953 og tók þá á ný við fjármálaráðherraembættinu.

Þegar H. C. Hansen forsætisráðherra lést í embætti árið 1960 tók Kampmann við af honum og telst það fyrra ráðuneyti hans. Sú stjórn var samsteypustjórn Jafnaðarmanna, Radikale venstre og Retsforbundet. Kampmann átti bágt með samstarfið við Retsforbundet og lét efna til nýrra kosninga á árinu 1960. Í þeim féll Retsforbundet út af þingi en hinir stjórnarflokkarnir bættu við sig og náðu að mynda minnihlutastjórn undir forystu Kampmann.

Ýmsar veigamiklar umbætur voru gerðar á danska velferðarkerfinu í stjórnartíð Kampmann, s.s. í málefnum fatlaðra. Heilbrigðistryggingar urðu almennar og hætt var að skerða stjórnmálaleg réttindi fólks sem þegið hafði sveitarstyrk. Þá var tekið upp nýtt söluskattskerfi, sem varð undanfari virðisaukaskatts.

Þótt óumdeilt væri að Kampmann væri meðal skörpustu forsætisráðherra í sögu Danmerkur, þótti hann stundum undarlegur í háttum. Sú hegðun skýrðist í mörgum tilvikum af geðhvarfasýki sem hann átti við að etja. Slagurinn við sjúkdóminn leiddi hann á köflum út í ofneyslu áfengis sem gat orðið til þess að hann gat horfið svo dögum skipti. Fjölmiðlar gættu þess þó rækilega að segja aldrei frá þessum veikindum.

Þann 3. september 1962 sagði Kampmann af sér í kjölfar ítrekaðra hjartaáfalla. Jens Otto Krag tók við forsætisráðherraembættinu og formennskunni í flokki Jafnaðarmanna. Kampmann gerðist stjórnmálaskýrandi og stýrði Fjölmiðlaeftirliti Danmerkur. Hann lést í júní 1976.

Ítarefni
 Arne Gaardmand: Dansk byplanlægning 1938-1992; Arkitektens Forlag 1993; ISBN 87-7407-132-7
 Poul Schmidt: Viggo Kampmann - modig modstandsmand, klog finansminister, ustyrlig statsminister. Gyldendal, 2016. ISBN 9788702054576.

Forsætisráðherrar Danmerkur

Viggo Kampmann


Levaillant ist der Familienname folgender Personen:

 François Levaillant (1753–1824), französischer Ornithologe
 Maurice Levaillant (1883–1961), französischer Dichter, Romanist und Literaturwissenschaftler

Levaillant


Jeton, gişelerde, telefon ve türlü oyunlarda para yerine kullanılan küçük, metal veya plastik nesnedir. Madenî para yerine kullanılırlar. Madenî paradan farklı olarak, madenî para devlet tarafından basılıp her türlü ürünün satın alınmasında kullanılabilirken, jetonun daha sınırlı bir kullanım alanı vardır ve çoğunlukla bir şirket, grup, dernek ya da şahıs tarafından dağıtılırlar.

Geçmişte ülkelerdeki enflasyona göre kullanımı değişiklik göstermiştir. Para birimi istikrarlı olan ülkelerde ankesörlü telefonlarda genellikle doğrudan madenî para kullanılırken, paranın değerinin istikrarsız olduğu yerlerde umumi telefonlar için jeton kullanımı tercih edilmiştir. Metro sistemlerinde de jeton kullanımı yaygın olmuştur. Teknolojinin gelişmesiyle, pek çok yerde jetonun yerini manyetik ya da akıllı kartlar almıştır.

Ödeme sistemleri
Biletler
Toplu taşımacılık
Nümismatik

Jeton


CS Dinamo Bucuresti er en rumænsk håndboldklub, hjemmehørende i Bukarest, Rumænien. Klubben spiller i den rumænske førstedivsion, men rykker op i Liga Nationala i sæsonen 2017/18. CS Dinamo Bucuresti kan let kom til at forveksle med den rumænske storklub CSM Bucuresti, men der er størrer forskel. Danske Mette Gravholt skal spille i klubben fra sommeren 2017.

Kilder

Eksterne henvisninger

Håndboldklubber fra Rumænien
Etableret i 2016
Sport i Bukarest

CS Dinamo Bucuresti (kvindehåndbold)


Kremnička (deutsch Altkremmnitz, ungarisch Keremcse – bis 1888 Körmöcske oder Körmöcke) ist eine ehemalige Gemeinde und seit 1970 ein Stadtteil von Banská Bystrica in der Mittelslowakei. Kremnička liegt südlich des Stadtzentrums von Banská Bystrica auf der rechten Seite des Hron, am Übergang vom Talkessel Zvolenská kotlina in die westlich gelegenen Kremnitzer Berge.

Geschichte
Der Ort wurde zum ersten Mal 1291 als Keremchen schriftlich erwähnt und gehörte damals zum Herrschaftsgebiet von Altsohl. 1828 zählte man 33 Häuser und 181 Einwohner, die als Landwirte beschäftigt waren, früher waren auch Töpferei und Fuhrwesen verbreitet. 1850 wurde eine Ziegelei gegründet.

Bis 1918 gehörte der Ort im Komitat Sohl zum Königreich Ungarn und kam danach zur neu entstandenen Tschechoslowakei beziehungsweise heutigen Slowakei. In der Zeit der ersten tschechoslowakischen Republik gab es eine Brennerei. Traurige Bekanntheit erlangte der Ort im Zweiten Weltkrieg, als nach der Niederschlagung des Slowakischen Nationalaufstandes in mehreren, von den Bereitschaftseinheiten der Hlinka-Garde und deutschem Einsatzkommando 14 verübten Massenerschießungen vom November 1944 bis März 1945 insgesamt 747 Menschen hingerichtet wurden, zumeist Juden, aber auch Roma, Partisanen oder Regimegegner.

In der Volkszählung 1961, der letzten vor der Eingemeindung, wohnten 448 Einwohner in der Gemeinde.

Bauwerke und Denkmäler

 Mahnmal für die Opfer des Slowakischen Nationalaufstandes von Dušan Jurkovič aus dem Jahr 1949

Weblinks

Einzelnachweise

Ort in der Slowakei
Banská Bystrica
Ersterwähnung 1291
NS-Kriegsverbrechen
Massaker (Zweiter Weltkrieg)
Gedenkstätte für NS-Opfer
Ortsteil in der Slowakei

Kremnička


Stars and Stripes é um jornal militar estadunidense diário que relata assuntos relativos aos membros das Forças Armadas dos Estados Unidos e suas comunidades, com ênfase naqueles que servem fora dos Estados Unidos. Ele opera de dentro do Departamento de Defesa, mas é editorialmente separado dele, e sua proteção pela Primeira Emenda é salvaguardada pelo Congresso dos Estados Unidos. Assim como um site, Stars and Stripes publica quatro edições impressas diárias para membros do serviço militar dos EUA servindo no exterior; essas edições européias, do Oriente Médio, japonesas e sul-coreanas também estão disponíveis para download gratuito em formato eletrônico, e há também sete edições digitais. O jornal tem sua sede em Washington, D.C.

Referências

Leitura adicional

Links externos

 Stars and Stripes digital editions
 Stars and Stripes multimedia gallery
 Stars and Stripes: The American Soldiers' Newspaper of World War I, 1918 to 1919

Jornais dos Estados Unidos

Stars and Stripes


Marlene Fernanda Cardoso Tavares (Vialonga, 19 de novembro de 2002) , mais conhecida pelo seu nome artístico Nenny, é uma cantora, compositora e rapper portuguesa.

Percurso
Nenny nasceu em 2002, é filha de pais cabo-verdianos e cresceu em Vialonga.

No início da sua carreira, foi apelidada de "Filha dos Meninos do Rossi", numa referência aos Wet Bed Gang, que a apadrinharam, já que eram todos amigos em Vialonga, onde viviam.

Lançou o seu single de estreia, "Sushi", em 2019, com apenas 17 anos. Ainda nesse ano, editou o single "Bússola". Ambos alcançaram a certificação de platina.  No ano seguinte, editou o EP de estreia, "Aura".

Internacionalmente, a artista destaca-se pelas suas prestações no canal musical de YouTube COLORS, bem como numa sessão Tiny Desk para a estação de rádio estadunidense NPR.

Prémios e Reconhecimentos
2022 - Reconhecida como uma das jovens mais promissoras da Europa, na lista da Forbes "30 Under 30 Europe"

2022 - Nomeada para os Prémios Play, nas categorias de Canção do Ano e Melhor Artista Feminina

2021 - Nomeada para o Music Moves Europe Awards, prémio atribuído pela Comissão Europeia

2021 - Nomeada para os Prémios Play, nas categorias de  Canção do Ano, Artista Revelação e Melhor Videoclipe

2021 - Nomeada para Melhor Artista Portuguesa nos MTV Europe Music Awards

Referências

Ligações Externas

 RTP | Os Filhos da Madrugada: Nenny (2021)

Nascidos em 2002
Cantoras de Portugal
Rappers de Portugal
Cantores de hip hop
Portugueses de ascendência cabo-verdiana
Artistas afro-portugueses

Nenny


Pierino, médecin de la Sécurité sociale () est une comédie érotique italienne réalisée par Giuliano Carnimeo et sortie en 1981.

C'est la suite du Cancre du bahut dans la série des Pierino.

Synopsis
Alvaro Gasperoni est un simplet romain. Son parcours scolaire atypique est jalonné par un diplôme d'école primaire à Rome, un diplôme de collège à Frosinone, un diplôme de lycée à Catanzaro et un diplôme de maturité à Canicattì, il a obtenu, avec une relative difficulté, un diplôme de médecine tant désiré à Addis-Abeba (Éthiopie), car plus les écoles étaient au sud, moins elles étaient exigeantes pour l'obtention des diplômes. Grâce à la puissante recommandation de son père de la loge maçonnique Propaganda Due, il est embauché comme médecin dans un hôpital romain, entouré de collègues débordés mais tout aussi incompétents que lui.

Le chef de clinique ayant déclaré que « la valeur d'un médecin se mesure au nombre de ses patients », Alvaro fait admettre tous ses proches à l'hôpital afin d'obtenir le fauteuil de sous-chef. Mais son stratagème est démasqué par le contrôleur qui s'était déguisé en simple patient pour reconnaître les fraudes.

Fiche technique
 Titre français : Pierino, médecin de la Sécurité sociale ou Le Con à la Sécu
 Titre original italien :
 Réalisation : Giuliano Carnimeo
 Scénario : Ugo Tucci, Gino Capone, Giorgio Mariuzzo
 Photographie : Federico Zanni
 Montage : Pierluigi Leonardi
 Musique : Piero Piccioni
 Décors : Giacomo Calò Carducci
 Production : Ugo Tucci, Camillo Teti
 Sociétés de production : UTI Produzioni Associate, 2T Produzioni Film
 Pays de production :
 Langue originale : italien
 Format : Couleur - Son mono
 Genre : Comédie érotique italienne
 Durée : 85 minutes ()
 Dates de sortie :
Italie :

Distribution

Production
Dans ce film (comme dans ), Alvaro Vitali joue deux rôles : celui du protagoniste Alvaro Gasperoni, et celui de Pippetto.

Certaines scènes du film ont été tournées à l' de Rome.

Bande originale
Le thème principal de la bande originale du film est Marcia di Esculapio, de Piero Piccioni, composé pour le film Le Gynéco de la mutuelle. On peut également reconnaître, entre autres, la bande originale du film Une journée bien remplie de Jean-Louis Trintignant, composée par Bruno Nicolai.

Notes et références

Liens externes

Film italien sorti en 1981
Film réalisé par Giuliano Carnimeo
Suite de film italien
Comédie érotique italienne
Film en italien
Film tourné à Rome
Film se déroulant à Rome
Film avec une musique composée par Piero Piccioni
Film se déroulant dans un hôpital
Film mettant en scène un médecin

Pierino, médecin de la Sécurité sociale


Aurel Hețco (n. 24 februarie 1884, Bozânta Mare, comitatul Sălaj, Regatul Ungariei – d. 1967, Cluj-Napoca, RSR) a fost un deputat în Marea Adunare Națională de la Alba Iulia, organismul legislativ reprezentativ al "tuturor românilor din Transilvania, Banat și Țara Ungurească", cel care a adoptat hotărârea privind Unirea Transilvaniei cu România, la 1 decembrie 1918.

Viața
A terminat Facultatea de Drept de la Cluj. A avut un rol principal în organizarea Gărzilor Naționale Române din orașul Jibou și localitățile din jur.

Activitate politică
După Unire a devenit primul prim pretor român al plășii Jibou și a fost ales ca președinte al centralei Cluj a Asociației foștilor luptători din Gărzile Naționale Române din Ardeal și Banat.

Note

Bibliografie
 Ioan I. Șerban, Nicolae Josan, Dicționarul Personalităților Române. Trimișii românilor transilvăneni la Marea Adunare Națională de la Alba Iulia, Alba Iulia, 2003.

Lectură suplimentară
 Gelu Neamțu, Mircea Vaida-Voevod, 1 decembrie 1918. Mărturii ale participanților, Editura Academiei Române, 2005. (ISBN 973-27-1258-9)
 Ioan I. Șerban, Nicolae Josan, Dicționarul Personalităților Române. Trimișii românilor transilvăneni la Marea Adunare Națională de la Alba Iulia, Alba Iulia, 2003. (ISBN 973-8141-90-7)
 Daniela Comșa, Eugenia Glodariu, Maria M. Jude, Clujenii și Marea Unire, Cluj Napoca, 1998. (ISBN 973-0007-24-1)

Legături externe
 Centenarul Marii Uniri: Au fost și la Alba Iulia
 Adunarea de la Alba Iulia, organ reprezentativ și democratic al poporului român din Transilvania
 Centenar 100. Marii oameni politici ai României

Vezi și
 Lista delegaților la Marea Adunare Națională de la Alba Iulia

Nașteri în 1884
Decese în 1967
Delegați la Marea Adunare Națională de la Alba Iulia
Avocați români
Transilvăneni
Români din Austro-Ungaria

Aurel Hețco


علم الصرف كما تُعرف باسم الصِرافة أو علم تشكُّل الكلمات هو العلم الذي يعرف به أحوال بنية الكلمة، وصرفها على وجوه شتى لمعان مختلفة، وقد يكون هذا التغيير في هذه البنية إما لسبب معنوي، أو لسبب لفظي.

التعريف
الصَّرْفُ، ويُقال له: التصريفُ.
هو لغةً: التغييرُ، ومنه { تصريفُ الرياحِ } ؛ أى تغييرها. "تَفْعيلٌ " مِنَ الصَّرْفِ.

واصطلاحًا بالمعنى العَمَلىّ: تحويلُ الأَصلِ الواحدِ إلى أمثلةٍ مختلفةٍ، لِمعانٍ مقصودة، لا تحصُل إلا بها، كاسمَىْ الفاعلِ والمفعولِ، واسمِ التفضيلِ، والتثنيةِ والجمعِ، إلى غير ذلك.

وبالمعنى العِلْمِيّ: علمٌ بأصول يُعْرَف بها أحوالُ أبنيةِ الكلمةِ، التى ليست بإعرابٍ ولا بناءٍ.

موضوعه
الألفاظُ العَرَبيَّةُ صِحَّةً واعتِلالًا، وأصالةً وزيادةً، وغَيرَ ذلك.

يَدخُلُ تَحتَ البَحثِ في عِلمِ الصَّرفِ أمرانِ:

1- الأسماءُ المُتَمَكِّنةُ، وهي الَّتي لا تُشبِهُ الحَرفَ  .

2- والأفعالُ المُتصَرِّفةُ (غيرُ الجامِدةِ)  .

ويَخرُجُ مِنه:

1- الأسماءُ الأعجَمِيَّةُ؛ لأنَّها مَنقولةٌ مِن لُغةٍ غَيرِ اللُّغةِ العَرَبيَّةِ، ولَها حُكمٌ يَخُصُّها.

2- الحُروفُ وما يُشبِهُها مِنَ الأسماءِ المُتَوَغِّلةِ في البِناءِ، مِثلُ: (ما ومَن).

3- والأصَواتُ، مِثْلُ: كَخٍ لزَجْرِ الطِّفلِ، و(حايِ) لزَجرِ الإبِلِ.

4- والأفعالُ الجامِدةُ، مِثلُ: ليسَ وعَسى، وسَبَبُ إخراجِ الحُروفِ وما أشبَهَها مِنَ الأسماءِ المُتَوَغِّلةِ في البِناءِ، والأفعالِ الجامِدةِ: أنَّها تَلزَمُ حالةً واحِدةً، ولا تَنقَلِبُ البِنيةُ مِن حالٍ إلى حالٍ؛ فلا يَدخُلُها عِلمُ التَّصريفِ  .

تعريف
يتوفر علم الصرف على تبيان تأليف الكلمة المفردة بتبيان وزنها وعدد حروفها وحركاتها وترتيبها، وما يعرض لذلك من تغيير وحذف، وما في حروفها وحركاتها وترتيبهما، وما في حروف الكلمة من أصالة وزيادة.

يقتصر مجال دراسات الصرف على الأسماء المتمكنة (المعربة) والأفعال المتصرفة (غير الجامدة).

أما الحروف ومبنيات الأسماء وجوامد الأفعال، فلا تدخل في مجال دراسته وأبحاثه.

يُعرَفُ الصرف أيضا بعلم التشكل . والصرف لُغَةً هو التغيّر والتحويل ومنه تصريف الرياح أي تغيير وجهتها من مكان لآخر.

أما الصرف اصطلاحاً فيقصد به: تحويل الأصل الواحد إلى أبنية مختلفة لمعانٍ مقصودة، ومثال على ذلك:
 شَرِبَ والأصل منه الشُرب وهو الاسم الجامد الدال على حدث ونستطيع أن نأخذ منه اسم مَشُروب للدلالة على الشيء، وهكذا...
ولعلم الصرف قواعد وأصول نعرف من خلالها أبنية الكلمة والمقصود بذلك صيغها الأصلية والعارضة وما يطرأ عليها من تغير معنوي في دلالتها كالنسبة والتصغير والتثنية والجمع والتأنيث والتذكير في الأسماء، مثال: (تمر الذكريات سريعة)، نرجع الذكريات في هذه الجملة إلى أصلها فتصبح ذكرى فأرى هنا أن ألف التأنيث المقصورة قد قلبت في جمع المؤنث إلى ياء. و كذلك فيما يختص بالأفعال حيث نقوم بتحويل الفعل الماضي إلى فعل مضارع والمضارع إلى فعل أمر.

و أيضاً يمكننا بوساطة علم التصريف أن ندرس ما يطرأ على الأفعال من تغيرات صوتية كالتجريد والزيادة والإبدال والإعلال والحذف والإدغام والقلب المكاني وهكذا إلى آخر المتغيرات الصوتية التي تصيب الكلام العربي.

غايات التصريف
و التصريف له غايتان:

الغاية الأولى (معنوية خالصة)

و يقصد بذلك توليد صيغ جديدة تغني اللغة وتقدم ألفاظاً لمعان مختلفة، فإذا أردت على سبيل المثال أن أدل على حدث مرتبط بالزمن أستخدم فعلاً في إحدى صيغه (ماضي، مضارع، أمر).
أما إذا أردت أن أدل على حدث مجرد من الزمن أستخدم مصدراً وإن أردت أن أدل على من قام بالحدث أو من وقع عليه الحدث أو أن أفاضل بين أمرين أو أن أدل على موصوف اتصف بصفة ثابتة أستخدم المشتقات وهكذا نرى من خلال ما استعرضناه ما يوفره علم الصرف للغتنا العربية من سبل الإيجاز والاختصار.

الغاية الثانية (غاية صوتية محضة)
والمراد بها تخفيف ثقل الأصوات حيث نغير بعض الحركات والأحرف كي نزيل عن اللفظة مظاهر الاستثقال فبدل أن نقول (عَوَدَ) نعمد هنا إلى إعلال الواو المتحركة ألفاً فنقول (عاد) وأيضاً بدلاً من أن يقول المرء اصْتَلح نبدل تاء افتعل بـ(ط) فيصبح الفعل اصْطَلح.
و إذا كان التصريف يعني التغير والتحويل فإنه يتجه أكثر ما يتجه إلى الأسماء المعربة والأفعال المتصرفة ويتفادى ما كان جامداً مستعصياً على عملية التصريف ومن هذا الذي يستعصي على التصريف:
 أسماء الأعلام الأجنبية: إبراهيم ـ اسحق ـ يعقوب.
 أسماء الأصوات: قب: وهو صوت وقع السيف، عدس: زجر البغال، غاق: صوت الغراب.
 أسماء الأفعال: صه، هيهات، هيت، شتان.
 حروف المعاني: والمقصود بها:
 أحرف الجر: (من، إلى، على).
 أحرف الاستقبال: (سوف ـ السين).
 أحرف التمني والترجي: (لو، ليت، لعل) ويشمل هذا البند جميع الأحرف التي نستخدمها في لغتنا العربية لمعان مختلفة.
 الأسماء المشبهة بالحرف أو (المغرقة بالبناء) مثال عليها: (ما ـ مهما ـ من ـ متى ـ أين ـ هو ـ أنت...)
 الأفعال الجامدة: مثل (نعم-بئس-عسى-ليس).

و من الجدير ذكره هنا أن التصريف في لغتنا تختلف درجات ابتعاده عن ما أشرنا إليه سابقاً ما بين إعراض تام أو اتصال محدود أو تناول ظاهري.
 إن التصريف يعرض إعراضاً تاماً عن كل من الألفاظ التالية: بله ـ ليس ـ خلا ـ نعم ـ قلما ـ أيان وأيضاً اسم فعل الأمر (هيت) والذي يعني خذ المال القليل.
 وأما ما يتصل به التصريف اتصالاً محدوداً فهي أسماء كـ(إبراهيم) حيث نستطيع التصغير إلى أبيره وأيضاً يوسف الذي شاعت النسبة إليه بيوسفي وقالوا حثيثة من حيث وهوية من هو...
 وأخيراً فقد تناول علم الصرف بعض الألفاظ تناولاً ظاهرياً فقيل مثلاً «تأفف الأستاذ» وهنا نرى أن الفعل تأفف تمت صياغته انطلاقاً من اسم الفعل (أف) بمعنى إضجر حيث جئنا بالمصدر ثم صغنا منه فعلاً وكذلك قولنا (حَبَّذْتُ رأيك) فقد صيغ الفعل الماضي هنا من الفعل الجامد حبذا لإنشاء المدح، ويقال أيضاً (أمن المصلون) وذلك إذا قالوا (آمين) وآمين هو اسم فعل بمعنى استجب.
و لا بد من الإشارة في النهاية أن واضع هذا العلم هو أبو مسلم معاذ بن الهراء وهناك من يقول أنه الإمام علي بن أبي طالب رضي الله عنه.
الصرف أيضاً: هو علم بقواعد تعرف بها أحوال أبنية الكلمة التي ليست بإعراب، ولا بناء.

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