1956 අංක 47 දරණ ස්ත්‍රීන්, තරුණ අය හා ළමයින් සේවයේ යෙදවීමේ පනතේ අරමුණ් වනුයේ ස්ත්‍රින්, තරුණ අය හා ළමයින් සේවයේ යොදවන කාලවේලවන් විධිමත් කිරීම හා ඔවුන්ගේ සෞඛ්‍ය හා ශුභ සාධනයට අහිතකර වන පරිදි සේවයේ යෙදවීම වැලැක්වීමයි.

ආවරණය
මෙම පනතින් ආවරණය වන්නේ පෞද්ගලික අංශයේ (රාජ්‍ය සංස්ථා, මණ්ඩල, අධිකාරී යන සියලුම ස්ථාන ඇතුලුව) වැඩ කරන:
 වයස අවුරුදු 18 ට වැඩි කාන්තාවන්
 වයස අවුරුදු  14 - 18 අතර තරුණ අය
 වයස අවුරුදු 14 ට අඩු ළමයින්

කොන්දේසි

වයස අවුරුදු 18 ට වැඩි කාන්තාවන්
ඉහත මුල් පනතේ විධිවිධානයන්ට අනුව කාන්තාවන් රාත්‍රී සේවයේ යෙදවිම සම්පූර්ණයෙන් තහනම් කර තිබූ නමුත්, 1984 අංක 32 දරණ සංශෝධනයට අනුව පහත කොන්දේසී වලට යටත්ව කාන්තාවන් රාත්‍රී සේවයේ යෙදවීමට අවසර ඇත,
 සේවිකාවන්ගේ කැමැත්ත
 කම්කරු කොමසාරිස්වරයාගේ පූර්ව අනුමැතිය
 දිවා කාලයේ  (පෙරවරු 6.00 සිට පස්වරු 6.00 දක්වා කාලය තුල) සේවයේ යෙදවූ කාන්තාවන් එදිනම පස්වරු 10.00 පසුව සේවයේ නොයෙදවීම
 රාත්‍රී කාලයේ සේවය සදහා දිවා කාලයේ වැටුපමෙන් 1 1/2 ගුණයක් ලබා දීම
 කාන්තා පාලිකාවන්ගේ සේවය ලබාදීම
 ව්වේක ගැනීමේ ස්ථානයක් හා ආහාරපාන සැපයීම
 මසකට දින 10කට වඩා රාත්‍රී සේවයේ නොයෙදවීම
ඉහත කොන්දේසි පහත සදහන් අයට අදාල නොවේ.
 කළමණාකරණ හෝ ශිල්පීය ස්භාවයේ වගකිවයුතු තනතුරු දරණ කාන්තාවන්
 කය වෙහෙසන වැඩවල නොයෙදෙන ශුභ සාධන සේවාවල නියුක්ත කාන්තාවන්
 එකම පවුලේ සාමාජිකයින් පමණක් සේවයේ නියුක්ත කාර්මික ව්‍යාපාරයක නියුතු කාන්තාවන්.

වයස අවුරුදු 16 හා 18 අතර තරුණ අය
 සතියේ දිනවල කෑම පැයද ඇතුලුව දිනකට පැය 09 කට වඩා සේවයේ නොයෙදවීම.
 සතියේ එක් දිනක පූර්ණ නිවාඩු දිනයක් ලබා දීම හා පැය 05 1/2 ක වරු දිනයක් ලබා දීම
 සතිය තුළ කෑම පැයද ඇතුළුව පැය 50 1/2 කට වඩා සේවයේ නොයෙදවිම
 රාත්‍රී සේවයේ නොයෙදවීම

වයස අවුරුදු 16 හා 18 අතර තරුණ අය
 සතියේ දිනවල පැය 09කට වඩා එක් පැයක් පමණක් අතිකාල සේවයේ යෙදවිය හැකිය.
 සතිය තුළ කෑම පැයද ඇතුළුව පැය 55 1/2 කට වඩා  සේවයේ නොයෙදවිය යුතුය.
 රාත්‍රී සේවයේ නොයෙදවීම

වයස අවුරුදු 16ට අඩු ළමයින්
මෙම පනත යටතේ වයස අවුරුදු 16ට අඩු අය ළමයින් වශයෙන් සැලකෙන අතර, ළමයෙකු කුමන ආකාරයකින් හෝ (ගෘහ සේවකයෙකු වශයෙන් ඇතුලුව) සේවයේ යෙදවීම සම්පූර්ණයෙන්ම තහනම් කර ඇත.


Midas'ın Kulakları,  Güngör Dilmen'in 1959 tarihinde 29 yaşındayken kaleme aldığı tek perdelik  manzum oyun.

Konusunu Frig mitolojisinden alır; Kral Midas'ın tanrılara özenmesi ve kendisini yarı tanrı olarak kabul etmesi sonucu gülünç duruma düşmesini anlatılır. Yazar, mitolojideki  "Kral Midas" öyküsünü, sonuna kendi yorumunu getirerek geliştirmiştir. Masalda Tanrı Apollon Midas'ı eşek kulaklarıyla cezalandırır; oyunda ise  Midas, kulaklarından duyduğu utancı yener, hatta onları bir ayrıcalık, üstünlük olarak görmeye başlar ne var ki halkın gözünde yarı-tanrılaşarak Apolyon'u yeneceği sırada kulaklarının küçülmesi yüzünden  halkın alay konusu olurak Apolyon'a yenilir.

Midas'ın Kulakları, Güngür Dilmen'in ilk oyunudur. Dilmen'in Kral Midas'a ait anlatıları işlediği  adını verdiği iki ayrı oyun daha vardır.  "Midas'ın Kulakları", Dilmen'in 1970 yılında oyunlaştırdığı "Midas'ın Altınları" ve 1975'te oyunlaştırdığı "Midas'ın Kördüğümü" adlı diğer iki oyunla birlikte Midas Üçlemesi'ni oluşturur.

Eser,  Sinema-Tiyatro dergisinin 1959 yılında açtığı  bir perdelik oyun yarışmasında birinciliğe değer görüldü ve derginin sekizinci sayısında yayımlandı. Başlangıçta on yedi sahneden oluşan tek perdelik bir eser iken;  ilerleyen yıllarda yazarın yaptığı eklemelerle genişledi. Yazarın Türkiye'de ve yurtdışında en çok sahnelenen oyunlarımdan biri oldu.

Oyun ilk sahnelenişi 1960 yılında  Yurdaer Erşan'in rejisiyle Istanbul Üniversitesi Talebe Birliği Gençlik Tiyatrosunda gerçekleşti. Eser,  aynı yıl içinde Almanya'nın Erlangen kentinde "Üniversitelerarası Tiyatro Festivali" nde sahnelendi. 1960-1961 sezonunda Şahap Akalın rejisi ile Ankara Devlet Tiyatroları'nda da  ve sonraki yıllarda Ankara, Konya, Trabzon Antalya Devlet Tiyatrloarı'nda sahnelendi.

Oyunun metni, TRT kurumunun isteği üzerine iki perdelik opera liberettosu  oldu ve 1966-1969 arasında Ferit Tüzün tarafından bestelendi.

Konusu
Kral Midas Tmolos Dağı'nın yamacında dolaşırken güneş tanrısı Apollon ile şarap tanrısı Pan'ın müzik yarışı yaptıklarını ve bu yarışmaya yargıç olarak dağ tanrısı Tmolos'u seçtiklerini görür. Apollon'un lirini de Pan'ın flütünü de dinleyen Midas, flütün sesini çok beğenir.

Tmolos, ödülü Apollon'a verse de yarışmaya tanık olan Midas flütü daha çok beğendiğini söyleyince Apollon  Midas'ın kulaklarını uzatıp eşek kulağı haline getirerek öç alır.

Midas, utandığı eşek kulaklarını sivri külahı ile bir süre saklar ama saçını sakalını her gün tıraş eden berberin kulaklarını görmesini engelleyemez. Berber kimseye açmadığı bu sırdan kurtulmak için  bir tür kulak olarak benzetilen kuyuya  eğilerek "Midas'ın kulakları eşek kulaklarıdır." diye seslenir. Uğuldayan kuyunun yakınındaki sazlar, yel estikçe dile gelerek "Midas'ın kulakları eşek kulaklarıdır." diye yankılanmaya başlarlar. Bunu duyan Midas hiddetlenir ve sazların kesilmesini emreder. Ancak kuyunun suyu sazlara geçirmiş  ve sırrı yayılmıştır. Sazlar kestirilir ama bu sefer de sırrı keçiler korosu seslendirir.

Sırrı yayılan Midas, zamanla kulaklarına alışır; hatta onları bir ayrıcalık, bir üstünlük olarak görmeye başlar. Artık kulaklarını gizlemez, törenlerde halka sergiler. Midas'ın ona verdiği cezayı hiçlediğini gören Apollon, bu sefer kulakları geri alarak Midas'ı cezalandırır. Halk bu kez Midas'la kulakları artık eşek kulağı olmadığı için alay edip onu aşağılar.

Kadrosu

Ankara Devlet Tiyatrosu, 1960
Eser, 6 Ekim 1960 tarihinde Ankara Devlet Tiyatrosu'nun Oda Tiyatrosu sahnelendi. Bu sahnelenişte kadro şu şekildedir:

Teknik kadro

Oyuncular

Ayrıca bakınız
 Kral Midas
 Midas'ın Kulakları (opera)

Kaynakça

Türkçe tiyatro oyunları
Güngör Dilmen oyunları
Tiyatro kitapları
Güngör Dilmen kitapları

Midas'ın Kulakları


Ekho, Yunan mitolojisi'nde bir Nemf. Hakkındaki hikâyeler, rivayetler çeşitlilik göstermektedir. Bunlardan bazıları şunlardır:

 Ekho, bir gün avlanan bir avcı görür. Narkissos adındaki bu yakışıklı avcıya ilk görüşte aşık olur. Ancak genç Narkissos bu sevgiye karşılık vermeyerek, peri kızının yanından uzaklaşır. Ekho bu durum karşısında günden güne eriyerek, kara sevda ile içine kapanarak ölür. Bütün vücudundan arta kalan kemikleri kayalara, sesi ise bu kayalarda 'eko' dediğimiz yankılara dönüşür.
 Ormanlarda, dağlarda dolaşan yankı (aks-i sada) perisi. İlham perisinden ders aldığı söylenir. O, her yerde yalnızlığı arıyor, insanlardan ve Tanrılardan kaçıyordu. Aşkına karşılık vermediği için Pan, çobanları onun aleyhine kışkırttı. Çobanlar bu güzel peri kızını paramparça ettiler ve dünyanın her tarafına onun parçalarını dağıttılar. Bu yüzden her yerde onun sesi dinlenmektedir. Hala onun feryâdı, dağlarda ve ormanlarda inlemektedir.
 Bazı kaynaklarda, Pan'dan olan çocuğu ya da çocukları hakkında rivayetler bulunmaktadır. İynks - İambe

Nemfler
Yunan mitolojisinde metamorfoz

Eho


Arthur Schutt, né le  à Reading (Pennsylvanie) et mort le  à San Francisco, est un pianiste de jazz et compositeur américain.

Biographie

Arthur Schutt est né à Reading en Pennsylvanie en 1902 et apprend le piano avec son père. Dès 1915, il accompagne des films muets et joue dans un cinéma en 1918 lorsque Paul Specht l'engage pour jouer dans un groupe ; il travaille pour Specht jusqu'en 1924, notamment lors d'une tournée en Europe en 1923. Il accompagne aussi Roger Wolfe Kahn et Don Voorhees et deveint un pianiste de studio prolifique, enregistrant avec , Nathaniel Shilkret, Frankie Trumbauer, Bix Beiderbecke ou encore .

De 1926 à 1929 et de nouveau en 1931, il joue avec Red Nichols et enregistre avec l'orchestre de Jimmy et Tommy Dorsey (1928-1931) et avec Benny Goodman. Il enregistre sous son propre nom en 1929-1930 en tant que chef d'orchestre.

Schutt s'est éloigné du jazz dans les années 1930, bien qu'il ait joué avec Bud Freeman en 1939. Il a passé une grande partie des années 1940 et 1950 à travailler dans les studios d'enregistrement d'Hollywood.

Il est le compositeur du morceau de jazz Delirium (1927), un de ses titres les plus connus et, en 1934, a co-écrit Georgia Jubilee avec Benny Goodman qui, a également été enregistré par le groupe d'Isham Jones. Schutt a également composé la pièce de , considérée comme l'un des ragtimes les plus compliqués à interpréter.

Il est décédé à San Francisco en Californie, en janvier 1965, à l'âge de 62 ans.

Notes et références

Liens externes

Pianiste de jazz
Compositeur américain de jazz
Naissance en novembre 1902
Naissance à Reading (Pennsylvanie)
Décès en janvier 1965
Décès à San Francisco
Décès à 62 ans

Arthur Schutt


Die katholische Kapelle St. Anna ist ein dreigeschossiges Kirchengebäude am Melchior-Otto-Platz in der oberfränkischen Stadt Kronach in Bayern.

Geschichte
Die an der Ostseite des Melchior-Otto-Platzes in unmittelbarer Nachbarschaft der Stadtpfarrkirche St. Johannes der Täufer gelegene Kapelle wurde in den Jahren 1512/13 errichtet. Für den Bau verantwortlich zeichnete möglicherweise der Nürnberger Baumeister Hans Beheim. Das oberste Geschoss von St. Anna diente zunächst als Friedhofskapelle, das Untergeschoss wurde als Beinhaus genutzt, da der Friedhof, der damals die Stadtpfarrkirche umgab, aus Platzmangel nicht erweitert werden konnte. Die in der Kapelle aufbewahrten Gebeine wurden im 19. Jahrhundert auf dem neu angelegten Friedhof außerhalb der Kronacher Altstadt bestattet. Nach ihrer Säkularisation im Jahr 1805 wurde die Kapelle ab 1833 als Zeughaus genutzt und verwahrloste zunehmend, sodass 1862 ihr Abbruch genehmigt wurde. Dieser konnte jedoch durch eine Eingabe der Bevölkerung beim bayerischen König Maximilian II. verhindert werden. In den Jahren von 1980 bis 1982 wurde das Gebäude zur Beseitigung statischer Schäden aufwendig saniert. Die Kosten hierfür beliefen sich auf etwa 300.000 DM.

Heute ist die Annakapelle Eigentum einer Stiftung. Das ganzjährig für Besucher zugängliche Obergeschoss des Gebäudes wird für sakrale Handlungen und als Ausstellungsraum genutzt, die beiden Untergeschosse stehen leer.

Architektur

Die dreigeschossige, wehrturmartige Kapelle im Stil der Reduktionsgotik ist auf die Zwingermauer an der Ostseite des Melchior-Otto-Platzes aufgesetzt. Das über einen quadratischen Grundriss verfügende Gebäude wurde mit Buntsandstein aus dem benachbarten Seelach, heute ein Stadtteil von Kronach, errichtet.

Den oberen Abschluss des Sockelgeschosses, das früher als Beinhaus genutzt wurde, bildet ein Tonnengewölbe. In der Nord- und Südwand des mittleren Geschosses befinden sich jeweils eine Fensteröffnung und in der Ostwand zwei T-förmige Schießscharten. Zwischen den beiden Schießscharten, die die Einbeziehung des Bauwerks in das Verteidigungssystem der Stadt bezeugen, ist das Wappen Georgs III. Schenk von Limpurg, Fürstbischof des Hochstifts Bamberg, in die Außenwand integriert.

Der Innenraum des Obergeschosses wird von einem Netzgewölbe abgeschlossen, das von einer exzentrisch positionierten, gewundenen Säule getragen wird. In der Ostwand befinden sich zwei und in der Nord- und Südwand jeweils ein großes spitzbogiges Maßwerkfenster mit gekehltem Gewände. Links neben den beiden Eingangsportalen an der Westseite der Kapelle befindet sich ein weiteres Spitzbogenfenster, rechts eine kleinere Fensteröffnung. Die beiden Portale werden von Figurenkonsolen mit Baldachinen flankiert, die zugehörigen Figuren fehlen jedoch.

Das Satteldach von St. Anna ist mit roten Dachziegeln gedeckt, die Stirnseiten des Daches und der darauf aufsitzende sechseckige Dachreiter sind mit schwarzem Schiefer verkleidet.

Literatur

Weblinks

Einzelnachweise

Kronach
Baudenkmal in Kronach
Erbaut in den 1510er Jahren
Kronach
Anna
Kronach
Kronach

St. Anna (Kronach)


ماري ياغوشي (مواليد 20 يناير، 1983 في يوكوهاما،كاناغاوا في اليابان) هي عضوة في هلو! بروجكت. ظهرت في الفرق الغنائية التالية: Tanpopo, Mini Moni, Aoiro 7, 7nin Matsuri, Sexy 8, 11 Water, ZYX, ROMANS. مثلت أداءً صوتياً في فيلم رحلة إلى مركز الأرض.

روابط خارجية

مراجع

آيدول يابانيون
أشخاص على قيد الحياة
أشخاص من يوكوهاما
شخصيات تلفزيونية يابانية
مغنون أطفال يابانيون
مغنون باللغة اليابانية
مغنون ومغنيات يابانيون
مغنون يابانيون في القرن 21
مغنيات بوب يابانيات
مغنيات يابانيات
مغنيات يابانيات في القرن 21
ممثلات أداء صوتي يابانيات
ممثلات يابانيات
مواليد 1983
مواليد في يوكوهاما
مورنينغ موسومي
موسيقيون من كاناغاوا

ماري ياغوشي


Die katholische Heilig-Geist-Kirche ist ein Kirchengebäude in der Pideritstraße 12 in Lemgo, einer Stadt im Kreis Lippe (Nordrhein-Westfalen).

Geschichte und Architektur
Der Stahlbetonbau auf einem quadratischen Grundriss wurde von 1966 bis 1967 unter der Bauleitung von Joachim G. Hanke errichtet. Der Glockenturm des hermetisch geschlossenen, mit Backstein verkleideten Kubus, steht frei. Der Innenraum wirkt weiträumig. Der Boden fällt zum Liturgiebereich in der Nordostecke ab. Die ungewöhnliche Raumkonzeption wird durch die mit Lichtbändern versehene Deckenkonstruktion unterstützt. Die Deckenstützen bilden ein, im Verhältnis zum Grundriss, über Eck gestelltes Quadrat. Die Schalungsspuren an den Betonwänden wurden sichtbar belassen. Das Farbkonzept wurde von Otto Herbert Hajek erarbeitet. Nördlich an die Kirche schließt sich das einheitlich geplante Gemeindehaus mit zinnenartig über das Flachdach hochgeführten Rohbetonwänden an.

Wurlitzer-Orgel
Die Kirche besitzt seit Mai 2023 eine "neue" Orgel. Das Instrument wurde 1924 von dem Orgelbauunternehmen Rudolph Wurlitzer Company (North Tonawanda, New York) als Kino-Orgel erbaut. 1946 gelangte das Instrument in den Privatbesitz eines Arztes in Los Angeles. 1997 erwarb der Orgelbauer Friedrich Fleiter (Münster) das Instrument und stellte es in seiner Werkstatt auf. Danach wurde das Instrument generalüberholt und in der Heilig-Geist-Kirche wieder aufgebaut. Das Instrument hat eine Aufbaufläche von ca. 7 m Breite, 2,5 m Tiefe und 3,3 m Höhe.

Literatur
 Georg Dehio, unter wissenschaftlicher Leitung von Ursula Quednau: Handbuch der deutschen Kunstdenkmäler. Nordrhein-Westfalen II Westfalen. Deutscher Kunstverlag, Berlin/ München 2011, ISBN 978-3-422-03114-2.

Weblinks

 Geschichte (abgerufen am 6. Mai 2012)

Einzelnachweise

Lemgo
Lemgo, Heilig Geist
Kirchengebäude in Lemgo
Lemgo
Lemgo
Erbaut in den 1960er Jahren

Heilig-Geist-Kirche (Lemgo)


Texarkana may refer to:

Texarkana metropolitan area, a two-county region in Texas and Arkansas, United States, anchored by the following two cities:
Texarkana, Texas
Texarkana, Arkansas
Texarkana College, Texarkana, Texas, a community college
"Texarkana" (song), by R.E.M., featuring Mike Mills on lead vocals
Texarkana, a fictional city in A Canticle for Leibowitz, Walter Miller's post-apocalyptic novel

Texarkana (disambiguation)


An Syngonanthus densiflorus in uska species han Liliopsida nga syahan ginhulagway ni Friedrich August Körnicke, ngan ginhatag han pagkayana nga asya nga ngaran ni Wilhelm Willy Otto Eugen Ruhland. An Syngonanthus densiflorus in nahilalakip ha genus nga Syngonanthus, ngan familia nga Eriocaulaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 S. d. densiflorus
 S. d. longifolius

Mga kasarigan

Syngonanthus

Syngonanthus densiflorus


ඔබට අවැසි ලිපිය තෝරාගන්න
 රුහුණු කතරගම දේවාලය
 කිරිවෙහෙර
 සෙල්ල කතරගම
 කතරගම පුදබිම

කතරගම පුදබිම්


Scott "SC" Conrad (* um 1944) ist ein US-amerikanischer Filmeditor, der neben dem Oscar für den besten Schnitt auch zweimal den Eddie gewann, den Preis der American Cinema Editors (ACE).

Leben
Conrad begann 1964 als studentischer Mitarbeiter in der Poststelle der Filmproduktionsgesellschaft 20th Century Fox, ehe er in der Werbeabteilung des Unternehmens tätig war und dabei auch bekannte Filmregisseure wie Franklin J. Schaffner, Vincente Minnelli und Robert Wise kennenlernte. Durch diese ermutigt, begann er seine Laufbahn als Schnittassistent. 1966 nahm er ein Studium an der Cinema School der University of Southern California (USC). Zu seinen Professoren gehörten Bernie Kantor und Herb Farmer, während zu seinen Kommilitonen John Milius und George Lucas zählten.

Seine erste Arbeit als Editor war 1970 ein Dokumentationsfilm über die Herstellung des Films Zwei Banditen von Roy Hill mit dem Titel The Making of "Butch Cassidy and the Sundance Kid". Er wirkte bis heute am Schnitt von fast siebzig Filmen mit.

Bei der Oscarverleihung 1977 gewann er mit Richard Halsey den Oscar für den besten Schnitt für Rocky (1976) von John G. Avildsen mit Sylvester Stallone, Talia Shire und Burt Young in den Hauptrollen. Gleichzeitig gewannen beide einen Eddie, den Preis der American Cinema Editors (ACE) für den besten Schnitt in einem Kinofilm.

Einen weiteren Eddie für den besten Schnitt in einem Fernsehfilm bekam er 1984, und zwar für Heart of Steel (1983) von Donald Wyre mit Peter Strauss, Pamela Reed und John Doucette.

Filmografie (Auswahl)
 1970: The Making of "Butch Cassidy and the Sundance Kid" (Dokumentarfilm)
 1973: Payday
 1975: Der Junge und sein Hund
 1976: Rocky
 1978: Viel Rauch um Nichts
 1979: Wanda Nevada
 1980: Noch mehr Rauch um überhaupt nichts (Cheech & Chong's Next Movie)
 1983: Spacehunter – Jäger im All (Spacehunter: Adventures in the Forbidden Zone)
 1985: Katzenauge
 1986: Interceptor
 1987: Das Schlafzimmerfenster
 1988: Never Say Die
 1988: Masquerade – Ein tödliches Spiel
 1990: Die Klasse von 1999 (Class of 1999)
 1993: Die Aushilfe
 1994: Wagons East!
 1996: Solo
 1997: Mortal Kombat 2 – Annihilation
 1999: Immer Ärger mit Schweinchen George
 2003: Shade
 2004: American Angels – Erben kann so sexy sein!
 2007: Urban Justice – Blinde Rache
 2008: Anaconda – Offspring (Fernsehfilm)
 2010: Kleine Lügen auf Bewährung
 2012: Excuse Me for Living
 2013: Beyond the Mat
 2013: American Seagull
 2013: Bering Sea Beast (Fernsehfilm)
 2015: Alison's Choice
 2019: The Ronda Rousey Story: Through My Father's Eyes (Through My Father's Eyes)

Auszeichnungen
Oscar
 1977: für den besten Schnitt
Eddie
 1977: für den besten Schnitt in einem Kinofilm
 1984: für den besten Schnitt in einem Fernsehfilm

Weblinks

 Eintrag auf allcrewagency.com

Filmeditor
Oscarpreisträger
US-Amerikaner
Geboren im 20. Jahrhundert
Mann

Scott Conrad


كاريليا الجنوبية   إقليم فنلندي.

سُميت بطريقة ما نسبة إلى الموقع الجغرافي لمنطقة كاريليا التاريخية، الموجودة حالية بين فنلندا، وروسيا.

بلغ الناتج المحلي الإجمالي للإقليم سنة 2001 3066 مليون يورو.

المراجع

كاريليا الجنوبية
أقاليم فنلندا
فنلندا الجنوبية

كاريليا الجنوبية


فيلم سأتذكر أبريل I'll Remember April (film) فيلم من إخراج بوب كلارك وتمثيل بات موريتا وبام دوبر وهالي جول أوسمنت.
قصة الفيلم: أربعة أطفال يأسرون جنديا يابانيا أثناء الحرب العالمية الثانية.

روابط خارجية

مراجع

أفلام الحرب العالمية الثانية
أفلام أخرجها بوب كلارك
أفلام أطفال أمريكية
أفلام أمريكية
أفلام أمريكية عن الحرب العالمية الثانية
أفلام أمريكية في عقد 1990
أفلام أمريكية مستقلة
أفلام إنتاج 1999
أفلام باللغة الإنجليزية
أفلام باللغة الإنجليزية في عقد 1990
أفلام تقع أحداثها في 1942
أفلام تقع أحداثها في كاليفورنيا
أفلام حربية عقد 1990
أفلام دراما إنتاج عقد 1990
أفلام درامية 1999
أفلام رسوم متحركة درامية أمريكية
أفلام عن الأطفال
أفلام عن الصداقة
أفلام عن العرق والإثنية
أفلام عن عائلات
أفلام مبنية على زمن العنصرية
أفلام مستقلة 1999
أفلام مستقلة عقد 1990
أفلام مغامرات درامية أمريكية
أفلام مناهضة للحرب عن الحرب العالمية الثانية

سأتذكر أبريل (فيلم)


Nico Schuska (* 20. März 1979) ist ein deutscher Fußballspieler und Fußballtrainer.

In der Jugend spielte der Angreifer für den 1. FC Eislingen und die Stuttgarter Kickers, von denen er 1996 zum SSV Reutlingen 05 kam. Von 1998 bis 2000 war Nico Schuska in der Regionalliga Süd 3 Mal im Einsatz. Nachdem er mit den Reutlingern am Ende der Saison 1999/2000 in die 2. Bundesliga aufgestiegen war, wechselte Schuska zum 1. FC Pforzheim. Im Januar 2001 schloss er sich dem Heidenheimer Sportbund an. Im Sommer desselben Jahres kehrte Nico Schuska zum SSV Reutlingen zurück. Für den SSV absolvierte Schuska in der Saison 2002/03 am 19. November 2002 gegen den MSV Duisburg und am 15. Dezember 2002 gegen Eintracht Frankfurt 2 Profieinsätze. Nach dem Abstieg des SSV Reutlingen am Ende dieser Saison wechselte Schuska erneut zum Heidenheimer Sportbund. Nachdem er Heidenheim 2006 wieder verließ, wurde er Spielertrainer bei der TSuGV Großbettlingen und wechselte ein Jahr später zur SpVgg Au/Iller. Im Juli 2008 schloss Nico Schuska sich der zweiten Mannschaft des inzwischen vom Sportbund abgespaltenen 1. FC Heidenheim an. 2011 wurde Schuska Co-Trainer bei der TSG Schnaitheim, für die er im März 2012 sein Comeback als Spieler gab.

Seit Sommer 2016 ist Schuska Spielertrainer beim TV Steinheim in der Kreisliga Ostwürttemberg.

Weblinks

Einzelnachweise

Fußballspieler (1. FC Pforzheim)
Fußballspieler (1. FC Heidenheim)
Fußballspieler (SpVgg Au/Iller)
Deutscher
Fußballtrainer (Deutschland)
Geboren 1979
Mann
Fußballspieler (SSV Reutlingen 05)

Nico Schuska


රංගනය
බන්දු සමරසිංහ
දිල්හානි අශෝකමාලා
බර්ටි ගුණතිලක
විමල් කුමාර ද කොස්තා
නවනන්දන විජේසිංහ
සුනිල් හෙට්ටිආරච්චි
සුසිලා කෝට්ටගේ
ශ්‍රියාණි මහවත්ත
රෝයි ජයවර්ධන
රහල් බුලත්සිංහල
සරත් සිල්වා
සැන්ඩෝ හැරිස්
ශෂිකලා සෙනෙවිරත්න
ලාංචනා ද සිල්වා
නිල්මිණි දේවගේ
සිසිර කුමාරතුංග
සුනිල් ප්‍රේමකුමාර
තුෂාර චමින්ද
මධුර ජයවර්ධන

ගීතයන්
ගීත ප්‍රබන්ධය - හෙක්ටර් විජයසිරි
සඳ අමුතුම විදියට මේ රැයේ - ලතා වල්පොල, බන්දු සමරසිංහ
නෑ මා එදා - ලතා වල්පොල, බන්දු සමරසිංහ

නිෂ්පාදනය
සහාය අධ්‍යක්ෂණය - සරත් ධර්මසිරි
කැමරා සහාය - සුජිත් සුභසිංහ, ඊ. එම්. ප්‍රියන්ත, ඩබ්. පියසේන, එම්. අනුර, මාටින් රණසිංහ
අංග රචනය - ගාමිණී කොස්තා
කලා අධ්‍යක්ෂණය සහ නාමාවලිය - ඩික්සන් ෆොන්සේකා
සහාය සිසිර විජේසිංහ
ශබ්ද පරිපාලනය හා සංකලනය - ජෝර්ජ් මනතුංග
ශබ්ද සහාය - පාලිත සිල්වා, සරත් සිරිබද්ධන, පර්සි ගුණවර්ධන
රසායනාගාර කටයුතු - ඩිල්මන් ජයරත්න - ඩිල් ප්‍රොසෙස්
රසායනාගාර සහාය - සංජීව බණ්ඩාර, මහින්ද සෙනෙවිරත්න, ඩබ්ලිව්. ඒ. එම්. තිලකරත්න, බන්දුල අතුකෝරාල, කීර්ති පුෂ්ප කුමාර
සැකසුම - ටී. කේ. චිත්‍රාගාරය
නිෂ්පාදන කළමනාකරණය - ස්වර්ණා සමරසිංහ
නිශ්චල ඡායාරූප - සුනිල් ප්‍රේමකුමාර, සුනිල් බෝපගේ
කැමරා උපකරණ සැපයීම - සමරසිංහ චිත්‍රපට
විවිධ සහාය - රංජිත් අබේසිංහ, සමන් සිරිකුමාර, සරත් වීරසිංහ
ප්‍රවාහන කටයුතු - ඒ. කේ. ට්‍රැවල්ස් - කෝට්ටේ
ගීත ප්‍රතිවාදනය - ප්‍රේමසිරි රණවක
ගීත පටිගත කිරීම - ජනකලා කේන්ද්‍රය
කාන්තා ඇඳුම් සැපයීම - නන්දනී නානායක්කාර
ඇඳුම් සැපයීම - ඕබන් රෝස් - නුගේගොඩ, මනෝ ටේලර්ස් - දෙහිවල
කොණ්ඩා සැකසුම - ලලිත් ධර්මවර්ධන ශබ්ද ඉංජිනේරු - එම්. ඒ. ඒ. අල්විස්

පෙම්මල් මාලා


barut, Avrupa'da yaygınlaşan sanatta bir anlatım biçimidir. Barut kelimesi, Portekizce düzensiz inci anlamına gelen barroco sözcüğünden türemiştir. Barok sözcüğü, birbirinden ayrı iki şeyi tanımlar; sanat tarihinde, Rönesans ile klasikçilik arasında kalan bir dönemi ve bütün çağlarda verilmiş bazı eserlerin tarzını, başlangıcı ve bitişi için kesin bir tarih verilememekle birlikte 14. ve 18. yüzyıllar arasında oluşup şeklini almış bir dönemdir. Mimarlık, müzik, resim ve heykelin etkileyici temalar altında birleştirilmesi amacını güder. Abartılı hareket duygusu ve net gözüken detayları ile dönemin müzik ve edebiyatında da kendini gösterir. Yoğun bir etki bırakan bu anlatım biçimi, kendi alanında fazla eser verildiğinden dolayı bir dönem adı olarak anılmaya başlanmıştır. 1699'da İtalya'da kilise etkisinde doğmuş ve tüm Avrupa'ya yayılmıştır.

Mimaride Mimar Louis Le Vau ve bahçeci André Le Nôtre tarafından yapılan Versay Sarayı, Barok mimarisinin en tipik örneklerindendir. Bunun yanında resimde Caravaggio, Rembrandt, Rubens, Vermeer; heykelde Gian Lorenzo Bernini; müzikte Johann Sebastian Bach, Antonio Vivaldi, Domenico Scarlatti, George Frideric Handel, Georg Philipp Telemann Barok tarzında eser vermiş kişilere örnek olarak gösterilebilir.

Ayrıca günümüzde de hâlen Barok tarzda eserler veren müzisyenler vardır. Örnek olarak ünlü gitar virtüözü Yngwie J. Malmsteen verilebilir. Barok tarzını en çok yansıttığı albümü ise Concerto Suite for Electric Guitar and Orchestra'dır.

Barok edebiyat

Barok dönemi Alman edebiyatı
1600'lü yıllarda Almanya'da edebiyat konu ve üslup yönünden karışıklık içindedir. Bununla bağıntılı olarak da bu durumu ortadan kaldırıp düzene sokmak çabaları vardır. Bu dönemde Barok edebiyatçıları bu bağlamda büyük uğraş vermişlerdir. Özellikle özgün yapıtlar ortaya çıkarmak, Almancayı edebi bir dil boyutuna getirmek, taklitçiliğin dışına çıkarak özgün eserler verebilmek için çaba harcamışlardır. Bu edebiyatçıların başında Martin Opitz gelir ki, Almanya'da Barok devri asıl olarak onunla başlar diyebiliriz. Barok devri kendinden önce dine, kendinden sonra ise felsefeye dayalı, reformasyon ve aydınlanma arasında gelişmiş bir devirdir. Edebiyatta ağırlık nazım ve dramdadır. Barok devrinde nazımda(lirik) genel olarak konu ölüm düşüncesidir. Bu döneme göre ölüm kaçınılmazdır ve hayat fanilikten ibarettir. Sone bu dönemde etkin olan lirik biçimidir. Özellikle bu alanda Andrea Gryphius ve İtalyan Petrus de Vinea Barok dönemi sonesinin belirleyici isimleridir. Andrea Gryphius'un sone tarzındaki eserleri kayda değerdir. Dinsel boyutta çok fazla sayıda eseri vardır ve bunları "Sonn- und Feiertagsonette" adlı kitabında toplamıştır. Şiirlerinin çoğu da yine dini boyuttadır ve duayı andırır. Gryphius eserlerini genelde dini mistik bir tarzda ve ölüm korkusu, öte dünya konularını ele alarak işler.

Roman ise daha çok burjuva konularına yönelen humarist roman doğrultusunda ilerler. Özellikle romanda epik kahramanlar yerini, kendisi, hayat tarzı ve dünya hakkında düşünen onları alaya alan bir anlatıcıya bırakır. Bu bağlamda İspanyol edebiyatında ün salmış olan komik roman (Schelmenroman) Cervantes'in Don Kişot'u Alman romanına örnek olur.

Dil cemiyetleri
Öte yandan Barok devrinde Almancayı yabancı dillerin etkisinden (İspanyolca, Fransızca, Latince vb.) kurtarmak için seferberlik başlatılmıştır. Bu bağlantıda Almanca yazmak ve Almanca'yı arılaştırmak düşüncesiyle hareket edilmiştir. Bu amaca yönelik olarak dil cemiyetleri kurulmuştur. 1617'de kurulan "Die Fruchtbringende Gesellschaft", "Palmenarden", 1644'te kurulan "Pegnitzschäfer" ve "Gekränte Blumenorden" bunlara örnek olarak verilebilir. Bunların içinden önemli olarak bahsedebileceğimiz "Die Fruchtbringende Gesellschaft" üyelerini asillerden ve burjuvalardan almıştır. Palmenarden dil kurumu  Almanca'nın Fransızca etkisinden kurtulmasını, onu arı bir dil sayesinde kültür dili seviyesine yükseltmek niyetindeydi. 1642 yılında "Deutschgesinnte Genossenschaft" dil cemiyetinin kurucusu olan Zesen Yunan Tanrıça adlarına Almanca adlar vermiştir. Bundan başka Martin Opitz ise bu konuda bir de kuramsal kitap yazarak edebi dilin Almanca olması için uğraşlar vermiştir. Bu devirde Almanca edebi duygudan yoksundu ve çoğu edebi eserler taklitten ibaretti, ilkel ve çocuksu eserler ortaya konuluyordu. Bu dil çalışmalarıyla birlikte özgün eserler verilmeye çalışıldı. Bu dönemde yapılan poetik çalışmaları barok devrinde kayda değer çalışmalardı. Bu çalışmalarda edebiyatın tekniğini saptamış ve bunları bir ders kitabı olarak hizmete sunmuş önemli poetikçiler vardır. Bunlar:
Martn Opitz - Buch von der deutschen Poeterei
Harsdörfer - Poetischer Trichter
Zesen - Hochdeutscher helikon
Buchner - Verskunst
Schottel - Teutsche Sprachkunstdir.

Kaynakça

Barok


Mountainair est une localité américaine située dans le Comté de Torrance, au Nouveau-Mexique. Selon le recensement de 2010, sa population est de  habitants.

Histoire

Personnalités liées à Mountainair
 Beatrice Roach Gottlieb (1919-2011), femme politique, y est née.
 Francine Irving Neff (1925-2010), femme politique, a grandi à proximité.

Liens externes

Town au Nouveau-Mexique
Comté de Torrance

Mountainair (Nouveau-Mexique)


Olaylar
 Oslo Katedral Okulu kuruldu.
 Sicilya kralı II. Rugerro, İfrikiye'yi fethetmek için Amiral Filippo di Mahdia komutasında bir sefer başlattı. Sicilyalı Normanlar, Müslüman birliklerin desteğiyle Cerbe'deki bir isyanı bastırır ve Kekrene Adaları'nı işgal eder.

Doğumlar
 Aralık - II. Guglielmo, Sicilya kralı (ö. 1189)
 tarihi bilinmeyen
 III. Aleksios, Bizans imparatoru (ö. 1211)

Ölümler
 8 Temmuz, III. Eugenius, papa (d. y. 1080)
 20 Ağustos - Aziz Bernard, Hristiyan teolog (d. 1090)
 tarihi bilinmeyen
 Anna Komnini, Bizanslı prenses, âlim, hekim, hastane yöneticisi ve tarihçi (d. 1083)
 Şehristanî, Orta çağ İslam dünyasının meşhur dinler tarihçisi

Kaynakça

1153


An Dichaea violacea in uska species han Liliopsida nga ginhulagway ni James P. Folsom. An Dichaea violacea in nahilalakip ha genus nga Dichaea, ngan familia nga Orchidaceae.

Mabibilngan ini ha Panamá. Waray hini subspecies nga nakalista.

Mga kasarigan

Dichaea

Dichaea violacea


Hutchins Gordon Burton (1774April 21, 1836) was the 22nd Governor of the U.S. state of North Carolina from 1824 to 1827. Some sources indicate that he was not affiliated with any party at the time, although he was associated, according to other sources, with the Federalist Party and later with the National Republican Party.

There is some uncertainty as to the time and place of Burton's birth. Burton appears to have been born in Mecklenburg County, Virginia in 1774. However, some sources also give his birth year as 1782. Burton was sent to Granville County, North Carolina (now Vance County) to live with his uncle, Revolutionary War Colonel and politician Robert Burton, when his father died.  Young Burton went on to practice law, serve in the North Carolina General Assembly, and be elected by that body as North Carolina Attorney General. He served as Attorney General from 1810 until his resignation in 1816.

Burton moved to Halifax Town in 1817 and practiced law. He was elected to the state House of Commons on August 14, 1817 and served a single one-year term. On August 12, 1819, Burton was elected to the United States House of Representatives for the term 1819–1821. He was supported both by the Federalists, who were strong in Halifax Town, and also by the Democratic-Republican Party. Burton was re-elected in 1821 and 1823. He resigned from Congress on March 23, 1824.

The North Carolina state legislature elected Burton the Governor of the state in 1824 and re-elected him in 1825 and 1826. During his term, President John Quincy Adams appointed him governor of Arkansas, but Burton was not confirmed by the United States Senate.

Burton died in 1836 while visiting relatives in Iredell County, North Carolina and is buried at Unity Presbyterian Church in Lincoln County, North Carolina.

Ghost

The circumstances of Governor Burton's death have long been part of family oral tradition and North Carolina lore.  As Armistead C. Gordon, Esq. recounts in Marguerite du Pont Lee's Virginia Ghosts and Others, "Among the historic homes in the old County and town of Halifax, N.C. is "Rocky Hill" the summer residence of Governor Hutchins G. Burton, a distinguished lawyer and statesman of the Revolutionary period, who married a daughter of Willie Jones, the famous Jeffersonian-Republican leader through whose efforts the adoption of the Federal Constitution was defeated in the Hillsboro Convention of North Carolina because it contained no Bill of Rights.

Governor Burton lived at "The Grove," the residence of his father-in-law, Willie Jones, in the town of Halifax where John Paul, the young Scotch sailor, spent some months prior to entering the American Navy at the beginning of the Revolution, and in honor of whose owners, Mr. and Mrs. Jones; he adopted the name of John Paul Jones.

Governor Burton and his family were staying at Rocky Hill in the spring of 1836, when he was called to Texas where he owned a large tract of land.  Setting out by stage coach, he arrived at Salisbury in the western part of the State and stopped there on his way south to look after some business in court.  Meeting his cousin Robert Burton of Lincoln County he went home with him to spend a few days.  On the trip to Lincoln County he and his cousin visited the Wayside Inn and spent the night.  Here he was taken ill and died within twenty-four hours, April 21, 1836 at age 61.

His wife [Sarah "Sallie" Welsh Jones Burton] had been on a visit and was returning to Rocky Hill about dusk in her carriage driven by her servant William and accompanied by an infant grandchild and a nurse.  As they approached the house which is situated on a high hill she and William saw Governor Burton coming down the hill on a white horse which he usually rode.  Her attention was distracted momentarily by the crying of the child and when she looked again expecting her husband to speak as he approached the carriage both rider and horse had vanished.

On account of the slow mail facilities of the time, Mrs. Burton did not hear of the Governor's death until three weeks after it occurred, and she then learned that he had died at the very hour when the apparition had appeared to her and her carriage driver.

Rocky Hill which is situated near Ringwood in Halifax County was still standing in 1918 and was then owned by Mr. S. Harrison.  The story of Governor Burton's apparition is well authenticated and has persisted in Halifax County for nearly a hundred years.

He was buried in Unity Churchyard, Lincoln County."

References

External links

 North Carolina Dept. of Public Instruction site
 FindAGrave.com entries –

1774 births
1836 deaths
Governors of North Carolina
North Carolina Attorneys General
Democratic-Republican Party members of the United States House of Representatives from North Carolina
North Carolina Independents
Independent state governors of the United States
19th-century American politicians
People from Vance County, North Carolina
19th-century American lawyers

Hutchins Gordon Burton


The Courageous class, sometimes called the Glorious class, was the first multi-ship class of aircraft carriers to serve with the Royal Navy. The three ships—,  and —were originally laid down as Courageous-class battlecruisers as part of the Baltic Project during the First World War. While very fast, their minimal armour and few guns limited their long-term utility in the post-war Royal Navy, and they were laid up after the war. They were considered capital ships by the terms of the 1922 Washington Naval Treaty and were included in the total amount of tonnage allowed to the Royal Navy. Rather than scrap them, the Navy decided to convert them to aircraft carriers as permitted under the Treaty.

Furious, already partially converted during the war, began her reconstruction in 1921, before the Treaty came into effect. In an attempt to minimise air turbulence, she was given no superstructure or island. This was not entirely satisfactory, and a small island was added in 1939. Another problem was that she lacked a standard funnel; instead, her boiler uptakes ran along the sides of the ship and exhausted out of gratings on the rear of the flight deck, or at the sides of the ship if landing operations were in progress. The long ducts reduced her aircraft capacity, and the exhaust gases were as much of a problem for landing aircraft as the turbulence would have been. Her half-sisters, Courageous and Glorious, began their conversions to aircraft carriers as Furious neared completion. They drew upon the experience gained by the Royal Navy since Furious had been designed and incorporated an island with a funnel, increasing their aircraft capacity by one-third and making it safer to land.

As the first large carrier completed by the Royal Navy, Furious was extensively used to evaluate aircraft handling and landing procedures, including the first-ever carrier night landing in 1926. Courageous became the first warship lost by the Royal Navy in the Second World War when she was torpedoed in September 1939 by a German submarine. Glorious participated in the Norwegian campaign in 1940, but she was sunk by two German battleships in June as she sailed home with a minimal escort. Furious participated in many major operations during the war, including the Norwegian campaign in 1940, the Malta Convoys and Operation Torch in 1942, and airstrikes on the  and other targets in Norway in 1944. The ship was worn out by 1944 and was placed in reserve status in September 1944 before being paid off in 1945 and sold for scrap in 1948.

Careers as battlecruisers

The first two ships of the class, Courageous and Glorious, spent the First World War on North Sea patrols, climaxing in the Second Battle of Heligoland Bight in November 1917. Their half-sister Furious was designed with a pair of  guns—as opposed to four —but was modified while being built to hold a flying-off deck and hangar in lieu of her forward turret and barbette. She made some patrols in the North Sea before her rear turret was removed and another flight deck added. Her aircraft attacked Zeppelin sheds during the Tondern raid in July 1918.

All three ships were reduced to reserve after the war. The Washington Naval Treaty of 1922 limited the signatory nations to a set amount of capital ship tonnage; all ships in excess of this figure had to be scrapped. Up to  of existing ships could be converted into aircraft carriers, and the Royal Navy decided to use the Courageous-class ships due to their high speed. Each ship was reconstructed with a flight deck during the 1920s.

Conversions

 had been fitted during the First World War with a flying-off and landing deck, but the latter proved largely unusable because of the strong air currents around the superstructure and exhaust gases from the funnel. She was laid up after the war, but was converted to an aircraft carrier between June 1921 and September 1925. Her design was based on the very limited experience gained with the first two British carriers: , less than three years old, and , which had carried out only 143 deck landings during preliminary sea trials in 1920.

Furiouss superstructure, masts, funnel and landing deck were removed and she was given a  flight deck that extended over three-quarters of her length. This flight deck was not level; it sloped upwards about three-quarters of the way from the stern to help slow down landing aircraft, which had no brakes at the time it was designed. That era's fore-and-aft arresting gear, initially  long on Furious, was not intended to stop landing aircraft—the landing speeds of the time were low enough that this was unnecessary given a good headwind—but rather to prevent aircraft from veering off to one side and potentially falling off the flight deck. Various designs for the flight deck were tested in a wind tunnel by the National Physical Laboratory which showed that the distinctive elliptical shape and rounded edges minimised turbulence. To minimise any turbulence over the flight deck, Furious was flush-decked and lacked an island, like Argus; instead she was provided with a retractable charthouse at the forward end of the flight deck.

A two-storey hangar was built under the flight deck, each level being  high. The lower hangar was  long by  wide and the upper was . Each hangar could be sectioned off by electrically operated steel shutters on rollers. Her boilers were ducted down the side of the ship to exhaust either out of gratings at the rear of the flight deck, or, when landing operations were in progress, out of the side of the lower hangar at the rear of the ship. This solution proved to be very unsatisfactory as it consumed valuable space, made parts of the lower hangar unbearable and interfered with landing operations to a greater or lesser degree. Her original flying-off deck remained in place for use by small aircraft like fighters so that the ship could simultaneously land aircraft on the main flight deck while fighters were taking off on the lower deck and could speedily launch her aircraft from both decks. Doors at the forward end of the upper hangar opened onto the lower flying deck. Two  lifts (elevators) were installed to transfer aircraft between the flight deck and hangars. Two  ready-use petrol tanks were provided for aircraft and the ship's boats on the upper deck. An additional  of petrol were in bulk storage. The longitudinal arresting gear proved unpopular in service and it was ordered removed in 1927 after tests aboard Furious in 1926 had shown that deck-edge palisades were effective in reducing cross-deck gusts that could blow aircraft over the side. Furiouss long exhaust ducting hampered landing operations, and restricted the size of the hangars and thus the number of aircraft that she could carry.

Glorious and Courageous were converted to aircraft carriers after Furious began her reconstruction, Courageous at Devonport starting on 29 June 1924, and Glorious at Rosyth on 14 February 1924. The latter was moved to Devonport to complete the conversion after Furious was finished. Their design was based on Furious with a few improvements based on experience gained since she was designed. All superstructure, guns, and fittings down to the main deck were removed. A two-storey hangar, each level  high and  long, was built on top of the remaining hull; the upper hangar level opened onto a short flying-off deck, below and forward of the main flight deck. Two slightly larger  lifts were installed fore and aft in the flight deck. An island was added on the starboard side with the bridge, flying control station, and funnel, as an island did not create as much turbulence as had been earlier feared. By 1939 both ships could carry  of petrol.

Description

The Courageous-class ships had an overall length of , a beam of , and a draught of  at deep load. These were increases of  in beam and over  in draught compared to their earlier incarnations as battlecruisers. They displaced  at normal load and  at deep load, increases of over . Their metacentric height declined from  at deep load to  and the ships had a complete double bottom. In 1939, Courageous had a complement of 807 officers and ratings, plus 403 men in her air group.

Their half-sister Furious was the same length, but had a beam of , and an average draught of  at deep load, two feet deeper than before the conversion. She displaced  at normal load and  at deep load, over 3,000 long tons more than her previous displacement of  at load and  at deep load. Furiouss metacentric height was  at deep load, a reduction of  after her conversion. In 1932, Furious had a complement of 738 officers and ratings, plus 468 men in her air group.

Propulsion
The Courageous-class ships were the first large warships in the Royal Navy to have geared steam turbines. Arranged in two engine rooms, each of the turbines drove one of the four propeller shafts. Furiouss propellers were  in diameter. The turbines were powered by 18 Yarrow small-tube boilers equally divided among three boiler rooms. The turbines were designed to produce a total of  at a working pressure of . No significant changes to the machinery were made during the conversion process to any of the three ships, but their increased displacement reduced their speed to approximately .

Furiouss fuel capacity was increased by  during her reconstruction, which increased her range to  at a speed of . The maximum fuel capacity of Courageous and Glorious was increased during the conversion to  of fuel oil, giving them an endurance of  at 10 kn.

Armament

Furious retained ten of her original eleven breech-loading BL 5.5-inch Mk I guns, five on each side, for self-defence from enemy warships. They fired  projectiles at a muzzle velocity of . Their maximum range was  at their maximum elevation of 25°, and the rate of fire was 12 rounds per minute.

Half a dozen QF 4-inch Mark V guns replaced her original anti-aircraft guns. Four were mounted on the sides of the flying-off deck and two on the quarterdeck. They had a maximum depression of −5° and a maximum elevation of 80°. The guns fired a  high explosive (HE) shell at a muzzle velocity of  at a rate of 10 to 15 rounds per minute. The guns had a maximum ceiling of , but an effective range of much less. The four guns on the flying-off deck were removed during trials of the lower flight deck in 1926–1927, but only two were replaced when the trials were concluded.

Four single QF 2-pounder pom-poms were installed by 1927. During Furiouss September 1930 – February 1932 refit, her anti-aircraft outfit was changed by the substitution of two 8-barrel 2-pounder pom-pom mounts for the forward 4-inch guns on the flying-off deck removed earlier. The Mark V mount could depress to −10° and elevate to a maximum of 80°. The Mark VIII 2-pounder gun fired a   shell at a muzzle velocity of  to a distance of . The gun's rate of fire was approximately 96–98 rounds per minute.

The  and  guns were replaced during Furiouss refit in early 1939 by a dozen QF 4-inch Mk XVI guns in twin dual-purpose Mark XIX mounts. One mount each was on the former flying-off deck and the quarterdeck while the other four were mounted two per side. The Mark XIX mount could depress to −10° and elevate to a maximum of 80°. The Mark XVI gun fired  fifteen to twenty  HE shells per minute at a muzzle velocity of . Against surface targets it had a range of  and a maximum ceiling of , but an effective anti-aircraft range of much less. Two more Mark V 2-pounder mounts were added fore and aft of the newly added island at the same time.

During the Second World War, Furious, the only surviving ship of the three, received an eventual total of 22 manually operated automatic 20 mm Oerlikon light anti-aircraft (AA) guns, which replaced the single quadruple Vickers 0.50-calibre machine gun mount. The Oerlikon fired a  HE shell at a muzzle velocity of . The maximum ceiling was 10,000 ft and the maximum range was  although the effective range was under . The cyclic rate of fire was 450 rounds per minute, but the practical rate was between 250 and 320 rounds per minute owing to the need to reload magazines.

A mix of single-purpose anti-surface and anti-aircraft guns in various sizes was considered for Courageous and Glorious by the Admiralty, but was ultimately rejected for a dual-purpose armament of sixteen QF 4.7-inch Mark VIII guns in single high-angle mounts. One mount was on each side of the lower flight deck and a pair were on the quarterdeck. The remaining twelve mounts were distributed along the sides of each ship. These mounts could depress to −5° and elevate to a maximum of 90°. The Mark VIII guns fired a  HE shell at a muzzle velocity of  at a rate of 8–12 rounds per minute. The guns had a maximum ceiling of , but an effective range of much less. They had a maximum range of  against surface targets.

During refits in the mid-1930s, both ships received multiple 2-pounder pom-pom mounts. Courageous received three quadruple Mark VII mounts, one on each side of the flying-off deck, forward of the 4.7-inch guns, and one behind the island on the flight deck (two of these were transferred from the battleship ). Glorious received three octuple Mark VI mounts in the same locations. Both ships received four water-cooled 0.50-calibre Mark III machine guns in a single quadruple mounting. This mount could depress to −10° and elevate to a maximum of 70°. The machine guns fired a  bullet at a muzzle velocity of . This gave the gun a maximum range of about , although its effective range was only . Neither ship had any further guns added before they were sunk early in the war, in 1939 and 1940, respectively.

Fire control and radar
To assist its weapon systems in hitting their target, Furious was completed with one fire-control system for each side, with separate directors for low-angle and high-angle guns. The 5.5-inch guns were centrally controlled by a Dreyer Fire-Control Table on the lower deck while the 4-inch guns had their mechanical computers next to their directors. The existing fire-control directors were removed when Furious received her new dual-purpose 4-inch mountings in 1939. New high-angle directors, including two for the pom-poms, were mounted on top of the new island and on the former lower flight deck. Over the course of the war Type 285 gunnery radars were mounted on top of the high-angle directors. She also received a Type 290 air-search radar.

Courageous was initially fitted only with low-angle directors for her guns, but these were replaced by dual-purpose directors when she was refitted in 1930. (Glorious, completed later, had hers from the beginning.) Neither ship was fitted with radar before its early loss.

Protection
Little armour other than that of the barbettes was removed during their conversion to aircraft carriers. The transverse bulkheads were carried through the locations of the former barbettes. The flight deck was  in thickness.

Unlike other British battlecruisers, the bulk of the armour of the Courageous-class ships was made from high-tensile steel (HTS), a type of steel used structurally in other ships. Their waterline belt consisted of  of HTS covered by a  thick mild steel skin. It protected roughly the middle two-thirds of the ship with a one-inch extension forward to the two-inch forward transverse bulkhead well short of the bow. The belt had a height of , of which  was below the designed waterline. From the former forward barbette, a 3-inch bulkhead extended out to the ship's side between the upper and lower decks and a comparable bulkhead was in place at the former location of the rear barbette as well. Four decks were armoured with thicknesses varying from , thickest over the magazines and the steering gear. After the Battle of Jutland,  of extra protection was added to the deck around the magazines.

The torpedo bulkheads were increased during building from 0.75– in thickness. All three ships were fitted with a shallow anti-torpedo bulge integral to the hull, which was intended to detonate the torpedo before it hit the hull proper and deflect the underwater explosion to the surface, away from the ship. Later testing proved that it was not deep enough to accomplish its task and that it lacked the layers of empty and full compartments that were necessary to absorb the force of the explosion.

Air groups

Normally, Furious could carry only about 36 aircraft. In the 1920s this commonly meant one flight (squadrons after 1932) of fighters (Fairey Flycatcher), two of spotters (Blackburn Blackburn or Avro Bison), one spotter reconnaissance (Fairey IIID) and two flights of torpedo bombers (Blackburn Dart). In 1935 there was one squadron of fighters with Hawker Nimrods and Hawker Ospreys, one squadron of Blackburn Baffin torpedo bombers and one squadron of Fairey IIIF spotters. During the Second World War, the carrier typically carried a single fighter squadron and two of strike aircraft of various types, although the mix was often adjusted for specific missions.

Courageous and Glorious were generally similar except that they carried a total of 48 aircraft. They commonly flew the same types of aircraft as Furious, although they are also known to have flown the Fairey Seal, the Blackburn Shark, and the Blackburn Ripon.

Pre-war service
Furious was assigned to the Atlantic Fleet after commissioning in 1925, although she spent much of the next several years conducting trials for practically every aircraft in the Fleet Air Arm (FAA) inventory. These included landing and flying-off tests of Fairey IIID and Fairey Flycatcher floatplanes, with and without wheels, to compare various designs of wooden and metal floats. The lower flight deck was greased to allow them to take off with a minimum of difficulty. A Flycatcher fitted with wooden skids was also tested and behaved perfectly satisfactorily. The arresting gear was barely used during these trials and it was removed shortly afterwards. Deck-edge palisades (windbreaks) were installed in 1927 to keep aircraft from blowing over the side in rough weather. The first carrier night-landing was made by a Blackburn Dart on 6 May 1926 aboard Furious.

The ship was reduced to reserve status on 1 July 1930 in preparation for a lengthy overhaul at Devonport from September 1930 to February 1932, focused on refitting her machinery and re-tubing her boilers. In addition her quarterdeck was raised by one deck, the AA armament was revised and water spraying facilities were fitted in the hangars. Upon completion she ran a full-power trial on 16 February 1932 where her maximum speed was  from a total of .

Furious was recommissioned in May 1932 as part of the Home Fleet with a reduced crew before being brought up to full complement in November. Transverse arresting gear was fitted sometime during the mid-1930s. She was detached to the Mediterranean Fleet from May to October 1934. Furious was present at the Coronation Fleet Review at Spithead on 20 May 1937 for King George VI. She became a deck-landing training carrier in 1937, although she was refitted between December 1937 and May 1938 in Devonport, where the forward end of her lower flight deck was raised to make her less wet forward. During the Munich Crisis in September 1938, she embarked Nos. 801, 821 and 822 Squadrons and joined the fleet at Scapa Flow, before resuming her training duties after the peaceful conclusion of the affair.

She was given a more extensive refit from January to May 1939 that removed her 5.5-inch guns and palisades, mounted AA guns on her flying-off deck, plated in the doors at the forward end of the upper hangar, and gave her a small island on the starboard side. Furious resumed her training duties after the completion of the refit and continued them until October 1939.

Courageous was recommissioned on 21 February 1928 and assigned to the Mediterranean Fleet from May 1928 to June 1930. She was relieved by Glorious and refitted from June to August 1930. The ship was assigned to the Atlantic and Home Fleets from 12 August 1930 to December 1938 aside from a temporary attachment to the Mediterranean Fleet in 1936. In the early 1930s, transverse arresting gear was installed and she received two hydraulic catapults on the upper flight deck before March 1934. Courageous was refitted again between October 1935 and June 1936 and received her pom-pom mounts. She was also present at the 1937 Coronation Fleet Review. She became a training carrier in December 1938 when  joined the Home Fleet and continued on that duty until the start of the Second World War.

Glorious was recommissioned on 24 February 1930 for service with the Mediterranean Fleet, but was attached to the Home Fleet from March to June 1930. She relieved Courageous in the Mediterranean Fleet in June 1930 and remained there until October 1939. In a fog on 1 April 1931 Glorious rammed SS Florida amidships while steaming at . The impact crumpled  of the flying-off deck and forced Glorious to put into Gibraltar for temporary repairs. She had to sail to Malta for permanent repairs which lasted until September 1931. Sometime in the early 1930s, transverse arresting gear was installed. She was refitted at Devonport from July 1934 to July 1935 where she received two catapults, her flight deck was extended to the rear, her quarterdeck was raised one deck and she received her multiple pom-pom mounts. Glorious also participated in the 1937 Coronation Fleet Review before returning to the Mediterranean.

Second World War

Courageous

In the early days of the war, hunter-killer groups were formed around the fleet aircraft carriers to find and destroy U-boats. On 17 September 1939,  U-boat  struck the ship with two torpedoes, and Courageous became the first British warship sunk in the Second World War. As Ark Royal had been surprised by a near-miss seven days earlier, the fleet carriers were withdrawn from this duty.

Glorious
Force J, including Glorious, was organised to hunt for the  in the Indian Ocean. They were not successful, and Glorious remained in the Indian Ocean until December when she was transferred to the Mediterranean.

Glorious was recalled to the Home Fleet in April 1940 to provide air cover for British forces landing in Norway. Gloster Gladiators of No. 263 Squadron RAF were flown aboard to be transferred to Norwegian airbases. Glorious and Ark Royal arrived off central Norway on 24 April where 263 Squadron was flown off and their organic aircraft attacked targets in the Trondheim area before Glorious had to return to Scapa Flow on 27 April to refuel and embark new aircraft. She returned on 1 May, after failing to load new aircraft because of poor weather. The task force was under heavy air attack by the Luftwaffe all day and was withdrawn that evening.

Glorious returned on 18 May with six Supermarine Walrus amphibious flying boats of 701 Squadron and 18 Hawker Hurricanes of No. 46 Squadron RAF. The Walruses were flown off to Harstad, but the airfield at Skånland was not yet ready for the Hurricanes and they were still aboard when Glorious returned to Scapa on 21 May. Glorious came back to the Narvik area on 26 May and the Hurricanes were flown off.

British forces were ordered withdrawn a few days later. The evacuation (Operation Alphabet) began in the north on the night of 3/4 June, and Glorious arrived off the coast on 2 June to provide support. She carried only nine Sea Gladiators of 802 Squadron and six Fairey Swordfish torpedo bombers of 823 Squadron for self-defence, as it was hoped to evacuate the RAF fighters if possible. Ten Gladiators of 263 Squadron were flown aboard during the afternoon of 7 June and the Hurricanes of 46 Squadron were also flown aboard without any significant problems in the early evening despite having a much higher landing speed than the biplanes. This was the first time that high performance monoplanes without tailhooks had been landed on an aircraft carrier.

Captain Guy D'Oyly-Hughes requested and was granted permission to proceed independently to Scapa Flow in the early hours of 8 June. On the way back across the North Sea, Glorious and her two escorting destroyers,  and , were found by the two German battleships  and . No combat air patrol was being flown, no aircraft were spotted on the deck for quick take off and there was no lookout in the crow's nest. The German heavy ships sank all three British vessels with most of their crews, although Acasta managed to torpedo Scharnhorst before she was sunk. Only 43 men from Glorious survived.

Furious
Until 2 October 1939, Furious remained on training duties, combined with anti-submarine sweeps off the east coast of Scotland. She was then assigned to the Home Fleet to replace the sunken Courageous and sortied on 8 October with the fleet to hunt unsuccessfully for the Gneisenau and escorting ships which had been spotted off southern Norway. Furious departed her berth adjacent to the battleship  in Scapa Flow for more futile searches for German ships on 13 October, the day before Royal Oak was sunk by  in Scapa Flow. Furious served as the flagship for the convoy bringing most of the 1st Canadian Infantry Division to Britain in mid-December 1939.

Furious joined the Home Fleet off the coast of Norway on 10 April 1940 and her Swordfish made several attacks on German ships in Narvik on the following days. She refuelled at Tromsø on the 14th and remained behind after the bulk of the Home Fleet departed on 15 April, her aircraft flying reconnaissance missions until ordered home on 25 April. Her port inner turbine had been damaged by the shock wave from a near miss on 18 April, and the damage was more serious than initially thought. After quick repairs, Furious returned on 18 May carrying the Gladiators of a reformed 263 Squadron; they were flown off on 21 May once their base at Bardufoss was ready. She sailed to Scapa Flow once all the Gladiators had been flown off.

On 14 June, carrying only half of 816 Squadron for her own protection, Furious sailed unescorted for Halifax, Nova Scotia carrying £18,000,000 in gold bullion. On 1 July she escorted a convoy of Canadian troops bound for Iceland from Halifax and ferried over almost 50 aircraft, spare parts and munitions. On his own initiative, Captain Troubridge ordered all available space should be used for sugar bound for Britain. She reembarked her aircraft upon her arrival and made a number of air strikes on shipping in Norwegian waters and on the seaplane base at Tromsø through October 1940. Furious loaded 55 aircraft in Liverpool on 7 November and sailed for Takoradi, Gold Coast, on 15 November where the aircraft were flown off on 27 November to reinforce fighter units defending Egypt. By 15 December, Furious was back in Liverpool, where she embarked 40 Hurricanes for Takoradi. She sailed on 21 December and joined up with Convoy WS 5A which encountered the  on 25 December. The German ship was driven off by the escorts, and Furious reached Takoradi on 10 January 1941. She arrived in Britain on 5 February where she was given a brief refit. She made another ferry trip to Takoradi between 4 and 22 March.

Now with a new destination for her ferry trips, Furious transported two dozen Hurricanes to Gibraltar on 25 April where they were transferred to Ark Royal to be flown off for Malta. She returned for another load of Hurricanes and arrived back in Gibraltar on 18 May. Some of these fighters were moved to Ark Royal via planks between the flight decks of the carriers berthed stern to stern. This time she accompanied Ark Royal and the two carriers flew off their fighters from a position south of Sardinia. She would repeat this ferry mission three more times from June to September 1941. In July and August, Furious and  attacked German installations in the Arctic areas of Norway and Finland with limited success and heavy losses. Following her last ferry mission she was sent to Philadelphia, Pennsylvania, to refit.

Furious arrived back in the UK in April 1942 and spent the next three months working up. In August she was detailed to accompany the convoy bound for Malta in Operation Pedestal, but she was to sail with them only far enough to allow her 38 Supermarine Spitfires to reach Malta. This she did, just as Eagle was torpedoed, but Furious turned around after flying off her fighters and reached Gibraltar successfully. She loaded another batch of 32 Spitfires on 16 August and they were flown off the following day south-east of the Balearic Islands. After this mission Furious was sent back to Home Fleet for training. One last mission was necessary to reinforce the defences of Malta before Operation Torch, and she arrived on 27 October. She loaded 32 Spitfires and launched them on the 29th before returning to Gibraltar to participate in Torch.

Providing cover for the Central Task Force, Furiouss aircraft neutralised the airfields at La Senia and Tafraoui, both near Oran, Algeria. She remained with Force H until February 1943 before transferring to Home Fleet where she remained for the rest of the war. In July the Home Fleet demonstrated off the coast of Norway in strength to distract attention from the Allied invasion of Sicily; Furiouss role was to allow a German reconnaissance aircraft to spot the British ships and make a report then shoot it down. She was refitted in August and spent the rest of the year training.

On 3 April 1944, Fairey Barracudas from Furious and Victorious attacked the German battleship Tirpitz in Altafjord, Norway, as part of Operation Tungsten. Tirpitz was hit 14 times and needed three months to complete her repairs, although four aircraft were lost in the attack. The Home Fleet tried another attack on Tirpitz later in the month, but bad weather prevented any attack from being made. Instead the aircraft attempted to attack installations at Bodø, but found a German convoy instead and sank three ships. Three operations against targets in northern Norway, including two against Tirpitz, had to be abandoned or diverted to other targets in May, but three German ships were sunk and two more were set afire. Furious and other carriers made another attempt to sink the Tirpitz on 17 July, but were unsuccessful against the fully alerted German defences. Four more attacks on Tirpitz were made in August, but only the attack on the 24th was even partially successful as two minor hits were made.

As the war progressed, the ship's age and limitations became increasingly apparent, and Furious was placed in reserve on 15 September 1944. She was paid off in April 1945 and used to evaluate the effects of aircraft explosives on the ship's structure. She was sold in 1948 for scrap, which was completed in 1954 at Troon.

Notes

References

External links

 Photo gallery of Courageous and Glorious
 Photo gallery for Furious as both battlecruiser and aircraft carrier

Aircraft carrier classes

Ship classes of the Royal Navy

Courageous-class aircraft carrier


Rose Cecil O'Neill (June 25, 1874 – April 6, 1944) was an American cartoonist, illustrator, artist, and writer. She rose to fame for her creation of the popular comic strip characters, Kewpies, in 1909, and was also the first published female cartoonist in the United States.

The daughter of a book salesman and a homemaker, O'Neill was raised in rural Nebraska. She exhibited interest in the arts at an early age, and sought a career as an illustrator in New York City. Her Kewpie cartoons, which made their debut in a 1909 issue of Ladies' Home Journal, were later manufactured as bisque dolls in 1912 by J. D. Kestner, a German toy company, followed by composition material and celluloid versions. The dolls were wildly popular in the early twentieth century, and are considered to be one of the first mass-marketed toys in the United States.

O'Neill also wrote several novels and books of poetry, and was active in the women's suffrage movement.  She was for a time the highest-paid female illustrator in the world upon the success of the Kewpie dolls. O'Neill has been inducted into the National Women's Hall of Fame.

In 2022 at San Diego Comic Con, Rose O'Neill was inducted into the Eisner Awards Hall of Fame as a Comic Pioneer.

Early life
O'Neill was born on June 25, 1874, in Wilkes-Barre, Pennsylvania, the daughter of William Patrick, an Irish immigrant, and Alice Asenath "Meemie" Smith O'Neill. She had two younger sisters, Lee and Callista, and three younger brothers: Hugh, James, and Clarence. The family moved to rural Nebraska while O'Neill was young. From early childhood, she expressed significant interest in the arts, immersing herself in drawing, painting, and sculpture. At thirteen, she entered a children's drawing competition sponsored by the Omaha Herald and won first prize for her drawing, titled "Temptation Leading to an Abyss".

Within two years, O'Neill was providing illustrations for the local Omaha publications Excelsior and The Great Divide as well as other periodicals, having secured this work with help from the editor at the Omaha World-Herald and the Art Director from Everybody Magazine who had judged the competition. The income helped support her family, which her father had struggled to support as a bookseller. O'Neill attended the Sacred Heart Convent school in Omaha.

Career

Move to New York

To market her skills to a broader audience, O'Neill moved to New York in 1893; she stopped in Chicago en route to visit the World Columbian Exposition. The nuns accompanied her to various publishers to sell work from her portfolio of sixty drawings. She was able to sell her drawings to numerous publishing houses and began taking orders for more. A four-panel comic strip by O'Neill were featured in a September 19, 1896, issue of Truth magazine, making her the first American woman to publish a comic strip.

While O'Neill was living in New York, her father made a homestead claim on a small tract of land in the Ozarks wilderness of southern Missouri. The tract had a "dog-trot" cabin with two log cabins (one was used for eating and the other for sleeping) and a breezeway between. A year later when O'Neill visited the land, it had become known as "Bonniebrook". During this time O'Neill was experiencing considerable success, having joined the staff of Puck, an American humor magazine, where she was the only female on staff. In 1909, she began work drawing advertisements for Jell-O, and contributed illustrations to Harper's and Life magazines.

Early illustrations
In 1892, while in Omaha, O'Neill met a young Virginian named Gray Latham, whom she married in 1896. He visited O'Neill in New York City, and continued writing to her when she went to Missouri to see her family. After Latham's father went to Mexico to make films, he went to Bonniebrook in 1896. Concerned with the welfare of her family, O'Neill sent much of her paycheck home.

In the following years O'Neill became unhappy with Latham, as he liked "living large" and gambling, and was known as a playboy. O'Neill found that Latham, with his very expensive tastes, had spent her paychecks on himself. O'Neill then moved to Taney County, Missouri, where she filed for divorce in 1901, returning to Bonniebrook. Latham died the same year, and some sources state that O'Neill was widowed.

In late 1901, O'Neill began receiving anonymous letters and gifts in the mail. She learned that they were sent by Harry Leon Wilson, an assistant editor at Puck. O'Neill and Wilson became romantically involved soon after, and married in 1902. After a honeymoon in Colorado, they moved to Bonniebrook, where they lived for the next several winters. During the first three years Wilson wrote two novels, The Lions of the Lord (1903) and The Boss of Little Arcady (1905), both of which O'Neill  drew illustrations for. One of Wilson's later novels, Ruggles of Red Gap, became popular and was made into several motion pictures, including a silent movie, a "talkie" starring Charles Laughton, and then a remake called Fancy Pants starring Lucille Ball and Bob Hope. The couple divorced in 1907.

In 1904, O'Neill published her first novel, The Loves of Edwy, which she also illustrated. A review published by Book News in 1905 considered O'Neill's illustrations to "possess a rare breadth of sympathy with and understanding of humanity".

Kewpies and breakthrough

As educational opportunities were made available in the 19th century, women artists became part of professional enterprises, and some founded their own art associations. Artwork made by women was considered to be inferior, and to help overcome that stereotype women became, according to art historian Laura Prieto, "increasingly vocal and confident" in promoting women's work. Many women artists, including O'Neill, could be characterized as examples of the educated, modern, and independent "New Woman," a form of gender identity that emerged at the time. According to Prieto, artists "played crucial roles in representing the New Woman, both by drawing images of the icon and exemplifying this emerging type through their own lives".  In the late 19th century and early 20th century, about 88% of the subscribers of 11,000 magazines and periodicals were women. As women entered the artist community, publishers hired women to create illustrations that depicted the world from a woman's perspective. Other successful illustrators were Jennie Augusta Brownscombe, Jessie Willcox Smith, Elizabeth Shippen Green, and Violet Oakley.

It was amid the New Woman and burgeoning suffragist movements that, in 1908, O'Neill began to concentrate on producing original artwork, and it was during this period that she created the whimsical Kewpie characters for which she became known. Their name, "Kewpie", derives from Cupid, the Roman god of love. According to O'Neill, she became obsessed with the idea of the cherubic characters, to the point that she had dreams about them: "I thought about the Kewpies so much that I had a dream about them where they were all doing acrobatic pranks on the coverlet of my bed. One sat in my hand."  She described them as "a sort of little round fairy whose one idea is to teach people to be merry and kind at the same time". The Kewpie characters made their debut in comic strip form in 1909 in an issue of Ladies' Home Journal. Further publications of the Kewpie comics in Woman's Home Companion and Good Housekeeping helped the cartoon grow in popularity rapidly.

In 1913, German doll manufacturer Kestner & Co. began making Kewpie dolls. The dolls were immediately successful, and more companies were licensed to produce them in order to meet demand. O'Neill repeatedly visited Germany supervise the doll manufacturers. As O'Neill rose to fame, she garnered a public reputation as a bohemian, and became an ardent women's rights advocate. The success of the Kewpies amassed her a fortune of $1.4 million, with which she purchased properties including Bonniebrook, an apartment in Washington Square Park in Greenwich Village, Castle Carabas in Connecticut, and Villa Narcissus (bought from Charles Caryl Coleman) on the Isle of Capri, Italy. At the height of the Kewpie success, O'Neill was the highest-paid female illustrator in the world. O'Neill was well known in New York City's artistic circles, and through her association, she was the inspiration for the song "Rose of Washington Square".

Paris and later career
O'Neill continued working, even at her wealthiest, exploring many different types of art. She learned sculpture at the hand of Auguste Rodin and had several exhibitions of sculptures and paintings in Paris and the United States. These works were more experimental in nature, and largely influenced by dreams and mythology. O'Neill spent 1921 to 1926 living in Paris. While there, she was elected to the Société Coloniale des Artistes Français in 1921, and had exhibitions of her sculptures at the Galerie Devambez in Paris and the Wildenstein Galleries in New York in 1921 and 1922, respectively.

In 1927, O'Neill returned to the United States, and by 1937 was living at Bonniebrook permanently. By the 1940s, she had lost the majority of her money and properties, partly through extravagant spending, as well as the cost of fully supporting her family, her entourage of "artistic" hangers-on, and her first husband. The Great Depression also hurt O'Neill's fortune. During that period, O'Neill was dismayed to find that her work was no longer in demand. After thirty years of popularity, the Kewpie character phenomenon had faded, and photography was replacing illustration as a commercial vehicle. O'Neill experimented with crafting a new doll, eventually creating Little Ho Ho, which was a laughing baby Buddha. However, before plans could be finalized for production of the new little figure, the factory burned to the ground.

Personal life

O'Neill became a prominent personality in the Branson, Missouri, community, donating her time and pieces of artwork to the School of the Ozarks at Point Lookout, Missouri, and remaining active in the local art community.

On April 6, 1944, O'Neill died of heart failure resulting from paralysis at the home of her nephew in Springfield, Missouri. She is interred in the family cemetery at Bonniebrook Homestead, next to her mother and several family members.  Bonniebrook Homestead was listed on the National Register of Historic Places in 1997.

Published works

As author and illustrator
The Loves of Edwy (Boston: Lothrop, 1904)
The Lady in the White Veil (New York: Harper and Brothers, 1909)
The Kewpies and Dottie Darling (New York: George H. Doran, 1912)
The Kewpies: Their Book, Verse and Poetry (New York: Frederick A. Stokes, 1913)
The Kewpie Kutouts (1914)
The Kewpie Primer (1916)
The Master-Mistress (New York: Knopf, 1922)
Kewpies and the Runaway Baby (New York: Doubleday, Doran, 1928)
Garda (New York: Doubleday, Doran, 1929)
The Goblin Woman (New York: Doubleday, Doran, 1930)

Illustrator only
The Lions of the Lord by Harry Leon Wilson (Boston: Lothrop, 1903)
The Boss of Little Arcady by Harry Leon Wilson (Boston: Lothrop, 1905)
The Hickory Limb by Parker Hoysted Fillmore (New York: John Lane Co., 1910)
Our Baby's Book (New York: Woman's Home Companion, 1914)
A Little Question of Ladies' Rights by Parker Hoysted Fillmore (New York: John Lane Co., 1916)
Tomorrow's House; or The Tiny Angel by George O'Neil (New York: E. P. Dutton, 1930) – brother–sister collaboration
Sing a Song of Safety by Irving Caesar (New York: I. Caesar, 1937)

References

Footnotes

Sources

Further reading
Armitage, S. (1994) Kewpies And Beyond, the World of Rose O'Neill. University Press of Mississippi. .
Brewster, L. (2009) Rose O'Neill: The Girl Who Loved to Draw. Boxing Day Books. .
Brewster, L. (2014) Rose O'Neill: Not Just The Kewpie Lady .Illustration Magazine. .
Buhr, S. (2018) Frolic of the Mind: The Illustrious Life of Rose O'Neill. Springfield Art Museum. .
Formanek-Brunell, M. (1997) The Story of Rose O'Neill. University of Missouri Press. .
Ripley, J. R. (2004) Bum Rap in Branson. Beachfront Publishing. .
Goodman, Helen (1989) The Art of Rose O'Neill.  Brandywine River Museum. Exhibition Catalogue.

External links

Bonniebrook Gallery, Museum, and Homestead (official)
Bonniebrook Homestead at U.S. National Park Service
Rose O'Neill at the American Art Archives
Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century – a New York Art Resources Consortium project

 Rose O'Neill Museum Springfield
Rose O'Neill collection at New-York Historical Society
Missouri Remembers: Artists in Missouri through 1951

1874 births
1944 deaths
20th-century American artists
20th-century American writers
American women illustrators
American illustrators
American people of Irish descent
American suffragists
American women artists
American women's rights activists
Artists from Omaha, Nebraska
American female comics artists
Female comics writers
Writers who illustrated their own writing
Writers from Omaha, Nebraska
Writers from Wilkes-Barre, Pennsylvania
College of the Ozarks alumni
20th-century American women writers

Rose O'Neill


An Paepalanthus vellozioides in uska species han Liliopsida nga ginhulagway ni Friedrich August Körnicke. An Paepalanthus vellozioides in nahilalakip ha genus nga Paepalanthus, ngan familia nga Eriocaulaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Paepalanthus

Paepalanthus vellozioides


Prinsesse Adrienne af Sverige, Hertuginde af Blekinge (Adrienne Josephine Alice; født 9. marts 2018) er en svensk prinsesse og hertuginde af Blekinge. Hun er tredje barn og anden datter af prinsesse Madeleine af Sverige og Christopher O'Neill.

Fødsel
Prinsesse Adrienne fødes 9. marts 2018 klokken 00.41 på Danderyds sygehus. Hun vejede 3465 gram og var 50 cm lang ved fødslen. Samme dag skød forsvarsmakten salut med 21 skud fra Skeppsholmen i Stockholm, Boden, Karlskrona, Göteborg og Härnösand. Den 12. marts 2018 holdes en konselj på slottet, hvor King Carl XVI Gustaf annoncerede navnet på prinsessen og hendes hertugdømme. Adrienne er den første, som får Blekinge som hertugdømme. Senere samme dag blev Te Deum afholdt i Slottskyrkan på Stockholms Slot. Ved gudstjenesten var den nærmeste familie og repræsentanter fra parlamentet og regeringen.

Dåb
Prinsesse Adrienne blev døbt den 8. juni 2018 i Drottningholms slottskyrka, samme sted hvor hendes ældre søskende blev døbt. Officianterne ved dåben var ærkebiskop Antje Jackelén, overhofprædikant biskop Johan Dalman og ordinerede hofprædikant og pastor i Kungl. Hovförsamlingen Michael Bjerkhagen. Prinsessens faddere er kusinen Anouska d'Abo samt forældrenes venner Coralie Charriol Paul, Nader Panahpour, Gustav Thott, Charlotte Kreuger Cederlund og Natalie Werner.

Titler, ordner og udmærkelser

Titler og prædikater
 9. marts 2018 - 6. oktober 2019: Hendes kongelige højhed Adrienne, Prinsesse af Sverige, Hertuginde af Blekinge

 7. oktober 2019 - nu: Prinsesse Adrienne Josephine Alice, hertuginde af Blekinge.

Svenske ordner og dekorationer
 Ledamot og Kommendör af Kungl. Maj: ts orden, der regnes fra fødselen, blev tildelt insignierne ved sin dåb den 8. juni 2018.

Anetavle
Prinsesse Adrienne deler i sagens natur aner med sine søskende Prinsesse Leonore af Sverige og Prins Nicolas af Sverige.

Referencer

Eksterne henvisninger

Prinsesser fra Sverige
Huset Bernadotte
Hertuginder af Blekinge
Riddere af Serafimerordenen

Prinsesse Adrienne af Sverige


Fardier, kendi kendine hareket eden ilk otomobildir .

Fransız mühendis ve topçu yüzbaşı Nicolas Joseph Cugnot (1725-1804) tarafından 1765 yılında yapılmıştır. Fransız ordusu için 1765 yılında başladığı çalışmalarını 1769 yılında tamamlayarak buhar türbinini geliştirmiş ve 3 tekerlekli bir arabanın önüne kazanı ile birlikte bir buhar makinesi monte ederek ilk motorlu taşıt olarak kabul edilen ateşli askeri traktörü Fardier'i üretmiştir. Bu makine iki silindirden oluşmakta idi. Makinanın krankından alınan dönme hareketi bir bisiklet zinciri ile öndeki tekerleği harekete geçiriyordu. Direksiyon tertibatı da aynı tekerleği kumanda ediyordu. Saatte 4–5 km hızla 15 dakika hareket edebiliyordu. İlk buharlı yol aracı Fardier at arabaları ve kağnıların arasında kendini gösterirken denemeler sırasında duvara çarparak, motorlu araçlar tarihindeki ilk trafik kazasını da yapmıştır. Cugnot'un yaptığı otomobil halen Paris sanayi müzesinde saklanmaktadır.

Ayrıca bakınız
 Buharlı otomobil

Buharlı otomobiller

Fardier


Le GMG Racing est une écurie de sport automobile américaine fondée par le pilote automobile James Sofronas en 2001. Elle fait participer des voitures de Grand tourisme en catégorie GTD dans le championnat WeatherTech SportsCar Championship.

Histoire
En 2020, l'écurie GMG Racing avait participé au championnat américain GT World Challenge America avec une Porsche 911 GT3 R. Cette voiture avait été confiée au pilote propriétaire de l'écurie  ainsi qu'au pilote néerlandais Jeroen Bleekemolen. A cela, l'écurie avaitparticipé au championnat  avec jusqu'à trois voitures. La première, une Porsche Cayman GT4 Clubsport MR qui avait été confiée aux pilotes américains Jason Bell et Andrew Davis pour l'intégralité du championnat. Les deuxième et troisième voitures étant des Audi R8 LMS GT4 Evo qui avait été confiée aux pilotes américains Andy Lee, Elias Sabo, Michael McGrath etAlex Welch pour quelques manches du championnat.

En 2021, l'écurie GMG Racing avait cette année là participé à la manche se déroulant sur l'Indianapolis Motor Speedway du championnat Intercontinental GT Challenge. Pour cela, elle avait confié une Porsche 911 GT3 R pilote propriétaire de l'écurie , au pilote américain Kyle Washington ainsi qu'au pilote norvégien Dennis Olsen. A cela, l'écurie avait, comme l'année précédente participé au championnat  avec deux voitures. La première, une Aston Martin Vantage AMR GT4 qui avait été confiée aux pilotes américains Jason Bell et Andrew Davis pour l'intégralité du championnat. La seconde, une Audi R8 LMS GT4 Evo qui avait été confiée aux pilotes américains Andy Lee et Elias Sabo pour quelques manches du championnat. Après plus de sept ans sans avoir pris part au championnat WeatherTech SportsCar Championship, le GMG Racing avait fait son retour dans ce championnat en inscrivant une Porsche 911 GT3 R, châssis acquis auprès d'une écurie asiatique avant la Pandémie de Covid-19, au Grand Prix automobile de Long Beach dans la catégorie GTD. La voiture avait été confiée au pilote propriétaire de l'écurie  ainsi qu'au pilote américain Kyle Washington.

En 2022, le GMG Racing avait fait suite à son retour dans le championnat WeatherTech SportsCar Championship et avait inscrit sa Porsche 911 GT3 R aux 24 Heures de Daytona. Celle-ci avait été confiée aux pilotes américains  et Kyle Washington ainsi qu'au pilote autrichien Klaus Bachler et au pilote néerlandais Jeroen Bleekemolen.

Résultats en compétition automobile

Résultats en American Le Mans Series

Résultats en WeatherTech SportsCar Championship

Pilotes

Notes et références

Lien externe

 ;

Écurie de sport automobile aux États-Unis
Écurie d'endurance

GMG Racing


William M. Ireland (died December 24, 1891) was one of the eight founders of the National Grange of the Order of Patrons of Husbandry, a fraternal organization in the United States.

Biography
Ireland was born in Pennsylvania but lived most of his life in Washington, D.C., as chief clerk in the offices of the U.S. Post Office Department. When the National Order of the Grange of Patrons of Husbandry was founded in 1866, Ireland served as the first treasurer until 1870. He was an avid Freemason, Ireland added valuable knowledge to organizational systems and methods in the formative period of the Grange movement. His ability to be a critic and adviser in setting up the work of the Grange created a balance of knowledge and inspiration. His accounting abilities also aided in the system of financial policy within the Grange. He died on December 24, 1891, and was buried in Mount Vernon Cemetery in Philadelphia.

The other founders of the Grange were Oliver Hudson Kelley, William Saunders, Francis M. McDowell, John Trimble, Aaron B. Grosh, John R. Thompson and Caroline A. Hall.

The first subordinate grange was founded in Washington, D.C., on January 8, 1868, and Ireland served as the schoolmaster.

Ireland was responsible for the publication of The Journals of Proceedings for the organization and compiled ten annual sessions from 1875 to 1883.

At the twelfth session of the Grange, Ireland was elected to fill the remaining term as secretary and was re-elected three times afterward.

Citations

Year of birth unknown
1891 deaths
Burials at Mount Vernon Cemetery (Philadelphia)
National Grange of the Order of Patrons of Husbandry
People from Pennsylvania
United States Postal Service people

William M. Ireland


Halt im Gedächtnis Jesum Christ (BWV 67) ist eine Kirchenkantate von Johann Sebastian Bach. Er schrieb sie in Leipzig für Quasimodogeniti, den 1. Sonntag nach Ostern, und führte sie am 16. April 1724 zum ersten Mal auf.

Geschichte und Worte
Bach komponierte die Kantate in seinem ersten Jahr in Leipzig, nach seiner Johannes-Passion, für den Sonntag Quasimodogeniti. Die vorgeschriebenen Lesungen für den Sonntag waren , "unser Glaube ist der Sieg, der die Welt überwunden hat", und , die Erscheinung Jesu bei den Jüngern in Jerusalem nach seiner Auferstehung, erst ohne Thomas, dann mit ihm. Der unbekannte Textdichter beginnt mit einem Vers aus dem 2. Brief an Timotheus (). Der Dichter sieht die Analogie von Thomas und dem zweifelnden Christen allgemein.

In der Mitte der Kantate steht das Osterlied Erschienen ist der herrlich Tag von Nikolaus Herman (1560), das den Tag der Auferstehung preist. Satz 5 sieht im Gegensatz dazu die Gefahr durch die Feinde, bis in Satz 6 Jesus erscheint, wie den Jüngern in Jerusalem, und Frieden bringt. Die Zeile "Friede sei mit euch" erscheint in vier Abschnitten, die drei Strophen eines Gedichts rahmen. Der Schlusschoral ist die 1. Strophe von Jakob Eberts Lied "Du Friedefürst, Herr Jesu Christ", das Bach später in der gleichnamigen Choralkantate BWV 116 bearbeitete.

Besetzung und Aufbau
Die Kantate ist besetzt mit drei Vokalsolisten (Alt, Tenor und Bass), vierstimmigem Chor, Corno da tirarsi, Flauto traverso, zwei Oboe d'amore, zwei Violinen, Viola und Basso continuo.

 Coro: Halt im Gedächtnis Jesum Christ
 Aria (Tenor): Mein Jesus ist erstanden
 Recitative (Alto): Mein Jesu, heißest du des Todes Gift
 Choral: Erschienen ist der herrlich Tag
 Recitative (Alto):  Doch scheinet fast
 Aria (Bass, Coro): Friede sei mit euch
 Choral: Du Friedefürst, Herr Jesu Christ

Musik
Der Eingangschor wie auch die gesamte Kantate betrachtet den Konflikt von Hoffnung und Auferstehung einerseits, Gedächtnis und Zweifel andererseits. Der Chorsatz ist symmetrisch in sieben Abschnitte gegliedert, beginnend mit einer instrumentalen Sinfonia aller Instrumente. Dabei stellt das Horn ein Thema vor, das für das Gedenken an den Tod Jesu steht und an die Melodie des Passionschorals "O Lamm Gottes, unschuldig" erinnert, den Bach später als Cantus firmus im Eingangschor seiner Matthäus-Passion einsetzte. Im zweiten Abschnitt singt der Sopran diese Melodie, die Unterstimmen betonen durch mehrfache homophone Einwürfe das Wort "Halt". Im dritten Abschnitt wiederholt der Sopran die Melodie, während zunächst der Alt als Kontrasubjekt einer Fuge ein Thema vorträgt, das die Auferstehung darstellt durch eine belebte aufwärts geführte Bewegung, die mehr als eine Oktave umspannt. Der zentrale vierte Abschnitt wiederholt die Sinfonia mit eingebettetem Chor, die Abschnitte 5 bis 7 wandeln die Abschnitte 2 bis 4 ab.

Die Tenor-Arie Mein Jesus ist erstanden wird von einer obligaten Oboe d'amore begleitet. Das Thema wird von den Streichern vorgestellt und von der Gesangsstimme aufgenommen, dabei erscheint ein Lauf nach oben auf dem Wort "auferstanden". Die erste Strophe des Osterlieds Erschienen ist der herrlich Tag steht in der Mitte der Komposition, eingefasst durch zwei Alt-Rezitative.

Satz 6 stellt noch stärker einen Sänger dem Chor gegenüber. Die Streicher leiten ein mit einer Sinfonia, "deren heftige Bewegung den Ansturm des Feindes abbildet". In starkem Kontrast zu ihrem forte im 4/4 Takt erscheint im piano, 3/4 Takt und begleitet von sanft punktierten Rhythmen der Holzbläser der Bass als die Vox Christi und singt dreimal den Gruß, den Jesus in Vers 19 des Evangeliums an die Jünger richtet: "Friede sei mit euch". Darauf antworten die drei Oberstimmen des Chores zur Musik der Einleitung und erkennen Jesus als Helfer im Kampf: "hilft uns kämpfen und die Wut der Feinde dämpfen". Friedensgruß und Antwort wiederholen sich zwei weitere Male, in der zweiten Chorstrophe heißt es "erquicket in uns Müden Geist und Leib zugleich" und in der dritten "durch den Tod hindurch zu dringen". Im abschließenden letzten Friedensgruß spielen die Streicher mit den Holzbläsern als Symbol des Friedens. Bach arbeitete diesen Satz zum Gloria seiner Missa A-Dur, BWV 234, um. Die Kantate wird beschlossen mit einem vierstimmigen Satz des Chorals Du Friedefürst, Herr Jesu Christ.

Einspielungen
LP / CD
 Historic Bach Cantatas (Karl Straube, 1931). Karl Straube, Thomanerchor, Gewandhausorchester, Dorothea Schröder, Hans Lissmann. Bach Archiv Leipzig, 1931.
 Bach: Cantatas No. 67 & 11, from cantata No. 147. Reginald Jacques, The Cantata Singers, The Jacques Orchestra, Kathleen Ferrier, William Herbert, William Parsons. Decca Ace of Clubs, London 1949.
 Bach Made in Germany Vol. 1 – Cantatas IV. Günther Ramin, Thomanerchor, Gewandhausorchester, Gertrud Wagner, Gert Lutze, Johannes Oettel. Eterna, 1954.
  J. S. Bach: Cantatas BWV 67, 108 & 127. Karl Richter, Münchener Bach-Chor, Bayerisches Staatsorchester, Lilian Benningsen, Peter Pears, Kieth Engen. Teldec, 1958.
 Les Grandes Cantates de J. S. Bach, Vol. 7. Fritz Werner, Heinrich-Schütz-Chor Heilbronn, Pforzheimer Kammerorchester, Marga Höffgen, Helmut Krebs, Franz Kelch. Erato, 1960.
 Ansermet conducts Bach Cantatas No. 130, No. 67, excerpts from No. 101. Ernest Ansermet, Chœur Pro Arte de Lausanne, L'Orchestre de la Suisse Romande, Helen Watts, Werner Krenn, Tom Krause. Decca, 1968.
 J. S. Bach: Das Kantatenwerk – Sacred Cantatas, Vol. 4. Gustav Leonhardt, Knabenchor Hannover, Collegium Vocale Gent, Leonhardt-Consort, Paul Esswood, Kurt Equiluz, Max van Egmond. Teldec, 1976.
  J. S. Bach: Complete Cantatas, Vol. 7. Ton Koopman, Amsterdam Baroque Orchestra & Choir, Elisabeth von Magnus, Gerd Türk, Klaus Mertens. Antoine Marchand, 1997.
 Lecture Concerts – New Recordings Cantatas. Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Ingeborg Danz, James Taylor, Michael Volle. Hänssler, 1998.
 Bach Cantatas, Vol. 23: Arnstadt/Echternach / For the 1st Sunday after Easter (Quasimodogeniti) / For the 2nd Sunday after Easter (Misericordas Domini). John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Daniel Taylor, Charles Daniels, Stephen Varcoe. Soli Deo Gloria, 2000.
 J. S. Bach: Cantatas Vol. 18 – Cantatas from Leipzig 1724 – BWV 66, 67, 134. Masaaki Suzuki, Bach Collegium Japan, Robin Blaze, Makoto Sakurada, Peter Kooij. BIS, 2001.
 J. S. Bach: Cantatas for the Complete Liturgical Year, Vol. 11. Sigiswald Kuijken, La Petite Bande,  Gerlinde Sämann, Petra Noskaiová, Christoph Genz, Jan van der Crabben. Accent, 2008.

DVD
 Halt im Gedächtnis Jesum Christ. Kantate BWV 67. Rudolf Lutz, Chor und Orchester der J. S. Bach-Stiftung, Margot Oitzinger, Bernhard Berchtold, Dominik Wörner. Samt Einführungsworkshop sowie Reflexion von Manfred Koch. Gallus Media, 2015.

Literatur
 Alfred Dürr: Johann Sebastian Bach: Die Kantaten. Bärenreiter, Kassel 1999, ISBN 3-7618-1476-3.
 Werner Neumann: Handbuch der Kantaten Johann Sebastian Bachs. 1947. 5. Auflage: 1984, ISBN 3-7651-0054-4.
 Hans-Joachim Schulze: Die Bach-Kantaten: Einführungen zu sämtlichen Kantaten Johann Sebastian Bachs. Evangelische Verlags-Anstalt, Leipzig, ISBN 3-374-02390-8; Carus-Verlag, Stuttgart 2006 (Edition Bach-Archiv Leipzig), ISBN 3-89948-073-2.
 Christoph Wolff, Ton Koopman: Die Welt der Bach-Kantaten. Verlag J. B. Metzler, Stuttgart/Weimar 2006, ISBN 3-476-02127-0.

Weblinks

 Halt im Gedächtnis Jesum Christ. Bach.de
  Text, Aufbau und Besetzung auf der persönlichen Homepage von Walter F. Bischof bei der University of Alberta

Einzelnachweise

Bachkantate
Musik 1724
Chorwerk aus dem 18. Jahrhundert
Musik (Ostern)

Halt im Gedächtnis Jesum Christ


Universitatea din Basel (în ) este  o instituție de învățământ superior din Basel. Este cea mai veche universitate din Elveția. Clasamentul academic al universităților din lume în 2011 a plasat Universitatea din Basel pe locul 86. Universitatea este inclusă în asociația universităților din Europa, Rețeaua Utrecht de cooperare europeană interuniversitară.

În 2016, Universitatea acea 12.852 de studenți și 377 de profesori. 24% dintre studenți erau din alte țări.

Istorie
Fondarea acestei Universități a fost propusă de Papa Pius al II-lea la 12 noiembrie 1459 printr-o bulă papală. A fost fondată la 4 aprilie 1460. Inițial, universitatea avea patru facultăți tradiționale: arte liberale, medicina, dreptul și teologia. În 1622 a fost înființată biblioteca universitară. Astăzi este cea mai mare din Elveția. În 1818, Facultatea de Arte Liberale a fost reorganizată. O altă reorganizare a avut loc în 1937. Din 1890, femeile au avut posibilitatea să studieze la această universitate.

În cei 500 de ani de istorie ai săi, Universitatea a fost casă pentru Erasmus din Rotterdam, Paracelsus, Daniel Bernoulli, Leonhard Euler, Jacob Burckhardt, Friedrich Nietzsche, Tadeusz Reichstein, Karl Jaspers, Carl Gustav Jung, Karl Barth și Jeanne Hersch. Nouă câștigători ai Premiului Nobel au studiat la această Universitate și doi președinți ai Confederației Elvețiene.

Structură

 Facultatea de Drept
 Facultatea de Afaceri și Economie
 Facultatea de Medicină
 Facultatea de Psihologie
 Facultatea de Teologie
 Facultatea de Filosofie și Științe Naturale
 Facultatea de Filosofie și Istorie

Note

Bibliografie
 Edgar Bonjour: Die Universität Basel von den Anfängen bis zur Gegenwart 1460–1960. Basel 1960; 2. Auflage. Helbing und Lichtenhahn, Basel 1971.
 Albrecht Burckhardt: Geschichte der Medizinischen Fakultät zu Basel 1460–1900. Basel 1917.
 Franz Egger: Die Universität Basel. Hauptdaten ihrer Geschichte 1460–2010. Reinhardt, Basel 2010, ISBN 978-3-7245-1667-5.
 Mario König: In eigener Sache. Die Universität Basel unterwegs zu Autonomie und neuer Trägerschaft 1985–2010 (= Quellen und Forschungen zur Geschichte und Landeskunde des Kantons Basel-Landschaft. Vol. 89). Verlag des Kantons Basel-Landschaft, Liestal 2010, ISBN 978-3-85673-282-0.
 Georg Kreis: Die Universität Basel 1960–1985. Hrsg. von der Akademischen Zunft anlässlich ihres 150-jährigen Bestehens als Festgabe an die Universität. Helbing und Lichtenhahn, Basel, Frankfurt am Main 1986, ISBN 3-7190-0945-9.
 Georg Kreis: Orte des Wissens. Die Entwicklung der Universität Basel entlang ihrer Bauten. Merian, Basel 2010, ISBN 978-3-85616-505-5.
 Guy Paul Marchal: Kleine Geschichte des Historischen Seminars der Universität Basel; in: Basler Zeitschrift für Geschichte und Altertumskunde, 113, 2013, S. 11–52; ISSN 0067-4540.
 Andreas Staehelin: Geschichte der Universität Basel 1632–1818. 2 Volume. Basel 1957.
 Andreas Staehelin: Geschichte der Universität Basel 1818–1835. Basel 1959.
 Andreas Staehelin (Editor): Professoren der Universität Basel aus fünf Jahrhunderten. Bildnisse und Würdigungen. Basel 1960.
 Albert Teichmann: Die Universität Basel in den fünfzig Jahren seit ihrer Reorganisation im Jahre 1835. Schultze'sche Universitäts-Buchdruckerei (F. Reinhardt), Basel 1885.
 Rudolf Thommen: Geschichte der Universität Basel 1532–1632. Basel 1889 (online)
 Wilhelm Vischer: Geschichte der Universität Basel von der Gründung 1460 bis zur Reformation 1529. Basel 1860.
 Hans Georg Wackernagel (Editor): Die Matrikel der Universität Basel [1460–1817/18]. 5 Volume. Verlag der Universitätsbibliothek, Basel 1951–1980.

Legături externe
 http://www.unibas.ch/en.html Site-ul oficial (engleză)

Basel
Basel
Fondări în 1460

Universitatea din Basel


John Paul Fruttero (* 30. April 1981 in Montebello) ist ein ehemaliger US-amerikanischer Tennisspieler.

Karriere
Fruttero war vor allem auf der Challenger Tour aktiv und konnte auf dieser drei Doppeltitel gewinnen. In den Jahren 2011 und 2012 gewann er diese mit seinem Partner Raven Klaasen, mit dem er außerdem in diesem Zeitraum in fünf weiteren Finals stand. Auf der ATP World Tour gab er 2005 in Bangkok sein Debüt, unterlag allerdings in der ersten Runde dem Spanier Guillermo García López. Dies blieb sein einziges Spiel im Einzel auf der World Tour. Bei Grand Slams konnte er sich nie für ein Hauptfeld qualifizieren. Seine letzte Saison bestritt er 2012.

Erfolge

Doppel

Turniersiege

Weblinks

Tennisspieler (Vereinigte Staaten)
College-Tennis-Spieler
US-Amerikaner
Geboren 1981
Mann

John Paul Fruttero