Svemirske letjelice, koje se nalaze u unutrašnjem području Sunčevog sustava, oslanjaju se na solarne fotonaponske ćelije koje koriste sunčevu svjetlost za generiranje električne energije. Dobivena električna energija koristi se za ispravan rad svemirske letjelice. Kako se jačina sunčeve svjetlosti smanjuje s udaljenošću od Sunca, sve svemirske letjelice koje se nalaze u vanjskom dijelu Sunčevog sustava koriste termoelektrične generatore kao izvor energije, jer je sunčeva svjetlost preslaba za proizvodnju potrebne količine energije pomoću fotonaponskih ćelija.

Povijest

Začetnik korištenja solarnih ćelija na svemirskih letjelica bio je njemački inženjer Dr. Hans K. Ziegler. Dolaskom u Sjedinjene Američke Države počinje raditi u laboratoriju američke vojske u New Jerseyu, gdje se zalaže za uvođenje solarnih ćelija kao izvora energije svemirskih letjelica.
Prva svemirska letjelica koja je koristila solarne ćelije, a na kojoj je radio i sam Hans Ziegler, zvala se "Vanguard 1". Imala je 6 solarnih ćelija kvadratnog oblika. Lansirana je 1958. godine od strane Sjedinjenih Američkih Država.

Upotreba

Solarne ploče opskrbljuju svemirske letjelice energijom zbog tri osnovna razloga:
energije potrebna za rad podsustava
energija potrebna za pogon
energija potrebna za punjenje baterija

Energija potrebna za rad podsustava

Budući da na svemirskim letjelicama imamo veliki broj podsustava koji zahtijevaju energiju za ispravan rad, dio prikupljene energije mora biti odvojen isključivo za njih. Neki od tih podsustava su:

 podsustav za održavanje života
 Osigurava sve potrebne resurse za održavanje života u svemiru

 podsustav za kontrolu temperature
 Služi za reguliranje temperature unutar prihvatljivih granica. Mora biti prilagodljiv utjecajima okoline na temperaturu, koja može varirati ovisno o okolini u kojoj se svemirska letjelica nalazi, te moći regulirati stvorenu toplinu od same svemirske letjelice.

 podsustav za Daljinsko mjerenje
 Služi za prikupljanje i prijenos podataka

 podsustav za komunikaciju

 Koriste se za komunikaciju između zemaljskih postaja, te za komunikaciju između samih svemirskih letjelica.

Energija potrebna za gibanje
 Sve metode koje služe za pokretanje svemirskih letjelica zahtijevaju određenu količinu energije. Dva često korištena pogona svemirskih letjelica su:
Ionski pogon
 Vrsta je pogona koji stvara potisnu silu ioniziranjem pogonskog goriva, dodavanjem ili oduzimanjem elektrona, tako stvarajući električki nabijene čestice.
Žiroskopski stabilizatori
 Vrsta su uređaja koji reguliraju orijentaciju prema referentnom objektu. Kada zbog vanjskih utjecaja dođe do zakreta rotora, koji se nalazi unutar uređaja, stvara se moment koji uzrokuje rotaciju svemirske letjelice u suprotnom smjeru tako zadržavajući početnu orijentaciju. Jedna od praktičnih primjena je na svemirskom teleskopu Hubble.

Energija potrebna za punjenje baterija
 Nizovi solarnih ćelija nisu uvijek okrenuti prema Suncu, te samim time ne mogu uvijek prikupljati sunčevu energiju. Kako bi i u tom slučaju svi sustavi i podsustavi svemirskih letjelica radili, moramo imati izvor električne energije koji je skladišten u obliku baterija.

Tri su osnovne veličine koje koristimo kako bi kvantificirali kvalitetu solarnih ćelija, a to su:
Specifična snaga koja nam govori koliko energije proizvodi jedan niz solarnih ćelija za određeno vrijeme rada,
Gustoća rasporeda solarnih ćelija koja nam govori koliko lako će niz solarnih ćelija stati u transportno sredstvo
Cijena

Primjena
Solarne ploče moraju imati velike površine usmjerene prema Suncu. Što veća površina označava mogućnost pretvorbe veće količine sunčeve svjetlosne energije u električnu energiju. Ne možemo imati beskonačno veliku površinu solarnih ploča, jer je jedan od uvjeta svemirskih letjelica veličina. To znači da je ograničena količina energije koju možemo proizvesti. Svemirske letjelice se grade tako da mogu okretati solarne ploče. Na ovaj način solarne ploče mogu se u svakom trenutku nalaziti na direktnoj putanji sunčeve svjetlosti, a samim time i točno okrenute prema Suncu, neovisno o kretnji svemirske letjelice.  U slučaju da su sve baterije potpuno napunjene i potrebna količina električne energije je manja od količine proizvedene energije, solarne ploče se namjerno zakreću od Sunca; kako ne bi bile direktno okrenute prema Suncu.

Vrste solarnih ćelija

Osnovna vrsta solarne ćelije koja se koristi u svemiru je Galij-arsenidna ćelija (GaAs). Nastala je iz solarne ćelije sa silicijskom bazom. Galij-arsenidna ćelija ima bazu od galijevog arsenida i koristi se zbog puno više korisnosti i sporijeg raspadanja zbog radijacija u svemiru. Najefikasnija solarna ćelija je više-slojna fotonaponska ćelija. Ova vrsta ćelije se sastoji od većeg broja veza napravljenih od različitih poluvodičkih elemenata. Jedan od ciljeva većeg broja slojeva je da apsorbiraju više energije iz spektra sunčeve svjetlosti i samim time povećavaju korisnost

Budućnost
Napredak leži u smanjenju mase solarnih ploča te povećanju dobivene energije. Masu solarnih ploča možemo smanjiti konstruiranjem kompozitnije nosive strukture dok povećanje dobivene energije leži u korištenju novih materijala za fotonaponske ćelije te naprednijih usmjerivača sunčeve svjetlosti, nazvanih SLA-Stretched lens array, koji se temelje na Fresnelovim zrcalima. Poboljšavanjem usmjerivača sunčeve energije možemo smanjiti količinu potrebnih fotonaponskih ćelija, a samim time i cijenu jer su fotonaponske ćelije najskuplji dio solarnih ploča.

Izvori

Sunčeva energija

Solarni paneli na svemirskim letjelicama


Der Dolmen von Stenvad ist ein Großsteingrab. Es liegt am Stendyssevej, etwa 1,5 km nordwestlich von Stenvad im Norden der ostjütländischen Halbinsel Djursland. Das Großsteingrab stammt aus der Jungsteinzeit etwa 3500–2800 v. Chr. und ist eine Megalithanlage der Trichterbecherkultur (TBK).

Die Gegend ist reich an Dolmen und bildet in vielerlei Hinsicht das nördliche Gegenstück zu der Konzentration um das 20 km entfernte Nødager, südlich des Kolindsund. Das Gebiet war im Neolithikum eine Insel.

Beschreibung
Der Dolmen ist eine von zwei Anlagen, die in einem etwa 19 m langen und 11 m breiten Nordost-Südwest orientierten Hünenbett lagen. Im südwestlichen Teil liegen die kärglichen Überreste eines zweiten Dolmens. Ein Detail dieser Struktur ist der erhaltene Schwellenstein am Übergang zwischen Kammer und Gang.

Die erhaltene Kammer ist ein hexagonaler Polygonaldolmen, dessen Grundriss von den fünf großen Tragsteinen (drei davon tragend) und dem Schwellenstein im Zugang gebildet wird. Hexagonale Kammerrundrisse haben z. B. auch die Dolmen am Sognevejen in Nødager oder der Dolmen von Grovlegård. Das herausragende Merkmal ist der für Polygonaldolmen charakteristische, hier ausgeprägt übergroße, waagerecht aufliegende Deckstein. Von den Randsteinen des abgetragenen Hügels sind noch einige übrig.

Der Dolmen von Stenvad ist undatiert, da keine archäologische Ausgrabung durchgeführt wurde. Die typischen Grabbeigaben in diesen Dolmen sind polierte Beile, die jungsteinzeitlichen "Markenzeichen", Abschläge aus Feuerstein und reich verzierte Keramik der TBK.

50-Kronen-Schein
Der malerische Dolmen diente dem Zeichner Ib Andersen (1907–1969) als Vorlage für die Gestaltung der 50-Kronen-Banknote, die von 1957 bis 1975 in Umlauf war. Darum heißt er heute auch gern 50 Kroner Dysse.

Siehe auch
 Nordische Megalitharchitektur
 Großsteingräber in Dänemark

Literatur
 Ingrid Falktoft Anderson: Vejviser til Danmarks oldtid 1994, ISBN 87-89531-10-8, S. 160, 177
 Klaus Ebbesen: Danmarks megalitgrave. Band 2: Katalog. Attika, Kopenhagen 2008, ISBN 978-87-7528-731-4 Nr. 3630
 Poul Henning Jensen: Natur- und Kulturführer für den Kreis Århus. Kreis Århus, Højbjerg 1997, ISBN 87-90099-21-4.
 Karsten Kristiansen: På tur i Djurslands Fortid. Århus Amt – Landskabskontoret, Århus 1991 (Revideret, 3. oplag. ebenda 2002, ISBN 87-7906-246-6).
 Karsten Kjer Michaelsen: Politikens bog om Danmarks oldtid. Kopenhagen 2002 ISBN 87-567-6458-8, S. 117
 Jakob Vedsted: Fortidsminder og kulturlandskab. En kildekritisk analyse af tragtbaegerkulturens fundmateriale fra Norddjursland. Forlaget Skippershoved, Ebeltoft 1986, ISBN 87-981329-5-4 S. 60–61

Einzelnachweise

Weblinks

 Stenvad dysse (dänisch)
 Der Dolmen von Stenvad auf Grosssteingraeber.de

Stenvad
Stenvad
Bauwerk in Norddjurs Kommune
Stenvad
Geographie (Norddjurs Kommune)
Grabbau in Europa
Archäologischer Fundplatz in Europa

Dolmen von Stenvad


Raymond (engleski Raymond of Poitiers, francuski Raimond de Poitiers) (1099. – 29. lipnja 1149.), čitaj Remon od Poatjea, knez Antiohije od 1136. do 1149. koji se uspješno odupruo pokušajima bizantskog cara Ivana II. Komnena da uspostavi kontrolu nad njegovom kneževinom.

Životopis

Raymond je bio mlađi sin Vilima VII., grofa Poitiersa, u zapadnosredišnjoj Francuskoj. Godine 1135. jeruzalemski kralj Fulk, regent Antiohije (1131. – 1136.) u ime Konstance, jedine kćeri Bohemunda II. poslao je izaslanike da joj ponudi brak s Raymondom, koji je tada bio na dvoru engleskog kralja Henrika I. Raymond je stigao u Antiohiju u travnju 1136. i oženio devetogodišnju Konstancu te postao knez Antiohije.

Bizantsko Carstvo je zahtijevalo Antiohiju još od Prvog križarskog rata (1095. – 1099.), kada su križari obećali uručiti grad carstvu, ali su ga zadržali za sebe. U kolovozu 1137. car Ivan II. Komnen stigao je u Antiohiju i prisilio Raymonda da pristane na predaju Antiohije u zamjenu za područje oko Alepa, koje je tek trebalo zauzeti od muslimana. U travnju i svibnju 1138. Raymond i Ivan borili su se s muslimanima s djelomičnim uspjehom. Ivan je s vojskom svečano ušao u Antiohiju, ali Raymond je uspio izbjeći Ivanov zahtjev za kontrolu tvrđave pa je Ivan uskoro otišao.

U rujnu 1142. Ivan, koji je bio u kampanji u Siriji, ponovno je zahtijevao predaju Antiohije u zamjenu za još neosvojenu kneževinu. Raymond je istjerao Bizantince iz Antiohije, koji su se pripremili za napad na grad. Ivan umire u travnju 1143., a Raymond, pokušavajući iskoristiti Ivanovu smrt, napada Ciliciju na sjeveru, ali je odbačen i otjeran u Antiohiju. Bizantske su trupe zatim opustošile zemlju sjeverno od grada, dok je njihova flota pljačkala obalu kneževine. Sljedeće godine Edesa je pala u ruke muslimane, izlažući Antiohiju napadima sa sjeveroistoka. Stoga je Raymond posjetio Carigrad 1145. kako bi se pomirio s Ivanovim nasljednikom Manuelom I Komnenom.

U proljeće 1148. u Antiohiju je stigao francuski kralj Luj VII., jedan od vođa Drugoga križatskog rata, zajedno sa suprugom Eleanor Akvitanskom. Raymond je mudro nagovarao Luja za napad Alep, sjevernu sirijsku bazu muslimanskog vođe Nur ad-Dina. Međutim, zbog vjerskih razloga, Luj je odlučio krenuti prema Jeruzalemu i Svetom grobu. Raymondov odnos s Eleonorom, njegovom nećakinjom, izazvao je skandalozne glasine. Kada je Eleanor stala na ujakovu stranu u vezi s napadom na Alep, Luj ju je stavio pod kućni pritvor i odveo sa svojom vojskom u Jeruzalem. Raymond je sa znatno slabijom vojskom sam krenuo na Alep. Ubijen u bitci kod Inaba, 29. lipnja 1149.

Izvori

Poitiers od Antiohije
Križari

Raymond od Poitiersa


Aliefendi, Antalya ilinin Alanya ilçesine bağlı bir mahalledir.

Coğrafya
Antalya iline 167 km, Alanya ilçesine 29 km uzaklıktadır.

Kaynakça

Dış bağlantılar
 Yerelnet

Alanya'nın mahalleleri

Aliefendi, Alanya


An Vriesea sucrei in uska species han Liliopsida nga ginhulagway ni Lyman Bradford Smith ngan Robert William Read. An Vriesea sucrei in nahilalakip ha genus nga Vriesea, ngan familia nga Bromeliaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Vriesea

Vriesea sucrei


Es'kia Mphahlele (17 December 1919 – 27 October 2008) was a South African writer, educationist, artist and activist celebrated as the Father of African Humanism and one of the founding figures of modern African literature.

He was given the name Ezekiel Mphahlele at birth but changed his name to Es'kia in 1977. His journey from a childhood in the slums of Pretoria to a literary icon was an odyssey both intellectually and politically. As a writer, he brought his own experiences in and outside South Africa to bear on his short stories, fiction, autobiography and history, developing the concept of African humanism. He skilfully evoked the black experience under apartheid in Down Second Avenue (1959). It recounted his struggle to get an education and the setbacks he experienced in his teaching career.

Mphahlele wrote two autobiographies, more than 30 short stories, two verse plays and a number of poems. He is deemed as the "Dean of African Letters".

He was the recipient of numerous international awards. In 1984, he was awarded the Order of the Palm by the French government for his contribution to French Language and Culture. He was the recipient of the 1998 World Economic Forum Crystal Award for Outstanding Service to the Arts and Education. In 1998, former President Nelson Mandela awarded Mphahlele the Order of the Southern Cross, then the highest recognition granted by the South African Government (equivalent today to the Order of Mapungubwe).

Biography

Family life

Es'kia Mphahlele was born in Pretoria, in the Union of South Africa, in 1919. From the age of five, he lived with his paternal grandmother in Maupaneng Village, in GaMphahlele (Now in Lepelle-Nkumpi Municipality) Limpopo Province, where he herded cattle and goats. His mother, Eva, took him and his two siblings to go live with her in Marabastad (2nd Avenue) when he was 12 years old.

He married Rebecca Nnana Mochedibane, whose family was a victim of forced removals in Vrededorp, in 1945 (the same year his mother died). A qualified social worker with a diploma from Jan Hofmeyer School, in Johannesburg, she and Mphahlele would have five children. When he went into exile from South Africa, he left behind his entire extended family, except for his wife and children, going for years without seeing them. While in Nigeria, he once tried taking advantage of a British passport before Nigerian independence. He applied for a visa through the consulate in Nairobi, in order to visit his younger brother Bassie (Solomon) who was ill with throat cancer, but his application was turned down.

Rebecca Nnana Mochedibane (Mphahlele)

Rebecca was born in Sophiatown. She first qualified as a teacher before pursuing a social work diploma. She remembered meeting Zeke, and being very impressed by him: "The other young men were not readers and I could not relate to them. They could not relate to the outside world through literature." The couple met when Mphahlele was working at the Blind Institute, in Roodepoort. A group of teacher students had come to visit the institute where they read books to the elderly. Es'kia was impressed and requested to visit Rebecca in her hometown during the holidays. It was Rebecca's final year at the training college. The couple decided on 29 August 1945 as their wedding date. Mphahlele's mother had fallen sick, and died at the age of 45, just before the couple got married.

"For her part, Rebecca, always busy with the kids, survived by her own ingenuity and native practical sense, by her outgoing temperament. She has always been able to bulldoze into a new community, let people know what her intentions are, openly tell them what she likes and what she doesn't, without being either rude or patronising" –Es'kia Mphahlele.

In Kenya, she worked as a social worker in the U.N. Freedom From Hunger Campaign, in charge of their educational programme.

She read for her MA in Social Work at the University of Denver.

As a student

At the age of 15, Mphahlele began attending school regularly and enrolled at St Peters Secondary School, in Rosettenville (Johannesburg). He finished high school by private study. That became his learning method until his PhD qualification. He obtained a First-Class Pass (Junior Certificate). He received his Joint Matriculation Board Certificate from the University of South Africa in 1943. While teaching at Orlando High School, Mphahlele obtained his B.A. in 1949 from the University of South Africa, majoring in English, Psychology and African Administration. In 1955, he received his Honours degree in English from the same institution. While working at Drum magazine, Mphahlele made history by becoming the first person to graduate M.A. with distinction at UNISA, in 1957. His thesis was entitled "The Non-European Character in South African English Fiction".

From 1966 to 1968, under the sponsorship of the Farfield Foundation, Mphahlele became a Teaching Fellow in the Department of English at the University of Denver, Colorado, where he earned his PhD in Creative Writing. In lieu of a thesis, he wrote a novel entitled The Wanderers. He was subsequently awarded First Prize for the best African novel (1968–69) by African Arts magazine at the University of California, Los Angeles.

As an educator

Mphahlele obtained his Teacher's Certificate at Adams College in 1940. He served at Ezenzeleni Blind Institute as a teacher and a shorthand-typist from 1941 to 1945. He and his wife moved their family to Orlando East, near the historic Orlando High School, in Soweto as he joined the school in 1945 as an English and Afrikaans teacher. There, in the company of many freshly-minted from Fort Hare young teachers, he became active in the Transvaal African Teachers' Association (TATA). The 1949 Eislen Commission on Native Education, inspired by Dr. Hendrik Verwoerd, the recently elected National Party's Minister of Native Affairs, had recommended a radically new system of Education for Africans. TATA, together with other teachers' organisations in the Cape, the Free State and Natal, took up the cudgels to oppose it. For his participation in that agitation, in December 1952 Mphahlele, Isaac Matlare and Zephania Mothopeng were dismissed from their posts. Mphahlele's protest against the introduction of Bantu Education resulted in his teaching career being cut short.

He was banned from teaching anywhere in South Africa by the apartheid government. He left South Africa and went into exile. His first stop was Nigeria, where he taught in a high school for 15 months, then at the University of Ibadan, in their extension programme. He also worked at the C.M.S. Grammar School, in Lagos. He worked in the Department of Extra-Mural Studies at the University of Ibadan, travelling to various outlying districts to teach adults. While based in Paris, he became a visiting lecturer at the Massachusetts Institute of Technology. He also lectured in Sweden, France, Denmark, Finland, Germany, Sierra Leone, Ghana, Senegal and Nigeria. Mphahlele believed that alternative education can pave the way for a transformative and humane educational system for all.

Life in exile

Nigeria (1957–61)

Mphahlele spent 20 years in exile, of which he spent four years in Nigeria with his family. He wrote: "It was a fruitful experience. The people of Nigeria were generous. The condition of being an outsider was not burdensome. I had time to write and engage in the arts."  He was working with the best in Nigerian; playwright, poet and novelist Wole Soyinka; poets Gabriel Okara and Mabel Segun; novelist Amos Tutuola; sculptor Ben Enwonwu; and painters Demas Nwoko and Uche Okeke, and so on. His visits to Ghana became frequent as each trip added more literary giants to his list of networks and colleagues. The University of Ghana would invite him to conduct extramural writers' workshops. That is where he met Kofi Awoonor (then George Awoonor Williams), playwright Efua Sutherland, poet Frank Kobina Parkes, musicologist Professor Kwabena Nketia, historian Dr J. B. Danquah, poet G. Adali-Mortty and sculptor Vincent Kofi.

Mphahlele attended the first All-African Peoples' Conference organised by Kwame Nkrumah in Accra, Ghana, in December 1958. "Ghana was the only African country that had been freed from the European colonialism that had swept over the continent in the 19th century. Most of the countries represented at Accra were still colonies." Mphahlele recalls meeting with the late Patrick Duncan and Jordan Ngubane, who were representing the South African liberal view. It was at this conference that Mphahlele met Kenneth Kaunda, and listened to Frantz Fanon deliver a fiery speech against colonialism. Rebecca, his wife, returned to South Africa towards the end of 1959, to give birth to their last-born, Chabi. They returned in February 1960. They were in Nigeria when they heard about the Sharpeville Massacre. Mphahlele said: "Yes, Nigeria and Ghana gave Afrika back to me. We had just celebrated Ghana's independence, and were three years away from Nigeria's."

France (1961–63)

Mphahlele moved his family to France in August 1961, their second major move. He was appointed as the Director of the African Program of The Congress for Cultural Freedom and went to Paris. They lived on Boulevard du Montparnasse, just off St. Michel, a few blocks from the Le Select and La Coupole restaurants. Their apartment was soon to become a kind of crossroads for writers and artists: Ethiopian artist Skunder Boghossian; Wole Soyinka; Gambian poet Lenrie Peters; South African poet in exile Mazisi Kunene; Ghanaian poet and his beloved friend J. P. Clark; and Gerard Sekoto. It was during his stay in France when Mphahlele was invited by Ulli Beier and other Nigerian writers to help form the Mbari Writers and Artists Club in Ibadan. They raised money from Merrill Foundation in New York to finance Mbari Publications, a venture the club had undertaken. Work by Wole Soyinka, Lenrie Peters and others was first published by Mbari Publishers before finding its way to commercial houses. He edited and contributed to Black Orpheus, the Ibadan-based literary journal. He toured and worked in major African cities including Kampala, Brazzaville, Yaoundé, Accra, Abidjan, Freetown and Dakar. He also attended seminars connected with work in Sweden, Denmark, Finland, West Germany, Italy, and the US.

Mphahlele went on to set up an Mbari Centre in Enugu, Nigeria, under the directorship of John Enekwe. In 1962, at Makerere University, in Kampala, Uganda, they organised the first African Writers Conference, attended also by fellow South Africans Bob Leshoai, who was on tour, and Neville Rubin, who was editing a journal of political comment in South Africa. Two conferences, one in Dakar and another in Freetown were organised in 1963. Their aim was to throw into open debate the place of African literature in the university curriculum. They wanted to drum support up for the inclusion of African literature as a substantive area of study at university, where traditionally it was being pushed into extramural departments and institutes of African Studies. Mphahlele had only planned to stay in Paris for two years, after which he would return to teaching. Those experiences had made him yearn for the classroom again.

Kenya (1963–66)

John Hunt, the executive director of the Congress for Cultural Freedom suggested that Mphahlele establish a centre like the Nigerian Mbari in Nairobi. Mphahlele arrived in Nairobi in August 1963, and December had been set for Kenya's independence. By the time Rebecca and the children arrived, he had already bought a house. Prior to that, he had been housed by Elimo Njau, a Tanzanian painter. Njau suggested a name everyone liked – Chemchemi, Kiswahili for "fountain". Within a few months, they had converted a warehouse into offices, a small auditorium for experimental theatre and intimate music performances, and an art gallery. Njau ran the art gallery on a voluntary basis. He mounted successful exhibitions of Ugandan artists Kyeyune and Msango, and of his own work. "My soul was in the job. I was in charge of writing and theatre" (Mphahlele, Africa My Music).

Their participants were from the townships and locations that were a colonial heritage. Mphahlele would travel to districts to outside districts to run writers' workshops in schools that invited him, accompanied by the centre's drama group. Their travelling was well captured in Busara, edited by Ngugi wa Thiong'o and Zuka, edited by Kariara. When the Alliance High School for Girls (just outside Nairobi) asked him to write a play for its annual drama festival, in the place of the routine Shakespeare Mphahlele adapted Grace Ogot's "The Rain Came", a short story, and called it Oganda's Journey. "The most enchanting element in the play was the use of traditional musical idioms from a variety of ethnic groups on Kenya. A most refreshing performance, which exploited the girl's natural and untutored acting," he said. After serving for two years, he felt he done what he had come for, as he had indicated before taking the job that he would not stay for more than two years. He turned down a lecturing post at the University College of Nairobi. They could only offer him a one-year contract, which he could not take.

Colorado, US (1966–74)

In May 1966 Mphahlele moved his family to Colorado, where he was joining the University of Denver's English Department. Mphahlele was granted a tuition waiver by the university for the course work he had to do before he could be admitted for the PhD dissertation. He paid for the Afrikan Literature and Freshman Composition himself.

Philadelphia (1974–77)

The Mphahlele family arrived in Philadelphia in May 1974. Mphahlele was about to begin a lecturing career at the University of Pennsylvania in September of that year. They had bought a house in Wayne, some 24 kilometres from Philadelphia, on the Western Mainline.

Mphahlele spent his time in Philadelphia teaching, writing and never stopped thinking about going back home to South Africa. He recalled how since their days in Denver, he and Rebecca had longed to be in Africa again, and it had to be South Africa. They felt anything else would just be an adventure. They longed for community, a cultural milieu in which their work could be relevant. They were considered to have become British nationals, and had to approach the South African government through a single person in authority, Dr. C. N. Phatudi, the then Chief Minister of Lebowa, who had agreed to make representations on their behalf. As their application was being processed, which took more than five years, his books were still being banned in South Africa.

As a novelist and short-story writer

It was during his primary school days when he started rooting everywhere for newsprint to read. He recalled always looking for any old scrap of paper to read. He further recalled a small one-room tin shack the then municipality called a "reading room", on the western edge of Marbastad. He remembered it being stacked with dilapidated books and journals, junked by some bored ladies in the suburbs. He dug out of the pile Miguel de Cervantes' Don Quixote, and went through the whole lot like a termite, elated by the sense of discovery, recognition of the printed word and by the mere practice of the skill of reading. Cervantes stood out in his mind, although his imagination was also fired by the silent movies of the 1930s. He enjoyed a combination of Cervantes' Don Quixote and Sancho Panza together with Laurel and Hardy and Buster Keaton. Mphahlele would read the subtitles aloud to his friends who could not read well, amid the yells and foot stamping and bouncing on chairs to the rhythm of the action.

The 1959 publication of his autobiographical novel Down Second Avenue drew worldwide interest in Mphahlele as a writer, and focused a powerful spotlight on the internal dynamics of South Africa as it steadily drifted toward greater racial oppression and greater world isolation. Now a classic of African literature, Down Second Avenue had successful printings in English, French, German, Russian, Dutch and Japanese, reflecting the impact and international popularity of the book. Mphahlele's second novel, The Wanderers, was a story chronicling the experience of exiles in Africa.

While in Paris, Mphahlele published The Living and the Dead, in 1961. Six years later, in East Africa, he published In Corner B. The contents of both collections of short stories are included in The Unbroken Song (1986), which also contains some of his poems.

As part of his Master's thesis, in 1962 he published The African Image, which provides a historical perspective of South African literature. In 1967, he edited the anthology African Writing Today, which was published by Penguin. During his PhD, he produced The Wanderers, a novel of exile originally submitted as a dissertation for his PhD in creative writing. Down Second Avenue was doing so well such that it was translated into French and German in 1964. In December 1978, the Minister of Justice took Mphahlele's name off the list of writers who may be quoted, and whose works may not be circulated in the country. Only Down Second Avenue, Voices in the Whirlwind and Modern African Stories, which he had co-edited, could then be read in the country. Other publications remained banned.

The first comprehensive collection of his critical writing was published under the title ES'KIA in 2002, the same year that the Es'kia Institute was founded. Mphahlele's life and work is currently found in the efforts of a non-governmental, non-profit organisation based in Johannesburg.

Return to South Africa

Mphahlele set foot on South African soil on 3 July 1976, at the Jan Smuts Airport (now O. R. Tambo International Airport). He had been invited by the Black Studies Institute in Johannesburg to read a paper at its inaugural conference. He recalled: "I was emerging on to the concourse when I was startled by a tremendous shout. And they were on top of me – some one hundred Africans, screaming and jostling to embrace me, kiss me. Relatives, friends and pressmen from my two home cities – Johannesburg and Pretoria. I was bounced hither and thither and would most probably not have noticed if an arm or legs were torn off of me, or my neck was being wrung. Such an overwhelming ecstasy of that reunion. The police had to come and disperse the crowd as it had now taken over the concourse."

Mphahlele returned to Philadelphia on 27 July 1976, after three stimulating weeks in South Africa. He and Rebecca wrote letter after letter, yearning to return home.  Mphahlele believed there were armed with what was necessary to contribute towards building South Africa. He was certain that the social work and education knowledge and experience through their qualifications could be rewarding if they were part of a cultural matrix, and promoted the extension of culture, the growth of the people.

The Mphahleles officially returned to South Africa in 1977, on Rebecca's birthday (17 August). "When I came back, things were much worse. People were resisting what had become a more and more oppressive government. We came back at a dangerous time. It was a time when we knew we would not be alone, and that we would be among our people" (Mphahlele, 2002). Mphahlele waited for six months for the then University of the North to inform him whether he would get the post of English professor which was still vacant. The answer was "no". The government service of Lebowa offered him a job as an inspector of schools for English teaching. Rebecca had found a job as a social worker. In his autobiography Afrika My Music, he describes how the ten months of being an inspector were like. "I had the opportunity to of travelling the length and breadth of the territory visiting schools and demonstrating aspects of English teaching. I saw for myself the damage of Bantu Education had wrought in our schooling system over the last twenty-five years. Some teachers could not even express themselves fluently or correctly in front of a class, and others spelled words wrongly on the blackboard."

In 1979, he joined the University of the Witwatersrand (Wits University) as a senior research fellow at the African Studies Institute. He founded the Council for Black Education and Research, an independent project for alternative education involving young adults. He founded the department of African literature at Wits University in 1983, a significant event in the evolution of literature teaching in South Africa at the time. He became the institution's first black professor. He was permitted to honour an invitation from the then Institute for Study of English in Africa at Rhodes University. It was a two-month research fellowship where his proposal of finishing his memoir Afrika My Music, which he had begun in Philadelphia, was accepted.

After his retirement from Wits University in 1987, Mphahlele was appointed as the executive chairman of the board of directors at Funda Centre for Community Education. He continued visiting other universities as a visiting professor teaching mostly African Literature. He spent two months at Harvard University's Graduate School of Education teaching a module on secondary-school education in South Africa. With the end of apartheid, he emerged as an eloquent proponent of the need to nurture the arts to feed a culture traumatized by colonization and oppression. The Es'kia Institute is named after him, honouring his life, teachings and philosophies. His return home and contribution towards the development of the country and continent's literary development is still being celebrated in many forms, with some towns choosing to name significant streets after him.

Bibliography

Publications

Selected papers

References

1919 births
2008 deaths
Academic staff of the University of Ibadan
Academic staff of the University of the Witwatersrand
Anthologists
Massachusetts Institute of Technology faculty
Northern Sotho people
South African autobiographers
South African expatriates in France
South African expatriates in Kenya
South African expatriates in Nigeria
South African expatriates in the United States
South African schoolteachers
University of Denver alumni
University of South Africa alumni
Writers from Pretoria

Es'kia Mphahlele


Apalaş Dağları (İngilizce: Appalachian Mountains, Fransızca: Appalaches), Kuzey Amerika'da bir dağ dizisi.

Etimoloji
Apalaşlar eskiden sırf sıradağlar ismi olarak kullanılırken son yüzyıldan itibaren coğrafyacılar tarafından sıradağlarla birlikte bunların etrafında bulunan tepelere ve plato bölgelerinin de ismi olarak kullanılmaktadır. Ama genel konuşmalarda, Apalaşlar daha dar bir bölge ismi olarak kullanılır ve bu dar bölge Kentucky, Tennessee, Virginia, Batı Virginia ve Kuzey Carolina eyaletlerinin kısımları olarak kullanılmaktadır. Fakat bazen bu anlamda Apalaşlar'a kuzey Georgia ve batı Güney Karolina eyalet kısımları dahil edilir; hatta bazen kuzeyde Pensilvanya'ya ve batıda Ohio eyaleti güneydoğusu da bu Apalaş bölgesi içinde kabul edilir.

Coğrafi özellikleri
Bu dağların en önemli kısmı Amerika Birleşik Devletleri'nde bulunur ama küçük bir kısmı Kanada'dadır. Kuzeyde Kanada'da Newfoundland adasından başlayarak ABD'de merkezi Alabama eyaletine kadar uzanıp, uzunluğu 2400 km'ye yakın genişliği ve en geniş tarafında 480 km olan bir araziyi kapsarlar. Batıdaki Appalachian ile doğudaki Piedmont yaylaları arasında, kuzeydoğudan güneybatıya yönelen birbirine paralel oluklar bulunur. Bu sıradağlar üzerinde bulunan zirveler irtifaları genellikle 900m civarındadır. Üzerlerindeki tepelerin en yükseği güneyde Kuzey Karolina eyaletinde bulunan 2.037 m rakımlı Mount Michel'dir. Mount Michel zirvesi  ABD'de Mississipi Nehri doğusundaki bölgeler içinde bulunan ve doğu Kuzey Amerika'da da bulunan en yüksek irtifalı noktadır.

Kaynakça

Dış bağlantılar

 bioimages.vanderbilt.edu adresinde resimler
 University of Kentucky Appalachian Center
 Forests of the Central Appalachians Project  Orman türleri hakkında envanter

Apalaş Dağları
Appalachia
Appalachia'da kültür
Alabama'daki sıradağlar
Georgia'daki sıradağlar
Güney Karolina'daki sıradağlar
Kuzey Karolina'daki sıradağlar
Kentucky'deki sıradağlar
Maine'deki sıradağlar
Maryland'daki sıradağlar
Massachusetts'teki sıradağlar
New Hampshire'daki sıradağlar
New Jersey'deki sıradağlar
New York eyaletindeki sıradağlar
Pensilvanya'daki sıradağlar
Tennessee'deki sıradağlar
Vermont'taki sıradağlar
Virginia'daki sıradağlar
Batı Virginia'daki sıradağlar
Kanada'daki sıradağlar
Quebec'teki dağlar
Newfoundland ve Labrador'daki dağlar
Yeni İskoçya'daki dağlar
New Brunswick'teki dağlar
Amerika Birleşik Devletleri'nin fiziyografik bölgeleri

Apalaş Dağları


Badende Damer paa Badeanstalt er en stumfilm instrueret af Peter Elfelt.

Handling
4 badepiger plasker i vandet fra en badebro.

Referencer

Eksterne henvisninger

Danske film fra 1901
Stumfilm fra Danmark

Badende Damer paa Badeanstalt


Lego Architecture er en produktlinje produceret af den danske legetøjskoncern LEGO, der består af modeller af berømte bygningsværker i mikroskala. Målet med serien er at "hylde arkitekturen i fortiden, nutiden og fremtiden igennem legoklodsen". Det indeholder en række Legosæt designet af 'Architectural Artist' Adam Reed Tucker.

Sæt

Referencer

Eksterne henvisninger
 Architecture på Brickset

Architecture

Lego Architecture


Oborinska zavjesa jest vremenski fenomen vidljiv sa Zemlje na velikim udaljenostima od olujnog sustava kao tamna okomita zavjesa s jakom kišom, tučom ili snijegom općenito lokalizirana na relativno malenu području.

Oborinska zavjesa razlikuje se od virge koja je oborina koja isparava prije nego što dođe do tla.

Formiranje
Oborinska zavjesa uglavnom se nalazi ispod konvektivnih oblaka, poput kumulonimbusa ili kumulusa tijekom olujne kiše, jer oni imaju dobro definirano vertikalno strujanje (uzlazne i spuštajuće struje). Međutim, oblak nimbostratusa koji napreduje mogao bi imati prednji rub difuznih oborina.

Kišne zavjese u razvoju često imaju nejasan, lukovit izgled dok se spuštaju. Ako je izvor suhog zraka prisutan na većoj nadmorskoj visini, a zrak u koji kiša pada je dovoljno topao, tada su mogući jaki i eventualno štetni mikroprasci.

Vidi također

 Virga

Izvori

Padaline

Oborinska zavjesa


est un album du pianiste de jazz américain Brad Mehldau en duo avec la soprano américaine Renée Fleming, sorti le  chez Nonesuch Records.

À propos de la musique
Les deux musiciens sont issus de sphères différentes : Brad Mehldau est réputé en tant que pianiste de jazz, en particulier avec son trio ; la soprano Renée Fleming est connue pour son travail à l'opéra ou lors de récitals classiques. Pour autant, le jeu de Melhdau est influencé par la musique classique, et Fleming a pensé à être chanteuse de jazz dans sa jeunesse.

Fleming est à l'origine de l'idée, répondant à une commande de Robert Harth, le directeur artistique du Carnegie Hall. La première a eu lieu en  au Zankel Hall.

Brad Mehldau a travaillé sur cette musique pendant deux ans. Toute la musique est soit entièrement composée, soit . Le pianiste a écrit de la musique sur des poèmes de Rainer Maria Rilke issus du Le Livre des heures (1905), avec une nouvelle traduction en anglais. D'autres compositions se basent sur des poèmes issus de  de Louise Bogan. Le morceau qui donne son titre à l'album est écrit par , la femme du pianiste.

Les . . La musique est pensée en fonction des paroles : .

Réception

Les critiques sont divisées en fonction de leur intérêt. The Austin Chronicle prévient : , tandis que le Financial Times écrit que . Pour The Guardian, .

Pour Gramophone, .

Pistes

Musiciens
 Brad Mehldau : piano
 Renée Fleming : voix

Références

Liens externes

 .

Album de Brad Mehldau
Album publié par Nonesuch Records
Album musical sorti en 2006

Love Sublime


The Building of the Trans-Iranian Railway er en film instrueret af Ingolf Boisen, Tove Hebo, Axel Lerche, Theodor Christensen.

Handling
En kort version af "Iran - det nye Persien" fra 1939. Filmen blev lavet i forbindelse med 50 års dagen for Pahlavi dynastiet. Filmen har fået tilført en ny lydefterbearbejdning, ny speak og delvist en nyklipning af det oprindelige råmateriale til filmen.

Referencer

Eksterne henvisninger

Danske film fra 1976

Iran
Dokumentarfilm fra Danmark


An Uncinia austroamericana in uska species han Liliopsida nga ginhulagway ni Gerald A. Wheeler. An Uncinia austroamericana in nahilalakip ha genus nga Uncinia, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Uncinia

Uncinia austroamericana


Eduardo Saborido Galán (Sevilla, 5 de febrero de 1940) es un sindicalista y político español, exdirigente de Comisiones Obreras (CC.OO.) y del Partido Comunista de España (PCE).

Trabajador de Hispano Aviación, destacó desde joven como sindicalista y líder del sector metalúrgico. Como consecuencia de ello sufrió varias detenciones y tres procesos judiciales por la dictadura franquista. En 1969 cumplió pena de destierro en Jaén. Fundador de CCOO, es uno de los protagonistas de su desarrollo en la provincia de Sevilla, mientras milita en la clandestinidad debido a una condena de seis años de prisión tras ser juzgado en rebeldía. Su nombre de guerra en este periodo será el de Jesús Sánchez.

En junio de 1972 fue de nuevo detenido junto al resto de miembros de la dirección estatal de CC.OO., que serían juzgados en el Proceso 1001, siendo condenado en el mismo a más de 20 años de prisión. Tras la muerte del general Franco en 1975 es indultado.

Durante la Transición será elegido miembro de la Comisión Ejecutiva Confederal de CC.OO. en su I Congreso (1978), secretario general de CCOO de Andalucía; y en el plano político, miembro del Comité Central y del Comité Ejecutivo del PCE.

En las elecciones generales de 1979 fue elegido diputado del PCE por Sevilla, aunque abandonó el Congreso de los Diputados pocos meses después de ser elegido. Posteriormente fue diputado del Parlamento de Andalucía y militante de Izquierda Unida. En 1983 dimitió como secretario general de CCOO de Andalucía al oponerse a la política de oposición del sindicato al entonces gobierno de Felipe González. En 1998 le fue concedida la Medalla de Andalucía por su trayectoria sindical.

Referencias

Enlaces externos
 Biografía de Eduardo Saborido en el Ateneo de Córdoba

Diputados de la I Legislatura de España
Diputados por la provincia de Sevilla
Comunistas de España
Políticos de Andalucía
Políticos del Partido Comunista de España
Sindicalistas de Andalucía
Sindicalistas de Comisiones Obreras
Nacidos en Sevilla

Eduardo Saborido


إذاعة صوت النجوم هي اذاعة لبنانية تبث من بيروت. على الموجة 108 شمال لبنان والساحل السوري

مراجع

إذاعات لبنان

صوت النجوم


La Danza ist ein Lied des Dichters und demokratischen Politikers des italienischen Risorgimento Carlo Pepoli aus dem Jahre 1835. Die Musik komponierte Gioachino Rossini. Es handelt sich um ein ursprünglich für Solostimme und Klavier komponiertes Stück mit einem schnell gesungenem Text im Rhythmus einer neapolitanischen Tarantella. Das im sehr schnellen 6/8-Takt gesetzte Stück ist eine von Sängern und Sängerinnen des Belcanto beliebte Zugabe bei Konzerten.

Geschichte
In der Zeit ab 1830 war sich Rossini darüber im klaren, dass seine Opern nicht mehr dem Zeitgeschmack entsprachen, er verlegte sich daher auf die geistliche Musik, Kammermusik und Vokalmusik. La Danza stammt aus Rossinis Liederzyklus Les soirées musicales, mit zwölf Stücken verschiedener Dichter von 1830 bis 1835 mit teilweise folkloristischem Charakter. Das ursprünglich für den Bassisten Luigi Lablache, der viele Operpartien Rossinis erfolgreich sang, und Klavierbegleitung komponierte Lied wurde vielfach bearbeitet. Es gibt zahlreiche Transkriptionen des Werkes, verschiedene Orchesterfassungen, auch für Kammerensembles, und Singstimmen. Franz Liszt stellte 1838 eine virtuose Fassung für Klavier solo her (Searle-Verzeichnis Nr. 424/9), Frédéric Chopin nutzte Motive aus La Danza als Inspiration für seine Tarantella in As-Dur, op. 43, für Klavier aus dem Jahr 1841, Ottorino Respighi verwendete es 1918 in seinem Werk La boutique fantasque (Der Zauberladen), einem Ballett nach Themen von Gioachino Rossini, in einer aufwendigen Orchesterfassung. Der Pianist Marc-André Hamelin bearbeitete wie Liszt La Danza für Klavier solo in äußerst virtuoser Manier mit moderner Harmonik. Bemerkenswert ist die Transkription des Stückes des ungarischen Pianisten György Cziffra, der La Danza in einem hämmernden Rhythmus, wobei das Klavier als Perkussionsinstrument verwendet, spielt. Doch besonders die traditionellen Interpretationen des Liedes von Enrico Caruso, Mario Lanza, Alfredo Kraus, Cecilia Bartoli und vielen anderen halten das Stück auch heute noch weltweit bekannt. Angesichts der besonderen Situation für Kulturschaffende während der COVID-19-Pandemie brachte die slowakische Sopranistin Patricia Janečková 2020 eine eigenwillige Interpretation von La danza heraus. In einer elektronischen Aufnahme begleitet sie sich selbst auf einem Rollpiano.

Musikalischer Aufbau
Rossini hat das Stück in der Tonart a-Moll gesetzt und ihm die Vortragsbezeichnung Allegro con brio (ital.: rasch, munter, heiter, fröhlich, mit Schwung) gegeben. Das Tempo ist mit der Metronomangabe  = 152 vorgegeben, die punktierte Viertelnote soll also in 152 Schlägen pro Minute gespielt und gesungen werden. Der 6/8 - Takt zieht sich durch das gesamte Stück, das in diesem Tempo gut drei Minuten dauert. Der Tenor Enrico Caruso sang das Lied im Jahre 1912 in einer Studioaufnahme in drei Minuten und zehn Sekunden, die Koloratur-Mezzosopranistin Cecilia Bartoli brauchte für La Danza in einem Konzert der Victoires de la musique classique, Paris 2003, in stimmakrobatischer Weise zwei Minuten und 13 Sekunden.

Nach einer instrumentalen Einleitung von 48 Takten setzt der Gesang ein: Già - la luna è in mezzo al mare... Er erstreckt sich in der ersten Strophe über 60 Takte bis zum zweimal gesungenen Refrain in A-Dur in 17 Takten: La! - la ra la ra - la ra la la ra la la! Dann folgt ein instrumentales Zwischenspiel, ähnlich der Einleitung, aber in acht Takten. Die zweite Strophe Salta, salta, gira gira... geht über weitere 60 Takte, dann folgt der Refrain wieder mit 17 Takten. Die Sänger und Sängerinnen versuchen in der Regel dieses letzte La! über die Dauer von 12 Takten des instrumentalen Nachspiels in voller Lautstärke zu halten.

Text

Bearbeitungen und Transkriptionen
Auf Grund der Beliebtheit existiert La Danza in zahlreichen Instrumentierungen, Arrangements und Transkriptionen. Neben Rossinis ursprünglicher Klavierfassung mit Gesang gibt es instrumentale Versionen für große Orchester, Kammerensembles, und verschiedene Soloinstrumente wie beispielsweise Akkordeon und Gitarre. Eine eigenwillig-virtuose Interpretation für Gitarre solo lieferte die ukrainische Gitarristin Galina Vale im Jahr 2009.

Hörprobe

(La Danza gesungen von dem italienischen Tenor Enrico Caruso in einer Studioaufnahme von 1912)

Weblinks
La Danza, Version für Orchester und drei Stimmen mit Juan Diego Flórez, Tenor, Vivica Genaux, Mezzosopran, Nicola Ulivieri, Bass und dem Orchestra Sinfonica di Milano "Giuseppe Verdi"
La Danza, gesungen von der russischen Mezzosopranistin Vasilisa Berzhanskaya, die in der Saison 2017/18 als Stipendiatin zum Ensemble der Deutschen Oper Berlin gehörte

Einzelnachweise

Kunstlied
Werk von Gioachino Rossini
Musik 1835

La danza (Rossini)


شعبان حسين (ولد 24 نوفمبر 1940 - توفي 22 مايو 2013)، ممثل مسرحي وسينمائي وتلفزيوني مصري راحل، عمل في مسرح الدولة، منتصف السيتينات، ثم في مسرح محمد صبحي، حاصل على بكالوريوس زراعة وبكالوريوس فنون مسرحية. تألق واشتهر في الأعمال المسرحية والتليفزيونية مع محمد صبحي.

أشهر أعماله

المسرح
 تخاريف.
 وجهة نظر.
 لعبة الست.
 عائلة ونيس.
 ماما أمريكا.
 سكة السلامة 2000.

التليفزيون
 الباحثة.
راس القط.
سنبل بعد المليون.
 أهلا بالسكان.
 يوميات ونيس ..(ثروت أبو ثلاثة) .. من الجزء الأول إلى السابع.
 مشوار إمرأة.
 فارس بلا جواد.
 الملك فاروق.
 شيخ العرب همام .. بولس.
 الخواجة عبد القادر .. الشيخ عبد الرحمن.
 شربات لوز (مسلسل) .. توفيق سكر.
 شمس الأنصاري (مسلسل).
 الزناتي مجاهد (مسلسل).

السينما
من أفلامه:

 الثأر.
 الطائرة المفقودة.
 إعدام ميت.
 العميل رقم 13.
 ناصر 56.
 جواز بقرار جمهوري.
 كف القمر
 الرجل الغامض بسلامته.
 دماء على الأسفلت.
 سواق الأتوبيس.

وفاته
توفي شعبان حسين في مساء يوم الإثنين، 22 مايو، عام 2013 عن عمرٍ يناهزال 72 عام أثناء تواجده في منزله ببنها وسط أسرته على إثر أزمة قلبية مفاجئة وحادة جداً. وقد شيعت جنازته من مسجد السيدة نفيسة، ودفن بمقابر السيدة نفيسة. وأقيم العزاء في مسجد أسد بن فرات بالدقي.

روابط خارجية

مراجع

ممثلون مصريون
مواليد 1359 هـ
مواليد 1940
وفيات 1434 هـ
وفيات 2013
وفيات ناجمة عن الأمراض القلبية الوعائية في مصر

شعبان حسين


عبد الله سليمان (1973-)،لاعب كرة قدم سعودي سابق،ولد في مدينة جدة غرب السعودية.

بدأ مع النادي الأهلي ثم انتقل إلى نادي الهلال ثم إلى نادي ضمك. كما مثل المنتخب السعودي وشارك في ثلاث بطولات كأس العالم متتالية (1994 و1998 و2002).

مثل الزبرماوي المملكة العربية السعودية في دورة الألعاب الأولمبية الصيفية 1996.

مسيرته الكروية

بدأ عبد الله سليمان مسيرته في عام 1404هـ حيث انضم لفريق الناشئين بالنادي الاهلي، وتدرج حتى وصل للفريق الأول، لم يحرز سليمان مع الاهلي سوى بطولة وحيدة كانت على نهائي كأس ولي العهد أمام نادي الرياض عام 1418هـ

انتقل عام 1421هـ إلى نادي الهلال في صفقة تعد كبيرة في ذلك الوقت، وحقق مع الهلال بطوله كاس خادم الحرمين الشريفين لعام 1422 هـ بطوله كأس الكؤوس الآسيويه 1422 هـ، كأس ولي العهد 1424 هـ وابتعد عن الكره في منتصف موسم 1425 هـ بسبب سجنه.

مسيرته مع المنتخب

ودافع عبد الله سليمان عن الوان السعودية خلال 118 مباراة دولية، كما شارك مع منتخب بلاده للشباب في نهائيات كأس العالم التي جرت في أستراليا العام 1992, ولعب سليمان في اولمبياد اتلانتا عام 1996 مع المنتخب السعودي الأولمبي وشارك مع المنتخب الأول في نهائيات بطولة كأس العالم أعوام 1994 في اميركا و1998 في فرنسا و2002 في كوريا الجنوبية واليابان.

وبات عبد الله سليمان أول لاعب يعتمد رسمياً في نادي المائة وهو يقبع خلف القضبان، إذ كان يقضي المدافع الدولي عقوبة في أحد سجون العاصمة السعودية الرياض بداعي عدم تسديد مستحقات مالية لجهات تجارية في بلاده، أثناء إعلان قائمـة نادي المائــة .

بعدها خرج من السجـن بعد تجزئة ديونه وسداد أغلبها والبالغ إجمالها مليوني ريال . أبعد عن المنتخب ولم يعد ناديه الهلال راغبا فيه وهو الذي انتقل إليه من ناديه الأهلي الذي نشأ وترعرع وبرز فــيه فتوجّـه إلى نادي ضمــك كآخر محطاته الكروية ولكنه لم يستمر طويلاً فاعتزل الكرة.

اسهاماته مع الاندية
 كأس ولي العهد مع الاهلي عام 1418هـ ومع الهلال عام 1424هـ
 كأس خادم الحرمين الشريفين مع الهلال عام 1422هـ
 كأس الكؤوس الآسيوية مع الهلال عام 1422هـ

اسهاماته مع المنتخب
 المشاركة في ثلاث مونديالات والمساهمة في التأهل لها أعوام 94 و98 و2002
 تحقيق كأس آسيا 96 بالإمارات
 تحقيق كأس الخليج 94 بالإمارات و2002 بالرياض
 تحقيق كأس العرب 98 بقطر.
 المشاركة في أولمبياد اتلانتا 96م

روابط خارجية

مراجع

لاعبو كرة قدم رجالية سعوديون
مدافعو كرة قدم رجالية
أشخاص على قيد الحياة
رياضيون من جدة
سعوديون في القرن 20
سعوديون في القرن 21
لاعبو النادي الأهلي (السعودية)
لاعبو دوري الدرجة الأولى السعودي
لاعبو دوري المحترفين السعودي
لاعبو كأس آسيا 1996
لاعبو كأس آسيا 2000
لاعبو كأس العالم 1994
لاعبو كأس العالم 1998
لاعبو كأس العالم 2002
لاعبو كأس القارات 1997
لاعبو كأس القارات 1999
لاعبو كأس الملك فهد 1995
لاعبو كرة قدم سعوديون
لاعبو كرة قدم سعوديون أولمبيون
لاعبو كرة قدم عرب شاركوا في كأس العالم
لاعبو كرة قدم في الألعاب الأولمبية الصيفية 1996
لاعبو كرة قدم في دورة الألعاب الآسيوية 1994
لاعبو منتخب السعودية لكرة القدم
لاعبو نادي الهلال (السعودية)
لاعبو نادي ضمك
لاعبون فازوا بكأس الأمم الآسيوية
منافسو دورة الألعاب الآسيوية للسعودية
مواليد 1393 هـ
مواليد 1973
مواليد في السعودية
نادي الفيفا المئوي
لاعبو كرة قدم من جدة

عبد الله سليمان


Aderus maculipennis é uma espécie de inseto besouro da família Aderidae. Foi descrita cientificamente por Maurice Pic em 1898.

Distribuição geográfica
Habita na Guiné.

Referências

maculipennis
Fauna da Guiné
Insetos descritos em 1898
Espécies descritas por Maurice Pic

Aderus maculipennis


El calendario tradicional mongol (, Tsaglabar o , Tsag toony bichig) es un calendario lunisolar basado en el sistema zurkhai desarrollado en 1747 por el monje Ishbaljir (Сүмбэ хамбо Ишбалжир, Sumbe Khambo Ishbaljir; 1704-1788). El año mongol se compone de 12 o 13 meses lunares, cada uno comenzando y terminando con la luna nueva. Un décimo tercer mes se añade cada dos o tres años, de modo que la duración de un año promedio es igual a la duración del año solar.

La celebración de año nuevo mongol es Tsagaan Sar, que se celebra dos meses después de la primera luna nueva después del solsticio de invierno.

En la actual Mongolia, se utiliza el calendario gregoriano, el calendario tradicional es utilizado para celebraciones y eventos tradicionales basados en él.

El sistema europeo de cronología se llama Аргын тоолол (Argyn Toolol, cronología del método) y el sistema mongol de cronología se denomina Билгийн тоолол (Bilgiin Toolol, cronología de la sabiduría).

Argyn Toolol

Meses
Los doce meses del año se denominan por su número, como el primer mes, segundo mes, y así sucesivamente.

Días de la semana
En el lenguaje coloquial, los primeros 5 días de la semana se les conoce como el primer día, segundo día, etc. El sábado se conoce como Hagas sain olor (traducción: medio de un buen día), y el domingo se conoce como buten sain olor (traducción: buen día completo), un resultado de 5 días completos de trabajo y el sábado como un día y medio de trabajo durante la era comunista.

Los nombres de origen tibetano se utilizan en ambientes más formales, y casi exclusivamente en documentos escritos, mientras que los nombres en sánscrito están prácticamente ausentes en el uso moderno.

Véase también
Anexo:Días feriados en Mongolia

Referencias

Enlaces externos

Calendarios
Cultura de Mongolia

Calendario mongol


The State Flag of Republic of the Union of Myanmar was adopted on 21 October 2010.

Current flag since 2010
The State Flag described in the 2008 Constitution of the Republic of the Union of Myanmar was adopted by enacting the 2010 Union Flag Law and the repealing of the 1974 State Flag Law on 21 October 2010. It was hoisted for the first time at 3:00 p.m. local time on 21 October 2010. Orders were also handed out to ensure all old flags were burned.

Unlike the previous 1974 State Flag Law, the 2010 Union Flag Law includes the definition of the flag. The current flag is a horizontal tricolour flag of yellow, green, and red charged with a five-pointed white star in the centre of the field. The background is a yellow, green, and red tricolor, meant to honour the tricolours used during the independence struggle. The yellow represents unity, conformity, wisdom, happiness, and unity of all national races amicably. The green symbolises fertility, conformity,
fairness, and being a peaceful, pleasant, and green nation. The red represents bravery and decisiveness. The white star stands for purity, honesty,
fullness of compassion, and power.

Previous flags (1948–2010)
The two flags used by the country immediately before the 2010 flag both originated in the Burmese Resistance, which adopted a red flag with a white star when fighting the occupying Japanese forces during World War II.

1948 flag

The National Flag of the Union of Burma was designed by Maung Win and adopted by the Constituent Assembly of the Union of Burma in August 1947. It was hoisted for the first time at 4:25 AM on 4 January 1948 when Burma gained independence. The flag consisted of a red field defaced with a blue canton. The blue canton was charged with one large white star surrounded by five smaller stars between its rays. The big white star in the canton and the red field honour the Resistance Flag and indicate the anti-fascist struggle. The four small white stars between the rays of the big white star symbolize the unity of various ethnic races of the republican union founded as a result of the resistance. The red represents bravery, courage, and preservation. The blue canton means the nature of the sky, having deep meanings, the fresh and clear mind, and the light emitted in the night sky. The usage of stars is for the nature of the stars: never stopping, never cancelling the chosen path, always moving forward, being a guide for travellers, and existing since the beginning of the world, while the colour white represents purity, righteousness and steadiness. This flag has a ratio of 5:9 in which the canton has a ratio of 2:4. On 3 January 1974, it was replaced by the State Flag of the Socialist Republic of the Union of Burma.

1974 flag

The State Flag adopted on 3 January 1974 upon the coming into force of the Constitution of the Socialist Republic of the Union of Burma has a similar ratio and background colours as the previous flag but with different charge in the canton. The colour representations are also different: white is for purity and virtue, red for bravery and decisiveness, blue for peacefulness and steadiness. It depicts 14 equal-sized white stars encircling a pinion with 14 cogs and ear of paddy with 34 grains superimposed on it (each star on each cog of the pinion) in a blue canton against a red field. The paddy represents farmers while the pinion represents workers; the combination symbolizes the farmers and workers as the basic social classes for building the State. The 14 equal-sized white stars represent the equality and unity of the 14 members (7 states and 7 divisions) of the Union.

The 14-star flag was hung upside down during the 8888 Uprising of 1988 by demonstrators as a sign of protest against the military government. Despite its association with the period of military rule under Ne Win and later the State Peace and Development Council, the 1974 flag is used by demonstrators in the 2021 Myanmar protests, alongside the 1948 flag.

Vertical style

Current flag
When hanging or depicting vertically, the yellow must be on left and the star must point to left.

Previous flags

1948 flag
When hanging or depicting vertically, the blue canton must be in the upper hoist, and the stars in the canton must point to the left.

Influence of pre-independence anti-colonial flags

The Tricolours
In 1930, the Dobama Asiayone adopted a tricolour (, ) of yellow, green and red. In 1935, a peacock was added in the centre of the tricolour. In 1938, the leftists from Dobama Asiayone replaced the peacock with a hammer and sickle. Both of the tricolours were widely used by anti-colonialists during British rule. The peacock flag was also used by the Burma Independence Army and the State of Burma adopted it as the national flag from 1943 to 1945. In 1943, a stylized version of the peacock was introduced. This version was used by the Burma Defense Army (with the peacock in red) and as a variant of the national flag by the State of Burma (with the peacock in gold). There are two songs with the same name, "" (meaning: "Tricolour Song"), composed by two different composers about the meaning behind the Tricolour symbolism and the hope of Burmese people.

In these tricolours, the color yellow symbolizes the Sasana (Buddhism) and education, green represents staple grains, crops, minerals and jewelry, red signifies bravery or courage, and the peacock represents the Konbaung. The hammer and sickle represent workers and peasants, respectively.

The Resistance Flag

In 1945, when the Burma National Army changed sides and fought together with local resistance forces against the Japanese. A new flag, with a red field charged with a white star in the upper hoist, was adopted as the "Resistance Flag."

Influences
The tricolours and the resistance flag have been depicted as "national flags" together with the pre-colonial and post-independence national flags. The resistance flag is referred and honoured by the 1948–1974 flag, while all the tricolours are referred and honoured by the current flag.

Proposals

1947 proposals
In 1947, the Constituent Assembly of the Union of Burma formed a preparatory committee for State flag, State seal and State anthem. That committee held a flag design contest, and the flag designed by Maung Win won the first prize. There was a dispute at the committee's meeting in August 1947 whether or not the peacock should be added further to the proposed State flag; but after long discussions, the committee decided that the peacock should be rejected.

2006–2007 proposals
A new design for the national flag was proposed on 10 November 2006 during a constitutional convention. The new flag would have consisted of three equally sized green, yellow, and red horizontal stripes, with a white star in the hoist end of the green stripe.

In September 2007, another new design was proposed with a larger white star in the middle and with the stripes in a different order, namely: yellow, green, and red. The proposal was a version of Burmese Tricolour with the white star.

The flag proposed in September 2007 was included in the new constitution, and was accepted with the 2008 referendum.

2019 proposals
The ruling National League for Democracy (NLD) proposed a series of constitutional amendments in July 2019, including one to change the national flag. Four political parties, the NLD, SNLD, ZCD and NUP proposed four new designs for the flag. The NLD proposed changing the national flag as they do not believe that the flag adopted in 2010 has the full support of the people of Myanmar. Their proposed flag was based on the flag adopted by the country at independence and consisted of a red field with a blue canton in the upper hoist. Within the blue canton is a large white star representing the union which is surrounded by 14 smaller white stars representing the states and regions of the country.

Flags before 1948

Ensigns

Gallery

See also

 List of Burmese flags
 State Seal of Myanmar
 The similar flag of Lithuania

References

External links

 Timeline Flag of Myanmar

National symbols of Myanmar
Myanmar
Myanmar

Flag of Myanmar


Løsladt - Henrik tur/retur og Marias elskere er en film instrueret af Thomas Heurlin.

Referencer

Eksterne henvisninger

Danske film fra 1997

Dokumentarfilm fra Danmark


بمهريه هي قرية لبنانية من قرى قضاء عاليه في محافظة جبل لبنان.

تبعد بمهريه 41 كلم (25.4774 مي) عن بيروت عاصمة لبنان. ترتفع 1215 م (3986.415 قدم - 1328.724 يارد) عن سطح البحر وتمتد على مساحة 2360 هكتاراً (23.6 كلم²- 9.1096 مي²).

أعلام

المراجع

أماكن مأهولة في قضاء عاليه
أماكن مأهولة في لبنان
تجمعات الروم الملكيين في لبنان
تجمعات درزية في لبنان
تجمعات مارونية في لبنان
قضاء عاليه

بمهريه


An Trachyandra prolifera in uska species han Liliopsida nga ginhulagway ni Pauline Lesley Perry. An Trachyandra prolifera in nahilalakip ha genus nga Trachyandra, ngan familia nga Xanthorrhoeaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Trachyandra

Trachyandra prolifera


Swanahild (Sunnichilde, Sonichilde, Serenahilt) war die zweite Ehefrau Karl Martells. Sie war die Nichte von Pilitrud, der Ehefrau des bayerischen Herzogs Grimoald, sowie die Nichte des Herzogs Odilo von Bayern.

Leben
Aus ihrer Ehe mit Karl Martell hatte den Sohn Grifo, der von seinen Halbbrüdern Karlmann und Pippin nach dem Tod des Vaters in seinen Erbansprüchen übergangen wurde.

Von einem Feldzug in Bayern 725, bei dem Grimoald gestürzt wurde, brachte Karl Martell dessen Ehefrau Pilitrudis sowie deren Nichte Sunnichilde als Gefangene mit ins Frankenreich. Er heiratete sie nach dem Tod seiner Ehefrau Chrotrud; wenig später wurde der gemeinsame Sohn Grifo geboren. Offenbar war die Ehe mit Swanahild (auch) ein Versuch, das bayerische Herzogshaus an die Karolinger zu binden.

Im Jahr 736 machte Karl ihren Onkel Odilo zum Herzog von Bayern. Insgesamt wird in den letzten Lebensjahren Karls ein dominanter Einfluss Swanahilds gesehen, der sich auch in dem Versuch äußerte, ihrem Sohn ein Erbe zu sichern. Letztendlich nicht geklärt ist dagegen der Einfluss, den Swanahild bei der Heirat Odilos mit ihrer Stieftochter Hiltrud ausübte – sicher ist lediglich, dass Hiltruds Brüder mit der Ehe nicht einverstanden waren. Einerseits wird berichtet, dass Odilo auf seiner Flucht vor der bayerischen Adelsopposition an den Hof Karl Martells Hiltrud noch zu Lebzeiten des Hausmeiers geheiratet habe, andererseits, dass sie nach dem Tod Karl Martells ihrer Stieftochter geraten habe, zu ihrem Onkel Odilo nach Bayern zu fliehen, den Hiltrud dann heiratete.

Bei seinem Tod 741 hinterließ Karl Martell wie von Swanahild gewünscht das Reich seinen drei Söhnen, Karlmann, Pippin und Grifo, wobei Karlmann und Pippin allerdings bald übereinkamen (Vieux-Poitiers 742), den Erbanspruch des wesentlich jüngeren Grifo zu ignorieren, und die Macht unter sich aufteilten. Swanahild unterstützte ihren Sohn bei dessen vergeblichem Versuch, sich gegen seine Halbbrüder zu behaupten. Nach Grifos Niederlage wurde sie in die Abtei Chelles verbannt, wo sie zu einem unbekannten Zeitpunkt auch starb und bestattet wurde.

Das Verbrüderungsbuch der Abtei Reichenau gibt Swanahild den Titel regina, obwohl ihr der Titel einer Königin nicht zustand. Hierzu werden in der Forschung zwei Positionen diskutiert
 zum einen, dass die Bezeichnung auf Karls Stellung im Frankenreich zurückzuführen ist,
 zum anderen, dass die Bezeichnung innerhalb der Familie Swanahilds, der Agilolfinger, für die Töchter der Fürsten üblich war.

Quellen
 Fredegari Continuationes, 12,25 (MGH SRM II)
 Annales Einhardi (MGH SRG 6), 741–742
 Annales Mettenses priores (MGH SRG 10)

Literatur
 Eduard Hlawitschka: Die Vorfahren Karls des Großen. Nr. 33, S. 79.
 Jörg Jarnut: Untersuchungen zur Herkunft Swanahilds, der Gattin Karl Martells. In: Zeitschrift für Bayerische Landesgeschichte. Bd. 40, 1977, S. 245–249 (Digitalisat).
 Rudolf Schieffer: Die Karolinger. 1992.
 Christian Settipani: La préhistoire des Capétiens. 1993, S. 172 f.
 Joachim Jahn: Hausmeier und  Herzöge. Bemerkungen zur agilolfischen-karolingischen Rivalität bis zum Tode Karl Martells. In: Jörg Jarnut, Ulrich Nonn, Michael Richter (Hrsg.): Karl Martell in seiner Zeit (= Beihefte der Francia. Bd. 37). Thorbecke, Sigmaringen 1994, ISBN 3-7995-7337-2, S. 317–344 (Digitalisat).
 Ulrich Nonn: Swanahild. In: Lexikon des Mittelalters. Band VIII, Spalte 349.

 Detlev Schwennicke: Europäische Stammtafeln. Band I.1 (2005), Tafel 3–7.

Anmerkungen

Familienmitglied der Agilolfinger
⚭Swanahild
⚭Swanahild
Ehepartner einer berühmten Person
Geboren im 8. Jahrhundert
Gestorben im 8. Jahrhundert
Frau

Swanahild


Volodimir Balyk (Žydačіv, Ukrajina, 28. travnja 1958.) hrvatski je harmonikaš ukrajinskog porijekla, pedagog, koncertni izvođač, skladatelj i glazbeni producent.

Životopis
Maturirao je klasičnu harmoniku na Glazbenom učilištu C. Krušeljnycka u Ternopilju u Ukrajini. Studij klasične harmonike završio je na muzičkoj akademiji Mykola Lysenko u Lvivu u klasi prof. M. Oberjuhtina, a dirigiranja u klasi prof.  I. Wymera. Doktorirao je 1986. godine na Glazbenoj akademiji Gnessin u Moskvi pod vodstvom prof. V. Bjeljakova.

Dobitnik je niza značajnih međunarodnih nagrada. Laureat je jednog od najuglednih međunarodnih natjecanja harmonikaša "Vogtländischen Musiktage"  Klingenthal-Markneukirchen u Njemačkoj 1981. godine.

Niz uspješnih nastupa započinje solističkim koncertom 1977. godine, nakon 1981. je gost brojnih koncertnih pozornica Europe (Rusija, Njemačka, Francuska, Poljska, Rumunjska, Hrvatska), a ističe se solistički nastup u Parizu na koncertu Music for Peace od UNESCO-a zajedno s najistaknutijim umjetnicima svijeta.

Repertoar mu se temelji kako na originalnim skladbama za harmoniku tako i na transkripcijama, pri čemu često stavlja težište na razdoblje baroka.

Osamdesetih godina XX st. programski je usmjeren na teme kao što su "Harmonika u suvremenoj komornoj glazbi", "Orguljska glazba u preradi za harmoniku" (Bach, Händel), "Glazba Vl. Zolotarjova", a devedesetih se usredotočuje na izvođenju komorne i simfonijske glazbe (Koncertna simfonija br. 1 Vl. Zolotarjova, partita "Sedam riječi" S. Gubajduline, 5 tango senzacija A. Piazzolla, "Choral Fantasie" J. Hatrika).

Godine 1993. godine osnovao komorni sastav Nata Bene Trio, s kojim osvaja brojne nagrade kao sto su: Grand Prix u Francuskoj, 1. nagrada u Castelfidardu u Italiji itd., te nastupa na turnejama u Francuskoj, Švicarskoj, Italiji, Njemačkoj, Austriji, Slovačkoj, Nizozemskoj. Godine 1999. Nata Bene objavljuje nosač zvuka Debut u njemačkoj izdavačkoj kući Karthause-Schmülling-Musikverlage koji časopis Intermusik proglašava CD-om godine.

Od  uglavnom nastupa sa suprugom Natašom (domra, mandolina) na recitalima diljem Europe. Godine 2017. Duo Balyk ima turneju u većim gradovima Kine.

U suradnji sa zagrebačkim pjesnikom B. Pejnovićem  godine pokrenut je projekt glazbeno-poetskih recitala  Jesenjin ("Kerempuh" i "Tvornica" u Zagrebu, "Zorin dom" u Karlovcu, HKK u Zadru i td.), CESARIĆ (EXITteatar, Zagreb).

Autor je niza članaka te monografija o problemima metodike i povijesti izvođaštva na harmonici, izdanih u Rusiji, Ukrajini i Njemačkoj.

Volodimir Balyk bavi se i pedagoškim radom, od 1987. do 2000. je predavač (1991. docent, 1994. redovni profesor) na Glazbenoj akademiji u gradu Astrahanj (Rusija). Od 1995. gostujući, a od 1998. redovni profesor na Visokoj školi za glazbenu umjetnost "Ino Mirković" u Lovranu te od 2004. profesor mentor u Glazbenoj školi I. M. Ronjgova, Pula (od 2013. pročelnik odjela). Od 2018 profesor savjetnik harmonike u Glazbenoj školi I. M. Ronjgova, Rijeka. Godine 2022. Balyk je napredovao u zvanje profesor izvrstan savjetnik. Učenici prof. Balyka postižu zapažene rezultate na državnim i međunarodnim natjecanjima.

Balyk je stalni član ocjenivačkih sudova u Hrvatskoj i inozemstvu. U razdoblju od  do  bio je član ispitnog povjerenstva za polaganja stručnih ispita u hrvatskoj Agenciji za odgoj i obrazovanje.

Godine 1994.  dobio je naslov zaslužnog umjetnika Ruske Federacije, a 1995. proglašen je čovjekom godine u području kulture i umjetnosti Astrahanske oblasti u Rusiji. Godine  za posebne zasluge u razvoju glazbene kulture dobio je hrvatsko državljanstvo, primljen je u članstvo Hrvatskog društva glazbenih umjetnika, i dobio priznanje Primorsko-goranske županije za najuspješnijeg odgojno-obrazovnog djelatnika.

Djela za harmoniku
 Preludij In memoriam VZ (1978.) (Дрогобич: Посвіт. 2012.)
 Preludij i fuga (1979.) (Киів: Музична Украіна, 1986; Kamen, Karthause Schmulling Musikverlage GmbH, 1992. i 2000.)
 Sonata №1 na temu DSCH (1981.)
 Recitativo i fuga (1981.), Lontano (2001.), Međimurska (2003.), For …you (2005.), ParafRomanijA (2010.) (Санкт-Петербург: Союз художников, 2015. ISBN 979-0-706419-93-0)

Izvori

Ukrajinski skladatelji
Hrvatski skladatelji

Volodimir Balyk


Amazonius giovaninii est une espèce d'araignées mygalomorphes de la famille des Theraphosidae.

Distribution
Cette espèce est endémique d'Amazonas au Brésil. Elle se rencontre vers Manaus.

Description
La femelle holotype mesure  et le mâle paratype .

Systématique et taxinomie
Cette espèce a été décrite par Cifuentes en Bertani en 2022.

Étymologie
Cette espèce est nommée en l'honneur de Dener Giovanini.

Publication originale
 Cifuentes & Bertani, 2022 : « Taxonomic revision and cladistic analysis of the tarantula genera Tapinauchenius Ausserer, 1871, Psalmopoeus Pocock, 1985, and Amazonius n. gen. (Theraphosidae, Psalmopoeinae). » Zootaxa, , .

Liens externes

Notes et références

Theraphosidae
Espèce d'araignées (nom scientifique)
Faune endémique de l'Amazonas (Brésil)

Amazonius giovaninii


جورج إيفانوفيتش غوردجييف (بالإنجليزية: George Ivanovich Gurdjieff، بالروسية: Гео́ргий Ива́нович Гурджи́ев، باليونانية: Γεώργιος Γεωργιάδης، بالأرمينية: Գեորգի Գյուրջիև)؛ (31 مارس 1866/14 يناير 1872/28 نوفمبر 1877 - 29 أكتوبر 1949)، فيلسوف صوفي ومعلم روحي  وملحن من أصول أرمينية ويونانية، ولد في ألكسندرابول (المعروفة الآن باسم غيومري)، في أرمينيا. ذكر غوردجييف أن معظم البشر لا يمتلكون وعيًا موحدًا وبالتالي يعيشون حياتهم في حالة «نوم يقظ» منوم، ولكن من الممكن أن يستيقظوا على حالة وعي أعلى ويتمكنون من تحقيق إمكانات بشرية كاملة. وصف غوردجييف طريقة تحاول القيام بذلك، ودعا للانضباط في «العمل» (يشير إلى «العمل على الذات») أو «النظام». وفقًا لمبادئه وتعليماته، فتوحد طريقة غوردجييف لإيقاظ وعي المرء أساليب الفقير (الصوفي) والراهب واليوغي، وأشار إليها باسم «الطريق الرابع».

سيرته الشخصية

أولى سنوات حياته
ولد غوردجييف لأب يوناني من القوقاز، يانيس غورغيادس (باليونانية: Ἰωάνης Γεωργιάδης)، وأم أرمنية، إفدوكيا (وفقًا لكاتب السير الذاتية بول بيكمان تايلور)، في ألكسندروبول للإمبراطورية الروسية في جنوب القوقاز. يمثل اسم غوردجييف ترويسًا (أحد أشكال عملية الاستيعاب الثقافي التي تتخلى من خلالها المجتمعات غير الروسية - طواعيةً أو كرها - عن ثقافتها و لغتها لصالح الثقافة و اللغة الروسية) من اللقب اليوناني البونتيكي «غورغيادس» (باليونانية: Γεωργιάδης). ولا تزال سنة ولادته مجهولة، إذ تتراوح التخمينات من 1866 إلى 1877. يجادل بعض المؤلفين (مثل جيمس مور) أنه وُلد في عام 1866. واعتقدت كلتا أولغا دي هارتمان، المرأة التي وصفها غوردجييف بـ «الصديق الأول لحياتي الداخلية»، ولويس جوبفرت مارس، سكرتيرة غوردجييف في أوائل الثلاثينيات، أن غوردجييف من مواليد عام 1872. كُتب في جواز سفره أن تاريخ ميلاده في 28 نوفمبر 1877، لكنه ذكر ذات مرة أنه ولد عندما دقت الساعة في منتصف الليل في بداية يوم رأس السنة الجديدة (التقويم اليولياني). على الرغم من اختلاف تواريخ ميلاده، فقد سُجل أنه من مواليد 1872 في لوحة وُضعت على ضريحه في مقبرة آفون، سيين إت مارن، فرنسا، حيث دُفنت جثته.

قضى غوردجييف طفولته في مدينة قارص، التي كانت بين 1878 إلى 1918، العاصمة الإدارية لمقاطعة قارص أوبلاست التي تحكمها روسيا، وهي منطقة حدودية استولت عليها الإمبراطورية العثمانية مؤخرًا. احتوت المنطقة على هضبة عشبية كبيرة وجبال عالية، وكان يسكنها سكان متعددو الأعراق والطوائف، يمتلكون تاريخًا من احترام الصوفيين ورجال الدين المسافرين، بالإضافة إلى التوفيق بين الأديان والتحول الديني. كانت كل من مدينة قارص والأراضي المحيطة بها موطنًا لمجموعة متنوعة للغاية من السكان: على الرغم من كونها جزءًا من الهضبة الأرمينية، إلا أن قارص أوبلاست كانت موطنًا للأرمن والروس والقوقاز اليونانيين والجورجيين والأتراك والأكراد وأعداد أصغر من المجتمعات المسيحية من شرق ووسط أوروبا مثل القوقاز الألمان والإستونيين والمجتمعات الطائفية الروسية مثل طائفة المولكان والدوخوبور والبريغوني والسوبوتنيكي. يذكر غوردجييف بشكل خاص المجتمع الإيزيدي. نشأ غوردجييف في مجتمع متعدد الأعراق، وأصبح يجيد اللغة الأرمينية واليونانية والروسية والتركية، وتحدث مزيجًا من التركية العثمانية وبعض اللهجات. حصل فيما بعد على «مرفق عمل بعدة لغات أوروبية». شملت التأثيرات المبكرة على جورج، والده ونجارًا وعازف عاشيق هاو أو شاعر بارديك وأخيرًا كاهن الكنيسة الروسية في المدينة، وهو صديق للعائلة. قرأ غوردجييف في فترة شبابه الأدب العلمي باللغة الروسية  بشوق. تأثر بهذه الكتابات، وشهد عددًا من الظواهر التي لم يستطع تفسيرها، ما جعله يقتنع بوجود حقيقة خفية لا يمكن العثور عليها في العلم أو في التيار الديني السائد.

روابط خارجية
 جورج غوردجييف على موقع IMDb قاعدة بيانات الأفلام على الإنترنت (العربية)
  جورج غوردجييف على موقع الموسوعة البريطانية الموسوعة_البريطانية (العربية)
   جورج غوردجييف على موقع ميوزك_برينز (العربية )
  جورج غوردجييف على موقع NNDB إن_إن_دي_بي (العربية)
  جورج غوردجييف على موقع Discogs ديسكوجز (العربية )
  جورج غوردجييف على موقع قاعدة بيانات الفيلم قاعدة_بيانات_الفيلم (العربية )
  النشرة العربية عن تعاليم جورج غوردجييف  (العربية )

مراجع

أشخاص من الإمبراطورية الروسية من أصل أرميني
أشخاص من الإمبراطورية الروسية من أصل يوناني
أشخاص من غيومري
فلاسفة أرمن
فلاسفة روس
فلاسفة روس في القرن 20
قادة دينيون أرمن
كتاب أرمن
كتاب روحانية روس
كتاب وكاتبات أرمن
متصوفون
متصوفون في القرن 20
مدفونون في إيل دو فرانس
معلمون روحيون
ملحنون أرمن
مواليد 1866
مواليد القرن 19
مواليد في غيومري
وفيات 1949
وفيات في باريس

جورج غوردجييف


Zer-i Mahbub, Osmanlı döneminde kullanılan altın paralardan birinin adıdır. 1787'de 3,5 kuruş rayiç konulmuştu. II. Mustafa tarafından ilk defa bastırılan tuğralı altın paraya Mısır'da verilen isimdir.

Bu isim yayılarak İstanbul'da dahil olmak üzere bütün Osmanlı topraklarında kullanılmıştır.

Dış bağlantılar
 Osmanlı paraları (Ottoman Coins)
 Türkiye Cumhuriyeti banknotları (Turkish Republic Banknotes)

Osmanlı paraları
Altın sikkeleri

Zer-i Mahbub


Alexandru Ioniță ()

Cariera

Club

Rapid București
Născut în București , Ioniță a intrat la academia de la Rapid București la vârsta de șase ani.  La 21 mai 2011, la vârsta de doar 16 ani și cinci luni, și-a făcut debutul la seniori într-o victorie cu 1-0 în Liga I în fața FC Brașov .

În ediția 2013-2014 a diviziei a doua , Ioniță a totalizat șase goluri din 14 meciuri.

Astra Giurgiu
Ioniță s-a mutat la Astra Giurgiu în perioada transferurilor de iarnă din 2014,  cu colegele din Liga I Dinamo București și Petrolul Ploiești , de asemenea, interesate să-l semneze.  A marcat primul său gol pentru Astra pe 15 octombrie 2015, într-o victorie cu 3-0 în deplasare împotriva Viitorului Constanța pentru Cupa Ligii .

Pe 2 mai 2016, Ioniță a marcat de două ori într-un succes cu 4–2 pe teren propriu împotriva lui Dinamo București, când Astra și -a sărbătorit primul titlu de ligă .  În urma transferului lui Constantin Budescu la FCSB în iunie 2017, Ioniță și-a preluat tricoul cu numărul 10 . Pe 13 iulie a aceluiași an, el a înregistrat primul său gol în UEFA Europa League într-o înfrângere de 3-1 pe teren propriu cu Zira în turul doi de calificare .

Ioniță a fost desemnat Jucătorul lunii din Liga I pentru noiembrie 2017 după ce a marcat în trei meciuri consecutive de ligă  împotriva Universității Craiova ,  Concordia Chiajna  și, respectiv, FCSB.  Pe fondul zvonurilor despre un transfer la CFR Cluj la începutul lunii ianuarie 2018, Ioniță a refuzat să-și reînnoiască contractul cu Astra și a fost exclus din prima echipă pentru o perioadă nedeterminată.

CFR Cluj
Pe 20 ianuarie 2018, Ioniță s-a alăturat cantonamentului CFR Cluj din Spania, după ce a fost achiziționat pentru o taxă zvonită de 1 milion de euro .  Trei zile mai târziu, mutarea a fost oficializată.  Ioniță și-a făcut debutul competitiv pe 5 februarie, într-o victorie cu 2-0 în ligă împotriva Concordiei Chiajna acasă.  Mai târziu în aceeași lună, el a înregistrat primul său gol pentru CFR într-un succes cu 2-0 în deplasare împotriva lui Juventus București , după ce a marcat în revenirea din penalty -ul său, care fusese salvat de fostul său coechipier de la Rapid Virgil Drăghia .

În iulie 2019, în urma unei campanii dezamăgitoare 2018–19 în care a marcat doar două goluri din 27 de apariții în toate competițiile, Ioniță a acceptat un împrumut pe un an la Universitatea Craiova cu opțiune de cumpărare.  După ce nu a reușit să se stabilească și la Craiova, afacerea a fost reziliată prematur și s-a întors la Astra Giurgiu împrumutat la începutul lui 2020.

În septembrie 2020, Agenția Română Anti-Doping i-a impus lui Ioniță, împreună cu doi dintre coechipierii săi Astra, o interdicție de un an de a juca, după ce fiecare a primit injecții intravenoase cu peste 100 ml de vitamine în decurs de 24 de ore.  La 7 septembrie 2021, CFR Cluj a anunțat rezilierea contractului lui Ioniță de comun acord.

Întoarcere la Rapid București
Pe 16 septembrie 2021, Ioniță a resemnat pentru Rapid București ca agent liber , după ce a acceptat un contract pe trei ani.  El a jucat primul său meci pe 17 octombrie, o victorie cu 2-0 față de clubul anterior CFR Cluj în Liga I.

Ioniță a marcat primul său gol la întoarcere pe 11 februarie 2022, egalând târziu într-un egal 1–1 în ligă cu Sepsi OSK , când echipa sa a jucat 40 de minute cu un jucător mai puțin.  Pe 13 martie, a deschis scorul într-o victorie cu 3-1 de la București în derby-ul lui Dinamo, prima în aproape 14 ani.

National
În septembrie 2017, Ioniță a fost selectat de echipa de seniori a României pentru preliminariile Cupei Mondiale FIFA 2018 împotriva Kazahstanului și Danemarcei . El și-a câștigat prima selecție în fostul meci, înlocuind în minutul 80 pentru dublu golgheter Constantin Budescu în victoria cu 3–1 de la Ploiești .

Statistici de carieră

Club

 De la meciul jucat pe 30 aprilie 2022

Internațional

 De la meciul jucat pe 5 octombrie 2017

Palmares

Club

Astra Giurgiu
 Liga I : 2015–16
 Cupa României : 2013–14
 Supercupa României : 2014 , 2016

CFR Cluj
 Liga I: 2017–18 , 2018–19
 Supercupa României: 2018

Individual
 Jucătorul lunii Liga I: noiembrie 2017

Note

Link- uri externe

 Alexandru Ioniță la RomanianSoccer.ro (în română) și StatisticsFootball.com
 Alexandru Ioniță la National-Football-Teams.com
 Alexandru Ioniță la WorldFootball.net
 Alexandru Ioniță – palmares competiție UEFA ( arhivă )

Nașteri în 1994
Mijlocași
Fotbaliști ai CSU Craiova
Fotbaliști ai CFR Cluj
Fotbaliști ai FC Astra Giurgiu
Fotbaliști ai FC Rapid București
Oameni în viață
Fotbaliști internaționali români
Fotbaliști români

Alexandru Ioniță II


QR Vulpeculae (QR Vul) es una estrella situada en la constelación de Vulpecula.
Es, con magnitud aparente +4,76, la séptima estrella más brillante en la constelación.
Se encuentra, de acuerdo a la nueva reducción de los datos de paralaje de Hipparcos, a 991 años luz del sistema solar.

QR Vulpeculae es una estrella blanco-azulada de la secuencia principal de tipo espectral B3V.
Tiene una temperatura efectiva de 18.754 ± 735 K.
Su luminosidad es 5172 veces superior a la del Sol.
Posee un diámetro unas 6,1 veces más grande que el diámetro solar y gira sobre sí misma con una velocidad de rotación proyectada de 162 km/s.
Presenta una metalicidad ligeramente inferior a la solar ([Fe/H] = -0,10).
Su masa estimada es de 8,0 ± 0,1 masas solares y tiene una edad aproximada de 32 millones de años.

QR Vulpeculae tiene una compañera estelar de magnitud +7,55 de la que está separada visualmente 0,55 segundos de arco.
Además, es una estrella variable catalogada, según la fuente consultada, como estrella pulsante lenta (SPB) —semejante a 3 Vulpeculae—, variable Gamma Cassiopeiae o estrella Be.
En 1982 sufrió un brusco aumento de brillo de 0,18 magnitudes en banda V.

Referencias

Estrellas binarias
Estrellas variables
Constelación de Vulpecula

QR Vulpeculae


Olaylar

Doğumlar
 I. Hadrianus, papa (ö. 795)
 Papa Aziz I. Paulus, papa (ö. 767)

Ölümler
 Asparuh, Bulgar komutan

700


An Lepidosperma tetraquetrum in uska species han Liliopsida nga ginhulagway ni Christian Gottfried Daniel Nees von Esenbeck. An Lepidosperma tetraquetrum in nahilalakip ha genus nga Lepidosperma, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Lepidosperma

Lepidosperma tetraquetrum


Kamena (Mostar, BiH), naseljeno mjesto u gradu Mostaru, BiH
 Kamena (Istočni Mostar, BiH), naseljeno mjesto u općini Istočni Mostar, BiH

Kamena


قائمة بطولات دورة رولان غاروس لعام 1981:

الكبار

فردي رجال

 بورن بورغ هزم  إيفان ليندل, النتيجة:6-1, 4-6, 6-2, 3-6, 6-1

فردي سيدات

 هانا ماندليكوفا هزمت  سيلفيا هانيكا, النتيجة:6-2, 6-4

زوجي رجال
 هاينز غنثارتد و بلاسز تروزس هزما  تيري مور و إيليوت تلتشر, النتيجة:6-2, 7-6, 6-3

زوجي سيدات
 روزالين فايربانك و تاينا هارفرد هزمتا  كاندي رينولدز و باولا سميث, النتيجة:6-1, 6-3

زوجي مختلط
 أندريه جيغير و جيمي أرياس هزما  بيتي ستوف و فريد ماكناير, النتيجة:7-6, 6-4

مراجع

باريس في 1981
أحداث مايو 1981 الرياضية في أوروبا
أحداث يونيو 1981 الرياضية في أوروبا
الجائزة الكبرى للتنس في 1981
دورات رولان غاروس
دورة فرنسا المفتوحة حسب السنة
رابطة محترفات التنس 1981
رياضة فرنسية في 1981
كرة المضرب في 1981
كرة مضرب فرنسية في 1981

دورة فرنسا المفتوحة 1981


L est une console de jeu vidéo dédiée commercialisée en 2003 dans la gamme de systèmes de jeux prêts à l'emploi  de Jakks Pacific. L'appareil lui-même est conçu pour ressembler au joystick de l'Atari 2600.

Liste des jeux

 Pong

Version Basic Fun
En 2017,  a publié une version de cette console, appelée , avec les mêmes jeux, à l'exception de , Pong et , remplacés par ,  et  .

Notes et références

Voir aussi
 Jeu TV portable
 Atari Flashback

Console dédiée
Atari 2600

Atari Joystick Controller TV Video Game System


Dharma, Sanskrit dilinde "dhar" veya "dhri" sözcüğünden türetilmiş olup, farklı anlamlarda kullanılmaktadır.

Anlamlarından bazıları şunlardır:

 Evrenin düzenini ve ruhsal gelişimi sağlayan kozmik doğa yasaları. Bu yasalardan ikisi karma yasası ve samsara yasası olarak bilinir.
 Ulu düzen, hakiki doğa.
 Hakikat
 Vazife
 Doğruluk, erdem, ahlak, bilgelik.
 Öğreti, yüksek hakikatlere götüren yol.

Dharma ile uyumlu bir hayat süren kişiler Mokşa veya kişisel özgürlüğe ulaşırlar.

Devanagari yazılışında "धर्म" veya Pali dilinde "dhamma" şeklinde ifade edilen Hint kökenli dharma terimi Hinduizm haricinde Budizm, Jaynizm ve Sihizmde de kullanılmaktadır.

Dharma Çarkı (Dharma Çarkıfelek)
Dharma çarkı (kurallar çarkı), Budizm'de Buda öğretilerinin sembolü niteliğindedir. Dharma Çarkı sekiz çubuğuyla Buda kurallarını temsil eder. Diğer bir deyişle, Budizm'de özgürlüğün sembolüdür.

1947 yılında, Hindistan bayrağında Bhimrao Ramji Ambedkar'ın da katkısıyla 24 çubuklu bir Dharma Çarkı amblemi yer almıştır. Bu sembolik şekil, M.Ö. 3. yy.da Maurya Kralı Ashoka tarafından Budizm kurallarının egemenliğini temsil ettiği düşüncesiyle farklı alanlarda kullanılmıştır.

22 Mayıs 1972 yılında Sri Lanka'nın Cumhuriyet rejimini kabul etmesinden sonra, Dharma Çarkı ülkenin resmi amblemi olarak kabul edilmiştir. Ayrıca bu amblem, Tibet'te mühür olarak da kullanılmıştır.

Ayrıca bakınız
 Hinduizm
 Dharma (Budizm)

Kaynakça
 Le Dictionnaire de la sagesse orientale, Kurt Friedrichs, Ingrid Fischer-Schreiber, Franz-Karl Ehrhard ve Michael S. Deiner

Teozofi
Budist felsefe kavramları
Hindu felsefi kavramları
Sanskritçe felsefi kavramlar

Dharma


Orune (sardinski: Urùne, Orùne) je grad i općina (comune) u pokrajini Nuoru u regiji Sardiniji, Italija. Nalazi se na nadmorskoj visini od 745 metara i ima 2 353 stanovnika. Prostire se na 128,45 km². Gustoća naseljenosti je 18 st/km².Susjedne općine su: Benetutti, Bitti, Dorgali, Lula, Nule i Nuoro.

Izvori

Gradovi na Sardiniji

Orune


ශාන්ත මිචෙලෙ'ස් විද්‍යාලය, මඩකලපුව
 සිවනන්ධ ජාතික පාසල, කල්ලඩ්යිප්පොඩයි, මඩකලපුව
 කාට්ටන්කුඩි ජාතික පාසල, කාට්ටන්කුඩි
 ශාන්ත සෙසිලියාස් බාලිකා මහා විද්‍යාලය, මඩකලපුව
 විසෙන්ට් බාලිකා මහා විද්‍යාලය, මඩකලපුව
 අලිගර් මධ්‍ය මහා විද්‍යාලය, මඩකලපුව

පාසල් නාමාවලි - ශ්‍රී ලංකා

මඩකලපුව පාසල් නාමාවලිය


"Year of the Cat" es el sencillo que da título al álbum del año 1975 Year of the Cat. Esta canción fue escrita por el cantante y compositor Al Stewart; el álbum se grabó en Abbey Road Studios, Londres, en enero de 1975 por el ingeniero de sonido y músico inglés Alan Parsons, y se publicó en julio de 1975. La canción se caracteriza por sus largas secciones instrumentales; de hecho, en la versión del álbum, de 6'40", más de cuatro minutos de la canción se dedican a temas instrumentales, incluyendo un solo de piano, guitarra acústica, guitarra eléctrica distorsionada y saxofón.

La letra de la canción contiene alusiones a la película Casablanca.

Notas y referencias

Sencillos de 1976
Sencillos de Al Stewart
Gatos en el arte
Canciones sobre animales

Year of the Cat (canción)


Atlas Sineması, İstiklal Caddesi üzerinde 19. yüzyıl yapısı tarihî bina içinde 1948 yılından beri hizmet veren büyük sinema.

1948 yılında 1860 kişilik koltuk kapasitesi ile İstanbul'un en büyük sinema salonlarından birisi olarak Atlas Pasajı'nın arkasında hizmete girmiştir. Ön kısmındaki Küçük Sahne ve Kulis Bar ile birlikte İstanbul'da bir dönemin en önemli eğlence ve kültür merkezlerinden birisi idi.

Sinemanın  ana salon kısmı 1970'lerde pasaja katıldı ve locaların olduğu bölüm üç küçük salona ayrılarak işlevine devam etti. 2018-2020 yılında restore edilip yeniden tek büyük salonlu bir sinema haline geldi.

Tarihçe
Sinemanın içinde bulunduğu yapı, Sultan Abdülaziz zamanında, Ermeni iş adamı Agop Köçeyan tarafından 1870'teki Büyük İstanbul yangınında yanan evinin karşısındaki arazide, kışlık ev olarak kullanılmak üzere yaptırıldı.

Köçeyan tarafından Taksim Vosgeperan Ermeni Kilisesi'ne hediye edilen konağın arka bahçesi, 1910'lu yıllarda bir at cambazhanesine dönüştürüldü.  Konağın mülkiyeti, 1930'larda  tütün tüccarı Aziz ve Ahmet Borovalı kardeşlere geçti.

1932 yılında onarım gören binanın bazı bölümleri eğlence mekanı olarak kullanıldı. Vaktiyle Köçeyan'ın at ahırı olan kısımda kurulan Moulen Rouge (Kırmızı Değirmen) adlı gazino, 1930'lu yıllarda Seyyan Hanım'ın ilk Türkçe tangoları seslendirdiği, Safiye Ayla'nın ilk defa sahneye çıktığı yerdi. Sadi Işılay ile eşi Deniz kızı Eftelya'ya devredildikten sonra gazino, Çağlayan adını aldı ve devrin tanınmış sanatçıları sahneye çıkmaya devam etti. 1940'lı yıllarda Lütfullah Sururi ve Suzan Sururi tarafından Halk Opereti'nin mekanı olarak kullanılan mekanda revüler ve operetler sahnelendi.

Atlas Sineması, şehrin önemli bir eğlence mekanı olan bu binanın arkasındaki bahçede, 1948 yılında inşa edildi.  19 Şubat 1948'de açılan sinema, 1.860 kişilik kapasite ve 35 loca ile Beyoğlu'nun en büyük sinemalarından birisi idi. Sinemanın girişindeki konağın üst katında 1951 yılında Küçük Sahne adlı tiyatro sahnesi açıldı; alt kattaki Kulis Bar, dönemin tiyatro, sinema, ses sanatçısı, yazar, gazeteci ve eleştirmenin toplanma yeri halini aldı.  Atlas Sineması, Küçük Sahne ve Kulis Bar ile birlikte dönemin en önemli eğlence ve kültür merkezlerinden birisi haline geldi.

1970'li yıllarda Atlas Sineması''nın ilk katı pasaj haline geldi. Üst kat, 450, 130 ve 85kişilik üç ayrı salona sahip bir sinema olarak düzenlendi.

Çeşitli defalar el değiştiren ve bir süre kullanılmayan Atlas Pasajı, 1992 yılında Kültür ve Turizm Bakanlığı'na tahsis edildi, 1993 yılında onarım gördü. Atlas Sineması 1993 yılındaki onarımdan sonra Türker İnanoğlu ve İrfan Atasoy tarafından işletilmeye devam etti.  Seyirci sayısı azalan sinema, 3 Temmuz 2008'de ticari nedenlerden dolayı kapandı. Sinemanın büyük salonu yenilendi ve tek salonlu olarak 2012'de açıldı.

Bina, 2019-2021 arasında restorasyondan geçti. Geçmişte Küçük Sahne ve Kulis Bar olan bölümü bu restorasyon ile İstanbul Sinema Müzesi olarak yeni bir işlev kazandı. Müzenin oluşturulması sırasında sinema da restore edildi ve yeniden tek bir büyük salon haline geldi.

Türk sinemasının "galalarının yeni merkezi" olacağı açıklanan Atlas Sineması'nda  restorasyondan sonra ilk defa 9 Nisan 2021'de "Mimarların Piri Sinan" belgeselinin galası  yapıldı. Film Festivalleri, film galaları, çeşitli film gösterimleri  ile bazı sahne sanatı performansları ve konserler için kullanılmaktadır; her ay izleyicilerin MUBİ adlı dijital platformda en çok tercih ettikleri filmleri beyazperde seyretme olanağı yaratmak üzere bir işbirliği yapılmıştır.

Dış bağlantılar
2021 restorasyon sonrası fotoğraflar

Ayrıca bakınız

 Atlas Pasajı
 Küçük Sahne

Kaynakça

İstanbul'daki sinemalar
Beyoğlu'ndaki yapılar
Beyoğlu'ndaki müzeler
Türkiye'deki sinema müzeleri

Atlas Sineması


Barrancos  belediyesi, Portekiz'in Alentejo bölgesine bağlı Baixo Alentejo alt bölgesinin belediyelerinden biridir.

Bucaklar
Belediyede 1 bucak (Por.: freguesia) yer almaktadır.

 Barrancos

Dış bağlantılar

Baixo Alentejo'nun belediyeleri

Barrancos


Covertcoat eller covert coat var oprindelig "en kort overfrakke der blev båret ved jagt", men den sælges nu som herrefrakke. Typen stammer fra slutningen af 1800-tallet, hvor den blev båret under ridning.

Design

En covertcoat er fremstillet af en speciel slags tweedklæde , covert cloth, der har navn efter det skjul (et covert på engelsk), hvor jægerne mødtes på jagt. En covertcoat er altid enkeltradet med hakrevers, med én slids, lommer med flapper og tydeligt markerede tværgående syninger lang skøderne og nogle gange også for enden af ærmet. En billetlomme ses nogle gange. De traditionelle farver går fra lysegrøn og gyldenbrun til melere lysebrun og dyb gyldengrøn, men varianter i grå og marineblå er også almindelige. Kraven kan være enten af samme type covert-klæde som resten af frakken eller af sort eller mørkeblåt fløjl.

Kendt brug af covertcoat
Covertcoaten blev båret af både Georg 6. og Edvard 8. samt af Jason Statham og Stephen Graham i krimikomedien Snatch fra 2000. Brugen af en covertcoat fik medieopmærksomhed under Parlamentsvalget i Storbritannien 2015, hvor partilederen for UKIP, Nigel Farage, bar den ved flere lejligheder

Referencer

Eksterne henvisninger
 Covert coat på Gentlemans Gazette

Frakker

Covertcoat


ITF World Tennis Tour Juniors (indtil 2019 ITF Junior Circuit) er den bedste serie af tennisturneringer for juniorspillere på ITF World Tennis Tour, arrangeret af International Tennis Federation (ITF). Den blev grundlagt i 1977 med kun ni turneringer.

Spillere er berettiget til at konkurrere på ITF World Tennis Tour Juniors i det år de bliver 13 år, hvis de har nået deres 13 års fødselsdag på eller før starten af lodtrækningen i turneringen, som de konkurrerer i. Man kan deltage indtil slutningen af det år hvor spilleren bliver 18 år.

Turneringerne er opdelt i ni forskellige niveauer. Grade A er det højeste, og tæller de fire junior Grand Slam-turneringer, og yderlige fem store turneringer. Dernæst kommer Grade 1 til Grade 5, og de tre laveste niveauer kaldes Grade B1 til Grade B3. Der er ingen pengepræmier ved turneringerne.

I 2011 var der over 350 turneringer på ITF Junior Circuit, fordelt på 118 forskellige lande.

Grade A-turneringer
Udover de fire Grand Slam-turneringer, er fem andre turneringer i den højeste kategori Grade A.

Grand Slam
  Australian Open
  French Open
  Wimbledon
  US Open
Andre
  Abierto Juvenil Mexicano
  Porto Alegre Junior Championships
  Trofeo Bonfiglio - Campionati Internazionali d'Italia Juniores
  Osaka Mayor's Cup
  Orange Bowl

Se også
 ITF World Tennis Tour
 ITF Junior Masters
 ITF Men's Circuit
 ITF Women's World Tennis Tour

Referencer

Eksterne henvisninger
 Officielt websted
 ITF World Tennis Tour Juniors FAQs
 ITFs verdensrangliste for piger
 ITFs verdensrangliste for drenge

Tennisturneringer
Etableret i 1977
International Tennis Federation

ITF World Tennis Tour Juniors


La batalla del Ríndaco se libró el 15 de octubre de 1211 entre las fuerzas de dos de los principales estados sucesores del Imperio bizantino, el Imperio latino y el Imperio griego de Nicea, establecido como consecuencia de la disolución del estado bizantino después de la Cuarta Cruzada.

El emperador latino, Enrique de Flandes, deseaba expandir su territorio en Asia Menor a expensas de los nicenos. Enrique había logrado una victoria en 1205 en Adramitio, pero la necesidad de contrarrestar a los búlgaros en Europa le había obligado a firmar una tregua e irse. En 1211, sólo un enclave pequeño alrededor de Pigas quedó en manos de latinos. Tomando ventaja de las pérdidas sufridas por el ejército niceno contra los selyúcidas en la batalla de Antioquía del Meandro, Enrique desembarcó con su ejército en Pigas y marchó hacia el este hasta el río Ríndaco. La batalla se libró el 15 de octubre de 1211 resultando en una victoria latina, tras lo cual Enrique marchó sin oposición a través de las tierras de los nicenos, llegando hacia el sur hasta Ninfeo.

Ambas partes firmaron el Tratado de Ninfeo, que dio al Imperio latino el control la mayor parte de Misia hasta el pueblo de Kalamos (actual Gelembe), que debía ser deshabitada y marcar el límite entre los dos estados.

Fuentes

R
R
Batallas de Turquía del siglo XIII
Provincia de Bursa
Conflictos en 1211
Bitinia bizantina

Batalla del Ríndaco


Svijet

Književna djela

Događaji

Osnivanja

Nagrade i priznanja

 Nobelova nagrada za književnost:

Rođenja

 17. lipnja – Gwendolyn Brooks, američka pjesnikinja i esejistica († 2000.)

Smrti

Hrvatska i u Hrvata

Književna djela

Događaji

Osnivanja

Nagrade i priznanja

Rođenja

 17. listopada – Mak Dizdar, hrvatski i bošnjački pjesnik († 1971.)

Smrti

Izvori

Vanjske poveznice

Književnost u 1917.


Bhayavadar es una ciudad de la India en el distrito de Rajkot, estado de Guyarat.

Geografía
Se encuentra a una altitud de 83  a 374 km de la capital estatal, Gandhinagar, y a la mitad de esa distancia de la capital distrital, Rajkot, en la zona horaria UTC +5:30.

Demografía
Según estimación 2011 contaba con una población de 21 094 habitantes.

Referencias

Enlaces externos

Localidades de Guyarat

Bhayavadar