Eine Smartwatch ( für "schlaue Uhr") ist eine elektronische Armbanduhr ("Wearable"), die über zusätzliche Sensoren, Aktuatoren (z. B. Vibrationsmotor) sowie Computerfunktionalitäten und -konnektivitäten verfügt. Wesentliches Merkmal von Smartwatches ist, dass sich neben der Uhrzeit weitere Informationen darstellen lassen und der Anwender zusätzliche Funktionen über Programme ("Apps") individuell aufrüsten kann. Im Marketing werden gelegentlich auch Superwatches und Activity Tracker, welche zwar unterschiedliche vorinstallierte Programme besitzen, sich jedoch nicht durch den Anwender um weitere Programme erweitern lassen, irreführend als Smartwatch beworben.

Geschichte
Nach der Handyuhr, die seit den 1930er Jahren durch Detektiv Dick Tracy, Knight Rider und andere als fiktives Spionage-Gadget galt, seit 1993 auch als reales Produkt auf dem Markt verfügbar ist und mit einer eigenen SIM-Karte betrieben wird, entstand durch die Synchronisation mit Smartphones auch die Smartwatch. Die grundlegende Funktion von Smartwatches war die Darstellung von Informationen, die üblicherweise das Handy/Smartphone dem Nutzer mitteilt, beispielsweise über eingehende SMS oder Name des aktuellen Anrufers. Dadurch sollte erreicht werden, dass das Smartphone nicht jedes Mal aus der Tasche geholt werden muss. Durch die Konnektivität wurden weiterhin die Darstellung von Wetterinformationen, Web-2.0-Nachrichten etc. möglich. Durch die Nutzung von neuen Konzepten wie z. B. Sensor-Fusion, der Mensch-Maschinen-Schnittstelle und neuen Bedienkonzepten wurden zahlreiche neue Anwendungsgebiete erschlossen.

Gerätehistorie
 1990 brachte Casio mit der VDB-1000 eine Digitaluhr auf den Markt, die über einen resistiven Touchscreen und Apps wie Wecker, Kalender, Telefonbuch und eine passwortgeschützte Notizfunktion verfügte. Das Gerät wird in beschränktem Umfang als Vorläufer der Smartwatches angesehen, jedoch gab es keinerlei Konnektivität zum Internet oder Mobiltelefonen.
 Auf der Consumer Electronics Show (CES) 2003 in Las Vegas stellte Microsoft seine SPOT-Uhr (Smart Personal Objects Technology) vor, die bereits ausgewählte Informationen aus dem Internet visualisieren konnte.
 2008 stellte Sony Ericsson die MBW-150 vor, die neben Informationsdarstellungen zum Beispiel auch die Musikwiedergabe des Handys mittels Bluetooth steuern konnte.
 Die Chronos von Texas Instruments wurde 2010 in den deutschen Markt eingeführt und wies als Besonderheit die Nutzung von Beschleunigungs- und Luftdrucksensoren auf.
 Die Meta Watch konnte seit 2011 mit Android-Smartphones kommunizieren.
 In demselben Jahr wurde die Schweizer Notrufuhr Limmex mit eingebautem Handy auf den Markt gebracht.
 Seit 2012 sind Sony SmartWatch mit Farbdisplay, Pebble mit E-Paper-Display, I'm Watch, WIMM One und inPulse von Verizon Wireless angekündigt oder verfügbar. Ferner sind Modelle von Casio und VEA angekündigt oder verfügbar.
 Im Juni 2013 kündigte Sony den Nachfolger Smartwatch 2 (SW2) an.
 Seit September 2013 gibt es die Samsung Gear-Reihe.
 Weitere Projektvorstellungen im Jahr 2013 sind Agent und Kreyos Meteor. Letzteres stellt bis dato das erste Smartwatchmodell dar, das über Gestenerkennung und Sprachsteuerung verfügt.
 Mit Android Wear stellte Google eine Smartwatch-Plattform vor, die, gekoppelt mit einem Android-Smartphone, automatisch relevante Informationen anzeigt und eine tiefe Integration der Google-Sprachsuche bietet. Erste Geräte sind die LG G Watch und die Samsung Gear Live.
 Anfang 2014 kündigte Motorola mit der Moto 360 die erste runde Smartwatch an. Die Uhr kam im November 2014 zusammen mit der LG G Watch R auf den Markt.
 Am 9. September 2014 stellte Apple die Apple Watch vor. Sie erscheint in drei Versionen, der Apple Watch, Apple Watch Sport und Apple Watch Edition.
 Im Februar 2015 kündigten gleich drei traditionelle Schweizer Uhrenhersteller eigene Smartwatches an. Die beiden Hersteller Mondaine (mit dem Modell Helvetica 1 Smartwatch), Zürich, und Frédérique Constant, Genf, kombinieren eine traditionelle Quarzarmbanduhr und analoge Zeigeranzeige mit zusätzlichen Fitness- und Weckerfunktionen, welche jedoch nur zusammen mit einem Smartphone oder Tabletcomputer nützlich sind. Solche Lösungen haben zwar einen beschränkten Funktionsumfang, sind jedoch wesentlich stromsparender als Smartwatches mit elektronischer Digitalanzeige und Hintergrundbeleuchtung. So hat die Uhr von Frédérique Constant eine Batterienutzungsdauer von über zwei Jahren. Die Swatch Touch Zero One hat einen gewölbten Bildschirm mit einem Touchscreen und integrierte Fitnessfunktionen. Später sollen Ausführungen mit integrierter Bezahlfunktion und/oder zum Betätigen elektronischer Türschlösser folgen. Dabei wird auf standardisierte drahtlose Übertragung vom Typ Near Field Communication (NFC) gesetzt.
 Im März 2015 stellte Huawei die erste Huawei Watch vor, 2023 erschien dann die Huawei Watch Buds, eine Smartwatch mit aufklappbaren Display und integrierten Kopfhörern.
 Mitte 2018 folgte auf die Samsung Gear-Reihe die Samsung Galaxy Watch, 2021 entwickelte Samsung dann zusammen mit Google das mobile Betriebssystem Wear OS weiter.
 Im Oktober 2022 stellte auch Google mit der Pixel Watch eine Smartwatch vor.
 Auch Xiaomi, Oppo Electronics und OnePlus haben eigene Smartwatches in ihrem Produktlineup.

Beschreibung

Smartwatches verfügen über die Baugröße von Armbanduhren, können jedoch weitere Informationen zum Beispiel über das Display darstellen, den Nutzer zum Beispiel durch einen Vibrationsalarm informieren, sowie die aktuelle Situation über die Sensorik erfassen. Dadurch kann der Verbraucher beobachtet und situationsspezifisch unterstützt werden sowie durch Interaktionen Befehle ausführen, um andere Geräte zu steuern. Üblicherweise können sich Smartwatches drahtlos über Bluetooth mit einem Smartphone mit einer geeigneten Mobile App verbunden und Daten bidirektional austauschen, da nur so die volle Funktionalität heutiger Geräte ausgeschöpft werden kann. Smartwatches sind in der Regel mit wiederaufladbaren Batterien versehen, die regelmäßig aufgeladen werden müssen.

Die Smartwatches verwenden meist proprietäre Betriebssysteme (z. B. WatchOS von Apple) oder Android. Google kündigte im März 2014 eine eigene Android-Version für Smartwatches und vergleichbare Geräte mit dem Namen Android Wear an. Nachdem aber das Betriebssystem einerseits von den Herstellern nicht verwendet, aber andererseits von Google auch vernachlässigt wurde kooperieren seit 2021 Samsung und Google zur Verbesserung von Wear OS.

Die Betriebsdauer einer Smartwatch ohne Wiederaufladung ist stark durch die Art der Anzeige, die Elektronikkomplexität und die Konnektivität beschränkt. Herstellerangaben geben Laufzeiten von einem Tag (Apple Watch) bis zu einigen Tagen, in Sonderfällen mit eingeschränktem Funktionsumfang sogar bis zu zwei Jahren an.

Bei einem Test der Stiftung Warentest (Oktober 2015) wurde keines der zwölf geprüften Geräte im Preisbereich bis zu 700 Euro gut beurteilt. Kritisiert wurden neben dem Datensendungsverhalten auch die umständliche Handhabung und die kurzen Akkulaufzeiten. Im Dezember 2019 lautete das Fazit "Weniger smart als versprochen", jedoch erhielten diesmal zwei der dreizehn getesteten Smartwatches das Testurteil "Gut".

Anwendungsgebiete
Smartwatches sind typische Produkte für Privatanwender, aber auch im industriellen Umfeld anwendbar. Die Anwendungsgebiete sind vielfältig können jedoch grob in Sport, Gesundheit und erweiterte Smartphone-Funktionen unterteilt werden.

Sport
Smartwatches werden zunehmend auch als Sportuhren verwendet. Durch die integrierte Technik können Herzfrequenz sowie Puls gemessen und Bewegungen aufgezeichnet werden.  Mit Hilfe dieser Daten ist es möglich, das Training einer Person effizienter zu gestalten und einen individuellen Trainings- und Pulsbereich zu ermitteln.

Bestimmte Smartwatches erstellen auch personalisierte Trainingspläne, die aufgrund der vielen gesammelten Daten auf den Nutzer zugeschnitten sind.

Gesundheit
Durch die Sensorik ist das Erkennen von Anomalien möglich, was beispielsweise die Anwendung für ältere Menschen (Sturzerkennung, Assistenz, Epilepsie), bei gefährdeten Arbeitsplätzen oder medizinische Anwendungen erlaubt. Auch für die Erkennung von Herzrhythmusstörungen – etwa Vorhofflimmern – werden Smartwatches eingesetzt. Seit 2019 gibt es auch ein Modell, welches den Blutdruck messen kann.

Eine der innovativen Änderungen in der Geschichte der Smartwatch ist auch die Einführung von Blutzuckermessung.

Erweiterte Smartphone-Funktionen
Klassische Anwendungen sind auch Uhrzeitangaben durch Vorlesen der Uhrzeit, Erinnerungsfunktionen, Zeiterfassung, Benachrichtigungen oder die Aktivitätserkennung. Weitere Anwendungen sind die erleichterte Zeit- und Alarmeinstellung der Uhr vom entsprechenden Smartphone aus, ein Signal zum Auffinden eines verlegten Handys oder die Freigabe einer Sammlung von heiklen Daten (Passwörter usw.).

Weitere Anwendungen sind Telefonieren, das Empfangen und Beantworten von E-Mails sowie das Starten von Videoaufnahmen und Fotos auf verbundenen Kameras. Smartwatches können eine SIM-Karte enthalten und damit für bestimmte Funktionen unabhängig vom Smartphone verwendet werden: z. B. einen Notruf absetzten, wobei die Uhren zur schnelleren Hilfeleistung von Rettungskräften geortet werden können. Beim E-Mail-Empfang ist zu beachten, dass es Probleme geben kann, weil das hierfür notwendige Passwort im Gerät gespeichert ist.

Absatz und Umsatz in Deutschland
Laut  gfu Verband wurden bei Smartwatches im Jahr 2021 ein Umsatz von insgesamt 1,3 Mrd. Euro erzielt. Die Absatzzahl wird auf rund 4,7 Mio Geräte geschätzt. Laut gfu liegt der Durchschnittspreis für eine Smartwatch 2021 bei 180 Euro.

Verkaufszahlen und Marktanteile
Der Verkauf von Smartwatches legt weltweit zu. Anfang Februar 2018 wurde bekannt, dass Apple mit der Apple Watch im vergangenen Jahr gut 18 Mio. Exemplare verkauft hat. Somit hat Apple die gesamte Schweizer Uhrenindustrie hinter sich gelassen.

Apple ist mit 51,4 % der Hersteller mit dem größten Marktanteil. Der nächstgrößere ist Garmin mit 9,4 %, danach kommen Huawei (8,3 %) und Samsung (7,2 %). Wear OS by Google spielt im Vergleich zum Smartphone Markt eine sehr geringe Rolle. 2021 kündigten Samsung und Google an, ihre Betriebssysteme Tizen OS und Wear OS zu verschmelzen.

Datenschutz
Anfang Dezember 2016 stellten die Datenschutzbehörden mehrerer deutscher Bundesländer sowie der deutsche Bundesbeauftragte für den Datenschutz und die Informationsfreiheit fest, dass keines von 16 getesteten Wearables die datenschutzrechtlichen Bestimmungen erfüllt habe.

Weblinks

 Einführung und Smart Watches im Überblick

Einzelnachweise

Tragbare Computer

Smartwatch


O Calau-de-bico-vermelho-da-guiné (Tockus kempi) é uma espécie de calau da família Bucerotidae. Encontra-se desde o Senegal e Gâmbia até ao sul da Mauritânia e oeste do Mali.

Existem cinco espécies de calaus-de-bico-vermelho geralmente reconhecidas agora, mas todas as cinco já foram consideradas coespecíficas. Algumas autoridades ainda categorizam o grupo como Tockus erythrorhynchus com os quatro restantes como sua subespécie.

Descrição
Os calaus-de-bico-vermelho-da-guiné são pequenos calaus do gênero Tockus. Têm bicos vermelhos curvados que são mais laranja no bico inferior e mais vermelho brilhante no bico superior, ambos terminando com uma cor laranja escura. Suas cabeças são brancas acinzentadas e têm penas pretas na parte de trás da cabeça e do pescoço. Eles têm plumagem branca em seus rostos e grandes anéis de olho cinza escuro. Sua esclera é marrom escura e suas pupilas são pretas. Suas asas são como todos os calaus-de-bico-vermelho, com grandes e pequenos círculos de penas brancas cercadas por penas pretas no exterior e brancas na metade superior do interior e pretas na metade inferior do interior. Eles têm longas penas de cauda que são pretas no exterior e um branco acinzentado no interior.

Galeria

Referências

 Kemp, AC e W. Delport. 2002. Comentários sobre o status de subespécies no complexo do calau-de-bico-vermelho (Tockus erythrorhynchus) (Aves: Bucerotidae), com a descrição de um novo táxon endêmico da Tanzânia. Anais do Museu Transvaal 39: 1–8.
 Delport, W., AC Kemp e JWH Ferguson. 2004. Estrutura de uma zona híbrida de calau-de-bico-vermelho-africano (Tockus erythrorhynchus rufirostris e T. e. damarensis) revelada pela morfologia, comportamento e biologia reprodutiva. 121 de agosto: 565-586.

Aves descritas em 2000
Tockus

Calau-de-bico-vermelho-ocidental


Grønning er en dansk landsby i Grønning Sogn, Skive Kommune. Den ligger mellem Skive og Breum på sekundærrute 551.
Der er en lille sportsplads i midten af byen.
Grønning ligger på Åkjærsvej og har to sideveje, Dalgårdsvej og Grønningvej. I byen bor der  omkring 58 mennesker.

Byer i Skive Kommune

Grønning (Skive Kommune)


Erkek hakları ya da Erkek Hakları Hareketi, büyük ölçüde kadın haklarına bir yanıt olmak üzere 1980'lerde tanımlanan bir hareket olarak başladı. Hareketin amacı erkeklere ilişkin konuları ortaya koymak ve erkeklere yönelik kurumsal ve toplumsal ayrımı kaldırmaktır. Erkek Hareketinin bir parçasıdır. Özellikle, erkekleri ve erkek çocuklarını olumsuz etkileyen veya bazı durumlarda yapısal olarak ayrımcılık yapan belirli devlet politikalarına odaklanan çeşitli grup ve bireylerden oluşur. Erkek hakları hareketi içinde tartışılan ortak konular arasında, çocuk velayeti, nafaka ve evlilik mülkiyeti dağıtımı gibi konular dahil ancak bunlarla sınırlı olmamak üzere aile hukukunda kadınlara verildiği iddia edilen ayrıcalık yer almaktadır. Hareket aynı zamanda ebeveynlik, üreme, intiharlar, erkeklere yönelik aile içi şiddet, sünnet, eğitim, zorunlu askerlik, sosyal güvenlik ağları ve sağlık politikalarıyla da ilgileniyor. Erkek hakları hareketi, 1970'lerin başında erkek kurtuluş hareketinden ayrıldı ve her iki grup da daha büyük erkek hareketinin bir parçasını oluşturdu.

Erkek hakları hareketi içinde olanlar genellikle kendilerini maskülist olarak görmemekte ve büyük ölçüde geleneksel veya cinsiyet ideolojisini onaylamamaktadırlar. Başlangıcından bu yana, erkek hakları hareketi önemli eleştiriler aldı ve bazı akademisyenler, hareketi veya bazı kısımlarını feminizme karşı bir tepki olarak tanımladı. Erkek hakları hareketi ile ilgili iddialar ve faaliyetler eleştirildi. Nefret ve şiddet içeren bir hareket olarak etiketlendi. The Southern Poverty Law Center, 2018'de "erkek hakları hareketinin bazı köşelerinin meşru şikayetlere odaklandığını" belirtirken, bazı erkek hakları gruplarını ise 'erkek üstünlüğü' şemsiyesi altında bir nefret ideolojisinin parçası olarak sınıflandırdı (bkz: Erkekmerkezcilik ve ataerkillik). Kimilerine göre hareket Kadın Düşmanlığı içerir.

Ayrıca bakınız
 Maskülizm
 Feminizm
 Tersine ayrımcılık

Dış bağlantılar
  Men's Issues
  United Kingdom Men's Movement
  Men's Rights Agency (MRA)
 Maskulizm
 Sünnet ve İnsan Hakları

Kaynakça
 İngilizce Vikipedi - Men's rights

Erkek hakları


نِزَار شَقْرُون شاعر وروائي وناقد فن تشكيلي تونسي، ولد بمدينة صفاقس عام 1970. تحصل على الإجازة في اللغة والآداب والحضارة العربية من كلية الآداب والعلوم الإنسانية بصفاقس عام 1994، ثم على شهادة الدراسات المعمقة في علوم وتقنيات الفنون (اختصاص نظريات الفن) من المعهد العالي للفنون الجميلة بتونس عام 2002، ثم على الدكتوراه الموحّدة في علوم وتقنيات الفنون (اختصاص نظريات الفن) من المعهد العالي للفنون الجميلة بتونس عام 2007. عمل أستاذا مساعدا بالمعهد العالي للفنون والحرف بصفاقس ثمّ انتخب مديرا له إثر الثّورة التونسية في 2011. نال درجة التأهيل الجامعي وأصبح أستاذا محاضرا في 2015. وهو عضو اتحاد الكتاب التونسيين، كما أنتج عدة برامج إذاعية (فنية وأدبية وثقافية) بإذاعة صفاقس منذ عام 1994.

مؤلفاته

دواوين شعرية
 هوامش الفردوس (1990).
 تراتيل الوجع الأخير، دار صامد للنشر، صفاقس 1993.
 إشراقات الولي الأغلبي، دار البيروني للنشر والتوزيع، صفاقس 1997.
 ضريح الأمكنة (2002).
 هواء منع الحمل، دار محمد علي للنشر، تونس 2010
 ضلالي من هداي، دار فضاءات ثقافية، الأردن ، 2020
 الأعمال الشعرية، دار الوتد ، قطر، 2022

كتب مسرحية
 رقصة الأشباح (1999).

كتب نقدية
 محنة الشعر (2005).
 معاداة الصورة في المنظورين الغربي والشرقي، دار محمد علي للنشر، تونس (مدينة) 2009. (ردمك: 978-9973-33-237-0)
 شاكر حسن آل سعيد ونظرية الفن العربي (2010).
 رواية الثّورة التّونسيّة (2011).
 رهانات الفن الغربي المعاصر، دار محمد علي للنشر ، تونس، 2012
 الحداثة المعمارية، دار محمد علي للنشر ، تونس ، 2013
 نشأة اللوحة في الوطن العربي (2018).
 بحثا عن هوية، دار لوسيل للنشر، قطر، 2018
 تفكير في التجربة الجمالية، دار فضاءات ثقافية، الأردن ، 2020

روايات

 بنت سيدي الرايس، دار الدوسري للنشر، البحرين، 2010
 الناقوس والمئذنة (2018).
 دم الثور: الباب المفقود من كليلة ودمنة (2019).
 زول الله في رواية أخت الصفا (2022).

ترجمات
(رواية الوردة) تأليف: غيوم دو لوريس (2014). [ترجمة بالاشتراك مع نعيم عاشور].

المراجع

أشخاص على قيد الحياة
أشخاص من صفاقس
روائيون تونسيون
شعراء تونسيون في القرن 20
شعراء تونسيون في القرن 21
كتاب تونسيون في القرن 20
كتاب تونسيون في القرن 21
مواليد 1970
مواليد في صفاقس
نقاد فنيون

نزار شقرون


Die N589 war von 1933 bis 1973 eine französische Nationalstraße, die zwischen Le Puy-en-Velay und Chaudes-Aigues verlief. Ihre Länge betrug 115 Kilometer.

Weblinks
 Route nationale française auf WikiSara, eine Auflistung aller Nationalstraßen (französisch)

589

Route nationale 589


La  est une gare ferroviaire de la ville d'Asaka, dans la préfecture de Saitama au Japon. Elle est exploitée la compagnie privée Tōbu.

Situation ferroviaire
La gare d'Asakadai est située au point kilométrique (PK) 16,4 de la ligne Tōbu Tōjō.

Histoire
La gare a été inaugurée le .

Services aux voyageurs

Accès et accueil
La gare dispose d'un bâtiment voyageurs, avec guichet, ouvert tous les jours.

Desserte
 Ligne Tōbu Tōjō :
 voies 1 et 2 : direction Kawagoe, Sakado et Ogawamachi
 voie 3 : direction Wakōshi (interconnexion avec la ligne Fukutoshin pour Shibuya ou avec la ligne Yūrakuchō pour Shin-Kiba) et Ikebukuro
 voie 4 : direction Wakōshi et Ikebukuro

Intermodalité
La gare de Kita-Asaka de la JR East est située à proximité immédiate de la gare.

Notes et références

Voir aussi

Liens externes
  La gare d'Asakadai sur le site de la Tobu

Gare dans la préfecture de Saitama
Gare Tōbu
Gare mise en service en 1974

Gare d'Asakadai


An Loudetiopsis kerstingii in uska species han Liliopsida nga syahan ginhulagway ni Pilg., ngan ginhatag han pagkayana nga asya nga ngaran ni Hans Joachim Conert. An Loudetiopsis kerstingii in nahilalakip ha genus nga Loudetiopsis, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Loudetiopsis

Loudetiopsis kerstingii


Look Sharp! may refer to:

 Look Sharp! (Joe Jackson album), and the title song
 Look Sharp! (Roxette album)

Look Sharp!


Essence () is a polysemic term, having various meanings and uses. It is used in philosophy and theology as a designation for the property or set of properties or attributes that make an entity or substance what it fundamentally is, and which it has by necessity, and without which it loses its identity. Essence is contrasted with accident: a property or attribute the entity or substance has contingently, without which the substance can still retain its identity.

The concept originates rigorously with Aristotle (although it can also be found in Plato), who used the Greek expression to ti ên einai (τὸ τί ἦν εἶναι, literally meaning "the what it was to be" and corresponding to the scholastic term quiddity) or sometimes the shorter phrase to ti esti (τὸ τί ἐστι, literally meaning "the what it is" and corresponding to the scholastic term (haecceity(thisness) for the same idea. This phrase presented such difficulties for its Latin translators that they coined the word essentia (English "essence") to represent the whole expression. For Aristotle and his scholastic followers, the notion of essence is closely linked to that of definition (ὁρισμός horismos).

In the history of Western philosophy, essence has often served as a vehicle for doctrines that tend to individuate different forms of existence as well as different identity conditions for objects and properties; in this logical meaning, the concept has given a strong theoretical and common-sense basis to the whole family of logical theories based on the "possible worlds" analogy set up by Leibniz and developed in the intensional logic from Carnap to Kripke, which was later challenged by "extensionalist" philosophers such as Quine.

Etymology
The English word essence comes from Latin essentia, via French essence. The original Latin word was created purposefully, by Ancient Roman philosophers, in order to provide an adequate Latin translation for the Greek term οὐσία (ousia). Stoic philosopher Seneca (d. 65 AD) attributed creation of the word to Cicero (d. 43 BC), while rhetor Quintilian (d. 100 AD) claimed that the word was created much earlier, by writer Plautus (184 BC). Early use of the term is also attested in works of Apuleius (d. 170 AD) and Tertullian (d. 240 AD). During Late Antiquity, the term was often used in Christian theology, and through the works of Augustine (d. 430), Boethius (d. 524) and later theologians, who wrote in Medieval Latin, it became the basis for consequent creation of derived terms in many languages.

St Thomas Aquinas, in his commentary on De hebdomadibus (Book II) by Boethius, states that in this work the distinction between essence (id quod est, what the thing is) and Being (esse) was introduced for the first time.
Whereas the Being participated in entities is infinite and infinitely perfect, the essence -and not the matter- delimits the perfection of the Being in entities and makes them finite.

Philosophy

Ontological status
In his dialogues Plato suggests that concrete beings acquire their essence through their relations to "Forms"abstract universals logically or ontologically separate from the objects of sense perception. These Forms are often put forth as the models or paradigms of which sensible things are "copies". When used in this sense, the word form is often capitalized. Sensible bodies are in constant flux and imperfect and hence, by Plato's reckoning, less real than the Forms which are eternal, unchanging and complete. Typical examples of Forms given by Plato are largeness, smallness, equality, unity, goodness, beauty and justice.

Aristotle moves the Forms of Plato to the nucleus of the individual thing, which is called ousia or substance. Essence is the ti of the thing, the to ti en einai. Essence corresponds to the ousia's definition; essence is a real and physical aspect of the ousia (Aristotle, Metaphysics, I).

According to nominalists (Roscelin of Compiègne, William of Ockham, Bernard of Chartres), universals aren't concrete entities, just voice's sounds; there are only individuals: "nam cum habeat eorum sententia nihil esse praeter individuum [...]" (Roscelin, De gener. et spec., 524). Universals are words that can call to several individuals; for example the word "homo". Therefore, a universal is reduced to a sound's emission (Roscelin, De generibus et speciebus).

John Locke distinguished between "real essences" and "nominal essences". Real essences are the thing(s) that makes a thing a thing, whereas nominal essences are our conception of what makes a thing a thing.

According to Edmund Husserl essence is ideal. However, ideal means that essence is an intentional object of consciousness. Essence is interpreted as sense (E. Husserl, Ideas pertaining to a pure phenomenology and to a phenomenological philosophy, paragraphs 3 and 4).

Existentialism

Existentialism was coined by Jean-Paul Sartre's endorsement of Martin Heidegger's statement that for human beings "existence precedes essence." In as much as "essence" is a cornerstone of all metaphysical philosophy and of Rationalism, Sartre's statement was a repudiation of the philosophical system that had come before him (and, in particular, that of Husserl, Hegel, and Heidegger). Instead of "is-ness" generating "actuality," he argued that existence and actuality come first, and the essence is derived afterward. For Kierkegaard, it is the individual person who is the supreme moral entity, and the personal, subjective aspects of human life that are the most important; also, for Kierkegaard all of this had religious implications.

In metaphysics
Some existentialists argue that individuals gain their souls and spirits (or synonymously, "essence") after they exist, that they develop their souls and spirits during their lifetimes. For Kierkegaard, however, the emphasis was upon essence as "nature." For him, there is no such thing as "human nature" that determines how a human will behave or what a human will be. First, he or she exists, and then comes property. Jean-Paul Sartre's more materialist and skeptical existentialism furthered this existentialist tenet by flatly refuting any metaphysical essence, any soul, and arguing instead that there is merely existence, with attributes as essence.

Thus, in existentialist discourse, essence can refer to:
 physical aspect or property;
 the ongoing being of a person (the character or internally determined goals); or
 the infinite inbound within the human (which can be lost, can atrophy, or can be developed into an equal part with the finite), depending upon the type of existentialist discourse.

Religion

Buddhism
Within the Madhyamaka school of Mahayana Buddhism, Candrakirti identifies the self as:

Buddhapālita adds, while commenting on Nagārjuna's Mūlamadhyamakakārikā,

For the Madhyamaka Buddhists, 'Emptiness' (also known as Anatta or Anatman) is the strong assertion that:
 all phenomena are empty of any essence;
 anti-essentialism lies at the root of Buddhist praxis; and
 it is the innate belief in essence that is considered to be an afflictive obscuration which serves as the root of all suffering.
However, the Madhyamaka also rejects the tenets of Idealism, Materialism or Nihilism; instead, the ideas of truth or existence, along with any assertions that depend upon them, are limited to their function within the contexts and conventions that assert them, possibly somewhat akin to Relativism or Pragmatism. For the Madhyamaka, replacement paradoxes such as Ship of Theseus are answered by stating that the Ship of Theseus remains so (within the conventions that assert it) until it ceases to function as the Ship of Theseus.

In Nagarjuna's Mulamadhyamakakarika Chapter XV examines essence itself.

Hinduism

In understanding any individual personality, a distinction is made between one's Swadharma (essence) and Swabhava (mental habits and conditionings of ego personality). Svabhava is the nature of a person, which is a result of his or her samskaras (impressions created in the mind due to one's interaction with the external world). These samskaras create habits and mental models and those become our nature. While there is another kind of svabhava that is a pure internal quality – smarana – we are here focusing only on the svabhava that was created due to samskaras (because to discover the pure, internal svabhava and smarana, one should become aware of one's samskaras and take control over them). Dharma is derived from the root dhr "to hold." It is that which holds an entity together. That is, Dharma is that which gives integrity to an entity and holds the core quality and identity (essence), form and function of that entity. Dharma is also defined as righteousness and duty. To do one's dharma is to be righteous, to do one's dharma is to do one's duty (express one's essence).

See also

References

Sources

External links

 Maurice De Wulf: "Nominalism, Realism, Conceptualism.", in: The Catholic Encyclopedia. Vol. 11. New York: Robert Appleton Company, 1911.

Aristotelianism
Concepts in logic
Metaphysical properties
Essentialism
Existentialist concepts
Madhyamaka
Metaphysical theories
Modal logic
Philosophy of Aristotle
Philosophy of life
Platonism
Substance theory
Identity (philosophy)

Essence


"We Don't Talk About Bruno" (no Brasil e em Portugal: "Não Falamos do Bruno") é uma canção presente no filme de animação Encanto (2021) da Disney, com a sua letra escrita por Lin-Manuel Miranda. Foi lançada pela Walt Disney Records como parte da trilha sonora do filme em 19 de novembro de 2021. A faixa é uma obra de conjunto, interpretada pelos membros do elenco de voz do filme, principalmente por Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero e Stephanie Beatriz, e alguns outros em papeis menores. Uma sensação viral, "We Don't Talk About Bruno" foi descrita como uma das melhores canções da Disney e o maior sucesso de crossover do estúdio.

Consistindo em fofocas e anedotas sobre o tio ostracizado de Mirabel Madrigal, Bruno Madrigal, cujo dom de profecia foi associado ao infortúnio e o afastou do resto dos Madrigals, "We Don't Talk About Bruno" vê alguns dos membros da família e os moradores explicando a Mirabel por que não falam de Bruno. A faixa insinua que Bruno é um vilão, o que é central na trama do filme. Ele abandona os estilos narrativos das canções convencionais de vilões da Disney, listando as perspectivas dos protagonistas sobre o vilão. Musicalmente, "We Don't Talk About Bruno" foge da fórmula tradicional da Disney de uma balada sentimental interpretada por um personagem solo, optando por uma melodia suave e midtempo que mistura estilos de música latina como salsa e guajira com pop, hip hop, dance e elementos da Broadway, cantados por um conjunto e culminando em um final polifônico.

"We Don't Talk About Bruno" foi aclamado pela crítica especializada, que elogiou o trabalho de Miranda e o elemento misterioso da música, ritmo cativante, composição versátil, conjunto de cantores e personalidade lírica. Um sucesso comercial, "We Don't Talk About Bruno" alcançou o primeiro lugar na Irlanda, Reino Unido e Estados Unidos, e atingiu as dez primeiras posições em paradas da Austrália, Canadá e Nova Zelândia. "We Don't Talk About Bruno" é a única canção da Disney do século XXI a alcançar o topo da Billboard Hot 100 dos Estados Unidos, bem como a primeira música original da Disney a chegar ao topo do UK Singles Chart do Reino Unido. Ele quebrou o recorde de todos os tempos para os cantores mais creditados (sete) no topo das paradas da Hot 100, e rendeu a eles e Miranda a primeira canção número um de suas carreiras.

Antecedentes e lançamento
"We Don't Talk About Bruno" é uma canção do filme musical de fantasia animado de 2021, Encanto, da Walt Disney Animation Studios; é o sexagésimo filme do estúdio. A canção é apresentada como a quarta faixa da trilha sonora do filme, que foi lançada em 46 idiomas. Foi escrita e composta pelo cantor e compositor norte-americano Lin-Manuel Miranda, que também escreveu as outras sete músicas da trilha sonora, e também trabalhou anteriormente no filme de animação da Disney de 2016, Moana. A canção é interpretada principalmente por seis membros do elenco do filme em versos completos: a cantora colombiana Carolina Gaitán (que dubla a personagem Pepa), o músico colombiano Mauro Castillo (Félix), a cantora e compositora americana Adassa (Dolores), o ator americano Rhenzy Feliz (Camilo), e as atrizes americanas Diane Guerrero (Isabela) e Stephanie Beatriz (Mirabel), na ordem em que aparecem na música; Juan Castano (Osvaldo), Sarah Nicole-Robles (Señora Pezmuerto) e Olga Merediz (Alma "Abuela" Madrigal) contribuem com vocais menores.

Composição
Miranda lançou a faixa como um conjunto musical porque ele queria criar temas para representar todos os membros da família, especialmente "aqueles que não necessariamente conseguem seu solo". Ele disse que olhou para "A Weekend in the Country" de A Little Night Music e "Christmas Bells" de Rent. Ele descreveu "We Don't Talk About Bruno" como um número de "fofoca" porque há coisas que os membros da família não falam na frente uns dos outros. O primeiro verso é sobre quem está contando a história — a tia de Mirabel, Pepa, e o tio Félix, que Miranda baseou em seu pai, Luis Miranda. Miranda disse que "todo mundo canta a mesma progressão de acordes com um ritmo totalmente diferente e uma cadência totalmente diferente". Durante o desenvolvimento inicial do filme, o personagem Bruno foi originalmente chamado de Oscar. Miranda escolheu o nome Bruno para que ele pudesse trabalhar na letra "Bruno, no, no, no" na canção. "We Don't Talk About Bruno" foi descrita como uma faixa de pop latino e salsa, fortemente enraizada na guajira e inspirada no folk cubano, hip hop e dance. Cada seção da música apresenta um estilo musical diferente exclusivo para cada um dos personagens. Os ganchos e os versos de Pepa e Félix são conduzidos por um piano clássico cubano montuno; o verso de Dolores consiste em vocais influenciados por ASMR sobre batidas eletrônicas suaves; as falas de Camilo exibem uma entrega "assustadora"; e mais tarde seguido por cordas de pizzicato dedilhadas abaixo da voz brilhante de Isabela.

Recepção da crítica
"We Don't Talk About Bruno" foi amplamente aclamada por críticos de música e cinema. Sua composição, mistura de gêneros e elementos de mistério foram frequentemente elogiados pelos revisores.

Jamie Kenney, da Romper, chamou "We Don't Talk About Bruno" como o destaque de Encanto, "um que, acima de todos os outros, deliciosamente entrou em nossos cérebros e viveu lá sem pagar aluguel desde que assistimos ao filme com nossos filhos durante as férias". Caroline Cao, da /Film, classificou a canção como a melhor da trilha sonora de Encanto, chamando-a de cheia de humor e nuances, afirmando: "'We Don't Talk About Bruno' explode com as personalidades vibrantes dos Madrigals, desde os sussurros rápidos de Adassa como a prima Dolores até a forma como Rhenzy Feliz gosta de contar uma história como o primo muito imaginativo Camilo". Cao considerou-a como uma "peça de conjunto perfeita que ilumina cada personagem, lança luz sobre os temas abrangentes da história e oferece uma quantidade incomparável de informações sobre o mundo de Encanto". Kristen Brown, da Screen Rant, também a considerou como a melhor canção do filme.

Ashley Spencer, do The New York Times, escreveu que, ao contrário da maioria dos sucessos da Disney, "We Don't Talk About Bruno" não é um "solo de herói melancólico ou uma power ballad de terceiro ato", mas sim "uma faixa de conjunto no estilo da Broadway que se deleita em fofocas sobre um homem de meia-idade." O crítico da Slate, Chris White, atribuiu o ritmo de música latina, a influência da Broadway, melodias "cativantes e firmes", versos distintos, clímax dramático e o elemento misterioso de suas letras a seu sucesso viral. Tyler Posen, da Far Out, chamou-a de uma música pop latina "incessantemente cativante" com uma composição "estilisticamente diversa" e letras "pesadamente expostas" que não a impediram de "alcançar o tipo de sucesso crossover que 'Let It Go' ou 'Beauty and the Beast' não poderia." Chris Molanphy, da Slate, argumentou que "We Don't Talk About Bruno" é uma ótima música não apenas porque é cativante, mas porque possui versatilidade no som e nas letras ao longo de sua duração, acentuada pelo "senso de mistério" por trás de seu personagem título que é "envolvente, mesmo que você não tenha visto o filme", e suas melodias refrescantes e composição partindo da produção estereotipada das canções da Disney.

Desempenho nas tabelas musicais

Canções de 2021
Singles lançados pela Walt Disney Records
Músicas da Disney
Canções de pop latino

We Don't Talk About Bruno


El Palacio de Canedo es una gran casona situada en Canedo, dentro del municipio de Arganza que data del  y formaba parte del Señorío de Canedo.

En la actualidad es propiedad del empresario berciano José Luis Prada, más conocido como Prada a Tope, el cual lo restauró debido al estado de abandono. Cuenta con un gran viñedo en la parte delantera del caserón y que el propio Prada utiliza para elaborar sus vinos. Consta de una parte de alojamiento y otra de cafetería y tienda así como una bodega. Se le ha añadido al palacio un módulo que permite ampliar la bodega para la elaboración de vinos además de la oferta de alojamiento. En el Palacio de Canedo es utilizado por un negocio de restauración para la realización de eventos. Cada año por las fechas navideñas tiene lugar el acto del encendido de la decoración navideña del palacio así como del árbol gigante de Navidad situado en el patio del palacio y que está formado con unas 1500 botellas de Xamprada, producto comercializado y elaborado por Prada a Tope.

Referencias

Bienes de interés cultural de la provincia de León
Arganza

Palacio de Canedo (León)


La statue-menhir de Balaguier est une statue-menhir appartenant au groupe rouergat découverte à Balaguier-sur-Rance, dans le département de l'Aveyron en France.

Généralités
La statue a été découverte en 2002 par M. Villeneuve lors de travaux routiers sous la chaussée de la route départementale dans le bourg de la commune. Elle a été sculptée dans une dalle de grès permien dont les sites d'extraction les plus proches sont situés à une distance de  . La statue originale est conservée dans les locaux de la mairie de Balaguier, tandis qu'une copie a été dressée sur place.

Description

La statue est en partie brisée mais les deux côtés sont bien conservés. Elle a été sculptée et gravée et correspond à plusieurs transformations successives. De la première statue, il ne demeure que la partie inférieure des deux jambes et des pieds, la partie haute de la statue étant cassée. Dans un second temps, la dalle a été retournée tête-bêche : dans la partie haute de la dalle plusieurs caractères anthropomorphes et attributs ont été rajoutés pour créer un personnage masculin : un visage, deux bars et deux mains, une ceinture, un baudrier avec fourreau et les plis d'un vêtement. La ceinture dessine un tour complet de la statue. Dans la partie inférieure, les jambes sont désormais représentées à l'envers avec les orteils côté ceinture. Dans une dernière phase, le baudrier a été prolongé pour rajouter un collier avec une pendeloque triangulaire.

Notes et références

Annexes

Bibliographie

Articles connexes
 Sites mégalithiques de l'Aveyron
 Liste des statues-menhirs de France

Balaguier
Site mégalithique dans l'Aveyron

Statue-menhir de Balaguier


Boğazören, Kahramanmaraş ilinin Andırın ilçesine bağlı bir mahalledir.

Nüfus

Dış bağlantılar

Andırın'ın mahalleleri

Boğazören, Andırın


Denis Suárez Fernández (Salceda de Caselas, Pontevedra, 6 de enero de 1994) es un futbolista español que juega como centrocampista en el Villareal C. F. de la Primera División de España.

Trayectoria

Real Club Celta de Vigo
Denis llegó a la cantera del Celta de Vigo en 2009, procedente del Porriño Industrial. Rápidamente se convirtió en uno de los jugadores más codiciados de la cantera celeste. En 2010, con apenas 16 años, hizo su debut en el filial.

Manchester City
Denis firmó con el Manchester City el 23 de mayo de 2011. El club inglés pagó una cantidad inicial de 850000 libras, que podría aumentar a 2,75 millones de libras en función de una serie de variables como la del debut en el primer equipo.

El 26 de octubre de 2011 debutó con el conjunto inglés al sustituir a Samir Nasri en un encuentro de la Copa de la Liga ante el Wolverhampton. Casi un año después jugó su segundo partido con el equipo ciudadano ante el Aston Villa. Durante dos temporadas, Denis fue un destacado jugador del conjunto sub-23 del Manchester City.

F. C. Barcelona
En el verano de 2013 el Fútbol Club Barcelona volvió a mostrar interés en el centrocampista, al que fichó por 1,8 millones de euros más una serie de variables por cada diez partidos que jugase con el primer equipo. Su contrato estipulaba que debía  jugar con el filial azulgrana la primera temporada y, durante las tres siguientes, sería parte del primer equipo. Sin embargo, el jugador fue cedido por dos temporadas al Sevilla Fútbol Club como parte del traspaso de Ivan Rakitić.

Sevilla F. C.
El 26 de octubre de 2014 marcó su primer tanto en Primera División en una victoria por 2 a 1 ante el Villarreal. Con el equipo sevillista disputó 46 encuentros, aunque se quedó en el banquillo en la final de la Liga Europa ante el FC Dnipro. Sin embargo, el jugador mostró interés en abandonar el cuadro hispalense, llegándose a un acuerdo para cancelar el último año de cesión.

Villarreal C. F.
A finales de agosto de 2015, el jugador se desvinculó del Fútbol Club Barcelona y del Sevilla Fútbol Club para recalar en el Villarreal CF. El cuadro amarillo abonó cuatro millones de euros al Sevilla para anular el contrato que tenía en vigor.

F. C. Barcelona
El 4 de julio de 2016 se hizo oficial su fichaje por el Fútbol Club Barcelona por el valor de su cláusula de recompra de 3250000 euros.

Arsenal F. C.
El 29 de enero de 2019 se oficializó su cesión por el Arsenal Football Club hasta final de temporada por un montante de 2500000 euros y sin opción de compra. Regresó al club catalán al término de la temporada.

Regreso a Vigo
El 30 de junio de 2019, el Fútbol Club Barcelona hizo oficial su venta al Real Club Celta de Vigo a cambio de 12,9 millones de euros más 3,1 en variables. Firmó por cuatro temporadas y regresó al club en el que se había formado ocho años después. En julio de 2022 fue apartado del equipo por el presidente Carlos Mouriño, por presuntamente haber influido en la marcha del canterano Bryan Bugarín al Real Madrid, algo que el futbolista ha negado siempre. Durante ese tiempo, el centrocampista estuvo apartado del equipo, entrenándose en solitario. En el mercado de fichajes de verano tuvo algunas ofertas por equipos como el Sevilla o el Betis, pero no se llegaron a materializar.

R. C. D. Espanyol y vuelta al Villareal C. F.
Tras un largo tiempo negociando el fichaje, el 29 de enero de 2023, se trasladó a Barcelona, donde se confirmó su fichaje por el Real Club Deportivo Espanyol el 31 de enero de 2023. El fichaje supuso un desembolso de 200 mil euros por parte del club perico, más una cláusula de 400 mil euros más en caso de que el club mantuviese la máxima categoría al final de la temporada 2022-23. No pudo ayudar al equipo a evitar el descenso a Segunda División y la siguiente campaña regresó al Villarreal C. F.

Selección nacional
Denis ha sido internacional en todas las categorías inferiores de la . El 29 de mayo de 2016 debutó con la selección absoluta en un amistoso ante Bosnia, en el que entró sustituyendo a David Villa.

Selección gallega
El 20 de mayo de 2016, jugó con la selección de fútbol de Galicia un partido amistoso, en el estadio de Riazor, contra la selección de Venezuela que terminó con empate a 1.

Estadísticas

Clubes
 Actualizado al último partido disputado el .

Palmarés

Campeonatos nacionales

Campeonatos internacionales

Notas

Referencias

Enlaces externos
 Ficha oficial de Denis Suárez en BDFutbol
 Ficha oficial de Denis Suárez en RFEF

 Denis Suárez: Lo más real del Barça B en En un momento dado

Interiores de fútbol
Futbolistas de la provincia de Pontevedra
Futbolistas de la selección de fútbol sub-17 de España
Futbolistas de la selección de fútbol sub-18 de España
Futbolistas de la selección de fútbol sub-19 de España
Futbolistas de la selección de fútbol sub-20 de España
Futbolistas de la selección de fútbol sub-21 de España
Futbolistas de la selección de fútbol de España en los años 2010
Futbolistas del Real Club Celta de Vigo "B"
Futbolistas del Manchester City Football Club
Futbolistas del Fútbol Club Barcelona Atlètic
Futbolistas del Sevilla Fútbol Club en los años 2010
Futbolistas del Villarreal Club de Fútbol en los años 2010
Futbolistas del Fútbol Club Barcelona en los años 2010
Futbolistas del Arsenal Football Club
Futbolistas del Real Club Celta de Vigo en los años 2010
Futbolistas del Real Club Celta de Vigo en los años 2020
Futbolistas del Real Club Deportivo Espanyol en los años 2020
Futbolistas del Villarreal Club de Fútbol en los años 2020

Denis Suárez


Emily Robison, geb. Erwin (* 16. August 1972 in Pittsfield, Massachusetts) ist eine US-amerikanische Songschreiberin, Sängerin und Multiinstrumentalistin.

Robison ist Gründungs- sowie aktuelles Mitglied der Country Band The Chicks. Sie spielt Banjo, Dobro, Gitarre, Bass, Mandoline, Akkordeon und Sitar.

Leben
Emily ist die Tochter von Barbara Trask und Paul Erwin. Aufgewachsen ist sie in Addison (Texas), einem Vorort von Dallas. Sie hat zwei ältere Schwestern, Julia, geboren 1967, und Martie, geboren 1969.

Im Mai 1999 heiratete Emily den Country-Sänger Charlie Robison. In der Zeit vor dieser Heirat schrieb sie den sehr romantischen Hit "Cowboy Take Me Away" für ihn. Sie hat drei Kinder und nach neun Jahren Ehe ist sie seit August 2008 geschieden. Charlie Robison starb im September 2023 an einem Herzstillstand.

Frühe Karriere

Emily begann das Violinspiel im Alter von sieben und lernte Banjo im Alter von zehn Jahren. Später lernte sie alle Saiteninstrumente, derer sie habhaft werden konnte, und schließlich noch Akkordeon.

Von 1984 bis 1989 spielte sie mit ihrer Schwester Martie, einem Mitschüler und Sharon Gilchrist in der von diesen Vieren gegründeten Teenager-Bluegrass-Gruppe mit dem Namen "Blue Night Express". Nach Martie absolvierte sie das Gymnasium Greenhill School (in Addison, Texas). Auch nach ihrem Abschluss, während des Studiums, blieb sie in der Gruppe weiter aktiv.

Im Jahr 1989, nachdem sie mit der bisherigen Gruppe auf Bluegrass-Festivals gastiert und Straßenmusik gemacht hatte, gründete sie mit ihrer Schwester Martie, der Gitarristin Robin Lynn Macy und der Bassistin Laura Lynch die Alternative-Country-Band Dixie Chicks.

In ihrer bisherigen Karriere mit den Dixie Chicks beschränkte sie sich auf ihren Gesang als Background-Sängerin, aber in ihrem neuesten Album "Court Yard Hounds", zusammen mit ihrer Schwester Martie, hat sie die Rolle der Lead-Sängerin übernommen.

The Chicks

Auszeichnungen
 2007: Fünf Grammys mit den Dixie Chicks

 Weitere Auszeichnungen:

Einzelnachweise

Weblinks

Musiker (Vereinigte Staaten)
Country-Musiker
Gitarrist
Banjospieler
Songwriter
Grammy-Preisträger
US-Amerikaner
Geboren 1972
Frau

Emily Robison


Etana a fost un vechi rege sumerian al orașului Kiș. Conform listei regilor sumerieni, el a domnit după potop. Este considerat succesorul lui Arwium, fiul lui Mashda, ca rege al orașului Kiș. Etana este numit în acea listă "păstorul, care s-a înălțat la cer și a unificat toate țările străine", și se menționează că a domnit 1.560 de ani (în unele copii este scris 635 de ani), după care i-a succedat fiul său, Balih, despre care se spune că a domnit 400 de ani.

Mitul lui Etana
O legendă babiloniană spune că Etana era disperat să aibă un copil, până când, într-o zi, el a ajutat un vultur care suferea de foame, care l-a dus apoi în înaltul cerului pentru a găsi planta nașterii. Acest lucru a dus la nașterea fiului său, Balih.

În forma detaliată a legendei, acolo este un copac cu un cuib de vultur în vârf și un șarpe la baza. Atât șarpele, cât și vulturul i-au promis lui Utu (zeul soarelui) să se comporte bine unul față de altul și să împartă mâncarea cu puii lor.

Dar într-o zi, vulturul a mâncat puii șarpelui. Șarpele s-a întors și a început să plângă. Utu i-a spus șarpelui să se ascundă în stomacul unui taur mort. Vulturul a coborât din văzduh pentru a mânca taurul. Șarpele l-a surprins  și l-a aruncat într-o groapă să moară de foame și de sete. Utu a trimis apoi un om, Etana, pentru a-l ajuta pe vultur. Etana a salvat viața vulturului, dar i-a cerut păsării, de asemenea, să-l ajute să găsească planta nașterii în scopul de a deveni tatăl unui fiu. Vulturul l-a dus pe Etana până în cerul zeului Anu, dar Etana s-a speriat în aer și s-a întors la sol. El a făcut o altă încercare și a găsit planta nașterii, permițându-i să aibă un fiu pe nume Balih.

Până în prezent au fost descoperite versiuni ale acestei legende în trei limbi. Versiunea babiloniană veche provine de la Susa și Tell Harmal, versiunea asiriană provine de la Assur și versiunea standard provine de la Ninive.

Note

Legături externe
 Etana epic on Encyclopædia Britannica

 The Myth of Etana
 The Assyro-Babylonian Mythology FAQ: Etana

Regi sumerieni

Etana


Tramvaiul din Amsterdam (în ) este o rețea de tramvai din Amsterdam, Țările de Jos. La origine, rețeaua datează din anul 1875. Începând din 1943, ea este gestionată de operatorul municipal de transport public GVB, care mai are în subordine Metroul din Amsterdam, rețeaua de autobuze și serviciile de feribot. Tramvaiul din Amsterdam constituie cea mai mare rețea de acest fel din Țările de Jos și una din cele mai mari din Europa.

Tramvaiele rețelei rulează pe șine cu ecartament normal. Din anul 1900, ele sunt propulsate cu electricitate și alimentate la 600 V c.c.. La stația terminus a aproape fiecărei linii există o buclă de întoarcere, astfel încât traseul să poată fi operat cu tramvaie unidirecționale. Singura excepție este stația Binnenhof din Amstelveen, unul din capetele liniei 5, care trebuie, din această cauză, operată cu rame bidirecționale.

În anul 2016 existau 14 trasee de tramvai. În 2018, întreaga rețea de transport din Amsterdam va fi reorganizată și se va introduce o nouă numerotare.

Rețeaua de tramvai are o lungime totală de 80,5 km de traseu și 200 km de șine. Flota este alcătuită din 200 de tramvaie, din care 24 bidirecționale, acestea fiind folosite pe linia 5 care nu dispune de buclă de întoarcere.

Trasee

Traseele actuale
În 2016, rețeaua de tramvai din Amsterdam avea următoarele 14 linii:

  1 – Centraal Station – Leidseplein – Surinameplein – Gara Lelylaan – Osdorp De Aker (Matterhorn)
  2 – Centraal Station – Leidseplein – Hoofddorpplein – Nieuw Sloten (Oudenaardeplantsoen)
  3 – Zoutkeetsgracht – Museumplein – Ceintuurbaan – Gara Muiderpoort
  4 – Centraal Station – Frederiksplein – Gara RAI
  5 – Centraal Station – Leidseplein – Museumplein – Gara Zuid – Amstelveen (Binnenhof)
  7 – Sloterpark – Leidseplein – Weesperplein – Flevopark
  9 – Centraal Station – Plantage – Watergraafsmeer – Diemen (Sniep)
  10 – Van Hallstraat – Leidseplein – Weesperplein – Rietlandpark – Java-eiland (Azartplein)
  12 – Gara Sloterdijk – Museumplein – Ceintuurbaan – Gara Amstel
  13 – Centraal Station – Rozengracht – Mercatorplein – Geuzenveld (Lambertus Zijlplein)
  14 – Sloterpark – Rozengracht – Dam – Plantage – Flevopark
  16 – Centraal Station – Vijzelstraat – Museumplein – De Lairessestraat – Amstelveenseweg – VU Medisch Centrum
  17 – Centraal Station – Rozengracht – Kinkerstraat – Gara Lelylaan – Osdorp (Dijkgraafplein)
  26 – Centraal Station – Rietlandpark – Piet Heintunnel – IJburg (IJburglaan)

Note

Legături externe
  Geheugen van de Amsterdamse Tram
  Beeldbank Stadsarchief Amsterdam (fotografii din banca de imagini a orașului)

Tramvaiul din Amsterdam

Tramvaiul din Amsterdam


The Aggie Bonfire was a long-standing annual tradition at Texas A&M University as part of the college rivalry with the University of Texas at Austin. For 90 years, Texas A&M students—known as Aggies—built a bonfire on campus each autumn, known to the Aggie community simply as "Bonfire". The event symbolized Aggie students' "burning desire to beat the hell outta t.u.", a derogatory nickname for the University of Texas.

The bonfire was traditionally lit around Thanksgiving in conjunction with festivities surrounding the annual football game. Early bonfires were little more than piles of trash, but the event gradually became more organized and eventually grew to an immense size, setting the world record in 1969. In 1999, the Bonfire collapsed during construction, killing 12 students, one former student and injuring 27 others. The accident led Texas A&M to declare a hiatus on an official Bonfire. However, since 2002, a student-sponsored coalition has constructed an annual unsanctioned, off-campus "Student Bonfire" in the spirit of its predecessor.

Early years

The students of the Agricultural and Mechanical College of Texas, known as Aggies, burned their first bonfire on November 18, 1907, to congratulate the football team on a recent win. The first on-campus Aggie Bonfire, a heap of trash and debris, was burned in 1909 to generate enthusiasm for a variety of sporting events. A decade later, the focus of the event narrowed to the annual rivalry game between Texas A&M and the University of Texas, held near Thanksgiving Day. Little information was recorded about the early Bonfires; the 1921 Texas A&M yearbook mentioned the "final rally" of the students before the game against Texas, but did not refer to a bonfire. Six years later, the school yearbook published a photograph of the event.

Freshmen were expected to build the early Bonfires to help prove their worth. For almost two decades, the students constructed Bonfire from debris and wood acquired through various, sometimes illicit, means, including appropriating lumber intended for a dormitory in 1912. In 1935, a farmer reported that students carried off his entire barn as fuel for Bonfire. To prevent future incidents, the university made Bonfire a school-sanctioned event. The following year, for the first time, the school provided axes, saws, and trucks for the students and pointed them toward a grove of dead trees on the edge of town.

During the 1940s, the school paper described Bonfire as "the greatest event of the football season". The 1947 Corps handbook stated that "bonfire symbolizes two things: a burning desire to beat the team from the University of Texas, and the undying flame of love that every loyal Aggie carries in his heart for the school"; this was often shortened to "the burning desire to beat the hell out of t.u."
The Bonfire design changed in 1942. Universal Studios, filming the movie We've Never Been Licked on the Texas A&M Campus, built a bonfire as a prop for the movie. Their structure used a design similar to a teepee, where all the logs rested against each other in a conical shape. The logs were placed at an angle between 23 and 30 degrees, giving it "a tremendous vertical and horizontal resistance". This allowed Bonfire to grow from  tall to over  tall. Subsequent Aggies adopted the new idea, and the teepee design became standard for Bonfires for the next twenty-five years.

Beginning in 1952, the bonfires were constructed entirely from fresh-cut logs. The event suffered its first fatality in 1955, when a student was struck by a swerving car. For unrelated reasons, that same year the Bonfire was moved from Simpson Drill Field in front of the Memorial Student Center to Duncan Field, near the dorms of the Corps of Cadets (whose leaders oversaw construction). In 1957, the structure collapsed two days before Bonfire was to be held, but students worked around-the-clock to rebuild it, and the bonfire burned as scheduled.

During this period, University of Texas students attempted several stunts, trying to light the stack early, but to no avail. In both 1933 and 1948, students from UT rented an airplane and tried to drop fire bombs onto the stack. In one of these instances, the plane ran low on fuel, and was forced to land at Easterwood Airport in College Station—the wooden portions of the plane found themselves part of Bonfire that year. In 1956, there was an unsuccessful attempt to plant explosives at the Bonfire site, and, in the late 1970s, a College Station police officer was fired after trying to ignite the bonfire several days ahead of schedule. Students spotted the officer before he could succeed and chased him across campus. In 1999, a Longhorn fan hired someone to build a six-foot model airplane designed to carry a bomb into the wood stack to ignite it prematurely. "He was actually in the process of building that plane when they had the tragedy at bonfire", Mel Stekoll said. "At that point, we scrapped the plan. It would have been the next year that we planned to try it."

Organizational change and expansion

In 1965, membership in the Corps of Cadets became voluntary for students at Texas A&M. Before, Corps leaders directed construction of Bonfire. However, because the Corps had no authority over the "non-regs", or civilian students, a separate Bonfire leadership structure was instituted. The new leaders were designated with colored hard hats, or pots, with the overall leaders known as redpots.

The first Bonfire built with both Corps and non-reg participation was in 1963. The stack was scheduled to burn only days after the assassination of President John F. Kennedy. Out of respect, the students dismantled the stack. As Head Yell Leader Mike Marlowe explained, "It is the most we have and the least we can give."

In the following years the structure became more elaborate, and in 1967 the flames could be seen  away. In 1969, the stack of logs set the world record for the height of a bonfire at  tall. Out of concern for the safety of participants and the community, the university limited the size to  tall and  in diameter. As an added precaution, nearby campus buildings were equipped with rooftop sprinkler systems. Despite the new height restrictions, in the 1970s, the Guinness Book of Records listed Aggie Bonfire as the largest Bonfire in the world.

Design change

In 1978, Bonfire shifted from its previous teepee design to a wedding cake style, in which upper stacks of logs were wedged on top of lower stacks. The structure was built around a fortified center pole, made from two telephone poles spliced together by cutting matching notches, approximately  long, and with  of glue. Four steel plates were bolted to the two poles, and a  cable wrapped around the joint and secured to the pole with steel staples. Four perimeter poles were placed  away and ropes were stretched between the perimeter poles to center poles and tension placed on them to hold the center pole together. After the center pole was erected, logs were placed vertically around it in a multi-tiered wedding cake design composed of thousands of logs. By 1984, the logs were sloping only 14 degrees. The spiral arrangement of the logs was designed to make Bonfire collapse into itself in a twisting motion, thus protecting spectators. Although the tradition stated that if Bonfire burned through midnight then A&M would win the following day's football game, the introduction of the wedding cake design drastically reduced the time it took for Bonfire to fall, sometimes burning for only 30 or 45 minutes.

Despite the complexity of the design, there were no formal written instructions or architectural blueprints for the construction of Bonfire. Knowledge on how to build the structure was passed verbally from one redpot to the next. By 1999, the only written documentation on the building of Bonfire was the rough schematic printed on the back of the official Bonfire T-shirt worn by participants from the freshman honors dormitory, Lechner.

While the Bonfires of the 1960s were constructed in five to ten days, working primarily in daylight, by the late 1970s, changes in the school led to a more elaborate and lengthy construction schedule. Construction began in late October with "Cut", obtaining wood by cutting down trees with axes, which took several weekends. After Cut, students brought the logs to campus during "Load", a process by which the logs were loaded by hand onto flatbed trucks and brought to campus. In early November, crews began "Stack", a three-week period in which the logs were wired together and Bonfire took shape. Near the end of stack, known as "Push", students worked around the clock in rotating shifts. The first four of the six stacks were built with the efforts of all safety-trained participants. The day before Bonfire was scheduled to burn, junior redpots would build the fifth stack, and then senior redpots would build the sixth.

During Cut, all logs were felled by hand, with students working in teams to chop down each tree with their axes. The manual labor ensured that participants were invested in each log that went into the Bonfire. Once the trees had fallen, brownpots, the "executive lumberjacks", used chainsaws to cut limbs and prepare the logs.

To ensure safety during the Stack period, the organizers maintained a perimeter around the working area, and allowed only safety-trained students through. Cranes, donated by local construction companies, assisted in getting logs onto the upper tiers, and volunteers from those companies were on-hand at all times to offer advice. Emergency medical technicians were also required to be on site at all times and no more than 70 students at a time were allowed on the stack. Once the stack was finished, a burnt-orange outhouse with "t.u frat house" painted on the front was placed on top of the stack.

Although between two and five thousand students participated in the construction of Bonfire each year, most worked only part-time, and many worked only one or two shifts. Student workers were organized by dormitories or Corps units, with a separate off-campus student team. Many former students participated with teams they belonged to as students. Each team had assigned shifts, although individuals were not limited to working only the assigned shifts. Students working on Bonfire wore "grodes"—old T-shirts, jeans, and boots. By tradition, grodes were either not washed until after Bonfire burned or not washed at all.

In 1983, the city of College Station began manufacturing Austin city limits signs for students to place at the summit of the Bonfire so that students would stop stealing signs from Austin. The Fightin' Texas Aggie Band began building the outhouse, ending the tradition of stealing Bonfire's components.

Controversy

Although women were allowed to serve coffee and provide first aid in the late 1960s, in 1974 they were officially banned from both Cut and Stack. The ban was partially rescinded in 1979, when women were again allowed to participate in Cut, and completely rescinded in 1981. Few women participated in the early years, as female volunteers were subject to verbal abuse from their male counterparts. In 1987, two female photographers from the school yearbook alleged that male workers shouted obscenities and threw dirt on them as they tried to take pictures of the raising of the center pole. The redpots responded that women were always welcome to participate as long as they did their share of the work, and that the photographers were standing dangerously close to the stack. To find their own place in the Bonfire hierarchy, female students founded the all-female Bonfire Reload Crew to provide refreshments to those working at Cut and Stack.

Injuries plagued the construction process. In 1981, student Wiley Keith Jopling died after being run over by a tractor at the Cut site. At the 1985 Cut site, one student broke his hip, and, in 1989, another student lost two fingers when logs crushed his hand. Fractures and amputations were rare, but many students suffered cuts, scrapes, or exposure to poison ivy. Hazing, including beatings with ax handles, was common.

The 1980s also saw increased alcohol consumption during the Bonfire ceremony. In 1988, police issued 140 Minor in Possession (of alcohol) citations and arrested six people. The following year, the local police department brought a paddywagon to the site for the first time, as they anticipated mass arrests for alcohol violations. As many as 150 police officers were on duty during the Bonfire burning from the Texas A&M and College Station police departments and the Texas Alcoholic Beverage Commission.

In 1989, the Campus Ministry Association, representing 17 religious denominations, unanimously approved a resolution asking the university to change Bonfire because of concerns about safety, participant academic performance, humanitarian considerations, and the environment. Shortly afterwards, the Faculty Senate's Committee of the Whole approved a resolution asking for a panel to explore alternatives to Bonfire.

Although students protested Bonfire's environmental impact since 1970, no changes were made for decades. In 1990, student Scott Hantman asked the Bonfire leadership to help him address the problem. The group solicited volunteers, and in the spring of 1991, they planted 400 trees. The tradition, Aggie Replant, has been repeated annually. The Replant organization became independent of Bonfire in 1994 when it gained its own Student Government Committee.

Later years

After being held at the Duncan Intramural Fields on the south side of A&M's campus for twenty-seven years, in 1992, Bonfire was relocated to the Polo Fields on the northeast corner of campus. This more isolated site, with a larger area for people to gather, made it a safer location. After heavy rains in 1994, the partially completed Bonfire began to slowly lean to the side as the soil underneath shifted. Student officials had enough warning to clear the area and tear down the Bonfire one week before its scheduled burn date. Nine tractors, two bulldozers, and two forklifts dismantled the stack on October 26, 1994 (three weeks earlier than usual; the Aggies' game vs. Texas was moved from Thanksgiving weekend to the first weekend of November due to the NCAA's ban against Texas A&M from appearing on television that season), which, at 70% completed, stood  tall and  wide.
Students and alumni flocked to the Polo Fields, working around the clock, to rebuild the Bonfire in time for the game. It was completed only hours before it was scheduled to burn. After the 1994 Bonfire was burned, two tons of lime were spread on the Polo Fields to stabilize the ground. This layer hardened to a consistency similar to concrete.

In 1996 a student, Greg White, died in a car accident on his way home from Cut. The student and several companions were riding in the bed of a pickup truck when the driver lost control and the truck rolled. Nine other students were injured.

In its later years, students building Bonfire used logs donated by local landowners who wanted their land cleared for construction or farming. Over 8000 logs were used each year in the late 1990s, taking about 5000 students a combined 125,000 man-hours to construct. After being doused in 700 lb (318 kg) of jet fuel, applied by staff members at A&M's Fire Training School, the Redpots and Yell Leaders then lit the stack with torches the night before the annual football game against the University of Texas when at home and two nights before the game when it was played in Austin.

This event was popular among current and former students and people traveled from all over the state and the nation to observe the burning of Bonfire. Hotel rooms within  of College Station were booked weeks or months in advance of the date Bonfire burned. Crowds ranged from 30,000 to 70,000 people, depending on the weather and the strength of the Aggie football team. The 1998 Bonfire was broadcast live on Fox Sports Southwest.

1999 collapse

At approximately 2:42 a.m. on November 18, 1999, the 59-foot-high stack, consisting of about 5000 logs, collapsed during construction. Of the 58 students and former students working on the stack, 12 were killed and 27 were injured. Immediately after the collapse, Emergency Medical Technicians and trained First Responders of the Texas A&M Emergency Care Team (TAMECT), a student-run, volunteer service, who staffed each stage of construction, administered first aid. TAMECT alerted the University Police and University EMS (also a student-run service), who dispatched all remaining university medics, and requested mutual aid from the surrounding agencies. In addition to the mutual aid received from the College Station and Bryan, Texas EMS, Fire, and Police Departments, members of Texas Task Force 1, the state's elite emergency response team, arrived to assist the rescue efforts.

Bonfire Memorial

A memorial was constructed on the university polo fields, the site of the accident. Construction began in October 2003 and was completed by November 2004. On November 18, 2004, five years following the incident, the Bonfire Memorial was officially dedicated. The memorial is composed of three design elements:
 Tradition Plaza – Marks the entrance to the memorial and reflects on Aggie traditions.
 History Walk – Consists of 89 stones representing the 89 previous years of Bonfire. A gap in the timeline signifies the 1963 Bonfire, which did not burn due to the John F. Kennedy assassination. The three previous Bonfire-related deaths are also memorialized on this time line.
 Spirit Ring – The ring surrounds the site of the collapse and represents the spirit that brought the students together. Twelve portals are placed around the ring, oriented toward each student's hometown. Twenty-seven stones complete the ring, representing the 27 students injured in the collapse.

The memorial design has been recognized by several organizations as an outstanding architectural design and masonry accomplishment. The American Institute of Architects, San Antonio Chapter, recognized the memorial as a winner of the 2005 AIA San Antonio Design Award. The memorial also was recognized as a winner of the 2005 MCAA International Excellence in Masonry Awards.

To further honor the victims, in 2000, the Aggie Replant Committee planted twelve live oak trees at the Polo Grounds.

Continuation: Student Bonfire

Shortly after the university officially cancelled Bonfire, students began planning an unofficial bonfire for November 2002. Known as the "Unity Project", it became the first unofficial Bonfire since the 1930s. This fire consisted of three piles of wood, with the center stack being  high. Despite a lack of official advertisement, over one thousand spectators attended.

The following year, the unofficial event was rebranded Student Bonfire. Now a 501(c)(3) nonprofit organization, Student Bonfire has official bylaws and a Board of Directors comprising former students. The bylaws specify the design that must be used each year, and no changes have been permitted since the first burn in 2003. This design, based on the recommendation of the 2002 university task force and approved by a structural engineer, results in a Bonfire less than half the size of those from the 1960s. In a departure from previous practice, every log in the stack touches the ground. To maintain the traditional wedding-cake design, the logs are cut to different heights, with the tallest set reaching  high. The lowered height eliminates the need for a spliced center pole. Instead, a single utility pole, sunk  into the ground, serves as the center pole. As in the pre-1999 versions of Bonfire, each log is tied to the log next to it with baling wire. To further fortify the structure, aircraft-grade steel cable is wrapped around each tier. For added support, four  poles are spaced evenly around the stack and then bolted to the  center pole, each with a steel pipe. These poles are known as Windle-sticks, after Levi Windle, a staunch supporter of Student Bonfire who died in an unrelated accident in 2003.

The Board changed or eliminated many of the minor traditions that had proliferated during Aggie Bonfire, primarily for safety reasons. Alcohol is prohibited, and hazing has been banned. The Bonfire leadership structure has remained in place, although in 2014 only 10 of the 26 dorms were represented by Bonfire crews. Attendance for Student Bonfire ranges from 8,000 to 15,000 people and the event is held in Brazos County or one of the surrounding counties.

The 2013 Student Bonfire attracted 12,000 people, despite being postponed until January due to flooding. There was a virtual Burn in 2020 due to the COVID-19 Pandemic, and the only persons allowed to attend in-person were those that built it. In 2022 the stack site was moved up the road, but the new site was located on a flood plain. Frequent rain during Stack season causing deep mud at the site, and forecasted rain for Burn night, forced Burn to be delayed to January 2023.

References

Further reading
 The Texas Aggie Bonfire : tradition and tragedy at Texas A&M, (2000),

External links

The official Aggie Bonfire site (now an official memorial site)
The Special Commission on the 1999 Bonfire
The Special Commission on the 1999 Bonfire Final Report (PDF)
Other sites:
Video of Longhorn Band's 1999 Tribute—requires RealPlayer
Documentary clip by Modern Marvels on YouTube
Student Bonfire – Rebuilding the Tradition

College Station, Texas
Fires in Texas
Recurring events established in 1909
Recurring events disestablished in 1999
Texas A&M University traditions
Traditions involving fire
University folklore

Aggie Bonfire


El Mal de Köhler es una osteocondrosis que afecta al hueso escafoides del pie. Fue descrita por un radiólogo alemán, Alban Köhler, en 1908. Consiste en una necrosis avascular del escafoides tarsiano (cesa el aporte sanguíneo en el hueso, cuyas células mueren de hipoxia).

Epidemiología y Clínica
La enfermedad afecta mayoritariamente a niños varones jóvenes, de entre 4 y 6 años, aunque también puede afectar a niñas. Los pacientes afectos presentan dolor e inflamación en el dorso del pie, por lo que presentan una cojera. Para reducir este dolor durante la marcha, los pacientes suelen apoyar el peso sobre el borde externo del pie.

Tratamiento
Se basa en el reposo y en evitar el apoyo de pesos sobre el pie afecto. En algunos casos puede indicarse el uso de férulas de descarga.

Pronóstico
La mayor parte de los casos se curan en un plazo de dos años desde el momento del diagnóstico.

Referencias

Enlaces externos
 Imágenes e información sobre el mal de Köhler en Fisaude.com

Köhler
Enfermedades del aparato locomotor

Enfermedad de Köhler


ميدالية ليفينهوك  أنشئت عام 1877 من قبل الأكاديمية الملكية الهولندية للفنون والعلوم على شرف مجهري القرن السابع والثامن عشر أنطوني فان ليفينهوك، تمنح مرة كل عشر سنوات للعالم الذي يثبت أنه قام بأهم المساهمات في ميدان علم الأحياء الدقيقة في العشرية السابقة.

حصل على ميدالية ليفينهوك على التوالي:
 1877 كريستيان غوتفريد إهرنبرغ ألمانيا
 1885 فرديناند كوهن بولندا
 1895 لويس باستور فرنسا
 1905 مارتينوس بايرينك هولندا
 1915 ديفيد بروس المملكة المتحدة
 1925 فيليكس ديريل (في ذلك الوقت) مصر
 1935 سيرجي وينوغرادسكي فرنسا
 1950 سلمان واكسمان الولايات المتحدة
 1960 أندريه لووف فرنسا
 1970 كورنيليس بيرناردوس فان نيل الولايات المتحدة
 1981 روجر يات ستانيي فرنسا
 1992 كارل وويس الولايات المتحدة
 2003 كارل ستيتر ألمانيا

مراجع

وصلات خارجية
 الأكاديمية الملكية الهولندية للفنون والعلوم، ميدالية ليفينهوك بالاٍنجليزية

1877
أنطوني فان ليفينهوك
تأسيسات سنة 1877 في هولندا
جوائز أسست في 1877
جوائز المجتمع الفخرية الهولندية
جوائز علوم وتقنية هولندية
جوائز في علم الأحياء
علم الأحياء الدقيقة

ميدالية ليفينهوك


Wilfried Sanou (født 16. marts 1984) er en tidligere fodboldspiller fra Burkina Faso.

Burkina Fasos fodboldlandshold

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|2001||2||2
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|2002||3||0
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|2004||3||0
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|2005||0||0
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|2006||0||0
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|2007||4||1
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|2008||0||0
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|2009||2||0
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|2010||2||0
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|2011||2||0
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|2012||1||0
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|2013||7||1
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Eksterne henvisninger

Fodboldspillere fra Burkina Faso
Personer fra Bobo-Dioulasso

Wilfried Sanou


Bromiini (ou Adoxini ) é uma tribo de escaravelhos da subfamília Eumolpinae. A tribo contém aproximadamente 120 gêneros, que são encontrados em todo o mundo. Eles geralmente são considerados um grupo artificial, geralmente com um protórax subcilíndrico sem cristas laterais e coberto por cerdas ou escamas.

Nomenclatura
O nome "Bromiini" é conservado sobre o nome antigo "Adoxini" por causa do Artigo 40 (2) do ICZN, que afirma: "Se... um nome de grupo familiar foi substituído antes de 1961 devido à sinonímia do gênero tipo, o nome substituto deve ser mantido se estiver em uso predominante. Um nome mantido em virtude deste artigo mantém seu próprio autor, mas tem a prioridade do nome substituído, do qual é considerado sinônimo principal. " Bromiini é citado com autor e data próprios, seguidos da data do nome substituído entre parênteses: Bromiini Baly, 1865 (1863).

Taxonomia
Seguindo a classificação do besouro das folhas de Seeno e Wilcox (1982), os gêneros de Bromiini são divididos em oito grupos informais ou "seções": Bromiitas, Leprotitas, Mioquroitas, Nerissitas, Pseudocolaspitas, Celodontitas, Tomiritas e Tricocriseitas. Em 1993, a seção Tomyrites (interpretada como a subtribo "Tomyrina") recebeu o nome de substituição "Ebooina" por CAM Reid, pois era baseada em um nome de grupo de gênero preocupado.

No Catálogo dos escaravelhos da América do Norte do México, publicado em 2003, Myochroites foi colocado em sinonímia com a seção Iphimeites em Eumolpini, enquanto Scelodontites foi transferido para Typophorini. Dos gêneros anteriormente colocados em Myochroites, Glyptoscelis e Myochrous foram transferidos para Iphimeites em Eumolpini, Colaspidea foi transferido para Leprotites, enquanto a colocação dos demais gêneros não foi determinada.

Genera
Esses 68 gêneros pertencem à tribo Bromiini:

 Acrothinium Marshall, 1865
 Andosia Weise, 1896
 Anidania Reitter, 1889
 Aoria Baly, 1863
 †Aoriopsis Moseyko, Kirejtshuk & Nel, 2010
 Apolepis Baly, 1863
 Aulexis Baly, 1863
 Brevicolaspis Laporte, 1833
 Bromius Chevrolat in Dejean, 1836
 Callipta Lefèvre, 1885
 Caspiana Lopatin, 1978
 Cellomius Lefèvre, 1888
 Chalcosicya Blake, 1930
 Colaspidea Laporte, 1833
 Colaspina Weise, 1893
 Cryocolaspis Flowers, 2004
 Damasus Chapuis, 1874
 Damelia Clark, 1864
 Demotina Baly, 1863
 Dermestops Jacobson, 1898
 Eboo Reid, 1993
 Eka Maulik, 1931
 Endroedymolpus Zoia, 2001
 Enneaoria Tan, 1981
 Erythraella Zoia, 2012
 Eryxia Baly, 1865
 Fidia Motschulsky, 1861 (= Lypesthes Baly, 1863)
 Goniopleura Westwood, 1832
 Hemiplatys Baly, 1863
 Heterotrichus Chapuis, 1874
 Hyperaxis Harold, 1874
 Irenes Chapuis, 1874
 Lahejia Gahan, 1896
 Lepina Baly, 1863
 Macetes Chapuis, 1874
 Macrocoma Chapuis, 1874
 Malegia Lefèvre, 1883
 Mecistes Chapuis, 1874
 Mesocolaspis Jacoby, 1908
 Neocles Chapuis, 1874
 Neocloides Jacoby, 1898
 Neofidia Strother, 2020 (= Fidia Baly, 1863)
 Osnaparis Fairmaire, 1889
 Pachnephoptrus Reitter, 1892
 Pachnephorus Chevrolat in Dejean, 1836
 Parademotina Bryant & Gressitt, 1957
 Parheminodes Chen, 1940
 Parnops Jacobson, 1894
 Phortus Weise, 1899
 Piomera Baly, 1863
 †Profidia Gressitt, 1963
 Pseudaoria Jacoby, 1908
 Pseudocolaspis Laporte, 1833
 Pseudolepis Medvedev & Zoia, 2001
 Pseudometaxis Jacoby, 1900
 Pseudoxanthus Zoia, 2010
 Rhodopaea Gruev & Tomov, 1968
 Semmiona Fairmaire, 1885
 Scelodonta Westwood, 1838 (= Heteraspis Chevrolat in Dejean, 1836)
 Stasimus Baly, 1863
 Tanybria Selman, 1963
 Thootes Jacoby, 1890
 Trichochalcea Baly, 1878
 Trichochrysea Baly, 1861
 Trichotheca Baly, 1860
 Trichoxantha Medvedev, 1992
 Xanthonia Baly, 1863
 Xanthophorus Jacoby, 1908

De acordo com BugGuide e ITIS, o gênero Graphops foi transferido para a tribo Typophorini, e Glyptoscelis e Myochrous para a tribo Eumolpini.

Ligações externas

Eumolpinae
Tribos de coleópteros

Bromiini


Claes Quaade Mortensen er en skuespiller fra Danmark. Han har spillet med i flere film, men fik sit gennembrud som Emil Jensen i tv-serien på TV2 Zulu, SJIT Happens, hvor han var med i alle sæsonerne fra 1 til 5.

Karriere
Claes Quaade Mortensen var egentlig til audition som Olau, men han endte med rollen som Emil i tv-serien Sjit Happens. Denne rolle gav ham i 2016 en Robert-nominering.

Referencer

Eksterne henvisninger

Skuespillere fra Danmark

Claes Quaade Mortensen


Swingfield es una parroquia civil y un pueblo del distrito de Folkestone and Hythe, en el condado de Kent (Inglaterra).

Geografía
Según la Oficina Nacional de Estadística británica, Swingfield tiene una superficie de 8,88 km².

Demografía
Según el censo de 2001, Swingfield tenía 1171 habitantes (50,38% varones, 49,62% mujeres) y una densidad de población de 131,87 hab/km². El 16,82% eran menores de 16 años, el 75,83% tenían entre 16 y 74 y el 7,34% eran mayores de 74. La media de edad era de 43,3 años. Del total de habitantes con 16 o más años, el 20,43% estaban solteros, el 66,12% casados y el 13,45% divorciados o viudos.

El 96,24% de los habitantes eran originarios del Reino Unido. El resto de países europeos englobaban al 1,71% de la población, mientras que el 2,05% había nacido en cualquier otro lugar. Según su grupo étnico, el 98,8% eran blancos, el 0,94% mestizos y el 0,26% chinos. El cristianismo era profesado por el 82,1%, el budismo por el 0,43%, el judaísmo por el 0,26% y cualquier otra religión, salvo el hinduismo, el islam y el sijismo, por el 0,26%. El 9,55% no eran religiosos y el 7,42% no marcaron ninguna opción en el censo.

541 habitantes eran económicamente activos, 523 de ellos (96,67%) empleados y 18 (3,33%) desempleados. Había 478 hogares con residentes, 10 vacíos y 3 eran alojamientos vacacionales o segundas residencias.

Referencias

Localidades de Kent
Parroquias civiles de Kent

Swingfield


Die 1. Bundesliga Dreiband ist die höchste Spielklasse des Dreiband-Billards in Deutschland. Die Liga wird seit der Saison 1967/68 ausgetragen. Vor 1995 wurden, ähnlich der 1. Bundesliga Mehrkampf, neben Dreiband noch weitere Karambolage-Disziplinen in dieser Liga gespielt.

Modus
Bis zur Saison 1983/84 wurde mit 6er-Mannschaften gespielt, wobei 2 × Freie Partie, 2 × Cadre 47/2 und 2 × Dreiband gespielt wurde. Pro Partie wurden 2 Punkte vergeben. Da die verschiedenen Disziplinen einen unterschiedlichen Schwierigkeitsgrad haben, wurde ein Multiplikator eingeführt, wobei die Freie Partie als einfachste Spielart den Multiplikator 1 und Dreiband als schwierigste Disziplin den Multiplikator 40 erhielt. Danach wurden alle Points addiert und durch die Aufnahmen geteilt. Somit wurde ein verhältnismäßiger Generaldurchschnitt (VGD) ermittelt. Da ab der Saison 1995/96 nur noch Dreiband gespielt wurde, errechnete sich der Durchschnitt einfach nur aus erzielten Points geteilt durch die Aufnahmen. Somit lagen die Durchschnittswerte wesentlich tiefer.

In der Saison 1979/80 wurde die 2. Bundesliga eingeführt. Dadurch wurde der Auf- und Abstieg genau geregelt. Das erste Jahr wurde in einer Gruppe gespielt. Danach wurden aufgrund der Meldungen zwei Gruppen gebildet. Heute sind die Gruppen in eine Nordgruppe und eine Südgruppe eingeteilt.

In der Saison 1984/85 wurde umgestellt auf 2 × Freie Partie, 1 × Cadre 47/2, 1 × Einband und 2 × Dreiband.

Von 1986/87 bis 1994/95 spielte man 1 × Freie Partie, 1 × Cadre 47/2, 1 × Cadre 71/2, 1 × Einband und 2 × Dreiband.

In der Saison 1995/96 wurde eine reine Dreiband-Bundesliga mit je 4 Spielern pro Mannschaft gestartet. So wird auch noch heute gespielt.

Da es ab der Saison 2014/15 möglich ist zwei Ausländer je Mannschaft einzusetzen hat sich die Bundesliga in der Saison 2015/16 extrem verstärkt. Viele Experten sprechen in der Saison von der besten Liga Europas. Da fast alle europäischen Topspieler in Deutschland spielen wird eine sehr spannende Saison erwartet.

Durch diese neue Regelung verbesserte der aktuelle Meister Bergisch-Gladbacher BC, der in der Aufstellung Torbjörn Blomdahl, Martin Horn, Nikos Polychronopoulos und Jens Eggers spielte, in der Saison 2015/16 alle Team-Ligarekorde.

Ab der Saison 2018/19 wird die drei Punkteregelung wie im Fußball eingeführt. Damit gibt es für einen Sieg drei Punkte und für ein Unentschieden einen Punkt.

Ab der Saison 2022/23 wird die Bundesliga auf 8 Mannschaften reduziert. Das wird mit dem vollen internationalen Terminkalender argumentiert. Es sind damit zu wenig Spieltermine möglich. Deshalb steigen in der Saison 2020/21 4 Mannschaften aus der Bundesliga ab. Offiziell wird die Reduzierung damit begründet das man alle Billard-Bundesligen (Karambol, Pool und Snooker) mit der gleichen Anzahl von Mannschaften spielen möchte.

Turnierrekorde

Turnierstatistik
Der verhältnismäßige Generaldurchschnitt (VGD) ist der errechnete Durchschnitt von verschiedenen Disziplinen, je nach Schwierigkeit bewertet durch einen Multiplikator.

Der GD gibt den Generaldurchschnitt der jeweiligen Mannschaft während der Saison an.

Jahresabschlusstabellen
 Farblegende

1960er-Jahre

Saison 1967/68

Saison 1968/69

Saison 1969/70

1970er-Jahre

Saison 1970/71

Saison 1971/72

Saison 1972/73

Saison 1973/74

Saison 1974/75

Endspiele

Saison 1975/76

Endspiele

Saison 1976/77

Endspiele

Saison 1977/78

Endspiele

Saison 1978/79

Endspiele

Saison 1979/80

Endspiel

1980er-Jahre

Saison 1980/81

Saison 1981/82

Saison 1982/83

Saison 1983/84

Saison 1984/85

Saison 1985/86

Saison 1986/87

Saison 1987/88

Saison 1988/89

Saison 1989/90

1990er-Jahre

Saison 1990/91

Saison 1991/92

Saison 1992/93

Saison 1993/94

Saison 1994/95

Saison 1995/96

Saison 1996/97

Saison 1997/98

Saison 1998/99

Saison 1999/00

2000er-Jahre

Saison 2000/01

Saison 2001/02

Saison 2002/03

Saison 2003/04

Saison 2004/05

Saison 2005/06

Saison 2006/07

Saison 2007/08

Saison 2008/09

Saison 2009/10

2010er-Jahre

Saison 2010/11

Saison 2011/12

Saison 2012/13

Saison 2013/14
(Stand 13. April 2014)

Saison 2014/15
(Stand 12. April 2015)

Saison 2015/16
(Stand 11. April 2016)

Saison 2016/17
(Stand: 21. Mai 2017)
 Farblegende

Saison 2017/18
(Stand: 25. März 2018)
 Farblegende

Anmerkung: Da Krefeld für die Saison 2018/19 die Mannschaft zurückgezogen hat, spielten die beiden Tabellenzweiten der 2. Bundesliga einen dritten Aufsteiger aus.

Saison 2018/19
(Stand: 7. April 2019)
 Farblegende

Anmerkung: Da Bergisch Gladbach für die Saison 2019/20 die Mannschaft zurückgezogen hat, spielten die beiden Tabellenzweiten der 2. Bundesliga einen dritten Aufsteiger aus.

Saison 2019/20

(Stand: 29. Juni 2020)
 Farblegende

Anmerkung: Wegen der COVID-19-Pandemie wurde die Saison abgebrochen und der Stand nach der Hinrundentabelle gewertet.

2020er-Jahre

Saison 2020/21
Hinweis: Am 19. März 2021 beschloss die DBU die laufende Saison aufgrund der Corona-Pandemie abzubrechen und alle Ergebnisse zu annullieren.

(Tabellenstand: 4. Oktober 2020)
 Farblegende

Anmerkung: Die Bottroper Billard Akademie und der BC Fuhlenbrock 2009 haben fusioniert zum Billard Center Weywiesen

Saison 2021/22

(Tabellenstand: 16. Mai 2022)
 Farblegende

Anmerkung: Die Bundesliga wird auf acht Mannschaften verkleinert. Daher steigen vier Mannschaften ab.

Saison 2022/23

(Tabellenstand: 30. April 2023)
 Farblegende

Einzelnachweise

Karambolageturnier
Dreiband

1. Bundesliga Dreiband


Brísingamenið (danska: Frejas smykke) er áttunda bókin í bókaflokknum um Goðheima. Hún kom út árið 1992. Teiknari hennar var listamaðurinn Peter Madsen, en auk hans komu þeir Hans Rancke-Madsen, Per Vadmand og Henning Kure að gerð handritsins. Hún byggir á frásögn Eddu og Sörla þætti.

Söguþráður
Það vorar í Ásgarði, frjósemisgyðjan Freyja vekur allt til lífsins og ástin svífur í loftinu. Guðinn Heimdallur verður ástfanginn af Freyju, sem Óðinn lítur einnig hýru auga. Óðinn ágirnist jafnframt hið einstæða brísingamen Freyju Loki lætur ástarhjal þetta fara í taugarnar á sér og dylgjar við Óðinn um vergirni Freyju. Óðinn tekur því illa og skipar Loka að færa sér brísingamenið.

Loki beitir blekkingum til að fá Heimdall til að stela skartgripnum. Freyja reynir að draga Heimdall á tálar, sem slær hann út af laginu. Heimdallur ásakar Freyju um lauslæti, en iðrast orða sinna þegar í stað. Loki stelur brísingameninu en Heildallur endurheimtir það eftir æsilegan bardaga þar sem þeir báðir bregða sér í ýmissa kvikinda líki. Brísingamenið kemst þó í hendur Óðins sem hyggst nota það sem skiptimynt til að njóta ásta með Freyju. Hún kennir honum lexíu um ástina og rifjar upp söguna um Óð, fyrrum eiginmann sinn sem gefið er í skyn að hafi í raun verið Óðinn sjálfur. Óðinn verður að sætta sig við einn blóðdropa úr Freyju sem endurgjald fyrir menið, en Freyja hleypir Heimdalli inn í meyjarskemmu sína og opnar faðm sinn fyrir honum.

Fróðleiksmolar
 Brísingamenið hefur talsverða sérstöðu í Goðheima-bókaflokknum að því leyti að hún hefur sterka kynferðislega undirtóna og Freyja er ítrekað sýnd klæðalítil eða nakin. Þetta er jafnframt eina sagan þar sem Heimdallur er í einhvers konar hetjuhlutverki en í öðrum sögum er hann yfirleitt í hlutverki treggáfaðs aðstoðarmanns.
 Ýmsar goðsögulegar vísanir koma fyrir í bókinni. Auk sögunnar um Óð, hinn brottflúna fyrrum eiginmann Freyju, er vikið að fjandskap Loka og Heimdallar. Heimdallur klæðist hvítum fötum, sem vísar til viðurnefnis hans sem hinn hvíti ás. Þá er meginefni sögunnar fengið úr Sörla þætti í í Ólafs sögu Tryggvasonar hinni mestu, þar sem segir frá því hvernig Freyja eignaðist brísingamen með því að lofa dvergunum sem smíðuðu það blíðu sinni.
 Mannabörnin Þjálfi og Röskva ásamt trölladrengnum Karki koma ekkert við sögu í bókinni, sem er fátítt í sagnaflokknum.

Íslensk útgáfa
Brísingamenið kom út hjá Forlaginu árið 2017, í íslenskri þýðingu Bjarna Fr. Karlssonar.

Myndasögur
Bókaárið 1992

Brísingamenið (Goðheimar)


Deneme şu anlamlara gelebilir:

Edebiyat
 Deneme (edebiyat), edebiyat  alanında herhangi bir konuda yeni ve kişisel görüşlerle bezenmiş bir anlatım içinde sunulan düz yazı türü.
 Denemeler, Montaigne'in özgün adı Essais olan, Türkçeye ilk kez 1947'de Sabahattin Eyüboğlu tarafından çevrilen deneme türündeki 1580 tarihli eseri.

Diğer anlamlar
 Son biçimini bulmamış, taslak durumunda olan eser.

Deneme (anlam ayrımı)


Klosterport i Aarhus er en forbindelsesgade, navngivet i 1913. Gaden ligger mellem Klostergade og Nørre Allé.

Kilder og henvisninger

Gader i Aarhus

Klosterport


Zei americani (engleză: American Gods) este un serial TV american din 2017 bazat pe romanul eponim al lui Neil Gaiman publicat prima oară în 2001. Serialul este dezvoltat de Bryan Fuller și Michael Green pentru rețeaua prin cablu Starz.  Gaiman este producător executiv al serialului alături de Fuller, Green, Craig Cegielski, Stefanie Berk și  Thom Beers.

Serialul prezintă evenimente din viața lui Shadow Moon, un afroamerican misterios și taciturn care se întâlnește cu Dl. Miercuri la scurt timp după ce iese din pușcărie și ajunge să fie implicat într-un conflict între Vechii Zei și Noii Zei. Ca și romanul, serialul este un amestec de artefacte americane, fantasy și alte elemente de mitologie antică și modernă.

Primul sezon a avut premiera la 30 aprilie 2017 în rețeaua Starz și a fost transmis online prin streaming din aprilie până în iunie 2017. În mai 2017 s-a anunțat că serialul va avea un al doilea sezon.

Personaje

Principale
 Ricky Whittle ca Shadow Moon, un fost condamnat care devine bodyguardul domnului Miercuri
 Emily Browning ca Laura Moon, soția moartă a lui Shadow Moon. Browning interpretează și un rol secundar, Essie MacGowan, o femeie irlandeză care crede în spiriduși
 Crispin Glover ca Dl. Lume, Noul Zeu al globalizării și conducătorul Noilor Zei
 Bruce Langley ca Băiatul Tehnologie, Noul Zeu al tehnologiei
 Yetide Badaki ca Bilquis, Regina din Saba, Veche Zeiță a iubirii
 Pablo Schreiber ca Mad Sweeney, un leprechaun angajat al  domnului Miercuri
 Ian McShane ca domnului Miercuri, acesta este de fapt Vechiul Zeu Odin

Secundare
 Gillian Anderson - the new Goddess Media, the public face and "mouthpiece" of the New Gods. She appears in the form of famous personalities, including Lucy Ricardo, Marilyn Monroe, David Bowie and Judy Garland.
 Jonathan Tucker - Low Key Lyesmith, a friend of Shadow from prison.
 Cloris Leachman - Zorya Vechernyaya, "the Evening Star", the eldest of three sisters who watch the stars to guard against forgotten horrors.
 Martha Kelly - Zorya Utrennyaya, "the Morning Star", the middle silent sister of the Zorya.
 Erika Kaar - Zorya Polunochnaya, "the Midnight Star", the youngest of the Zorya sisters who sleeps during the day and only appears late at night. She guides Shadow and sets him on his path.
 Peter Stormare - Czernobog, Old Slavic god of darkness, death and evil who suspects Mr. Wednesday's motives and is reluctant to lend his aid.
 Chris Obi - Mr. Jacquel, the Old Egyptian God of the dead, Anubis.
 Mousa Kraish - the Jinn, a mythical being of fire who, fearing for his safety, considers fleeing the United States.
 Omid Abtahi - Salim, a foreigner who is "one half of a pair of star-crossed lovers".
 Orlando Jones - Mr. Nancy, the Old Ghanaian trickster god Anansi. He works - a tailor.
 Demore Barnes - Mr. Ibis, the keeper of stories past and present, the Old Egyptian God Thoth.
 Dane Cook - Robbie, Shadow's best friend.
 Kristin Chenoweth - Easter, Old Germanic Goddess of the dawn.
 Corbin Bernsen - Vulcan, a new character created by Green and Fuller, though inspired by an initial concept of Gaiman's, specifically for the series and described - having "bound himself to guns".
 Jeremy Davies - Jesus Prime, one of many versions to appear at the home of Easter.
 Conphidance - Okoye, scarred slave who leads a revolution.
 Beth Grant - Jack, the owner of the bar where Shadow meets Mr. Wednesday.

Episoade

Referințe și note

Legături externe

 American Gods  la SerialePrime

Filme bazate pe mitologia nordică
Seriale TV bazate pe mitologia nordică
Seriale TV bazate pe romane britanice
Seriale TV bazate pe romane
Seriale Starz
Seriale de televiziune științifico-fantastice
Seriale de televiziune fantastice

Zei americani (serial)