The Walker Art Center is a multidisciplinary contemporary art center in the Lowry Hill neighborhood of Minneapolis, Minnesota, United States. The Walker is one of the most-visited modern and contemporary art museums in the U.S.: together with the adjacent Minneapolis Sculpture Garden and the Cowles Conservatory, it has an annual attendance of around 700,000 visitors. The museum's permanent collection includes over 13,000 modern and contemporary art pieces, including books, costumes, drawings, media works, paintings, photography, prints, and sculpture.

The Walker Art Center began in 1879 as an art gallery in the home of lumber baron Thomas Barlow Walker. Walker formally established his collection as the Walker Art Gallery in 1927. With the support of the Federal Art Project of the Works Progress Administration, the Walker Art Gallery became the Walker Art Center in January 1940. The Walker celebrated its 75th anniversary as a public art center in 2015.

The Walker's new building, designed by Edward Larrabee Barnes and opened in 1971, saw a major expansion in 2005. Swiss architects Herzog & de Meuron's addition included an additional gallery space, a theater, restaurant, shop, and a special events space.

Programs

Visual arts
The visual arts program has been a part of the Walker Art Center since its founding. The program includes an ongoing cycle of exhibitions in the galleries as well as a permanent collection of acquired, donated, and commissioned works. Since the 1960s, the Visual Arts program has commissioned works from artists to exhibit and held residencies for artists including Robert Irwin, Glenn Ligon, Barry McGee, Catherine Opie, Lorna Simpson, Nari Ward, and Nairy Baghramian.

The Walker's collection represents works of modern and contemporary art, especially focused after 1960. Its holdings include more than 13,000 pieces, including books, costumes, drawings, media works, paintings, photography, prints, and sculpture. In 2015, the Walker celebrated the 75th anniversary of its founding as a public art center with a yearlong exhibition Art at the Center: 75 Years of Walker Collections. Some collection highlights include:

 Chuck Close, Big Self-Portrait
 Franz Marc, Die grossen blauen Pferde (The Large Blue Horses)
 Edward Hopper, Office at Night
 Yves Klein, Suaire de Mondo Cane (Mondo Cane Shroud)
 Goshka Macuga, Lost Forty
 Andy Warhol, 16 Jackies

Performing arts
Live performance art is a major part of the Walker's programming and it is seen as a leader in exhibiting the medium. In 1940, the Walker began presenting local dance, poetry, and concerts, largely organized by volunteers. By 1963, this group had become Center Opera, the Walker's performing arts program focused on exhibiting new works emphasizing visual design. In 1970, Center Opera disbanded from the Walker and became the Minnesota Opera. The same year, Performing Arts was officially designated as a department of the Walker Art Center.

Since the 1960s, Performing Arts at the Walker has commissioned 265 performance works. In addition, the department programs a 25-show season every year that includes performance art, theater, dance, spoken word, and music. It is one of the nation's largest performing arts programs of its kind found in a museum. A number of artists have long histories working with and performing at the Walker, most notably choreographers Bill T. Jones, Meredith Monk, and Merce Cunningham, for whom the Walker staged the retrospective Life Performs Art in 1998. As a longtime associate of the Merce Cunningham Dance Company, the Walker was able to acquire 150 art objects central to the company's history from the Cunningham Foundation in 2011. The agreement included sculptures, sets, costumes and other works by artists like Robert Rauschenberg and Jasper Johns.

Moving image
The Walker's film and video programs feature both contemporary and historical works. In the 1940s, the Walker identified moving images (mostly movies, but also experimental films) as integral to contemporary life. Artists of that time were experimenting with film's formal properties, such as light, motion, and sound, while also separating film art from conventional narrative cinema.

In 1973, the Film/Video Department was officially formed and the Edmond R. Ruben Film and Video Study Collection was established, along with an endowment to fund the development of the archive. Ruben, a leading figure in film exhibition in the Upper Midwest, and his wife, Evelyn, believed in collecting films as a way of preserving the art form. Today, with more than 850 titles, the Ruben Collection brings together classic and contemporary cinema as well as documentaries, avant-garde films, and video works by artists. It holds works by visual artists ranging from Salvador Dalí, Marcel Duchamp, and Fernand Léger to extensive contemporary work by William Klein, Derek Jarman, Bruce Conner, Marcel Broodthaers, Matthew Barney, Nam June Paik, Wolf Vostell, and experimental artists such as Paul Sharits and Stan Brakhage.

Design
The Walker maintains a professional, in-house design and editorial department to fulfill its various communication needs. The department is responsible for the design and editing of all printed materials, including the creation and planning of publications such as exhibition catalogues, bimonthly magazines, and books, as well as exhibition and event graphics, signage programs, and promotional campaigns.

The department also organizes design-related projects and programs, such as lectures, exhibitions, and special commissions. Over the course of its 60-plus-year history, the department has organized many important exhibitions on architecture and design and has served as a forum for contemporary design issues, bringing hundreds of architects, designers, and critics to the Twin Cities through programs such as the Insights design lecture series, which celebrated its 30th year in 2016. During the 1940s, the Walker built two "idea houses" exhibiting the latest in building materials, furnishings and architectural design trends.

From the late 1960s until the early '90s, the museum's design curator, Mildred Friedman, helped conceive and stage exhibitions on, among other topics, the Dutch avant-garde movement De Stijl, the design process at the Modernist furniture company Herman Miller, the history of graphic design, and traditional and contemporary Japanese arts, crafts and culture. For more than 30 years, the Walker has also offered the Mildred S. Friedman Design Fellowship, a yearlong program for young designers.

Digital media
The Walker's New Media Initiatives group (renamed Digital Media in 2017) oversees mnartists.org, an online database of Minnesota artists and organizations that provides a digital gathering place for the local arts community. Through a partnership with the Minneapolis Institute of Art, the Walker manages ArtsConnectEd, an online resource for arts educators that draws from both institutions' permanent collection resources.

In 1998, the Walker acquired äda'web, an early net art website curated by Benjamin Weil and designed by Vivian Selbo. The first official project of äda'web went up in May 1995, although it had been informally active since February of the same year.

In 2011, the Walker website was relaunched as a news-style website, featuring essays, interviews, and videos by both Walker staff and guest writers, as well as curated news links about global art and culture. The relaunch was met with positive reviews around the art world.

Education and public programs
Learning is emphasized as a core experience at the Walker through a mix of education programs, community building efforts, and interpretive projects. The department conducts community, family, interpretive, public, school, teen, and tour programs, as well as mnartists.org. Each division offers programs and activities in visual art, performing arts, film/video, new media, design, and architecture. To inform these undertakings, the staff work with Walker curators and partners from local organizations, artists, schools, and community groups. Advisory groups such as the Walker Art Center Teen Arts Council, Tour Guide Council, and the Parent Advisory Group are also implemented in the department for the Walker to further build relationships with its audience.

Publishing
The Walker's long history of publishing includes the production of exhibition catalogues, books, and periodicals as well as digital publishing. From 1946 to 1954, it published the Everyday Art Quarterly; in 1954, the publication changed its name to Design Quarterly and "shifted its emphasis away from consuming design to understanding design's impact on society and its processes and methods of practice and inquiry." It was discontinued in 1993. The Walker's in-house design studio has created countless exhibition catalogues dedicated to the art of Marcel Broodthaers, Trisha Brown, Huang Yong Ping, Kiki Smith, Kara Walker, Andy Warhol, and Krzysztof Wodiczko, among many others, as well as books on design, architecture, social practice, and other topics in contemporary art. In 2011, the Walker redesigned its homepage as an "idea hub," a news-magazine format that presents original interviews, videos, commissioned essays, scholarly writings, and newslinks. The publishing-forward homepage was hailed as a "game-changer, the website that every art museum will have to consider from this point forward" (Tyler Green, Modern Art Notes) and "a model for other institutions of all kinds" (Alexis Madrigal, The Atlantic). The site won Best of the Web awards at the 2012 Museums and the Web conference, including "Best Overall Site" and "Best Innovative/Experimental Site." It also won a gold MUSE Award for "Online Presence, Media & Technology" from the American Alliance of Museums. In 2017, the homepage was redesigned, and the Walker's digital publishing was rebranded under the title Walker Reader, a magazine landing page that aggregates original content from the Walker's five verticals.

In April 2020, The New York Times said the Walker website was one of the best museum sites during the COVID pandemic, stating the "Walker Reader" was "an editorial arm of the museum that features debates on Indigenous art, or on how museums respond to the #MeToo movement. Treating the digital museum as coequal to the physical museum means you can be nimble when disaster strikes." In August 2020, the Walker Reader ceased publication.

Campus

Located on a 17-acre urban campus, the Walker Art Center's 260,000 square foot, 8-story building encompasses 10 art galleries along with a cinema, theater, shop, restaurant, and café, along with other special events spaces and lecture rooms.

The original building was designed by New York-based architect Edward Larrabee Barnes and opened in May 1971. Barnes designed the building in the minimalist style of the period with a plain, modular brick exterior and expansive white spaces in the interior. The structure is a unique arrangement of galleries that spiral up around a central staircase and open onto rooftop terraces. The Walker's architecture gained critical acclaim upon its opening and Barnes received the American Institute of Architects Award for his work.

In 2005, Barnes's original building underwent a $67 million expansion designed by Swiss architects Jacques Herzog and Pierre de Meuron. The addition was built on a "town square" concept meant to open up Barnes's boxlike building through accessible gathering spaces. Its central element is an abstract geometric tower made of aluminum mesh panels, built for Herzog & de Meuron by the Minnesota firm Spantek, and glass windows that holds the theater, restaurant, and shop spaces. Windowed halls containing expanded gallery and atrium spaces connect the tower to the original structure.

In 2015, the Walker announced a plan to unify the Walker and the surrounding Minneapolis Sculpture Garden. Key features of the renovation include a new entry pavilion for the Walker, a new hillside green space, the Upper Garden, and the reconstruction of the 26-year-old sculpture garden, a partnership with the Minneapolis Park and Recreation Board. The project also implements green-roof technology, rainwater reclamation systems in the garden, and the addition of hundreds of new trees throughout the campus. The renovation was completed in November 2016, with the sculpture garden reopening to the public in spring 2017.

History

The Walker Art Center began with Minneapolis businessman Thomas Barlow Walker, who held one of the largest art collections in the nation. In 1879, he dedicated part of his home to exhibiting the art to the public for free. In 1916, Walker purchased the land now known as Lowry Hill to build a museum for his growing collection. His museum, the Walker Art Galleries, was opened on May 21, 1927.

In 1939, the Minnesota Arts Council was granted control of the building on Lowry Hill, along with its art collection, in order to create a civic art center. With the assistance of the Works Progress Administration, building improvements were made and the Walker Art Center opened in January 1940. Daniel Defenbacher, who led the Federal Art Project's Community Art Center program, left the WPA to become the first director of the Walker Art Center. Around this time, the Walker officially began its focus on modern and contemporary works of art.

The Walker's current building, designed by Edward Larrabee Barnes, opened in 1971 and expanded in 1984. Minneapolis Parks and Recreation partnered with the Walker Art Center to establish the Minneapolis Sculpture Garden on the Walker's campus in 1988.

Opened in April 2005, the most recent building expansion nearly doubled the size of the Walker Art Center. The expansion, designed by Herzog & de Meuron, included an additional gallery space, a theater, restaurant, shop, and special events space.

In June 2017, the opening of the gallery's art garden was delayed due to protests over Sam Durant's sculpture Scaffold.

Timeline

 1879 – Lumber baron Thomas Barlow (T.B.) Walker opens the first public art gallery west of the Mississippi at his residence on Hennepin Avenue in Downtown Minneapolis
 1927 – Walker Art Galleries opens in Minneapolis, on the current Walker Art Center site.
 1940 – Funded by 1939 Works Projects Administration (WPA) grants, Walker Art Galleries becomes the Walker Art Center. Under its first Director, Daniel Defenbacher, it began to add modern and regional art to the eclectic collection gathered by T. B. Walker. It opens to the public with exhibitions Ways to Art, Parallels in Art, and Trends in Contemporary Art, signaling its new interest in Modern Art. Defenbacher and his wife Louise Walker Defenbacher collaborated on Design Quarterly, which showcased good modern design in housewares and furniture. Spring Dance Festival, organized by Gertrude Lippincott, is the first performance event at the Walker.
 1942 – Franz Marc, Die grossen blauen Pferde (The Large Blue Horses) (1911) is the Walker's first acquisition of Modern Art.
 1946 – Everyday Art Gallery, curated by Hilde Reiss, opens as the first exhibition space dedicated for design in a U.S. museum. Everyday Art Quarterly (later renamed Design Quarterly) begins publication as the first U.S. museum journal on design.
 1948 – Edward Hopper, Office at Night (1940) acquired.
 1950 – Walker art school closed. Defenbacher replaced as Director by H. Harvard Arnason.
 1954 – Georgia O'Keeffe, Lake George Barns (1926) is acquired.
 1963 – Walker Art Center establishes the Center Opera Company, which later becomes the Minnesota Opera. Guthrie Theater opens adjacent to the Walker. John Cage, with the Merce Cunningham Dance Company, presents first Walker performance.
 1964 – Dominick Argento's Masque of Angels performed by the Center Opera Company as first Performing Arts commission.
 1967 – Andy Warhol 16 Jackies (1964) acquired.
 1969 – Major acquisitions include Chuck Close, Big Self-Portrait (1967–1968)
 1970 – Performing Arts Department is formed.
 1971 – New Walker Art Center opens, designed by Edward Larrabee Barnes.
 1972 – Film/Video Department is established.
 1976 – The Walker becomes a public institution; T.B. Walker Foundation establishes museum endowment.
 1978 – Laurie Anderson performs as part of the Perspectives series, copresented with the Saint Paul Chamber Orchestra. Summer Music & Movies in Loring Park begins.
 1988 – Minneapolis Sculpture Garden opens, designed by Edward Larrabee Barnes. Commissioned works include Claes Oldenburg and Coosje van Bruggen's Spoonbridge and Cherry (1985–1988)
 1989 – Out There series of experimental performance art and theater begins.
 1990 – Regis Dialogues, a series of film retrospectives and interviews with noted filmmakers and actors, begins with Clint Eastwood and James Ivory.
 1992 – Minneapolis Sculpture Garden expansion opens.
 1996 – New Media Initiatives Department is formed with Gallery 9, a web site for net art, launches with Piotr Szyhalski, Ding an sich (The Canon Series) (1997), the first new-media commission.
 1998 – Charles Ray, Unpainted Sculpture (1997) acquired. Art Performs Life: Merce Cunningham/Meredith Monk/Bill T. Jones, a multidisciplinary exhibition, celebrates the Walker's long-term relationships with the artists. ArtsConnectEd, a web site featuring the collections of the Walker and the Minneapolis Institute of Art, launches.
 2002 – mnartists.org, a joint project of the Walker and the McKnight Foundation, launches.
 2005 – Newly expanded Walker Art Center, designed by Herzog & de Meuron, opens in April.
 2012 – Walker Art Center holds the first Internet Cat Video Festival
 2015 – The Walker breaks ground on its renovation of the Minneapolis Sculpture Garden

Management

Funding
The Walker Art Center is supported in part by a grant provided by the Minnesota State Arts Board through an appropriation by the Minnesota Legislature from the State's general fund and its arts and cultural heritage fund. To ensure the Walker's creative independence, then-director Kathy Halbreich forswore millions of dollars in potential state aid for the museum's $73.8 million expansion in 2005, a decision that resulted in a one-year salary freeze, some staff cuts, and the elimination of the Walker's new-media art program.

In 2011, the Walker Art Center reported net assets of $243 million. Its annual expenses were $22 million, and its endowment was at $152 million. The museum director's compensation is at around $375,000.

Audience engagement
As of 2011, total attendance was at about 590,000 visitors, out of which 22% were Teen and Youth Visitors.

Directors
Daniel Defenbacher, 1940–1951
Harvey Arneson, 1951–1961
Martin Friedman, 1961–1990
 Kathy Halbreich, 1991–2007
 Olga Viso, 2007–2017
Mary Ceruti, 2019–present

See also
Minneapolis Sculpture Garden
MNartists.org

References

External links

1879 establishments in Minnesota
Art museums established in 1879
Art museums and galleries in Minnesota
Arts centers in Minnesota
Buildings and structures completed in 1927
Buildings and structures completed in 1971
Contemporary art galleries in the United States
Edward Larrabee Barnes buildings
Federal Art Project
Herzog & de Meuron buildings
Modern art museums in the United States
Modernist architecture in Minnesota
Museums in Minneapolis
Museums of American art
National Performance Network Partners
Postmodern architecture in the United States
Works Progress Administration in Minnesota

Walker Art Center


رقية الغسرة هي رقية منصور الغسرة ولدت في 6 ايلول / سبتمبر ، 1982، هي من أبطال الرياضة البحرينية. كانت من أوائل النساء اللاتي مثلن البحرين في دورة الألعاب الأولمبية ، عن طريق المشاركة في 100 متر عدو في أولمبياد اثينا 2004 في اثينا. كما تأهلت للدور قبل النهائي لمسافة 200 متر في أولمبياد بكين.والعاب القوى في اوساكا اليابانية.

وصلات خارجية

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رياضيون (الميدان والمضمار) شاركوا في دورة الألعاب الأولمبية الصيفية 2008
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مواليد 1402 هـ
مواليد 1982

رقية الغسرة


António Manuel Faria Pinho Vargas da Silva (* 15. August 1951 in Vila Nova de Gaia) ist ein portugiesischer Pianist, und ein Komponist des Jazz und der Klassischen Musik.

Werdegang
Vargas studierte Klavier am Konservatorium in Porto (Abschluss 1987) und Geschichte an der Universität Porto (Abschluss 1983). Am Konservatorium von Rotterdam studierte er Komposition bei Klaas de Vries (Abschluss 1990). Von 1994 bis 2000 war er Musikassessor der Kulturstiftung Fundação de Serralves (Museu Serralves) in Porto, und von 1996 bis 1998 des Centro Cultural de Belém. 1995 wurde er mit dem Orden des Infanten Dom Henrique im Kommandeurs-Rang ausgezeichnet. Er komponierte auch gelegentlich Filmmusik für verschiedene Werke von João Botelho und José Fonseca e Costa. 2003 schrieb er mit Sobre música: Ensaios, textos e entrevistas. (Afrontamento, Lissabon 2003) ein Buch über Musik.

Wirken als Jazzmusiker
Nachdem er ab 1969 in Rock-Bands gespielt hatte (Jáfumega, Arte & Ofício und die Banda Sonora von Rui Veloso), widmete sich Vargas dem Jazz und der improvisierten Musik. Anfang der 1970er Jahre war er Mitglied der Anarband, die sich konzeptionell an Jorge Lima Barreto orientierte. Ab 1975 war er Mitglied der Free-Jazz-Formation Zanarp, um sich dann der Neuen Musik zuzuwenden. Vargas interessierte sich zunehmend für die Geschichte des Jazz. Neben Free Jazz spielte er auch Funk und Fusion Jazzrock mit seiner Band Abralas (ab 1977) und war einer der ersten portugiesischen Jazzmusiker, die regelmäßig eine Fender-Rhodes-Orgel einsetzten. Seit 1976 spielte er auch mit Rão Kyao und nahm mit ihm das Album Malpertuis auf, welches, zwei Jahre nach der Nelkenrevolution, das erste Jazzalbum portugiesischer Musiker wurde.

Als Bewunderer des Miles-Davis-Quintetts der 1960er Jahre und beeinflusst durch den Stil von Pianisten wie Keith Jarrett, Chick Corea und Paul Bley, gründete er sein eigenes Quartett (mit José Nogueira, Pedro Barreiros und Mário Barreiros). Nannte er sich bisher António Pinho, so trat er von nun an unter dem Namen António Pinho Vargas auf. In den 1980er Jahren wurde Vargas einer der bedeutendsten Jazzmusiker Portugals. Anfangs beeinflusst von den Aufnahmen des europäischen Quartetts von Keith Jarrett (mit Jan Garbarek), entwickelte er zunehmend einen eigenen Stil mit Eigenkompositionen, die als eine der ersten die Begegnung des Jazz mit Melodien und Rhythmen traditioneller portugiesischer Musik suchten (etwa den Chorgesängen des Alentejo oder die Perkussionen aus der Region des Alto Douro). Seine Aufnahmen als Bandleader, beginnend mit Outros Lugares (1983), gehören zu den entscheidenden Werken des portugiesischen Jazz. Sein Name ist heute auch einem größeren Publikum in Portugal bekannt. Ende 2007, nach längerer Krankheit und dem Tod seiner Mutter, nahm er zwischen dem 17. und dem 22. Dezember im kleinen Auditorium des Centro Cultural de Belém eine Reihe Solostücke am Klavier auf. 2008 erschien das erste Doppelalbum dieser Aufnahmen. Die guten Verkäufe des Albums Solo brachten es bis in die Charts. Dies war bemerkenswert für ein Klavier-Solo-Album des Jazz, und es folgte mit Solo II noch ein zweites Doppelalbum mit weiteren Stücken der gleichen Aufnahmesession, darunter eine freie Improvisation. 2012 erhielt er für dieses Album den José-Afonso-Preis.

Wirken im Bereich der klassischen Musik
Trotz vieler anderslautender Meinungen ist in Vargas' Musikverständnis eine Verbindung von Jazz als U-Musik und Klassischer Musik (als E-Musik) nicht möglich. So blieb er in der Klassischen Musik immer nur Komponist, während er im Jazz auch Musiker ist.

Seit Ende der 1980er Jahre wandte sich Vargas der Komposition klassischer Musik zu. Er komponierte verschiedene Symphonien, aber auch Opern, beispielsweise Os Dias Levantados (dt. etwa "Tage der Erhebung") zum 25. Jahrestag der Nelkenrevolution.

Diskografie

 1983: Outros Lugares
 1985: Cores e Aromas
 1987: As Folhas Novas Mudam de Cor
 1989: Os Jogos do Mundo
 1991: Selos e Borboletas
 1994: Monodia
 1996: A Luz e a Escuridão
 1998: As Mãos - O Melhor de António Pinho Vargas ("Best Of")
 2001: Versos
 2001: Versos
 2003: Os Dias Levantados
 2008: Graffiti [just Forms], Six Portraits of Pain, Acting Out
 2008: Solo
 2009: Solo II
 2011: Improvisações

Werke

Orchester
 An impossible task (2009) – für kleines Orchester (12 Min., für das Centro Cultural de Belém) Uraufführung Lissabon April 2009 (Leit.: Michael Zilm)
 Um discurso de Thomas Berhard – für Sprecher und Orchester (12 Min., für das Orquestra Metropolitana de Lisboa) Uraufführung Lissabon Dezember 2007 (Leit.: Michael Zilm)
 Graffiti [just forms] – für großes Orchester (25 Min., für das Teatro Nacional de São Carlos) Uraufführung Lissabon März 2006 (Leit.: Lothar Königs)
 Six portraits of pain – für Violoncello und Großes Orchester (27 Min., Auftragsarbeit für die Casa da Música, im Rahmen der Kulturhauptstadt Europas, Porto 2001), Uraufführung Porto 2005 (Leit.: Frank Ollu)
 Reentering – für Orchester und percussion obligato (8 Min., für das Teatro Nacional de São Carlos) Uraufführung Lissabon 2004 (Leit.: Donato Renzentti)
 … Von fremden Ländler … – für Klavier und Orchester (18 Min., für das Intern. Musikfestival Coimbra) Uraufführung Coimbra 2004 (Leit.: Yu Feng, Klavier: Anne Kaasa)
 Machines fictives (pour Pierrot le fou) – für Orchester (12 Min., für die Stiftung Fundação Oriente) Uraufführung Lissabon 2003 (Leit.: Yu Feng)
 A impaciência de Mahler – für Orchester (20 Min., für die Stiftung Calouste Gulbenkian) Uraufführung Lissabon 2001 (Leit.: Michael Zilm)
 Duas peças – für Streichquartett (15 Min.) Uraufführung Porto 2000 (Leit.: Cesário Costa)
 Acting-out – für Klavier, Perkussion und Orchester (19 Min., für das Teatro Nacional de São Carlos) Uraufführung Lissabon 1998 (Leit.: António Saiote, Klavier: Miguel Henriques, Perkussion: Elizabeth Davies)
 Três versos de Caeiro – für 12 Instrumente (10 Min., für die Stiftung Calouste Gulbenkian) Uraufführung Lissabon und Mailand 1997 (Leit.: Renato Rivolta)
 Três quadros para Almada – für 10 Instrumente (17 Min.) Uraufführung Lissabon 1994
 Explicit drama – für Orchester und Jazz-Trio (20 Min.) Uraufführung Lissabon 1992 (Leit.: Michel Swiertchevisky)
 Estudo/Figua – für 10 Instrumente (12 Min.) Uraufführung Amsterdam 1990 (Leit.: Arie Van Beck)
 Geometral – für Orchester (27 Instrumente) (20 Min., für die Stiftung Calouste Gulbenkian) Uraufführung Lissabon 1989 (Leit.: Michel Tabachnik)
 Música plana / Música contraplana – für Opus-Orchester (12 Min., für RTP-Fernsehen) Uraufführung Amsterdam 1989
 Círculos – für Orchester (10 Instrumente) (10 Min.), Uraufführung 1987 (Leit.: Álvaro Salazar)

Kammermusik
 2 Violinos for Carlos Paredes – für 2 Geigen (6 Min.) Uraufführung Lissabon 2003 (Aníbal Lima, Pedro Pacheco)
 Step by step, Wolfs! – für 6 Perkussionisten (6 Min.) Uraufführung 2002 (Leit.: Miguel Bernat)
 Três estudos for 2 pianos – für 2 Klaviere (15 Min.) Uraufführung Lissabon 2001 (Miguel Henriques, Ana Valente)
 Two family discussions – für 2 Trompeten (6 Min., für das Intern. Musikfestival von Mafra) Uraufführung Mafra 2001 (John Wallace, John Miller)
 Quatro ou cinco movimentos fugidios da água – für Klarinetten-Trio (15 Min.) Uraufführung Póvoa de Varzim 2001 (António Saiote, Jed Barahal, António Rosado)
 Sete canções de Albano Martins – für Vokalsolist (Bariton) und Klavier (18 Min.) Uraufführung Porto 2000 (Paulo Ferreira, Jaime Mota)
 Estudos e interlúdios – für 6 Perkussionisten (25 Min.) Uraufführung Lissabon 2000 (Leit.: Miguel Bernat)
 Terceiro verso de Caeiro – für 4 Instrumente (10 Min., für Sven for Parlor) Uraufführung Athen 1997
 Nove canções de António Ramos Rosa – für Vokalsolist und Klavier (25 Min., für Encontros Primavera de Guimarães) Uraufführung  Guimarães 1995 (Rui Taveira, Jaime Mota)
 Nocturno/Diurno – für Streichsextett (8 Min., für die Stadt Porto) Uraufführung Porto 1994 (Sextuor L'Artois de Lille)
 Monodia – quasi un requiem – für Streichquartett (15 Min., für die Stadt Porto) Uraufführung Porto 1993 (Ensemble MusikFabrik)
 Mechanical string toys – für Streichorchester (6 Min., für das Orquestra Metropolitana de Lisboa) Uraufführung Lissabon 1992 (Leit.: Miguel Graça Moura)
 Poetica dell estinzione (secondo mikhal serguieievitch) – für Querflöte und Streichquartett (6 Min.) Uraufführung Porto 1990 (Leit.: Álvaro Salazar)
 Cut – für Saxophonquartett (8 Min.) Uraufführung Lissabon 1989 (Quarteto de Saxofones de Lisboa)
 Gravitações – für Querflöte und Klarinettenquartett (6 Min., für die Oficina Musical) Uraufführung Porto 1984 (Eduardo Lucena, Américo Aguiar (Oficina Musical))

Oper und Oratorium
 A little madness in the spring – Kammerorchester und 3 Sänger (chamber opera 3 singers; fl; ob; cl; Bcl; fg; tp; hn; tbn; 2 perc; harp; pf; vl I; vl II; vla; vln; cb); Electronics by Carlos Caires and Antonio Pinho Vargas Libreto: Paulo Tunhas Duration: 32' Commissioned by: Casa da Música Published by: First Performance: Eduarda Melo, Matthew Bean, Ivan Ludlow Remix Ensemble, dir. Franck Ollu, Lisboa, 1996
 Judas (secundum Lucam, Joannem, Matthaeum et Marcum) (2002) for choir and orchestra Large Choir; (188.8.131.52.18.104.22.168. 1 perc); (184.108.40.206.6) Duration: 30' Commissioned by: Festival de Música Sacra de Viana do Castelo Published by: http://www.editions-ava.com/store/work/319/ First Performance: Choir and Orq. Gulbenkian dir. Fernando Eldoro, 2002
 Os dias levantados (1998) opera 8 singers; Large Choir; (184.108.40.206 - 22.214.171.124 - 3 perc); Strings Libretto: Manuel Gusmão Duration: 105' Commissioned by: Expo'98 Published by: First Performance: Orq. Sinfónica Portuguesa, Choir from Teatro Nacional de S. Carlos, dir. João Paulo Santos, Lisboa, 1998
 Édipo – Tragédia de Saber (1996) opera 4 singers; 32 choir; fl;fg; cl; ob; tp; tbn; 2 perc pf; vl I; vl II; vla; vln; cb; Libretto: Pedro Paixão Duration: 64' Commissioned by: Culturgest Published by: First Performance: Soilists from Orq. Sinfónica Portuguesa, Choir from Teatro Nacional de S. Carlos, dir. João Paulo Santos, Lisboa, 1996
 Ancestral e mudo – Oper für 4 gemischte Chöre (5 Min.) Uraufführung Lissabon 1994 (Kammerchor Lissabon, Leit.: Teresita Gutierrez Marques)

Solo
 Il ritorno – für Cembalo (14 Min., für das Intern. Musikfestival von Mafra) Uraufführung Mafra 2002 (Ana Mafalda Castro)
 Holderlinos – für Klavier (26 Min., für das Intern. Musikfestival von Coimbra) Uraufführung Coimbra 2001 (Miguel Henriques)
 La Luna – Gitarre (3 Min., für Cecilia Colien Honneger) Uraufführung Madrid 1996 (Gabriel Estrahellas)
 Mirrors – Klavier (9 Min., für Staatssekretariat für Kultur) Uraufführung Amsterdam 1990 (Paul Prenen)
 Três fragmentos – Klarinette (5 Min.) Uraufführung Lissabon 1987 (António Saiote)
 Peça – Querflöte (4 Min., für die Calouste Gulbenkian School of Braga) Uraufführung Braga 1983 (Olavo Tengner, Jorge Salgado)

Filmmusik
 1988: Harte Zeiten für unsere Zeiten (Tempos difíceis, R: João Botelho)
 1993: Aqui na terra (R: João Botelho)
 1996: Cinco Dias, Cinco Noites (R: José Fonseca e Costa)
 2001: Quem És Tu? (R: João Botelho)
 2003: O Fascínio (R: José Fonseca e Costa)

Literatur
 Salwa Castelo-Branco: Enciclopédia da música em Portugal no século XX, P-Z. 1. Auflage, Temas&Debates, Lissabon 2010, ISBN 978-972-42-4598-0

Weblinks
 Offizielle Webseite von António Pinho Vargas (port. und engl.)
 António Pinho Vargas bei Discogs
 António Pinho Vargas bei Allmusic

Einzelnachweise

Jazz-Pianist
Klassischer Pianist
Komponist klassischer Musik (21. Jahrhundert)
Komponist klassischer Musik (20. Jahrhundert)
Komponist (Portugal)
Träger des Ordens des Infanten Dom Henrique (Komtur)
Musiker (Portugal)
Portugiese
Geboren 1951
Mann

António Pinho Vargas


Olaylar
 528 yılında inşa edilen Galata Kulesi, Cenevizliler tarafından yeniden yapıldı.
 Gonville and Caius College, Gonville Hall ismiyle kuruldu.
 Prag Üniversitesi kuruldu.

Doğumlar
 2 Nisan - IV. Andronikos, Bizans İmparatoru (ö. 1385)
 tarihi bilinmeyen
 Bulgar Keratsa, Bulgaristan Çarı İvan Aleksandr ile Yahudilikten dönme ikinci karısı Sarah'ın kızı (ö. 1390)

Ölümler
 4 Şubat - Zehebî, Suriyeli hadis hafızı, tarihçi ve kıraat alimi (d. 1274)
 1 Haziran - Barlaam, İtalyan bilgin, din adamı, hümanist, filolog ve ilahiyatçı (d. 1290)
 2 Aralık - Hanazono, Japonya'nın geleneksel veraset düzenine göre 95. imparatoru (d. 1297)
 tarihi bilinmeyen
 Andrea Pisano, İtalyan heykeltıraş (d. 1290)
 Umur Bey, Aydınoğulları Beyliği'nin ikinci ve en ünlü beyi

1348


(14 de julio de 1977) es un luchador y anunciador de lucha libre profesional japonés, conocido por su trabajo en Toryumon y Big Japan Pro Wrestling.

Carrera

Toryumon (2000-2004)
Shimizu debutó en Toryumon México en 2000, perdiendo ante Kenichiro Arai. Después de un par de combates más, cuando iba a ser transferido a Toryumon 2000 Project, Mototsugu sufrió una grave lesión de hombro que requirió intervención quirúrgica y le impidió seguir luchando. Mientras se recuperaba de la cirugía, Shimizu actuó como anunciador de ring de Toryumon, luchando en un combate contra Susumu Yokosuka y Kenichiro Arai brevemente durante 2003.

Dragondoor (2006)
Después de la conversión de Toryumon Japan en Dragon Gate, Shimizu dejó la empresa y fue a parar a Dragondoor, donde apareció también como comentarista. Allí tendría también su primer combate en años, haciendo equipo con Máximo para enfrentarse sin éxito a Gamma & Kagetora. Debido a la poca duración de la empresa, ese fue su último combate en la marca, siendo contratado después por la siguiente encarnación de Dragondoor, Pro Wrestling El Dorado.

Pro Wrestling El Dorado (2006-2008)
A su llegada a Pro Wrestling El Dorado, Shimizu entró en un feudo con Manjimaru. Sin embargo, la brutalidad del estilo de lucha de ambos produjo que Noriaki Kawabata, director de la empresa, multase a Manjimaru -y a Shimizu como cómplice- por destrozar el atrezzo de El Dorado (kayfabe), por lo que tuvieron que aliarse forzosamente para pagarlas con el premio del torneo Treasure Hunters Tag Tournament 2006. Aunque formaban un equipo eficaz, Shimizu y Manjimaru se atacaban constantemente, dificultando su trabajo en el ring: aunque consiguieron llegar a la semifinal, fueron derrotados por Dick Togo & Shuji Kondo.

La semana siguiente, después de que tanto YASSHI como Shimizu & Manjimaru pidiesen a Kondo su dinero por caridad para pagar sus respectivas deudas, Kawabata estableció un combate entre el equipo de YASSHI y el de Kondo; si YASSHI ganaba, el dinero sería repartido entre YASSHI y Shimizu. Efectivamente, YASSHI y su equipo Nanking Fucking Wrestlim Team ganaron y Shimizu se dispuso a pagar la deuda, pero Manjimaru le detuvo -a golpes- y sugirió que Mototsugu y él produjeran el siguiente programa de El Dorado con el dinero para sacar beneficio. Durante el show, cuyo combate principal era entre Shimizu y Manjimaru para decidir quién se quedaría con todo el dinero recaudado, y que se acabó convirtiendo en una Battle Royal, Shimizu logró ganar el dinero, pero sorprendentemente se lo entregó al final a Manjimaru para que se costease la cirugía de una lesión de hombro, reconciliándose ambos por primera vez. Esa noche, el equipo se deshizo hasta el retorno de Manjimaru, prometiendo con humor mayores destrozos para El Dorado la próxima vez.

En 2007, Shimizu fue convertido en miembro del grupo face SUKIYAKI, dirigido por Shuji Kondo.

Michinoku Pro Wrestling (2006-2008)
A mediados de 2006, Shimizu comenzó a aparecer regularmente en Michinoku Pro Wrestling. Compitiendo en el Tetsujin Tournament 2006, Mototsugu no consiguió demasiadas victorias, y fue relegado pronto al plantel inferior. Tiempo después, Shimizu fue invitado por Ken45º a unirse a su grupo Ken Gundan, lo que Shimizu rechazó, entre otras cosas por ser sempai de Ken y por no caerle demasiado bien, según dijo; sin embargo, Ken45º reveló que sabía qué era lo más temido por Shimizu, y le chantajeó para ser reclutado a cambio de no divulgarlo. Mototsugu se vio obligado entonces a formar equipo con Ken, Banana Senga & Rei.

Big Japan Pro Wrestling (2007-presente)
En 2007, Shimizu fue contratado por Big Japan Pro Wrestling, a raíz de varios eventos conjuntos entre El Dorado y BJPW.

Chikara (2008)
En febrero de 2008, Shimizu fue enviado con Go & Michael Nazakawa a Chikara para representar a Pro Wrestling El Dorado en el King Of Trios 2008, pero fueron derrotados en la primera ronda por The Colony.

Secret Base (2009-presente)
Tras el cierre de El Dorado, Shimizu comenzó a aparecer en la siguiente encarnación de la empresa, Secret Base, donde formó un equipo con Jun Ogawauchi.

En lucha
 Movimientos finales
 Medusa Head / Marshmallow Hedgehog (Cross-legged bridging grounded double chickenwing)
 Diving double foot stomp, a veces a un oponente sobre una silla
 Cross kneelock

 Movimientos de firma
 Mescaline Drive (Fisherman DDT)
 Neck*Romantic (Inverted reverse Indian deathlock Gory special)
 Chemical Clutch (Arm trap headhold small package)
 Goku Clutch (Standing figure four leglock)
 Bridging German suplex
 Double knee facebreaker
 Dropkick, a veces desde una posición elevada
 Figure four leglock
 Full Nelson arm drag
 High kick
 Inverted DDT
 Oklahoma roll
 Over the top rope suicide dive
 Plancha
 Running big boot
 Running one-handed bulldog
 Snapmare seguido de second rope missile dropkick a la espalda del oponente
 Spinning heel kick
 Spinning spinebuster
 Springboard bulldog

 Apodos
 "Shimi-chan"

Campeonatos y logros
 Big Japan Pro Wrestling
 3 Organisation Cinderella Championship (1 vez)

 Secret Base
 Captain of the Secret Base Openweight Championship (1 vez)
 Captain of the Secret Base Tag Team Championship (1 vez, actual)

Referencias

Luchadores profesionales de Japón

Mototsugu Shimizu


Antonio Joseph (1921-2016) fue un artista de Haití; pintor, escultor y estampador de serigrafías.

Datos biográficos
Nacido en Barahona, República Dominicana, de padres haitianos, Joseph está dedicado a la pintura, la escultura y la serigrafía.  Trabajó de sastre mientras estudiaba pintura con acuarela y escultura en Haití y estampación con serigrafía en los  Estados Unidos. Ingresó en el Centre d'Art en el año 1944 y trabajó con DeWitt Peters. Joseph fue premiado en dos ocasiones con sendas becas de la Fundación Guggenheim, en 1953 y de nuevo en 1957, por sus trabajos como pintor. Viajó muchos kilómetros el año 1963, visitando Marruecos y la mayor parte de Europa. En 1972, se unió al concejo administrativo del Museo de Arte de Haití en el St. Pierre College de Puerto Príncipe. Fue profesor de dibujo y serigrafía en el Centre d'Art. Sus obras han sido expuestas en los Estados Unidos, México, Jamaica y España.

Notas y referencias

Notas

 Bibliografía

Enlaces externos

Escultores del siglo XX
Escultores del siglo XXI
Escultores de Haití
Pintores de Haití del siglo XX
Grabadores del siglo XX

Escultores de República Dominicana
Grabadores del siglo XXI

Antonio Joseph


Sombrita (Bōken Shōnen Shadar) es una  anime, de un luchador por la justicia que se encontraba descansando en un profundo sueño dentro de una cúpula de vidrio dentro de un templo. Sin embargo un día un anciano guardián del templo lo despierta y le advierte de la amenaza de un supervillano que tratará a toda costa de apoderarse del mundo usando poderes sobrenaturales, por lo que le será entregada una daga mágica a fin de pelear contra el malvado y sus secuaces, dicha arma de permitirá realizar clones de sí mismo para confundir a sus oponentes, lanzar rayos poderosos y convertirse en espada para combatir.

Personajes
 Sombrita - es el protagonista, de aspecto adolescente.
 Rocko – es un niño acompañante de sombrita.
 Profesor Mambo – un científico amigo de Sombrita, tiene un platillo volador llamado "nave iónica" como vehículo de transporte.
 Profesor Rumba – colega del profesor Mambo.
 Pimbaud – un perro con gafas amigo de Sombrita.
 Ghoster – el archienemigo de sombrita, tiene aspecto demoníaco y filosos colmillos viste un traje de malla una máscara de orejas picudas y una capa y usa un bastón.
 Cata – una gata hablantina que es secuaz de Ghoster.

Doblaje

Título en otros idiomas
 Adventure Boy Shadar, Adventures of the Young Shadar (inglés)
 La spada di luce (italiano)
 Shadow Boy (portugués)
 Sombrita (español)
冒険少年シャダー(japonés)

Enlaces externos
 Bōken Shōnen Shadar (TV)
 Sombrita Doblaje Wiki
 Arkiv Perú
 Intro en japonés

Anime de 1967

Sombrita (anime)


Seth er en by og en kommune i det nordlige Tyskland, beliggende i Amt Itzstedt i den sydlige del af Kreis Segeberg. Kreis Segeberg ligger i den sydøstlige del af delstaten Slesvig-Holsten.

Geografi
Seth ligger cirka 12 kilometer sydvest for Bad Segeberg. Øst for kommunen går Bundesstraße B 432.

Eksterne kilder/henvisninger

 Kommunens websted
 Statistikamt Nord – Bevölkerung der Gemeinden in Schleswig-Holstein 4. Quartal 2014 (XLSX-Data) (Fortschreibung auf Basis des Zensus 2011)

Byer i Slesvig-Holsten
Kommuner i Slesvig-Holsten
Byer i Kreis Segeberg

Seth (Holsten)


Species reintroduction is the deliberate release of a species into the wild, from captivity or other areas where the organism is capable of survival. The goal of species reintroduction is to establish a healthy, genetically diverse, self-sustaining population to an area where it has been extirpated, or to augment an existing population. Species that may be eligible for reintroduction are typically threatened or endangered in the wild. However, reintroduction of a species can also be for pest control; for example, wolves being reintroduced to a wild area to curb an overpopulation of deer. Because reintroduction may involve returning native species to localities where they had been extirpated, some prefer the term "reestablishment".

Humans have been reintroducing species for food and pest control for thousands of years. However, the practice of reintroducing for conservation is much younger, starting in the 20th century.

Methods for sourcing individuals
There are a variety of approaches to species reintroduction. The optimal strategy will depend on the biology of the organism. The first matter to address when beginning a species reintroduction is whether to source individuals in situ, from wild populations, or ex situ, from captivity in a zoo or botanic garden, for example.

In situ sourcing
In situ sourcing for restorations involves moving individuals from an existing wild population to a new site where the species was formerly extirpated. Ideally, populations should be sourced in situ when possible due to the numerous risks associated with reintroducing organisms from captive populations to the wild. To ensure that reintroduced populations have the best chance of surviving and reproducing, individuals should be sourced from populations that genetically and ecologically resemble the recipient population. Generally, sourcing from populations with similar environmental conditions to the reintroduction site will maximize the chance that reintroduced individuals are well adapted to the habitat of the reintroduction site otherwise there are possibilities that they will not take to their environment. .

One consideration for in situ sourcing is at which life stage the organisms should be collected, transported, and reintroduced. For instance, with plants, it is often ideal to transport them as seeds as they have the best chance of surviving translocation at this stage. However, some plants are difficult to establish as seed and may need to be translocated as juveniles or adults.

Ex situ sourcing
In situations where in situ collection of individuals is not feasible, such as for rare and endangered species with too few individuals existing in the wild, ex situ collection is possible.
Ex situ collection methods allow storage of individuals that have high potential for reintroduction. Storage examples include germplasm stored in seed banks, sperm and egg banks, cryopreservation, and tissue culture. Methods that allow for storage of a high numbers of individuals also aim to maximize genetic diversity. Stored materials generally have long lifespans in storage, but some species do lose viability when stored as seed. Tissue culture and cryopreservation techniques have only been perfected for a few species.

Organisms may also be kept in living collections in captivity. Living collections are more costly than storing germplasm and hence can support only a fraction of the individuals that ex situ sourcing can. Risk increases when sourcing individuals to add to living collections. Loss of genetic diversity is a concern because fewer individuals stored. Individuals may also become genetically adapted to captivity, which often adversely affects the reproductive fitness of individuals. Adaptation to captivity may make individuals less suitable for reintroduction to the wild. Thus, efforts should be made to replicate wild conditions and minimize time spent in captivity whenever possible.

Successes and failures

Reintroduction biology is a relatively young discipline and continues to be a work in progress.  No strict and accepted definition of reintroduction success exists, but it has been proposed that the criteria widely used to assess the conservation status of endangered taxa, such as the IUCN Red List criteria, should be used to assess reintroduction success. Successful reintroduction programs should yield viable and self-sustainable populations in the long-term. The IUCN/SSC Re-introduction Specialist Group & Environment Agency, in their 2011 Global Re-introduction Perspectives, compiled reintroduction case studies from around the world. 184 case studies were reported on a range of species which included invertebrates, fish, amphibians, reptiles, birds, mammals, and plants. Assessments from all of the studies included goals, success indicators, project summary, major difficulties faced, major lessons learned, and success of project with reasons for success or failure. A similar assessment focused solely on plants found high rates of success for rare species reintroductions. An analysis of data from the Center for Plant Conservation International Reintroduction Registry found that, for the 49 cases where data were available, 92% of the reintroduced plant populations survived two years.
The Siberian tiger population has rebounded from 40 individuals in the 1940s to around 500 in 2007. The Siberian tiger population is now the largest un-fragmented tiger population in the world. Yet, a high proportion of translocations and reintroductions have not been successful in establishing viable populations.
For instance, in China reintroduction of captive Giant Pandas have had mixed effects. The initial pandas released from captivity all died quickly after reintroduction. Even now that they have improved their ability to reintroduce pandas, concern remains over how well the captive-bred pandas will fare with their wild relatives.

Many factors can attribute to the success or failure of a reintroduction.  Predators, food, pathogens, competitors, and weather can all affect a reintroduced population's ability to grow, survive, and reproduce. The number of animals reintroduced in an attempt should also vary with factors such as social behavior, expected rates of predation, and density in the wild. Animals raised in captivity may experience stress during captivity or translocation, which can weaken their immune systems.
The IUCN reintroduction guidelines emphasize the need for an assessment of the availability of suitable habitat as a key component of reintroduction planning.  Poor assessment of the release site can increase the chances that the species will reject the site and perhaps move to a less suitable environment. This can decrease the species fitness and thus decrease chances for survival. They state that restoration of the original habitat and amelioration of causes of extinction must be explored and considered as essential conditions for these projects. Unfortunately, the monitoring period that should follow reintroductions often remains neglected.

Genetic considerations
When a species has been extirpated from a site where it previously existed, individuals that will comprise the reintroduced population must be sourced from wild or captive populations. When sourcing individuals for reintroduction, it is important to consider local adaptation, adaptation to captivity (for ex situ conservation), the possibility of inbreeding depression and outbreeding depression, and taxonomy, ecology, and genetic diversity of the source population. Reintroduced populations experience increased vulnerability to influences of drift, selection, and gene flow evolutionary processes due to their small sizes, climatic and ecological differences between source and native habitats, and presence of other mating-compatible populations.

If the species slated for reintroduction is rare in the wild, it is likely to have unusually low population numbers, and care should be taken to avoid inbreeding and inbreeding depression. Inbreeding can change the frequency of allele distribution in a population, and potentially result in a change to crucial genetic diversity. Additionally, outbreeding depression can occur if a reintroduced population can hybridize with existing populations in the wild, which can result in offspring with reduced fitness, and less adaptation to local conditions. To minimize both, practitioners should source for individuals in a way that captures as much genetic diversity as possible, and attempt to match source site conditions to local site conditions as much as possible.

Capturing as much genetic diversity as possible, measured as heterozygosity, is suggested in species reintroductions. Some protocols suggest sourcing approximately 30 individuals from a population will capture 95% of the genetic diversity. Maintaining genetic diversity in the recipient population is crucial to avoiding the loss of essential local adaptations, minimizing inbreeding depression, and maximizing fitness of the reintroduced population.

Ecological similarity
Plants or animals that undergo reintroduction may exhibit reduced fitness if they are not sufficiently adapted to local environmental conditions. Therefore, researchers should consider ecological and environmental similarity of source and recipient sites when selecting populations for reintroduction. Environmental factors to consider include climate and soil traits (pH, percent clay, silt and sand, percent combustion carbon, percent combustion nitrogen, concentration of Ca, Na, Mg, P, K). Historically, sourcing plant material for reintroductions has followed the rule "local is best," as the best way to preserve local adaptations, with individuals for reintroductions selected from the most geographically proximate population. However, geographic distance was shown in a common garden experiment to be an insufficient predictor of fitness. Additionally, projected climatic shifts induced by climate change have led to the development of new seed sourcing protocols that aim to source seeds that are best adapted to project climate conditions. Conservation agencies have developed seed transfer zones that serve as guidelines for how far plant material can be transported before it will perform poorly. Seed transfer zones take into account proximity, ecological conditions, and climatic conditions in order to predict how plant performance will vary from one zone to the next. A study of the reintroduction of Castilleja levisecta found that the source populations most physically near the reintroduction site performed the poorest in a field experiment, while those from the source population whose ecological conditions most closely matched the reintroduction site performed best, demonstrating the importance of matching the evolved adaptations of a population to the conditions at the reintroduction site.

Adaptation to captivity
Some reintroduction programs use plants or animals from captive populations to form a reintroduced population. When reintroducing individuals from a captive population to the wild, there is a risk that they have adapted to captivity due to differential selection of genotypes in captivity versus the wild.
The genetic basis of this adaptation is selection of rare, recessive alleles that are deleterious in the wild but preferred in captivity. Consequently, animals adapted to captivity show reduced stress tolerance, increased tameness, and loss of local adaptations. Plants also can show adaptations to captivity through changes in drought tolerance, nutrient requirements, and seed dormancy requirements. Extent of adaptation is directly related to intensity of selection, genetic diversity, effective population size and number of generations in captivity.
Characteristics selected for in captivity are overwhelmingly disadvantageous in the wild, so such adaptations can lead to reduced fitness following reintroduction.
Reintroduction projects that introduce wild animals generally experience higher success rates than those that use captive-bred animals. Genetic adaptation to captivity can be minimized through management methods: by maximizing generation length and number of new individuals added to the captive population; minimizing effective population size, number of generations spent in captivity, and selection pressure; and reducing genetic diversity by fragmenting the population. For plants, minimizing adaptation to captivity is usually achieved by sourcing plant material from a seed bank, where individuals are preserved as wild-collected seeds, and have not had the chance to adapt to conditions in captivity. However, this method is only plausible for plants with seed dormancy.

Genetic trade-offs
In reintroductions from captivity, translocation of animals from captivity to the wild has implications for both captive and wild populations. Reintroduction of genetically valuable animals from captivity improves genetic diversity of reintroduced populations while depleting captive populations; conversely, genetically valuable captive-bred animals may be closely related to individuals in the wild and thus increase risk of inbreeding depression if reintroduced.
Increasing genetic diversity is favored with removal of genetically overrepresented individuals from captive populations and addition of animals with low genetic relatedness to the wild. However, in practice, initial reintroduction of individuals with low genetic value to the captive population is recommended to allow for genetic assessment before translocation of valuable individuals.

Improving research techniques
A cooperative approach to reintroduction by ecologists and biologists could improve research techniques. For both preparation and monitoring of reintroductions,  increasing contacts between academic population biologists and wildlife managers is encouraged within the Survival Species Commission and the IUCN.  The IUCN states that a re-introduction requires a multidisciplinary approach involving a team of persons drawn from a variety of backgrounds. A survey by Wolf et al. in 1998 indicated that 64% of reintroduction projects have used subjective opinion to assess habitat quality.  This means that most reintroduction evaluation has been based on human anecdotal evidence and not enough has been based on statistical findings. Seddon et al. (2007) suggest that researchers contemplating future reintroductions should specify goals, overall ecological purpose, and inherent technical and biological limitations of a given reintroduction, and planning and evaluation processes should incorporate both experimental and modeling approaches.

Monitoring the health of individuals, as well as the survival, is important; both before and after the reintroduction. Intervention may be necessary if the situation proves unfavorable.  Population dynamics models that integrate demographic parameters and behavioral data recorded in the field can lead to simulations and tests of a priori hypotheses. Using previous results to design further decisions and experiments is a central concept of adaptive management. In other words, learning by doing can help in future projects. Population ecologists should therefore collaborate with biologists, ecologists, and wildlife management to improve reintroduction programs.

Genetic monitoring
For reintroduced populations to successfully establish and maximize reproductive fitness, practitioners should perform genetic tests to select which individuals will be the founders of reintroduced populations and to continue monitoring populations post-reintroduction. A number of methods are available to measure the genetic relatedness between and variation among individuals within populations. Common genetic diversity assessment tools include microsatellite markers, mitochondrial DNA analyses, alloenzymes, and amplified fragment length polymorphism markers. Post-reintroduction, genetic monitoring tools can be used to obtain data such as population abundance, effective population size, and population structure, and can also be used to identify instances of inbreeding within reintroduced populations or hybridization with existing populations that are genetically compatible. Long-term genetic monitoring is recommended post-reintroduction to track changes in genetic diversity of the reintroduced population and determine success of a reintroduction program.
Adverse genetic changes such as loss of heterozygosity may indicate management intervention, such as population supplementation, is necessary for survival of the reintroduced population.

Re-introduction Specialist Group (RSG)
The RSG is a network of specialists whose aim is to combat the ongoing and massive loss of biodiversity by using re-introductions as a responsible tool for the management and restoration of biodiversity. It does this by actively developing and promoting sound inter-disciplinary scientific information, policy, and practice to establish viable wild populations in their natural habitats.
The role of the RSG is to promote the re-establishment of viable populations in the wild of animals and plants. The need for this role was felt due to the increased demand from re-introduction practitioners, the global conservation community and increase in re-introduction projects worldwide.

Increasing numbers of animal and plant species are becoming rare, or even extinct in the wild. In an attempt to re-establish populations, species can – in some instances – be re-introduced into an area, either through translocation from existing wild populations, or by re-introducing captive-bred animals or artificially propagated plants.

Reintroduction programs

Africa

 Addax in Morocco and Tunisia, Chad
 African bush elephant into Samara Private Game Reserve in Eastern Cape, South Africa
 African leopard into Majete Wildlife Reserve, Malawi
 African spurred tortoise in Senegal
 African wild dog into Gorongosa National Park in Mozambique and Lekedi Park, Gabon (successful) and Majete Wildlife Reserve in Malawi
 Black rhinoceros in Malawi, Zambia, Botswana, Rwanda (successful) and Chad (ongoing), Gonarezhou National Park in Zimbabwe, Zinave National Park in Mozambique
 Chimpanzee in the Douala-Edea Wildlife Reserve in Cameroon
 Cuvier's gazelle in Jebel Serj National Park, Tunisia
 Grevy's zebra in Djibouti
 Ground pangolin into the Phinda Private Game Reserve in KwaZulu-Natal, South Africa
 Lion to Akagera National Park of Rwanda and Majete Wildlife Reserve and Liwonde National Park of Malawi
 Mandrill into Lékédi Park, Gabon
 Mhorr gazelle (subspecies of Dama gazelle) into Safia Reserve in Southern Morocco (failure and ongoing)
 North African ostrich in Morocco, Nigeria, Niger and Tunisia (ongoing)
 Plains zebra into Kitulo National Park in southern Tanzania and Nsumbu National Park in northern Zambia
 Scimitar oryx in Chad
 Southern white rhinoceros in Kenya, Uganda, Zambia (successful) and Garamba National Park, DR Congo, Akagera National Park, Rwanda
 South African cheetah in Eswatini and Malawi (successful)
 Spotted hyena to Zinave National Park, Mozambique
 West African giraffe to Gadabedji Reserve, Niger

Asia

 Amur leopard in Russia (planned)
 Asian elephant into Doi Pha Muang Wildlife Sanctuary, Thailand
 Asian giant tortoise in Bangladesh
 Asiatic Lion Reintroduction Project of Asiatic lion to Kuno Wildlife Sanctuary from their only home presently in the world at Gir Forest National Park. Kuno Wildlife Sanctuary is the chosen site for re-introducing and establishing the world's second completely separate population of the wild free ranging Asiatic lions in the state of Madhya Pradesh. It was decided to re-introduce the Asiatic lion in Kumbhalgarh Wildlife Sanctuary in Rajasthan. Some will be reintroduced in two locations in Gujarat.
 Bengal tiger in Sariska Tiger Reserve of Rajasthan, India
 Bornean orangutan in East Kalimantan, Indonesia
 Bactrian deer (subspecies of Central Asian red deer) into Altyn Emel National Park in Kazakhstan and Badai Tugai Nature Reserve in Uzbekistan
 Burmese star tortoise in Myanmar
 Cheetah reintroduction in India is a project to reintroduce the cheetah in India. The Asiatic cheetah became extinct in India in 1947 when Maharaja of Surguja hunted the last three in the state of Rewa in central India. It was officially declared extinct in 1952 by the Indian government. Plans are going on to reintroduce the cheetah to two site in Madhya Pradesh (Kuno Wildlife Sanctuary and Nauradehi Wildlife Sanctuary) and in Rajasthan's Shahgarh Landscape. Cheetahs are being acclimated to Kuno National Park.
 Chinese alligator into Yancheng Biosphere Reserve, Jiangsu Province, China
 Crested ibis at Upo Wetland, South Korea and Sado, Japan
 Gaur into Bandhavgarh National Park in Madhya Pradesh, India
 Gharial at the Hastinapur Wildlife Sanctuary in Uttar Pradesh, India
 Indian rhinoceros in Pakistan (ongoing) and Dudhwa National Park in India and Jim Corbett National Park (planning)
 Korean fox (subspecies of red fox) in Sobaeksan National Park, South Korea (ongoing)
 Lar gibbon to Phuket, Thailand
 Magnolia sinica to China
 Oriental stork in South Korea
 Père David's deer in China (successful)
 Persian leopard in European Russia (ongoing)
 Pileated gibbon into the protected forests of the Angkor, Cambodia
 Przewalski's horse in Mongolia, China, and Kazakhstan (ongoing)
 Pygmy hogs into Sonai Rupai Wildlife Sanctuary in Assam, India (successful)
 Sarus cranes in Thailand (ongoing)
 Short-tailed albatross in Japan (successful)
 Siamese crocodile into Cát Tiên National Park of Vietnam
 Siberian Tiger Re-population Project was proposed in 2009 to reintroduce Siberian tigers back to their former lands and including the former ranges in Central Asia once inhabited by their closest relatives, the Caspian tiger. In 2010, two pairs of Siberian tigers, exchanged for Persian leopards to southwestern Russia, were set to be reintroduced in Iran's Miankaleh Peninsula. Currently, the big cats (one of them had died) are being held in captivity in Eram zoo. Siberian tigers were also proposed to be reintroduced to a suitable habitat near the international river of Amu Darya in Central Asia and near the Ili River delta in Kazakhstan. A rewilding project at the Pleistocene Park, part of the re-population project was proposed back in 2005.
 South China tiger – captive tigers being re-wilded in Laohu Valley Reserve in the Free State province of South Africa under Save China's Tigers programme, will be eventually released back into the wilderness of China.
 Sumatran orangutan at Bukit Tigapuluh National Park in Jambi and Jantho Pine Forest Nature Reserve in Aceh, Sumatra, Indonesia
 Turkmenian kulan in Kazakhstan (ongoing) and Uzbekistan (successful)
 Ussuri black bear (subspecies of Asian black bear) in Jirisan National Park, South Korea (ongoing)
 Water deer in Shanghai, China (successful)
 Wild water buffalo in Chitwan National Park of Nepal and in Kanha National Park of Madhya Pradesh, India

Middle East
 Arabian oryx in the Sultanate of Oman (successful), United Arab Emirates (successful), Israel (successful)
 Egyptian vulture in Israel (ongoing)
 Eurasian griffon vulture in Israel (ongoing)
 Kurdistan spotted newt in Western Iran (successful)
 Lanner falcon in Israel (success)
 North African ostrich in Israel (failure)
 Nubian ibex in Israel (successful), Jordan (successful), and Lebanon (ongoing)
 Persian fallow deer in Israel (successful)
 Persian onager in Saudi Arabia (successful) and Israel (successful)
 Red deer to Armenia - A programme was announced in 2013 to reintroduce the red deer to Armenia. 4 males and 11 females of the species will be purchased and transported to a breeding centre at Dilijan National Park. The World Wildlife Fund Germany and Orange Armenia have provided the funds for the project.
 Roe deer in Israel (ongoing)
 Yarkon bleak fish in Israel (successful)

Europe

 Alpine ibex in the French, Italian and Swiss Alps (successful)
 Alpine marmot in the Pyrenees, where it had been extirpated at end of the Pleistocene (successful)
 Black-bellied hamster in Netherlands and Belgium (successful)
 Black grouse to Derbyshire, England – (ongoing)
 Chequered skipper butterfly to Northamptonshire, England – (ongoing)
 Common crane to Somerset, England – (ongoing)
 Corncrake to Cambridgeshire, England – (ongoing)
 Eurasian brown bear in the Alps (ongoing) and in the Pyrenees (ongoing)
 Eurasian lynx in Switzerland (successful), the United Kingdom (proposed) and other parts of Europe (ongoing)
 European beaver in several countries in Europe (successful)
 European bison in Poland, Belarus (successful), other parts of Europe including Denmark, Spain, Ukraine, Romania, the UK, and others (ongoing)
 European black vulture in the Massif Central in France – (successful)
 European wildcat in the Devon and Cornwall in England – (ongoing)
 Heath fritillary butterfly to Essex, England– (successful)
 Glanville fritillary butterfly to Somerset, England – (successful)
 Goitered gazelle in protected areas of Vashlovani in Georgia – (ongoing)
 Golden eagle in Ireland (ongoing)
 Great bustard to Salisbury Plain, England – (ongoing)
 Griffon vulture in the Massif Central, France (successful), Central Apennines, Italy, and Northern and Southern Israel (ongoing)
 Iberian lynx in Portugal (ongoing)
 Lammergeier in the Alps (successful) Switzerland (successful)
 Ladybird spider to Arne RSPB reserve in Dorset, England – (ongoing).
 Large blue butterfly in the South West of England – (successful and ongoing)
 Lesser kestrel in Spain
 Lesser white-fronted goose in Sweden and Germany (ongoing)
 Narrow-leaved cudweed in Britain
 Northern bald ibis in Austria and Italy (ongoing)
 Northern goshawk – the existing UK population is believed to be derived from a mixture of escaped falconers' birds and deliberate introductions – (successful)
 Osprey to England and Wales – (successful)
 Peregrine falcon in Germany, Poland, Sweden and Norway
 Persian leopard to Caucasus Biosphere Reserve, European Russia
 Pine marten in Wales – (ongoing)
 Przewalski's horse in Ukraine (successful)
 Red kite in Ireland Chiltern Hills, Black Isle, Northamptonshire, Dumfries and Galloway, Yorkshire, Perth and Kinross and Gateshead – (successful), and Spain (ongoing)
 Red squirrel to Anglesey, Wales – (successful and ongoing)
 Scots pine to southern England – (unplanned, successful)
 Silver-washed fritillary to Essex, England – (ongoing, locally successful)
 Western swamphen in the Mondego River basin, Portugal (successful)
 White stork to France, Sweden, the Netherlands, Belgium, Switzerland (all successful) and England (ongoing)
 White-tailed eagle in Ireland (ongoing) and Hebrides, Scotland – (successful), England (ongoing) and Wales (planned – on hold while a suitable site is found)
 Wild boar to several places in Britain – (accidental, successful)

North America

 American bison to El Carmen Nature Reserve and Janos Biosphere Reserve in Mexico, American Prairie and many National Parks, Wildlife Refuges, and other public lands in the United States, Banff National Park in Canada (Alberta) (successful)
 American flamingo to Anegada, British Virgin Islands (successful)
 Atlantic puffin to Eastern Egg Rock Island, Maine
 Bald eagle to Channel Islands National Park, California
 Black-footed ferret in United States (successful), Canada and Mexico (failure)
 Blanding's turtle in Canada
 Blue-and-yellow macaw to Trinidad (successful)
 California condor in United States (California, Arizona, Utah, Oregon) and Mexico (Baja California) (ongoing)
 Canada lynx to Colorado (successful), New York (failure)
 Chloropyron maritimum in Western United States
 Cougar to Eastern United States (proposed)
 Bighorn sheep in Oregon (successful)
 Black-tailed prairie dog in Arizona and New Mexico (successful)
 Desert pupfish to Organ Pipe Cactus National Monument, Arizona
 Elk to eastern Kentucky, Great Smoky Mountains National Park, Pennsylvania (Allegheny National Forest), Arizona, New Mexico, North Carolina and Tennessee (all successful) and to New York (failure)
 Fisher in Washington state (successful) (ongoing)
 Geoffroy's spider monkey in Guatemala
 Grey wolf to Yellowstone National Park in Wyoming, Idaho, Montana, California (successful), Colorado (planned)
 Yucatán black howler in Belize
 Mexican wolf in United States (Arizona, New Mexico), and Mexico (Sonora, Chihuahua) (ongoing)
 Musk ox in Alaska (successful)
 Nēnē at Hawaiʻi Volcanoes National Park, Hawaii (ongoing)
 North American jaguar to Arizona and New Mexico (proposed)
 North American river otter in Missouri (successful)
 Pediocactus knowltonii in New Mexico
 Red wolf in Eastern North Carolina (ongoing), the Gulf Coast (failure), and Great Smoky Mountains National Park (failure)
 Ridgway's hawk to areas in the Dominican Republic where it is extirpated
 Sargent's cherry palm in Florida (successful)
 Scarlet macaw to Palenque, Mexico
 Whooping cranes, including migratory population in the Eastern United States and non-migratory population in Louisiana (ongoing)
 Wild turkey in South Carolina
 West Indian manatee in the Grand Cul-de-Sac Marin Bay, Guadeloupe (failure)
 Wood bison in Alaska

Oceans and Oceania

 Allocasuarina portuensis in Australia
 Eastern quoll in Australia (ongoing)
 Greater bilby in Arid Recovery Reserve, South Australia and other parts of Australia (successful)
 Kākāpō to Maungatautari, mainland New Zealand (ongoing)
 Komodo dragon to Australia (proposed)
North Island robin to Tiritiri Matangi, Auckland, New Zealand
Numbat in other areas of Western Australia, Scotia Sanctuary (New South Wales), Yookamura Sanctuary (South Australia)
Ranunculus prasinus in Tasmania
Rutidosis leptorrhynchoides in Australia
 Tasmanian devil in mainland of Australia (ongoing)
 Toromiro to Easter Island
 Woylie in Australia (ongoing)

South America

 Andean condor in Colombia
 Collared peccary in Iberá Provincial Reserve, Argentina
 Giant anteater in Corrientes, Argentina
 Giant otter to Iberá Provincial Reserve, Argentina
 Golden lion tamarin in the Atlantic Forest of Brazil
 Guanaco in central Argentina
 Jaguar into Iberá Wetlands, Argentina
 Patagonian huemul into Huilo Huilo Biological Reserve in Chile
 Red-and-green macaw to Iberá Provincial Reserve, Argentina
 South American tapir into Atlantic Forest of Brazil
 Vinaceous-breasted amazon to Parque Nacional das Araucárias, Santa Catarina, Brazil (ongoing)

See also

 De-extinction
 Ecological experiments
 Oostvaardersplassen
 Pleistocene Park
 Pleistocene rewilding
 Reintroduction of wolves
 Rewilding Britain
 Rewilding (conservation biology)
 Rewilding Institute
 Translocation (wildlife conservation)
 Wildlife conservation
 Wildlife management
 World Conservation Union (IUCN)

References

Further reading
 Armstrong, D, Hayward, M, Moro, D, Seddon, P 2015. Advances in Reintroduction Biology of Australian and New Zealand Fauna, CSIRO Publishing,
 Gorbunov, Y.N., Dzybov, D.S., Kuzmin, Z.E. and Smirnov, I.A. 2008. Methodological recommendations for botanic gardens on the reintroduction of rare and threatened plants Botanic Gardens Conservation International (BGCI)
 Shmaraeva, A. and Ruzaeva, I. 2009. Reintroduction of threatened plant species in Russia BG Journal, Vol. 6, No. 1

External links
 IUCN/SSC Re-introduction Specialist Group
 IUCN/SSC Re-introduction Specialist Group's NEWSLETTER: "Re-introduction NEWS" (IUCN/SSC)
 Reintroduction of Golden Eagle to Ireland
 BBC News release on Beaver reintroduction in England
 Scottish Beavers Network - campaigning for Beaver reintroduction in Scotland
 Reintroduction of Przewalski's Horse to Mongolia
 Reintroduction of Great Bustard to England
 Reintroduction of Endangered Native Orchids into the Wild in El Valle de Anton, Panama
 Reintroduction of endangered plant species in China: Dipteronia dyeriana, Magnolia odoratissima and M. aromatica, Euryodendron excelsum Chang, Bretschneidera sinensis Hemsl

Conservation biology

Species reintroduction


Geraint Wyn Howells, Baron Geraint (15 April 1925 – 17 April 2004) was a Welsh politician of the Liberal Party and its successor, the Liberal Democrats. He was the Member of Parliament (MP) for Cardigan from 1974 to 1983 and Ceredigion and Pembroke North from 1983 to 1992.

Early life and education
Howells was born in Ponterwyd, Cardiganshire, in 1925. He was the son of David John and Mary Blodwen Howells, both farmers. He was educated at Ponterwyd Primary School and Ardwyn Grammar School, Aberystwyth.

Pre-parliamentary career

Howells' main living was as a hill farmer in Glennydd, Ponterwyd in Ceredgion. He held some 750 acres there with around 3,000 sheep. The majority were prize winning Speckled Faces. Howells was also a champion sheep shearer. He held senior positions in the British Wool Marketing Board and was also chairman of the Wool Producers of Wales, 1977–1983. Politically, Howells was elected to Cardiganshire County Council as an Independent in 1952, defeating the sitting member by twelve votes. At this time it was normal practice in Welsh rural counties for Liberal members to stand as independents.

However, in 1958 he was briefly appointed as agent for the prospective Labour candidate for Cardiganshire, Loti Rees Hughes.

Parliamentary career
Howells was selected as the parliamentary candidate for Brecon and Radnor in 1968. He was the first Liberal to contest the seat in the post-war period. He came third with 18.9 per cent of the vote. During this period Howells became one of the central players in the Welsh Liberal Party.

In 1972 Howells was selected as the parliamentary candidate for Cardiganshire, a seat with a longstanding Liberal tradition. It had been held by the Liberal MP, Roderic Bowen, until his defeat by Labour's Elystan Morgan in 1966. In the February 1974 general election Howells defeated Morgan and retained the constituency in several different forms until 1992. Thus he was Member of Parliament (MP) for Cardigan (1974–1983) and Ceredigion and Pembroke North (1983–1992) after boundary changes. Howells was the Liberal Party's spokesman on Welsh Affairs (1979–1987) and agriculture (1987–92). His Westminster secretary and agent was Judi Lewis (Welsh Liberal Democrat chief executive 1992–1997) whilst one of his researchers was Mark Williams who would later win the seat for the Liberal Democrats in 2005.

In 1992, Howells unexpectedly lost his seat to Plaid Cymru (which moved from fourth place to first). Plaid Cymru had formed an alliance with the Wales Green Party which attracted considerable support from non-Welsh speakers in the constituency. Howells was made a life peer as Baron Geraint, of Ponterwyd in the County of Dyfed. Howells was a close friend of both Richard Livsey and Emlyn Hooson, both of whom he served with at Westminster in the House of Commons and the House of Lords.

Howells was passionately pro-devolution. He played a lead role in the 1979 devolution campaign in Wales. He was also able to get the Farmers Union of Wales (FUW) recognition as one of the official unions for government negotiations during the Lib-Lab pact on the 1970s.

Personal life
Geraint Howells married Mary Olwen Griffiths on 7 September 1957. They had two children: Gaenor, a newsreader with the BBC World Service, born in 1961 and Mari born in 1965.

Howells died in Aberystwyth on 17 April 2004, two days after his 79th birthday.

References

Brack, Duncan, ed Dictionary of Liberal Biography, 1998

Sources

External links

1925 births
2004 deaths
Liberal Party (UK) MPs for Welsh constituencies
Geraint
Liberal Democrats (UK) MPs for Welsh constituencies
Members of Cardiganshire County Council
UK MPs 1974
UK MPs 1974–1979
UK MPs 1979–1983
UK MPs 1983–1987
UK MPs 1987–1992
Welsh-speaking politicians
People educated at Ardwyn School, Aberystwyth
Members of the Parliament of the United Kingdom for Ceredigion
Sheep shearers
Life peers created by Elizabeth II

Geraint Howells


Vazodilatasyon damar duvarındaki düz kasın gevşemesiyle damarın genişlemesidir. Böylece, kan akışı için daha fazla yer açılır, kan basıncı (yani tansiyon) düşer. Vazodilatasyon işlemini kontrol eden kas ve sinirlere vazomotor denir. Vazodilatörler dokuların beslenmesini ve beyne giden kan akımını artırdıkları gibi, yüksek dozda kullanıldıklarında dolaşım yetersizliğine de yol açabilirler.

Vazodilatatör [vas (Latince) - damar ve dilatatio (Latince) - genişleme, esneme], vazodilatasyona neden olan yani kan damarlarının genişlemesini sağlayan sinir veya (dış) ajanlara verilen isimdir.

Ayrıca bakınız
 Vazokonstriksiyon

Dolaşım sistemi fizyolojisi

Vazodilatasyon


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

Foi descrita cientificamente por Thomson, 1879.

Referências

bronzeellus

Agrilus bronzeellus


مصلحة المعلومات والأمن العسكري (بالإيطالية Servizio per le Informazioni e la Sicurezza Militare - SISMI) هو جهاز المخابرات الإيطالي والذي تم تغيير اسمه إلى Agenzia Informazioni e Sicurezza Esterna مصلحة المعلومات والأمن الخارجي بمفعول قانون في سنة 2007م.

مراجع

وصلات خارجية

http://www.serviziinformazionesicurezza.gov.it/pdcweb.nsf/pagine/ee_homepage

أجهزة مخابرات حسب البلد
سياسة إيطاليا
عسكرية إيطاليا
وحدات وتشكيلات عسكرية انحلت في 2007
وحدات وتشكيلات عسكرية أسست في 1977
وكالات الاستخبارات العسكرية
وكالات حكومية سابقة

استخبارات إيطالية


Borago morisiana, jedna od pet priznatih vrsta iz roda Oštrolista (Borago), porodica Boraginaceae. Raste samo na talijanskom otoku Sardinija. Prvi puta opisao ju je talijanski botaničar Giuseppe Giacinto Moris (Joseph Hyacinthe) pod imenom Buglossoides laxiflora var. parviflora, a tek su je 1992 M. Bigazzi i C. Ricceri smjestili u rod Borago.

Sinonimi
 Borago laxiflora var. micranthos Guss.
 Buglossoides laxiflora var. parviflora Moris

Izvori

Oštrolist

Borago morisiana


Florence Laura Goodenough (* 6. August 1886 in Honesdale, Pennsylvania; † 4. April 1959 in Lakeland, Florida) war eine US-amerikanische Psychologin, die sich unter anderem mit Intelligenztests für Kinder (Goodenough Draw-A-Man Test) befasst hat, die auf der Beurteilung von Zeichnungen basieren.

Leben
Goodenough studierte an der Columbia University u. a. bei Leta Hollingworth (1886–1939) und konnte 1921 erfolgreich mit einem M.A. abschließen. 1924 wurde sie an der Stanford University promoviert. 1931 wurde sie Professorin an der University of Minnesota.

Am 4. April 1959 starb Florence Goodenough an den Folgen eines Schlaganfalls.

Während ihres wissenschaftlichen Lebens veröffentlichte Goodenough neun Bücher und 26 Artikel in verschiedenen Fachzeitschriften.

Schriften (Auswahl)
Aufsätze
 Kapitel 14. In: Carl Murchison (Hrsg.): Handbook of Child psychology (The international university series in psychology; Bd. 10). 2. Aufl. Clark University Press, Worcester, Mass. 1933.

Monografien
 Anger in Young Children. Greenwood, Westport, Conn. 1976, ISBN 0-8371-5894-X (Nachdr. d. Ausg. New York 1931).
 Exceptional children. Appleton-Century-Crofts, New York 1956.
 Experimental child study (The century psychology series). Century Books, New York 1931 (zusammen mit John Edward Anderson).
 Measurement of Intelligence by Drawings. Ayer, Salem 1992, ISBN 0-405-06462-4 (Nachdr. d. Ausg. New York 1925).
 The mental growth of children from two to fourteen years. Greenwood, Westport, Conn. 1975, ISBN 0-8371-5895-8 (Nachdr. d. Ausg. New York 1942).
 Mental testing. Its history, principles, and applications. Johnson, New York 1969 (Nachdr. d. Ausg. New York 1949).

Literatur
 D. Harris: Florence L. Goodenough 1886–1959. In: Child Development, Bd. 30 (1959), S. 305–306, .
 Jennifer L. Jolly: Florence L. Goodenough. Portrait of a psychologist. In: Roeper Review. A journal of gifted education, Bd. 32 (2010), S. 98–105,
 Gwendolyn Stevens und Sheldon Gardner: Florence Laura Goodenough. In: Diess. (Hrsg.): The women of psychology, Bd. 1: Pioneers and Innovators. Schenkman Publ., Cambridge, Mass. 1982, S. 193–197, ISBN 0-87073-443-1.
 D. N. Thompson: Florence Laura Goodenough. In: Agnes N. O'Connell und Nancy F. Russo (Hrsg.): Women of Psychology. A bio-bibliographic sourcebook. Greenwood, Westport, Conn. 1990, S. 124–133, ISBN 0-313-26091-5.

Weblinks
 Biografie (englisch)
 Elissa Rodkey: Florence L. Goodenough. In: Alessandra Rutherford (Hrsg.): Psychology's Feminist Voices. 2010.

Autor
Psychologe
Entwicklungspsychologe
Hochschullehrer (University of Minnesota)
US-Amerikaner
Geboren 1886
Gestorben 1959
Frau

Florence Goodenough


Elia Filippo Francesco Giuseppe Maria Millosevich (5 September 1848 in Venice – 5 December 1919 in Rome) was an Italian astronomer. He specialized in calculating the orbits of comets and asteroids, in particular 433 Eros.

He first studied at the University of Padua. His first papers, on the then-forthcoming 1874 and 1882 transits of Venus, attracted attention and got him the position of professor of nautical astronomy at the Reale Istituto di Marina Mercantile a Venezia (Venice Royal Institute of the Merchant Navy). In 1879, he was offered the position of deputy director of the Osservatorio del Collegio Romano (Observatory of the Collegio Romano), associated with the Ufficio Centrale di Meteorologia (Central Institute of Meteorology) in Rome, and from 1902 (following Pietro Tacchini's resignation) until his death, he was its director.

For the calculation of the orbit of Eros, in 1898 and 1904 he was awarded the Prize for Astronomy (Premio per l'Astronomia) of the Italian Accademia dei Lincei. In 1911, he was awarded the Pontécoulant Prize (Prix Gustave de Pontécoulant) of the French Académie des siences de Paris. He published over 450 smaller and larger works, and a large number of single observations of planets and comets.

In 2004, the main-belt asteroid 69961 Millosevich, discovered by the Italian astronomers Piero Sicoli and Francesco Manca, was named in his memory. The naming citation was published on July 13, 2004 ().

References

1848 births
1919 deaths
Discoverers of asteroids
19th-century Italian astronomers
20th-century Italian astronomers

Elia Millosevich


Corymbioideae, potporodica glavočika. Sastoji se od jednog roda s devet vrsta.

Vrste
 Corymbium africanum L.
 Corymbium africanum subsp. africanum
  Corymbium africanum subsp. scabridum (Berg.) Weitz
  Corymbium africanum var. fourcadei (Hutch.) Weitz
  Corymbium africanum var. gramineum (Burm. fil.) Weitz
 Corymbium congestum E. Mey. ex Steud.
 Corymbium cymosum E. Mey. ex Steud.
 Corymbium elsiae F. M. Weitz
 Corymbium enerve Markotter
 Corymbium glabrum L.
  Corymbium glabrum var. rogersii (Markotter) Weitz
 Corymbium laxum Compton
  Corymbium laxum subsp. bolusii F.M. Weitz
  Corymbium laxum subsp. laxum
 Corymbium theileri Markotter
 Corymbium villosum L. fil.

Izvori

Glavočike

Corymbioideae


ركواي هي حضارة هندية في أمريكا الجنوبية من عهد ما قبل الاكتشاف وهناك موقع لها في وادي كيفون شمال مرتفعات البيرو، وكانت قد عاصرت حضارة الموتشي في الشمال وهي معروفة بتصاميم الخزف المميزة وهي مصممة في ثلاثة ألوان وهي عبارة عن أشكال لرجال وفهود ولاما وحيوانات أخرى وهي قريبة لنظيرتها في بوكارا وتياواناكو.

مصادر

Encyclopedia Britannica 1978

آثار بيرو
الحضارات الأندية
تاريخ بيرو
حضارات قبل كولومبية
مواقع أثرية في إقليم أنكاش
مواقع أثرية في بيرو

ركواي


Ternovi , es un jútor del raión de Beloréchensk del krai de Krasnodar, en Rusia. Se sitúa en la orilla derecha del arroyo Gornaya, que desemboca en el Abazinka, afluente del río Psheja, tributario del Bélaya, de la cuenca hidrográfica del Kubán, 19 km al suroeste de Beloréchensk y 80 km al sureste de Krasnodar, la capital del krai. Tenía alrededor de 229 habitantes en 2011.

Pertenece al municipio Pshejskoye.

Historia

El jútor fue fundado en 1906 por colonos armenios provenientes de Armenia occidental.

Enlaces externos y referencias

 Este artículo contiene datos geográficos extraídos de Google Earth y el mapa de Rusia de Yandex.ru, accesible desde este enlace.
 Este artículo es una traducción de su correspondiente en la edición en ruso de Wikipedia, Терновый.
 Mapa topográfico en maps.vlasenko.net .

Localidades del raión de Beloréchensk del krai de Krasnodar

Ternovi (Beloréchensk, Krasnodar)


Germanska getur átt við:

 Germanskt fólk, tungumálaþjóðflokkur sem auðkenndur var af germanskri málnotkun
 Listi yfir forngermanskt fólk og þjóðflokka
 Germönsk tungumál

 Frumgermanska, endurgert frummál allra germanskra tungumála

 Germanskt nafn
 Germönsk goðafræði, goðsagnir sem tengjast germanskri heiðni
 Germönsk trúarbrögð (aðgreining)
 SS Germanic (1874), White Star Line gufuskip

Sjá einnig

 Germanía (aðgreining)
 Germanus (aðgreining)
 Þýska (aðgreining)
 Germanicia Caesarea
Aðgreiningarsíður
Tungumál

Germanska


كأس اللاتينية أو كأس لاتينا  هي بطولة تنافسية للاندية أنشأت عام 1949 وتضم أربع دول إيطاليا إسبانيا فرنسا البرتغال، في الجنوب الغربي لقارة اوروبا الغيت البطولة في عام 1957 وفيها فاز ريال مدريد على بنفيكا بآخر نسخة للبطولة.

عام 1949 اجتمعت اتحادات كرة القدم وطلبت من الفيفا إطلاق المسابقة. لم تستطع الأندية الأوروبية تحمل تكاليف السفر الباهظة، لذلك كانت المنافسة تقام في نهاية كل موسم في بلد مضيف واحد. تضمنت المسابقة مباراتين نصف نهائيين، والمباراة الفاصلة لتحديد المركز الثالث والنهائي. وتعتبر هذه المسابقة سابقة لبطولات الأندية في أوروبا وهي كأس أوروبا والتي أقيمت النسخة الأولى منها عام 1955.

قائمة النهائيات

الترتيب

حسب الأندية

حسب البلد

المراجع

أحداث دورية انحلت في 1957
أحداث رياضية دورية أسست في 1949
أحداث رياضية دورية انحلت في 1957
انحلالات سنة 1957 في أوروبا
تأسيسات سنة 1949 في أوروبا
منافسات كرة قدم دولية للأندية سابقة في أوروبا

كأس لاتينا


Barış, Nurhak ilçesine bağlı bir beldedir. Barış, Nurhak ilçesinin 12 km kuzey doğusunda yer alan Elbistan İlçesine 30 km uzaklıktadır. Barış Beldesi yerleşim olarak dağınık bir yapı sergilemektedir. Nüfusu 2,803 kişidir.

Tarihçe
22 Aralık 1993 tarihinde belediye statüsü alarak beldeye dönüştü. 12 Kasım 2012'de TBMM'de kabul edilen 6360 sayılı kanun ile mahalle oldu.

Kaynakça

Dış bağlantılar
 Barış Belediyesi
 Barış Beldesi sosyal dayanışma derneği
Tawdilo.com
 Barış İ.Ö.O

Nurhak'ın mahalleleri

Barış, Nurhak


Lytta agrestis é uma espécie de inseto coleóptero polífago pertencente à família dos meloídeos, sendo um dos principais representantes da tribo Lyttini, sendo, ainda, um representante de seu gênero mais importante e conhecido, Lytta. Possui distribuição geográfica exclusivamente neoártica, sendo encontrado continentalmente na América do Norte. Esta espécie seria descrita primeiramente no ano de 1901, sendo a sua autoridade atribuída ao entomólogo estadunidense Henry Clinton Fall.

Distribuição geográfica
Sendo, assim como outras espécie dentro deste gênero, uma cantárida, apresenta distribuição geográfica restringida ao continente norte-americano, especificamente através do território estadunidense, onde pode ser encontrada no estado estadunidense do Arizona. De acordo com um estudo de 1939, publicado pela The Pan-Pacific Entomologist, esta espécie é conhecida por apenas três espécimes, todos encontrados no Museu Americano de História Natural, incluindo seu tipo nomenclatural, não sendo encontrada em nenhuma coleção ocidental ou internacional maior.

Ligações externas

Coleópteros descritos em 1880
Meloidae
Coleópteros dos Estados Unidos

Lytta agrestis


نادي اتحاد فتح إنزكان. هو نادٍ رياضي مغربي. يمارس في دوري الدرجة الثالتة المغربي من مدينة إنزكان، تأسس سنة 1938.

نادي اتحاد فتح إنزكان هو نادي كرة القدم المعروف في منطقة إنزكان والمناطق المجاورة. تأسس النادي لتعزيز رياضة كرة القدم والمشاركة في المسابقات المحلية والوطنية.

يقوم نادي اتحاد فتح إنزكان بتدريب اللاعبين وتطوير مهاراتهم في كرة القدم. ويشارك الفريق في المسابقات المحلية مثل دوريات الأندية المحلية ويسعى إلى تحقيق النجاح والتميز في هذه المسابقات.

يعتبر النادي مكانًا لتواصل وتلاقي عشاق كرة القدم في المنطقة، ويسهم في تعزيز الروح الرياضية والتضامن المجتمعي.

نادي اتحاد فتح إنزكان يلعب دورًا مهمًا في تعزيز الرياضة والثقافة الرياضية في منطقة إنزكان ويعزز حب الناس لكرة القدم.

بالطبع، يسعى نادي اتحاد فتح إنزكان إلى تطوير الشباب الواعد في مجال كرة القدم وتزويدهم بالمهارات والتقنيات اللازمة لتحقيق النجاح في هذا الرياضة. يتيح للشبان الفرصة للانضمام إلى فرق الشباب التابعة للنادي حيث يتم تدريبهم وتطوير مهاراتهم تحت إشراف مدربين مختصين.

بالإضافة إلى الجوانب الرياضية
يلعب نادي اتحاد فتح إنزكان دورًا مجتمعيًا مهمًا في تعزيز القيم الإيجابية والتربية على الروح الرياضية والانضباط. يشجع النادي الشباب على المشاركة في الأنشطة الاجتماعية والتطوعية التي تعزز التواصل والتكاتف بين أفراد المجتمع.

علاوة على ذلك، يشجع نادي اتحاد فتح إنزكان على مشاركة الأسر والمشجعين في فعاليات النادي ومبارياته، مما يخلق جوًا من الحماس والتشجيع للاعبين.

باختصار
نادي اتحاد فتح إنزكان لكرة القدم له دور مهم في تعزيز الرياضة والمشاركة المجتمعية في إنزكان، ويعمل على تطوير اللاعبين ونمو الشباب بشكل إيجابي.

بالطبع، يعتبر نادي اتحاد فتح إنزكان قلبًا نابضًا بالحياة الرياضية في المنطقة. يُشجع الشباب على الانخراط في نشاطات النادي والمشاركة في الفعاليات الرياضية والثقافية التي ينظمها. يُعتبر النادي أيضًا منبرًا لاكتشاف المواهب الرياضية المحلية وتطويرها.

من خلال مشاركته في المسابقات والبطولات الوطنية، يمكن لفريق اتحاد فتح إنزكان أن يعرض مواهب اللاعبين ويساهم في تعزيز سمعة المنطقة في عالم كرة القدم. وبالتالي، يلعب النادي دورًا هامًا في تعزيز الهوية الثقافية والرياضية لإنزكان.

بجهوده المستمرة في تطوير اللاعبين وتعزيز الروح الرياضية والمجتمعية، يبني نادي اتحاد فتح إنزكان جسورًا للتواصل والتضامن بين الأفراد والأسر في المجتمع. وهذا يعزز الروح الرياضية والوحدة في إنزكان.

نادي اتحاد فتح إنزكان لكرة القدم يعتبر أحد الركائز الرياضية والاجتماعية الهامة في المنطقة، ويسهم بفاعلية في تطوير الشباب والمساهمة في تعزيز التراث الرياضي والثقافي لإنزكان.

وصلات خارجية

  موقع البطولة كوم المختص بأخبار الدوري المغربي.
  موقع جريدة المنتخب المغربية المتخصصة في أخبار الرياضة المغربية
  الموقع الرسمي للقناة الرياضية المغربية

أندية كرة قدم في المغرب

نادي اتحاد فتح إنزكان لكرة القدم


Primatul papal este întâietatea revendicată de episcopul Romei față de ceilalți episcopi, pe baza convingerii că el este succesorul Sfântului Petru.

Istorie
Papa Ștefan I, care a fost episcop al Romei în a doua jumătate a secolului al III-lea, a interpretat textul biblic din evanghelia după Matei 16,18 ("Tu ești Petru și pe această piatră voi zidi biserica mea") în sensul că el, ca urmaș al lui Petru, are rolul de fundament al bisericii. Acest argument, adus într-o dispută cu episcopul Ciprian de Cartagina, nu a fost în măsură să-l determine pe Ciprian să urmeze indicațiile date de papa Ștefan.

La Sinodul de la Ferrara și Florența, 1438-1439, reprezentanții Bisericii Latine și cei ai Bisericii Grecești au ajuns la un acord privind recunoașterea întâietății episcopului Romei.

Importanță
Primatul episcopului Romei a fost interpretat în temei spiritual sau în temei politic. Prima categorie de argumente s-a bazat pe autoritatea apostolului Petru, cea de-a doua pe faptul că Roma a fost capitala Imperiului Roman până la data de 11 mai 330, când împăratul Constantin cel Mare a mutat capitala la Constantinopol. Din argumentul politic decurge consecința că primatul l-ar avea întotdeauna episcopul aflat cel mai aproape de puterea politică, adică cel de Constantinopol după inaugararea noii capitale, respectiv cel de la Moscova, după căderea Constantinopolului: Moscova, a treia Romă.

Referințe

Bibliografie
Nicolas Afanassieff, Jean Meyendorff, La primauté de Pierre dans l'Église orthodoxe, Neuchâtel, 1960;
Klaus Schatz, Der päpstliche Primat. Seine Geschichte von den Ursprüngen bis zur Gegenwart, Würzburg, 1990;
Klaus Schatz, Papal primacy: from its origins to the present, Collegeville, Minn., 1996.

Legături externe
Klaus Schatz, Geschichte des päpstlichen Primats (accesat la 5 aprilie 2022).

Istoria Bisericii Catolice
Termeni creștini

Primatul papal


An Ophrys umbilicata in uska species han Liliopsida nga ginhulagway ni René Louiche Desfontaines. An Ophrys umbilicata in nahilalakip ha genus nga Ophrys, ngan familia nga Orchidaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 O. u. bucephala
 O. u. calycadniensis
 O. u. flavomarginata
 O. u. lapethica
 O. u. latakiana
 O. u. umbilicata

Mga kasarigan

Mga sumpay ha gawas

Ophrys

Ophrys umbilicata


Los escudos antidisturbios o escudos antimotines son dispositivos ligeros de protección desplegados por la policía y algunas organizaciones militares. La mayoría son fabricados de policarbonato resistente y generalmente transparente, aunque algunos se fabrican de metales ligeros con un agujero de vista. Los escudos son suficientemente grandes para cubrir a un hombre de tamaño promedio de la parte superior de la cabeza hasta las rodillas. Algunos escudos antidisturbios se han diseñado para ser resistentes a balas de disparos de pistolas y escopetas.

Por lo general son destinados a ser utilizados en el control de disturbios, para proteger al usuario de proyectiles lanzados como pedazos de madera, piedras, trozos metálicos e incluso de cocteles molotov.

Los escudos antidisturbios se utilizan en casi todos los países con una fuerza policial estandarizada y son producidas por muchas empresas. Muchos de los escudos se construyen a partir de policarbonato transparente de alto impacto para que el portador pueda ver los objetos arrojados, por lo que el escudo puede ser rápidamente colocado para evitar daños contra el usuario.

Referencias

Equipos de policía
Disturbios
Escudos (armas)
Equipamiento de aplicación de la ley

Escudo antidisturbios


Lad dem leve er en dansk dokumentarfilm fra 1970, der er instrueret af Jørgen Henriksen. Filmen er produceret af Teknisk Film Compagni for Folkekirkens Nødhjælp.

Handling
En beretning om kirkernes hjælpearbejde under borgerkrigen mellem Nigeria og den tidligere provins, Biafra. Gennem 22 måneder opretholdt kirkerne under navnet JOINTCHURCHAID, en luftbro mellem Sao Tomé og Biafra, hvorved ca. 4 millioner mennesker fik levnedsmidler, medicin og hospitalsudstyr. I alt gennemførtes 5304 heldige landinger og over 60.000 tons forsyninger blev bragt ind. Filmen giver et usentimentalt billede af den imponerende hjælpeaktion, og den indeholder en appel til alle om ikke at stande hjælpearbejdet, nu hvor det kan foregå under fredelige forhold. Der skal sættes gang i genopbygningen og i genetableringen af befolkningens naturlige erhvervsmuligheder.

Referencer

Eksterne henvisninger

Danske film fra 1970

Dokumentarfilm fra Danmark

Lad dem leve


الإسلام في الدنمارك يعتبر الإسلام أكبر أقلية دينية في الدنمارك ويلعب دورًا في تشكيل المشهد الاجتماعي والديني. وفقًا لتحليل أُجرِي عام 2018، يوجد في الدنمارك 306 آلاف مسلم يشكّلون 5.3% من إجمالي السكان حتى أكتوبر 2017. وحتى أكتوبر عام 2019، ارتفع العدد إلى ما يقرب من 313،713 مسلمًا يعيشون في الدنمارك، أو ما يقرب من 5.40% من السكان، وفقًا لدراسة أُجرِيت عام 2019. وكان العدد يتزايد على مدى العقود الماضية. في عام 2009، أعلنت وزارة الخارجية الأمريكية أن النسبة تقارب 3.7% من السكان بسبب الهجرة. وأشارت مصادر سابقة، بما في ذلك وزارة الشؤون الخارجية الدنماركية، إلى نسب أقل. وفقًا للأرقام التي أوردتها هيئة الإذاعة البريطانية عام 2005، حوالي 270 ألف مسلم يعيشون في الدنمارك في ذلك الوقت (4.8% من مجموع السكان البالغ 5.6 مليون نسمة).

غالبية المسلمين في الدنمارك من السنة، مع أقلية شيعية. كما يوجد نسبة من الجماعة الأحمدية أيضًا في الدنمارك. في السبعينات من القرن العشرين، وصل المسلمون من تركيا وباكستان والمغرب ويوغوسلافيا السابقة للعمل. في الثمانينات والتسعينات من القرن العشرين، كان غالبية المسلمين الوافدين من اللاجئين وطالبي اللجوء من إيران والعراق والصومال والبوسنة. بالإضافة إلى ذلك، اعتنق بعض الدنماركيين الإسلام؛ حيث اعتنق الإسلام ما يقدر بنحو 2800 دانماركي وحوالي سبعين دانمركياً كل عام.

التركيبة السكانية
لا تقوم الحكومة الدنماركية بجمع بيانات عن ديانة المواطنين، لذا فإن العدد الدقيق للمسلمين في الدنمارك غير معروف على وجه التحديد. يقدر الباحث الدنماركي بريان جاكوبسن، الذي يقوم بتقديرات منتظمة بناءً على الأصل القومي للمهاجرين وأحفادهم، أنه بحلول أكتوبر 2017 كان المسلمون يشكلون 306.000 شخص أو 5.3% من السكان الدنماركيين. أكثر من 70% من المسلمين في الدنمارك هم مواطنون دنماركيون، ومعظمهم من الجيل الأول أو الثاني من المهاجرين. في عام 2013، اعتنق ما يقرب من 2000 إلى 5000 دنماركي الإسلام. يتوزع المسلمون بشكل غير متساو في جميع أنحاء الدنمارك وتتركز غالبيتهم في المدن الكبرى. يعيش حوالي 47.4% من المسلمين الدنماركيين في كوبنهاغن الكبرى، و9.4% في آرهوس، و5.5% في أودنسه.

الأصل العرقي
في عام 2014، كانت أكبر مجموعة عرقية من المسلمين في الدنمارك من الأتراك (22.2% من إجمالي المسلمين الدنماركيين)، يليهم العراقيون (10.2٪)، واللبنانيون (9.5٪)، والباكستانيون (8.7٪)، والصوماليون (7.3٪)، والأفغان، (6.3٪).

المنظمات الإسلامية
توجد في كوبنهاغن عدة مؤسسات منها جمعية الشباب الإسلامي، والمركز الثقافي الإسلامي، ومركز البحوث الإسلامية، ومكتب رابطة العالم الإسلامي، والاتحاد العام للجمعيات الإسلامية بالدول الإسكندنافية، ومدرسة الأقصي العربية الإسلامية، والمعهد النوردي للطلاب الآسيويين، كما يوجد مراكز إسلامية كما المركز الثقافي في هلسنجور في مدينة هليسنجود، والمركز الثقافي الإسلامي في مدينة كوبنهاغن, ومسجد كوبنهاغن الكبير في كوبنهاغن أيضا.

أعلام المسلمين الدنماركيين
 أحمد أبو لبن
 أحمد عكاري
 أسماء عبد الحميد
 دار سليم
 ناصر خضر

انظر ايضًا
 المركز الثقافي الإسلامي في كوبنهاغن
 المركز الثقافي في هلسنجور بالدنمارك

المراجع

المصادر

 الأقليات المسلمة في أوروبا – سيد عبد المجيد بكر.
 المسلمون في أوروبا وأمريكا – على المنتصر الكناني.
 دليل المنظمات الإسلامية في أوروبا.

أقليات مسلمة
الإسلام حسب البلد
الإسلام في الدانمارك
الدين في الدنمارك

الإسلام في الدنمارك