Das Schloss Oberstockstall (auch: Gut Oberstockstall) ist ein in der Renaissance schlossartig umgestalteter Gutshof im Südwesten des Ortes Oberstockstall in der Marktgemeinde Kirchberg am Wagram in Niederösterreich.

Geschichte
Das Anwesen wurde Mitte des 16. Jahrhunderts über einem mittelalterlichen Vorgängerbau errichtet. Am Anfang des 17. Jahrhunderts wurde es nach Norden verlängert und im späten 17. Jahrhundert durch Wirtschaftstrakte erweitert. Der Vorgängerbau diente ursprünglich als Wirtschaftshof des Bistums Passau und wurde 1548 von Kanonikus Christoph Trenbähk als Herrschaftssitz ausgebaut. Im 18. Jahrhundert war es Verwaltungssitz des Passauer Domkapitels.

Im Jahr 1980 entdeckte der Eigentümer einen von der Kapelle aus zugänglichen Raum, der die vollständige Ausstattung eines Alchemistenlaboratoriums des 16. Jahrhunderts enthielt. Mit seinen mehr als 1000 Objekten gilt dieser Fundkomplex als der größte geschlossene Fund seiner Art. Die Fundstücke sind im eigens eingerichteten Alchemistenmuseum im Alten Rathaus von Kirchberg am Wagram zu besichtigen.

Das Hauptgebäude und der ummauerte Garten sind in Privatbesitz und nicht öffentlich zugänglich. Andere Teile werden gastronomisch genutzt.

Architektur
Das Schloss Oberstockstall ist eine unregelmäßige, zwei- bis dreigeschossige Anlage mit Wohn- und Wirtschaftsgebäuden um einen rechteckigen Innenhof. Der Südtrakt schließt im Westen an die Kirche an. Der dreigeschossige Bruchsteinbau, im Kern auf das 14. Jahrhundert datiert, wurde ab Anfang des 16. Jahrhunderts mehrfach umgebaut. An der Südseite sind noch zwei spätgotische Fensterlaibungen vom Anfang des 16. Jahrhunderts zu sehen. Ein vermauertes Schulterbogenportal an der Nordseite stammt vermutlich aus dem 14. Jahrhundert. Der T-förmig anschließende dreigeschossige Westtrakt hat an der Hofseite einen Treppenturm. Der gleich hohe, nördliche Erweiterungsbau, eine Verlängerung mit unterschiedlicher Geschossteilung, wurde Anfang des 17. Jahrhunderts errichtet. Am Stiegenaufgang befindet sich ein sekundär versetztes Renaissanceportal mit Rosettendekor. Der zweigeschossige Torbau mit geputzter Ortsteinquaderung ist durch eine flachbogige Einfahrt zugänglich. An der Nordseite liegen zweigeschossige Wohn- und Wirtschaftsgebäude. Das Obergeschoss des Wohntrakts kann über eine Freitreppe und eine Estrade auf Pfeilerarkaden vom Hof aus erreicht werden. An der Ostseite stehen eingeschossige Wirtschaftsgebäude.

Im Westtrakt befinden sich einige Renaissanceportale sowie ein sekundär versetztes, gotisches Schulterbogenportal. Im ersten Obergeschoss liegt ein tonnengewölbter Raum mit Stuckdecke aus der ersten Hälfte des 17. Jahrhunderts.

Schlosskapelle

An der Südseite des Schlosses erhebt sich die schmale, hochgesteckte, mit Strebepfeilern ausgestattete Kapelle aus der Zeit um 1320. Ihre Fassade ist im Osten durch ein zweibahniges und im Norden und Süden je durch ein einteiliges Maßwerkfenster durchbrochen. Sie ist durch ein spitzbogiges Portal an der Nordseite zugänglich. Unterhalb des Giebels befindet sich eine kreuzförmige Öffnung. Der Dachreiter mit Giebelhelm stammt aus dem 16./17. Jahrhundert. An der Nordwestecke steht ein bemerkenswertes gotisches Weihwasserbecken mit grotesken Masken.

Der Innenraum ist durch ein dreijochiges Kreuzrippengewölbe auf schlanken Bündeldiensten gedeckt. Der gerade Schluss ist durch diagonale Ecken als Fünfachtelschluss interpretiert. Zu den weiteren Merkmalen zählen runde Schlusssteine mit Vogelreliefs, ein umlaufendes Kaffgesims und spitzbogige Sitznischen.

Zur Einrichtung zählen eine Wandmalerei mit Darstellung des Heiligen Christophorus aus der ersten Hälfte des 14. Jahrhunderts, ein frühbarocker Altar mit Altarblatt Guter Hirte, bezeichnet mit 1653, ein ovales Aufsatzbild Mariae Himmelfahrt, ein Weihwasserbecken mit Blendmaßwerk aus der Bauzeit sowie die gotische Steinfigur eines Ritters.

Literatur
 Falko Daim (Hrsg.): Burgen – Weinviertel. 1. Auflage, Verlag Freytag & Berndt, Wien 2005, ISBN 3-7079-0713-9, S. 227–231.
 Georg Dehio (Begr.), Evelyn Benesch u. a. (Bearb.): Niederösterreich nördlich der Donau (Die Kunstdenkmäler Österreichs). Berger, Wien 2010, ISBN 978-3-85028-395-3, S. 836.

Weblinks

Einzelnachweise

Oberstockstall
Oberstockstall
Baudenkmal (Niederösterreich)
Bauwerk in Kirchberg am Wagram
Oberstockstall

Schloss Oberstockstall


أنطونيو فيليبيني  (مواليد 3 يوليو 1973 في بريشا - إيطاليا) لاعب كرة قدم إيطالي يلعب حاليا لصالح نادي الدرجة الأولى ليفورنو الإيطالي منذ 2006 في مركز الوسط المدافع كما يجيد اللعب في مركز الوسط المحوري والأيمن .

روابط خارجية

مراجع

لاعبو وسط كرة قدم رجالية
أشخاص على قيد الحياة
توائم إيطاليون
توأم رياضي
رياضيون من بريشا
لاعبو الدوري الإيطالي
لاعبو الدوري الإيطالي الدرجة الثالثة
لاعبو الدوري الإيطالي الدرجة الثانية
لاعبو باليرمو
لاعبو بريشيا
لاعبو كرة قدم إيطاليون
لاعبو كرة قدم من بريشا
لاعبو كرة قدم من لومبارديا
لاعبو لاتسيو
لاعبو نادي تريفيزو
لاعبو نادي ليفورنو
مدربو الدوري الإيطالي الدرجة الثالثة
مدربو الدوري الإيطالي الدرجة الثانية
مدربو كرة قدم إيطاليون
مدربو نادي ليفورنو
مواليد 1973

أنطونيو فيليبيني


أجرت ليبيا نوعاً من التغيير في مستوى تمثيلها الدبلوماسي مع دول العالم في العام 1979 وذلك بإعادة تسمية سفاراتها في العالم باسم «مكتب شعبي». ما يلي قائمة بالعواصم والمدن التي يوجد بها مكاتب شعبية ليبية أو قنصليات عامة.

أفريقيا

 الجزائر (مدينة) (مكتب شعبي)

 لواندا (مكتب شعبي)

 كوتونو (مكتب شعبي)

 واغادوغو (مكتب شعبي)

 بوجمبورا (مكتب شعبي)

 ياوندي (مكتب شعبي)

 أنجامينا (مكتب شعبي)

 موروني (مكتب شعبي)

 برازافيل (مكتب شعبي)

 أبيدجان (مكتب شعبي)

 كنشاسا (مكتب شعبي)

 القاهرة (مكتب شعبي)
 الإسكندرية (قنصلية عامة)

 أديس أبابا (مكتب شعبي)

 لبرفيل (مكتب شعبي)

 بانغول (مكتب شعبي)

 أكرا (مكتب شعبي)

 بيساو (مكتب شعبي)

 نيروبي (مكتب شعبي)

 ماسيرو (مكتب شعبي)

 أنتناناريفو (مكتب شعبي)

 باماكو (مكتب شعبي)

 نواكشوط (مكتب شعبي)

 الرباط (مكتب شعبي)
 الدار البيضاء (قنصلية عامة)

 مابوتو (مكتب شعبي)

 وندهوك (مكتب شعبي)

 نيامي (مكتب شعبي)

 أبوجا (مكتب شعبي)

 داكار (مكتب شعبي)

 فري تاون (مكتب شعبي)

 بريتوريا (مكتب شعبي)

 الخرطوم (مكتب شعبي)

 دار السلام (مكتب شعبي)

 لومي (مكتب شعبي)

 تونس (مدينة) (مكتب شعبي)
 صفاقس (قنصلية عامة)

 لوساكا (مكتب شعبي)

 هراري (مكتب شعبي)

أوروبا

 تيرانا (مكتب شعبي)

 فيينا (مكتب شعبي)

 منسك (مكتب شعبي)

 بروكسل (مكتب شعبي)

 سراييفو (مكتب شعبي)

 صوفيا (مكتب شعبي)

 زغرب (مكتب شعبي)

 براغ (مكتب شعبي)

 كوبنهاغن (قنصلية عامة)

 باريس (مكتب شعبي)
 مرسيليا (قنصلية عامة)

 برلين (مكتب شعبي)

 أثينا (مكتب شعبي)

 بودابست (مكتب شعبي)

 روما (مكتب شعبي)
 ميلانو (قنصلية عامة)
 باليرمو (قنصلية عامة)

 فاليتا (مكتب شعبي)

 لاهاي (مكتب شعبي)

 وارسو (مكتب شعبي)

 لشبونة (مكتب شعبي)

 بوخارست (مكتب شعبي)

 موسكو (مكتب شعبي)

 بلغراد (مكتب شعبي)

 براتسلافا (مكتب شعبي)

 مدريد (مكتب شعبي)

 ستوكهولم (مكتب شعبي)

 برن (مكتب شعبي)

 كييف (مكتب شعبي)

 لندن (مكتب شعبي)

أمريكا الشمالية

 أوتاوا (مكتب شعبي)

 هافانا (مكتب شعبي)

 مدينة مكسيكو (مكتب شعبي)

 ماناغوا (مكتب شعبي)

 مدينة بنما (مكتب شعبي)

 واشنطن دي سي (مكتب شعبي)

أمريكا الجنوبية

 بيونس آيرس (مكتب شعبي)

 برازيليا (مكتب شعبي)

 كراكاس (مكتب شعبي)

آسيا

 كابول (مكتب شعبي)

 باكو (مكتب شعبي)

 المنامة (مكتب الأخوة الليبي)

 دكا (مكتب شعبي)

 بكين (مكتب شعبي)

 نيقوسيا (مكتب شعبي)

 نيو دلهي (مكتب شعبي)

 جاكرتا (مكتب شعبي)

 طهران (مكتب شعبي)

 طوكيو (مكتب شعبي)

 عمان (مكتب شعبي)

 ألماتي (مكتب شعبي)

 بيونغ يانغ (مكتب شعبي)

 سيول (مكتب شعبي)

 الكويت (مدينة) (مكتب شعبي)

 بيروت (مكتب شعبي)

 كوالا لامبور (مكتب شعبي)

 مسقط (مكتب شعبي)

 إسلام أباد (مكتب شعبي)
 كراتشي (قنصلية عامة)

 مانيلا (مكتب شعبي)

 الدوحة (مكتب شعبي)

 الرياض (مكتب شعبي)
 جدة (قنصلية عامة)

 كولومبو (مكتب شعبي)

 دمشق (مكتب شعبي)

 بانكوك (مكتب شعبي)

 أنقرة (مكتب شعبي)
 إسطنبول (قنصلية عامة)

 عشق أباد (مكتب شعبي)

 أبوظبي (مكتب شعبي)

 صنعاء (مكتب شعبي)

 هانوي (مكتب شعبي)

أوقيانوسيا

 كانبيرا (مكتب شعبي)

منظمات دولية أخرى
 البعثة الدائمة إلى الاتحاد الأفريقي في أديس أبابا
 البعثة الدائمة إلى الاتحاد الأوروبي في بروكسل
 البعثة الدائمة إلى الجامعة العربية في القاهرة
 البعثة الدائمة إلى مقر الأمم المتحدة والمنظمات الدولية الأخرى في جنيف
 البعثة الدائمة إلى مقر الأمم المتحدة والمنظمات الدولية الأخرى في نيروبي
 البعثة الدائمة إلى هيئة الأمم المتحدة في نيويورك
 البعثة الدائمة إلى اليونيسكو في باريس
 البعثة الدائمة إلى الفاو في روما
 البعثة الدائمة إلى الأمم المتحدة والمنظمات الدولية الأخرى في فيينا.

مصادر

 المكتب الشعبي الليبي في واشنطن دي سي

وصلات خارجية

بعثات ليبيا الدبلوماسية
قوائم البعثات الدبلوماسية حسب البلد الباعث
قوائم متعلقة بالدبلوماسية الليبية

قائمة البعثات الدبلوماسية الليبية


Kadir Sertel Otcu (d.1972), Türk bürokrat.

1972 yılında Bozkır (Konya)'da doğdu, ilk öğrenimini Develi (Kayseri), Ereğli (Konya), Sarıkamış (Kars) ve Ortaköy (Çorum)'de, orta öğrenimi Elazığ ve Korkuteli (Antalya)'de tamamladı.

1988 yılında girdiği Ankara Üniversitesi Siyasal Bilgiler Fakültesi Kamu Yönetimi Bölümünden 1992 yılında mezun oldu.

İçişleri Bakanlığı tarafından açılan Kaymakamlık Sınavını kazanmasını müteakip, 1994 yılında Antalya Kaymakam Adayı olarak atandı.

1995 yılında eğitim amacıyla gönderildiği İngiltere'de 6 ay Eastbourne, 2 ay Hastings şehirlerinde kalarak, genel İngilizce ve İngiliz Yönetim Yapısı konularında eğitim aldı.

1996 yılında 6 ay süreyle Kumru (Ordu) Kaymakam Vekilliği yaptı.

1997-1999 yılları arasında Başyayla (Karaman), 1999-2000 yılları arasında Gölova (Sivas), 2000-2001 yılları arasında Mazgirt (Tunceli), 2002-2005 yılları arasında Devrekâni (Kastamonu),2005-2008 yılları arasında Kâhta (Adıyaman), 2008-2013 yılları arasında Saruhanlı (Manisa) Kaymakamlığı, 2013-2015 yılları arasında Hatay Vali Yardımcılığı, 2015-2016 yılları arasında Aydın Vali Yardımcılığı, 2016-2019 yılları arasında Torbalı  (İzmir) Kaymakamlığı görevlerinde bulundu.

07/08/2019 tarihli ve 2019/268 sayılı Cumhurbaşkanlığı Atama Kararnamesi İle Tarsus Kaymakamlığına atandı. 02/09/2019 tarihinde Tarsus Kaymakamlığı görevine başladı.

1972 doğumlular
Ankara Üniversitesi Siyasal Bilgiler Fakültesinde öğrenim görenler

Kadir Sertel Otcu


Ann Sirot et Raphaël Balboni sont un couple de cinéastes vivant à Bruxelles. Ils ont coréalisé tous leurs films.

Biographie
Ann Sirot, née à Bruxelles, et Raphaël Balboni, né à Auxon (Aube), se sont rencontrés à Bruxelles en 2007. Après les études à l'Institut des Arts de Diffusion (IAD), le duo produit ses premiers courts métrages, commençant avec Juste la . En 2018, Avec Thelma remporte le Magritte du meilleur court métrage de fiction.

Sirot et Balboni entament la réalisation de leur premier long métrage en 2020, Une vie démente, avec pour interprètes Jo Deseure, Jean Le Peltier et Lucie Debay. Le film est présenté en octobre 2020 dans la sélection officielle du Festival de Namur, où il reçoit un excellent accueil critique.

Le film récolte un record de douze nominations lorsque de la  des Magritte du cinéma. Largement récompensé lors de cette cérémonie, le film vaut plus personnellement à Ann Sirot et Raphaël Balboni les Magritte du meilleur film ainsi que celui du meilleur scénario.

Filmographie

Courts métrages
 2008 : Dernière partie
 2009 : Juste la lettre T
 2011 : La Version du loup
 2013 : Fable domestique
 2014 : Lucha Libre
 2017 : Avec Thelma
 2020 : Much in Common

Longs métrages
 2020 : Une vie démente
 2023 : Le Syndrome des amours passées

Distinctions

Récompenses
 Magritte 2018 : meilleur court métrage de fiction pour Avec Thelma
 Chistera 2021 : meilleure réalisation pour Une vie démente
 Magritte 2022 : meilleur film et meilleur scénario original ou adaptation pour Une vie démente

Nominations
 Magritte 2012 : meilleur court métrage pour La Version du loup
 Magritte 2013 : meilleur court métrage pour Fable domestique
 Chistera 2021 : meilleur film pour Une vie démente
 Magritte 2022 : meilleure réalisation, meilleur premier film pour Une vie démente

Notes et références

Liens externes

Réalisatrice belge
Balboni
Duo de réalisateurs
Duo belge
Lauréat d'un Magritte
Naissance à Bruxelles au XXe siècle
Balboni

Ann Sirot et Raphaël Balboni


Saúl Ñíguez Esclápez () este un fotbalist spaniol care evoluează la clubul Atlético Madrid în La Liga pe postul de mijlocaș.

Palmares

Club
Atlético Madrid
La Liga: 2020–21
Copa del Rey: 2012–13
Supercopa de España: 2014
UEFA Europa League: 2011–12, 2017–18
UEFA Super Cup: 2018
Vice-campion UEFA Champions League: 2015–16

Internațional
Spania
 UEFA European Under-19 Championship: 2012
 UEFA European Under-21 Championship: Vice-campion 2017

Referințe

Fotbaliști spanioli
Fotbaliști internaționali spanioli
Fotbaliști ai lui Atlético Madrid
Fotbaliști ai cluburilor din Spania
Fotbaliști ai Campionatului Mondial de Fotbal 2018

Saúl Ñíguez


Tatlı Sürpriz (The Next Best Thing), John Schlesinger'in yönetmenliğini üstlendiği 2000 yapımı Rupert Everett, Madonna ve Benjamin Bratt'ın başrollerini oynadığı filmdir.

Konusu ve karakterler

Film, birisi heteroseksüel kadın, Abbie (Madonna), diğeri eşcinsel erkek , Robert (Everett) iki arkadaşın hikâyesini anlatır. Sarhoş oldukları bir gecede iki arkadaş ilişkiye girer ve Abbie hamile kalır. Beraber yaşamaya başlayan çift çocuğu birlikte büyütürler, fakat kendi hayatlarını da yaşamaktadır- özellikle de Robert. 5 yıl sonra Abbie Ben (Bratt) adlı bir adama aşık olur ve Robert'la evlerini ayırıp çocukları Sam'i de yanına almak ister. Robert olaya karşı çıkar fakat bilmediği bir şey vardır. Sam aslında kendi çocuğu değildir. Sonunda öğrenir ve dolayısıyla velayet için açtıkları dava Abbie lehine sonuçlanır. Arkadaşlıkları çok zarar gören Abbie ve Robert sonunda yine eskisi gibi iyi arkadaş olurlar.

Film müzikleri

Filmin müziklerinin olduğu albümde Madonna'nın da seslendirdiği iki şarkıyı (Time Stood Stil ve American Pie) içerir.

Film eleştirmenler tarafından pek beğenilmese de gelir olarak normalin üstünde bir gelir elde etmiştir.

Kısa notlar
	Aslında Abbie karakteri yüzme hocası olarak yazılmıştı ama Madonna kendisi bir yoga fanatiği olduğu için karakterin yoga hocası olarak değiştirilmesini istedi.
	Rupert Everett'in filmdeki evi aslında ünlü yönetmen Cecil B. DeMille'nin eski evidir.
	Rupert Everett'in canlandırdığı karakterin eşcinsel olduğu hiçbir reklamda söz konusu olmamıştır.
	Tatlı Sürpriz John Schlesinger'in 2003'te ölümünden önceki son filmidir.

Diğer notlar
Filmde, ailedeki sorunlar çocuğun anne ve babasına niye diğer arkadaşlarının anne babaları gibi aynı yatakta yatmadıklarını sorduğu zaman başlıyor. Durumu Abbie'nin horladığını söyleyerek geçiştirmeye çalışırlar ama sorun tabii ki tamamen bitmemiştir. Filmin senaryosuyla ilgili eleştiriler vardır; Abbie'nin çocuğuna doğum yapması ve daha sonrasında çocuğun hemen 6 yaşına gelmesi gibi.

Yine de film eşcinsel kimselerin ebeveynlikleri ve eşcinsellerin yasal hakları konusunda önemli mesajlar vermektedir.

Dış bağlantılar
 Yahoo Movies Sayfası

Amerika Birleşik Devletleri LGBT temalı filmleri
Amerika Birleşik Devletleri romantik filmleri
2000'lerde romantik filmler
Touchstone Pictures filmleri
Paramount Pictures filmleri
John Schlesinger'ın yönettiği filmler
Gary Lucchesi'nin yapımcısı olduğu filmler
Tom Rosenberg'in yapımcısı olduğu filmler
Gabriel Yared'in müziğini yaptığı filmler
Amerika Birleşik Devletleri komedi-drama filmleri
2000'lerde LGBT temalı filmler
2000 çıkışlı komedi filmleri
2000 çıkışlı dramatik filmler
Gebelik ile ilgili Amerika Birleşik Devletleri filmleri

Tatlı Sürpriz


La Estación de Virtudes es una plataforma de ferrocarriles de la Línea del Norte, que sirve a la localidad de Virtudes, en la Parroquia de Aveiras de Baixo del ayuntamiento de Azambuja, en el Distrito de Lisboa, en Portugal.

Historia
Esta plataforma abrió a la explotación el 31 de julio de 1857, junto con el tramo que la unía a Carregado.

Referencias

Enlaces externos

Azambuja
Virtudes
Virtudes

Estación de Virtudes


Carlos Paulo Cardoso Gomes Caçote (nascido em 31 de março de 1975, em Vila Nova de Gaia, Portugal), conhecido como Paulo Gomes, é ex-jogador de futebol na posição de meio-campo, e, atualmente, é exclusivamente treinador de futebol.

Carreira de jogador
Segundo a Federação Portuguesa de Futebol, Paulo Gomes jogou nos seguintes clubes e categorias portuguesas:

Foi no FC RM Hamm Benfica entre 2008 e 2009 que encerrou sua carreira na Primeira Liga Europeia  de Luxemburgo.

Atuação como comentarista
Durante o ano de 2016, Paulo Gomes foi comentarista da Euro 2016, para o portal Bom Dia Europa, ano no qual ficou sem contrato e chegou a ser cotado para o FC Etzella Ettelbruck

Carreira de treinador
No verão de 2009, após jogar com os juvenis do Hamm Benfica, Paulo Gomes atuou pela primeira vez como treinador, sendo designado para o FC Blue Boys Mühlenbach, da terceira divisão, e ajudou o clube a subir para a Segunda Liga. Em 2012/2013, conseguiu repetir o feito com o US Sandweiler da Segunda Liga, e, antes do término da temporada, foi  transferido para a  Primeira Liga, com o Union Titus Pétange, do qual se desligou em 2013.

Paulo Gomes continuou a trabalhar nas ligas principais de Luxemburgo nos anos seguintes, com o RM Hamm Benfica, do qual saiu em 2014, o Mühlenbach Luzitanos, e finalmente com o US Mondorf, para o qual convidou também o conterrâneo, João Coimbra, a se integrar à equipe de jogadores. Finalizou  o contrato com este último clube em 2019, antes do término da temporada, inesperadamente, apesar do sucesso até então. Decidiu, em seguida, ter uma experiência na Ásia, em seguida na Arábia Saudita, nos clubes Al Wehda FC e  Najran SC. Na última temporada de 21/22, Paulo Gomes ganhou o título com o Al Khaleej FC da Arábia Saudita.

Clubes como treinador
Desde 2009, Paulo Gomes tem sido treinador destas equipes europeias e árabes:

 2009-2012 - CS Blue Boys Mühlenbach
 2012-2012 - US Sandweiler
 2012-2013 - CS Pétange
 2013-2014 - Hamm Benfica
 2016-2017 - Avenir Beggen
 2017-2018 - CS Mühlenbach Luzitanos
 2018-2019 - US Mondorf
 2019-2020 - Al-Wehda FC (coordenador técnico da formação)
 2020-2021 - Najran SC
 2021-2022 - Al Khaleej

Atuação pelo Al Khaleej FC
Contratado por este clube em 2022, atuou por 22 jogos com o seguinte resultado:

11 vitórias, 5 empates e 11 jogos invictos
20 jogos consecutivos sem sofrer gols de bola parada
Melhor ataque do campeonato

Time qualificado para a Superliga e, posteriormente, campeão

Atuação pelo US Mondorf
Num total de 26 jogos no US Mondorf, pelo qual foi contratado em junho de 2018, obteve os seguintes resultados para o clube:

Campeão, pela primeira vez, do F91 Dudelange, por 4 x 1.
Vencedor dos top 6 times do campeonato
11 vitórias e 3 empates
Encerrou o contrato com este clube em abril de 2019.

Troféus e conquistas
 2021-2022 – Al Khaleej FC Campeão da 1ª Divisão - Arábia Saudita
 2018-2019 – 2º. Melhor Treinador do Ano da 1ª Divisão - Luxemburgo
 2011-2012 – Final do play-off do FC Mühlembach e consequente promoção à Primeira Liga - Luxemburgo

Metas futuras
Paulo Gomes revelou o desejo de trabalhar no Brasil. Esse desejo surgiu quando de sua conclusão no curso de licença pró da CBF, requisito para atuar ali. Ele mostrou admiração pelo talento dos jogadores e dos técnicos brasileiros: "O futebol brasileiro tem muita qualidade e é extremamente competitivo, um exemplo é agora com mais uma medalha de ouro na Olimpíada. Vivemos um futebol cada vez mais global e na minha opinião o futebol brasileiro é um excelente produto para mercados internacionais"

Ligações externas
Entrevista sobre atuação no Al Khaleej FC

Entrevista sobre os grupos da Copa do Mundo de 2022

Treinadores de Portugal
Futebolistas de Portugal

Paulo Gomes (treinador)


Lucas Heights is a suburb in southern Sydney, in the state of New South Wales, Australia. It is near to the Royal National Park.

Geography
It is located 31 kilometres south-west of the Sydney central business district, in the local government area of the Sutherland Shire. Lucas Heights is located on the Woronora River, which flows north into the Georges River.

Unusually for a suburb, Lucas Heights does not contain a residential area. The residential area previously part of Lucas Heights was renamed Barden Ridge in 1996 to increase the real estate value of the area, as it would no longer be instantly associated with the High Flux Australian Reactor (HIFAR).

History
Lucas Heights was named after John Lucas Senior, a flour miller who in 1823 was granted  on the 'head of unnamed stream into Georges River'. He built a water-driven mill for grinding corn from the Illawarra farms. Small ships sailed up the coast into Botany Bay, Georges River and the Woronora River.

Commercial areas
Lucas Heights has become arguably most notable as the site of the Australian Nuclear Science and Technology Organisation (ANSTO) research establishment originally created by the Australian Atomic Energy Commission and home to the historic HIFAR research nuclear reactor.

HIFAR was shut down in January 2007 and replaced by the OPAL research reactor. OPAL bears leading neutron radiation facilities and attracts international scientists as staff members and many hundreds of user groups. In 2005, Australian police suggested the HIFAR reactor was a possible target for a foiled terrorist bomb attack. The area is also on Google Maps, which has caused some concerns regarding its security. Spent fuel from the OPAL reactor is transported to Port Kembla, then exported to France for reprocessing.

The Australian Institute of Nuclear Science and Engineering (AINSE) also has its headquarters at Lucas Heights.

Lucas Heights also hosts a (non-nuclear) waste-management facility, which was for many years a major disposal site for sanitary carters. Some of the full landfills on this site are presently being sequentially redeveloped into a sporting complex containing playing fields for soccer, netball, rugby league and the home of the award-winning "The Ridge" golf driving-range.

Climate
Due to its elevation, Lucas Heights is one of the few places in Sydney that has a borderline Oceanic (Cfb) and a Humid subtropical climate (Cfa).

References

Suburbs of Sydney

Lucas Heights, New South Wales


Ambalangoda (en tamil: அம்பலாங்கொட ) es una ciudad de Sri Lanka en el distrito de Galle, provincia del Sur.

Geografía
Se encuentra a una altitud de 10  a 90 km de la capital nacional, Colombo, en la zona horaria UTC +5:30.

Demografía
Según estimación 2011 contaba con una población de 21 060 habitantes.

Referencias

Enlaces externos
 Este artículo contiene datos geográficos extraídos de Google Earth.

Localidades de Sri Lanka

Ambalangoda


Die Liste der Baudenkmäler in Branzoll (italienisch Bronzolo) enthält die  als Baudenkmäler ausgewiesenen Objekte auf dem Gebiet der Gemeinde Branzoll in Südtirol.

Basis ist das im Internet einsehbare offizielle Verzeichnis der Baudenkmäler in Südtirol. Dabei kann es sich beispielsweise um Sakralbauten, Wohnhäuser, Bauernhöfe und Adelsansitze handeln. Die Reihenfolge in dieser Liste orientiert sich an der Bezeichnung, alternativ ist sie auch nach der Adresse oder dem Datum der Unterschutzstellung sortierbar.

Liste

Weblinks

 Monumentbrowser des Südtiroler Landesdenkmalamts

!
Branzoll
Baudenkmaler Branzoll

Liste der Baudenkmäler in Branzoll


قصر ليبيا هي مدينة صغيرة في شمال ليبيا على بعد حوالي 66 كيلومترًا (41 ميلًا) شمال غرب البيضاء. كانت تمسى قديما (Olbia) و(Theodorias) وتم التنقيب عن أطلالها في الخمسينيات من القرن الماضي.

تحتوي المدينة على متحف يضم خمسين قطعة فسيفساء بيزنطية. وتقع على مفترق طرق بين طريق المرج - البيضاء الرئيسي شرقا وجنوبا طريق قصر ليبيا - مروعة.

تاريخ قصر ليبيا

يعود تاريخ قصر ليبيا إلى ما قبل البيزنطيين حيث أن موقع المدينة كان مستعملا من قبل الإغريق منذ القرن الرابع ق.م. ليعرف لاحقا باسم أوليبيا "olibya" أو مدينة أوليبيا القديمة. كما تأثرت المدينة بشدة من هجمات الوندال والنوميديون الذين احتلوا أجزاء من شمال أفريقيا في النصف الثاني من القرن الخامس الميلادي والربع الأول من القرن السادس للميلاد. لاحقا قام الإمبراطور البيزنطي جستنيان بإعادة تأسيسها العام 539، حيث أطلق عليها اسم «ثيودورياس» نسبة لزوجته ثيودورا التي تربت في أبولونيا المجاورة.

متحف الفسيفساء البيزنطية
بنيت في قصر ليبيا كنيستان الأولى الكنيسة الشرقية والتي اكتشفت في العام 1957، والثانية الكنيسة الغربية والتي اكتشفت في العام 1964. كما شرع في نهاية ستينيات القرن العشرين بناء متحف أثري صغير قرب الكنيسة الغربية، عرف باسم «متحف الفسيفساء البيزنطية» افتتح في العام 1972 حيث يعرض مجموعة الأرضيات الفسيفسائية التي كانت تزين الكنيسة الغربية، كما وجد فيها فسيفساء نادرة لمنارة الإسكندرية والتي تعتبر هذه اللوحة الوحيدة لتوضح شكلها.

انظر أيضا
 البيضاء

مراجع

أماكن مأهولة في شعبية الجبل الأخضر
قرى ومدن الجبل الأخضر
مواقع إغريقية في ليبيا
مواقع رومانية في ليبيا
مواقع أثرية في ليبيا

قصر ليبيا


An Aulonemia gueko in uska species han Liliopsida nga ginhulagway ni Justin Goudot. An Aulonemia gueko in nahilalakip ha genus nga Aulonemia, ngan familia nga Poaceae.

Mabibilngan ini ha Colombia. Waray hini subspecies nga nakalista.

Mga kasarigan

Aulonemia

Aulonemia gueko


Reacția xantoproteică este o reacție chimică prin intermediul căreia se poate determina prezența și cantitatea de proteină (dar doar proteinele care conțin aminoacizi aromatici) dintr-o anumită soluție. Reacția se realizează cu ajutorul acidului azotic concentrat. Reacția este pozitivă și pentru aminoacizii care conțin grupe aromatice, cu precădere pentru tirozină. Se consideră că testul este pozitiv dacă apare o colorație specifică, galbenă, datorată produșilor reacției de nitrare a aminoacizilor aromatici (tirozina, triptofanul, fenilalanina).

Exemplu
Un exemplu de reacție xantoproteică este reacția de nitrare a tirozinei:

Vezi și
 Reacția biuretului
 Reacție Millon
 Reacția ninhidrinei

Referințe

X

Reacție xantoproteică


Tracie Nicole Thoms, (født 19. august 1975 i Baltimore, Maryland) er en amerikansk skuespiller.

Filmografi

Film
 Rent – 2005
 The Devil Wears Prada – 2006
 Sex and Breakfast – 2007
 Looper – 2012
 Meeting Evil – 2012

TV-serier
 Cold Case – 2005 - 2010
 Love – 2016
 Gone – 2017

Eksterne henvisninger

Skuespillere fra USA
Personer fra Maryland

Tracie Thoms


An Eragrostis pycnostachys in uska species han Liliopsida nga ginhulagway ni Clayton. An Eragrostis pycnostachys in nahilalakip ha genus nga Eragrostis, ngan familia nga Poaceae.

Mabibilngan ini ha Kenya. Waray hini subspecies nga nakalista.

Mga kasarigan

Eragrostis

Eragrostis pycnostachys


O Aeronca C-2 é um monoplano leve (mais propriamente um ultraleve) projetado por Jean A. Roché e construído nos Estados Unidos pela Aeronca Aircraft. O Aeronca C-2 foi um projeto simples e barato voltado para o piloto amador; surgido durante a Depressão, é tido como o desencadeador do "boom" americano de aeronaves leves. O primeiro voo foi em 20 de outubro de 1929 e seu formato incomum gerou o apelido de "banheira voadora".

Desenvolvimento

Monoplano Roche
Jean A. Roché, francês de nascimento, era um engenheiro do Exército dos EUA trabalhando no "McCook Field" em Dayton, Ohio. Roche desenvolveu uma aeronave com "estabilidade automática" e obteve para isso a patente norte-americana nº 1.085.461. Roche publicou suas idéias de engenharia para a aeronave nas revistas "Aerial Age Weekly" e "Slipstream Monthly". O protótipo foi iniciado em Dayton Ohio em 1923 com a ajuda dos colegas John Dohse and Harold Morehouse. em setembro de 1925, Dohse efetuou seus primeiros voos.

Dohse e Morehouse deixaram Dayton e seguiram suas vidas, e Roche teve que encontrar uma maneira de produzir seu pequeno avião de sucesso. A aeronave, basicamente um planador motorizado, usava uma fuselagem de tubos de aço soldado de seção transversal triangular, com asas de madeira, era coberta com tecido e usava arame em toda a extensão.

Um motor Henderson (de motocicleta adaptado) foi instalado, mas não conseguiu tirar o avião do chão. Em seguida, um motor personalizado por Morehouse de dois cilindros de 29 HP foi desenvolvido para a aeronave. Em 1 de setembro de 1925, a aeronave foi testada com sucesso. Muitos pilotos, incluindo Jimmy Doolittle, experimentaram a aeronave. A Wright Aeronautical contratou Morehouse e os direitos de seu motor Wright-Morehouse WM-80. Sem motor, eles recorreram a Robert E. Galloway, da "Aeronautical Corporation of America" (AERONCA), para usar o motor Aeronca E-107. Os direitos da aeronave foram vendidos para a Aeronca em 1928 como base para o projeto do "C-2".

Aeronca C-2
O Aeronca C-2, movido por um minúsculo motor de dois cilindros, fez seu primeiro vôo em outubro de 1929, com sua estreia pública em St. Louis em fevereiro de 1930. Estava voando no seu estado mais básico - o piloto sentou-se em uma placa de madeira compensada nua. O C-2 apresentava um design incomum, quase frívolo, com uma fuselagem aberta que inspirou seu apelido, "The Flying Bathtub" (Também foi apelidado de "Airknocker" e "Razorback"). O design geral do C-2 poderia ter sido inspirado nas experiências iniciais de voo de Jean Roché com uma cópia americana do Demoiselle de Santos-Dumont, que tinha uma seção transversal triangular "básica" semelhante da fuselagem e as rodas do trem de pouso principal com raios de arame contra os lados da fuselagem.

Equipado com apenas quatro instrumentos (altímetro, temperatura do óleo, pressão do óleo e tacômetro), um manche e pedais de leme (freios e aquecedor com custo extra), o C-2 tinha um preço baixo de US $ 1.555 (mais tarde EUA $ 1.245), reduzindo o custo de voo a um nível que um cidadão comum pudesse sustentar. A Aeronca vendeu 164 dos C-2 econômicos no auge da Grande Depressão em 1930-1931, ajudando a estimular o crescimento da aviação privada nos Estados Unidos.

O Aeronca C-2 também possui a distinção de ser a primeira aeronave a ser reabastecida com um automóvel em movimento. Uma lata de gasolina foi entregue de um automóvel Austin em alta velocidade a um piloto de um C-2, (que o enganchou com uma bengala de madeira) durante um show aéreo em 1930 na Califórnia. Uma versão de hidroavião do C-2 também foi oferecida, designada "PC-2" e "PC-3" ("P" para "pontoon") com flutuadores substituindo o trem de pouso com rodas.

Um único Aeronca C-2 foi convertido em planador por H.J. Parham na Inglaterra após uma falha do motor durante o vôo e um pouso forçado. O nariz foi limpo após a remoção do motor. Ele voou pela primeira vez como um planador em 15 de maio de 1937 e foi para o "Dorset Glider Club", mas foi destruído no hangar do clube durante uma tempestade em novembro de 1938.

Variantes

Aeronca C-2 Aeronave esportiva leve de assento único, movida por um motor de pistão Aeronca E-107A de 26 hp (19 kW).
Aeronca C-2 Deluxe Versão aprimorada, com fuselagem mais larga e várias melhorias de design.
Aeronca C-2N Scout aeronave esportiva de luxo, movida por um motor de pistão Aeronca E-112 ou E-133A de 36 hp (27 kW). Quatro construídos.
Aeronca PC-2 Versão para hidroavião do C-2.
Aeronca PC-2 Deluxe versão em hidroavião do C-2 Deluxe.

Exemplares remanescentes

Canadá
 A-9 - C-2 em exibição estática no Museu de Aviação e Espaço do Canadá em Ottawa, Ontário.

Estados Unidos
 2 - C-2 em exibição estática no Udvar-Hazy Center do National Air and Space Museum em Chantilly, Virginia. É o primeiro protótipo do Aeronca C-2 e leva o registro NX626N. Foi doado ao museu em 1948 pela Aeronca e restaurado em 1976.
 27 - C-2 em condições de aeronavegabilidade no Yanks Air Museum em Chino, Califórnia.
 67 - C-2 em exibição estática no Ohio History Center em Columbus, Ohio.
 A-106 - Aeronavegável C-2N de propriedade de Craig MacVeigh de Seattle, Washington.
 A-151 - C-2N está em exibição no Shannon Air Museum em Fredericksburg, Virginia.
 A-253 - C-2N em exibição estática no EAA AirVenture Museum em Oshkosh, Wisconsin. Esta aeronave em particular estabeleceu sete recordes, cinco dos quais foram para hidroaviões.
 301-23 - C-2 em exibição estática no Museum of Flight em Seattle, Washington.

Ver também
Desenvolvimento relacionado
 Aeronca C-3

Desenvolvimentos comparáveis
 American Eaglet
 Curtiss-Wright Junior
 Pou-du-ciel
 Rearwin Junior
 Spartan C2

Ligações externas

 Aeronca C-2 (skytamer.com)
 Aeronca C-2 Sport
 1933 Aeronca C-2-N Deluxe Scout - NC13089
 Aeronca C-2: Small plane, big records
 The Aeronca Aviators Club

Aeronaves da Aeronca Aircraft

Aeronca C-2


Gianni Schicchi je komična opera u jednom činu Giacoma Puccinija.

Libreto
Libreto je napisao Giovacchino Forzano temeljenom na Tridesetom pjevanju Danteovog Pakla (r. 22-48). To je dio Triptiha.

Radnja
Godina 1299, Gianni Schicchi, poznat diljem Firence po svom oštrom i pronicljivom duhu, pozvan je u velikoj žurbi od strane rođaka Buosa Donatija, bogatog trgovca koji je upravo umro, da osmisli genijalno sredstvo kako bi ih spasio od nesretne situacije: njihov rođak je zapravo ostavio svoje stvari obližnjem samostanu fratara, ne organizirajući ništa u korist svojih rođaka.

U početku im Schicchi odbija pomoći zbog prezirnog stava koja obitelj Donati, firentinske aristokracije, pokazuje prema njemu, čovjeku "novog naroda". No, molitve njegove kćeri Laurette (poznata romanca "O mio babbino caro"), zaljubljene u Rinuccia, mladog nećaka Buosa Donatija, tjeraju ga da se vrati svojim koracima i osmisli plan, koji će se kasnije pretvoriti u ruglo. Budući da još nitko nije svjestan odlaska, naređuje da se Buosovo tijelo preveze u susjednu sobu kako bi se on sam mogao provući ispod koltri, a iz kreveta pokojnika, krivotvoriti glas i diktirati javnom bilježniku posljednje želje.

Zapravo, to se i događa, a da Schicchi prethodno nije uvjerio rođake u namjeru da poštuju želje svakog od njih, imajući na umu strogost zakona, koji osuđuje na egzil i rezanje ruke ne samo onih koji zamjenjuju druge u oporukama i ostavštinama, već i njihovih pomagača ("Addio Firenze, addio cielo divino" - "Zbogom Firence, zbogom božansko nebo").

Schicchi pred javnim bilježnikom odbija posljednje želje i kada izjavljuje da ostavlja najdragocjeniju imovinu – "najbolju mazgu u Toskani", prestižnu kuću u Firenci i mlinove Signe – svom "dragom, predanom, nježnom prijatelju Gianniju Schicchiju", rođaci eksplodiraju u bijesnim krikovima. Ali lažni Buoso ih ušutkava pjevajući razlog egzila i konačno ih tjera iz kuće, koja je postala njegovo ekskluzivno vlasništvo.

Vani, na balkonu, Lauretta i Rinuccio nježno se grle; dok Gianni Schicchi nasmijan razmišlja o njihovoj sreći, zadovoljan vlastitom lukavošću.

Likovi
Opera je praizvedena 14. prosinca 1918. u Metropolitanu u New Yorku. Do 2009. godine imao je 138 nastupa u Metropolitanu.

Orkestracija
Puccinijeva partitura zahtjeva korištenje:

 ottavino, 2 flaute, 2 oboe, engleski rog, 2 klarineta, bas klarinet, 2 fagota
 4 horne (roga), 3 trube, 3 trombona, bas trombon / tuba
 timpani, bubanj, triangl, činele, grancassa
 celesta, campana grave, harfa
 gudači

Poznate arije
 Firenze è come un albero fiorito, Rinucciova romanca
 O mio babbino caro, romanca Laurette
 Ah! che zucconi!, monolog Giannija Schicchija

Izvori

Opera
Giacomo Puccini

Gianni Schicchi


Die Klosterstudie, auch Cloister-Study, ist eine Metaanalyse und zum internationalen Begriff im Zusammenhang mit der signifikanten Disparität bei der Lebenserwartung von Frauen und Männern geworden. Die Studien wurden anhand von weiblichen und männlichen Mitgliedern monastischer Ordensgemeinschaften erstellt, in denen Männer und Frauen einen fast identischen Lebensstil pflegen, was Rückschlüsse auf biologische und andere Faktoren der Lebenserwartung beider Geschlechter zulässt. So können biologische Faktoren zur Übersterblichkeit von Männern zu einem wesentlichen Teil ausgeschlossen werden.

Die Studie wird fortlaufend erweitert. 2010 hat der Europäische Forschungsrat Fördergelder zur weiteren Erforschung dieses Missverhältnisses zur Verfügung gestellt (ERC Project No. 262663).

Ursprung
Zwischen den 1960er und 1970er Jahren hat sich eine allgemeine Sichtweise über die Geschlechterunterschiede in Gesundheit und Sterblichkeit entwickelt, die in dem bekannten Satz "Women are sicker, but men die quicker" zusammengefasst wurde. In jüngster Zeit wurde diese Sichtweise zunehmend in Frage gestellt. Dennoch hat sich die Vorstellung eines paradoxen Verhältnisses zwischen der Morbidität und Mortalität von Frauen und Männern bis heute erhalten.

1998 sorgte der Bevölkerungswissenschaftler Marc Luy mit seiner Diplomarbeit über die Mortalität in bayerischen Frauen- und Männerklöstern in der Fachwelt für Aufmerksamkeit. Eingereicht zum Nachwuchswissenschaftler-Wettbewerb der Deutschen Stiftung Weltbevölkerung und der Deutschen Gesellschaft für Bevölkerungswissenschaft, zog die Jury die Diplomarbeit den ebenfalls eingereichten Dissertationen deutlich vor. 2002 wurde die Arbeit unter dem Titel Warum Frauen länger leben in den Bestand des Bundesinstituts für Bevölkerungsforschung übernommen.

Ausgehend von der deutlich höheren Lebenserwartung von Mönchen im Vergleich mit Männern der Allgemeinbevölkerung wies Luy über eine retrospektive Studie nach, dass unter entsprechenden Bedingungen die Lebenserwartung von Männern fast an die von Frauen heranreicht.

Arbeitshypothese
Wenn biologische, nicht beeinflussbare Faktoren für die Lebenserwartung eine signifikante Rolle spielen, dürfte es geschlechtsspezifisch zwischen Kloster- und Allgemeinbevölkerung keine Unterschiede geben. Sollten aber Verhalten und Umwelt, also vom Menschen beeinflussbare Faktoren eine Rolle spielen, müssten Nonnen und Mönche ähnlich lange Lebenserwartungen haben.

Datensatz

Insgesamt umfasst der in der Erststudie in den Jahren 1996 und 1997 manuell und direkt vor Ort erhobene Datensatz elf bayerische Klöster mit 11.624 Ordensmitgliedern, davon 6.154 Nonnen und 5.470 Mönche. Erhoben wurde aus Karteikarten und vorhandenen Computerdateien, die mit Sterbetafeln der Allgemeinbevölkerung verglichen wurden. 2005 erfolgte eine Erweiterung der Daten um ein weiteres Kloster außerhalb Bayerns, was den Datensatz auf 11.980 Ordensmitglieder, 6.199 Nonnen und 5.781 Mönche, erweiterte.

Beteiligte Klöster
Englische Fräulein in Bamberg und Würzburg, Barmherzige Schwestern vom heiligen Kreuz in Gemünden am Main, Karmeliten in Bamberg, Erzabtei der Missionsbenediktiner in St. Ottilien, Dominikanerinnen der hl. Katharina v. Siena von Oakford/Natal in Neustadt am Main, Augustiner in Würzburg, Ritaschwestern in Würzburg, St.-Franziskus-Schwestern in Vierzehnheiligen, Dienerinnen von der hl. Kindheit Jesu in Oberzell am Main, Benediktinerabtei Münsterschwarzach. 2005 kam die Zisterzienserabtei Marienstatt hinzu.

Rauchverhalten
Die Mehrzahl der Studien über die geschlechtsspezifischen Mortalitätsunterschiede konzentrieren sich auf das Rauchverhalten. Die wesentlich höhere Sterblichkeit der Männer an Lungenkrebs und Herzversagen ist ein Hinweis darauf, dass dieser Faktor wahrscheinlich der größte Beitrag zur Ausweitung der männlichen Übersterblichkeit ist.

In einer Studie wurde mit Hilfe von Daten aus 22 Industrieländern die Hypothese überprüft, dass die Gleichstellung von Mann und Frau zu erhöhten Raucher- und Berufstätigenanteilen bei Frauen und damit auch zu erhöhter Frauenmortalität führt, was sich bestätigt hat. In weiteren Studien wurde festgestellt, dass Rauchen bei jungen erwachsenen Männern zu einem höheren Mortalitätsrisiko führt als bei gleichaltrigen Frauen. Bei Analysen von Bevölkerungsstichproben wurde festgestellt, dass Rauchen ein Risikofaktor für beide Geschlechter ist, aber in größerem Ausmaß für Männer.

Stressbelastung
Bei Frauen und Männern gilt bei Herz-Kreislauf-Erkrankungen unterschiedlicher sozialer und beruflicher Stress als Auslöser der ungleichen Lebenserwartung. Die Hauptursache wird im sogenannten (Verhaltens-) "Typ A" vermutet, der oft bei Männern zu finden ist, da er in Verbindung mit Berufstätigkeit steht und Frauen infolge geringeren Anteils an der berufstätigen Bevölkerung seltener den damit verbundenen Belastungen ausgesetzt sind. Dieser Typ ist durch intensive Leistungsbemühung, (Kampf um) Wettbewerbsfähigkeit, leicht zu provozierende Ungeduld, (chronischen) Zeitmangel, Hektik, die durch Gestik und Sprache zum Ausdruck kommt, berufliche Überlastung sowie übermäßige Psychodynamik und Aversion gekennzeichnet. Andererseits soll Kindererziehung nicht weniger Stress erzeugen als Berufstätigkeit.

Familienstand
Als gesichert gilt, dass verheiratete Personen deutlich besser überleben als unverheiratete. Verheiratete Männer haben eine signifikant niedrigere Sterblichkeit gegenüber allen anderen Familienständen, Ledige gegenüber Verwitweten und Geschiedenen. Auch bei den Frauen ergibt sich aus denselben Gründen eine niedrigere Mortalität. Der Verlust des Ehepartners hinterlässt bei Männern extremere Folgen als bei Frauen. Aus einer finnischen Untersuchung von über 1,5 Millionen Verheirateten geht hervor, dass es beim Verlust des Ehepartners bei Männern zu einem mehr als doppelt so hohen relativen Anstieg der Sterblichkeit kommt wie bei Frauen.

Nach der "Protektionstheorie" wird der Familienstandseffekt darauf zurückgeführt, dass Verheiratete ein geregelteres Leben führen, geregelter essen und einen gesünderen Lebensstil pflegen als Alleinstehende. Hinzu kommt eine in der Regel größere emotionale Ausgeglichenheit. Dem gegenüber steht die "Selektionshypothese", nach der gesündere Personen größere Heiratschancen besitzen und folglich die unverheiratete Bevölkerung zu einem größeren Teil aus gesundheitlich Benachteiligten besteht. Ihr widerspricht aber das im Vergleich zu den Verheirateten höhere Mortalitätsrisiko der Verwitweten und Geschiedenen, die ja ebenfalls einst verheiratet waren. Möglich wäre daneben auch die Existenz eines (bislang unbenannten) dritten Faktors, der sowohl den Familienstand als auch die Gesundheit beeinflusst.

Ungleiche Selektion durch beide Weltkriege
Ausgegangen wird davon, dass selbst die Herausnahme von Kriegssterbefällen des Ersten und Zweiten Weltkrieges aus den amtlichen Statistiken keine von Kriegen unabhängige Berechnung von Sterblichkeitsrisiken zulassen, weil Kriegsereignisse die Überlebenswahrscheinlichkeit von Frauen und Männer in unterschiedlicher Weise beeinflussen. Bei Frauen zeigen sich Sterblichkeitsänderungen während und unmittelbar nach den beiden Weltkriegen aufgrund schlechterer Ernährung, Hygiene, medizinischer Versorgung und einigen anderen Faktoren. An der Front stehende Soldaten sind in der Regel die gesünderen Männer, dagegen sind sie einem erheblichen Risiko ausgesetzt, eines gewaltsamen Todes zu sterben. Deutschland hat im Zweiten Weltkrieg in einzelnen Geburtsjahrgängen bis zur Hälfte verloren.

In Nachkriegszeiten sterben Männer tendenziell früher. Verletzungen, psychische Belastungen, Mangelernährung oder andere gesundheitliche Gefährdungen verkürzen bei Überlebenden die Lebenserwartung. Da diese Männer aber auch 50 und mehr Lebensjahre erreichen und erst dann vermehrt sterben, wirkt sich diese Veränderung der Gesundheitslage vom Krieg Betroffener nicht gleich nach Kriegsende aus. Damit wäre auch erklärt, warum die Übersterblichkeit der Männer nicht schon 1950, sondern erst ab 1960 anwächst; durch vermehrte Zuwanderung statistisch getrübt.

Bei einer Untersuchung der überlebenden Deutschen beider Weltkriege wurde festgestellt, dass die zu Kriegsende männlichen Jugendlichen später eine deutlich erhöhte Mortalität in den mittleren Altersstufen aufwiesen. Bei deutschen Frauen ist derartiges nicht erkennbar. Ähnliches lässt sich, nicht in gleichem Ausmaß, bei den anderen kriegsführenden Ländern beider Weltkriege beobachten. Erklärt wird das dadurch, dass durch Mangelernährung die Blutgefäßstrukturen beeinträchtigt werden, was sich aber erst in den Altersstufen auswirkt, in denen die Herz-Kreislauferkrankungen die häufigste Todesursache darstellen. Das betrifft Jugendliche am Kriegsende am meisten, da Unterernährung in den letzten Wachstumsjahren später nicht mehr ausgeglichen werden kann, wie es dagegen bei kleineren Kindern der Fall ist. Dass sich das ausschließlich bei Männern auswirkt, wird mit der Fähigkeit der Frauen, mehr Fett speichern zu können, erklärt.

Missionarinnen und Missionare
Eine der systematischen Fragen war, ob der Missionsdienst Einfluss auf die Lebenserwartung hat und ob man die im Missionsdienst tätigen extra bewerten müsste. Das war nicht der Fall, wurden für Missionstätigkeit meist besonders gesunde Nonnen und Mönche ausgewählt. Etwa 40 % der Mönche des Beobachtungszeitraumes gingen auf Mission, aber nur etwa 20 % der Nonnen, wobei Mönche durchschnittlich 30, Nonnen durchschnittlich 25 Missionsjahre absolvierten, bevor sie ins Mutterhaus zurückkehrten.

Ergebnisse
Nach den Ergebnissen leben Nonnen und Frauen der Allgemeinbevölkerung annähernd gleich lang, dicht gefolgt von Mönchen, die eine im Schnitt ein bis zwei Jahre kürzere Lebenserwartung haben als beide Frauengruppen. Deutlich abgeschlagen sind Männer der Allgemeinbevölkerung, die im Schnitt sechs Jahre weniger leben als Nonnen und Frauen der Allgemeinbevölkerung und bis zu viereinhalb Jahre weniger als Mönche.

Studienerweiterung
Luy wurde in der Folge mit dem Argument konfrontiert, dass Mönche keinen Alltagsrisiken ausgesetzt sind und so die Schlüsse auf die Allgemeinbevölkerung nicht zulässig wären.

Unnatürlicher Tod
In einer weiteren, um internationale Daten erweiterten Veröffentlichung geht Luy auf exogene Todesursachen näher ein. Beschrieben werden unter Unfallsterblichkeit der Mönche: Schutz der Klostermauern oder typisch männliches Risikoverhalten? unerwartet häufige Todesursachen wie Verkehrsunfälle, Risikosportarten, Gewaltverbrechen und Suizide, die auch vor Mönchen nicht haltmachen. Die Sterblichkeit von Mönchen unterscheidet sich auch bei externen Ursachen nicht von jener der männlichen Allgemeinbevölkerung. Der "Klostereffekt" kommt aber bei Nonnen voll zum Tragen – ist doch die Unfallsterblichkeit bei Nonnen noch einmal geringer als die ohnehin schon niedrige Unfallsterblichkeit in der weiblichen Allgemeinbevölkerung.

Kriegsdienst und Nikotinkonsum

Mönchen wurde das Rauchen im Kloster ab 1945 gestattet. Im Gegensatz zu Nonnen hatten Mönche Kriegsdienst zu leisten und kamen, wenn sie diesen überlebten, teils nikotinabhängig aus Krieg oder Kriegsgefangenschaft in ihre Klöster zurück. Da Mönche keine Waffen gegen andere Menschen einsetzen wollten, wurden sie meist frontnahe in Seelsorge oder Verwundetenbetreuung eingesetzt. Um den durch Kriegsfolgen psychisch belasteten Mönchen nicht die im Krieg erworbene Sucht verbieten zu müssen, beließ man es dabei, und es durfte in Klöstern weiter geraucht werden, was sich Jahrzehnte später in geringem Maße auf die Lebenserwartung auswirkte.

In der ersten Hälfte des 20. Jahrhunderts fielen insgesamt 34,3 % der Kriegsdienst leistenden Mönche.

Mortalität bei Nonnen
Eigentlich müssten Nonnen gegenüber Frauen der Allgemeingruppe länger leben, was nicht der Fall ist. Gestützt auf empirische Daten wird von der Möglichkeit ausgegangen, dass Berufstätigkeit und Kinderlosigkeit auf die Mortalität von Nonnen Einfluss nimmt.

Als Auslöser bzw. Risikofaktoren für Kreislauferkrankungen (Ursache der meisten gesundheitsbedingten Todesfälle) gelten im Allgemeinen das Rauchen, Adipositas, Bewegungsmangel und Stress in bestimmten Berufen und Tätigkeiten. Während bei Nonnen berufliche Vollbeschäftigung bis ins hohe Alter üblich ist, profitieren Frauen der Allgemeinbevölkerung durch früheren Rentenantritt und weniger beruflichen Stress durch häufigere Hausfrauentätigkeit. Verschiedene Studien haben bereits gezeigt, dass berufsbedingter Stress bei Frauen häufig noch stärker beeinträchtigende Auswirkungen auf die Gesundheit hat als bei Männern.

Bei den Überlebensverläufen stellte sich heraus, dass die westdeutschen Hausfrauen die mit Abstand geringste Sterblichkeit aufweisen und sie sich mit 40 Jahren auf weitere 43,8 Lebensjahre einstellen dürfen. Ebenfalls positiv wirkt sich Mutterschaft aus. Hat man mindestens ein Kind, kann man mit 42,3 weiteren Jahren rechnen. Die Verliererinnen durch höhere Sterblichkeit als beim Durchschnitt sind berufstätige und kinderlose Frauen, die im Alter von 40 Jahren eine zu erwartende ferne Lebenserwartung von 39,2 Jahren haben. Berufstätigkeit und Kinderlosigkeit tritt in der Allgemeinbevölkerung bei Frauen häufig, bei Nonnen ausschließlich kombiniert auf.

Das Klosterleben bietet Nonnen Schutz vor Unfällen, Verletzungen, Vergiftungen, Gewaltverbrechen und Suiziden. Allerdings sind Krebserkrankungen, insbesondere Brustkrebs, häufiger als bei der Allgemeinbevölkerung – trotz Rauchverbot. Ausnahme: Gebärmutterhalskrebs. Bei diesem geht die Wissenschaft davon aus, dass er von den humanen Papillomviren (HPV) verursacht wird. Die Übertragungsart ist oft Schmier- oder Kontaktinfektion beim Geschlechtsverkehr.

Deutsch-österreichische Klosterstudie
Der Europäische Forschungsrat hat 2010 einen mit bis zu zwei Millionen Euro dotierten Förderpreis an die Wissenschaftsgruppe um Marc Luy vergeben. Damit sollen die Forschungen rund um die Gründe der Übersterblichkeit bei Männern erweitert und die Klosterstudie auch auf Österreich ausgedehnt werden.

Die erste Erhebung (Welle 1) wurde zwischen Juli und Dezember 2012 durchgeführt. Der erste Daten- und Methodenbericht zu Welle 1 wurde im Juni 2014 veröffentlicht. Die Erfassung der zweiten Welle wurde 2015 abgeschlossen.

Rezeption
 Eckart von Hirschhausen behandelt die Klosterstudie in einem Kapitel seines Buches Die Leber wächst mit ihren Aufgaben
 Ralf Bönt verarbeitete die Erkenntnisse der Klosterstudie in seinem Buch Das entehrte Geschlecht: Ein notwendiges Manifest für den Mann

Literatur

 Marc Luy:
 Marc Luy:

 Marc Luy:

(Auszug)

Vorträge
 Past and future directions of the German-Austrian "Cloister Study". Rush University Medical Center, Chicago, USA, 23. August 2011. (Marc Luy)
 Sex differences in health and mortality: obtained results and future aims of the "cloister study". 23. REVES Meeting, Paris, Frankreich, 25. Mai 2011. (Marc Luy)
 Ageing in an aged society: experiences and attitudes of catholic order members towards population ageing and older people. Posterpräsentation am Jahrestreffen der Population Association of America (PAA), Washington, D.C., USA, 31. März 2011. (Marc Luy, Priska Flandorfer)
 The biological force behind excess male external cause mortality: an analysis of unnatural deaths among catholic order members. Jahrestreffen der Population Association of America (PAA), Dallas, USA, 15. April 2010. (Marc Luy)
 Why do women live longer than men? Findings from the Cloister Study. Euroscience Open Forum (ESOF) 2008, Barcelona, Spanien, 22. Juli 2008. (Marc Luy)
 Do women live longer or do men die earlier? Findings from the Cloister Study. University of Michigan, Institut für Sozialforschung, Ann Arbor, USA, 27. März 2007. (Marc Luy)
 Behaviour or biology? An answer to the question of male excess mortality by comparing the cloistered and the general populations. European Population Conference (EPC) 2003, Warschau, Polen, 28. August 2003. (Marc Luy)
 Are sex mortality differences biologically caused? Madigan revisited by a new comparison of sex-specific survival in monastic and general populations. Posterpräsentation am Jahrestreffen der Population Association of America (PAA), Minneapolis, Minnesota, USA, 2. Mai 2003. (Marc Luy)
 Nature or behaviour? An answer to the question of male excess mortality by a comparison of monastic and general population. 13. Kongress der European Anthropological Association, Zagreb, Kroatien, 31. August 2002. (Marc Luy)
(Auszug)

Weblinks

Einzelnachweise

Primärstudie 2002

Weitere Einzelnachweise

Demografie
Wissenschaft in Wien
Geschlechterforschung
Handlung und Verhalten
Geschlechtersoziologie
Sozialwissenschaftliche Erhebung
Forschungsprojekt
Thanatologie

Klosterstudie


Tombstone is a 1993 American Western film directed by George P. Cosmatos, written by Kevin Jarre (who was also the original director, but was replaced early in production), and starring Kurt Russell and Val Kilmer, with Sam Elliott, Bill Paxton, Powers Boothe, Michael Biehn, and Dana Delany in supporting roles, as well as narration by Robert Mitchum.

The film is loosely based on real events that took place in the 1880s in Southeast Arizona, including the Gunfight at the O.K. Corral and the Earp Vendetta Ride. It depicts several Western outlaws and lawmen, such as Wyatt Earp, William Brocius, Johnny Ringo, and Doc Holliday.
Tombstone was released by Hollywood Pictures in theatrical wide release in the United States on December 25, 1993, grossing $73.2 million worldwide. The film was a financial success, and for the Western genre, it ranks number 16 in the list of highest-grossing films since 1979.  Six months later, the similarly themed film Wyatt Earp was released with far less commercial success. Critical reception was generally positive, with the acting, directing, and story receiving praise. Particular praise went towards Val Kilmer's memorable performance as the hard-drinking Doc Holliday. The film has become a cult classic since its release.

Plot
In 1879, members of an outlaw gang known to wear red sashes called the Cowboys, led by "Curly Bill" Brocius, ride into a Mexican town and interrupt a local police officer's wedding. They then proceed to massacre the assembled policemen in retribution for killing two of their fellow gang members. Shortly before being shot, a local priest warns them that their acts of murder and savagery will be avenged, referencing the biblical fourth horseman.

Wyatt Earp, a retired peace officer with a notable reputation, reunites with his brothers Virgil and Morgan in Tucson, Arizona, where they venture on toward Tombstone to settle down. There they encounter Wyatt's long-time friend Doc Holliday, who is seeking relief in the dry climate from his worsening tuberculosis. Josephine Marcus and Mr. Fabian are also newly arrived with a traveling theater troupe. Meanwhile, Wyatt's common-law wife, Mattie Blaylock, is becoming dependent on laudanum. Wyatt and his brothers begin to profit from a stake in a gambling emporium and saloon when they have their first encounter with the Cowboys.

As tensions rise, Wyatt is pressured to help rid the town of the Cowboys, though he is no longer a lawman. Curly Bill begins shooting at the sky after a visit to an opium den and is told by Marshal Fred White to relinquish his firearms. Curly Bill accidently shoots the marshal dead and is forcibly taken into custody by Wyatt. The arrest infuriates Ike Clanton and the other Cowboys. Curly Bill stands trial but is found not guilty due to a lack of witnesses. Virgil, unable to tolerate lawlessness, becomes the new marshal and imposes a weapons ban within the city limits. This leads to a gunfight at the O.K. Corral, in which Billy Clanton and the McLaury brothers are killed. Virgil and Morgan are wounded, and the allegiance of county sheriff Johnny Behan with the Cowboys is made clear. As retribution for the Cowboy deaths, Wyatt's brothers are ambushed; Morgan is killed, while Virgil is left handicapped. A despondent Wyatt and his family leave Tombstone and board a train, with Ike Clanton and Frank Stilwell close behind, preparing to ambush them. Wyatt sees that his family leaves safely, and then surprises the assassins. He kills Stilwell but lets Clanton live to send a message: Wyatt announces that he is a U.S. marshal and that he intends to kill any man he sees wearing a red sash. Wyatt, Doc, a reformed Cowboy named Sherman McMasters, Texas Jack Vermillion, and Turkey Creek Jack Johnson form a posse to seek revenge.

Wyatt and his posse are ambushed in a riverside forest by the Cowboys. Wyatt walks into the creek, miraculously surviving the enemy fire, and kills Curly Bill along with many of his men. Curly Bill's second-in-command, Johnny Ringo, becomes the new head of the Cowboys. When Doc's health worsens, the group is accommodated by Henry Hooker at his ranch. Ringo lures McMasters into the Cowboys' clutches under the pretense of parley and then sends a messenger (dragging McMasters' corpse) to tell Wyatt that he wants a showdown to end the hostilities; Wyatt agrees. Wyatt sets off for the showdown, not knowing that Doc has already arrived at the scene. Doc confronts a surprised Ringo, who was expecting Wyatt, and challenges him to a duel to finish their "game," which Ringo accepts (Doc and Ringo have already had a couple of stand-offs in Tombstone that were ultimately broken up). Wyatt runs when he hears a gunshot, only to encounter Doc, who has killed Ringo. They then press on to complete their task of eliminating the Cowboys, although Clanton escapes their vengeance by renouncing his red sash. Doc is sent to a sanatorium in Colorado, where he dies of his illness. At Doc's urging, Wyatt pursues Josephine to begin a new life.

Cast

Production
The film was shot primarily on location in Arizona. Shooting began in May 1993. The film was supposed to be screenwriter Kevin Jarre's first job as director but he was quickly overwhelmed by the job, failing to get needed shots and falling behind the shooting schedule. A month into filming, he was fired by producer Andrew Vajna and replaced with George P. Cosmatos. Michael Biehn, a close friend of Jarre, considered quitting. Biehn recalled feeling (director) Cosmatos "...had no understanding or appreciation of the screenplay."  By the time of Cosmatos' arrival, though, all actors stayed on board. The new director brought a demanding, hard-nosed sensibility to the set, which led to conflicts with some of the crew members (most famously with cinematographer William Fraker). Meanwhile, Kurt Russell worked quickly with producer James Jacks to pare down Jarre's sprawling script, deleting subplots and emphasizing the relationship between Wyatt and Doc.

Russell has stated that it was he, and not Cosmatos, who directed the film, as Jarre's departure led to the studio's request. Russell stated that Cosmatos was brought in as a "ghost director" as a frontman because Russell did not want it to be known that he was directing. Co-star Val Kilmer has supported Russell's statements about working heavily behind the scenes and stating that Russell "essentially" directed the film, but stopped short of saying that Russell did the actual directing. Biehn stated that Russell never directed him personally.

Cosmatos was highly focused on accurate historical detail, including the costumes, props, customs, and scenery, to give them authenticity. All the mustaches in the movie were real. Val Kilmer practiced for a long time on his quick-draw speed and gave his character a genteel Southern accent. Two locations were used to make the town of Tombstone look bigger. The scene in which Wyatt throws an abusive card dealer (Billy Bob Thornton) out of a saloon was to show that Wyatt was a man who used psychology to intimidate. Thornton's lines in the scene were ad-libbed, as he was only told to "be a bully".

Music

Soundtrack

The original motion picture soundtrack for Tombstone was originally released by Intrada Records on December 25, 1993. On March 16, 2006, an expanded two-disc version of the film score was also released by Intrada Records. The score was composed and produced by Bruce Broughton, and performed by the Sinfonia of London. David Snell conducted most of the score (although Broughton normally conducts his own scores, union problems mandated another conductor here), while Patricia Carlin edited the film's music.

The score contains strong echoes of Max Steiner's music for John Ford's The Searchers (1956) with variations on the 'Indian Traders' theme used midway through the Ford movie. The album begins with the Cinergi logo, composed by Jerry Goldsmith and conducted by Broughton.

Release

Home media
Following its cinematic release in theaters, the film was released on VHS video format on November 11, 1994. The Region 1 Code widescreen edition of the film was released on DVD in the United States on December 2, 1997. Special features for the DVD only include original theatrical trailers. A director's cut of Tombstone was also officially released on DVD on January 15, 2002. The DVD version includes a two-disc set and features "The Making of Tombstone" featurette in three parts; "An Ensemble Cast"; "Making an Authentic Western"; and "The Gunfight at the O.K. Corral". Other features include an audio commentary by director George P. Cosmatos, an interactive Tombstone timeline, the director's original storyboards for the O.K. Corral sequence, the Tombstone "Epitaph" – an actual newspaper account, the DVD-ROM feature "Faro at the Oriental: Game of Chance", and a collectible Tombstone map. This DVD release is also THX certified and features a DTS 5.1 audio track.

The widescreen high-definition Blu-ray Disc edition of the theatrical cut was released on April 27, 2010, featuring the making of Tombstone, director's original storyboards, trailers, and TV spots. A supplemental viewing option for the film in the media format of video-on-demand is available, as well.

Reception

Box office
Tombstone premiered in movie theaters six months before Lawrence Kasdan's Wyatt Earp, on December 24, 1993, in wide release throughout the United States. During its opening weekend, the film opened in third place at the US box office behind The Pelican Brief and Mrs. Doubtfire, grossing $6,454,752 in business showing at 1,504 locations. The film's revenue increased by 35% in its second week of release, earning $8,720,255. For that particular weekend, the film stayed in third place, screening in 1,955 theaters. The film went on to gross $56,505,065 in total ticket sales in the United States and Canada. It ranks 20th out of all films released in 1993. Internationally, it grossed $16.7 million for a worldwide total of $73.2 million.

Critical response
Rotten Tomatoes reported that 72% of 47 sampled critics gave the film a positive review, with an average score of 6.30/10. The site's critical consensus reads, "If you're seeking a stylish modern western with a solid story and a well-chosen ensemble cast, Tombstone is your huckleberry." Following its cinematic release in 1993, Tombstone was named "one of the 5 greatest Westerns ever made" by True West Magazine. The film was also called "One of the year's 10 best!" by KCOP-TV in Los Angeles, California. Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.

Gene Siskel and Roger Ebert of Siskel & Ebert originally thought they would have to miss reviewing the film, as they could not get a screening, but as Ebert explained, "... a strange thing started to happen. People started telling me they really liked Val Kilmer's performance in Tombstone, and I heard this everywhere I went. When you hear this once or twice, it's interesting, when you hear it a couple of dozen times, it's a trend. And when you read that Bill Clinton loved the performance, you figured you better catch up with the movie." Ultimately, Ebert recommended the movie while Siskel did not.

Ebert would later refer to Tombstone in future reviews, comparing it favorably to Kevin Costner's Wyatt Earp ("It forced the comparison upon me.") and, in his review of Wild Bill, singling out Val Kilmer's portrayal as "the definitive saloon cowboy of our time." In his review of Kurt Russell's Dark Blue, he stated, "Every time I see Russell or Val Kilmer in a role, I'm reminded of their Tombstone, which got lost in the year-end holiday shuffle and never got the recognition it deserved."

In a mixed review, Chris Hicks writing in the Deseret News said, "aside from Russell and Val Kilmer's scene-stealing, sickly, alcoholic Doc Holliday, there are so many characters coming and going, with none of them receiving adequate screen time, that it becomes difficult to keep track of them all." But he did comment, "some very entertaining moments here, with Russell spouting memorable tough-guy lines". Overall, he felt, "Taken on its own terms, with some lowered expectations, Western fans will have fun." Emanuel Levy of Variety believed the film was a "tough-talking but soft-hearted tale" which was "entertaining in a sprawling, old-fashioned manner." Regarding screenwriter Jarre's dialogue, he noted, "Despite the lack of emotional center and narrative focus, his script contains enough subplots and colorful characters to enliven the film and ultimately make it a fun, if not totally engaging experience." He also singled out Val Kilmer as the standout performance. The film was not without its detractors. James Berardinelli writing for ReelViews offered a negative review, recalling how he thought, "The first half of Tombstone isn't an example of great filmmaking, but it is engaging. There's a sense of growing inevitability as events build to the shoot-out at the OK Corral. The melodramatic "serious" moments are kept to a minimum, and the various gunfights are choreographed with style and tension. Then, at the one-hour ten-minute mark, the Clanton gang and the Earps square off. From there, things get progressively worse. Not only is the last hour anticlimactic, but it's dull. Too many scenes feature lengthy segments of poorly-scripted dialogue, and, in some cases, character motivation becomes unclear. The gunplay is more repetitious than exciting. The result—a cobbled-together morass of silly lines and shoot-outs—doesn't work well."

Stephen Holden writing in The New York Times saw the film as being a "capacious Western with many modern touches, the Arizona boom town and site of the legendary O.K. Corral has a seedy, vaudevillian grandeur that makes it a direct forerunner of Las Vegas." He expressed his satisfaction with the supporting acting, saying, "[the] most modern psychological touch is its depiction of Josephine (Dana Delany), the itinerant actress with whom Wyatt falls in love at first sight, as the most casually and comfortably liberated woman ever to set foot in 1880s Arizona." Critic Louis Black, writing for The Austin Chronicle, viewed Tombstone as a "mess" and that there were "two or three pre-climaxes but no climax. Its values are capitalist rather than renegade, which is okay if it's metaphoric rather than literal. Worse, as much as these actors heroically struggle to focus the film, the director more successfully hacks it apart." Owen Gleiberman of Entertainment Weekly gave the film a C− rating, calling it "preposterously inflated" at "135 minutes long". He observed the film as being a "three-hour rough cut that's been trimmed down to a slightly shorter rough cut" with "all that holds the film together is Kurt Russell's droll machismo." Author Geoff Andrew of Time Out commented, "Kilmer makes a surprisingly effective and effete Holliday". He negatively acknowledged that there was "a misguided romantic subplot and the ending rather sprawls" but ultimately exclaimed the film was "'rootin', tootin' entertainment with lots of authentic facial hair." Richard Harrington of The Washington Post highlighted the film's shortcomings declaring, "too much of Tombstone rings hollow. In retrospect, not much happens and little that does seems warranted. There are so many unrealized relationships you almost hope for redemption in a longer video version. This one is unsatisfying and unfulfilling." Alternately though, columnist Bob Bloom of the Journal & Courier openly remarked that the film "May not be historically accurate, but offers a lot of punch for the buck." He concluded by saying it was "A tough, guilty-pleasure Western."

Although Val Kilmer's performance as Doc Holliday was praised, he did not get an Oscar nomination for Best Supporting Actor. He was nominated for Best Male Performance and Most Desirable Male at the MTV Movie Awards.

Books
A paperback novel of the same name adapted from Kevin Jarre's screenplay, written by Giles Tippette and published by Berkley Publishers, was released on January 1, 1994. The book dramatizes the real-life events of the gunfight at the O.K. Corral and Earp Vendetta Ride, as depicted in the film. It expands on Western genre ideas in Jarre's screenplay.

The Making of Tombstone, a book about the film, was published in 2018.

Notes

References

External links

 Tombstone at the Movie Review Query Engine

 TOMBSTONE, an original screenplay by Kevin Jarre, Fourth draft, March 15, 1993

1993 films
1993 Western (genre) films
1990s biographical films
1990s historical films
Action films based on actual events
American Western (genre) films
American action drama films
American buddy action films
American biographical drama films
American folklore films and television series
American historical films
Biographical films about Wyatt Earp
Cinergi Pictures films
Cultural depictions of Big Nose Kate
Cultural depictions of Doc Holliday
Cultural depictions of Johnny Ringo
Cultural depictions of Wyatt Earp
Drama films based on actual events
Films about brothers
Films about tuberculosis
Films directed by George P. Cosmatos
Films scored by Bruce Broughton
Films set in Tombstone, Arizona
Films set in the 1880s
Films shot in Arizona
Hollywood Pictures films
Revisionist Western (genre) films
1990s English-language films
1990s American films

Tombstone (film)


Vokalni ansambl Brevis hrvatski je ženski pjevački zbor.

Povijest

Rane godine
U Osijeku je djelovalo nekoliko dječjih zborova i zborova mladih čija je umjetnička voditeljica bila prof. Jelena Burić počevši od 1989. godine. Vokalni ansambl Brevis osnovan je 1996. godine, a od 1998. godine, zajedno s Osječkim zumbićima prelazi u Glazbenu radionicu mladih Polifonija, a nakon 2018. Institut za zborsku glazbu Polifonija, i rad sa zborovima preuzimaju dr.sc. Antoaneta Radočaj-Jerković koja je aktualna ravnateljica, te Davor Dedić, dotadašnji ravnatelj i sadašnji počasni predsjednik.

Brevis nakon 1998. godine

Umjetnički identitet zbora sastoji se od izuzetno visoke razine vokalnih mogućnosti pjevačica, prepoznatljivog zborskog zvuka, originalnosti i proaktivnosti u odabiru i interpretaciji zborskog repertoara te od jedinstvenog scenskog šarma kojim ansambl na posebno dojmljiv način zaokružuje umjetnički dojam svake izvedbe. Tako osmišljeno umjetničko djelovanje intenzivno i duboko utječe na doživljaj i povezanost ansambla s publikom, stoga ne čudi što je zbor uspio osvojiti srca širokog kruga poklonika i podupiratelja u stvarnosti i na društvenim mrežama koji se broje u tisućama. O popularnosti zbora svjedoči i činjenica da se u medijima i javnosti spontano pojavio "nadimak od milja" za članice Vokalnog ansambla Brevis koje su tako u duhu osječkog žargona postale popularne kao Brevisice.

Sve članice pjevačice su s dugogodišnjim pjevačkim – solističkim i zborskim iskustvom, od kojih su mnoge i profesionalne glazbenice.

Od osnutka 1996. godine pa do danas, ansambl se profilirao kao esencijalni dionik kulturnog života Grada Osijeka i Hrvatske, predvodnik u području razvoja i obogaćenja hrvatske i svjetske zborske umjetnosti te osobito kao čuvar umjetničkih vrednota i hrvatske zborske tradicije. Kao oblik zahvalnosti prema podršci koju prima od svoje publike, zbor nerijetko društveno-angažirano promotivno djeluje te sudjeluje u brojnim humanitarnim akcijama koje za cilj imaju pomaganje potrebitima.

Svojim najvećim uspjesima Vokalni ansambl Brevis smatra nezaboravne koncertne nastupe u najprestižnijim svjetskim koncertnim dvoranama kojima je Osijek i Hrvatsku proslavio u svijetu. To su: Carnegie Hall u New Yorku (2013.), Grand Philharmonic Hall u Sankt Peterburgu (2016.) i Sydney Opera House u Sydneyu (2017.).

Dječji pjevački zbor Brevis
Dječji zbor Brevis osnovan je 2004. godine kao podmladak Vokalnog ansambla Brevis. Zbor okuplja pedesetak djevojčica i dječaka u dobi od 10 do 18 godina. Sudjelovao je u mnogim projektima zajedno s Vokalnim ansamblom Brevis – B. Britten: Mali dimnjačar (2004.), C. Orff: Carmina Burana (2005.), J. Rutter: Mass of the children (2007. i 2008.), praizvedba oratorija D. Bobić: Izaija (2009.), K. Jenkins: Adiemus (2010.), Božićni koncert Božić s Brevisima (2010. i 2011.), ali je ostvario i zapažene samostalne uspjehe. Izvodio je koncerte u Hrvatskoj, te na turnejama u Austriji, Njemačkoj, Grčkoj, Italiji, Bosni i Hercegovini i Mađarskoj.

Nagrade i priznanja
Zbor je osvajao nagrade na nacionalnim i međunarodnim natjecanjima pjevačkih zborova (prva nagrada i prvo mjesto na državnom natjecanju pjevačkih zborova u Varaždinu (pod imenom Dječji zbor GRM Polifonija) i treća nagrada na međunarodnom natjecanju zborova Il Garda in Coro u Malcesineu u Italiji).

U zboru je stasala generacija mladih pjevačica solistica koje su 2009. godine pod mentorstvom Berislava Jerkovića ostvarile pravo nastupa na međunarodnom solo-pjevačkom natjecanju u sklopu Llangollen Music Eisteddfod. Tom prigodom posebno se istakla Anja Papa koja je uz klavirsku pratnju Davora Dedića osvojila treće mjesto u kategoriji pjevača solista do 15 godina.

Repertoar
Repertoar zbora je stilski vrlo raznolik, sastoji se od skladbi u rasponu od renesansnih do suvremenih skladatelja, a karakterizira ga vokalna i interpretativna autentičnost te programska težnja za integracijom repertoara u širi umjetnički koncept. Vokalni ansambl Brevis je ponosan na činjenicu da je repertoarno vrlo utjecajan i na ostale zborove u regiji jer pjevačice i njihovi voditelji često i rado sudjeluju u različitim oblicima edukacija za zborovođe.

Diskografija
 Album Zborsko putovanje kroz šest stoljeća (2020.)

Izvori
 Vokalni ansambl Brevis, www.brevis-osijek.com
 Jedinstven i prepoznatljiv centar zborske izvrsnosti, Glas Slavonije, 21. lipnja 2018.

Vanjske poveznice
Mrežna mjesta
 Youtube kanal Vokalnog ansambla Brevis
 Glas Slavonije o albumu "Zborsko putovanje kroz šest stoljeća"
 Vokalni ansambl Brevis u Sydneyu (Osijek031.com, 16.07.2017., pristupljeno članku 09.12.2021.)
 Vokalni ansambl Brevis u Sankt Peterburgu (Hrvatska akademska zajednica domovine i dijaspore, Hazud.hr, 25.02.2016., pristupljeno članku 09.12.2021.)
 Brevisice u Sankt Peterburgu (video)
 Vokalni ansambl Brevis je nastupio u čuvenom Carnegie Hallu u New Yorku (Tportal.hr, 04.02.2013., pristupljeno članku 09.12.2021.)
 Brevisice peku kolače za financiranje puta u New York (Dnevnik.hr, 03.11.2012., pristupljeno članku 09.12.2021.)

Hrvatski pjevački zborovi
Kultura u Osijeku

Vokalni ansambl Brevis


Šarena gnojištarka ili pjegava gnojištarka (lat. Coprinopsis picacea) je nejestiva gljiva iz roda Coprinopsis. Prvi je put opisao 1785. francuski mikolog Jean Baptiste François Pierre Bulliard kao Agaricus picaceus. Ovu otrovnu vrstu ponekad se može zamijeniti s jestivom velikom gnojištarkom (lat. Coprinus comatus).

Opis
 Klobuk šarene gnojištarke je širok od 5 do 8 centimetara, visok od 4 do 6 cm, cilindrično jajolikog oblika, zatim izduženo zvonolik, opnast, smeđečehav ili crnkast, šareno pjegav s bijelim krpama; na kraju se raspada (rastopi).
 Listići su prilično gusti, vretenasti, slobodni, sivocrni i rastopivi.
 Stručak je visok od 3 do 8 centimetara, cilindričan, šupalj, vitak.
 Meso je bijelo, mekano, rastopivo; zadah neugodan.
 Spore su u masi crne, eliptične, 16 – 19 x 10 – 12 μm.

Stanište
Raste po vlažnim šumama, osobito ispod bukve, ljeti i u jesen.

Upotrebljivost
Šarena gnojištarka je bez vrijednosti.

Sličnosti
To je izvanredno lijepa i zanimljiva gljiva. Zato je ostavimo na ukras prirodi jer je dosta rijetka. Zadah ima takav da se i ne može pomisliti na jelo.

Slike

Izvori

Vanjske poveznice

Agaricales
Nejestive gljive

Šarena gnojištarka


Samuel Palmer  Hon.RE (Hon. Fellow of the Society of Painter-Etchers) (27 January 180524 May 1881) was a British landscape painter, etcher and printmaker. He was also a prolific writer. Palmer was a key figure in Romanticism in Britain and produced visionary pastoral paintings.

Early life
Palmer, who was born in Surrey Square off the Old Kent Road in Newington, London (now Walworth), was the son of a bookseller and sometime Baptist minister, and was raised by a pious nurse. Palmer painted churches from around age twelve, and first exhibited Turner-inspired works at the Royal Academy at the age of fourteen. He had little formal training, and little formal schooling, although he was educated briefly at Merchant Taylors' School.

Shoreham

Through John Linnell, he met William Blake in 1824.  Blake's influence can be seen in work he produced over the next ten years (generally reckoned to be his greatest). The works were landscapes around Shoreham, near Sevenoaks in the west of Kent. He purchased a run-down cottage, nicknamed "Rat Abbey", and lived there from 1826 to 1835, depicting the area as a demi-paradise, mysterious and visionary, often shown in sepia shades under moon and star light. There Palmer associated with a group of Blake-influenced artists known as the Ancients (including George Richmond and Edward Calvert).  They were among the few who saw the Shoreham paintings as, resulting from attacks by critics in 1825, he opened his early portfolios only to selected friends.

Palmer's somewhat disreputable father – Samuel Palmer senior – moved to the area, his brother Nathaniel having offered him an allowance that would "make him a gentleman" and restore the good name of the family.  Samuel Palmer senior rented half of the Queen Anne-era 'Waterhouse' which still stands by the River Darent at Shoreham and is now known as the 'Water House'. Palmer's nurse, Mary Ward, and his other son William joined him there. The Waterhouse was used to accommodate overflow guests from "Rat Abbey". In 1828 Samuel Palmer left "Rat Abbey" to join his father at Water House and lived there for the rest of his time in Shoreham. While at Shoreham he fell in love with the fourteen-year-old Hannah Linnell, whom he later married.

Maturity

After returning to London in 1835, and using a small legacy to purchase a house in Marylebone, Palmer produced less mystical and more conventional work. Part of his reason in returning to London was to sell his work and earn money from private teaching. He had better health on his return to London, and was by then married to Hannah, daughter of the painter John Linnell who he had known since she was a child, and married when she was nineteen and he was thirty-two. He sketched in Devonshire and Wales around this time. His peaceful vision of rural England had been disrupted by the violent rural discontent of the early 1830s. His small financial legacy was running out and he decided to produce work more in line with public taste if he was to earn an income for himself and his wife. He was following the advice of his father-in-law. Linnell, who had earlier shown remarkable understanding of the uniqueness of William Blake's genius, was not as generous with his son-in-law, towards whom his attitude was authoritarian and often harsh.

Palmer turned more to watercolour which was gaining popularity in England. To further a commercial career, the couple embarked on a two-year honeymoon to Italy, made possible by money from Hannah's parents in 1837. In Italy Palmer's palette became brighter, sometimes to the point of garishness, but he made many fine sketches and studies that would later be useful in producing new paintings. On his return to London, Palmer sought patrons with limited success. For more than two decades he was obliged to work as a private drawing master, until he moved from London in 1862. To add to his financial worries, he returned to London to find his dissolute brother William had pawned all his early paintings, and Palmer was obliged to pay a large sum to redeem them. By all accounts Palmer was an excellent teacher, but the work with uninspired students reduced the time he could devote to his own art.

Later years
From the early 1860s he gained some measure of critical success for his later landscapes, which had a touch of the early Shoreham work about them – most notable is the etching of The Lonely Tower (1879).  He became a full member of the Water Colour Society in 1854, and its annual show gave him a yearly goal to work towards.

His best late works include a series of large watercolours illustrating Milton's poems L'Allegro and Il Penseroso and his etchings, a medium in which he worked from 1850 onwards, including a set illustrating Virgil.

Palmer's later years were darkened by the death in 1861, at the age of 19, of his elder son Thomas More Palmer – a devastating blow from which he never fully recovered. He lived in various places later in his life, including a small cottage and an unaffordable villa both in Kensington, where he lived at 6 Douro Place, then a cottage at Reigate. But it was only when a small measure of financial security came his way, that was he able to move to Furze Hill House in Redhill, Surrey, from 1862.  He could not afford to have a daily newspaper delivered to Redhill, suggesting that his financial circumstances there were still tight.

Palmer died in Redhill, Surrey, and is buried with his wife in St Mary's, Reigate churchyard.

Legacy

Surge in the 1960s
Palmer was largely forgotten after his death. In 1909, many of his Shoreham works were destroyed by his surviving son Alfred Herbert Palmer, who burnt "a great quantity of father's handiwork ... Knowing that no one would be able to make head or tail of what I burnt; I wished to save it from a more humiliating fate".  The destruction included "sketchbooks, notebooks, and original works, and lasted for days".  Interest in his work was rekindled in 1926 by a show curated by Martin Hardie at the Victoria & Albert Museum: Drawings, Etchings and Woodcuts made by Samuel Palmer and other Disciples of William Blake.  In the ensuing decades, the publication of two important books and the presentation of another London exhibition combined to trigger a surge in his popularity: Geoffrey Grigson's, Samuel Palmer: The Visionary Years (280 pages, with 68 photo illustrations, 1947), the Arts Council of Great Britain's 1956-57 exhibition: Samuel Palmer and his circle - The Shoreham period, and Grigson's follow-up, Samuel Palmer's Valley of Vision (forty-eight plates, a selection of Palmer's writings, 1960). In the 1930s, the maximum price a Shoreham period drawing brought was around £50. Three sold in the early 1960s —  Weald of Kent, The Evening Star, and Cow Lodge with a Mossy Roof — for £6000, £5200, and £7200. Leger  Gallery purchased the diminutive watercolour The Golden Valley in 1969 for £14,000. In a 2003 auction at Christie's, it brought £587,650.

The renewed popularity of his Shoreham work influenced a succession of English artists, notably F. L. Griggs, Robin Tanner, Graham Sutherland, Paul Drury, Joseph Webb, Eric Ravilious, John Minton, the glass engraving of Laurence Whistler, Franklin White and Clifford Harper. He also inspired a resurgence in twentieth-century landscape printmaking, which began amongst students at Goldsmiths' College in the 1920s. (See: Jolyon Drury, 2006)

Controversy in the 1970s
Palmer received a great deal of media attention in the 1970s, following the discovery of a number of fakes of his Shoreham work produced by famous art forger, Tom Keating. In February 1970, Geraldine Norman, Sale Room Correspondent for The Times, published a glowing report on a rare Shoreham Palmer painting, which 'probably dates from 1831', Shepherds with their Flock under a Full Moon, that was purchased by a major Bond Street gallery for £9400. At the top of the page was a four-column-width photo of the picture. A month later, David Gould, an authority on Victorian paintings with a special interest in Palmer, wrote a Letter to the Editor calling it a fake.

In June 1973, Norman reported that a Palmer landscape, The Horse Chestnut Tree, sold at Sotheby's for £15,000. Shortly thereafter, Gould privately alleged to Norman that it too, was dubious. In 1974 Gould told Norman he had identified six more Palmer fakes, and he believed all were done by the same hand.

In 1976, Norman began researching over a dozen suspect Palmers, and after consulting with recognized Palmer experts from the Ashmolean, Fitzwilliam, Tate, and British Museums, as well as author Geoffrey Grigson, she published an article on 16 July 1976, on page one of The Times, asserting that thirteen Palmer pictures that had appeared on the market over the previous decade were forgeries. Several tips from readers convinced her the master faker she was looking for was Tom Keating, a picture restorer in Dedham, Essex, whom she named in another page one article the following month. A few days later, Keating wrote a Letter to The Times, confessing to 'flooding the market' with fakes –– not for material gain, but rather as a protest against greedy art merchants –– adding that he couldn't imagine how anyone could believe his 'crude daubs' were authentic. The lead story in the Daily Express the same day read, 'I FAKED THE LOT!'

The following week, Mr. Hugh Leggatt, a well-respected art dealer in Westminster, offered to host an exhibition of Keating's 'Palmers' at his gallery in St James's Street. The Cecil Higgins Museum in Bedford had a Palmer called A Barn at Shoreham, purchased in 1965, on advice by Edward Croft Murray, the Keeper of Pictures at the British Museum, that it was authentic. They took it down in August 1976 when it was discovered to be a Keating fake. They rehung it four months later. Museum trustees commented 'that there seemed to be more public interest in the drawing now it was known to be a fake than there had been in the genuine article.' A Barn at Shoreham remains on view in the museum's art store.

Norman went on to publish a total of eleven articles on the scandal, from July 1976 to February 1977, for which she won the British Press Awards News Reporter of the Year. In June 1977 she published an essay on Art Trading and Art Faking, in Keating's autobiography, as well as a companion book The Tom Keating Catalogue, with descriptions and photo illustrations of 166 of his known pastiches, including 26 Palmers, which she hoped would provide scholars, collectors, and art dealers with sufficient information to detect his work, and help locate and identify as many of them as possible.

Keating later claimed to have painted upwards of eighty fake Palmers, most of them moonlit scenes in dark sepia wash, heightened with white. Four of them sold for thousands of pounds each, including The Horse Chestnut Tree, which Sotheby's auctioned in June 1973 for £15,000 — 'a record price for the artist'. These same four pictures were illustrated in James Sellars' 1974 monograph, Samuel Palmer, and their sales resulted in Keating being arrested and put on trial for art fraud at the Old Bailey in 1979. He was later released due to failing health, and all charges were dropped. In the May 1977 BBC1 documentary, A Picture of Tom Keating, the master forger, commenting on Palmer's captivating self portrait (see at top of this page), called him 'a child genius, who's eyes stare at me with a majesty and beauty... I look back on them now and say I'm not ashamed of what I've done, because his name is now more famous than ever.'

Times journalist David Carritt replied: 'How insulting Palmer would have found the new stock...his magic vision diluted by a crop of heartless impostures, conceived in spite and peddled for gain'.

21st century retrospectives
On the bicentenary of the artist's birth, a major retrospective showcasing a hundred and seventy of his watercolours, drawings, etchings and oils from public and private collections around the world, was organized by the British Museum and the Metropolitan Museum of Art. Exhibited first in London from October 2005 to January 2006, then in New York from March to May 2006, Samuel Palmer: Vision and Landscape, emphasized his early work, but included more naturalistic watercolours, such as Scene from Lee, and A Cascade in Shadow, from his travels in Devon and Wales (1834-1836), as well as Cypresses at the Villa d'Este, and A View of Ancient Rome, from an ill-fated, two-year sojourn to Italy, with his new bride Hannah and his friend, George Richmond, and his wife (1837-38). The show concluded with works done after his return to England in 1840, such as the watercolour, Christian Descending into the Valley of Humiliation and the etchings, The Weary Ploughman, The Bellman, and The Lonely Tower.

In 2012, the Fine Art Society staged Samuel Palmer, His Friends and Followers, a London exhibition of Palmer's influential visionary landscapes, along with works by Edward Calvert, George Richmond, Frederick Griggs, Paul Drury, Graham Sutherland, and Robin Tanner.

Commemorations
There are three commemorative plaques to Palmer. An unofficial blue plaque is located at Palmer's birthplace at Surrey Square. The Grade II listed Waterhouse, in Shoreham, Kent, has a plaque on it commemorating Palmer's residence there from 1827 to 1835. A Greater London Council blue plaque is located at 6 Douro Place, Kensington W8, marking that Palmer lived there from 1851 to 1861. His last home was The Chantry (the former Furze Hill Place), at Cronks Hill, near Redhill, which is Grade II listed for the Palmer connection.

The oldest house in Shoreham, Kent, is called Reed Beds, but is also known as the Samuel Palmer School of Fine Art. The National Portrait Gallery holds an 1829 portrait of Palmer by his friend George Richmond; the NPG's catalogue notes state that Palmer's expression and long hair recall Albrecht Dürer's 1500 self-portrait as Christ.

Palmer Close, a cul-de-sac in Redhill (built in the 1960s) was named in his honour.

Writings
An address to the Electors of West Kent: Pamphlet, 1832
The 1861 Lives Balance Sheet:  Epitaph on death of his son Thomas More Palmer
 On going to Shoreham, Kent to design from Ruth: A prayer, 1826
 With pipe and rural chaunt along: A poem, Samuel Palmer's Sketchbook 1824, British Museum Facsimile Published by William Blake Trust in 1862

References

Further reading
 Campbell-Johnston, Rachel (2011). Mysterious Wisdom: The Life and Work of Samuel Palmer. London, Bloomsbury.
 Drury, Jolyon (2006). Revelation to Revolution: The Legacy of Samuel Palmer. The Revival and Evolution of Pastoral Printmaking by Paul Drury and the Goldsmiths School in the 20th Century. (Self-published.)
 Grigson, Geoffrey (1947). Samuel Palmer: The Visionary Years. London: Kegan Paul.
 Grigson, Geoffrey (1960). Samuel Palmer's Valley of Vision. London: Phoenix House.
 Herring, Sarah (1988). "Samuel Palmer's Shoreham drawings in Indian ink: a matter of light and shade". Apollo vol. 148, no. 441 (November 1998), pp. 37–42.
 Lister, Raymond (1974). Samuel Palmer, A Biography Faber and Faber, London
 Lister, Raymond ed (1974). The Letters of Samuel Palmer OUP, Oxford 1974.
 Lister, Raymond (1988). Catalogue Raisonné of the Works of Samuel Palmer. Cambridge University Press.
 Lister, Raymond (1986). The Paintings of Samuel Palmer. Cambridge University Press, 1986.
 Palmer, A. H. (1892). The Life and Letters of Samuel Palmer Painter and Etcher (1892; facsimile reprint 1972).
 Sellars, James (1974). Samuel Palmer (1st ed.). London: Academy Editions Ltd (a division of John Wiley & Sons Ltd.).
 Shaw-Miller, S. and Smiles, S. eds (2010). Samuel Palmer Revisited. Ashgate, 2010.
 Twohig, E. (2018) "Print REbels: Haden - Palmer - Whistler and the origins of the RE", Royal Society of Painter-Printmakers, London.
 Vaughan, W. and Barker, E. E. (2005). Samuel Palmer 1805-1881 Vision and Landscape. [Exhibition catalogue, British Museum, London, & Metropolitan Museum, New York.]
 Vaughan, W. (2015). Samuel Palmer: Shadows on the wall. New Haven and London: Yale University Press.

External links

Page at the Tate Gallery with several images of Palmer's work
British Museum page about Palmer exhibition

1805 births
1881 deaths
People from Newington, London
People from Shoreham, Kent
19th-century English painters
English male painters
English landscape painters
English printmakers
English romantic painters
English watercolourists
People educated at Merchant Taylors' School, Northwood
Artists from Kensington
19th-century English male artists

Samuel Palmer


Saga Airlines era uma companhia aérea charter com sede em Istambul, Turquia, que atendia à indústria do turismo.

História
A companhia aérea foi fundada em 2004 e iniciou suas operações em junho de 2004. Era propriedade de Abdulkadir Kolot. A Saga Airlines encerrou suas operações em 2013.

Destinos

Frota

A frota da Saga Airlines consistia nas seguintes aeronaves:

Ver também

 Lista de companhias aéreas fora de operação

Ligações externas

 Sítio oficial

Marcas da Turquia
Empresas aéreas extintas em 2013
Empresas aéreas fundadas em 2004
Empresas aéreas extintas da Turquia

Saga Airlines


توماس وارتون  (9 يناير 1728- 21 مايو 1790)، ناقد و مؤرخ أدبي وشاعر إنجليزي. وقد كان في الفترة الممتدة بين 1785 حتى 1790 شاعر البلاط في إنجلترا.

روابط خارجية

مراجع

شعراء إنجليز
شعراء إنجليز في القرن 18
كتاب إنجليز في القرن 18
كتاب غير روائيين ذكور إنجليز
كتاب في القرن 18
مواليد 1728
نقد أدبي إنجليزي
وفيات 1790
وفيات في أكسفورد

خريجو كلية الثالوث الأقدس

أشخاص متعلمون في كلية ونشستر

أعضاء نادي ليلي
كتاب ذكور إنجليز في القرن 18
أشخاص من باسينجستوك

توماس وارتون


Hercegovački ustanak je bio ustanak Hrvata protiv osmanske vladavine 1875. godine.

Povijest
Hercegovački su Hrvati bili izlagani pritscima. Od 1852. godine Osmanlije su pokušavale graditi u Neumu, što je Habsburška Monarhija oštro sprječavala, a zauzvrat ni Turska nije dopuštala odgovarajuće popravke francuske ceste preko neumskoga područja. Od tih vremena stalno se pogoršavao položaj Hrvata u Hercegovini. Situacija je pogodovala podizanju tenzija i ustanku. Ruska priprava za rat s Turskom 1874. godine pogodovala je ustanku. Uskoro je Austro-Ugarska poduzela prve mjere. Car i kralj Franjo Josip I. među ostalim putovao je uz hercegovačku granicu. Putovanja su bila da bi kršćansku raju uzduž granice potakao na pobunu protiv Turaka. Već proljeća 1875. počela su prva jasna govorkanja o pobuni po hercegovačkim selima. Odluka o dizanju općeg ustanka donesena je na sastancima lokalnih hrvatskih i srpskih prvaka. Hrvatska je pobuna izbila 19. lipnja, a srpska dvadesetak dana poslije.

Pritisnuti nevoljama, Hrvati donje Hercegovine digli su ustanak. Izbio je 19. lipnja 1875. godine. U Neumu je turske "kordune" razoružao Ivan (Iviša) Konjevod, a za njim se odmetnulo mnogo Neumljana i drugih seljana. Pod pritiskom drugih europskih država Austro-Ugarska je dopustila iskrcavanje turskih vojnih trupa u Kleku na svom teritoriju na vrhu neumskog poluotoka. Neumsko je područje postalo jedno od većih žarišta sukoba. Dana 4. kolovoza iskrcalo se oko 1000 dobro naoružanih i opremljenih regularnih turskih vojnika. Oko Velike Gospe prema njima su pošle vojne postrojbe iz unutrašnjosti koje su putem rušile, pljačkale i palile. Opustošile su područje od Hrasna do Neuma. Dopisnik engleskoga The Timesa, Amerikanac William James Stillman, je izvijestio s putovanja cestom kroz neumsko područje o spaljenoj svakoj kući pokraj puta. Hrvatski ustanici uspješno su omeli dovoz svježih turskih snaga. Ističu se bitke u Vranjevu Selu, Klepovici, Prapratnici i na Kolojanju. Jedni od vođa ustanka bili su potkomandir serdar Lazar Previšić, fra Stjepan Krešić i fra Bono Sarić.

Stoljeća nasilja i podređenosti Osmanlijama protekla su, sve do lipnja 1875. godine kad je izbio pod vodstvom don Ivana Musića izbio u Hercegovini ustanak kršćanskog stanovništva protiv osmanske vlasti. Razgovaravši s austrijskim diplomatima tražio je "da doljnja Hercegovina pane pod Austriju".

Novu dimenziju ustanak dobio je kad su mu se pridružili i srpski seljaci. Poslije toga proširio se na veći dio najzapadnijih pokrajina Carstva, postao europski problem i osnovana je posebna komisija od predstavnika europskih vlada koja je trebala istražiti uzroke ustanka.

Vojvoda Musić je otputovao u Beč i izborio poseban status donje Hercegovine. Postala je gotovo pa slobodni teritorij. Vojvodina Donja Hercegovina je kao praktično slobodna zemlja dočekala zaposjedanje BiH nakon Berlinskoga kongresa 1878. godine. Musićeve snage tada su odigrale važnu ulogu prigodom oslobađanja Stoca i Trebinja.

Kriza je riješena odlukama Berlinskog kongresa. Austro-Ugarska vojska ljeta 1878. godine u umarširala je u BiH, gdje su naišli na otpor, osobito kod Stoca.

Vidi
 ustanak u livanjskom kraju 1875.

Izvori

Vanjske poveznice
 Fondacija Ruđer Bošković Donja Hercegovina Putovima Hercegovačkog ustanka 1875. – 1878.: kuća serdara Kukice iz Cicrine, Trebinja, 1. kolovoza 2004.

Neum
Povijest Hrvata Bosne i Hercegovine
Bosna i Hercegovina u Osmanskom Carstvu
Bosna i Hercegovina pod Austro-Ugarskom

Hercegovački ustanak 1875.


An Neobolusia tysonii in uska species han Liliopsida nga syahan ginhulagway ni Harry Bolus, ngan ginhatag han pagkayana nga asya nga ngaran ni Schltr.. An Neobolusia tysonii in nahilalakip ha genus nga Neobolusia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Neobolusia

Neobolusia tysonii


Yoeri Havik (født 19. februar 1991 i Zaandam) er en hollandsk cykelrytter. Hans foretrukne disciplin er banecykling, men han har også vundet løb på landevej.

Havil har vundet flere seksdagesløb. Ved Københavns seksdagesløb er det fra 2017 til 2019 blevet til én andenplads og to tredjepladser.

Eksterne henvisninger

Mandlige cykelryttere fra Nederlandene
Cykelryttere ved sommer-OL 2020

Yoeri Havik


O Retábulo de Nossa Senhora da Vida é um pintura em azulejo datada de 1580 e atribuída ao pintor português Marçal de Matos. Proveniente da Capela de Nossa Senhora da Vida, da já demolida Igreja de Santo André em Lisboa, encontra-se agora exposto no Museu Nacional do Azulejo. É hoje entendido como um marco do azulejo português do século XVI, e uma das peças mas importantes da história da azulejaria no país. É destacado pelo aprimorado uso da técnica pictórica do trompe l'oeil e pelo naturalismo figurativo das suas representações, de uma afirmação incomparável na restante produção azulejar conhecida em Portugal no século XVI.

Iconografia
O painel apresenta ao centro uma representação do tema iconográfico da Adoração dos Pastores, colocando-se do lado esquerdo, num nicho separado por colunas coríntias, São João Evangelista, e do lado direito, São Lucas. Por cima, num frontão semi-circular, está uma representação do tema iconográfico da Anunciação, inspirado por uma pintura, entretanto desaparecida, da autoria do pintor italiano Ticiano, mas da qual se preserva uma gravura da autoria de Giovanni Jacopo Caraglio.

Motivos Decorativos
O retábulo pintado, procurando simular uma estrutura arquitetónica através da profundidade concedida pelo uso da perspetiva linear, e recorrendo à técnica pictórica do trompe l'oeil, é estruturado ao centro por 4 colunas coríntias, decoradas por enrolamentos de hera, e assentes numa de cantaria onde se inscrevem cabeças de leão, alternadas pelo motivo ornamental da ponta de diamante. Um entablamento decorado por brutescos de folhas de acanto separa a secção central da secção superior, onde se inscreve um enquadramento de folhagens a lembrar as representações cerâmicas de Andrea della Robia.

Referências

Pinturas

Retábulo de Nossa Senhora da Vida


Melete es un género de mariposas de la familia Pieridae.

Descripción

Especie tipo por designación original Pieris limnoria Godart, 1819.

Diversidad
Existen 6 especies reconocidas en el género, todas ellas tienen distribución neotropical.

Especies
 Melete calymnia (Felder, C & R Felder, 1862)
 Melete leucadia (Felder, C & R Felder, 1862)
 Melete leucanthe (Felder, C & R Felder, 1861)
 Melete lycimnia (Cramer, 1777)
 Melete polyhymnia (Felder, C & R Felder, 1865)
 Melete salacia (Godart, 1819)

Plantas hospederas

Las especies del género Melete se alimentan de plantas de las familias Verbenaceae, Santalaceae, Loranthaceae. Las plantas hospederas reportadas incluyen los géneros Petitia, Phoradendron, Phthirusa, Struthanthus.

Referencias

Pierini

Melete (género)