Louise Elisabeth Glück ( ; April 22, 1943 – October 13, 2023) was an American poet and essayist. She won the 2020 Nobel Prize in Literature, whose judges praised "her unmistakable poetic voice that with austere beauty makes individual existence universal". Her other awards include the Pulitzer Prize, National Humanities Medal, National Book Award, National Book Critics Circle Award, and Bollingen Prize. From 2003 to 2004, she was Poet Laureate of the United States.

Glück was born in New York City and raised on Long Island. She began to suffer from anorexia nervosa while in high school and later overcame the illness. She attended Sarah Lawrence College and Columbia University but did not obtain a degree. In addition to being an author, she taught poetry at several academic institutions.

Glück is often described as an autobiographical poet; her work is known for its emotional intensity and for frequently drawing on mythology or nature imagery to meditate on personal experiences and modern life. Thematically, her poems have illuminated aspects of trauma, desire, and nature. In doing so, they have become known for frank expressions of sadness and isolation. Scholars have also focused on her construction of poetic personas and the relationship, in her poems, between autobiography and classical myth.

Glück served as the Frederick Iseman Professor in the Practice of Poetry at Yale University and as a professor of English at Stanford University. She split her time between Cambridge, Massachusetts; Montpelier, Vermont; and Berkeley, California.

Biography

Early life
Louise Glück was born in New York City on April 22, 1943. She was the elder of two surviving daughters of Daniel Glück, a businessman, and Beatrice Glück (née Grosby), a homemaker.

Glück's mother was of Russian Jewish descent. Her paternal grandparents, Terézia (née Moskovitz) and Henrik Glück, were Hungarian Jews from Érmihályfalva, Bihar County, in what was then the Kingdom of Hungary,  Austro-Hungarian Empire (present-day Romania); her grandfather ran a timber company called "Feldmann és Glück". They emigrated to the United States in December 1900 and eventually owned a grocery store in New York. Glück's father, who was born in the United States, had an ambition to become a writer, but went into business with his brother-in-law. Together, they achieved success when they invented the X-Acto knife. Glück's mother was a graduate of Wellesley College. In her childhood, Glück's parents taught her Greek mythology and classic stories such as the life of Joan of Arc. She began to write poetry at an early age.

As a teenager, Glück developed anorexia nervosa, which became the defining challenge of her late teenage and young adult years. She described the illness, in one essay, as the result of an effort to assert her independence from her mother. Elsewhere, she connected her illness to the death of an elder sister, an event that occurred before she was born. During the fall of her senior year at George W. Hewlett High School, in Hewlett, New York, she began psychoanalytic treatment. A few months later, she was taken out of school in order to focus on her rehabilitation, although she still graduated in 1961. Of that decision, she wrote, "I understood that at some point I was going to die. What I knew more vividly, more viscerally, was that I did not want to die". She spent the next seven years in therapy, which she credited with helping her to overcome the illness and teaching her how to think.

As a result of her condition, Glück did not enroll in college as a full-time student. She described her decision to forgo higher education in favor of therapy as necessary: "… my emotional condition, my extreme rigidity of behavior and frantic dependence on ritual made other forms of education impossible". Instead, she took a poetry class at Sarah Lawrence College and, from 1963 to 1966, she enrolled in poetry workshops at Columbia University's School of General Studies, which offered courses for non-degree students. While there, she studied with Léonie Adams and Stanley Kunitz. She credited these teachers as significant mentors in her development as a poet.

Career
While attending poetry workshops, Glück began to publish her poems. Her first publication was in Mademoiselle, followed soon after by poems in Poetry, The New Yorker, The Atlantic Monthly, The Nation, and other venues. After leaving Columbia, Glück supported herself with secretarial work. She married Charles Hertz Jr. in 1967. In 1968, Glück published her first collection of poems, Firstborn, which received some positive critical attention. In a review, the poet Robert Hass described the book as "hard, artful, and full of pain". However, reflecting on it in 2003, the critic Stephanie Burt said the collection "revealed a forceful but clotted poet, an anxious imitator of Robert Lowell and Sylvia Plath". Following the publication, Glück experienced a prolonged case of writer's block, which was only cured, she said, after 1971, when she began to teach poetry at Goddard College in Vermont. The poems she wrote during this time were collected in her second book, The House on Marshland (1975), which many critics have regarded as her breakthrough work, signaling her "discovery of a distinctive voice".

In 1973, Glück gave birth to a son. Her marriage to Charles Hertz, Jr. ended in divorce, and in 1977 she married John Dranow, an author who had started the summer writing program at Goddard College. In 1980, Dranow and Francis Voigt, the husband of poet Ellen Bryant Voigt, co-founded the New England Culinary Institute as a private, for-profit college. Glück and Bryant Voigt were early investors in the institute and served on its board of directors.

In 1980, Glück's third collection, Descending Figure, was published. It received some criticism for its tone and subject matter: for example, the poet Greg Kuzma accused Glück of being a "child hater" for her now anthologized poem, "The Drowned Children". On the whole, however, the book was well received. In The American Poetry Review, Mary Kinzie praised the book's illumination of "deprived, harmed, stammering beings". Writing in Poetry, the poet and critic J. D. McClatchy said the book was "a considerable advance on Glück's previous work" and "one of the year's outstanding books". That same year, a fire destroyed Glück's house in Vermont, resulting in the loss of most of her possessions.

In the wake of that tragedy, Glück began to write the poems that would later be collected in her award-winning work, The Triumph of Achilles (1985). Writing in The New York Times, the author and critic Liz Rosenberg described the collection as "clearer, purer, and sharper" than Glück's previous work. The critic Peter Stitt, writing in The Georgia Review, declared that the book showed Glück to be "among the important poets of our age". From the collection, the poem "Mock Orange", which has been likened to a feminist anthem, has been called an "anthology piece" because of its frequent inclusion in poetry anthologies and college courses.

In 1984, Glück joined the faculty of Williams College in Massachusetts as a senior lecturer in the English Department. The following year, her father died. The loss prompted her to begin a new collection of poems, Ararat (1990), the title of which references the mountain of the Genesis flood narrative. Writing in The New York Times in 2012, the critic Dwight Garner called it "the most brutal and sorrow-filled book of American poetry published in the last 25 years". Glück followed this collection with one of her most popular and critically acclaimed books, The Wild Iris (1992), which features garden flowers in conversation with a gardener and a deity about the nature of life. Publishers Weekly proclaimed it an "important book" that showcased "poetry of great beauty". The critic Elizabeth Lund, writing in The Christian Science Monitor, called it "a milestone work". It went on to win the Pulitzer Prize in 1993, cementing Glück's reputation as a preeminent American poet.

While the 1990s brought Glück literary success, it was also a period of personal hardship. Her marriage to John Dranow ended in divorce in 1996, the difficult nature of which affected their business relationship, resulting in Dranow's removal from his positions at the New England Culinary Institute. Glück channeled her experience into her writing, entering a prolific period of her career. In 1994, she published a collection of essays called Proofs & Theories: Essays on Poetry. She then produced Meadowlands (1996), a collection of poetry about the nature of love and the deterioration of a marriage. She followed it with two more collections: Vita Nova (1999) and The Seven Ages (2001).

In 2004, in response to the terrorist attacks of September 11, 2001, Glück published a chapbook entitled October. Consisting of one poem divided into six parts, it draws on ancient Greek myth to explore aspects of trauma and suffering. That same year, she was named the Rosenkranz Writer in Residence at Yale University.

After joining the faculty of Yale, Glück continued to publish poetry. Her books published during this period include Averno (2006), A Village Life (2009), and Faithful and Virtuous Night (2014). In 2012, the publication of a collection of a half-century's worth of her poems, entitled Poems: 1962–2012, was called "a literary event". Another collection of her essays, entitled American Originality, appeared in 2017.

In October 2020, Glück was awarded the Nobel Prize in Literature, becoming the sixteenth female literature laureate since the prize was founded in 1901. Due to restrictions caused by the COVID-19 pandemic, she received her prize at her home. In her Nobel lecture, which was delivered in writing, she highlighted her early engagement with poetry by William Blake and Emily Dickinson in discussing the relationship between poets, readers, and the wider public.

In 2021, Glück's collection, Winter Recipes from the Collective, was published. In 2022, she was named the Frederick Iseman Professor in the Practice of Poetry at Yale. In 2023, she was appointed a professor of English at Stanford University, where she taught in the Creative Writing Program.

Personal life
Glück's elder sister died young before Glück was born. Her younger sister, Tereze (1945–2018), worked at Citibank as a vice president and was also a writer, winning the Iowa Short Fiction Award in 1995 for her book, May You Live in Interesting Times. Glück's niece is the actress Abigail Savage.

She remained a close confidant and friend to Vermont novelist Kathryn Davis throughout her life. The two often corresponded to share their developing works, seeking creative advice throughout their lengthy friendship and writing careers.

Glück died from cancer at home in Cambridge, Massachusetts, on October 13, 2023, at age 80.

Work

Glück's work has been the subject of academic study. Her papers, including manuscripts, correspondence, and other materials, are housed at the Beinecke Rare Book and Manuscript Library at Yale University.

Form
Glück is best known for lyric poems of linguistic precision and dark tone. The poet Craig Morgan Teicher has described her as a writer for whom "words are always scarce, hard won, and not to be wasted". The scholar Laura Quinney has argued that her careful use of words put Glück into "the line of American poets who value fierce lyric compression", from Emily Dickinson to Elizabeth Bishop. Glück's poems shifted in form throughout her career, beginning with short, terse lyrics composed of compact lines and expanding into connected book-length sequences. Her work is not known for poetic techniques such as rhyme or alliteration. Rather, the poet Robert Hahn has called her style "radically inconspicuous" or "virtually an absence of style", relying on a voice that blends "portentous intonations" with a conversational approach.

Among scholars and reviewers, there has been discussion as to whether Glück is a confessional poet, owing to the prevalence of the first-person mode in her poems and their intimate subject matter, often inspired by events in Glück's personal life. The scholar Robert Baker has argued that Glück "is surely a confessional poet in some basic sense", while the critic Michael Robbins has argued that Glück's poetry, unlike that of confessional poets Sylvia Plath or John Berryman, "depends upon the fiction of privacy". In other words, she cannot be a confessional poet, Robbins argues, if she does not address an audience. Going further, Quinney argues that, to Glück, the confessional poem is "odious". Others have noted that Glück's poems can be viewed as autobiographical, while her technique of inhabiting various personas, ranging from ancient Greek gods to garden flowers, renders her poems more than mere confessions. As the scholar Helen Vendler has noted: "In their obliquity and reserve, [Glück's poems] offer an alternative to first-person 'confession', while remaining indisputably personal".

Themes
While Glück's work is thematically diverse, scholars and critics have identified several themes that are paramount. Most prominently, Glück's poetry can be said to focus on trauma, as she wrote throughout her career about death, loss, suffering, failed relationships, and attempts at healing and renewal. The scholar Daniel Morris notes that even a Glück poem that uses traditionally happy or idyllic imagery "suggests the author's awareness of mortality, of the loss of innocence". The scholar Joanne Feit Diehl echoes this notion when she argues that "this 'sense of an ending' … infuses Glück's poems with their retrospective power", pointing to her transformation of common objects, such as a baby stroller, into representations of loneliness and loss. Yet, for Glück, trauma was arguably a gateway to a greater appreciation of life, a concept explored in The Triumph of Achilles. The triumph to which the title alludes is Achilles' acceptance of mortality—which enables him to become a more fully realized human being.

Another of Glück's common themes is desire. Glück wrote directly about many forms of desire—for example, the desire for love or insight—but her approach is marked by ambivalence. Morris argues that Glück's poems, which often adopt contradictory points of view, reflect "her own ambivalent relationship to status, power, morality, gender, and, most of all, language". The author Robert Boyer has characterized Glück's ambivalence as a result of "strenuous self-interrogation". He argues that "Glück's poems at their best have always moved between recoil and affirmation, sensuous immediacy and reflection … for a poet who can often seem earthbound and defiantly unillusioned, she has been powerfully responsive to the lure of the daily miracle and the sudden upsurge of overmastering emotion". The tension between competing desires in Glück's work manifests both in her assumption of different personas from poem to poem and in her varied approach to each collection of her poems. This led the poet and scholar James Longenbach to declare that "change is Louise Glück's highest value" and "if change is what she most craves, it is also what she most resists, what is most difficult for her, most hard-won".

Another of Glück's preoccupations was nature, the setting for many of her poems. In The Wild Iris, the poems take place in a garden where flowers have intelligent, emotive voices. However, Morris points out that The House on Marshland is also concerned with nature and can be read as a revision of the Romantic tradition of nature poetry. In Ararat, too, "flowers become a language of mourning", useful for both commemoration and competition among mourners to determine the "ownership of nature as a meaningful system of symbolism". Thus, in Glück's work nature is both something to be regarded critically and embraced. The author and critic Alan Williamson has said it can also sometimes suggest the divine, as when, in the poem "Celestial Music", the speaker states that "when you love the world you hear celestial music", or when, in "The Wild Iris", the deity speaks through changes in weather.

Glück's poetry is also notable for what it avoids. Morris argues that

Influences
Glück pointed to the influence of psychoanalysis on her work, as well as her early learning in ancient legends, parables, and mythology. In addition, she credited the influence of Léonie Adams and Stanley Kunitz. Scholars and critics have pointed to the literary influence on her work of Robert Lowell, Rainer Maria Rilke, and Emily Dickinson, among others.

Honors
Glück received numerous honors for her work. Below are honors she received for both her body of work and individual works.

Honors for body of work

 Rockefeller Foundation Fellowship (1967)
National Endowment for the Arts Fellowship (1970)
 Guggenheim Fellowship for Creative Arts (1975)
 National Endowment for the Arts Fellowship (1979)
 American Academy of Arts and Letters Award in Literature (1981)
 Guggenheim Fellowship for Creative Arts (1987)
 National Endowment for the Arts Fellowship (1988)
 Honorary Doctorate, Williams College (1993)
 American Academy of Arts and Sciences, Elected Member (1993)
 Vermont State Poet (1994–1998)
 Honorary Doctorate, Skidmore College (1995)
 Honorary Doctorate, Middlebury College (1996)
 American Academy of Arts and Letters, Elected Member (1996)
 Lannan Literary Award (1999)
 School of Humanities, Arts, and Social Sciences 50th Anniversary Medal, MIT (2001)
 Bollingen Prize (2001)
 Poet Laureate of the United States (2003–2004)
 Wallace Stevens Award of the Academy of American Poets (2008)
 Aiken Taylor Award for Modern American Poetry (2010)
 American Academy of Achievement, Elected Member (2012)
 American Philosophical Society, Elected Member (2014)
 American Academy of Arts and Letters Gold Medal in Poetry (2015)
 National Humanities Medal (2015)
 Tranströmer Prize (2020)
 Nobel Prize in Literature (2020)
Honorary Doctorate, Dartmouth College (2021)

Honors for individual works

 Melville Cane Award for The Triumph of Achilles (1985)
 National Book Critics Circle Award for The Triumph of Achilles (1985)
 Rebekah Johnson Bobbitt National Prize for Poetry for Ararat (1992)
 William Carlos Williams Award for The Wild Iris (1993)
 Pulitzer Prize for The Wild Iris (1993)
 PEN/Martha Albrand Award for First Nonfiction for Proofs & Theories: Essays on Poetry (1995)
 Ambassador Book Award of the English-Speaking Union for Vita Nova (2000)
 Ambassador Book Award of the English-Speaking Union for Averno (2007)
 L.L. Winship/PEN New England Award for Averno (2007)
 Los Angeles Times Book Prize for Poems 1962–2012 (2012)
 National Book Award for Faithful and Virtuous Night (2014)

In addition, The Wild Iris, Vita Nova, and Averno were all finalists for the National Book Award. The Seven Ages was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. A Village Life was a finalist for the National Book Critics Circle Award and the Griffin International Poetry Prize.

Glück's poems have been widely anthologized, including in the Norton Anthology of Poetry, the Oxford Book of American Poetry, and the Columbia Anthology of American Poetry.

Elected or invited posts
In 1999, Glück, along with the poets Rita Dove and W. S. Merwin, was asked to serve as a special consultant to the Library of Congress for that institution's bicentennial. In this capacity, she helped the Library of Congress to determine programming to mark its 200th anniversary celebration. In 1999, she was also elected a Chancellor of the Academy of American Poets, a post she held until 2005. In 2003, she was appointed the judge of the Yale Series of Younger Poets, a position she held until 2010. The Yale Series is the oldest annual literary competition in the United States, and during her time as judge, she selected for publication works by the poets Jay Hopler, Peter Streckfus, and Fady Joudah, among others.

Glück was a visiting faculty member at many institutions, including Stanford University, Boston University, the University of North Carolina, Greensboro, and the Iowa Writers Workshop.

Selected bibliography

Poetry collections
 Firstborn. The New American Library, 1968.
 The House on Marshland. The Ecco Press, 1975.
 Descending Figure. The Ecco Press, 1980.
 The Triumph of Achilles. The Ecco Press, 1985.
 Ararat. The Ecco Press, 1990.
 The Wild Iris. The Ecco Press, 1992.
 Meadowlands. The Ecco Press, 1997.
 Vita Nova. The Ecco Press, 1999.
 The Seven Ages. The Ecco Press, 2001.
 Averno. Farrar, Straus and Giroux, 2006.
 A Village Life. Farrar, Straus and Giroux, 2009.
 Poems: 1962–2012. Farrar, Straus and Giroux, 2012.
 Faithful and Virtuous Night. Farrar, Straus and Giroux, 2014.
 Winter Recipes from the Collective. Farrar, Straus and Giroux, 2021.

Omnibus editions
 The First Four Books of Poems. The Ecco Press, 1995.
 The First Five Books of Poems. Carcanet Press, 1997.

Chapbooks
 The Garden. Antaeus Editions, 1976.
 October. Sarabande Books, 2004.

Essay collections
 Proofs and Theories: Essays on Poetry. The Ecco Press, 1994.
 American Originality: Essays on Poetry. Farrar, Straus and Giroux, 2017.

Fiction
 Marigold and Rose: A Fiction. Farrar, Straus and Giroux, 2022.

See also
 List of Jewish Nobel laureates

References

Further reading
 Burnside, John, The Music of Time: Poetry in the Twentieth Century, London: Profile Books, 2019,
 Dodd, Elizabeth, The Veiled Mirror and the Woman Poet: H.D., Louise Bogan, Elizabeth Bishop, and Louise Glück, Columbia: University of Missouri Press, 1992,
 Doreski, William, The Modern Voice in American Poetry, Gainesville: University Press of Florida, 1995,
 Feit Diehl, Joanne, editor, On Louise Glück: Change What You See, Ann Arbor: University of Michigan Press, 2005,
 Gosmann, Uta, Poetic Memory: The Forgotten Self in Plath, Howe, Hinsey, and Glück, Madison: Farleigh Dickinson University Press, 2011,
 Harrison, DeSales, The End of the Mind: The Edge of the Intelligible in Hardy, Stevens, Larkin, Plath, and Glück, New York and London: Routledge, 2005,
 Morris, Daniel, The Poetry of Louise Glück: A Thematic Introduction, Columbia: University of Missouri Press, 2006,
 Upton, Lee, The Muse of Abandonment: Origin, Identity, Mastery in Five American Poets, Lewisburg: Bucknell University Press, 1998,
 Upton, Lee, Defensive Measures: The Poetry of Niedecker, Bishop, Glück, and Carson, Lewisburg: Bucknell University Press, 2005,
 Vendler, Helen, Part of Nature, Part of Us: Modern American Poets, Cambridge: Harvard University Press, 1980,
 Zuba, Jesse, The First Book: Twentieth-Century Poetic Careers in America, Princeton: Princeton University Press, 2016,

External links

 Louise Glück Online resources from the Library of Congress
 Louise Glück Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.

1943 births
2023 deaths
American Nobel laureates
American people of Hungarian-Jewish descent
American people of Russian-Jewish descent
American Poets Laureate
American women poets
Bollingen Prize recipients
Boston University faculty
Columbia University School of General Studies alumni
Deaths from cancer in Massachusetts
George W. Hewlett High School alumni
Iowa Writers' Workshop faculty
Jewish American poets
Members of the American Academy of Arts and Letters
National Endowment for the Arts Fellows
National Humanities Medal recipients
Nobel laureates in Literature
People from Hewlett, New York
Poets from New York City
Poets Laureate of Vermont
Pulitzer Prize for Poetry winners
Sarah Lawrence College alumni
The New Yorker people
University of Iowa faculty
Williams College faculty
Women Nobel laureates
Writers from Cambridge, Massachusetts
Yale University faculty
Stanford University Department of English faculty

Louise Glück


الحجر الغربي هي سلسلة جبال تقع في شمال سلطنة عمان. وتمتد من حدود سلطنة عمان المتاخمة لدولة الإمارات العربية المتحدة شمالا، إلى وادي سمائل في داخلية عمان. وتضم سلسلة جبال الحجر الغربي منطقة الجبل الأخضر التي تعتبر من أجمل المناطق العمانية.ويشتهر الجبل الأخضر بهضبته الواسعة التي تقع على ارتفاع سبعة آلاف قدم وقد بني عليها العديد من المساكن ويعيش فيها اهالي الجبل منذ فترات طويلة كما تم تشييد فندق سياحي لخدمة السياح والزوار. كما تضم سلسلة جبال الحجر الغربي أعلى قمة جبلية في عمان وهي قمة جبل شمس حيث يبلغ ارتفاعه 3009 متر عن سطح البحر.

مصادر

الإقليم الإفريقي الاستوائي
البيئة السهلية المعتدلة
المناطق البيئية في الإمارات العربية المتحدة
جبال سلطنة عمان
حيويات الإمارات العربية المتحدة
حيويات سلطنة عمان
سلاسل جبلية في الإمارات العربية المتحدة
سلاسل جبلية في سلطنة عمان
شبه جزيرة مسندم
مناطق بيئية في سلطنة عمان

الحجر الغربي


Cabannes is a lunar impact crater that lies in the southern hemisphere on the far side of the Moon. The rim has been worn by subsequent impacts, with a smaller crater overlying the southern rim. However the formation has not been significantly reshaped by nearby craters.

The satellite crater Cabannes J is attached to the southeast rim, and lies between Cabannes and the heavily impacted crater Berlage. Just to the east is the crater Bellinsgauzen, and to the south is the large walled plain Antoniadi.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Cabannes.

References

External links

Impact craters on the Moon

Cabannes (crater)


Ghenadie Cijov (n. 12 decembrie 1947, Moscova - 10 februarie 2020, Moscova) a fost un fizician-teoretician sovietic și rus, conferențiar universitar la Universitatea din Moscova.

Biografie
S-a născut în familia gospodinei casnice Tatiana Cijova și a ofițerului KGB Alexandru Pavlovici Chijov , care î-și făcea slujba în detașamentul KGB de la Kremlin, fost membru PCUS. Ghenadie a fost membru ULCT între anii 1961-1965. În anii 1962-1968 a studiat la facultatea de fizică a Universității din Moscova, obținând diploma de fizician în anul 1970 cu specializarea în fizica teoretică- În același an a fost admis la doctorantură la facultatea de fizică, catedra fizică-teoretică, sub conducerea prof. Igor Ternov și îndrumarea cerc. șt. inferior, Dr. Vladislav Halilov. A susținut doctoratul (1974)cu o teză în care aborda radiația sincrotronă a particulelor cu sarcină electrică în câmpuri gravitaționale intense ale găurilor negre. Ulterior a fost cerc. șt. inferior, superior, iar din 1990 este conferențiar la catedra de fizică teoretică. De asemenea predă la școala specială N 18 din Moscova în numele lui A.N. Kolmogorov pentru copii cu aptitudini excepționale pentru matematică și fizică.

Activitatea didactică și știinifică

Cijov predă cursul general de mecanică teoretică și mecanică a mediilor continui la facultatea de fizică a Universității din Moscova. Este autor de cursuri în acest domeniu, publicate în manuale. De asemenea, este autor de cursuri pregătitoare pentru abiturienții, ce doresc să studieze la Universitatea din Moscova. Se ocupă de eleborarea problemelor nestandart pentru copiii foarte dotați.  Și în acest domeniu are cărți publicate. Este coautorul a 30 de lucrări științifice originale și coautorul unei monografii științifice. Are indice H=7 (ADS NASA) și un număr de citari/articol=6, 25 (ADS NASA).

Alte informații

 Este căsătorit cu conferențiarul - filolog, specializat în limba și literatura rusă de la aceeași Universitate Larisa Alexeevna Cijova (n. Kuznețova, n. Tașkent, fost membru PCUS).
 Are o fiică, Aliona, și 2 nepoți, care locuiesc la Moscova.

Fotografii
 Printre membrii catedrei de teorie cuantică a Universității din Moscova, 1979, rîndul III,  al 3-lea din stânga

Nașteri în 1947
Fizicieni ruși

Ghenadie Cijov


කොළ දිවියා හෝ බළල් දිවියා (ඉංග්‍රීසි: rusty-spotted cat) (Prionailurus rubiginosus) යනු බළල් පවුලේ කුඩාතම සාමාජිකයෙකු වන අතර ඉතිහාසගත ව වාර්තා වී ඇත්තේ ශ්‍රී ලංකාව සහ ඉන්දියාව යන රටවලින් පමණි. 2012 මෙම දිවියා නේපාලයෙන් ද හමුවිය. 2016 පටන් භූගෝලීය වන ගහණය IUCN රතු ලැයිස්තුවේ ආසන්න ලෙස තර්ජනයට ලක් වූ ලෙස සටහන් ව ඇත. මීට ප්‍රධාන හේතුවක් ලෙස මොවුන්ගේ වාසභූමි වන පත්‍ර පතනය වන වනලැහැප් විනාශ වී යාම දැක්විය හැක

වර්තනය විය හැකි සතෙකු ලෙස (Habitat Generalist) හදුන්වයි. ප්‍රමාණයෙන් ගෘහාශ්‍රිත කුඩා බළලෙකුට සමාන ය. කලාතුරකින් දක්නට ලැබෙන සතෙකි. නිශාචර දඩයක් කරුවෙකි. කෘමීන්,කුඩා කුරුල්ලන්,මීයන්,ගෙම්බන්,කුඩා උරගයින්,ගෘහ ආශ්‍රිතව ඇති කරන කුකුළන් ආහාරයට ගනී.

ප්‍රජනනය අවුරැද්දට එක් පාරක් සිදු වේ.1-3 දක්වා පැටවුන් ප්‍රමාණයක් දින 65ක ගර්භනි කාලයකින් පසු ප්‍රසූත කරයි. වැඩුණු සතුන්ගේ ඇති ලප කුඩා පැවෙුන්ගේ නැත. කලු ඉංගිරියාව ලා නිල් පාට ය. වර්ධනය ගෘහාශ්‍රිත බළලෙතුට සමාන ය. නිශාචර සතෙකි. ගස් මතත් පදුරු සහිත වන ලැහැප් වලත් දැක ගත හැකි ය. පැටවුන්ගේ ලොම් ලා පැහැති ය. මොවුන්ගේ හමේ මලකඩ රතු පාට පැල්ලම් ඇත. එමනිසා මොවුන්ට Rusty spotted යන නම සෑදී ඇත. එම රතු පැහැති ලප හිස මත හා කොන්දේ දාර සේ පිහිටයි. උදරය යට සුදු පාට ය. සාමාන්‍ය දිග අඟල් 18 ක් පමණ ය. වලිගය මොවුන්ගේ ශරිරයේ දිගින් භාගයක් පමණක් වේ.

පැතිරීම හා වාසස්ථාන

මේ සත්ත්වයා නිවර්තන තෙත් වනාන්තර,සිංහරාජය වැනි වැසි වනාන්තර,හොර්ටන් තැන්න,නුවර ඵළිය වැනි ප්‍රදේශ වල පිහිටි කදුකර තෙත් වනාන්තර වල මෙන්ම වියළි හා අතරමැදි කලාපයේ කැළෑ හා ශුෂ්ක ප්‍රදේශ වල කටු පඳුරු සහිත ලඳු කැලෑ ආශ්‍රිතවද දැකිය හැකිය.රට පුරා පැතිරී ඇත.කදුකර පළාත් වල ඉඳලා වෙරළබඩ දක්වාත් තෙත් හා වියළි කලාප වලත් වනාන්තර වලත් දක්නට ඇත. ඝන වනවැස්මක් සහිත හෝ ගල් සහිත ස්ථානවලට ප්‍රිය කරයි.

උපවිශේෂ ව්‍යාප්තිය
උපවිශේෂ දෙකක් හඳුනාගෙන ඇත:
 Prionailurus rubiginosus rubiginosus — ඉන්දියාවේ ජීවත් වේ
 Prionailurus rubiginosus phillipsi — ශ්‍රී ලංකාවේ ජීවත් වේ

රඳවාගෙන සිටීම

මූලාශ්‍ර

පිටස්තර යොමු
 IUCN Cat Specialist Group: Rusty-spotted Cat Prionailurus rubiginosus
 ARKive: Rusty-spotted cat (Prionailurus rubiginosus)
 DNA India : In a first, rusty-spotted cat sighted in Kutch. April 2013

කොළ දිවියා


Publius Cornelius Lentulus Spinther ( – 47 BC) was a Roman politician and general. Hailing from the patrician family of the Cornelii, he helped suppress the Catilinarian conspiracy during his term as curule aedile in 63 BC and later served as consul in 57 BC. Denied the opportunity to invade Egypt the following year, he nevertheless won some victories in his province of Cilicia and celebrated a triumph over it in 51 BC.

In the run-up to Caesar's civil war, he sided with Pompey and the senate. Captured by Caesar and pardoned at Corfinium in the opening months of the war, he made his way to Greece to join Pompey's forces. He is last attested to in early 47 BC.

Early career
Spinther belonged to the famous patrician gens Cornelia. He was the son of a homonymous father and received the cognomen "Spinther" supposedly from his resemblance to an actor by that name. Lucius Cornelius Lentulus Crus, who served as one of the consuls in the year 49 BC, was his younger brother.

He entered public life in 74 BC, when he served as quaestor urbanus. During his office, he minted denarii bearing a picture of Genius Populi Romani, to show the justice of the war waged against Sertorius in Spain. Although the Genius is also found on coins minted by other Cornelii Lentuli, numismatist Michael Crawford doubts that he was particularly worshipped in the family.

Afterwards, in the year 63 BC – the same year as that of Cicero's consulship and of the Catilinarian conspiracy – he served as curule aedile. During his term, he assisted Cicero in the suppression of the conspiracy – he held in custody a conspirator and praetor of that year, Publius Cornelius Lentulus Sura, before the conspirator's execution – and also provided splendid games "outd[oing] all his predecessors" wherein he outfitted stage equipment with silver.

He was then served as urban praetor for the year 60. He was elected, also in that year, as one of the pontifices, as one of a number of replacement for members of the college who had died. After his praetorship he was assigned as governor of Hispania Citerior, probably with proconsular status, and served there for the year 59.

Consul and governor
In the campaign in 58 BC for the next year's consulship, Spinther received the backing of Julius Caesar and Pompey. Caesar had for some time cultivated Spinther's friendship by supporting Spinther's campaign for the pontificate and his assignment to Hispania Citerior. Elected first, he was then joined in the consulship by Quintus Caecilius Metellus Nepos, a Pompeian enemy.

At the beginning of the consular year, 1 January 57 BC, Spinther moved successfully in the senate – after some convincing of his colleague Nepos who had previously been opposed to the matter – to have Cicero recalled from exile; he then carried a bill through the comitia centuriata to that effect and helped Cicero recover his house, which had been dispossessed during his exile. In the autumn, news came to Rome of an Egyptian dynastic struggle, which promised huge financial rewards and prestige for any prospective commander. Spinther, with his colleague Nepos, were successful in having Pompey – known to be interested in the command – relegated to a corn commission. His actions during the year, and thereafter, showed "no strong allegiance to Caesar" nor did Pompey's support "forestall unpleasant friction over the restoration of [Ptolemy]".

Taking as proconsul the governorship of Cilicia – to which the island of Cyprus also had been added – he secured for himself instructions from the senate to intervene in the Egyptian dynastic struggle and restore Ptolemy XII Auletes to the throne, but stopped after a Sibylline oracle prohibited the use of an army. Cicero, in a debate in the senate on 13 January 56 BC, supported Spinther's interests and described the debate in a letter:

 The senate voted overwhelmingly against use of military force.
 Publius Servilius Isauricus proposed not restoring Ptolemy XII.
 Bibulus proposed sending three senators without imperium to mediate (thereby excluding Pompey).
 Crassus proposed sending three senators with imperium to mediate.
 Quintus Hortensius, Cicero, and Marcus Lucullus proposed sending Spinther.
 Lucius Volcacius Tullus, supported by Lucius Afranius and Pompey's allies, proposed sending Pompey.

Eventually, Bibulus' proposal was defeated; Hortensius' proposal was vetoed by a tribune. After a delay, one tribune – Gaius Porcius Cato – proposed recalling Spinther (already in Cilicia). Another tribune – Lucius Caninius Gallus – proposed sending Pompey. Publius Clodius Pulcher's supporters then proposed sending Marcus Licinius Crassus. After the consul Gnaeus Cornelius Lentulus Marcellinus put all tribunician proposals on hold by declaring public holidays; Gaius Cato threatened to veto the elections. Eventually, Isauricus' proposal received senatorial approval, but was then vetoed.

In the end, the duelling machinations of Pompey, Crassus, and opponents all countered each other and led to inaction. The actions of the consuls and the contrasting ambitions of Pompey and Crassus, two of the three men in the so-called First Triumvirate, showed their alliance "in a shambles".

Spinther governed Cilicia from 56 to 54 BC. During his term, he was acclaimed imperator. He also struck large silver coins (known as Cistophoric tetradrachms) from a provincial mint at Apameia in Phrygia that bear his name - P LENTVLVS P F IMPERATOR. He returned to Italy in 53 BC but stayed outside the pomerium hoping for a triumph. He did so for two years before celebrating it in late 51 BC.

The civil war
In the run-up to Caesar's civil war, according to Cassius Dio, Spinther played a role in the rejection of an extension of Caesar's term by voting down the insertion of an intercalary month by Gaius Scribonius Curio in 50 BC. In the vote, he allegedly was joined by Lucius Domitius Ahenobarbus and a young Marcus Junius Brutus.

When the war started in 49 BC, Spinther took an anti-Caesarian position quickly and sided with Pompey. He joined Domitius Ahenobarbus' attempt to engage Caesar at Corfinium with three legions in the early months of the war but was besieged and the two consulars – along with Domitius' son, one of the quaestors, an ex-praetor, and a Pompeian prefect – were forced to surrender. Caesar granted them their lives and even returned to Domitius, who was in overall command, some six million sesterces; Caesar took, however, all the men and sent them thence to take Sicily.

After some hesitation, he rejoined Pompey and his army in Greece. On his return, Cicero wrote a letter to Caesar thanking him for his generous treatment of Spinther; it seems, privately, Spinther believed Caesar's clemency was merely a cold and temporary stratagem which would disappear if Caesar lost the support of the people.

In 48 BC, Pompey's main army confronted that of Julius Caesar and his lieutenant Marc Antony at the Battle of Pharsalus. Spinther fought in the battle; it ended in decisive defeat for the Pompeian forces. Pompey himself fled to Egypt (where he was then assassinated by Egypt's ruler Ptolemy XIII in the mistaken belief this act would please Caesar) and Spinther escaped to Rhodes, where he was at first refused admission, but subsequently given asylum.

Death and family

Although Sextus Aurelius Victor implies Spinther was killed in 48 BC, Cicero's dialogue Brutus implies that Spinther survived until early 47 with a terminus ante quem of 46 BC.  The younger Spinther, like his father, also put his own name and nickname "Spinther" on the reverse of his coins, the obverse of which feature the head of 'Liberty'.

Spinther's wife had an affair with Publius Cornelius Dolabella which lead to their divorce. His wife involved in this scandal was likely Caecilia Metella.

There may also have been some kind of marriage alliance between Spinther and Lucius Aurelius Cotta.

See also
 List of Roman consuls

References

Citations

Sources

External links

1st-century BC Roman consuls
Roman Republican praetors
Senators of the Roman Republic
Spinther, Publius
Ancient Roman generals
Year of birth unknown
Optimates
Ancient Roman patricians

Publius Cornelius Lentulus Spinther


Empathy est le premier EP de l'artiste D.O., un des membres du boys band sud-coréano-chinois EXO, et est sorti le  sous SM Entertainment et distribué par Dreamus Company Korea.

Contexte et sortie
Le , D.O. a tenu un live sur V Live pour retrouver ses fans car il avait terminé son service militaire. Au cours de ce live, il a évoqué un album solo, déclarant : "Je travaille dur là-dessus. Les chansons sont prêtes, et je travaille sur les paroles. Une fois que les paroles seront prêtes, j'enregistrerai les chansons et je laisserai tout le monde les entendre.". Lorsqu'un fan lui a demandé quand cet album serait prêt, D.O. a répondu : "Je ne sais pas trop. Il sortira quand il sera vraiment complet. Je vais faire de mon mieux pour me dépêcher et le sortir.".

Le 25 juin, les médias sud-coréens ont rapporté que le chanteur s'apprêtait à sortir son premier album solo dont la sortie serait prévue pour fin juillet. SM Entertainment a par la suite confirmé l'information, déclarant : "D.O. va sortir un album solo à la fin du mois de juillet. S'il vous plaît, veuillez y prêter beaucoup d'attention.". Le 30 juin, le nom du mini-album est révélé avec sa date de sortie, l'EP s'initule Empathy et sortira le 26 juillet. Du 15 juin au 23 juillet, des images et vidéos teasers sont régulièrement postées. Parmi ces vidéos, il y a un premier teaser du clip ainsi qu'un medley des chansons figurant sur l'album, qui sont sortis le même jour (23 juillet).

Dans une interview, D.O. a partagé ses réflexions sur la sortie de son premier album solo. Il a déclaré : « C'est vraiment nouveau. J'avais l'habitude de chanter avec mes membres, mais je devais chanter seul, donc il y avait quelques difficultés. Cependant, c'était agréable d'avoir une expérience unique et amusante. Je suis curieux de savoir ce que les gens penseront de mon album. »

Il révèle qu'il a choisi "Empathy" comme nom de son mini-album car il sentait qu'il y avait beaucoup d'énergie dans ce terme, et qu'il souhaitait donner cela aux autres. Aussi, il a expliqué ce sur quoi il s'est le plus concentré lors de la préparation de cet album et pourquoi il a choisi de le remplir de musique acoustique : « Comme c'est mon premier album solo, je pense que je me suis concentré sur la musique que je voulais faire. Personnellement, j'aime beaucoup le son de la guitare acoustique et je me sentais à l'aise en l'écoutant, alors j'ai décidé d'aller dans cette direction. »

Chansons
À propos de sa chanson titre "Rose", D.O. déclare que c'est une chanson au genre folk acoustique avec un rythme de guitare rafraîchissant, et le point clé de la chanson est qu'elle a une mélodie facile sur laquelle tout le monde peut chanter.
Il a écrit les paroles de "Rose" et "I'm Fine". Il commente : « Après avoir décidé que le thème de l'album serait "l'empathie", l'une des choses auxquelles j'ai pensé était l'amour, une émotion que tout le monde pouvait ressentir, et j'ai pensé que ce serait bien si mes chansons pouvaient réconforter d'autres comme mon chanson précédente "괜찮아도 괜찮아 (That's okay)", alors j'ai essayé d'écrire les paroles moi-même. »

"I'm Gonna Love You" est une autre chanson avec un son de guitare rythmique et met en vedette le rappeur sud-coréen Wonstein. Lorsqu'on lui a demandé comment c'était de travailler avec Wonstein, le chanteur  a déclaré : « Quand j'ai entendu pour la première fois la chanson, la seule personne à laquelle je pouvais penser était Wonstein. Je suis tellement reconnaissant qu'il ait accepté de participer à la chanson. C'était la première fois que je travaillais sur quelque chose comme ça, donc c'était une expérience nouvelle et agréable. »

En ce qui concerne la façon dont il en est venu à chanter la version anglaise de "Rose" et la version espagnole de "다시, 사랑이야 (It's Love)" (intitulée "Si Fueras Mía"), il a déclaré : « Quand j'ai entendu ces chansons pour la première fois, les pistes de guidage étaient en anglais et en espagnol, mais les paroles et les vibrations étaient super, alors je voulais les chanter pour tout le monde. ».

Accueil

Succès commercial
Au lendemain de sa sortie, il a été révélé que le mini-album avait pris la première place du Top Albums Charts de iTunes dans 59 pays différents depuis sa sortie. L'EP figure également en tête des classements d'albums physique en Chine sur QQ Music et KuGou Music et Kuwo Music, tandis qu'en Corée du Sud, il est en tête d'Hanteo Chart, de Synnara Record et HOTTRACKS.

Liste des titres

Classements

Classements hebdomadaires

Classement mensuel

Classement annuel

Ventes

Certification

Prix et nominations

Programmes de classements musicaux

Historique de sortie

Notes et références

EP sorti en 2021
Premier EP

Empathy (EP)


Crkva sv. Josipa u Grubišnom Polju župna je rimokatolička crkva u Grubišnom Polju u Bjelovarsko-bilogorskoj županiji.

Crkva je barokno-klasicističkih obilježja sagrađena u 18. stoljeću, a konačan izgled dobiva 1900.-1907. Jednobrodna građevina je s užim, kvadratnim svetištem zaključenim polukružnom apsidom, sakristijom i zvonikom nad glavnim pročeljem.

Procvat župe, ali i cijelog Grubišnog Polja počeo je dolaskom kapelana Ivana Nepomuka Jemeršića 1887. godine, koji je kasnije postao 21. župnikom. Svoj rad nije ogradio samo na svećenički, već je tijekom života koji je proveo u župi bio i saborski zastupnik, književnik i gospodarstvenik iza kojega su ostale i danas vidljive promjene. Među ostalima, 1900. godine u čast blagdana Imena Marijina uveo je župno proštenje "Marinje", koje je u prvim desetljećima prošloga stoljeća bilo središnje marijansko slavlje i hodočašće na području Bjelovarsko-bilogorske županije, a slavi se i danas.

Godine 1982. godine tadašnji župnik Antun Ćorković organizirao je u crkvenom dvorištu proslavu 200. godišnjice izgradnje crkve, na kojoj je svetu misu predvodio tadašnji zagrebački nadbiskup Franjo Kuharić.

Zaštita
Pod oznakom Z-2307 vodi se kao nepokretno kulturno dobro - pojedinačno, pravnog statusa zaštićena kulturnog dobra, klasificirano kao "sakralna graditeljska baština".

Izvori

Katoličke crkve u Hrvatskoj
Zaštićene sakralne građevine u Bjelovarsko-bilogorskoj županiji
Crkve sv. Josipa

Crkva sv. Josipa u Grubišnom Polju


إبراهيم محمد نصّار قائد فلسطيني، ولدَ في بلدة عنبتا قضاء طولكرم عام 1895م، خدم في الجيش العثماني ضابطاً، ثم التحق بالثورة العربية الكبرى عام 1916م، عمل معلماً في مدارس شمال فلسطين مدة تسع سنوات إلى ان تمت إقالته من قبل حكومة الانتداب البريطاني، كتب الشعر والمقالات السياسية في الصحف الوطنية الصادرة في فلسطين قبل النكبة، التحق بالحركة الوطنية الفلسطينية والجمعيات النقابية وانضم إلى مؤتمر الشباب العربي الفلسطيني عام 1931م وعمل على إلقاء الخطب الوطنية في المؤتمرات والمهرجانات القومية، في بداية الاضراب العام في نيسان 1936م عين ممثلاً للجنة القومية المشرفة على تأمين الإضراب في عنبتا، وعند انطلاق الثورة المسلحة عمل على تنظيم وتسليح الثوار في منطقة وادي الشعير، استمر عمله ونشاطه النقابي والسياسي بعد عام 1943م من خلال الجمعيات النقابية والحركات القومية كعصبة التحرر الوطني، إلى أن وقعت نكبة عام 1948م فالتحق على اثرها بحركة القوميين العرب.

حياته

ولادته ومسيرته التعليمية
إبراهيم محمد نصار عبد الرحمن عبد الرحيم آل إسماعيل ولد في بلدة عنبتا قضاء طولكرم عام 1895م، تلقى تعليمه الأساسي في مدرسة عنبتا الابتدائية ثم في مدرسة الفرير بيافا، والثانوي في الكلية الإسلامية في بيروت، أرسله والده الشيخ محمد والذي كان قاضياً في محكمة بداية قضاء بني صعب طولكرم   للدراسة في الأزهر الشريف في القاهرة، فمكث فيه سنتين لينقطع بعدها عن متابعة الدراسة مع بداية الحرب العالمية الأولى سنة 1914م، حيث استدعي لأداء الخدمة العسكرية في أعمال منطقة الأناضول وقد تأهل خلال هذه الفترة من خدمته لرتبة ضابط.
وفي منتصف عام 1916م ترك موقعه في الجيش العثماني ليقاتل تحت راية الثورة العربية على جبهة الحجاز ثم بعد ذلك على جبهة شرقي الأردن.

وقد تحدث في رسالة بعث بها إلى دائرة المعارف متضمنة تعليمه والتحاقه بالثورة العربية الكبرى يقول: .

عمله
عمل إبراهيم نصار معلماً بدرجة مدير لمدرسة حطين قضاء طبريا مدة خمس سنوات، ثم مدرسة الخالصة قضاء صفد مدة سنتين، ثم مدرسة عين ماهل قضاء الناصرة مدة سنتين، في الفترة الواقعة بين (1922 - 1931)م، حيث انهت إدارة المعارف التابعة لحكومة الانتداب البريطاني خدمته على أثر نشاطه السياسي والثقافي ومشاركته بالكتابة في الصحف العربية المحلية، ومحاولاته الاعتراض على منهج التعليم القائم.

كتب الشعر والمقالات السياسية في الصحف الوطنية الصادرة في فلسطين قبل النكبة؛ كصحيفتي الكرمل والطبل الصادرتين في حيفا،  وصحيفة الزمر الصادرة في عكا، إضافة إلى صحف الدفاع وفلسطين والجامعة الإسلامية التي كانت تصدر في يافا، وكذلك صحيفة الجامعة العربية الصادرة في القدس.

مسيرته السياسية

انضم إلى مؤتمر الشباب العربي الأول عند تأسيسه في كانون أول 1931م، وكان سكرتيراً للجنة المعارف والتعليم القومي التي ترأسها السيد نمر المصري، إضافة إلى مشاركته في الملفات الأخرى، وعضواً في صندوق الأمة العام المنبثق عن المؤتمر؛ والتي كانت مهمته إنقاذ الأراضي العربية في فلسطين ومنع وقوعها بيد اليهود، وتوعية الفلاح الفلسطيني بالحفاظ على أرضه والتمسك بها، ثم عمل مسؤولاً لمكتب اللجنة التنفيذية في المؤتمر الثاني في يافا عام 1935م، والذي أخذ على عاتقه مجابهة الحركة الصهيونية والانتداب البريطاني، ونشر الدعاية للقضية الفلسطينية، إضافة إلى انتسابه لجمعية الشبان العرب التي تأسست عام 1932م وهي أحد روافد مؤتمر الشباب وهدفها توعية الشباب العربي.

قام بتأسيس جمعية العمال العرب في عنبتا في آب لعام 1934م، غايتها الإشراف على تنظيم حركة العمال في البلدة والمحافظة على حقوقهم، والسعي لايجاد عمل للعاطلين منهم، وانتخب رئيساً لها، وقد بلغ عدد أعضاء الجمعية عند التأسيس 150 عضو. ثم انتخب سكرتيراً لجمعية العمال العرب في يافا وناطقاً باسمها، وقد تأسست الجمعية في ايلول عام 1934م، برئاسة النقابي ميشيل متري، واستمر عمله فيها حتى منتصف آب من عام 1935م.

ومن خلال عضويته بمؤتمر الشباب العربي قام بالقاء الخطب الدالة على الخطر المحيط بقضية فلسطين والتعبئة الجماهيرية، وذلك من خلال الفعاليات الرسمية والشعبية، ففي قريته عنبتا التي زارها الأمير عبد الله بن الحسين في 28 ايار 1934م، وفي حفل استقبال نظم له ألقى إبراهيم نصار خطبة وطنية للتعريف بالمخاطر التي تتعرض لها فلسطين. وعند زيارة الأمير سعود بن عبد العزيز إلى قضاء طولكرم في 15 آب 1935م، القى كذلك خطبة وطنية للتعريف بما أصبح عليه حال فلسطين وأبنائها من خطر يهدد وجودهم.

في بداية الإضراب العام في نيسان 1936م، عين ممثلاً للجنة القومية في عنبتا، والتي عملت على تنظيم الاضراب وتأمينه في البلدة، إلى جانب قيامها برفع عرائض الاحتجاج على سياسة حكومة الانتداب البريطانية تجاه أهالي القرى العربية.

ثورة فلسطين 1936

وعند بدء الثورة الفلسطينية الكبرى في ايار من العام نفسه، قام إبراهيم نصار بتنظيم شباب وادي الشعير وصار يرابط بهم، وقد اتصل باللجنة القومية في نابلس وسليمان بك طوقان فكانت ترده الإمدادات والأخبار، وقد اتصل به السيدان عبد الحميد المرداوي وعبد الرحيم الحاج محمد فقاموا بالمرابطة في المواقع الاتية: عقد السبوبة، لية بلعا، المنطار، رأس العين، وادي عزون، كفر صور، ثم قاموا بأعمال ومعارك مشتركة ضد القوات البريطانية، منها معارك: نور شمس، عنبتا، بلعا المتعددة.

ويتحدث الشيخ محمد حجاز في كتابه المخطوط عن سير الثورة في عنبتا: «وادي الشعير هو الوادي الذي تقع عنبتا في منتصفه، لقد أدار هذا الوادي في الثورة السيد إبراهيم نصار قبل أن يأتي إليه السيد فوزي بك القاوقجي، فكان ينظم المجاهدين ويؤيهم ويتلقى السلاح ومؤنه من الجمعيات ويوزعه على الشباب الذين يثق بصدق حملتهم، ويوزعهم على الروابي...»

ومما ذكرته جريدة الجامعة الإسلامية في 21 ايار: "لا تزال المظاهرات الرائعة مستمرة في عنبتا، وجميع الشبيبة في عنبتا تقوم في كل يوم صباحاً ومساءً بالتمرينات العسكرية، ويقوم بتدريبهم السادة: إبراهيم نصار، مصطفى احمد نصر، سليمان حسين محسن، وعبد الرحمن زربول، وهؤلاء كانوا ضباطاً في الجيش التركي والعربي"، واتلفت الجسور الواقعة فيما بين عنبتا - نابلس، عنبتا - طولكرم وهدم قسم منها بالمفرقعات".

قام بتنظيم معركة نور شمس في 23 ايار من العام نفسه، وقد وصف إحسان النمر المعركة فقال: حدثني السيد المجاهد إبراهيم نصار قائد هذه المعركة فقال:

في تموز بدأ المتطوعون من الثوار العرب يتوافدون إلى فلسطين من شرق الأردن وسوريا ولبنان والعراق، واكتملت الحملة العربية المساندة بوصول فوزي القاوقجي في الثلث الأخير من شهر آب، واتخذ من ياصيد مركزا له وأنشأ مكتباً مركزياً وفرعا للاستخبارات، وقد تفاهم مع قادة الثورة المحليين وهم السادة فخري بك عبد الهادي، عبد الرحيم الحاج محمد، إبراهيم نصار، عبد الحميد المرداوي، فعين فخري بك عبد الهادي نائبا له ووزع باقيهم في المناطق حسب الخطط العسكرية."

شارك في معارك الثورة الفلسطينية ضد القوات البريطانية: بلعا، جبع، بيت امرين، كفر صور، التي قادها فوزي القاوقجي وقد أوكلت القيادة اليه.

وكان أحد أعضاء اللجنة المالية التي شكلها القائد فوزي القاوقجي في اليوم التالي لمعركة بلعا في (3 ايلول 1936)م، وهي لجنة لجمع التبرعات والإعانات بصورة رسمية وعلى أعلى المستويات، وتضم القادة: فخري عبد الهادي، عبد الرحيم الحاج محمد، إبراهيم الحاج نصار، عارف عبد الرازق، فرحان السعدي، خالد القنواتي، توفيق الصالح الحاج حمد. وقد شارك مجاهدو قرية عنبتا في هذه المعركة مشاركة تذكر لهم.

وفي مرحلة تجدد الثورة عام 1938م، عمل في منطقته على الإصلاح وحل الخلافات الداخلية الحزبية والعائلية التي نشبت بين فئات المجتمع وطبقاته المختلفة، ونظراً إلى كون المنطقة من معاقل المعارضة، فقد حال ذلك دون تجدد الأعمال العسكرية بشكل فاعل.

اعتقل خلال حملة التطويق الشاملة التي قامت بها القوات البريطانية في مثلث فلسطين (جنين، طولكرم، نابلس) في ربيع عام 1939م، والتي شملت بلدة عنبتا حيث تم خلالها اعتقال عدد كبير من مجاهدي الثورة الفلسطينية في البلدة، والزج بهم في معتقل خضوري، وذلك عقب اخفاق الثورة وانحسارها.

مسيرته السياسية عقب انتهاء الثورة
اعاد تأسيس جمعية العمال العرب في عنبتا عام 1943م، وقد كان عدد اعضائها 200 عضو، حيث انضمت كفرع إلى جمعية العمال العرب في حيفا برئاسة النقابي سامي طه.

انضم إلى عصبة التحرر الوطني عام 1946م، والتي ضمت مجموعة من القوميين واليساريين العرب، وقد نادت بـ «بإنهاء الانتداب البريطاني وإقامة حكومة فلسطينية ديمقراطية مستقلة»، ثم ما لبث ان ترك صفوف العصبة اواخر عام 1947م بعد موافقة العصبة على قرار التقسيم، تماشياً منها مع الموقف الرسمي للاتحاد السوفيتي.
التحق بحركة القوميين العرب التي تأسست عام 1951م، من قبل نخبة من المثقفين الفلسطينيين والعرب وذلك في اعقاب نكبة فلسطين وانهيار وتلاشي كافة الاحزاب الفلسطينية، وقد هدفت الحركة إلى تحرير فلسطين واقامة وحدة عربية شاملة.

حياته الشخصية
متزوج وله ابن وابنة وهما محمد امين والذي أرسله إلى جامعة دمشق للدراسة فيها، ومحفوظة وقد تزوجها الشاعر الشهيد عبد الرحيم محمود.

عمل في الزراعة حتى عام 1948م، حيث وقعت اراضي عائلته في السهل الساحلي تحت سيطرة الاحتلال الصهيوني، عمل بعدها في التجارة، إضافة إلى كتابة الحجج والعرائض المختلفة، وكذلك في خدمة قضايا مجتمعه كالصلح والإصلاح.

وفاته
توفي يوم الجمعة بتاريخ 18 كانون الثاني 1985م، عن عمرٍ ناهز 90 عام، ودفن في عنبتا.

انظر أيضًا
 عبد الله الأسعد

مراجع

أشخاص من عنبتا
خريجو جامعة الأزهر
سياسيون فلسطينيون
قادة ثوار في الثورة الفلسطينية الكبرى 1936–39
قادة جمعية العمال العرب الفلسطينيين
قوميون فلسطينيون
مغتربون من الدولة العثمانية في مصر
مواليد 1895
وفيات 1985

إبراهيم نصار


مقاطعة لندنديري ، وتعرف أيضا باسم مقاطعة ديري، هي إحدى مقاطعات أيرلندا الشمالية الستة. كانت إحدى مقاطعات مملكة أيرلندا منذ عام 1613 ثم المملكة المتحدة بعد قانون الاتحاد عام 1800. وتجاور المقاطعة الساحل الشمالي الغربي لبحيرة لوك ناي، وتغطي مساحة 2,074 كم² (801 ميل مربع) ويبلغ عدد سكانها حاليًا حوالي 247,132 نسمة.

أعلام
 صموئيل دوغلاس
 جون ريا
 افرايم بلايني
 صموئيل جونستون
 روبرت ماكليلان

مراجع

أولستر
تأسيسات سنة 1613 في أيرلندا
مقاطعات أيرلندا الشمالية

مقاطعة لندنديري


La  est l'une des quinze circonscriptions législatives que compte la préfecture d'Aichi au Japon. Cette circonscription comptait  électeurs en date du .

Description géographique

La première circonscription de la préfecture d'Aichi correspond aux arrondissements de Higashi, Kita, Nishi et Naka de la ville de Nagoya.

Députés

Notes et références

Voir aussi

Articles connexes
 Chambre des représentants du Japon

Circonscription législative au Japon

Première circonscription de la préfecture d'Aichi


المقبرة الوطنية في مارتن هي مقبرة دفن فيها العديد من الشخصيات الهامة في التاريخ السلوفاكي، ومن بين الشخصيات كتاب وشعراء ووطنيون وإصلاحيون. والسبب في اختيار مدينة مارتن لتكون مقرا للمقبرة، هو دورها كمركز للثقافة السلوفاكية أثناء سنوات تكون الأمة السلوفاكية في القرن التاسع عشر.

من بين المدفونين بها: مارتن بينكا.

مراجع

مارتن (سلوفاكيا)
مقابر في سلوفاكيا
مقابر وطنية
مبان ومنشآت في إقليم جيلينا
مواقع جذب سياحي في إقليم جيلينا

المقبرة الوطنية في مارتن


O Lambe (também conhecido como lambe-lambe) é um suporte de papel, em folhas de tamanhos variados, pôsteres e cartazes colados com grude artesanal ou adesivos autocolantes produzidos para serem afixados na rua em muros ou outros mobiliários urbanos, como postes, hidrantes, lixeiras, etc. Originalmente, são derivados da linguagem do grafite, comuns em cidades de grande urbanização, geralmente através de ilustração, colagem, fotografia entre outras. Podem também, derivar para outros tipos de imagens, mensagens e intenções.

História
Historicamente cartazes são produzidos e reproduzidos com múltiplos objetivos. Divulgam ideias, críticas e arte em umespaço geográfico que constrói parte da história mundial. A variação dos cartazes ao longo do tempo e espaço tem relação com à tecnologia, à estética e ao pensamento de cada época e local. Os primeiros cartazes de rua existem desde a Antiguidade, então manuscritos em madeira, e serviram aos mais diversos propósitos.

Cartazes Circenses

A chave para o sucesso de todo circo era a publicidade, nos primeiros 175 anos do circo os cartazes eram essenciais. Sem eles, seria impossível vender um produto disponível apenas em um único dia. O circo tinha que se comercializar efetivamente 150 a 200 vezes por ano para ter sucesso. Os circos enfrentaram uma tarefa de marketing de três vias, vender seu título, data e recurso. O título de um espetáculo tinha que garantir que o circo fosse um empreendimento de qualidade e de alto padrão. O objetivo de todos os cartazes de circo era transmitir esses três pontos.

O circo gastava mais com publicidade do que com qualquer outro componente de sua operação e, durante a maior parte da história do espetáculo, o pôster foi o elemento mais importante. Por causa disso, os cartazes de exibição constituíram um dos principais produtos da indústria de impressão comercial ao longo do século XIX. Às vezes, na colagem ocorriam rugas ou vincos, mas isso era ignorado, já que o tempo era essencial e os pôsteres só precisavam transmitir sua mensagem por algumas semanas, no máximo.Faríamos o máximo possível. Isso significava que primeiro esfregaríamos nossa pasta na parede. Em seguida, coloque o papel, novamente esfregando-o com força. Por fim, pegávamos água limpa e jogávamos no papel, esfregando com força com os pincéis. Essa maldita posição não vai descascar ou sinalizar com certeza. O problema é que nem sempre tínhamos tempo para fazer isso, ou às vezes não podíamos dispensar a água ... Mas hoje (1974) a maioria dos cartazes usa farinha de pasta de Bloety feita na Inglaterra. É ótimo, só que você precisa deixá-lo descansar por duas horas antes de usá-lo. E não é preciso vapor para cozinhá-lo. Basta adicionar o pó seco à água e mexer.No século XXI, houve um ressurgimento do uso de cartazes pelo circo americano e empresas relacionadas com esta produção, como a Graphics 2000, localizada em Las Vegas. A Graphics 2000 utiliza técnicas de impressão off-set, incorporando gráficos gerados por computador, fotografias de alta qualidade e imagens tradicionais. Estas técnicas fazem com que a empresa cubra boa parte do mercado circense nos Estados Unidos.

Manifestações

Na década de 1960 e até o final da década de 1980, o cartaz foi amplamente utilizado como expressão contra a opressão dos governos totalitários na América Latina durante a ditadura militar. No Brasil, cartazes foram colados nas paredes das principais cidades brasileiras, como Rio de Janeiro e São Paulo. Enquanto o exército atacava os manifestantes, alguns moradores e organizações anti-regime saíram às ruas para protestar e colocar cartazes exigindo direitos e o fim do militarismo. Assim, a oposição aos ditadores se fortaleceu.
Os cartazes ativistas tiveram grande importância durante as manifestações de Maio de 1968 e traziam mensagens politicamente engajadas e críticas, conclamando a participação popular.Pasajes de la guerra revolucionaria: Congo, Grijalbo Mondadori, México, 1999], se olharmos os cartazes que fizemos para a manifestação de Berlim, são cartazes cubanos. Há sobretudo uma mitologia da luta armada e das armas na esquerda radical e militante, com a ideia de que a violência é liberadora e inocente.

Arte Moderna
A arte de rua contemporânea traz referências à arte moderna e seus movimentos desenvolvidos ao longo do século XX, além de suas origens nos grafites e inscrições feitas em espaços abertos, públicos ou na rua, ao longo da história, desde a Antiguidade. Uma das referências mais importantes são os artistas e movimentos artísticos posteriores 05 anos de 1960 como a arte Pop norte-americana e o Novo Realismo francês, quando a Arte Moderna e seus paradigmas começaram a ser tensionados, buscando-se uma maior aproximação entre arte e vida. Na Arte Pop são a sua inspiração nas imagens dos meios de comunicação de massa, a apresentação em série de motivos reproduzidos tecnicamente e a assemblagem levada ao máximo de seu potencial criativo, característica marcante dos lambes .

Primeira e Segunda Guerras Mundiais

O cartaz no século XX teve um forte papel de teor persuasivo. Divulgando e promovendo os dois lados que participaram da Primeira Grande Guerra(1914-1918). Ele era um importante elemento comercial para a ascensão e queda de ditadores, regimes políticos, fato q marcou a história. Em alguns países, como os a Alemanha e Estados Unidos, essa função de propaganda política continuou após a guerra, sendo uma eficaz estratégia para manipulação em massa, provocando ódio e revolta contra outras nações. Até aquele período, a persuasão de massas nunca havia sido tão explorada em cartazes.

Século XXI e especificações

Os termos cartaz, pôster e lambe-lambe (ressignificação do cartaz) apesar de parecerem similares, eles tem uma diferenciação, já que cada um possui uma proposta diferente. O cartaz tem uma função comercial, normalmente propagando serviços ou produtos. O pôster vale muito esteticamente, em geral é colocado em espaços privados com uma funcionalidade decorativa.

O lambe-lambe procede o cartaz, entretanto, diferente deste, ele está relacionado a um questionamento crítico. Ele propõe reflexões contra desigualdades ou situações de cunho social ou a exposição de artistas e grupos que espalham suas criações através deste espaço.

Pasta (Cola de Farinha)
A pasta de farinha é formada principalmente por farinha de trigo fervida em água até ficar com uma consistência glutinosa ou viscosa.

Uma diferença crítica entre as pastas de trigo é a divisão entre as feitas de farinha e as feitas de amido. As farinhas vegetais contêm glúten e amido. Com o tempo, o glúten cria ligações cruzadas, tornando muito difícil a liberação do adesivo. Usando apenas amido, é possível produzir uma pasta totalmente reversível e de excelente qualidade que é o adesivo padrão para conservação de papel.

Galeria de imagens

Ver também

 Cartaz
 Design gráfico
 Manifestação

Ligações externas

 A arte do lambe-lambe
 As diferentes formas de olhar arte urbana lambe-lambe
 O Lambe-lambe como proposta na Educação Infantil

Grafite
Adesivos
Material de artes visuais
História do design
História do design gráfico

Lambe


Scripcarul de pe acoperiș (în ) este un film musical-comedie-dramă din anul 1971, producție a studiourilor MGM, al cărui producător și regizor este Norman Jewison. Filmul este inspirat din musicalul lui Jerry Bock jucat prima dată pe Broadway în 1964.

Filmul a fost difuzat și în România, la postul de televiziune Acasă TV, cu titlul Scripcarul de pe acoperiș, în anul 2016.

Rezumat

Filmul îl are în centru pe Tevye, un sărac lăptar evreu care trăiește în Anatevka, care se confruntă cu provocarea de a-și căsători cele cinci fiice în mijlocul tensiunii tot mai mari din satul său.

Distribuție
 Chaim Topol - Τevye
 Norma Crane - Golde, soția lui
 Rosalind Harris - Tzeitel, fiica cea mai mare
 Michele Marsh - Hodel, a doua fiică
 Neva Small - Chava, a treia fiică
 Molly Picon - Yente, shadchan
 Paul Mann - Lazar Wolf, măcelarul, pretendentul mai în vârstă al lui Tzeitel
 Leonard Frey - Motel Kamzoil, croitorul, eventualul soț al lui Tzeitel
 Paul Michael Glaser (ca - Michael Glaser) - Perchik, revoluționarul bolșevic, eventualul soț al lui Hodel
 Raymond Lovelock - Fyedka, un creștin, eventualul soț al lui Chava
 Elaine Edwards - Shprintze, a patra fiică
 Candy Bonstein - Bielke, a cincea fiică
 Shimen Rushkin - Mordcha
 Zvee Scooler - rabin
 Louis Zorich - Constable
 Alfie Scopp - Avram
 Howard Goorney - Nachum
 Barry Dennen - Mendel
 Ruth Madoc - Fruma-Sarah, regretata soție a măcelarului
 Patience Collier - Grandmother Tzeitel
 Tutte Lemkow - Lăutar
 Marika Rivera - Rifka
 Aharon Ipalé - Sheftel
 Roger Lloyd-Pack - Sexton
 Vernon Dobtcheff - oficial rus
 Kenneth Waller - Omul din secvența "Visul lui Tevye" ()
Norman Jewison: () - vocea rabinului (dublat după filmare) în secvența "Visul lui Tevye" (cântând "Mazel Tov")

Referințe

Legături externe
 Fiddler on the Roof (1971) Scripcarul pe acoperiș  Cinemarx
 Fiddler on the Roof - Scripcarul de pe acoperiș (1971), Cinemagia

Filme din 1971
Filme regizate de Norman Jewison
Filme muzicale

Scripcarul de pe acoperiș (film)


Dawlat al-Islam Qamat (; em português: O Estado Islâmico foi estabelecido), é um canto islâmico jihadista que se tornou um hino não oficial do grupo extremista Estado Islâmico. Foi lançado em dezembro de 2013 e logo se tornou sua música mais popular. A revista americana The New Republic se referiu a ela como a música mais influente de 2014.

O canto é A cappella, além dos efeitos sonoros de espadas sendo desembainhadas, pés batendo e disparos. A letra começa: "Meu Ummah, A aurora apareceu, então aguarde a vitória esperada. O Estado Islâmico nasceu pelo sangue dos justos."

Foi produzido pela Fundação Ajnad, que produz a maioria das músicas do EI. A música também foi usada pelo grupo jihadista nigeriano Boko Haram para acompanhar os discursos.

O canto é frequentemente removido de sites da internet, como SoundCloud e YouTube, por violar as políticas dos sites e suas conexões com o EIIL.

Veja também

 Salil al-Sawarim, outro canto comumente usado pelo Estado Islâmico
 Esta é a Pátria dos Corajosos, hino em língua pashto do Talibã

Canções de 2013
Hinos da Ásia
Hinos nacionais
!Artigos com texto em árabe
Estado Islâmico

Dawlat al-Islam Qamat


El arroyo del Sauce es un curso de agua uruguayo que atraviesa el departamento de  Salto perteneciente a la cuenca hidrográfica del Río de la Plata.

Nace en la Cuchilla del Daymán y desemboca en el río Daymán.

Referencias

Sauce
Sauce
Sauce

Arroyo del Sauce (Río Daymán, Salto)


Cristina Maria Nan (n. 19 mai 1990, în București) este o handbalistă din România care, până în vara lui 2020, a jucat pentru clubul CS Măgura Cisnădie pe postul de pivot.

Carieră
Nan a evoluat inițial în Divizia A, la Rapid București, și a ajuns apoi la clubul CSM București în 2011, în urma unui scandal în care președinta Vali Caciureac a fost acuzată că "a vândut" două handbaliste pentru a acoperi datoriile clubului către CSM București. Cu CSM București, Nan a câștigat Liga Campionilor EHF în 2016 și o medalie de bronz în 2017. În 2017, s-a transferat la HC Dunărea Brăila, pentru care a evoluat până în luna decembrie, cănd urmare a restanțelor financiare și-a reziliat contractul. Returul sezonului 2017-2018, a jucat pentru Dinamo București iar în vara lui 2018 a semnat cu SCM Gloria Buzău. La sfârșitul sezonului 2018-2019, Nan s-a transferat la CS Măgura Cisnădie.

În 2016 i s-a decernat titlul de cetățean de onoare al municipiului București.

Palmares
Liga Campionilor EHF:
 Câștigătoare: 2016
 Medalie de bronz: 2017

Cupa EHF:
Grupe: 2020
Optimi: 2012
Turul 2: 2018

Liga Națională:
Câștigătoare: 2015, 2016, 2017

Cupa României:
 Câștigătoare: 2016, 2017
Finalistă: 2015

Supercupa României:
 Câștigătoare: 2016
 Finalistă: 2015

Bucharest Trophy:
 Câștigătoare: 2014, 2015

Statistică goluri și pase de gol
''Conform Federației Române de Handbal, Federației Europene de Handbal și Federației Internaționale de Handbal:

Goluri în competițiile naționale:

Goluri în Liga Națională

Goluri în Cupa României

Goluri în Supercupa României

Goluri și pase de gol în competițiile internaționale:

Goluri și pase de gol la Campionatul European de Handbal Feminin pentru Junioare

Goluri la Campionatul Mondial Universitar de Handbal Feminin

Goluri și pase de gol la Universiadă

Goluri în Liga Campionilor

Goluri în Cupa EHF

Note

Legături externe
EHF: Profilul Cristinei Nan
Handbalvolei: Profilul Cristinei Nan

Nașteri în 1990
Sportivi români în viață
Handbaliste câștigătoare ale Ligii Campionilor EHF Feminin
Bucureșteni
Jucătoare de handbal din România
Handbaliste ale Rapid București
Cetățeni de onoare ai Bucureștiului

Cristina Nan


الجي بي إس سبوفرز  هي آلات للتشويش على إشارة الجي بي أس لكنها ليست مجرد تشويش عادي حيث أن التشويش يتم بإشارات جي بي أس سليمة من ناحية طبقة النظام لكنها تحمل معلومات خاطئة بوجودك في مكان اخر.

ملاحة

جي بي إس سبوفر


Tanja Bogomilova Dangalakova (Sofija, 30. lipnja 1964.) umirovljena je bugarska plivačica prsnim načinom, olimpijska pobjednica u utrci na 100 metara prsnim načinom 1988. u južnokorejskom Seoulu. Osvajačica dvaju zlatnih odličja na Ljetnoj univerzijadi 1985. u japanskom Kobeu i europska prvakinja iste godine u Sofiji.

Plivanjem se počela baviti sa šest godina, pod vodstvom trenera Petera Kostova. Na Olimpijskim igrama 1980. u Moskvi bila je četvrta u svojoj skupini i ukupno deseta u utrci na 100 metara prsnim načinom.

Prvo odličje s velikih natjecanja osvojila je na Europskom prvenstvu 1983. u Rimu, gdje je bila brončana na 100 metara prsno.

Njezina kćer, Ana Dangalakova, također je plivačica mješovitim načinom te je nastupila na Olimpijskim igrama 2004. u Ateni.

Izvori

Životopisi, Sofija
Bugarski športaši
Plivači
Olimpijski pobjednici u plivanju

Tanja Dangalakova


විශාලක කාචයක් යනු නාභියේ දුර වෙනස් කල හැකි ආකාරයට (ඒ අනුව නිරීක්ෂක කෝණයද වෙනස් වෙයි) එකලස් කර ඇති යාන්ත්‍රික කාච උපාංග එකතුවකි. මෙය නිශ්චිත නාභීය දුරක් සහිත කාචවලින් වෙනස් වෙයි. මෙම කාච නිශ්චල කැමරා, වීඩියෝ කැමරා, චිත්‍රපට කැමරා, ප්‍රක්ෂේපක ආදියේ බහුලව භාවිතා කරයි.

භාවිතය
විශාලක කාච ඒවායේ දිගම නාභි දුර හා කෙටිම නාභිදුර අතර අනුපාතයෙන් විස්තර කරනු ලැබේ. උදාහරණයක් ලෙස නාභි දුර පරාසය  100 mm සිට 400 mm දක්වා වන කාච  4 :1 ලෙස හෝ "4x" විශාලනයක් ලෙස හැඳින්විය හැකිය. විශාල නාභිදුරවල් ඇති කාච සුපිරි විශාලක හෝ අති විශාලක ලෙස හැඳින්වේ. මේවා සාමාන්‍යයෙන් "4x" සිට "10x" පරාසයේ වන අතර "14 x" පවා විය හැකිය. වෘත්තීය රූපවාහිනි කැමරාවක මෙය '100x' තරම් විශාල විය හැකිය.

මෙම ඡායාරූප  විශාල කාච, පටු පරාසයක් ඇති ටෙලිෆෝටෝ කාච නොවේ. සමහර විශාලක කාච ටෙලිෆොටෝ කාච වන අතර ඇතැම් ඒවා පුළුල් පරාස කාච වේ.

ඇතැම් සංඛ්‍යාංක ( Digital) කැමරා හසුකර ගත් රූපයේ කොටසක් තෝරාගෙන එය විශාල කර දක්වනු ලැබේ. මෙය සංඛ්‍යාංක විශාලනය ලෙස හැඳින්වෙන අතර මෙමඟින් ඡායාරූපයේ තත්ත්වය බාල වේ. බොහෝ සංඛ්‍යාංක කැමරා ප්‍රකාශ විශාලනය සහ සංඛ්‍යාංක විශාලනය යනු දෙකම අන්තර්ගත කොට ඇත. Cannon Power Shot A7201S ද මෙවැන්නකි. මෙහි '6x' ප්‍රකාශ විශාලනයක් ඇති අතර "4x" සංඛ්‍යාංක විශාලනයක් ඇත. මේ අනුව සම්පුර්ණ විශාලනය "24x" වේ. කැමරාවේ කාචයේ සඳහන් කර ඇති 34.8/5.8 යන්නෙන් ප්‍රකාශ විශාලනය ගණනය කළ හැකිය.

මෙහි ඡායාරූපකරණය භාවිතයට අමතරව විශාලන කාච විචල්‍ය නාභිය දුරකින් යුක්ත දුරේක්ෂයක් ලෙසද භාවිතා කළ හැකිය. මෙය ලේසර් කිරණ කදම්බයක ප්‍රමාණය වෙනස් කිරීමටද යොදා ගත හැකිය.

නිර්මාණය

විශාලන කාච සඳහා  සුදුසු නිර්මාණ රාශියක් ඇත. ඉතාම සංකීර්ණ පද්ධතියේ සිරස් අතට තනි කාච 30 ක් පමණ අන්තර්ගත වන අතර, එහා මෙහා කළ හැකි කොටස්ද එකකට වඩා ඇත. නමුත් බොහෝ ඒවායෙහි මුලික නිර්මාණ දක්නට ලැබේ. සාමාන්‍යයෙන් මේවා ස්ථායි තනි කාච ගණනාවකින් යුක්තවන, හෝ කාචයේ අක්ෂය දිගේ චලනය විය හැකි අයුරින් හෝ නිර්මාණය කර ඇත. විශාලනයෙහි වෙනස් වීමට අනුරූපව තියුණු ප්‍රතිබිම්බයක් තිරය මත ලබා ගැනීම සඳහා  නාභිය තලයද චලනය වීමට සැලැස්වීම අවශ්‍ය වේ.

මෙම ප්‍රකාශ අනුපුරක විශාලන කාච පද්ධතියක් තුළ, සමාන නාභිදුරක් ඇති උත්තල කාච 2 ක් අන්තර්ගත වෙයි. එම කාච දෙකෙහි මධ්‍යයෙහි උත්තල කාචයේ නාභිදුරෙන් අඩක් වන අවතල කාචයක් ඇත. L3 කාචය ස්ථායි වන අතර L1 හා L2 කාච වලට අක්ෂය ඔස්සේ එහා මෙහා විය හැකිය. යාන්ත්‍රික උපක්‍රමයක් මඟින් මෙය එහා මෙහා කරනු ලබයි. L2 කාචයේ ඉදිරියේ සිට පසුපසට චලනය වන විට L1 කාචයද පරාවලයක ඉදිරියට හා පසුපසට චලනය වේ. මෙසේ කාච පද්ධතියේ සම්ප්‍රයුක්ත නාභි දුර වෙනස් කිරීමෙන් සම්ප්‍රයුක්ත කෝණික විශාලනය වෙනස් වේ. රූපයේ දක්වා ඇති අවස්ථා තුනේදීම කාචය සමාන්තර ආ‍ලෝක කදම්බයක් නිපදවයි. නාභිය තලයේ පිහිටීම වෙනස් නොකරයි.

විශාලන කාච නිර්මාණයේදී සැලකිලිමත් විය යුතු එක් වැදගත් කරුණක් නම් කාචය ක්‍රියාකරන පරාසය තුල සිදුවන ප්‍රකාශ දෝෂයයි. ස්ථායි කාච වලට සාපේක්ෂව විශාලන කාච වලද ප්‍රකාශ දෝෂ මගහැරවීම අසීරු කාර්යයකි. නුතන ප්‍රකාශ නිර්මාණ තාක්ෂණය මගින්, විචල්‍ය නාභිදුරවල් සහ ප්‍රකාශ දෝෂ නිවැරදි කිරීමේ ක්‍රම සහ සිදුරු ප්‍රවාහ සහිත විශාලන කාච නිපදවීමටද සමත් වී ඇත.

සිනමාකරණයේදි සහ වීඩියෝ භාවිතයේදි නාභිදුර වෙනස් වන විටද, ප්‍රතිබිම්බයද නාභිගත වීම වැදගත් වේ.

වැඩිදුර කියැවුම්
කැමරාව-නාභියේ දුර
ඡායාරූපකරණය

සූම කාච


An Paepalanthus cinereus in uska species han Liliopsida nga ginhulagway ni Ana Maria Giulietti ngan L.R.Parra. An Paepalanthus cinereus in nahilalakip ha genus nga Paepalanthus, ngan familia nga Eriocaulaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Paepalanthus

Paepalanthus cinereus


Without a Trace, New York'ta geçen bir Amerikan dizisidir. FBI Kayıp İnsanlar biriminin çeşitli nedenlerden dolayı kaybolmuş/kaçırılmış kişileri bulma mücadelesine dayalıdır. (Gerçek FBI'ın bu isimli bir ünitesi yoktur.) Dizide kaçırılan insanları bulmaya çalışılırken kaç saattir kayıp olduğu belirli aralıklarda belirtilir ve bu bazı vakalarda çok uzun sürelere varabilmektedir.

Birinci ve üçüncü sezon 23; ikinci, dördüncü ve beşinci sezonlar 24, altıncı sezon ise Amerika'daki yazarların grevinden dolayı 18 bölümden oluşmaktadır. Yedinci sezon da 24 bölüm yayınlanmıştır ve dizi yayından kaldırılmıştır.

Türkiye'de ise CNBC-e ve Digiturk'te bulunan FOX Life kanalında izlenebilir. Dizinin 1. Sezonu Kanaltürk'te İz Peşinde adıyla 2011'de yayınlanmıştır.

Başrol oyuncuları

2002'de başlayan Amerika Birleşik Devletleri televizyon dizileri
2009'da sona eren Amerika Birleşik Devletleri televizyon dizileri
Amerika Birleşik Devletleri polisiye televizyon dizileri
Amerika Birleşik Devletleri dramatik televizyon dizileri
Suç televizyon dizileri
New York Şehrinde geçen televizyon programları

Without a Trace


The Empire, Leicester Square is a cinema currently operated by Cineworld on the north side of Leicester Square, London, United Kingdom.

The Empire was originally built in 1884 as a variety theatre and was rebuilt for films in the 1920s. It is one of several cinemas in and adjoining Leicester Square which are regularly used for film premieres and first runs.

Today, it has nine auditoria, including an IMAX (IMAX with Laser projection), a Superscreen (Premium Large Format (PLF), 4K projection and Dolby Atmos sound), and a 4DX screen.

History

1884: The Empire Theatre opens

The Empire Theatre opened on 17 April 1884 under the ownership of Daniel Nicols as a West End variety theatre on Leicester Square, as well as a ballet venue, with a capacity of about 2,000 seats.

The first performance was Chilpéric, with music by Hervé, adapted by H. Hersee and H. B. Farnie and described as a Grand Musical Spectacular, in three acts and seven tableaux. The corps de ballet for the performance was 50 strong. Edward Solomon and Sydney Grundy premièred their comic opera, Pocahontas or The Great White Pearl, another Solomon opera, Polly or The Pet of the Regiment transferred here, and his Billee Taylor was revived here, all in 1884. Kate Vaughan starred in Around the World in 80 Days at the theatre in 1886. Hervé premièred his Diana (1888) and Cleopatra (1889) at the theatre.

In 1887, the theatre reopened as a popular music hall named the Empire Theatre of Varieties. From 1887 to 1915, the designer C. Wilhelm created both scenery and costumes for (and sometimes produced) numerous ballets at the theatre, which established a fashion for stage design and were much imitated. George Edwardes managed the theatre around the start of the 20th century. The dancer Adeline Genée and the theatre's ballet company, working under composer-director Leopold Wenzel, did much to revive the moribund art of ballet in Britain, which had declined in the 19th century.

An extension providing secondary access from Leicester Street via a new foyer was added in 1893, with Frank Verity as the architect.

In March 1896, the Empire Theatre played host to the first commercial theatrical performances of a projected film to a UK audience by Auguste and Louis Lumière. The film programme ran for 18 months. Over the next few years, the theatre began to offer a programme of live performances with short film shows.

1927: Rebuilt as a cinema

As moving pictures grew in popularity in the 1920s, the freehold of the Empire was acquired for redevelopment in 1925 for over $1 million by Metro-Goldwyn-Mayer in partnership with Solly Joel, with its last live theatre performance being Lady Be Good, starring Fred Astaire.

Most of the theatre was demolished in 1927, with the Empire rebuilt as a film theatre on an expanded site with the auditorium block now extending East to Leicester Place; the architect was Thomas W. Lamb with assistance from F. W. Boettcher and Frederick G. M. Chancellor of Frank Matcham and Company as the local architect, and the Anglo-Scottish Construction Company Ltd was the contractor. Parts of the Frank Verity designed exterior remain visible on the West side.

It opened on 8 November 1928 with the silent film Trelawny of the Wells, based on the play by Arthur Wing Pinero.

Built as an American-style movie palace in the form of North American theatres designed by Thomas Lamb for Loew's/MGM, it had a capacity of about 3,300 seats, and was one of the first cinemas in the UK to be fully air conditioned. It also boasted a 4/21 Wurlitzer organ, and a large stage which often hosted ballet and dance performances.

Soon after opening, MGM bought out Joel's interest in the theatre.

Post-war cine-variety

After the war, the stage accommodated programmes of cine-variety–elaborate live shows, similar to those presented at the Radio City Music Hall. For these, the American producer Nat Carlson, who had been responsible for shows at that venue, was hired, and its slogan, "The Showplace of the Nation," was adopted.

In 1952 the Empire featured in Charlie Chaplin's film Limelight, and its 1927 incarnation can also be seen in archived newsreel footage of special events.

New screen for Ben-Hur 70mm presentation

In 1959, the Empire installed new 70mm projectors and a new screen in front of the proscenium to show Ben-Hur, which ran for 76 weeks.

1962: Reconstruction as a cinema and dance hall

Following the long run of Ben-Hur, in 1961 the Empire was sold to Mecca and closed for internal reconstruction to create a new cinema for MGM and a dance hall for Mecca. The building was stripped out extensively, including the removal of existing partition walls and floors. Almost all of the 1920s ornate plasterwork was removed; two small sections remained, hidden behind false walls and ceilings—one section now being behind the IMAX auditorium side wall.

George Coles was the architect and G. E. Wallis and Sons was the main contractor for the new cinema.

The theatre re-opened on 19 December 1962, with Jumbo. A new 1,330-seat auditorium was formed at circle level, on a suspended precast concrete floor over the former stalls underneath, with a circle section at the rear on a new stadium seating structure, and a flatter raked stalls section towards the screen end; the auditorium had no stage facilities, and extended into the former stage house. Its side walls and ceiling were finished with acoustic plaster tiles of mink and gold colours, featured banks of concealed colour-changing cold cathode lighting, and reclining red upholstered seating was fitted.

The auditorium would later be known as Empire 1 or Screen 1.

The vestibule was subdivided with the cinema entrance on the left side, with a single staircase up to the grand foyer, its walls covered with white and black Italian marble, and a new grand foyer replaced the circle foyer, featuring a red coloured ceiling with several domes, lit with white concealed lighting.

In the former stalls, a Mecca Ballroom was constructed, with access from Leicester Square via the right half of the former cinema vestibule and stairs down to its sub-basement level. Over the years, it has been a dance hall, discothèque and nightclub, being later operated by First Leisure Corporation plc, and in 1992 it was reimagined as the Equinox Discothèque. In 2007, following further substantial reconstruction and refurbishment, it re-opened as the Casino at the Empire, which is now operated by Metropolitan Gaming, owned by Silver Point Capital.

The 1928 façade was retained but was now completely obscured by a full building hoarding advertising the current films featured and Mecca Dancing; it was not until 1989 that it was re-exposed, with a new canopy built featuring rows of semi-circular neon lights, which was subsequently altered and then completely replaced when the Casino was opened.

1989: Refurbishment

In 1989, Screen 1 and the lobby areas were refurbished, with Esquisse Design as the architects. Fibre optic starfields by Par Opti Projects Ltd were fitted in the foyer ceiling and in the curved proscenium arch-style flat plasterwork above the screen, and a THX-certified sound system was installed by CSI, which later became Bell Theatre Services Ltd.

This consisted of 5 JBL 4675C systems with dual 4648A LF cabinets (four 15" drivers per channel), six JBL 4645 subwoofers, and 20 JBL 8330 surrounds, powered by 13 JBL/UREI dual-monoblock 6290 power amplifiers, fed from a Dolby CP200 with a THX 3417 crossover/booth monitor.

The refurbishment included the application of grey spray paint to the tiles in Screen 1, which had the unintended consequence of negatively impacting the auditorium's acoustics. The red foyer ceilings now had a flocked finish, a 40 screen video wall was installed in the foyer, and new decorative treatments in lobby areas included mirrored finishes and exposed cold cathode lighting features. The HVAC system was upgraded with a new rooftop chiller unit.

A laser projector was also installed in Empire 1, for a short sound-and-light show; the projection was onto the tabs and walls, and the concealed lighting was sequenced. It preceded the start of each programme, proclaiming it to be "The Most Spectacular Cinema in the World," and advertised the THX certified sound system.

Dolby SR-D was fitted in 1992 by adding a Dolby DA10 and CAT699 soundtrack readers; a year later, a DTS-6 system was added for the release of Jurassic Park, and an SDDS system was also installed.

By the mid-1990s, the laser show was discontinued; some years later, Martin Audio speakers were installed, and THX recertification was eventually dropped.

Ownership changes

The Empire was operated for many years by Cinema International Corporation (CIC), until it merged in 1989 with United Artists Communications Inc. to form United Cinemas International (UCI) Cinemas. In 2004, UCI Cinemas merged with Odeon Cinemas to form the Odeon & UCI Cinemas Group; the Office of Fair Trading required the disposal of ten former UCI sites, including the Empire Leicester Square, which in October 2005 were sold to Empire Cinemas Ltd. and rebranded as Empire Cinemas. The Empire Leicester Square was subsequently acquired by Cineworld in July 2016, and the cinema is now known as Cineworld Leicester Square.

21st century technical upgrades to Screen 1

Reinstatement of THX certification

Following Empire Cinemas' acquisition, in 2006 the THX certification of Screen 1 was reinstated. The sound system was completely replaced by Bell Theatre Services Ltd, using 5 JBL 5632 Custom ScreenArray screen speakers, each with dual 18" drivers, and 16 18" JBL 4645C subwoofers, all flush with a new baffle wall built by Camstage; a rear array comprising 42 JBL 8340A surround speakers, 5 dbx DriveRack 4800 digital active crossovers, and 56 kW of Crown CTs series amplification.

CTs 2000 and 3000s were placed in racks behind the screen to ensure loudspeaker cable runs were short, and the surrounds were individually powered by 6 CTs 8200 8-channel amplifiers located in the booth.

The SDDS D2000, DTS-6Ds, Dolby CP200 and MPU-1 were serviced or refurbished and one Philips DP70 was recommissioned in order to run 70mm screenings; and were tested with Reel 1 of Dune. A Dolby CP650 was added to handle digital sources, being fitted with a CAT778 allowing AES/EBU outputs to the dbx crossovers, and was switchable to analogue for the CP200.

To help tame the auditorium's acoustics, RPG Reapor sintered glass tiles were applied over the existing tiles.

The screen was also replaced by one  wider, measuring . Film projection lenses were changed to variable-iris aspheric technology Schneider Cinelux Premières, allowing light balance centre-to-edge with improved focus and illumination uniformity.

Dolby 3D projection and Dolby Atmos

In May 2009, Screen 1 was equipped for the world première of Avatar with the UK's first Dolby 3D large screen system, using 4 Barco DP3000 projectors in a dual-stacked configuration.

The UK's first public Dolby Atmos system was installed in Screen 1 in July 2012. 14 overhead speakers (JBL AM7212 and AM7215) were installed, hanging down through holes in the ceiling, but covered over with grey fabric, and additional front side speakers and rear subwoofers were added.

IMAX conversion of Screen 1

In August 2013, Screen 1 was closed for a total refurbishment, to form a 723-seat IMAX auditorium  and a 401-seat IMPACT auditorium (renamed Superscreen following the Cineworld acquisition.) The final screening, Big Bad Wolves, occurred on 26 August 2013 to close out FrightFest 2013, and building work commenced immediately afterwards.

The architect for the conversion was UNICK Architects, with Maeve Contractors as the main contractor.

The project involved the permanent removal of almost all existing decorative finishes and fittings, the demolition of all false ceilings, and some internal walls. A large acoustic wall was constructed, weighing 50 tonnes and hung from the 1920s roof structure, for isolation between the two auditoria.

The IMPACT (Superscreen) screen opened on 16 May 2014 with Pompeii, and the IMAX screen on 30 May 2014 with Edge of Tomorrow. Following the redevelopment of Screen 1, the cinema had digital projection only, with no film projection capability available.

IMAX auditorium

The IMAX auditorium uses the circle seating area of the former Screen 1, with its steep raking, and is the largest IMAX in the UK by seating capacity. It also has the widest cinema screen in the UK, 26.5m (87.5 feet) wide by 15.6m (51.1 feet) high; it is curved and is positioned in the former middle stalls of Empire 1. Its walls and ceilings retain essentially the same form, but with the ceiling progressively raised, reusing the 1962 curved steelwork moved up to accommodate the IMAX screen height, and altered with the front splay walls moved in. The walls and ceiling are covered with black stretched fabric over acoustic absorption, and the colour-changing concealed lighting has been reinstated using LEDs. Its seating is upholstered in black leather.

At opening, two IMAX DLP xenon light source projectors were used, which could only achieve a 24.5m (~80 feet) wide by ~13m (~42.5 feet) high image. A full set of IMAX "Kanga" Grand Theatre speakers were installed, supporting all 6 channels then available including upper centre.

In October 2015, the IMAX laser light source projection system (IMAX with Laser) was installed, allowing the full screen to be filled, alongside an upgrade to IMAX's 12 channel surround sound system, for which 6 additional smaller overhead and side surround speakers were added.

Superscreen auditorium

The remaining area of the former Screen 1, combined with the former void area to the external wall on Leicester Place, is used for the Superscreen auditorium, which bears no resemblance in design to the former Screen 1. Its 20.5m (~67 feet) wide by 11m (~36 feet) high wall-to-wall floating screen is oriented in the opposite direction, back to back with the IMAX screen. A new stadium seating structure was constructed, and at the rear of the auditorium, on a new 17m long steel girder supported by the existing roof structure, sits a small balcony seating area, under which a small projection booth is situated.

Dolby Atmos was installed, along with a total of 87 JBL speakers powered by 85 kW of amplification. Most of the projection and sound equipment, including twin Barco DP4K-32B projectors, JBL screen speakers, Crown amplifiers, and dbx loudspeaker management units, as detailed above, was transferred from the former Screen 1, except that all surround and overhead speakers were replaced.

History of other auditoria (Pre-Cineworld acquisition)

Screen 2

Formerly the Ritz, a cinema located in the basement of an adjacent building (1–4 Leicester Square) that opened in 1937, which was originally designed as a newsreel cinema, the architect being George Coles. It was acquired by MGM for moveovers of feature films, and later renamed Empire 2. It has been refurbished several times, notably in 1970 with Sidney Kaye, Eric Firmin and Partners as the architects, and revamped in the 2000s with the addition of a new stadium seating structure.

A separate entrance was retained until the mid-1980s, subsequent to which access has been via the main cinema foyer level, by entering into a stairwell leading down to the auditorium.

Screens 4 and 5

These two screens were added in 2008, the first to open with digital projection only in London's West End, built in areas formerly used as toilets and offices, respectively seating 96 and 50. Barco DP1500 projectors, Harkness screens, Crown amplifiers, JBL screen speakers and Martin Audio surround speakers, alongside reclining memory foam seating, were installed.

Screens 7 and 8

Opening on 29 November 1985, a 77-seat auditorium known as Empire 3 was constructed. Following its closure in 2009, its space combined with former void space, above the lower vestibule, was used to form Screens 7 and 8.

Screens 6 and 9

Screen 6 was built as the smallest auditorium, with 26 seats; and Screen 9, above Screen 8, was built within former offices.

Post-Cineworld acquisition developments

In 2018, Cineworld completed a total refurbishment of the lobby areas, and the former Screen 2 was converted to a 4DX screen.

Foyer refurbishment
The new foyer was designed by Innebo Architects, with Chapman Taylor as the architect for the project's delivery.

It involved the replacement of all ceilings and the permanent removal of almost all decorative features, many of which dated from numerous changes made since the 1962 reconstruction and also the 1989 refurbishment. Of particular note, the original white marble vestibule wall finishes and the red coloured ceilings with domed features were not reinstated; however, the brass balustrading in the vestibule area was refitted.

The vestibule stairs now feature LED display modules fitted on their risers, and a large curved display formed from LED display modules is situated at the top of the vestibule. Reflective black stretched fabric has been attached to the ceilings, which are heavily accented with decorative features, consisting of coved elements and flat gold coloured squares, lit using much concealed and back LED lighting.

4DX conversion of the former Screen 2

The former Screen 2 was converted to a 4DX auditorium, with Chapman Taylor's leisure team as the architect. The auditorium was altered to allow for the 4DX installation; all internal finishes were replaced, and the seating, now with a capacity of 136, was fitted to a new stadium stepping, with wider row spacing.

Screen renumbering

Concurrent to the lobby areas refurbishment, the screens were renumbered; Screens 5, 4, and 6 are now Screens 1, 2 and 3 respectively, and Screens 7–9 are now Screens 5–7. The 4DX, IMAX and Superscreen auditoria—4, 8 and 9 respectively—are normally referenced by name.

Refurbishment of other screens

Screens 1-3 and 5-7 (formerly 5, 4, 6 and 7–9) were reopened in Summer 2018, following refurbishment, which included replacement seating, all (except Screen 3) on a steeper rake.

References and notes

 Guide to British Theatres 1750–1950, John Earl and Michael Sell pp. 109–10 (Theatres Trust, 2000)

External links
Cineworld Leicester Square
Postcards of the theatre
Programme and poster images
Theatre images
Ivor Guest The Empire Ballet Society for Theatre Research. 1962 (Online book)
Profile of the Lumiere Cinématographe, at the theatre

Casinos in England
Cinemas in London
Buildings and structures in the City of Westminster
Former music hall venues in the United Kingdom
Former theatres in London
IMAX venues in the United Kingdom
Leicester Square
Theatres completed in 1884
Thomas W. Lamb buildings
Tourist attractions in the City of Westminster

Empire, Leicester Square


El XI Campeonato europeo de hockey sobre patines femenino se celebró en Wuppertal, Alemania, entre el 25 de octubre y el 29 de octubre de 2011.

Equipos participantes
5 seleccionados nacionales participaron del torneo

Resultados
{| width=100%
|valign="top" width="440" |

Deporte en Wuppertal
Deporte en Alemania en 2011
Hockey sobre patines en Alemania
Hockey sobre patines en 2011
Campeonato europeo de hockey sobre patines femenino
Hockey sobre patines

Campeonato europeo de hockey sobre patines femenino de 2011


Tamara Horacek (født 5. November 1995 i Požega) er en kvindelig fransk. håndboldspiller, der spiller for Metz Handball og Frankrigs kvindehåndboldlandshold.

Hun deltog under EM i håndbold 2016 i Sverige, hvor det franske hold vandt bronzemedaljer.

Referencer

Eksterne henvisninger

Håndboldspillere fra Frankrig
Håndboldspillere fra Paris 92
Håndboldspillere fra Siófok KC
Håndboldspillere fra Metz Handball
Olympiske håndboldspillere fra Frankrig
Olympiske medaljevindere i håndbold
Olympiske sølvmedaljevindere fra Frankrig
Medaljevindere ved sommer-OL 2016
Håndboldspillere ved sommer-OL 2016
Deltagere for Frankrig ved sommer-OL 2016

Tamara Horacek


În chimia organică, benzoil este o grupă funcțională de tip acil cu structura C6H5CO–. Trebuie făcută distincția între benzoil și benzil, care are formula C6H5CH2. Are adesea simbolul Bz.

Vezi și
 Aril
 Benzil
 Benzaldehidă
 Acid benzoic

Referințe

Grupe funcționale

Benzoil


منيارةهي قرية لبنانية من قرى قضاء عكار في محافظة الشمال. تقع في تجمع للقرى يسمى شفت عكار. ترتفع 170 مترا عن سطح البحر وتمتاز انها قريبة من مركز المحافظة حلبا ومن الجبل وتكثر فيها زراعة الزيتون والكرمة والحمضيات. وما يميز منيارة عن سائر القرى الأخرى انها تقع بين هضبتين وانها ملاذ لبقية القرى الأخرى للتبضع منها وتكثر فيها الملاهي الليلية والحانات والمطاعم ويقام فيها مهرجان سنوي فني وثقافي يهتم الفن والرسم والنحت.

تبعد عن مركز القضاء حلبا مسافة 3 كلم وعن مركز المحافظة طرابلس مسافة 25 كلم. تبعد منيارة حوالي 107 كلم (66.4898 مي) عن بيروت عاصمة لبنان. ترتفع حوالي 200 م (1) (656.2 قدم - 218.72 يارد) عن سطح البحر وتمتد على مساحة تُقدَّر بـ 113 هكتاراً (1.13 كلم²- 0.43618 مي² (2)).

العائلات
صرّاف - عبود - فرح- نعوس - حيار -سعود - كفروني - منصور - سليمان - ملحم - كرم - النهري - الرباحي - الصباغ - سكر - بردقان - بلوط - سابا -حنا - إبراهيم- أبي إلياس - فاخوري - طرفه - الحزرري - ديب - أيوب - الزهوري - الشويري - الدرزي - طعمة - الحداد - مراد - بيطار - طالب - عيسى - انطون - الخوري - عطية - التولاني - نعمة - حبيب - نخل - الشدياق - النجار- الدوماني

تاريخ منيارة

يمتد عمر منيارة عن تاريخ 330 سنة عندما استقرت عائلات هجرت سوريا وسكنت فيها ومن ثم توالت العائلات واحدة تلوى الأخرى وكانت في البدء المساحة السكنية عبارة عن ساحة القرية وما حولها من منازل متفرعة وكان الأهالي يعتمدون على الماء بحفر الابار الارتوازية. اما في الزراعة فقد كانوا يزرعون القمح والذرة والحبوب في سهل عكار المجاور للبلدة والزيتون الحمضيات حول مشارف القرية.

المراجع

أخبار منيارة - صدى عكار

أماكن مأهولة في قضاء عكار
أماكن مأهولة في لبنان
أماكن مأهولة في محافظة عكار
الشفت
تجمعات مسيحية في لبنان
قرى لبنان
قضاء عكار

منيارة


Confederația Europeană de Volei (Confederația Europeană de Volei, în limba franceză Confédération Européenne de Volleyball or CEV), este organismul continental pentru sportul de volei din Europa. Sediul central se află în Luxembourg, Luxemburg.

Istoric
Deși a fost creat 21 octombrie 1963, la București, România  voleiul a fost în Europa de mai mulți ani. Majoritatea echipelor care au participat la congresul de constituire a FIVB în 1947 erau din Europa. De fapt, înființarea sa pare să fi fost o dorință din partea federațiilor naționale europene.

Voleiul a fost inventat în SUA, dar a devenit pentru prima dată un sport extrem de popular în Europa de Est, după ce a fost adus de soldații americani în timpul primului război mondial. Până la mijlocul secolului, acesta s-a răspândit deja prin restul continentului. Multe din tehnicile și tacticile care sunt frecvente în voleiul modern se pare că au fost introduse de echipele europene. Printre altele, ar fi demn de remarcat aici: blocarea (Cehoslovacia, 1938); penetrarea pasatorului, care a condus la dezvoltarea așa-numitul sistem "5 - 1" (URSS, 1949); pasa cu antebrațul (Cehoslovacia, 1958) și atacul înapoi (Polonia, 1974).

Lunga și semnificativa tradiție a sportului de pe continent pot fi responsabile, cel puțin parțial, pentru structura administrativ a CEV, care rivalizează cu cea a FIVB în dimensiune și implicare. Aceasta este cea mai mare dintre toate confederațiile de volei, și cea care organizează cel mai mare număr de concursuri anuale și turnee. Din 2005, sediul central se află în Luxembourg, Luxemburg.

Ca entitatea ce conduce federațiile europene de volei, CEV organizează competiții continentale precum prestigiosul Campionat European (prima ediție a avut loc în 1948), Cupa CEV și Liga Europeană. Participă la organizarea turneelor de calificare pentru evenimente majore, cum ar fi Jocurile Olimpice sau Campionatul Mondial și a competițiilor internaționale găzduite de către una dintre federațiile afiliate.

Echipe

Europa este considerată cel mai puternic continent în domeniul voleiului. CEV, de obicei, mai multe locuri rezervate în competițiile internaționale decât oricare altă confederație. Rusia, care a moștenit cei mai mulți dintre jucătorii și antrenorii fostei URSS și ai CSI, are probabil programul de volei cel mai stabil, sprijinind echipele masculine și feminine de cel mai înalt nivel. Același lucru poate fi spus despre Italia, deși doar în ultimii ani voleiul feminin s-a dezvoltat pe deplin în această țară.

Serbia, Polonia, Italia, Bulgaria și Olanda, de asemenea, trebuie să fie luate în considerare ca forțe continentale în volei masculin. La un nivel mai scăzut de joc, se pot lua în considerare alte câteva echipe cu tradiție în acest domeniu, cum ar fi Franța; și la un nivel chiar mai mic, dar încă capabile să învingă echipe puternice, Germania, Spania, Grecia și, posibil, Portugalia. În 2015 Slovenia a făcut istorie încheind pe locul al doilea la Campionatul European din 2015.

Concurența este mai puțin dură în voleiul feminin. Rusia, Serbia și Italia sunt rareori amenințate de orice altă echipă în competiții majore. În afară de acestea trei, Germania, care a atras jucătoare atât din Vest cât și din Est, poate fi privită ca următoarea echipa cea mai tradițională din Europa. Cu rezultate mai inconsistente și, adesea, în funcție de forma individuală jucătoarelor, se pot lua în considerare: Olanda, România și, mai recent, Polonia și Turcia.

Referințe

Legături externe
 Confederația Europeană de Volei (CEV)

volei
Fondări în 1963

Confederația Europeană de Volei


භානු ගුණසේකර (භානු දීපණ ගුණසේකර, උපත 1997 දෙසැම්බර් 2) ශ්‍රී ලංකා වීඩියෝ නිර්මාණකරුවෙකි. සෙවන්ස් කිඩ් ලෙස ද හැදින්වේ.

ඔහු සංගීත කර්මාන්තවල (සංගීත උත්සව, ගීත සහ ප්‍රසංග චාරිකා වැනි පසුපෙළ පාස් වැනි) මෙන්ම වාණිජ මාධ්‍යවලද (විලාසිතා, ඩිජිටල් මාධ්‍ය, වෙළඳ භාණ්ඩ, සජීවිකරණය සහ චිත්‍රපට සෑදීම වැනි උසස් හා පහත් කලාවන් අතර රේඛාව බොඳ කිරීම සඳහා ප්‍රසිද්ධය.

චරිතාපදානය
භානු ගුණසේකර 1997 දෙසැම්බර් 2 වන දින ශ්‍රී ලංකාවේ ගාලේ උපත ලැබීය. ඔහු ජීවත් වන්නේ ශ්‍රී ලංකාවේ කොළඹ ය.

භානු ගුණසේකර අධ්‍යාපනය ලැබුවේ කොළඹ ඉසිපතන විද්‍යාලයේ ය. පාසලෙන් පසු භානු ගුණසේකර මානව සම්පත් කළමනාකරණය හැදෑරීම සඳහා සීඅයිපීඑම් ආයතනයට බැඳුණි. ඉන්පසු ඔහු සංගීත උදුන ආයතනයට ගොස් 2019 දෙසැම්බර් මාසයේදී ශබ්ද හා සංගීත තාක්‍ෂණ උපාධියක් ලබා ගත්තේය.

යොමුව

Bhanu gunasekara