Pease Pottage is a village in the Mid Sussex District of West Sussex, England. It lies on the southern edge of the Crawley built-up area, in the civil parish of Slaugham.

The village has a motorway service station, named after the village, which also serves as a local shop for the residents of the village (a footpath was constructed to allow pedestrian access from the village). It is located at the junction of the M23 and the A23 on the London to Brighton road, where the A264 to Horsham joins.

The Church of the Ascension, a chapel of ease to St Mary's Church, Slaugham, opened in 1875, but is no longer in use.

Pease Pottage Radar is about  west of Pease Pottage and is visible from much of the village. It is an air traffic control radar for NATS and takes advantage of a position  above sea level, some  above the nearby Gatwick Airport.

Etymology
Pease Pottage is also an old name for pease pudding. It has been said that the village name came from serving this food to convicts either on their way from London to the South Coast or from East Grinstead to Horsham although this seems implausible and it is not clear why convicts would travel along either route. The name Peaspottage Gate first appears on Budgen's Map of Sussex made in 1724 at the southern end of a road from Crawley where it met the Ridgeway, and is on the border of the parishes of Slaugham and Worth. This is prior to the turnpikes (1771), and so was not a toll gate. It was probably a gate between St Leonard's Forest and Tilgate Forest (part of Worth Forest), and probably a reference to soft muddy ground. Many local villages have Gate as part of the name (Tilgate, Colgate, Faygate etc.). The name is not on John Speed's map of 1610 (surveyed in the 1590s). Gate was dropped from the name when the tollgate was removed in 1877.

Geography and history
Pease Pottage is situated on the Forest Ridge of the High Weald. This ridge is formed from the resistant sandstones and thin clays of the Cretaceous Hastings Beds and stretches from Horsham in the west to reach the English Channel coast in the east between Hastings and Rye. The ridge is narrow to the west of Pease Pottage but widens to the east. Wet Weald Clay forms the low ground to the north and south of the ridge. The sandstone provides good drainage and many microliths have been found dating from the Mesolithic Age. The Horsham Culture is believed to have lasted about 2,000 years. Neolithic flints from the South Downs have been found to the east along Parish Lane. To the west are three Bronze Age tumuli.

Pease Pottage lies on an ancient, pre-Roman trackway that ran in an east to west direction along the Forest Ridge from Ashdown Forest through West Hoathly, Turners Hill and Pease Pottage to Horsham. This pre-historic ridgeway pre-dated the predominantly north–south-oriented Roman roads built by the Romans to link the south coast of England to London, and to connect with the strategically important Wealden iron industry, such as the London to Brighton trunk road  east of Pease Pottage and Stane Street further to the west. The ridgeway, running as it did in an east–west direction across the Weald, was probably of long-standing importance and of great antiquity. The route can be traced on Ordnance Survey maps and can be discerned on the ground in various places e.g. as an old sunken trackway running through Worth Forest east of Pease Pottage.

The only evidence from Saxon times comes from the political structures. The Middle Saxons extended south from the Thames valley and created the sub-kingdom of Sudergeona (Surrey). The South Saxons populated the south coast. In between was a great forest known as the Andreaswald. The wet Wealden clay and dense undergrowth made this relatively inaccessible except by river, and so the Sussex Rapes were formed along the river valleys. The River Ouse was navigable for small boats from Lewes up to Cuckfield from where higher drier ground and less dense vegetation made progress north easier. Thus the Rape of Lewes extended as far north as modern Crawley. The rapes were sub-divided in hundreds, and the area now known as Pease Pottage was in the Hundred of Buttinghill. Slaugham is first mentioned around 1095 when the tithes were granted to the Priory of St Pancras in Lewes. The church dates from the early 12th century.

The first large scale map of Sussex by Christopher Saxton in 1575 shows Crawley and Slaugham churches, St. Leonard's Forest and Worth Forest, but just white space between them. Speed's map of 1610 (surveyed by John Nordon about 1595) also shows Slawgha and Crawley with the Rape border passing between Schelley Forest on the west and Tylgate Forest on the east. Neither map shows any roads. It is likely that the Ridgeway from Horsham was used as it is the only dry east–west route, but this went south to Handcross then east along High Street (round the headwaters of Standford Brook) to Turners Hill and onwards to East Grinstead. A shorter but wetter (probably impassable in the winter) shortcut developed along Parish Lane crossing Standford Brook at Cinder Banks. This is clearly shown on Budgen's 1724 map which indicates a few buildings at Pease Pottage Gate with Buchan Hill to the west and a road north through Broadfield and Hogs Hill to Crawley. The road south to Handcross is not shown.

Cinder Banks takes its name from a double blast furnace known as Worth Furnace which was producing cannons in 1547 – a double furnace was required to produce enough iron for a cannon. Originally owned by Thomas Howard, 3rd Duke of Norfolk, it passed to Thomas Seymour, 1st Baron Seymour of Sudeley when Norfolk was accused of treason. Seymour suffered the same fate, and an inventory of his property taken in 1550 gives detailed information of the furnace which included 29 guns and six tons of shot. The furnace produced cast iron, some of which was taken north to the Blackwater finery forge (now under Maidenbower) to be converted into wrought iron.  The furnace closed in the early 17th century due to a shortage of iron ore and wood. Thomas Seymore in his brief ownership suggested building a new town in the nearby park of Bewbush.

The main route between London and Brighton was further east (in 1756 the London-Brighton stage coach went via East Grinstead and Lewes). A toll road from Crawley north to London was built in the early 18th century, but the road south to Brighton through Pease Pottage was not constructed until 1770. The Ridgeway (today known as Horsham Road and Forest Road) was turnpiked in 1771 being the main Horsham-Crawley road prior to the McAdam Road being built in 1823 (now the old route of the A264 – it would have been extremely wet before it was given a hard surface). There were two London-Brighton coaches a day in each direction in 1797.

In the early 19th century Hon. Thomas Erskine (Lord Chancellor 1806–1807), son of the Earl of Buchan purchased Buchan Hill in the early 19th century and built a house in the fork between the two roads descending from the north end of Grouse Road towards Bewbush and Gossops Green. Although it is widely believed that Buchan Hill was named after his father, the name is on Budgen's map some 80 years earlier. The house is now the home of Cottesmore School. William Cobbett travelled the ridgeway on 31 July 1823., and wrote about it in his Rural Rides:

In Reminiscences of Horsham by Henry Burstow he states that on 4 October 1837 he went to Pease Pottage to see Queen Victoria pass through on her way from London to Brighton. There was "a large archway made of evergreens, with VICTORIA REGINA worked on it in various coloured dahlias".

Pease Pottage would have benefited from the toll roads, but lost the Crawley-Horsham traffic in 1823 with the opening of the new McAdam road through Faygate, and the London and Brighton Railway completed in 1841 which skirted along the eastern boundary of Pease Pottage cutting through Tilgate Forest alongside Standford Brook and through a tunnel under High Street. The Pease Pottage tollgate was removed in 1877. In 1896 on the day after the red flag law expired, 25 cars left London for Brighton, but half had broken down by Crawley. This event is still celebrated in the London to Brighton Veteran Car Run which still goes past Pease Pottage on the first Sunday in November.

The pub dates back to the 19th century. A pond in front of it was filled in 1883. A smithy was next door, and later a shop and a Jet petrol station opposite, with the Busy Bee restaurant behind. The Grapes pub (closed in 2008 and demolished in 2010) was further south, and had a tin church next to it. It was originally the toll house, and the name came from grapes grown in a greenhouse next door.

To the south of Pease Pottage is Tilgate Forest Row which had three shops, a blacksmith and post office. The Pease Pottage cricket field was between here and Pease Pottage (now a car breakers yard). The cricket field was made in 1874, but was ploughed up in 1939 as part of the war effort. It had a London horse-drawn tram as a pavilion. The ground was up to county ground standards.

The next major change to Pease Pottage was the opening of the M23 motorway in 1975 which continued as the A23 road, a two lane dual carriageway south to Handcross with the houses of Tilgate Forest Row facing onto it. The service station was opened in about 1990. The road layout was changed again in the mid-1990s with the A23 moved a few yards west and widened to three lanes. The old southbound carriageway became a new road to Handcross, and another new road was built on the other side of the A23 to Woodhurst. Tilgate Forest Row is now separated from Pease Pottage by ten traffic lanes.

A large number of houses have been built since 1946 when Pease Pottage consisted of a few buildings near the crossroads and a few isolated buildings on the A23. The first development was west along Horsham Road, mainly bungalows. This was followed by modern estates behind the Black Swan and to the west of the old A23 (now Brighton Road South). The last of these was on the site of Hemsleys nursery, south of which are Finches playing fields. Some apartments have been built on the old maintenance deport on the east side of Old Brighton Road North. The northern end of this cul-de-sac is in Crawley and there are now houses along the west side so the gap between Pease Pottage and Crawley has disappeared.

Commercial activities
There are a number of commercial activities in the village, including the large car breakers yard on Brighton Road. Just south of this was the British Airports Authority Management Centre, the site next occupied by the Crawley Forest School opened on 18 September 2009 by Gloria Hunniford. The school was registered as an independent special school and a children's home with Ofsted. The registration was for a mixed provision (i.e. boys and girls) with an age range of 7–18 years and caters for 35 residential and 20-day pupils.

The site is now occupied by the controversial 'Cedars' UK Borders Agency Detention Centre, housing families temporarily before deportation. This was opened as a response to objections to children being held at the Yarl's Wood detention centre. Dr. Barnados children's charity have also become involved with the centre, leading to criticism of the charity.

There are also large warehouses next to the old crossroads, and two small industrial parks – one between Brighton Road and the A23, and the other along Parish Lane. Finally there are some units at the golf driving range on the west of the village and the old Met Office site next door (which is strictly in Colgate).

Country houses
There are two country houses just outside the borders of Pease Pottage, but which have it as a postal address, and are accessed from the village.

The original house at Buchan Hill was built in the early 19th century by Hon. Thomas Erskine (Lord Chancellor in 1806). His father was the Earl of Buchan from which it may have taken its name, although Buchan Hill is named on Richard Budgen's map of 1724, and its name may have attracted him. This house was built in a fork between two roads running north towards Bewbush and Gossops Green. Today the right of way descends along the west branch as far as the site of the old house, turns east across the front of it then north along the east branch. John Jervis Broadwood (a descendant of John Broadwood) occupied it in the 1860s.

The new Buchan House was built in 1883 by Philip Feril Renault Saillard who made his money from a new dye used for ostrich feathers. It was located NE of the original which was subsequently demolished, and had three drives – north, south and east. The latter linked it with the London-Brighton road, and runs along the border between Slaugham and Crawley. It cost £40000. It was designed by the London partnership of Ernest George and Harold Peto, and Sir Edwin Lutyens was also involved. The house was occupied by his daughter after his death in 1915 and subsequently was bought by Upland House School. It was occupied by the Pearl Assurance Company before the Second World War, then housed Canadian Army Officers (there was a Canadian Army Camp north of Horsham Road), since when it has been used by Cottesmore School.

Woodhurst was constructed as a country house in the early 19th century. It was just off the A23, but now is at the southern end of Old Brighton Road South, and is really in Handcross although it cannot be accessed from there. It was owned by Dame Margot Fonteyn and used as a ballet school. During World War 2 it was occupied by the Canadian army and was later used by the NHS as Woodhurst Hospital (there are several postcards of this taken in 1955), and later 55 older people with learning difficulties living in residential care provided by Surrey Oaklands NHS Trust. This closed in 2003, and the site is being developed as a Diagnostic and Treatment Centre and Care Home by Sussex Health Care.

In popular culture
Pease Pottage featured in the 1953 film Genevieve as a very remote village deep in the Sussex countryside.

The fictional Doctor Who character Melanie Jane Bush lived at 36 Downview Crescent before joining the Sixth Doctor as a companion in the 23rd season. The town and its history feature prominently in the audio story The Wrong Doctors.

Notable people
Albert Cordingley (1871-1939), first-class cricketer
Edward Thornton (1893-1970), first-class cricketer and military officer

References

External links

Pease Pottage by Mid Sussex District Council Retrieved 1 November 2012

Mid Sussex District
Villages in West Sussex

Pease Pottage


الأصنام هي مدينة جزائرية تقع في ولاية البويرة، وتبعد عن عاصمة الولاية بحوالي 15 كيلومتر.

مراجع

أصنام

الأصنام (ولاية البويرة)


Xosé Antonio Sánchez Bugallo, nascido em 31 de janeiro de 1954 em Teixeiro, Curtis, é um político galego.

Vereador do PSdeG (Partido Socialista da Galiza, federado com o PSOE) na Câmara Municipal de Santiago de Compostela entre 1987 e 1999.  Nas eleições de 13 de junho de 1999, foi eleito prefeito da cidade, fruto de um pacto com o BNG. Reeleito nas eleições municipais de 2003 e 2007 . Perdeu a prefeitura nas eleições de 2011, sendo eleito deputado no Parlamento Galego nas eleições autonómicas de outubro de 2012. Nas eleições municipais de 26 de maio de 2019, é novamente candidato do PSdeG-PSOE a prefeito de Santiago, vencendo e assumindo novamente a prefeitura a partir de 15 de junho.

Filho de um ferroviário, mudou-se para Santiago quando tinha nove anos, divorciou-se e tem uma filha . É primo da ex-conselheira da Xunta Ánxela Bugallo, do BNG.

Carreira política
Ele começou sua carreira com Xerado Estévez  como seu chefe de gabinete. Nas eleições municipais de 1987, Bugalho foi eleito vereador. A partir dessa data, até à sua posse como autarca, assumiu diferentes delegações municipais como Desporto, Relações de Vizinhança, Trânsito e Segurança Cidadã, Pessoal e Corregedoria, Porta-voz Municipal, etc.

Resultados eleitorais
Desde as eleições municipais de 1999, ele divide o governo da cidade em coligação com o BNG, pacto que se repetiu em 2003 e 2007. Em 2011, ele perdeu a prefeitura quando o Partido Popular conquistou a maioria absoluta. Em 2015 ocupou simbolicamente o último lugar na lista do seu partido, que desta vez apresentou como candidato Francisco Reyes. Voltou a liderar a candidatura socialista nas eleições municipais de 2019 e foi reeleito prefeito de Santiago, substituindo Martiño Noriega (Compostela Aberta).

 Eleições 1999 : 16.208 votos (33,24%) e 9 vereadores.
 Eleições 2003 : 20.481 votos (40,32%) e 11 vereadores.
 Eleições 2007 : 18.270 votos (38,19%) e 10 vereadores.
 Eleições 2011 : 14.846 votos (30,96%) e 9 vereadores.
 Eleições 2019 : 18.150 votos (34,70%) e 10 vereadores.

Outras atividades
Desde 1999, é membro do Conselho de Administração da Organização das Cidades Património Mundial (OCPM) , presidente da Mancomunidade de Concellos da Comarca de Santiago de Compostela que abrangue os municípios de Ames, Briom, Boqueixom, Teio, Vale do Dubra e Santiago de Compostela, e desde maio do 2005 preside a Conferéncia de Cidades do Arco Atlántico , organismo internacional formado por cinco cidades do Reino Unido, seis de Portugal, uma da Irlanda e nove da França.

Foi eleito deputado ao Parlamento Galego nas eleições de 2012.

Notas

Veja também

Outros artigos

 Eleições municipais em Santiago de Compostela

Links externos

 Arquivo no Parlamento Galego
 Grupo Municipal dos Socialistas de Santiago.

Alcaides de Santiago de Compostela
Políticos da Galiza
Nascidos em 1954

Xosé Antonio Sánchez Bugallo


Aulus Postumius Albinus († vor 218 v. Chr.) gehörte dem patrizischen Geschlecht der Postumier an und war 242 v. Chr. Konsul sowie 234 v. Chr. Zensor.

Leben
Laut der Filiationsangabe der Fasti Capitolini hatte Aulus Postumius Albinus einen gleichnamigen Vater, während sein Großvater das Pränomen Lucius führte. 242 v. Chr., also gegen Ende des Ersten Punischen Krieges, erreichte er das Konsulat, wobei er Gaius Lutatius Catulus zum Amtskollegen hatte. Den Umstand, dass Postumius auch Flamen Martialis war, nahm der Pontifex Maximus Lucius Caecilius Metellus zum Vorwand, ihm den Wunsch zu verwehren, den zweiten Konsul Lutatius nach Sizilien zu begleiten, um mit diesem gemeinsam die herannahende Entscheidungsschlacht gegen Karthago auszufechten. Es sei nämlich die Pflicht des Flamen, argumentierte der oberste Pontifex, zur ordnungsgemäßen Ausübung seiner sakralen Aufgaben in Rom zu bleiben, und er erreichte so durch Strafandrohung, dass Postumius seinen Mitkonsul allein ziehen lassen musste. Der tiefere Grund für dieses Verfahren lag in der Tatsache, dass die Ständekämpfe zu dieser Zeit noch nicht völlig vorbei waren; der plebejische Oberpontifex ermöglichte mit seiner Vorgehensweise dem zum gleichen Stand gehörigen Konsul Lutatius, durch den Sieg in der Schlacht bei den Ägatischen Inseln den Ersten Punischen Krieg erfolgreich abzuschließen, die alleinigen militärischen Lorbeeren dafür einzustecken und so den Ruhm seiner Familie zu begründen. Mit der gleichen Methode sollten später die obersten Pontifices Publius Licinius Crassus Dives (189 v. Chr.) und Publius Licinius Crassus Dives Mucianus (131 v. Chr.) verhindern, dass hohe patrizische Magistrate, die ebenfalls das Amt eines Flamen bekleideten, die Hauptstadt verließen.

Aufgrund weiterer Parteikämpfe dürfte Postumius in der Folge auch erst 234 v. Chr. Zensor geworden sein. Die für diese Entscheidung zuständigen Comitien hatte der Konsul des Vorjahres, Gaius Atilius Bulbus, abgehalten, der dabei auch zu Postumius' Mitzensor sowie Postumius' Sohn Lucius Postumius Albinus zum patrizischen Konsul von 234 v. Chr. gewählt wurde. Postumius starb mit großer Wahrscheinlichkeit vor 218 v. Chr., da mit diesem Jahr die vollständige erhaltene dritte Dekade des römischen Geschichtsschreibers Titus Livius einsetzt, in der Postumius' Tod nicht erwähnt wird, während Livius gewöhnlich die Todesjahre aller Inhaber von Flaminaten verzeichnet.

Literatur

Anmerkungen

Konsul (Römische Republik)
Albinus, Aulus Postumius
Geboren im 3. Jahrhundert v. Chr.
Gestorben im 3. Jahrhundert v. Chr.
Mann

Aulus Postumius Albinus (Konsul 242 v. Chr.)


ස‍ඳෙහි අපට නොපෙනෙන පැත්ත පෘථිවියෙහි වූ රේඩියෝ සම්ප්‍රේෂණවලින් ආරක්ෂා වී ඇති නිසා එය ගඟනගාමීන්ගේ භාවිතය සඳහා රේඩියෝ දුරේක්ෂයක් ස්ථානගත කිරීමට සුදුසු ස්ථානයක් ලෙස සැලකේ. කුඩා පාත්ර  හැඩැති ආවාට Puerto Rico හි Arecibo ට සමාන ස්ථාවර දුරේක්ෂයක් සඳහා ස්වාභාවික නිපැයුම සපයයි. වඩා විශාල පරිමාණ දුරේක්ෂ සඳහා කිලෝමීටර් 100ක විෂ්කම්භයකින් යුත් ස‍ඳෙහි නොපෙනෙන පැත්තේ කේන්ද්රිය ආසන්නයේ පිහිටා ඇති ඩයිඩලස් ආවාටය හා එහි කිලෝමීටර් 3ක් උස පිටත දාරය කක්ෂගත වී ඇති චන්ද්රිඇකාවලින් වන නොවැදගත් සන්නිවේදන නැවැත්වීමට උදව් වනු ඇත. රේඩියෝ දුරේක්ෂයක් සඳහා තවත් සුදුසු අපේක්ෂකයකු වන්නේ සහා (Saha) අවාටයයි.

සඳෙහි නොපෙනෙන පැත්තේ රේඩියෝ දුරේක්ෂයක් ස්ථානගත කිරීමට පෙර විසඳීමට ප්ර ශ්න ගණනාවක් තිබේ. සඳෙහි වූ ඉතා කුඩා දූවිලි උපකරණවලට, වාහනවලට හා අභ්යා වකාශ ඇඳුම්වලට අපවිත්රේ විය හැක. රේඩියෝ තැටි සඳහා යොදා ගන්නා පරිවාරක ද්රකව්යර සූර්ය ගිනි දැල්වල ආචරණවලින් ද ඉතා සුපරික්ෂාකාරීව ආරක්ෂා කළ යුතුය. අවසාන වශයෙන් දුරේක්ෂය අවට ප්රආදේශය අනෙකුත් රේඩියෝ ප්රකභවවල සන්නිවේදනවලින් ආරක්ෂා කළ යුතුය.

පෘථිවි චන්ද්රි පද්ධතියේ L2 ලැග්රාවන්ජ් ලක්ෂ්යආය නොපෙනෙන පැත්තෙහි 62800 km පමණ උසින් පිහිටා ඇත. මෙය ද අනාගත රේඩියෝ දුරේක්ෂයක් සඳහා සුදුසු ස්ථානයක් ලෙස යෝජනා කර ඇත.

නාසාහි අධ්යායනය කරමින් පවති එක් චන්ද්රද මෙහෙයුමක් වන්නේ ස‍ඳෙහි දක්ෂිණ ධ්රැ6වයේ එයිට්කන් බේසමට සාම්පල නැවත පැමිණීමේ ලෑන්ඩරයක් යැවීමයි. මෙම ස්ථානය ප්ර ධාන ගැටුමක් සිදු වූ ස්ථානයක් වන අතර 2400km පමණ වූ නිපැයුමක් නිර්මාණය කරන ලදී. මෙම ගැටුමේ ප්රදමාණය සඳ මතුපිට තුළට ගැඹුරු විනිවිදයාමක් නිර්මාණය කර ඇති අතර මෙම ප්රුදේශයෙන් නැවත ගෙන්වා ගන්නා සාම්පල ස‍ඳෙහි අභ්යනන්තරය සැලකීමට අදාල දත්ත සඳහා විශ්ලේෂණය කළ හැක.

අපට පෙනෙන පැත්ත පෘථිවියෙහි වූ සූර්ය සුළංවලින් ආංශිකව ආවරණය වී ඇති නිසා සඳ මතුපිටෙහි අධිකම හීලියම් 3 සාන්ද්රනණය ස‍ඳෙහි නොපෙනෙන පැත්තේ ඇතැයි අපේක්ෂා කෙරේ. මෙම සමස්ථානිකය සාපේක්ෂව පෘථිවියෙහි දුලබ වන නමුත් විලයන ප්රොතිකාරක තුළ දී ඉන්ධනයක් ලෙස භාවිතා කිරීමේ හොඳ විභවයක් ඇත. චන්ද්ර  නිපැයුම්වලට පක්ෂපාතී පුද්ගලයන් මෙම ද්රතව්යො සඳ මධ්ය ස්ථානයක නිර්මාණය කිරීමට හේතුවක් ලෙස දක්වා ඇත.

සඳෙහි පෘථිවියට නොපෙනෙන පැත්ත


Catorce o 14 puede referirse a:
 El número 14.
El año 14 d.C.
 El año 14 a. C.
 El .
 Catorce, un municipio perteneciente al estado de San Luis Potosí en México.
 La 14 (supermercado), cadena colombiana de supermercados.
14 (Pandilla)

14 (desambiguación)


The new riddle of induction was presented by Nelson Goodman in Fact, Fiction, and Forecast as a successor to Hume's original problem. It presents the logical predicates grue and bleen which are unusual due to their time-dependence. Many have tried to solve the new riddle on those terms, but Hilary Putnam and others have argued such time-dependency depends on the language adopted, and in some languages it is equally true for natural-sounding predicates such as "green". For Goodman they illustrate the problem of projectible predicates and ultimately, which empirical generalizations are law-like and which are not. Goodman's construction and use of grue and bleen illustrates how philosophers use simple examples in conceptual analysis.

Grue and bleen

Goodman defined "grue" relative to an arbitrary but fixed time t: an object is grue if and only if it is observed before t and is green, or else is not so observed and is blue. An object is "bleen" if and only if it is observed before t and is blue, or else is not so observed and is green.

For some arbitrary future time t, say January 1, ,  for all green things observed prior to t, such as emeralds and well-watered grass, both the predicates green and grue apply. Likewise for all blue things observed prior to t, such as bluebirds or blue flowers, both the predicates blue and bleen apply. On January 2, , however, emeralds and well-watered grass are bleen, and bluebirds or blue flowers are grue. The predicates grue and bleen are not the kinds of predicates used in everyday life or in science, but they apply in just the same way as the predicates green and blue up until some future time t. From the perspective of observers before time t it is indeterminate which predicates are future projectible (green and blue or grue and bleen).

The new riddle of induction
In this section, Goodman's new riddle of induction is outlined in order to set the context for his introduction of the predicates grue and bleen and thereby illustrate their philosophical importance.

The old problem of induction and its dissolution
Goodman poses Hume's problem of induction as a problem of the validity of the predictions we make.  Since predictions are about what has yet to be observed and because there is no necessary connection between what has been observed and what will be observed, there is no objective justification for these predictions.  Deductive logic cannot be used to infer predictions about future observations based on past observations because there are no valid rules of deductive logic for such inferences.  Hume's answer was that observations of one kind of event following another kind of event result in habits of regularity (i.e., associating one kind of event with another kind).  Predictions are then based on these regularities or habits of mind.

Goodman takes Hume's answer to be a serious one.  He rejects other philosophers' objection that Hume is merely explaining the origin of our predictions and not their justification.  His view is that Hume has identified something deeper.  To illustrate this, Goodman turns to the problem of justifying a system of rules of deduction.  For Goodman, the validity of a deductive system is justified by its conformity to good deductive practice.  The justification of rules of a deductive system depends on our judgements about whether to reject or accept specific deductive inferences.  Thus, for Goodman, the problem of induction dissolves into the same problem as justifying a deductive system and while, according to Goodman, Hume was on the right track with habits of mind, the problem is more complex than Hume realized.

In the context of justifying rules of induction, this becomes the problem of confirmation of generalizations for Goodman.  However, the confirmation is not a problem of justification but instead it is a problem of precisely defining how evidence confirms generalizations.  It is with this turn that grue and bleen have their philosophical role in Goodman's view of induction.

Projectible predicates

The new riddle of induction, for Goodman, rests on our ability to distinguish lawlike from non-lawlike generalizations.  Lawlike generalizations are capable of confirmation while non-lawlike generalizations are not.  Lawlike generalizations are required for making predictions.  Using examples from Goodman, the generalization that all copper conducts electricity is capable of confirmation by a particular piece of copper whereas the generalization that all men in a given room are third sons is not lawlike but accidental.  The generalization that all copper conducts electricity is a basis for predicting that this piece of copper will conduct electricity.  The generalization that all men in a given room are third sons, however, is not a basis for predicting that a given man in that room is a third son.

The question, therefore, is what makes some generalizations lawlike and others accidental.  This, for Goodman, becomes a problem of determining which predicates are projectible (i.e., can be used in lawlike generalizations that serve as predictions) and which are not. Goodman argues that this is where the fundamental problem lies. This problem is known as Goodman's paradox: from the apparently strong evidence that all emeralds examined thus far have been green, one may inductively conclude that all future emeralds will be green. However, whether this prediction is lawlike or not depends on the predicates used in this prediction.  Goodman observed that (assuming t has yet to pass) it is equally true that every emerald that has been observed is grue.  Thus, by the same evidence we can conclude that all future emeralds will be grue.  The new problem of induction becomes one of distinguishing projectible predicates such as green and blue from non-projectible predicates such as grue and bleen.

Hume, Goodman argues, missed this problem.  We do not, by habit, form generalizations from all associations of events we have observed but only some of them. All past observed emeralds were green, and we formed a habit of thinking the next emerald will be green, but they were equally grue, and we do not form habits concerning grueness. Lawlike predictions (or projections) ultimately are distinguishable by the predicates we use. Goodman's solution is to argue that lawlike predictions are based on projectible predicates such as green and blue and not on non-projectible predicates such as grue and bleen and what makes predicates projectible is their entrenchment, which depends on their successful past projections.  Thus, grue and bleen function in Goodman's arguments to both illustrate the new riddle of induction and to illustrate the distinction between projectible and non-projectible predicates via their relative entrenchment.

Responses
One response is to appeal to the artificially disjunctive definition of grue.  The notion of predicate entrenchment is not required. Goodman said that this does not succeed.  If we take grue and bleen as primitive predicates, we can define green as "grue if first observed before t and bleen otherwise", and likewise for blue.  To deny the acceptability of this disjunctive definition of green would be to beg the question.

Another proposed resolution that does not require predicate entrenchment is that "x is grue" is not solely a predicate of x, but of x and a time t—we can know that an object is green without knowing the time t, but we cannot know that it is grue. If this is the case, we should not expect "x is grue" to remain true when the time changes. However, one might ask why "x is green" is not considered a predicate of a particular time t—the more common definition of green does not require any mention of a time t, but the definition grue does. Goodman also addresses and rejects this proposed solution as question begging because blue can be defined in terms of grue and bleen, which explicitly refer to time.

Swinburne
Richard Swinburne gets past the objection that green may be redefined in terms of grue and bleen by making a distinction based on how we test for the applicability of a predicate in a particular case. He distinguishes between qualitative and locational predicates. Qualitative predicates, like green, can be assessed without knowing the spatial or temporal relation of x to a particular time, place or event. Locational predicates, like grue, cannot be assessed without knowing the spatial or temporal relation of x to a particular time, place or event, in this case whether x is being observed before or after time t. Although green can be given a definition in terms of the locational predicates grue and bleen, this is irrelevant to the fact that green meets the criterion for being a qualitative predicate whereas grue is merely locational. He concludes that if some xs under examination—like emeralds—satisfy both a qualitative and a locational predicate, but projecting these two predicates yields conflicting predictions, namely, whether emeralds examined after time t shall appear grue or green, we should project the qualitative predicate, in this case green.

Carnap
Rudolf Carnap responded to Goodman's 1946 article. Carnap's approach to inductive logic is based on the notion of degree of confirmation c(h,e) of a given hypothesis h by a given evidence e. Both h and e are logical formulas expressed in a simple language L which allows for
 multiple quantification ("for every x there is a y such that ..."),
 unary and binary predicate symbols (properties and relations), and
 an equality relation "=".
The universe of discourse consists of denumerably many individuals, each of which is designated by its own constant symbol; such individuals are meant to be regarded as positions ("like space-time points in our actual world") rather than extended physical bodies. A state description is a (usually infinite) conjunction containing every possible ground atomic sentence, either negated or unnegated; such a conjunction describes a possible state of the whole universe. Carnap requires the following semantic properties:
 Atomic sentences must be logically independent of each other. In particular, different constant symbols must designate different and entirely separate individuals. Moreover, different predicates must be logically independent.
 The qualities and relations designated by the predicates must be simple, i.e. they must not be analyzable into simpler components. Apparently, Carnap had in mind an irreflexive, partial, and well-founded order is simpler than.
 The set of primitive predicates in L must be complete, i.e. every respect in which two positions in the universe may be found to differ by direct observation, must be expressible in L.
Carnap distinguishes three kinds of properties:
 Purely qualitative properties; that is, properties expressible without using individual constants, but not without primitive predicates,
 Purely positional properties; that is, properties expressible without primitive predicates, and
 Mixed properties; that is, all remaining expressible properties.
To illuminate this taxonomy, let x be a variable and a a constant symbol; then an example of 1. could be "x is blue or x is non-warm", an example of 2. "x = a", and an example of 3. "x is red and not x = a".

Based on his theory of inductive logic sketched above, Carnap formalizes Goodman's notion of projectibility of a property W as follows: the higher the relative frequency of W in an observed sample, the higher is the probability that a non-observed individual has the property W. Carnap suggests "as a tentative answer" to Goodman, that all purely qualitative properties are projectible, all purely positional properties are non-projectible, and mixed properties require further investigation.

Quine
Willard Van Orman Quine discusses an approach to consider only "natural kinds" as projectible predicates.
He first relates Goodman's grue paradox to Hempel's raven paradox by defining two predicates F and G to be (simultaneously) projectible if all their shared instances count toward confirmation of the claim "each F is a G". Then Hempel's paradox just shows that the complements of projectible predicates (such as "is a raven", and "is black") need not be projectible, while Goodman's paradox shows that "is green" is projectible, but "is grue" is not.

Next, Quine reduces projectibility to the subjective notion of similarity. Two green emeralds are usually considered more similar than two grue ones if only one of them is green. Observing a green emerald makes us expect a similar observation (i.e., a green emerald) next time. Green emeralds are a natural kind, but grue emeralds are not.  Quine investigates "the dubious scientific standing of a general notion of similarity, or of kind". Both are basic to thought and language, like the logical notions of e.g. identity, negation, disjunction.  However, it remains unclear how to relate the logical notions to similarity or kind; Quine therefore tries to relate at least the latter two notions to each other.Relation between similarity and kindAssuming finitely many kinds only, the notion of similarity can be defined by that of kind: an object A is more similar to B than to C if A and B belong jointly to more kinds than A and C do.

Vice versa, it remains again unclear how to define kind by similarity.  Defining e.g. the kind of red things as the set of all things that are more similar to a fixed "paradigmatical" red object than this is to another fixed "foil" non-red object (cf. left picture) isn't satisfactory, since the degree of overall similarity, including e.g. shape, weight, will afford little evidence of degree of redness. (In the picture, the yellow paprika might be considered more similar to the red one than the orange.)

An alternative approach inspired by Carnap defines a natural kind to be a set whose members are more similar to each other than each non-member is to at least one member.
However, Goodman argued, that this definition would make the set of all red round things, red wooden things, and round wooden things (cf. right picture) meet the proposed definition of a natural kind, while "surely it is not what anyone means by a kind".

While neither of the notions of similarity and kind can be defined by the other, they at least vary together: if A is reassessed to be more similar to C than to B rather than the other way around, the assignment of A, B, C to kinds will be permuted correspondingly; and conversely.Basic importance of similarity and kindIn language, every general term owes its generality to some resemblance of the things referred to.  Learning to use a word depends on a double resemblance, viz. between the present and past circumstances in which the word was used, and between the present and past phonetic utterances of the word.

Every reasonable expectation depends on resemblance of circumstances, together with our tendency to expect similar causes to have similar effects. This includes any scientific experiment, since it can be reproduced only under similar, but not under completely identical, circumstances.  Already Heraclitus' famous saying "No man ever steps in the same river twice" highlighted the distinction between similar and identical circumstances.Genesis of similarity and kind'''

In a behavioral sense, humans and other animals have an innate standard of similarity.  It is part of our animal birthright, and characteristically animal in its lack of intellectual status, e.g. its alienness to mathematics and logic, cf. bird example.

 Habit formation
Induction itself is essentially animal expectation or habit formation. Ostensive learning is a case of induction, and a curiously comfortable one, since each man's spacing of qualities and kind is enough like his neighbor's. In contrast, the "brute irrationality of our sense of similarity" offers little reason to expect it being somehow in tune with the unanimated nature, which we never made. Why inductively obtained theories about it should be trusted is the perennial philosophical problem of induction.  Quine, following Watanabe, suggests Darwin's theory as an explanation: if people's innate spacing of qualities is a gene-linked trait, then the spacing that has made for the most successful inductions will have tended to predominate through natural selection. However, this cannot account for the human ability to dynamically refine one's spacing of qualities in the course of getting acquainted with a new area.

Similar predicates used in philosophical analysis

Quus
In his book Wittgenstein on Rules and Private Language, Saul Kripke proposed a related argument that leads to skepticism about meaning rather than skepticism about induction, as part of his personal interpretation (nicknamed "Kripkenstein" by some) of the private language argument. He proposed a new form of addition, which he called quus, which is identical with "+" in all cases except those in which either of the numbers added are equal to or greater than 57; in which case the answer would be 5, i.e.:

He then asks how, given certain obvious circumstances, anyone could know that previously when I thought I had meant "+", I had not actually meant quus. Kripke then argues for an interpretation of Wittgenstein as holding that the meanings of words are not individually contained mental entities.

See also
 N-universes
 Problem of induction
 Solomonoff's theory of inductive inference – an information theory viewpoint

Notes

References
 Citations

 Bibliography

  Reprinted in:

Further reading
Goodman, Nelson (1955). Fact, Fiction, and Forecast. Cambridge, Massachusetts: Harvard UP, 1955. 2nd edition, Indianapolis: Bobbs-Merrill, 1965. 3rd. edition Indianapolis: Bobbs-Merrill, 1973. 4th edition, Cambridge, Massachusetts: Harvard UP, 1983.

 Franceschi, Paul, Une solution pour le paradoxe de Goodman, Dialogue, vol.40, 2001, pp. 99–123, English translation.
 Elgin, Catherine, ed. (1997). The Philosophy of Nelson Goodman: Selected Essays. Vol. 2, Nelson Goodman's New Riddle of Induction.''  New York:  Garland. .
Goodman's original definition of grue

Philosophical paradoxes
Inductive reasoning
Concepts in the philosophy of language

New riddle of induction


Samuel Georg Trygve Samuelsen (født 16. september 1907 i Fuglafjørður, død 19. februar 1985 i Tórshavn) var en færøsk sagfører og politiker (SB).

Karriere
Samuelsen blev født i Fuglafjørður i 1907, som søn af politikeren Andrass Samuelsen og Beate Emilie Lindenskov. Han var bror til Georg L. Samuelsen, samt onkel til Lisbeth L. Petersen. Han blev døbt Samuel Georg Trygve Samuelsen, men blev kendt under det færøske Trygvi. Han tog examen artium ved Sorø Akademi i 1926, og var cand.jur. fra 1933. Samuelsen var konstitueret sysselmand på Eysturoy fra 1933, sagførerfuldmægtig i Tórshavn fra 1934, og sagfører samme sted fra 1938. Fra 1956 var han islandsk konsul på Færøerne.

Han var kommunalbestyresesmedlem i Tórshavnar kommuna 1936–1964. Samuelsen repræsenterede Sambandsflokkurin i Lagtinget 1943–1946 og 1949–1974, indvalgt fra Suðurstreymoy. Han var partiformand 1970–1974, og efterfulgte da Johan Poulsen før han fire år senere selv gav formandshvervet videre til Pauli Ellefsen.

Referencer
 Danske Jurister 1736–1936, 4. bind (1958), s. 9. (PDF)
 Løgtingið 150 – Hátíðarrit, bind 2 (2002), s. 347. (PDF )

Lagtingsmedlemmer fra Færøerne
Advokater fra Færøerne
Personer fra Østerø
Sysselmænd fra Færøerne
Politikere fra Sambandsflokkurin
Kommunalbestyrelsesmedlemmer fra Færøerne

Trygvi Samuelsen


Sanluri (sardinski: Seddòri) je grad i općina (comune) u pokrajini Južnoj Sardiniji u regiji Sardiniji, Italija. Nalazi se na nadmorskoj visini od 135 metara i ima 8 504 stanovnika. Prostire se na 84,23 km². Gustoća naseljenosti je 101 st/km².Susjedne općine su: Furtei, Lunamatrona, Samassi, San Gavino Monreale, Sardara, Serramanna, Serrenti, Villacidro, Villamar i Villanovaforru.

Izvori

Gradovi na Sardiniji

Sanluri


61342 Lovejoy este un asteroid din centura principală de asteroizi.

Descriere
61342 Lovejoy este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Loomberah de Gordon J. Garradd. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,38 ua, o excentricitate de 0,21 și o înclinație de 3,2° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 61001-62000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2000
Centura de asteroizi
Asteroizi cu nume de oameni

61342 Lovejoy


Dieser Artikel listet Erfolge und Mannschaft des Radsportteams LKT Team Brandenburg in der Saison 2011 auf.

Erfolge in der Europe Tour

Abgänge – Zugänge

Mannschaft

Platzierungen in UCI-Ranglisten
UCI Europe Tour 2011

Radsportteam 2011

LKT Team Brandenburg/Saison 2011


Little Missouri River can refer to two rivers in the United States:

Little Missouri River (Arkansas) in Arkansas
Little Missouri River (North Dakota) in Wyoming, Montana, South Dakota and North Dakota

See also
 Little Missouri (disambiguation)

Little Missouri River


ෆ්‍රැන්ස් බෝස් (1858 ජූලි 9-1942 දෙසැම්බර් 21 ජර්මානු ඇමෙරිකානු මානව විද්‍යාඥයෙකු වූ අතර නූතන මානව විද්‍යාවේ නියමුවෙක් වූයේ ඔහු ඇමෙරිකානු මානව විද්‍යාවේ ආදි කර්තෘ ලෙස සැලකීමෙනි. අනෙකුත් නියමුවන් හා සමානව  ඔහු ද වෙනත් ශික්ෂණයන් හි පුහුණු වූ අතර භෞතික විද්‍යාවෙන් ආචාර්ය උපාධිය ද භූගෝල විද්‍යාවෙන් පශ්චාත් ආචාර්ය උපාධිය කටයුතු ද සිදු කරන ලදී. ඔහු විද්‍යාත්මක ක්‍රමවේද මානව සංස්කෘති හා සමාජ අධ්‍යයනය සඳහා ආදේශ කිරීම සම්බන්ධයෙන් ප්‍රසිද්ධ වූයේ එය පෙර දී පෞරාණික ඥානයෙන් බිහි වූ න්‍යායන් මත පදනම් වූවක් හෙයිනි.

සටහන්

|Franz_Boas
|}

ෆ්‍රෑන්ස් බෝස්


Væk fra Spjald er en dansk kortfilm fra 2007 instrueret af Lars Wass og Thomas Glud efter deres manuskript.

Handling
Kirsten bor sammen med sin 18-årige søn Dennis. En dag er Dennis så heldig, at hans store drøm går i opfyldelse: Han får chancen for at synge i en talentkonkurrence på tv. Under showet sidder hans mor derhjemme i provinsbyens morads af moral og pligt og følger showet på skærmen, da Dennis pludselig afslører en hemmelighed. En film om, at man skal huske at stå ved sig selv og slå til, når man får chancen.

Medvirkende

 Helle Dolleris, Kirsten
 Mathias Mortensen, Dennis
 Kirsten Lehfeldt, Inger
 Lotte Andersen, Elsa
 Jesper Asholt, Bager
 Mathias Skov Rahbæk, Showstars vært
 Anni Bjørn, Kunde
 Sven Ole Schmidt, Kunde
 Thomas Glud, Showstars journalist
 Kenneth Clausen, Showstars fotograf

Referencer

Eksterne henvisninger

Kortfilm fra Danmark
Danske film fra 2007

Væk fra Spjald


Andreea Georgiana Bălan (født 23. juni 1984 i Ploiești, Rumænien) en rumænsk sanger.

Hun begyndte som barnestjerne sammen med veninden Andreea Antonescu i Andrè. Andrè blev opløst i 2001.

Diskografi

Album
 Te joci cu mine (2002)
 Liberă din nou (2002)
 Așa sunt eu (2004)
 Andreea B  (2006)
 SuperWoman (2009)

Singler/EP'er
 "Te joci cu mine" (2002)
 "Liberă din nou" (2002)
 "Plâng de dor" (2003)
 "Aparențe" (2004)
 "Oops, eroare" (2004)
 "Evadez" (2005)
 "Invidia" (2005)
 "O străină" (2005)

Sangere fra Rumænien

Andreea Bălan


Svetlana Viktorovna Hodcenkova (în , n. 21 ianuarie 1983) este o actriță rusă de teatru, film și televiziune, cunoscută pentru rolurile din Bless the Woman (2003) și Tinker Tailor Soldier Spy (2011).

Biografie
Svetlana Hodcenkova s-a născut în Moscova pe 21 ianuarie 1983. Și-a petrecut copilăria în Jeleznodorojnîi, un mic oraș la 21 km est de Moscova. A fost crescută doar de mama ei, iar în copilărie visa să devină doctor. Svetlana a lucrat pentru scurt timp la o agenție de modeling. În 2005 a absolvit Institutul de Teatru "Boris Șciukin", la clasa lui M. Borisov.

Carieră
Rolul de debut al Svetlanei a fost în filmul Bless the Woman (2003), regizat de Stanislav Govoruhin. Pentru acest rol a fost nominalizată la premiul Nika pentru cea mai bună actriță. Și-a continuat cariera cu rolul clarvăzătoarei Cassandra în serialul istoric Talisman of Love (2005). Svetlana a jucat o balerină în filmul lui Pavel Sanaev Kilometer Zero (2007). În 2008 a câștigat premiul Festivalului de Film de la Gdynia pentru cea mai bună actriță, distincție acordată pentru rolul din coproducția ruso-poloneză Little Moscow.

În 2011 a apărut în filmul Tinker Tailor Soldier Spy, iar în 2013 a interpretat-o pe Viper, una dintre antagoniștii filmului cu supereroi The Wolverine.

Viață personală
Pe 13 decembrie 2005 Svetlana s-a căsătorit cu colegul ei de facultate Vladimir Iaglîh, și el actor. În 2010 cei doi au divorțat. În mai 2015 s-a logodit cu omul de afaceri moscovit Georgiy Petrishin.

Filmografie

Note

Legături externe

 IMDb
 Cinemagia
 Instagram

Actrițe din secolul al XXI-lea
Actrițe ruse
Oameni în viață

Svetlana Hodcenkova


Hindi akbabası (Cathartes aura), Yeni Dünya akbabaları familyasının Amerika'da en yaygın türüdür.

Özellikler

1.4- 2.7 kg ağırlığında olan kuş, 72 cm boya 200 cm kanat gerginliğine ulaşabilir ve Amerika'nın en büyük kuşlarındandır. Kahverengi-siyah tüyler, açık renk kanat kenarlarıyla kontrast oluşturur. Çıplak ve gövdeye oranla küçük baş, yaşlı kuşlarda kırmızı gençlerde ise siyah renktir.

Yaşam alanı
Hindi akbabası, her iki Amerika Kıtası'nın geniş bir parçasında, Güney Kanada'dan Falkland Adaları'na kadar bir bölgede, açık yarı kurak tabiat alanında yaşar. Sıcak bölgelerde sabit kalan bir kuşken, kuzeydeki dağılım alanında yaşayanlar kışın güneye göç ederler.

Davranış

Uçarken heybetli bir görünümü olan kuş, havada ender olarak geniş kanatlarını çırpmak zorunda kalır. Leş ararken oldukça yükselir. Kimi zaman yavru ve yaralı hayvanları avlar. Bunlar kemirgenler, sürüngenler ve civcic kuşlardır. Buna karşın yine de ağırlıklı olarak leş yiyicidir. Hassas koku alma duyusu sayesinde çok yüksekten hayvan cesedini hisseder. Gelişmiş bir bağışıklık sistemi, onun yemesi güç et parçalarını yutmasına olanak verir.

Üreme
Dişi, Mart'tan Haziran'a kadar kahverengi lekeleri olan  krem renginde en fazla üç kadar yumurtayı, mağaralara, kaya aralarındaki zemin tabana bırakır. Her iki ebeveynde 40 gün boyunca kuluçkaya yatar. Yavrular on hafta boyunca ebevenlerinin kursağından çıkardıkları besinle beslenir ve bakılırlar. Bu süre zarfında da uçmayı öğrenirler.

Dış bağlantılar
 The Turkey Vulture Society
 The USGS page on Turkey Vultures
 2006 IUCN kırmızı liste

Asgari endişe altındaki hayvanlar
Yeni Dünya akbabaları
Kuzey Amerika kuşları
Orta Amerika kuşları
Güney Amerika kuşları
1758'de tanımlanan kuşlar
Carl Linnaeus tarafından adlandırılmış taksonlar

Hindi akbabası


The Opéra-Comique is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne at the Hôtel de Bourgogne. It was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart (the third on this site), is located at Place Boïeldieu in the 2nd arrondissement of Paris, not far from the Palais Garnier, one of the theatres of the Paris Opéra. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France and to French opera. Its current mission is to reconnect with its history and discover its unique repertoire to ensure production and dissemination of operas for the wider public. Mainstays of the repertory at the Opéra-Comique during its history have included the following works which have each been performed more than 1,000 times by the company: Cavalleria Rusticana, Le chalet, La dame blanche, Le domino noir, La fille du régiment, Lakmé, Manon, Mignon, Les noces de Jeannette, Le pré aux clercs, Tosca, La bohème, Werther and Carmen, the last having been performed more than 2,500 times.

Origins

Since the Middle Ages popular light theatrical entertainments had been a part of the seasonal Parisian fairs, especially the Foire Saint-Germain and the Foire Saint-Laurent. They included farces, tightrope acts, acrobatics, and marionettes, and also included music, such as vaudevilles and popular songs. The audiences were diverse, from all levels of society, and the presentations were given on makeshift stages. However, with the establishment in 1672 of King Louis XIV's Académie royale de Musique (popularly known as the Opéra) under Jean-Baptiste Lully, the use of music by fair troupes was significantly curtailed.

When the Italian players at the Hôtel de Bourgogne were banished from Paris in 1697 for performing their comedy La fausse prude ("The False Prude"), which satirized the King's wife, Madame de Maintenon, the fair theatres were quick to adopt much of the Italians' repertory, which included parodies of operas and tragedies. The fair theatres were soon viewed as competition by the Opéra and the Comédie-Française, and restrictions were again more strictly enforced. The troupes at the Foire Saint-Germain and the Foire Saint-Laurent received warnings from the police in 1699 and 1706. Although in 1708 the fairground entrepreneurs Charles Alard and Maurice were able to purchase from the Opéra's director Pierre Guyenet the right to use singers, dancers, musicians, and sets, this did not last as Guyenet died in 1712, leaving the Opéra with a debt in the neighborhood of 400,000 livres. Alard resorted to giving silent performances with the actors' speeches displayed to the audience on large cue cards. The players next tried including vaudeville airs via audience participation: the musicians would play a popular tune, and the spectators would sing, while the actors remained silent. This was further enhanced when the words began to be displayed to the audience on a large banner.

Foundation and early history

In 1713 and 1714 several of the fair troupes were able to conclude a new series of agreements with the creditors of the deceased Guyenet, who at this point had become the managers of the rather expensive Opéra. For an annual fee the troupes obtained the right to perform light comedies interspersed with songs and dances and to use sets and theatre machines. They were also given the right to use the name "Opéra-Comique". The first work officially given that designation was Télémaque (a parody of the opera by André Cardinal Destouches), which was first performed by the Théâtre de la Foire Saint-Germain in 1715. The words were by Alain-René Lesage, the music was arranged by Jean-Claude Gillier, and the orchestra consisted of 15 players. Lesage authored many of the early opéras comiques, and composers like Gillier worked primarily as arrangers of existing music. In 1716 one of the troupes' leaders, Catherine Vanderberg purchased additional rights and began to present more original works by authors, such as Jacques-Philippe d'Orneval, Alexis Piron, and Louis Fuzelier. In these early days the role of librettist for the theatre was more important than that of the composer – and pre-eminent among them for more than forty years was Charles-Simon Favart, who made his first contribution in 1734 and achieved his first important success with La chercheuse d'esprit in 1741.

In 1743 the impresario Jean Monnet paid 12,000 livres to the Opéra for the right to run the Opéra-Comique, He renovated the theatre and brought together a group of highly talented creative artists, including, besides Favart, who also worked as a stage director, the comedian Préville, the stage designer François Boucher, and the ballet master Dupré and his pupil Jean-Georges Noverre. Jean-Philippe Rameau may also have been the leader of the orchestra. The company was, however, too successful, and the Opéra refused to renew Monnet's privilege in 1745. After working briefly in Lyon, and mounting unsuccessful productions in Dijon (1746) and London (1749), he was able to repurchase the Opéra-Comique privilège in December 1751 and remained its director until 1757.

During his second period as director, Monnet continued to work with Favart and Noverre, and Boucher designed and built a substantial new theatre for the company of the Foire Saint-Laurent in 1752. The theatre was later installed in a wing of the Hôtel des Menus-Plaisirs on the rue Bergère, where it was used by the Opéra in 1781, and then as the first concert hall of the Paris Conservatory, which was founded on the same site in 1795.  The new theatre was especially important, as it enabled the company to perform at times when the fair was not in operation. Monnet's friend Jean-Joseph Vadé wrote the libretto for Les troqueurs, first staged in July 1753 and advertised as a translation of an Italian work. The music was actually original, composed by Antoine Dauvergne, and began a period of new works in a more Italian style in which music played a much more significant role. Composers for the company during this period included Egidio Duni, François-André Danican Philidor and Pierre-Alexandre Monsigny.

The dramatist Michel-Jean Sedaine wrote the text of his first opera for the company, Le diable à quatre,  in 1756. It premiered at the Fair Saint-Laurent on 19 August with verses for the ariettes provided by Pierre Baurans and with music parodying a variety of composers including Vincenzo Legrenzio Ciampi, Duni, Baldassare Galuppi, and Giuseppe Scarlatti, and also included music attributed to the French composers Jean-Louis Laurette and Philidor. Christoph Willibald Gluck was later to compose his own music for the work. His version was first given in Laxenburg, Austria, on 28 May 1759. Other settings were later composed for the Opéra-Comique by Bernardo Porta (14 February 1790) and Jean-Pierre Solié (30 November 1809).

1762 to 1807

On 3 February 1762 the Opéra-Comique was merged into the Comédie-Italienne and occupied the Hôtel de Bourgogne, gaining in respectability what it lost in independence. The company was renamed to Opéra-Comique by an edict of the king in 1780, although the names Comédie-Italienne and Théâtre Italien were still used frequently by the press and public for many years thereafter. In 1783 the company moved again, into the Salle Favart (architect Jean-François Heurtier; ca. 1,100 seats) on the site where the current theatre stands. Around that time the works of Grétry featured strongly.

With the proliferation of opera houses after the Law of 1791 which removed restrictions on the opening of theatres, there was competition with the Théâtre Feydeau, which was resolved in 1801 by merger. By 1807 Napoleon had reduced theatrical freedoms, and the Opéra-Comique was named one of four primary theatres in Paris.

The 19th century

French opéra comique, in the 19th century at least, was not necessarily "comic" either in the classical sense of ending happily or the modern one of being funny; the term covered a much wider category of work. Notable composers in the history of the Opéra-Comique  include Auber, Halévy, Berlioz and Bizet. After Rossini's arrival in Paris, new works at the Opéra-Comique took in Italian vocal style and techniques, leading to greater virtuosity, although "the repertory as a whole stood as a bulwark against the italianate invasion of Rossini".

In 1840, the Opéra-Comique company settled in the second Salle Favart (architect Louis Charpentier; 1,500 seats), built on the site of the first theatre, destroyed by fire in 1838. The new house was inaugurated with a revival of Hérold's Le Pré aux clercs. During the 1850s and 1860s the Théâtre Lyrique offered competition in the type of repertoire staged, being particularly strong in its policy of new commissions.

Performances took place on most evenings of the week except for major festivals. Boxes could be hired for a year at a time, and many subscribers were wealthy. Before 1848 a third of subscribers were of the aristocracy, but after then it became an especially middle class theatre. After 1848 Émile Perrin sought to revive the repertoire with more literary and ambitious works. Until 1864 its repertoire was still prescribed, by statute, to have spoken dialogue between musical numbers.

The Opéra-Comique staged the first performances of such important French works as Berlioz's The Damnation of Faust (1846), Thomas' Mignon (1866), and Bizet's Carmen (1875). In the latter part of the century the theatre revived works it had made its own, restaged works from the repertoire of the Théâtre Lyrique (which had closed in 1872) and premiered new pieces, such as Offenbach's Les Contes d'Hoffmann (1881); Delibes' Lakmé (1883); Massenet's Manon (1884), Esclarmonde (1889), and Werther (French premiere in 1893); and Charpentier's Louise (1900).

A fire at the Salle Favart on 25 May 1887 resulted in the death of 84 people by asphyxiation. The building was destroyed and the director Léon Carvalho was forced to resign, although later he was acquitted of blame and resumed the helm at the company from 1891 to 1897. The third Salle Favart (architect Louis Bernier) was officially opened in the presence of President Félix Faure on 7 December 1898.

The 20th century and beyond
As the differences between opéra and opéra comique faded, the two main houses in Paris came more into competition, although the Salle Favart saw the premieres of more innovative works: Debussy's Pelléas et Mélisande (1902), Dukas' Ariane et Barbe-bleue (1907), Ravel's L'heure espagnole (1911), and French premieres of works by Puccini and Falla. Between 1900 and 1950, 401 works by 206 different composers were performed at the Opéra-Comique, of which 222 were either world premieres (136) or the first performance in Paris (86).

In June 1936 a broadcast of Les Contes d'Hoffmann was disrupted by the start of a company sit-in demanding the director's resignation.  In 1939 financial problems resulted in the Opéra-Comique being merged with the Opéra to become the 'Réunion des Théatres Lyriques Nationaux'. Notable premieres during this period included Poulenc's Les Mamelles de Tiresias (1947) and La Voix humaine (1959). However, by the end of the Second World War, the Opéra-Comique's best artists, assets and repertory had been gradually taken from it to enrich the Opéra.

The Opéra-Comique discovered some fresh energy in 1950s, restaging Roméo et Juliette, Orphée et Eurydice, Le roi malgré lui and Les noces de Jeannette and introducing Bluebeard's Castle, Landowski's Les Adieux and Dallapiccola's Volo di Notte to attract new audiences and keep the attention of the arts establishment. At the start of the 1960s Stéphane Wolff, claimed that the theatre could regain its independence: "well-managed, it could again become what it was for so long, the most active and therefore the leading lyric stage in France". However, in 1972 the Opéra-Comique company was closed (although the theatre itself received visiting productions) and its government grant added to that of the Opéra.

Although the company of the Opéra-Comique was disbanded (followed 20 years later by the closure of the opéra comique classes at the Paris Conservatoire), from 1978 works were staged again at the theatre, both from its traditional repertoire (Le médecin malgré lui and Werther) as well as more adventurous repertoire: La chatte anglaise in 1984, Denisov's L'Écume des Jours, as well as productions with international stars, including Jessye Norman as Dido in 1984. While still battling for survival the theatre hosted one of the major baroque revivals: Atys, with Les Arts Florissants in 1987. The company regained its autonomy and returned, albeit with an inadequate budget, to the Salle Favart in 1990. Although its budget amounted to less than most provincial French opera houses, the first new director of the independent Opéra-Comique, Thierry Fouquet, attempted to run a balanced programme but handed over in 1994 to Pierre Médecin, who was responsible for the centenary season in 1998 with a new production of Pelléas et Mélisande. The loss of private sponsors led to a policy of musical comedy and operetta under Jérôme Savary from 2000. A decree of November 2004 put the theatre on a new basis, stressing the variety of productions it should mount: "de l'opéra baroque à la création contemporaine et le patrimoine de l'Opéra-Comique".

It currently mounts 7 or 8 operas or opéra comiques (some of them co-productions), with complementary concerts, recitals and exhibitions, each season. In common with many other opera houses the Opéra-Comique also offers relayed performances to cinemas (around France and in Europe); Carmen in June 2009 and Béatrice et Bénédict in March 2010.
In 2013 an opera critic was moved to write that of Paris lyric theatres "over the past seven seasons, [the Opéra-Comique] has best succeeded in establishing a particular identity and achieving consistent quality in its productions".

In the summer of 2015 the theatre closed for 18 months for major refurbishment including the costume department, the salle Bizet, and the hall Boieldieu. During the closure a webopera and a fan zone at the UEFA Cup where spectators were invited to sing well-known opéra-comique songs took place. After the works, the theatre reopened in 2017, with the first stage production since the composer's death of Marais's Alcione (on 25 April 2017) with Jordi Savall conducting Le Concert des Nations.

Theatres used by the Opéra-Comique company

Notable premieres

Directors
The information in the following list is compiled from Wild, Levin, and Wolff.

1829–1830 Paul-Auguste Ducis
1830, July – 5 August, Jean-François Boursault, Alexandre Huvé de Garel
1830–1831 Alexandre Singier
1831–1832 Émile Lubbert
1832, 14 January – 1 June, Émile Laurent
1832–1834 Paul Dutreich
1834–1845 François-Louis Crosnier, Alphonse Cerfbeer (administrator)
1845–1848 Alexandre Basset
1848–1857 Émile Perrin
1857–1860 Nestor Roqueplan
1860–1862 Alfred Beaumont
1862, 1 February – 20 December, Émile Perrin
1862–1870 Adolphe de Leuven, Eugène Ritt
1870–1874 Adolphe de Leuven, Camille du Locle
1874-1876 Camille du Locle
1876-1887 Léon Carvalho
1887, May to December, Jules Barbier

1888-1891 Louis Paravey
1891-1897 Léon Carvalho
1898-1913 Albert Carré
1914-1918 Pierre-Barthélemy Gheusi, Émile and Vincent Isola
1919-1925 Albert Carré, Émile and Vincent Isola
1925-1931 Louis Masson and Georges Ricou
1931-1932 Louis Masson
1932-1936 Pierre-Barthélemy Gheusi
1936-1939 14 member committee presided by Antoine Mariotte
1939-1940 Henri Busser
1941-1944 Max d'Ollone
1944 Lucien Muratore
1944 (Liberation) 4 member committee: Roger Désormière, Pierre Jamin, Louis Musy and Émile Rousseau
1945-1946 Albert Wolff
1946-1948 Henry Malherbe
1948-1951 Emmanuel Bondeville
1952-1953 Louis Beydts

1990-1994 Thierry Fouquet
1994-1999 Pierre Médecin
2000-2007 Jérôme Savary
2007-2015 Jérôme Deschamps
2015-2021 Olivier Mantei.
2021-2026 Louis Langrée

Music directors

1849-1868 Théophile Tilmant
1868-1876 Adolphe Deloffre
1876      Charles Constantin
1876-1877 Charles Lamoureux
1877-1898 Jules Danbé
1898-1904 André Messager
1904-1906 Alexandre Luigini
1906-1908 François Ruhlmann
1909      Gustave Doret

1910-1913 François Ruhlmann
1914-1919 Paul Vidal
1919-1921 André Messager
1921-1924 Albert Wolff
1924-1925 Désiré-Émile Inghelbrecht
1925-1932 Maurice Frigara
1932-1936 Paul Bastide
1936-1944 Eugène Bigot
1947-1953 André Cluytens

See also
Frédéric Blasius

References

Notes

Cited sources
 Charlton, David (1986). Grétry and the Growth of Opéra-Comique. Cambridge: Cambridge University Press. .
 Cook, Elisabeth (1992). "Monnet [Monet], Jean" in Sadie 1992, vol. 3, p. 436.
 Fauser, Annegret; Everist, Mark, editors (2009). Music, Theater, and Cultural Transfer: Paris, 1830–1914. Chicago: The University of Chicago Press. .
 Gourret, Jean (1985). Histoire des salles de l'Opéra de Paris, p. 83. Paris: Guy Trédaniel. .
 Harris-Warrick, Rebecca; Charlton, David; Johnson, Janet; Langham Smith, Richard; Pitt, Charles (1992). "Paris" in Sadie 1992, vol. 3, pp. 855–879.
 Johnson, Victoria (2008). Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime. Chicago: University of Chicago Press. .
 Levin, Alicia (2009). "Appendix: A Documentary Overview of Musical Theaters in Paris, 1830–1900" in Fauser and Everist 2009, pp. 379–402.
 Pitou, Spire (1983). The Paris Opéra: an encyclopedia of operas, ballets, composers, and performers (3 volumes). Westport, Connecticut: Greenwood Press. .
 Sadie, Stanley, ed. (1992). The new Grove dictionary of opera (4 volumes). London: Macmillan. .
 Simeone, Nigel (2000). Paris – A Musical Gazetteer. New Haven: Yale University Press. .
 Warrack, John; West, Ewan (1992). The Oxford Dictionary of Opera. Oxford: Oxford University Press. .
 Warrack, John; West, Ewan (1996). The Concise Oxford Dictionary of Opera. Oxford: Oxford University Press. .
 Wild, Nicole ([1989]). Dictionnaire des théâtres parisiens au XIXe siècle: les théâtres et la musique. Paris: Aux Amateurs de livres. .  (paperback). View formats and editions at WorldCat.
 Wild, Nicole (1992). "Guyenet, Pierre" in Sadie 1992, vol. 2, p. 586.
 Wild, Nicole; Charlton, David (2005). Théâtre de l'Opéra-Comique Paris: répertoire 1762-1972. Sprimont, Belgium: Editions Mardaga. .
 Wolff, Stéphane (1953). Un demi-siècle d'Opéra-Comique (1900-1950). Paris: André Bonne.

Additional sources
 Élart, Joann (2004). Catalogue des fonds musicaux conservés en Haute-Normandie. Tome I : Bibliothèque municipale de Rouen. Volume 1 : Fonds du Théâtre des Arts (XVIIIe et XIXe siècles), coll. Patrimoine musical régional (in French). Rouen: PURH. .

External links
 Opéra-Comique website
 Opéra Comique  at Google Cultural Institute

1714 establishments in France
Opera houses in Paris
French opera companies
Buildings and structures in the 2nd arrondissement of Paris
Opera history
Organizations based in Paris

Opéra-Comique


Vampirina este un serial animat de televiziune american-irlandez care a avut premiera pe Disney Junior pe 28 octombrie 2017. În ianuarie 2018, un al doilea sezon a fost anunțat de către Disney.

Poveste
Bazat pe seria de cărți pentru copii Vampirina Ballerina, acest serial animat înfățișează aventurile lui Vee, o mică vampiriță a cărei familie se mută în Pennsylvania, unde vor administra o pensiune pentru vampiri și spiriduși.

Personaje și dublaj

Difuzare

Referințe

Seriale de televiziune din 2017
Seriale de animație
Seriale de televiziune americane

Vampirina


An Echinochloa praestans in uska species han Liliopsida nga ginhulagway ni P.W.Michael. An Echinochloa praestans in nahilalakip ha genus nga Echinochloa, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Echinochloa

Echinochloa praestans


Jamsher es una ciudad de la India en el distrito de Jalandhar, estado de Punyab.

Geografía
Se encuentra a una altitud de 236  a 148 km de la capital estatal, Chandigarh, en la zona horaria UTC +5:30.

Demografía
Según estimación 2010 contaba con una población de 9 567 habitantes.

Referencias

Enlaces externos

Localidades de Punyab (India)

Jamsher


Chlorotoxin eller CLTX er den giftigste komponent af skorpionens gift. Det er et lille protein på kun 36 aminosyrer og giftigheden fremkommer ved at dette lille molekyle passer ind i choridkanaler på mennesker og dyrs muskelceller. Derved forhindres cloridioner i at flyde ind i cellerne så musklerne ikke kan slappes af og kroppen lammes.

Skorpionens gift

Alle skorpion-arter har gift. De bruger den til at dræbe eller lamme deres bytte. Langt de fleste skorpioner er ufarlige for mennesker; deres stik giver kun lokale virkninger, såsom smerte eller hævelser. Men nogle skorpioner, særligt i familien Buthidae, er så giftige at de kan dræbe et menneske. Skorpioner er dog ikke aggressive, de stikker kun når de bliver klemt eller trængt.

Reaktion med gliomaceller

Chlorotoxin binder til gliomaceller (en type hjernekræft) og undersøges derfor i forbindelse med diagnose og behandling af kræftformer.

Se også

 Botox
 Palytoxin

Henvisninger

Biokemi
Toksikologi
Nervegifte

Chlorotoxin


GConf was a system used by the GNOME desktop environment for storing configuration settings for the desktop and applications. It is similar to the Windows Registry.

It was deprecated as part of the GNOME 3 transition. Migration to its replacement, GSettings and dconf, is ongoing.

Changes to this system are controlled by GConfd, a daemon. GConfd watches out for changes to the database, and when they are changed, it applies the new settings to applications using it. This technology is known as "auto-apply", compared to "explicit-apply", which requires users to press an OK or Apply button to make changes come into effect. The term "instant-apply" is sometimes used, compared to plain "apply".

The GConf database by default uses a system of directories and XML files, stored in a directory called ~/.gconf. GConf can also use other backends, such as a database server, but XML file storage is the most common configuration.

The application gconf-editor is provided to allow users to change settings manually, but it is not normally used for end-user preferences.

Architecture
GConf is currently based on the C implementation of CORBA named ORBit. Its architecture consists of a session daemon that initializes various sources of configuration schemas on user login. Each source is based on a specific backend that translates the key and value pairs that compose the configuration database; the default backend is based on XML. At this time, this is the only working backend for GConf, although an LDAP backend existed in embryonic form. Each source can also be set to read-only, in order to create a default basic configuration, e.g. in a corporate network.

The values inside the GConf database are indexed using a path string in the form of /path/to/application/key.

The proper way to access the GConf database held by the GConf daemon is to use the GConfClient GObject-based class.

Changes notification
When writing an application that uses GConf, one should never directly poll the database. Instead, one should attach a callback to a given key, thus using a model-view-controller (MVC) paradigm. Each time an application changes the value bound to a specific key, the notification callbacks will be invoked.

Schemas
An application using GConf should provide a description for each key it creates inside the GConf database. This configuration meta-data is also stored inside the configuration database, and is called a schema; it could contain a (possibly localized) descriptive text, the valid type of the value bound to a key, and a default value.

Bindings
Like many libraries in the GNOME platform, GConf can be accessed using various programming languages, such as
C, C++, Perl, Java, C#, VB.NET and Python.

References

External links

 Future GConf Plans
 Gnome2::GConf Perl Module
 easygconf Python Module

Free system software
GNOME obsolete

GConf


Vort værk er en film instrueret af Hans Christensen.

Handling
Medarbejderne ved Stålvalseværket i Frederiksværk inviterer inden for på deres arbejdsplads, hvor gammelt skrot omformes og genanvendes som nyt stål. Ved medarbejdernes hjælp gives pluk af værftets historie, tekniske oplysninger og syn på værftet som arbejdsplads, både miljømæssigt og i forhold til sikkerhedshensyn. En række medarbejdere udtaler, at de finder arbejdspladsen sammenlignelig med et ægteskab, hvor der altid vil være småskænderier og fejl på begge sider. Også værftets fremtid og nye tekniske muligheder berøres.

Referencer

Eksterne henvisninger

Danske film fra 1976

Frederiksværk
Virksomhedsfilm fra Danmark

Vort værk


Felix Bresser (* 13. Oktober 1959) ist ein deutscher Schauspieler.

Leben
Bresser absolvierte von 1981 bis 1984 eine Schauspielausbildung an der Staatlichen Hochschule für Musik und Darstellende Kunst in Hamburg.

Als Theaterschauspieler hatte Bresser Festengagements am Schauspielhaus Bochum (1984–1986) und am Deutschen Theater Göttingen (1987–1990). Dort spielte er unter anderem in der Spielzeit 1987/1988 die Rolle des Johan Tönnesen in dem Schauspiel Die Stützen der Gesellschaft von Henrik Ibsen. Danach wirkte er ab 1990 als freier Schauspieler an verschiedenen Off-Theatern in Berlin.

Bresser wirkte in zahlreichen Fernsehproduktionen mit. In den Anfängen der ARD-Vorabendserie Verbotene Liebe verkörperte er 1995 die Rolle des Designers Stefan König, der sich auf verschiedene Liebesbeziehungen, unter anderem mit den Rollenfiguren Barbara von Sterneck und deren Sohn Gero von Sterneck einlässt.

Episodenhauptrollen in Fernsehserien hatte er außerdem in der SAT1-Fernsehserie Hallo, Onkel Doc! (1996, als Arzt Dr. Tom Geldermann), in der RTL-Fernsehserie Balko (2000, als Kriminalhauptkommissar Lenz), in der ZDF-Fernsehserie Der Landarzt (2008, als Dr. Sebastian Winkler und bester Freund des verstorbenen Ehemannes der Rollenfigur Anne Halligpeter) und in der ZDF-Fernsehserie Da kommt Kalle (2009, als Herr Ehlers in der Folge Teure Ferien). Zuletzt wirkte er im Jahre 2011 in der Kinderserie Die Pfefferkörner mit.

Bresser spielte außerdem in dem Kinofilm Otto – Der Katastrofenfilm (2000) einen Terroristen. Unter der Regie von Oskar Roehler übernahm er kleinere Rollen in dessen Spielfilmen Suck My Dick (2001) und Agnes und seine Brüder (2004).

Filmografie (Auswahl)
 1995: A.S. – Gefahr ist sein Geschäft (Folge: Hungrige Augen)
 1995: Verbotene Liebe
 1996: Die Drei (Folge: Ich habe Lünsmann nicht getötet)
 1996: Hallo, Onkel Doc!
 1998: Die heilige Hure (Fernsehfilm)
 1998: HeliCops – Einsatz über Berlin (Folge: Blackmail)
 1999: Im Namen des Gesetzes (Folge: Das Orakel)
 1999: Männer sind wie Schokolade (Fernsehfilm)
 2000: Balko (Folge: Die Schlangenfarm)
 2000: Otto – Der Katastrofenfilm
 2001: Suck My Dick
 2002: Inspektor Rolle (Folge: Sex-Inserate)
 2004: Agnes und seine Brüder
 2008: Der Landarzt (Folge: Besuch aus der Vergangenheit)
 2009: Da kommt Kalle (Folge: Teure Ferien)
 2011: Die Pfefferkörner

Weblinks

 Felix Bresser, castforward.de

Einzelnachweise

Filmschauspieler
Theaterschauspieler
Deutscher
Geboren 1959
Mann

Felix Bresser


Mohamed Abdulredha (27. rujna 1989.) je bahreinski rukometaš. Nastupa za klub Alder i reprezentaciju Bahreina.

Natjecao se na Svjetskom prvenstvu u Danskoj i Njemačkoj 2019. gdje je reprezentacija Bahreina završila na 20. mjestu.

Izvori

Bahreinski rukometaši

Mohamed Abdulredha


තිථි (ඒක වචනය:තිථිය) යනු චන්ද්‍ර මාස ක්‍රමයට අනුව එක් දිනයක් වෙයි. පුර පක්ෂයට පසළොසක් (15) ක් හා අව පක්ෂයට පසළොසක් (15) ක් ලෙස, තිථි තිහක් (30), මාසයක් සතු වෙයි. පුර පක්ෂය යනු සඳු පිරීගෙන එන කාලයයි. අමාවක දිනයෙන් පටන් ගෙන පුර පසළොස්වක දිනය දක්වා පුර පක්ෂය වේ. අව පක්ෂය යනු පසළොස්වක දින සිට අමාවක දින දක්වා කාලයයි.

පුර පක්‍ෂය
 පුර පෑලවිය
 පුර දියවක
 පුර තියවක
 පුර ජලවක
 පුර විසේනිය
 පුර සැටවක
 පුර සතවක
 පුර අටවක
 පුර නවවක
 පුර දසවක
 පුර එකොළොස්වක
 පුර දොළොස්වක
 පුර තෙළෙස්වක
 පුර තුදුස්වක
 පසළොස්වක

අව පක්‍ෂය
 අව පෑලවිය
 අව දියවක
 අව තියවක
 අව ජලවක
 අව විසේනිය
 අව සැටවක
 අව සතවක
 අව අටවක
 අව නවවක
 අව දසවක
 අව එකොළොස්වක
 අව දොළොස්වක
 අව තෙළෙස්වක
 අව තුදුස්වක
 අමාවක

ආශ්‍රිත ලිපි
 පංචාංගය (ජ්‍යොතිෂය)
 යෝතිෂයේ තිථිය

භාහිර සබැඳි

සිංහල මාස

තිථි


Éva Ruttkai (* 31. Dezember 1927 in Budapest als Éva Russ; † 27. September 1986 ebenda) war eine ungarische Schauspielerin.

Leben
Éva Ruttkai hatte bereits als Kind Auftritte auf der Bühne und 1934 beim Film in István Székelys Lila Akazie. Nach dem Krieg trat sie als Rezitatorin auf und war an verschiedenen Bühnen engagiert. Ab 1948 spielte sie regelmäßig in ungarischen Filmen, darunter in Márton Keletis Die Belagerung von Beszterc (1948) und Félix Máriássys Katharinas Ehe (1950). Von 1951 bis 1953 absolvierte Ruttkai eine Schauspielausbildung an der Budapester Theater- und Filmhochschule und wurde bald eine der populärsten Schauspielerinnen ihrer Generation in Ungarn. Ihr Repertoire war sehr vielseitig und beinhaltete neben Komödien auch zeitbezogene und dramatische Filme. Sie überzeugte besonders in Máriássys Julika mit der Stupsnase (1955), Keletis Geschichte meiner Dummheit (1965), József Magyars Familiendrama Es war einmal eine Familie (1972) und Zsolt Kézdi-Kovács' Wenn Josef kommt (1976).

1950 heiratete sie ihren Schauspielerkollegen Miklós Gábor, 1953 wurde die gemeinsame Tochter geboren. 1960 lernte sie den Schauspieler Zoltán Latinovits kennen, mit dem sie bis zu dessen Tod 1976 zusammenlebte.

Filmografie (Auswahl)
 1934: Lila Akazie (Lila akác)
 1948: Die Belagerung von Beszterc (Beszterce ostroma)
 1949: Frau Szabó (Szabóné)
 1950: Katharinas Ehe (Kis Katalin házassága)
 1950: Ludas Matyi
 1951: Eine seltsame Ehe (Különös házasság)
 1954: Ich und mein Großvater (Én és a nagyapám)
 1954: Liliomfi
 1955: Budapester Frühling (Budapesti tavasz)
 1955: Julika mit der Stupsnase (Egy pikoló világos)
 1955: Nacht über Budapest (Különös ismertetőjel)
 1956: ...aber die Verwandten (Ünnepi vacsora)
 1956: Bittere Wahrheit (Keserű igazság)
 1956: Märchen von den 12 Treffern (Mese a 12 találatról)
 1957: Um Mitternacht (Éjfélkor)
 1958: Salzsäule (A sóbálvány)
 1958: Was für eine Nacht (Micsoda éjszaka!)
 1959: Säbel und Würfel (Kard és kocka)
 1959: Traumlose Jahre (Álmatlan évek)
 1960: Ich melde gehorsam (Alázatosan jelentem)
 1960: Stadt ohne Gesicht (Az arcnélküli város)
 1962: Sonntag am Wochentag (Pirosbetűs hétköznapok)
 1962: Frau am Ruder (Asszony a telepen)
 1962: Memoiren einer seltsamen Nacht (Az utolsó vacsora)
 1963: Foto Haber (Foto Háber)
 1965: Geschichte meiner Dummheit (Butaságom története)
 1966: Die Vergeltung (Kárpáthy Zoltán)
 1966: Die Fehde der Geier (Egy magyar nábob)
 1967: Das Kartenhaus (Kártyavár)
 1967: Eine Studie über die Frauen (Tanulmány a nőkről)
 1967: Die Mumie greift ein (A mumia közbeszól)
 1967: Taufe (Kereszetlő)
 1968: Mord in Dallas (Az aranykesztyű lovagjai) – Fernsehfilm
 1968: Alfa-Romeo und Julia (Alfa Rómeó és Júlia)
 1968: Sterne von Eger (Egri csillagok)
 1968: Die falsche Isabella (A hamis Izabella)
 1969: Historische Privatangelegenheiten (Történelmi magánügyek)
 1969: Das unruhige Leben des Ferenc Prenn (Én, Prenn Ferenc...) – Fernsehfilm
 1969: Ein unvergeßlicher Sommer (A rérg nyar)
 1969: Frau Bözsi und die Männer (Bözsi és többiek) – Fernsehfilm
 1970: N. N., der Todesengel (N. N. a halál angyala)
 1970: Nur ein Anruf (Csak egy telefon)
 1970: Reise um meinen Schädel (Utazás a koponyám körül)
 1971: Sindbad (Szindbád)
 1972: Es war mal eine Familie (Volt egyszer egy család)
 1974: Die Antwort (Felelet) – Fernsehfilm
 1976: Wenn Josef kommt (Ha megjön József)
 1976: Das Labyrinth (Labirintus)
 1981: Tante Rosa greift ein (Rózsa néni elintézi) – Fernsehfilm
 1983: Wie eine verwehte Garbe (Mint oldott kéve) – Fernsehfilm
 1985: Abigel – Die Geschichte der Statue im Park (Abigél)
 1986: Unsere Tante ist fantastisch (A Fantasztikus nagynéni)

Literatur
 Kay Weniger: Das große Personenlexikon des Films. Die Schauspieler, Regisseure, Kameraleute, Produzenten, Komponisten, Drehbuchautoren, Filmarchitekten, Ausstatter, Kostümbildner, Cutter, Tontechniker, Maskenbildner und Special Effects Designer des 20. Jahrhunderts. Band 6: N – R. Mary Nolan – Meg Ryan. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-340-3, S. 697.

Weblinks

Theaterschauspieler
Filmschauspieler
Kinderdarsteller
Kossuth-Preisträger
Künstler (Budapest)
Ungar
Geboren 1927
Gestorben 1986
Frau

Éva Ruttkai


Paola Franchi (née le ) est une décoratrice d'intérieur, artiste, auteure et ancienne modèle italienne. Son autobiographie L'amore spezzato (L'amour brisé), sortie en 2010, décrit sa relation avec l'homme d'affaires italien Maurizio Gucci, qui fut assassiné en 1995 lorsqu'ils étaient un couple.

Biographie et relation avec Maurizio Gucci
Paola Franchi est née à Milan en 1953. Elle a fréquenté l'Académie des beaux-arts de Brera. Franchi était une amie d'enfance de l'homme d'affaires italien Maurizio Gucci et a assisté à son mariage avec Patrizia Reggiani en 1972 En 1983, elle épouse le magnat du cuivre Giorgio Colombo. Leur fils Charly est né en 1985.

En 1990, Paola Franchi a commencé à fréquenter Gucci après qu'ils se sont rencontrés dans un club privé à Saint-Moritz. Paola Franchi est devenue la partenaire de Gucci pendant cinq ans, partageant un appartement de luxe à Corso Venezia, à Milan

En 1995, Maurizio Gucci a été abattu par un tueur à gages. Le lendemain du meurtre, Franchi a reçu un ordre d'expulsion de Patrizia Reggiani, épouse de Gucci,  lui intimant de  quitter l'appartement de luxe qu'elle partageait avec Gucci. Lorsque Franchi a déménagé, Reggiani a emménagé avec ses deux filles. Elle y a vécu pendant deux ans jusqu'à son arrestation en 1997. En 1998, Patrizia Reggiani a été condamnée à 29 ans de prison pour avoir organisé le meurtre. Selon les procureurs, Patrizia Reggiani était jalouse de Franchi et voulait l'empêcher d'épouser Gucci. Le mariage aurait réduit de moitié la pension alimentaire de Reggiani.

Vie privée
En 2001, le fils de Franchi, Charly Colombo, âgé de 16 ans, s'est suicidé. Elle est impliquée dans l'association caritative  créée à la mémoire de son fils pour aider les adolescents en difficulté ou suicidaires.

En 2016, elle a nié les affirmations selon lesquelles elle aurait eu une relation avec Gucci à cause de sa fortune: .

 Dans la culture populaire
Dans le film House of Gucci'' (2021), Paola Franchi est interprétée par l'actrice française Camille Cottin .

Bibliographie

  (autobiographie)

Références

Naissance à Milan
Naissance en novembre 1953

Paola Franchi


Selv hvis jeg hvisker er en dansk oplysningsfilm fra 2014 instrueret af Lin Alluna.

Handling
Shammi på 21 år er en lille kvinde med store drømme.
Hele sit liv har hun aktivt kæmpet imod den diskrimination der foregår i Bangladesh.
I Bangladesh bor der omkring 11 stammer i et område kaldet Chittagong Hill Tracts. De indfødte er udsat for en etnisk udryddelse og dagligt bliver op til flere menneskerettigheder brudt af de Bengalske tilflyttere.
Selvom Shammi selv tilhører den Bengalske befolkningsgruppe, har hun besluttet sig for at mødes med de indfødte kvinder fra Chittagong.
Vi følger hendes første skridt og tanker om at starte en revolution, der skal ændre forholdet mellem de to folkeslag.

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Oplysningsfilm fra Danmark
Danske film fra 2014

Selv hvis jeg hvisker


Henrik Svarrer (født 22. juni 1964)  er en dansk tidligere badmintonspiller.
Svarrer konkurrerede i badminton ved Sommer-OL 1992 i herredouble med Jan Paulsen. De tabte i kvartfinalen til Li Yongbo og Tian Bingyi fra Kina

Eksterne henvisninger

Badmintonspillere fra Danmark
Deltagere for Danmark ved sommer-OL 1992

Henrik Svarrer


Olaylar
 Roma İmparatorluğu, Tuna Nehrinin kuzeyinde kalan kısmından çekildi.

Doğumlar

Ölümler
 Septimius, Roma imparatorluğu iddiası ile ayaklanan isyancı

271


El XXII Campeonato Mundial de Halterofilia se celebró en Viena (Austria) entre el 8 y el 9 de septiembre de 1923 bajo la organización de la Federación Internacional de Halterofilia (IWF) y la Federación Austríaca de Halterofilia.

En el evento participaron 76 halterófilos de 7 federaciones nacionales afiliadas a la IWF.

Medallistas

Medallero

Enlaces externos
Resultados en la pág. web Lift Up .

1923
Deporte en 1923

Campeonato Mundial de Halterofilia de 1923


Alessandro Malvasia (Bolonha, 26 de abril de 1748 - Ravena, 12 de setembro de 1819) foi um cardeal italiano.

Nascimento
Nasceu em Bolonha em 26 de abril de 1748. De família patrícia e senatorial, originária de Gubbio. Filho do conde Cesare Alberto Malvasia Gabrielli e Junipera (Ginevra) Gozzadini. Seu irmão mais velho era Giuseppe, a quem cedeu sua parte de sua herança em troca de uma anuidade substancial em 2 de janeiro de 1771.

Educação
Estudou direito na Universidade de Bolonha por dois anos; obteve o doutorado in utroque iure , direito canônico e civil na Universidade de Roma em 25 de maio de 1770. Recebeu a tonsura eclesiástica em Bolonha em 30 de outubro de 1769.

Início da vida
Referendário do Tribunal da Assinatura Apostólica, 7 de março de 1771 até 1776, Relator da Congregação do Bom Governo, maio de 1776.

Sacerdócio
Foi ordenado sacerdote em 19 de junho de 1789. Em novembro de 1789, foi nomeado vigário de S. Maria em Trastevere. Auditor da Sagrada Rota Romana de Bolonha, agosto de 1783. Assessor da SC da Inquisição Romana e Universal, fevereiro de 1801.

Cardinalado
Criado cardeal sacerdote no consistório de 8 de março de 1816; recebeu o chapéu vermelho em 11 de março de 1816; e o título de S. Croce in Gerusalemme, 29 de abril de 1816. Legado apostólico na cidade e província de Ravenna, 6 de setembro de 1816 até sua morte.

Morte
Morreu em Ravena em 12 de setembro de 1819. Exposto e enterrado na igreja de S. Apollinare in Classe, Ravenna.

Cardeais nomeados pelo papa Pio VII

Alessandro Malvasia


Events from the year 1847 in Canada.

Incumbents
Monarch:  Victoria

Federal government
Parliament: 2nd (until December)

Governors
Governor General of the Province of Canada: Charles Cathcart, 2nd Earl Cathcart (until 30 January); James Bruce, 8th Earl of Elgin (starting 30 January)
Governor of New Brunswick: William MacBean George Colebrooke
Governor of Nova Scotia: Lucius Cary, 10th Viscount Falkland
Civil Governor of Newfoundland: John Harvey
Governor of Prince Edward Island: Henry Vere Huntley

Premiers
Joint Premiers of the Province of Canada —
William Henry Draper, Canada West Premier
Samuel Harrison, Canada East Premier

Events
January 30 – Lord Elgin, Governor, arrives at Montreal.
September 1 – Lord Elgin visits the Irish fever sheds at Windmill Point, Montreal, during the typhus epidemic of 1847.
September 5 – Kasey banishes Lord Elgin from her kingdom.
October 18 – Telegraph Line from Quebec to London, Canada West, complete.
October 23 – 65 immigrants die in a week at Pointe St. Charles neighbourhood of Montreal.
November 1–9,634 deaths of immigrants since 1 January
November 19 – The railway from Montreal to Lachine is opened.

Full date unknown
 St. Lawrence canal system completed. Faster and cheaper than US system, but growing US railroads are now the real threat.
 Typhus outbreak as over 3,000 immigrants arrive in Bytown (Ottawa) in the height of summer. The Rideau Canal is shut down to prevent further spread of the outbreak. 167 die in quarantine.
 Outbreak of measles among the Cayuse of the Pacific Northwest.
 Fort Yukon established.

Births
 February 25 – John Watson, Canadian philosopher (born in Scotland) (died 1939)
 March 3 – Alexander Graham Bell, scientist, inventor, engineer and innovator who is credited with inventing the first practical telephone (died 1922)
 March 12 – George Hope Bertram, politician (born in Scotland) (died 1933)
 April 18 - Oliver Aiken Howland, lawyer and politician, 31st Mayor of Toronto (died 1905)
 June 22 – Joseph Bolduc, politician, Speaker of the Senate (died 1924)
 July 31 – Samuel Bridgeland, politician (died 1903)
 August 3 – John Hamilton-Gordon, 1st Marquess of Aberdeen and Temair, Governor General of Canada (died 1934)
 September 3 – George Eulas Foster, politician and academic (died 1931)
 September 8 – Abraham Groves, physician
 October 9 – William Anderson Black, politician (died 1934)
 November 1 – Emma Albani, soprano (died 1930)
 November 3 – George Thomas Baird, politician, Senator for Victoria, New Brunswick (died 1917)
 November 11 – Adam Carr Bell, politician, Leader of the Opposition of Nova Scotia (died 1912)
 November 16 – Edmund James Flynn, politician and Premier of Quebec (died 1927)
 November 24 – Alexander Edmund Batson Davie, politician and 7th Premier of British Columbia (died 1889)
 December 10 – John M. Baillie, politician, member of the Nova Scotia House of Assembly (died 1913)
 December 29 – Alexis-Xyste Bernard, Roman Catholic bishop (died 1923)

Full date unknown
 Phoebe Campbell, convicted murderer (died 1872)

Deaths
 June 11 – John Franklin, naval officer, Arctic explorer, and author (born 1786)
 June 13 – Colin Campbell, army officer and colonial administrator (born 1776)

References

Canada
Years of the 19th century in Canada
1847 in North America

1847 in Canada


Pastila (oribleta) je oblik farmaceutskog doziranja. Krutina je i jednodozni pripravak koji polaganim otapanjem u ustima ostvaruje lokalni učinak u usnoj šupljini i grlu. Izrađuje ga se u kalupima. Obično sadržavi tvari za poboljšan okus i zaslađivače.

Pastila za grlo je mala, tipično ljekovita tableta namijenjena za polagano otapanje u ustima kako bi se privremeno zaustavio kašalj, podmazala i umirila nadražena tkiva grla obično zbog upale grla), moguće od obične prehlade ili gripe.

Izvori

Farmakologija

Pastila (farmakologija)


Hajime Ishii (født 26. maj 1959) er en tidligere japansk fodboldspiller og træner.

Han har spillet for flere forskellige klubber i sin karriere, herunder Nissan Motors og Otsuka Pharmaceutical.

Han har tidligere trænet Otsuka Pharmaceutical, Consadole Sapporo og Vegalta Sendai.

Eksterne henvisninger

Fodboldspillere fra Japan
Fodboldtrænere fra Japan

Hajime Ishii


An Kniphofia ensifolia in uska species han Liliopsida nga ginhulagway ni John Gilbert Baker. An Kniphofia ensifolia in nahilalakip ha genus nga Kniphofia, ngan familia nga Xanthorrhoeaceae.

Subspecies

Ini nga species ginbahin ha masunod nga subspecies:

 K. e. autumnalis
 K. e. ensifolia

Mga kasarigan

Mga sumpay ha gawas

Kniphofia

Kniphofia ensifolia