Vitaphone is a sound film system used for feature films and nearly 1,000 short subjects made by Warner Bros. and its sister studio First National from 1926 to 1931. Vitaphone is the last major analog sound-on-disc system and the only one that was widely used and commercially successful. The soundtrack is not printed on the film, but issued separately on phonograph records. The discs, recorded at  rpm (a speed first used for this system) and typically  in diameter, are played on a turntable physically coupled to the projector motor while the film is projected. Its frequency response is 4300 Hz. Many early talkies, such as The Jazz Singer (1927), used the Vitaphone system. The name "Vitaphone" derived from the Latin and Greek words, respectively, for "living" and "sound".

The "Vitaphone" trademark was later associated with cartoons and other short subjects that have optical soundtracks and do not use discs.

Early history
In the early 1920s, Western Electric was developing both sound-on-film and sound-on-disc systems, aided by the purchase of Lee De Forest's Audion amplifier tube in 1913, consequent advances in public address systems, and the first practical condenser microphone, which Western Electric engineer E.C. Wente had created in 1916 and greatly improved in 1922. De Forest debuted his own Phonofilm sound-on-film system in New York City on April 15, 1923, but due to the relatively poor sound quality of Phonofilm and the impressive state-of-the-art sound heard in Western Electric's private demonstrations, the Warner Brothers decided to go forward with the industrial giant and the more familiar disc technology.

The business was established at Western Electric's Bell Laboratories in New York City and acquired by Warner Bros. in April 1925.  Warner Bros. introduced Vitaphone on August 5, 1926, with the premiere of their silent feature Don Juan, which had been retrofitted with a symphonic musical score and sound effects. There was no spoken dialog. The feature was preceded by a program of short subjects with live-recorded sound, nearly all featuring classical instrumentalists and opera stars. The only "pop music" artist was guitarist Roy Smeck and the only actual "talkie" was the short film that opened the program: four minutes of introductory remarks by motion picture industry spokesman Will Hays.

Don Juan was able to draw huge sums of money at the box office, but was not able to match the expensive budget Warner Bros. put into the film's production. After its financial failure, Paramount head Adolph Zukor offered Sam Warner a deal as an executive producer for Paramount if he brought Vitaphone with him. Sam, not wanting to take any more of Harry Warner's refusal to move forward with using sound in future Warner films, agreed to accept Zukor's offer, but the deal died after Paramount lost money in the wake of Rudolph Valentino's death.  Harry eventually agreed to accept Sam's demands. Sam then pushed ahead with a new Vitaphone feature starring Al Jolson, the Broadway dynamo who had already scored a big hit with early Vitaphone audiences in A Plantation Act, a musical short released on October 7, 1926. On October 6, 1927, The Jazz Singer premiered at the Warner Theater in New York City, broke box-office records, established Warner Bros. as a major player in Hollywood, and is traditionally credited with single-handedly launching the talkie revolution.

At first, the production of Vitaphone shorts and the recording of orchestral scores were strictly a New York phenomenon, taking advantage of the bountiful supply of stage and concert hall talent there, but the Warners soon migrated some of this activity to their more spacious facilities on the West Coast. Dance band leader Henry Halstead is given credit for starring in the first Vitaphone short subject filmed in Hollywood instead of New York. Carnival Night in Paris (1927) featured the Henry Halstead Orchestra and a cast of hundreds of costumed dancers in a Carnival atmosphere.

Process
From the perspective of the cast and crew on the sound stage, there was little difference between filming with Vitaphone and a sound-on-film system. In the early years of sound, the noisy cameras and their operators were enclosed in soundproofed booths with small windows made of thick glass. Cables suspended the microphones in fixed positions just above camera range, and sometimes they were hidden behind objects in the scene. The recording machines were usually located in a separate building to completely isolate them from sound stage floor vibrations and other undesirable influences. The audio signal was sent from an on-stage monitoring and control booth to the recording room over a heavy shielded cable. Synchronization was maintained by driving all the cameras and recorders with synchronous electric motors powered from a common source. When music and sound effects were being recorded to accompany existing film footage, the film was projected so that the conductor could synchronize the music with the visual cues and it was the projector, rather than a camera, that was electrically interlocked with the recording machine.

Except for the unusual disc size and speed, the physical record-making process was the same one employed by contemporary record companies to make smaller discs for home use. The recording lathe cut an audio-signal-modulated spiral groove into the polished surface of a thick round slab of wax-like material rotating on a turntable. The wax was much too soft to be played in the usual way, but a specially supported and guided pickup could be used to play it back immediately in order to detect any sound problems that might have gone unnoticed during the filming. If problems were found, the scene could then be re-shot while everything was still in place, minimizing additional expense. Even the lightest playback caused some damage to the wax master, so it was customary to employ two recorders and simultaneously record two waxes, one to play and the other to be sent for processing if that "take" of the scene was approved. At the processing plant, the surface of the wax was rendered electrically conductive and electroplated to produce a metal mold or "stamper" with a ridge instead of a groove, and this was used to press hard shellac discs from molten "biscuits" of the raw material.

Because of the universal desirability of an immediate playback capability, even studios using sound-on-film systems employed a wax disc "playback machine" in tandem with their film recorders, as it was impossible to play an optical recording until it had made the round trip to the film processing laboratory.

A Vitaphone-equipped theater had normal projectors which had been furnished with special phonograph turntables and pickups; a fader; an amplifier; and a loudspeaker system. The projectors operated just as motorized silent projectors did, but at a fixed speed of 24 frames per second and mechanically interlocked with the attached turntables. When each projector was threaded, the projectionist would align a start mark on the film with the film gate, then cue up the corresponding soundtrack disc on the turntable, being careful to place the phonograph needle at a point indicated by an arrow scribed on the record's surface. When the projector was started, it rotated the linked turntable and (in theory) automatically kept the record "in sync" (correctly synchronized) with the projected image.

The Vitaphone process made several improvements over previous systems:
 Amplification – The Vitaphone system used electronic amplification based on Lee De Forest's Audion tube. This allowed the sound to be played to a large audience at a comfortable volume. Vitaphone was far from the first sound film system to use this technology, but it had amplifiers and loudspeakers, developed by Western Electric, which were state-of-the-art. Their performance was greatly superior to anything else of the kind then available, including the equipment used by De Forest to present his own Phonofilm sound-on-film exhibitions.
 Fidelity – Contrary to conventional wisdom, neither Vitaphone's ability to fill a theater with an adequate volume of sound nor its success in maintaining synchronization was unprecedented. Léon Gaumont's sound-on-disc films, which were being shown twenty years earlier, were successfully synchronized by the use of electrically interlinked multi-pole synchronous motors, and a pneumatic amplification system more than sufficed to fill Gaumont's 3,400-seat flagship theater in Paris with the recorded sound. That sound, however, had to be recorded by the same insensitive non-electronic method introduced by Thomas Edison in 1877, or alternatively by a very crude microphone-based variant which had logistical advantages but did not offer improved fidelity. The resulting sound, however greatly amplified it might be, was tinny and unclear and speech was difficult to understand. The footsteps and other incidental sounds that audiences instinctively expected to hear were missing. It did not sound "natural". The Vitaphone system derived from extensive work on electronically recording and reproducing sound that had been carried out at Western Electric during the first half of the 1920s. Western Electric's engineers had developed a highly sensitive full-frequency-range condenser microphone, capable of capturing a whisper from several feet away, along with the electronic and mechanical equipment necessary to adequately record the audio signal it produced. As a result, the quality of Vitaphone sound in the theater came as a revelation to the audience at its public debut in 1926. It easily and dramatically surpassed anything previously achieved. It even surpassed the sound quality of Western Electric's own sound-on-film system, developed concurrently with the sound-on-disc system but still in the laboratory at that time, because at first the discs yielded better fidelity than an optical sound track.

These innovations notwithstanding, the Vitaphone process lost the early format war with sound-on-film processes for many reasons:
 Distribution – Vitaphone records had to be distributed along with film prints, and shipping the records required a whole infrastructure apart from the already-existing film distribution system. The records would start to suffer from audible wear after an estimated 20 playings (a check box system on the label was used to keep count) and were then supposed to be replaced with a fresh set. Damage and breakage were inherent dangers, so a spare set of discs was usually kept on hand, further adding to the costs.
 Synchronization – Vitaphone was vulnerable to severe synchronization problems, famously spoofed in MGM's 1952 musical Singin' in the Rain. If a record were improperly cued up, it would start out of sync with the picture and the projectionist would have to try to manually acquire sync. If the wrong record had been cued up there was no realistic option but to pause the show for a few minutes while swapping in the correct disc, resetting everything and starting that reel again. If the film print became damaged and was not precisely repaired, the relationship between the record and the print would be thrown off, also causing a loss of sync. Vitaphone projectors had special levers and linkages to advance and retard sync, but only within certain limits. Scrupulous care and attention were demanded from the projectionist. In the absence of human error and the occasional malfunction that can befall any complicated machine, the Vitaphone system worked as intended, but when a problem did occur it could be an embarrassing disaster.
 Editing – A phonograph record cannot be physically edited, and this significantly limited the creative potential of Vitaphone films. Warner Bros. went to great expense to develop a highly complex phonograph-based dubbing system, using synchronous motors and Strowger switch-triggered playback phonographs. Multiple source discs would be carefully cued up, then parts of each in turn were dubbed to a new master disc. The cutting of the new wax master could not be paused, so each playback turntable had to be started at just the right moment and each signal switched to the recorder at just the right moment. The system worked, but imprecisely enough that the reel of film often required some adjustment, by adding or removing one or more film frames at imperfectly matched edit points, to conform it to the disc of edited sound. This discouraged frequent changes of scene in the film and the lively pace that they created. Editing sound on disc was a nightmare for the editor, and it was increasingly obvious to everyone that while the system sufficed for musical shorts and a synchronized musical accompaniment for otherwise silent films (the only applications originally planned), it was a clumsy way to make a feature-length film with "live" sound. By the middle of 1931, Warner Bros.-First National had thrown in the towel and was recording and editing optical sound on film, like all the other studios, and only then dubbing the completed soundtrack to discs for use with the Vitaphone projection system.
 Fidelity versus Sound-on-Film – The fidelity of sound-on-film processes was improved considerably after the early work by Lee De Forest on his Phonofilm system and that of his former associate Theodore Case on what eventually became the Fox Movietone system, introduced in 1927. The De Forest and Case-Fox systems used variable-density soundtracks, but the variable-area soundtrack used by RCA Photophone, introduced in 1928, eventually predominated. Although the fidelity of optical sound never quite caught up with ongoing improvements in disc recording technology, for practical purposes the early quality advantage of discs had been overcome within a few years.

Vitaphone was the market leader in the early days of talking pictures, for two key reasons. First, the new novelty was very popular with the public, with The Jazz Singer being a monster hit. It was in theater owners' best interest to compete as soon as possible. Second, a much more practical reason was the cost. Converting a silent-only theater to sound was much quicker and cheaper with the Vitaphone sound-on-disc system than it was with the Movietone sound-on-film system. Exhibitors with limited incomes opted for Vitaphone, particularly in smaller towns. The Vitaphone brand name became synonymous with talking pictures in general; as early as 1928, theater organists, thrown out of work when their bosses discontinued silent pictures, placed situation-wanted ads in trade papers with the melancholy phrase "Reason for leaving due to Vitaphone."

After the improvement of the competing sound-on-film systems, Vitaphone's disadvantages led to its retirement early in the sound era. Warner Bros. and First National stopped recording directly to disc and switched to RCA Photophone sound-on-film recording. Warner Bros. had to publicly concede that Vitaphone was being retired, but put a positive spin on it by announcing that Warner films would now be available in both sound-on-film and sound-on-disc versions. Thus, instead of making a grudging admission that its technology had become obsolete, Warner Bros. purported to be doing the entire movie industry a favor.

Despite the fact that Warner Bros. still used Vitaphone as a brand name, the soundtrack-disc era was largely over by 1931. Many theater owners, who had invested heavily in Vitaphone equipment only a short time before, were financially unable or unwilling to replace their sound-on-disc-only equipment. Their continuing need for discs compelled most Hollywood studios to prepare sets of soundtrack discs for their new films, made by dubbing from the optical soundtracks, and supply them as required. This practice continued, although on an ever-dwindling scale, through 1937.

Vitaphone soundtrack discs
In 1924–1925, when Western Electric established the format of the system which would eventually be named Vitaphone, they settled on a  diameter disc rotating at  rpm as a good practical compromise of disc size and speed. The slow speed permitted the 11-minute playing time needed to match the maximum running time of a then-standard 1000 foot (300 meter) reel of film projected at 24 fps, yet the increased diameter preserved the average effective groove velocity, and therefore the sound quality, of a smaller, shorter-playing record rotating at the then-standard speed of about 78 rpm.

Like ordinary pre-vinyl records, Vitaphone discs were made of a shellac compound rendered lightly abrasive by its major constituent, finely pulverized rock. Such records were played with a very inexpensive, imprecisely mass-produced steel needle with a point that quickly wore to fit the contour of the groove, but then went on to wear out in the course of playing one disc side, after which it was meant to be discarded and replaced. Unlike ordinary records, Vitaphone discs were recorded inside out, so that the groove started near the synchronization arrow scribed in the blank area around the label and proceeded outward. During playback, the needle would therefore be fresh where the groove's undulations were most closely packed and needed the most accurate tracing, and suffering from wear only as the much more widely spaced and easily traced undulations toward the edge of the disc were encountered.

Initially, Vitaphone discs had a recording on one side only, each reel of film having its own disc. As the sound-on-disc method was slowly relegated to second-class status, cost-cutting changes were instituted, first by making use of both sides of each disc for non-consecutive reels of film, then by reducing the discs to  in diameter. The use of RCA Victor's new "Vitrolac", a lightweight, flexible and less abrasive vinyl-based compound, made it possible to downsize the discs while actually improving their sound quality.

There were exceptions to the  standard size of 1920s Vitaphone discs. In the case of very short films, such as trailers and some of the earliest musical shorts, the recording, still cut at  rpm and working outward from a minimum diameter of about , was pressed on a  disc when the smaller size sufficed.

Vitaphone shorts
Warners bought the Vitagraph studio in 1925 and used its Brooklyn, New York facility to produce its new, experimental talking pictures. Although Warners' sound feature films were made in Hollywood, most of the short subjects were made in New York, and Vitaphone shorts became a fixture in movie-theater programs through 1940. Many major names in show business filmed their acts for posterity, and many stars of the future made their screen debuts for Vitaphone. Performers in early Vitaphone shorts filmed at the Flatbush studios include Al Jolson, Humphrey Bogart, Jimmy Stewart, Bob Hope, Adelaide Hall, Spencer Tracy, Jack Benny, Sammy Davis Jr., Sylvia Sidney, Pat O'Brien, Ruth Etting, Mischa Elman, Frances Langford, Betty Hutton, Burns and Allen, Giovanni Martinelli, Xavier Cugat, Bill Robinson, Lillian Roth, Joan Blondell, Judith Anderson, Ethel Merman, Abbe Lane, Eleanor Powell, Helen Morgan, The Nicholas Brothers, Milton Berle, Leo Carrillo, Harriet Nelson, Brian Donlevy, Jane Froman, Jack Haley, Phil Silvers, Roger Wolfe Kahn, Judy Canova, Nina Mae McKinney, Marjorie Main, Rose Marie, Joe Penner, Ethel Waters, June Allyson, Shemp Howard, Lanny Ross, Lionel Stander, Edgar Bergen, and Cyd Charisse.

The Vitaphone Project
In 1991, The Vitaphone Project was started by a group of five vintage record collectors and movie enthusiasts. Since the soundtrack discs and film prints of Vitaphone productions often became separated, The Vitaphone Project searches for original 16-inch soundtrack discs and mute film elements that go with surviving soundtrack discs. The Vitaphone Project borrows or purchases soundtrack discs from private collectors and often works with the restoration labs at the University of California at Los Angeles to create new 35mm preservation prints that combine the original picture and sound elements. The Vitaphone Project also often partners with the Library of Congress and the British Film Institute.

As of December 2016, The Vitaphone Project had located about 6,500 soundtrack discs in private collections and helped preserve 125 films, 12 of which were feature-length films. They have also raised $400,000 in donations, with Hugh Hefner being a notable donor.

The Vitaphone Project has been able to help restore films featuring stars such as Rose Marie and Al Jolson. They also worked with Warner Brothers to restore 1929's Why Be Good?, the final silent film made by Colleen Moore. Funding raised by The Vitaphone Project was used to restore 1928's The Beau Brummels, starring vaudeville duo Al Shaw and Sam Lee, which was added to the National Film Registry in 2016.

Legacy
The short-subject division of Warner Bros., The Vitaphone Corporation, was officially dissolved at the end of 1959 and released the Looney Tunes and Merrie Melodies cartoons. In the 1950s, the Warner Bros. record label boasted "Vitaphonic" high-fidelity recording. In the 1960s, the end titles of Merrie Melodies cartoons (beginning with From Hare to Heir 1960) carried the legend "A Vitaphone Release". Looney Tunes of the same period (beginning with that same year's Hopalong Casualty) were credited as "A Vitagraph Release", making further use of the name of Vitagraph Studios in Brooklyn, which the Warners had bought in 1925, used as a facility for working out practical sound film production techniques and filming some early musical shorts, and from which a name for the previously nameless Western Electric sound-on-disc system had been derived. By late 1968, the Vitaphone/Vitagraph titles had become swapped in between the Looney Tunes and Merrie Melodies series titles.

Vitaphone was among the first 25 inductees into the TECnology Hall of Fame at its establishment in 2004, an honor given to "products and innovations that have had an enduring impact on the development of audio technology." The award notes that Vitaphone, though short-lived, helped in popularizing theater sound and was critical in stimulating the development of the modern sound reinforcement system.

Though operating on principles so different as to make it unrecognizable to a Vitaphone engineer, DTS is a sound-on-disc system, the first to gain wide adoption since the abandonment of Vitaphone.

See also
List of film formats
List of early sound feature films (1926–1929)
Movietone
Phonofilm
Photokinema
RCA Photophone
Sound film
Sound-on-film
Vitagraph Studios
Vitaphone Varieties

References

Further reading
 Barrios, Richard (1995), A Song in the Dark, Oxford University Press, .
Examination of early sound musicals, with extensive coverage of Vitaphone.
 Bradley, Edwin M. (2005), The First Hollywood Sound Shorts, 1926–1931, McFarland & Company.
 Crafton, Donald (1997), The Talkies: American Cinema's Transition to Sound, 1926–1931, Charles Scribner's Sons
 Eyman, Scott (1997), The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930, Simon & Schuster, NYC.
 Liebman, Roy (2003), Vitaphone Films: A Catalogue of the Features and Shorts, McFarland & Company.
 Thrasher, Frederic (ed.) (1946) Okay for Sound: How the Screen Found its Voice, Duell, Sloan & Pearce, New York
Warner Bros.' story.
 Warner-Sperling, Cass; Millner, Cork; and Warner, Jack (1999). Hollywood Be Thy Name: The Warner Brothers Story, University Press of Kentucky.

External links
Blog describing the history of the Vitaphone Process in detail
Collection of Vitaphone Soundtracks
List of Early Sound Films at Silent Era website

History of film
Film sound production
Film and video technology
Motion picture film formats
Warner Bros.

Vitaphone


Annia Aurelia Galeria Lucilla sau Lucilla () a fost cea de-a doua fiică și al treilea copil al împăratului roman Marcus Aurelius și a împărătesei Faustina cea Tânără și sora mai mare a viitorului împărat Commodus. Commodus a ordonat execuția Lucillei după un asasinat eșuat și lovitură de stat la 33 de ani.

Viața timpurie
Născută și crescută în Roma într-o influentă familie politică. Bunicii materni ai Lucillei au fost împăratul roman Antoninus Pius și împărăteasa Faustina cea Bătrână; bunicii paterni au fost Domitia Lucilla și pretorul Marcus Annius Verus.

Căsătoriile. Împărăteasă
În 161, atunci pe când avea între 11 și 13 ani, tatăl ei a aranjat o căsătorie pentru ea cu asociatul la domnie Lucius Verus. Verus, cu 18 ani mai în vârstă, a devenit soțul ei, trei ani mai târziu, în Efes, în 164. La căsătorie, ea a primit titlul de Augusta și a devenit împărăteasă romană. În același timp, Marcus Aurelius și Lucius Verus luptau cu parții în Siria.
Lucius Verus a murit pe la 168/169 în timp ce se întorcea de la teatru de război din regiunea Dunării și, ca rezultat, Lucilla pierde statutul de împărăteasă.

După o perioadă scurtă de timp, în 169, tatăl ei i-a aranjat o a doua căsătorie, cu Tiberius Claudius Pompeianus Quintianus din Antiohia.

Ascensiunea lui Commodus
În 172, Lucilla și Quintianus, îl însoțesc pe Marcus Aurelius la Vindobona (astăzi Viena) pentru a sprijini campania militară a Dunării  și erau cu el pe 17 martie 180, când Aurelius a murit și Commodus a devenit noul împărat.

Complot pentru asasinarea lui Commodus
Având în vedere conducerea capricioasă a fratelui ei , în 182 Lucilla s-a implicat într-un complot pentru asasinarea lui Commodus. Grupul conspiratorilor includea pe Tarrutenius Paternus, șeful Gărzii Imperiale, pe fiica ei Plautia din prima căsătorie, un nepot a lui Quintianus, de asemenea, numit Quintianus, consul și vărul său Marcus Ummidius Quadratus Annianus și sora ei Ummidia Cornificia Faustina.

Quintianus, fluturând un pumnal sau sabie, face să eșueze tentativa de asasinat, încearcând să-l omoare pe Commodus. Sărind de la locul unde era ascuns i-a strigat lui Commodus "Aici este ceea ce îți trimite Senatul", renunțând la intențiile sale înainte de a avea șansa de a acționa. Gărzile lui Commodus au fost mai rapide decât Quintianus și l-au dezarmat, fără a prejudicia viața împăratului.

Commodus a ordonat executarea lui Quintianus și a lui Marcus Ummidius Quadratus Annianus, și le-a alungat pe Lucilla, pe fiica ei și pe Ummidia Cornificia Faustina pe insula italiană Capri. El a trimis un centurion acolo să le execute mai târziu în acel an. Fiul ei Pompeianus a fost ucis ulterior de către Caracalla.

În cultura populară

 În filmul Căderea Imperiului Roman, 1964, Lucilla a fost jucată de Sophia Loren.
 În filmul Gladiator, 2000, Lucilla a fost jucată de Connie Nielsen.
 În serialul documentar Imperiul Roman: domnia sângeroasă, Lucilla a fost jucată de Tai Berdinner-Lame.

Referințe

Nașteri în anii 140
Nașteri în anii 150
Decese în 182
Romani din secolul al II-lea
Personalități feminine din Roma antică
Insula Capri
Dinastia Antoninilor
Oameni din Roma
Împărătese romane
Femei din secolul al II-lea

Lucilla


Stuľany este o comună slovacă, aflată în districtul Bardejov din regiunea Prešov. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 560 de locuitori.

Istoric
Localitatea Stuľany este atestată documentar din 1420.

Note

Legături externe

Localități din Slovacia

Stuľany


Solario puede referirse a:
Antonio Solario, lo Zingaro, pintor italiano.
Andrea Solario, pintor italiano.
Familia Solario o familia Solari.
Solario (caballo), de comienzos del  -:en:Solario-

Solario


Modern Times war ein Pop-Duo aus Luxemburg, bestehend aus Simone Weis (Gesang) und Jimmy Martin (Gesang, Gitarre). Sie wurden ausgewählt, Luxemburg beim Eurovision Song Contest 1993 in Millstreet zu vertreten. Ihr Popsong Donne-moi une chance (dt.: Gib mir eine Chance) landete dabei auf Platz 20.

Einzelnachweise

Popband
Luxemburgische Band
Interpret eines luxemburgischen Beitrags beim Eurovision Song Contest

Modern Times (Band)


Jens Christian Skou (; 8 October 1918 – 28 May 2018) was a Danish biochemist and Nobel laureate.

Early life
Skou was born in Lemvig, Denmark to a wealthy family. His father Magnus Martinus Skou was a timber and coal merchant. His mother Ane-Margrethe Skou took over the company after the death of his father. At the age of 15, Skou entered a boarding school in Haslev, Zealand. He graduated in medicine from the University of Copenhagen in 1944 and received his doctorate in 1954. He began working at the Aarhus University in 1947 and was appointed professor of biophysics in 1977. He retired from the Aarhus University in 1988, but kept offices at the Department of Physiology (today part of the Department of Biomedicine).

Career
In 1997 he received the Nobel Prize in Chemistry (together with Paul D. Boyer and John E. Walker) for his discovery of Na+,K+-ATPase, making him, at the time of his death, the latest Danish Nobel laureate and the first at Aarhus University.

Skou had taken a few years away from his clinical training in the early 1950s to study the action of local anaesthetics. He had discovered that a substance's anaesthetic action was related to its ability to dissolve in a layer of the lipid part of the plasma membrane, the anaesthetic molecules affected the opening of sodium channels which he assumed to be protein. This, he argued, would affect the movement of sodium ions and make nerve cells inexcitable, thus causing anaesthesia.

Skou thought that other types of membrane protein might also be affected by local anaesthetics dissolving in the lipid part of the membrane. He therefore had the idea of looking at an enzyme which was embedded in the membrane and finding out if its properties were affected by local anaesthetics. He looked at ATPase in crab nerves.

The enzyme was there, but its activity was very variable and he needed a highly active enzyme for his studies. Eventually he managed to discover that ATPase was most active when exposed to the right combination of sodium, potassium and magnesium ions. Only then did he realise that this enzyme might have something to do with the active movement of sodium and potassium across the plasma membrane. This idea had been postulated many years before, however, the mechanism was quite unknown.

Skou published his findings. However, in his paper he was wary of identifying the enzyme with the active ion movement, so he left out the term "sodium-potassium pump" from the title of his paper. Indeed, he seems to have realised the importance of his discovery only gradually, and he continued his studies on local anaesthetics.

In 1958 Skou went to a conference in Vienna to describe his work on cholinesterase. There he met Robert Post (born 1920), who had been studying the pumping of sodium and potassium in red blood cells. Post had recently discovered that three sodium ions were pumped out of the cell for every two potassium ions pumped in, and in his research he had made use of a substance called ouabain (or g-strophanthin) which had recently been shown to inhibit the pump).

Post had not read Skou's paper, but he was excited when Skou told him about his work with ATPase. Post asked whether the enzyme was inhibited by ouabain. At this stage Skou was unaware that ouabain inhibited the pump, but he immediately telephoned his lab and arranged for the experiment to be done. Ouabain did indeed inhibit the enzyme, thus establishing a link between the enzyme and the sodium-potassium pump.

Following the Nobel Prize, Skou gave several interviews recounting the story of his discoveries, and at age 94 was reported to still keep up with publications in his field. He died on 28 May 2018 in Aarhus, Denmark at the age of 99, less than five months shy of his 100th birthday.

References

External links
  including the Nobel Lecture on "The Identification of the Sodium-Potassium Pump"

1918 births
2018 deaths
Danish chemists
Danish Nobel laureates
Danish physiologists
Members of the European Molecular Biology Organization
Nobel laureates in Chemistry
University of Copenhagen alumni
Academic staff of Aarhus University
Foreign associates of the National Academy of Sciences
People from Lemvig

Jens Christian Skou


İran'ın nükleer enerji elde etmek için başlattığını söylediği, ancak başta ABD olmak üzere bazı ülkelerin nükleer silah üretmek için başladığını iddia ettiği proje.

İran nükleer programı 1950'lerde Barış için Atom programının bir parçası olarak ABD'nin yardımı ile başlatıldı. ABD'nin ve Batı Avrupalı hükûmetlerin İran'ın nükleer programına desteği, cesaretlendirmesi ve katkısı 1979'da Şah rejimini deviren İslami devrime kadar sürdü. 1979'daki devrimden sonra İran hükûmeti programı durdurdu ve daha sonra devrim öncesine göre daha düşük bir Batı desteği ile yeniden canlandırıldı. İran nükleer programı bir dizi araştırma merkezi, uranyum madeni, bir nükleer reaktör ve bir uranyum zenginleştirme merkezi içeren uranyum işleme yapılarından oluşmaktadır. İran'ın ilk nükleer santrali Buşehr-I'in Mart 2008'de üretime geçmesi beklenmekteydi. Ancak 4 Eylül 2011 tarihi itibarıyla bu tesis devreye alınmış bulunuyor.

Genel bakış
Gawdat Bahgat, Indiana Üniversitesi, Pensilvanya, Ortadoğu Çalışmaları Merkezi Yöneticisi, İran nükleer programının üç unsura bağlı olduğunu söylüyor: Birincisi; Pakistan,Irak,İsrail ve ABD'den kendilerine dönük tehdit algılamaları, ikincisi;iç ekonomik ve siyasi dinamikler ve üçüncüsü;milli gurur. Bahgat daha sonra İran'ın uluslararası toplum ile ilişkileri ile ilgili bazı anahtar noktaların altını çiziyor ve nükleer program konusunda bunun İran'ı nasıl etkilediğini anlatıyor.

1.İranlı yetkililerin 1980'lerdeki İran-Irak Savaşı sırasındaki davranışları nedeniyle uluslararası topluma çok az güvenleri var. Bu savaş sırasında, İran daha güçlü ve büyük bir ülke olduğu için, Saddam Hüseyin İran ordusuna ve sivillere karşı kimyasal silah kullandı. Bu kimyasal silahlar binlerce İranlıyı öldürdü veya sakat bıraktı ve savaşta Irak lehine önemli bir rol oynadı. Uluslararası toplum bu noktada kayıtsız kaldı; Irak'ı engellemede ve İran'ı korumada çok etkisizdi. Shahram Chubin, Cenevre Güvenlik Politikaları Çalışmaları Merkezi Başkanı, bu durumu şöyle açıklıyor: "İran Irak ile yaptığı savaştan şunu öğrendi; saldırıya uğramak istemiyorsan, tehdit eden ülke mutlaka denk bir yanıtın alacağını bilmelidir. 'Çöl Fırtınası' saldırısında eşdeğer bir kimyasal silah misillemesine uğrayacağı bilmek Irak'ı durdurdu; ancak böylesi bir karşılığın İran'dan gelmeyeceğini bilmenin savaş sırasında Irak'ın İran'a kaşı kimyasal silah kullanmasını sağladığını gösteriyor. "

2.Birçok ülke, ABD'nin baskısını görünce, İran'ın nükleer yönetimi ile ticari ilişkilerini kestiği veya durdurduğu için İran'da uluslararası topluma dönük güven eksikliği, yeniden oluştu.

Gawdat Bahgat'ın analizinin aksine, İranlı yetkililer kendi seviyelerinin şimdiki nükleer silah sahibi ülkelerin teknolojik gelişmişlik seviyesinin altında kalmış olmasından dolayı birilerini caydırmak için nükleer silah elde etme arzusunda oldukları iddiasını kabul etmemektedirler. Kendi nükleer programlarının silah yapma amaçlı hale getirilemeyeceğinden herkesin emin olması için İranlılar yasal olarak gerekenden daha fazla ek kısıtlama konulmasını da içeren bir dizi öneride bulundular.

Bu öneriler mesela;
 ek inceleme izin veren Ek Protokolü onaylamak,
 Natanz'daki uranyum zenginleştirme merkezini uluslararası bir yakıt merkezi haline getirmek,
 plütonyumun yeniden işlenmesinden vazgeçmek ve
 işlemden geçirilerek zenginleştirilmiş tüm uranyumu derhal reaktör yakıt çubuklarına aktarmak gibi
önerilerden oluşuyordu. İran'ın uranyum zenginleştirme programını yabancı özel ve kamu katkısına açma önerisi IAEA'nın hassas yakıt çevrimi etkinliklerinin nükleer silah yapımına katkı sağlaması riskini düşürmek üzere geliştirilecek yöntemleri araştırmak için oluşturduğu bir uzmanlar komisyonunun önerilerini dayanak almıştır. İran'a, zenginleştirme işlemine bir ara verdirtecek, "karşılıklı saygı ve İran'ın nükleer programının barışçıl doğasına dönük uluslararası güvene dayalı olarak İran ile ilişki ve işbirliğinin gelişmesine yol açacak uzun dönemli kapsamlı bir düzenleme" önerilmiştir.
Günümüzde dünyada nükleer silah yapmak için uygun materyal üretmek için gereken zenginleştirme veya yeniden işleme merkezlerine sahip on üç ülke var.

Tarihçe

1950'ler ve 60'lar
İran'ın nükleer programının temelleri 1953'te CIA destekli bir darbe ile demokratik olarak seçilmiş başbakan Muhammed Musaddık'ın görevden alınıp iktidara Şah Muhammed Rıza Pehlevi'in getirilmesinin hemen sonrasına rastlar.

Sivil bir nükleer işbirliği programı ABD'nin Barış için Atom programı altında oluşturuldu. ABD,SSCB'ye karşı nükleer güç kuşağı kurmak istedi. Bu girişime ABD İran, Türkiye ve Pakistan'ı ortak etmek istedi. Bu çerçevede 1967'de İran Atom Enerjisi Kurumu (İAEK) tarafından yönetilen Tahran Nükleer Araştırma Merkezi (TNAM) kuruldu. TNAM, ABD tarafından sağlanan,  5-megawatlık nükleer araştırma reaktörü ile çalışmalara başladı ve yüksek oranda zenginleştirilmiş uranyum yakıtı sağlandı. İran 1968'de Nükleer Silahların Yayılmasını Önleme Antlaşması'nı (NSYÖA) imzaladı ve 1970'te onayladı. İran atom ajansının kurulması ve NSYÖA'nın onaylanmasıyla Şah ABD'nin yardımıyla 2000 yılına kadar 23 nükleer santralın yapılmasını öngören planları onayladı. Bu gelişmeleri takiben, Avrupa ve Amerikan firmaları bu programa ortak olmak için birbirleriyle yarışmaya başladı.

1970'ler

1979 Sonrası

1979 Devrimi sonrasında ise ABD ve İran iki can düşmanı oldular. ABD, İran'ın bölgede daha fazla güçlenmesine izin vermedi. Ama İran ın bölgedeki gücü sürekli arttı,bu da ABD ve yakın dostu İsrail tarafından pek iyi bir durum olarak algılanmadı.

1990'lar

2000 - Ağustos 2006
2002 yılında Ulusal Direniş Konseyi'nin eski bir üyesi (Bu kuruluş ABD ve Avrupa Birliği'nde terörist grup olarak ilan edilmiştir) ve Tahran'da önde gelen eleştirmenlerinden Alirıza Caferzade, İran rejimi içerisindeki sağlam kaynaklardan edindiği bilgilere dayanarak Natanz ve Arak'taki iki gizli nükleer tesisi ifşa etmiştir. Bu açıklamaların ardından ABD, İran'ı nükleer silah yapmaya teşebbüs etmekle suçlamış ve nükleer kriz süreci başlamıştır.

Avrupa Birliği aktif bir pozisyon alarak İran ile görüşmelere başlamıştır.

Kriz günümüze kadar inişli çıkışlı devam etmiştir. Rusya ve Çin krizde ABD'ye karşı çıkarken, Amerikalı yöneticiler Birleşmiş Milletler'den İran'a askeri müdahale de dahil olmak üzere çok sert önlemler çıkartmaya çalışmıştır. İran ise çalışmalarının tamamen barışçıl amaçlı olduğunu ve enerjinin en önemli hedef olduğunu iddia etmektedir.

31 Ağustos 2006 - Mayıs 2008

Haziran 2008
14 Haziran 2008 tarihinde AB Ortak Dış Politika ve Güvenlik Yüksek Temsilcisi Javier Solana başkanlığındaki bir heyet Tahran'da İran hükümetine altı büyük dünya gücünün önerisini içeren bir teşvik paketi sundu. Bu teşvik paketini destekleyen ülkeler şunlardı: ABD, Rusya, Çin, Birleşik Krallık, Fransa ve Türkiye

Paket şunları içermekte:
 İran'ın hafif su reaktörü ile –şimdi İran'ın sahip olduğu teknolojiye kıyasla bomba yapımı için kullanılması daha zor olduğundan --  sivil bir nükleer program geliştirmesine yardım etmek
 yasal olarak geçerli nükleer yakıt kaynağı garantisi
 ticaret kolaylığı ve
 İran'ın Batı'dan sivil uçak alabilmesi.

İran henüz (16 Haziran 2008) resmi bir yanıt vermiş değil ancak bu konuda sorulan bir soruya hükümet sözcüsü Gulamhüseyin İlham şu yanıtı verdi: "Eğer paket uranyum zenginleştirme işlemini askıya almayı içeriyorsa hiçbir şekilde görüşülebilir bir paket değildir."

İlgili kaynaklar
 TR2 Araştırma Reaktörü, Türkiye'nin tek aktif reaktörü
 İran nükleer programından vazgeçmiyor DW
 "İran nükleer teknolojide 'kararlı'", CNNTürk, 4 Mart 2006
 "İran görüşmeleri yine sonuçsuz", BBC Türkçe, 3 Mart 2006
 Sabah, 23 Şubat 2006
 İran krizi petrol fiyatını yükseltti, BBC Türkçe

Ayrıca bakınız
 İran
 Nükleer silah

Dipnot

İran'ın nükleer programı


Koki Tsukagawa (født 16. juli 1994) er en japansk fodboldspiller, som spiller for den japanske fodboldklub Matsumoto Yamaga FC.

Referencer

Eksterne henvisninger

Fodboldspillere fra Japan

Koki Tsukagawa


O Long Parliament (em português: Parlamento Longo) foi um Parlamento Inglês que durou de 1640 até 1660. Seguiu-se o fiasco do Short Parliament (Parlamento Curto), que se reuniu por apenas três semanas durante a primavera de 1640 após uma ausência parlamentar de 11 anos. Em setembro de 1640,  o rei Carlos I emitiu mandados convocando um parlamento para se reunir em 3 de novembro de 1640. Ele pretendia aprovar contas financeiras, um passo necessário pelos custos das Guerras dos Bispos na Escócia. O Long Parliament recebeu seu nome pelo fato de que, por Ato do Parlamento, estipulou que só poderia ser dissolvido com o acordo dos membros; e esses membros não concordaram com sua dissolução até 16 de março de 1660, após a Guerra Civil Inglesa e perto do fim do Interregno.

O parlamento sentou-se de 1640 até 1648, quando foi expurgado pelo New Model Army. Após este ponto, os membros restantes da Câmara dos Comuns ficaram conhecidos como o Rump Parliament; Oliver Cromwell dissolveu o Rump em abril de 1653, substituindo-o por uma sucessão de parlamentos nomeados e eleitos.

No caos que se seguiu à morte de Cromwell em setembro de 1658, o Rump foi reinstalado em maio de 1659 e, em fevereiro de 1660, o general George Monck permitiu que os membros impedidos em 1648 retomassem seus assentos, para que pudessem aprovar a legislação necessária para permitir a Restauração. e dissolver o Parlamento Longo. Isso abriu caminho para a eleição de um novo parlamento, conhecido como Parlamento da Convenção. Alguns membros-chave do Parlamento Longo, como Sir Henry Vane, o Jovem, e o General Edmond Ludlow foram barrados dos atos finais do Long Parliament. Eles alegaram que o parlamento não foi legalmente dissolvido, seus votos finais uma irregularidade processual (as palavras usadas contemporaneamente foram "dispositivo" e "conspiração") pelo general George Monck para garantir a restauração do rei Carlos II da Inglaterra. Na restauração o general foi premiado com um ducado.

O Longo Parlamento mais tarde se tornou um momento chave nas histórias Whig do século XVII. O historiador Whig americano Charles Wentworth Upham acreditava que o Long Parliament compreendia "um conjunto dos maiores gênios do governo que o mundo já viu embarcados em uma causa comum" e cujas ações produziram um efeito que, na época, tornou seu país a maravilha e admiração do mundo, e ainda é sentida e exibida muito além das fronteiras daquele país, no progresso da reforma e no avanço da liberdade popular. Ele acreditava que seus princípios republicanos o tornaram um precursor da Guerra Revolucionária Americana.

Links externos

 British Civil Wars: The Long Parliament
 British Civil Wars: 1641 Time Line
 British Civil Wars: 1642 Time Line
 Full text of The Triennial Act. 15 February 1641
 Full text of the Act against Dissolving the Long Parliament without its own Consent 11 May 1641
 Full text of the act Abolishing the Star Chamber 5 July 1641
 Full text of the Act Declaring the Illegality of Ship-money 7 August 1641
 Full Text of the Grand Remonstrance, with the Petition accompanying it. 22 November 1641
 Full text of the King's Answer to the Petition Accompanying the Grand Remonstrance 23 December 1641
 Full text of The Solemn League and Covenant 25 September 1643
 Full text of the Ordinance appointing the First Committee of both Kingdoms 16 February 1644
 Full text of the Self-denying Ordinance 4 April 1645
 List of members and their allegiance in the Civil War
História da Inglaterra

Parlamento Longo


Thea Gabriele von Harbou ()  a fost o scriitoare germană, actriță, scenaristă, romancieră și regizor de film.

Ea este cel mai cunoscută mai ales ca scenaristă a filmului science-fiction clasic Metropolis și povestea pe care se bazează. Harbou a colaborat ca scenaristă cu regizorul de film Fritz Lang, soțul ei, în perioada de tranziție de la filmele mute la cele cu sunet.

A fost căsătorită de trei ori: cu Rudolf Klein-Rogge (în perioada 1914–1920), Fritz Lang (în perioada 1922–1933) și cu indianul Ayi Tendulkar (c. 1933-??).

Filmografie

 Regizoare
 1924 Elisabeth und der Narr
 1934 Hanneles Himmelfahrt
 Scenaristă
(În paranteză regizorul filmului):
 1920 The Legend of Holy Simplicity - scenariu, (regizor: Joe May)
 1920 The Wandering Image - scenariu, (Fritz Lang)
 1921 The Women of Gnadenstein
 1921 The Passion of Inge Krafft (1921)
 1921 Das Indische Grabmal 1 (The Indian Tomb Part 1) - scenariu, poveste (May)
 1921 Moartea obosită (Weary Death/ Destiny) - scenariu, regia Fritz Lang
 1921 Four Around a Woman - scenariu (Lang)
 1921 Das Indische Grabmal 2. Teil: Der Tiger Von Eschnapur (The Indian Tomb Part 2: The Tiger of Eschnapur) - scenariu, poveste (May)
1922 Phantom - scenariu (F. W. Murnau)
 1922 Der Brennende Acker (Burning Soil) - scenariu (Murnau)
 1922 Dr. Mabuse, Der Spieler 1. Teil: Der Große Spieler - Ein Bild Unserer Zeit (Dr. Mabuse, the Gambler Part 1: The Great Gambler - A Picture of our Time) - scenariu (Lang)
 1922 Dr. Mabuse, Der Spieler 2. Teil: Inferno, Ein Spiel von Menschen Unserer Z (Dr. Mabuse, The Gambler Part 2: Inferno - A Play About People of our Time) - scenariu (Lang)
 1923 Die Austreibung. Die Macht Der Zweiten Frau (Driven From Home) - scenariu (Murnau)
 1924 Mikaël - scenariu Michael (1924) - (Carl Theodor Dreyer)
 1924 Die Nibelungen 1. Teil: Siegfried's Tod (The Nibelungen Part 1: Siegfried's Death) - scenariu Die Nibelungen: Siegfried (Siegfried's Death) (1924) - (Lang)
1924 Die Nibelungen 2. Teil: Kriemhild's Rache (The Nibelungen Part 2: Kriemhild's Revenge) - scenariu Die Nibelungen: Kriemhilds Rache (Kriemhilde's Revenge) - (Lang)
 1924 Die Finanzen Des Großherzogs (The Finances of the Grand Duke) The Grand Duke's Finances - (Murnau)
 1927 Metropolis (1927) - scenariu, Idea  Metropolis - (Lang)
 1928 Spione (The Spy) - scenariu, poveste originală  Spione (Spies) (1928) - (Lang)
 1929 Frau Im Mond (Woman in the Moon) - scenariu, poveste originală  Frau im Mond (Woman in the Moon), pe baza romanului ei Die Frau im Mond (1929) - (Lang)
 1931 M (1931) - scenariu (nemenționată), regia Fritz Lang
 1962 The First Right of the Child - scenariu
 1933 Testamentul doctorului Mabuse (The Testament of Dr. Mabuse) - scenariu, regia Fritz Lang
 1935 Der Alte Und Der Junge König (The Old and the Young King) - Script
 1935 I Was Jack Mortimer - scenariu
 1936 Die Herrin von Campina (The Mistress of Campina) - scenariu
 1936 Die Unmögliche Frau The Impossible Woman - scenariu (Meyer)
 1936 Escapade 1936 A Woman of No Importance 1937 The Broken Jug - scenariu (Gustav Ucicky)
 1937 Don't Promise Me Anything - scenariu
 1938 Jugend - scenariu (Veit Harlan)
 1938 Verwehte Spuren (Covered Tracks) (1938) - scenariu, bazat pe povestire, So Long at the Fair (Harlan)
 1938 The Woman at the Crossroads (1938) - Script
 1939 Hurra! Ich bin papa! (Hurrah! I'm a Father) (1939) - scenariu (Kurt Hoffmann)
 1941 Annelie (1941) - scenariu
 1941 Clarissa (1941)
 1943 Die Gattin (The Wife) (1943) - Script
 1945 Via Mala (1945) - scenariu  (Josef von Báky)
 1950 Erzieherin Gesucht (Educator in Request) (1950) - scenariu
 1950 A Day Will Come (1950)
 1951 Dr. Holl, scenariu (1951) - (Rolf Hansen)
 1953 Your Heart Is My Homeland (1953)
 1953 Tiger of Eschnapur (1958) - poveste originală (Lang)
 1958 The Indian Tomb (1958) - poveste originală  (Lang)
 1958 Journey to the Lost City - poveste originală   (Lang)

CărțiWenn's Morgen wird, 1905Weimar: Ein Sommertagstraum, povestiri în versuri 1908Die nach uns kommen, Ein Dorfroman, roman, 1910Von Englen  und Teufelschen, zece povestiri, 1913Deutsche Frauen. Bilder stillen Hendentums, cinci povestiri, 1914Der Unsterbliche Acker, ein Kriegsroman, 1915Gold im Feuer, roman, 1915Der Krieg und die Frauen, opt povestiri, 1915Die Masken des Todes. Sieben Geschichten in einer, 1915Die Flucht der Beate Hoyermann, 1916Die Deutsche Frau im Weltkrieg, essays, 1916Aus Abend und Morgen ein neuer Tag, 1916Du junge Wacht am Rhein!, 1917Das indische Grabmal (The Indian Tomb), 1918Der belagerte Tempel, 1917Die Nach uns kommen, 1918Legenden,  cinci povestiri (including Heiligen Simplicia), 1919Sonderbare Heilige, Zehn Novellen, 1919Die Unheilige Dreifaltigkeit, 1920Das Haus ohne Tür und Fenster, 1920Gute Kameraden, 1920Gedichte, 1920Das Niebelungenbuch, 1924Mondscheinprinzeßchen, 1925Metropolis, 1926Der Insel Der Unsterblichen, 1926Mann Zwischen Frauen, 1927Frau im Mond, 1928Spione, 1929Du Bist Unmöglich, Jo!, roman, 1931Liebesbriefe aus St. Florin; nuvelă, 1935Adrian Drost und sein Land, 1937Aufblühender Lotos, 1941Der Dieb von Bagdad, 1949Gartenstraße 64'', 1952

Note

Legături externe

Thea von Harbou  at the Women Film Pioneers Project
Thea von Harbou's biography

Nașteri în 1888
Decese în 1954
Regizori germani
Actrițe germane
Scriitori germani de literatură științifico-fantastică

Thea von Harbou


Pappo's Blues Volumen 8, Caso cerrado es el octavo álbum de la banda argentina de rock Pappo's Blues, editado en 1995 por Main Records.

Detalles
Esta placa es una mezcla de blues, rock and roll, hard rock y heavy metal. Como ya lo había hecho en su disco Blues local (1992), Pappo incluyó una serie de clásicos de la historia del rock and roll, algunos con traducción al castellano como las versiones de "Ruta 66" ("Route 66") y "Castillos mágicos españoles" ("Spanish Castle Magic") de Jimi Hendrix.

A diferencia de los anteriores discos de Pappo's Blues, este trabajo no está basado en un formato de trío estable, sino que incluyó numerosas participaciones de músicos invitados. Entre ellos se encuentran figuras a nivel internacional, como las de Carmine Appice y Tim Bogert (ambos ex Vanilla Fudge y Beck, Bogert & Appice), Michael Parker, Ron Maldonado, Deacon Jones y hasta el mismísimo John Lee Hooker, quien le pone voz a "People Don't Care". Entre los invitados de la escena nacional, el trabajo cuenta con la presencia de Michel Peyronel, Botafogo, Machy Madco, Peteco Carabajal, Juanse, Black Amaya y Celeste Carballo, entre otros.

Entre las composiciones más pesadas se encuentran: "Perro en la vereda", "Solo en este mundo" -un denso blues con unos pasajes de guitarras metálicas en el final- y "Yo me quedo con Lucy".
En el plano del blues se encuentran "Blues para mi guitarra", el instrumental "Paramount Souffle" y "Penetieso Blues"; mientras que el tema más sorprendente es "Duendes" una balada orquestada con una letra filosófica y mística de Pappo.
Los cortes que más se difundieron fueron "Ruta 66", el rock and roll "Tomé demasiado", con la participación de Juanse en guitarra, y una versión blueseada de "Tren azul", que Pappo ya había grabado con Pappo y Hoy No Es Hoy.

En la década de 2000 el disco fue reeditado con el videoclip de "Ruta 66" como bonus track, y en 2021 fue lanzado como vinilo doble.

Lista de temas
Autor Pappo, excepto donde se indica.

 "Tren Azul"
 "Ruta 66" (Bobby Troup)
 "Solo en Este Mundo"
 "Yo Me Quedo con Lucy"
 "Blues para Mi Guitarra"
 "Castillos Mágicos Españoles" (Jimi Hendrix)
 "Algunos Deslices"
 "People Don't Care"
 "Paramount Souffle"
 "Penetieso Blues"
 "P.B.A Boogie"
 "Duendes"
 "Perro en la Vereda"
 "Tomé Demasiado"

Músicos por tema
 "Tren Azul"
Bajo – Tim Bogert

Batería – Carmine Appice

Guitarra y Voz – Pappo
 "Ruta 66"
Bajo – Machy Madco

Batería – Black Amaya

Guitarra – Juanse

Teclados – Pato Lucas

Primera Guitarra y Voz – Pappo

 "Solo En Este Mundo"
Bajo – Machy Madco

Batería – Black Amaya

Guitarra y Voz– Pappo

Teclados – Alejandro Lerner

 "Yo Me Quedo Con Lucy"
Bajo – Machy Madco

Batería – Turco Andino

1.ª. Guitarra y voz – Pappo

Guitarra rítmica – Botafogo

 "Blues Para Mi Guitarra"
Bajo – Ron Maldonado

Batería – Michael Parker

Guitarra y Voz – Pappo

Teclados – Deacon Jones

 "Castillos Mágicos Españoles"
Bajo – Machy Madco

Batería – Black Amaya

Guitarra y Voz – Pappo

Guitarra rítmica – Ryan Roxie

 "Algunos Deslices"
Bajo – Machy Madco

Batería – Michel Peyronel

Guitarra y Voz – Pappo

Teclados – Pato Lucas

Percusión – Black Amaya

Slide Guitar – Botafogo

Voz –  Celeste Carballo

 "People Don't Care"
Banda de John Lee Hooker

Guitarra – Pappo

Teclados – Deacon Jones

Voz – John Lee Hooker

 "Paramount Souffle"
Bajo – Ron Maldonado

Batería – Michael Parker

Guitarra – Pappo

Teclados – Deacon Jones

 "Penetieso Blues"
Bajo – Tim Bogert

Batería – Carmine Appice

Guitarra y Voz – Pappo

 "P.B.A. Boogie"
Bajo – Tim Bogert

Batería – Carmine Appice

Guitarra – Pappo

 "Duendes"
Guitarra Acústica y Voz – Pappo

Bajo – Machy Madco

Batería – Black Amaya

Guitarra Eléctrica – Sarcófago

Violín – Peteco Carabajal

 "Perro En La Vereda"
Bajo – Tim Bogert

Batería – Carmine Appice

Guitarra y Voz – Pappo

 "Tomé Demasiado"
Bajo – Fabián von Quintiero

Batería – Black Amaya

Guitarra y Voz – Pappo

Teclados – Fabián von Quintiero

Guitarra Rítmica – Juanse

Referencias

Enlaces externos
 Ficha del disco
 Página en Discogs

Álbumes de 1995
Álbumes de Pappo's Blues
Álbumes en español
Álbumes de hard rock
Álbumes de blues rock
Álbumes de rock de Argentina
Álbumes de rock en español

Pappo's Blues Volumen 8, Caso cerrado


este o insulă vulcanică din Arhipelagul Izu din Marea Filipine, la aproximativ 120 km sud-vest față de Honshu, Japonia, 22 km est față de Peninsula Izu și la 36 km față de Peninsula Bosho.  La fel ca și celelalte insule din grupul de insule Izu face parte din Parcul Național Fuji-Hakone-Izu.  Izu Ōshima cu o suprafață de 91.06 km² este cea mai mare și cea mai apropiată de Tokyo dintre insulele ce aparțin de acesta, incluzând și Insulele Ogasawara.

Geografie

Insula este un statovulcan cu un con compozit din bazalt datând din Pleistocen, de  aproximativ acum 10.000 sau 15.000 de ani. Insula are o linie de coastă aproximativ circulară cu o lungime de aproape 52 km. Cel mai înalt punct este Muntele Mihara care este un vulcan activ cu o înalțime de 758 de metri. Sa consemnat că muntele a erupt de mai multe ori dea lungul istoriei, există o mentiune încă din perioada Nara.
Erupții majore au avut loc în anii 1965 și 1986, fiecare ducând la evacuarea locuitorilor. Ultima erupție consemnată s-a produs în 1990.

Climat
Insula Izu Ōshima are un climat subtropical umed (Clasificarea Koppen Cfa) cu veri calde și ierni friguroase. Precipitațiile de-a lungul anului sunt abundente, și sunt mai mici iarna decât în restul anului.

Administrație
Insula este administrată de subprefectura Oshima din guvernul metropolitan din Tokyo. Pe data de 1 iunie 2015 populația insulei era de 2.451. Orasul  Ōshima servește drept sediul guvernului local de pe insulă. Orașul Ōshima este format din cele șase cătune tradiționale Okada, Motomura, Senzu, Nomashi, Sashikiji și Habuminato, cu Motamuro centru administrativ.

Acces
Izu  Ōshima este un loc popular pentru turiști , atât din Tokyo câtși din Shizuoka din cauza apropierii de insulă principală. Există un număr de feriboturi care pleacă de pe docul Takeshiba Sanbashi, aproape de Gara Hamamatsuchō. Feriboturi de asemenea pleacă din Atami, Prefectura Shizuoka.

Sunt mai multe zboruri pe zi de pe Aeroportul Ōshima la Aeroportul Internațional Tokyo (Haneda), Aeroportul  Hachijojima din Hachijojima și pe Aeroportul  Chōfu din Chōfu (toate cele patru aeroporturi sunt în Tokyo).

Ficțiune populară
Muntele Miharu și Izu  Ōshima au apărut proeminent în filmul The Return of Godzilla, drept locația unde autoritățile japoneze au îngropat-o pe Godzilla. Muntele Mihara a aparut din nou în continuarea directa a filmului în, Godzilla vs. Biollante, în care Godzilla a fost eliberată când vulcanul a erupt.

În franciza Pokemon, Insula Cinnabar era situată pe  Izu  Ōshima.

Galerie

Note

Referințe
 Hammer, Joshua. (2006).  Yokohama Burning: The Deadly 1923 Earthquake and Fire that Helped Forge the Path to World War II. New York: Simon & Schuster.  ISBN 978-0-7432-6465-5 (cloth)

Legături externe

 Ōshima Town Official Website
 Izu-Oshima - Japan Meteorological Agency
  - Japan Meteorological Agency
 Izu Oshima - Geological Survey of Japan
 Izu-Oshima: Global Volcanism Program - Smithsonian Institution
 Tokyo Islands  -  - English Ship booking to Tokyo Islands(Izu Islands) and travel Information Page of Izu Oshima and other islands in Tokyo

Insulele Japoniei

Izu Ōshima


NGC 5890 est une galaxie lenticulaire située dans la constellation de la Balance. Sa vitesse par rapport au fond diffus cosmologique est de , ce qui correspond à une distance de Hubble de . NGC 5890 a été découverte par l'astronome américain Ormond Stone en 1886.

NGC 5890 renferme des régions d'hydrogène ionisé.

Notes et références

Notes

Références

Voir aussi

Articles connexes
 Liste des objets du New General Catalogue

Liens externes

 NGC 5890 sur le site du professeur C. Seligman

5890
Constellation de la Balance
Galaxie lenticulaire
Objet céleste découvert en 1886
Objet céleste découvert par Ormond Stone

NGC 5890


Red Hook may refer to:

Places
Red Hook, Brooklyn, a neighborhood in Brooklyn, New York City, United States
Red Hook graving dock, a graving dock formerly located in Red Hook, Brooklyn
Red Hook, New York, a town in Dutchess County in the State of New York, United States
Red Hook (village), New York, a village in the Town of Red Hook, New York, United States
Red Hook, USVI, an area of Saint Thomas, United States Virgin Islands

Other
 "The Horror at Red Hook", a 1927 short story by H. P. Lovecraft, set in Red Hook, Brooklyn
 Red Hook (FBI), a surveillance tool developed by the Federal Bureau of Investigation
 Red Hook, a novel by Reggie Nadelson

See also
 Redhook (disambiguation)

Red Hook


Jernbanetorget er et torv i det centrale Oslo. Torvet er et trafikknudepunkt, der betjenes af en række sporvejs- og buslinjer. Desuden ligger Oslo Centralstation ved torvet og Jernbanetorget Station på T-banen under det.

Torvet ligger i et område, der først blev opfyldt og bebygget efter 1739. I 1808 opførtes Byens Civile Sygehus ved torvet, der imidlertid blev revet ned til fordel for Østbanestasjonen, der blev åbnet sammen med Hovedbanen fra Oslo til Eidsvoll i 1854, og som lagde navn til torvet. I 1980 erstattedes den af den nye centralstation ved siden af, men den gamle stationsbygning overlevede imidlertid som indkøbscentret Østbanehallen, der var i funktion til 2012, hvor det blev omdannet til et hotel. Der kan dog stadig shoppes i området, for indkøbscentret Byporten ligger på den anden side af centralstationen og Oslo City lige overfor på den anden side af Biskop Gunnerus' gate.

Midt på torvet står trafikselskabet Ruters kundecenter med dets karakteristiske tårn, der blev opført i 1987 efter tegninger af Ola Mové og åbnet året efter. Kundecentret var i mange år kendt som Trafikanten, der dog ret beset var navnet på den servicevirksomhed, der drev det indtil 2014.

Eksterne henvisninger

Noter

Bygninger, konstruktioner og anlæg i Oslo
Torve og pladser i Norge

Jernbanetorget


لغة صربوـ كرواتية هي لغة تتحدث بها شعوب صربيا ، كرواتيا ، البوسنة و الهرسك و الجبل الأسود . حيث يتحدث بها حوالي 27 مليون نسمة في البلقان.

مراجع

لغات البوسنة والهرسك
لغات الجبل الأسود
لغات ذات رمز أيزو 1-639
لغات ذات رمز أيزو 2-639
لغات سلافية جنوبية
لغات سلوفينيا
لغات صربيا
لغات فويفودينا
لغات كرواتيا
لغات كوسوفو
لغة صربو-كرواتية

اللغة الصربية الكرواتية


Kayabükü, Muğla ilinin Milas ilçesine bağlı bir mahalledir.

Tarihçe
Mahallenin adı, 1928 yılı kayıtlarında Viran olarak geçmektedir.

Coğrafya
Muğla il merkezine 85 km, Milas ilçe merkezine 16 km uzaklıktadır.

Nüfus

Kaynakça

Milas'ın mahalleleri

Kayabükü, Milas


Chemical Abstracts Service (CAS) is a division of the American Chemical Society. It is a source of chemical information and is located in Columbus, Ohio, United States.

Print periodicals

Chemical Abstracts is a periodical index that provides numerous tools such as SciFinder as well as tagged keywords, summaries, indexes of disclosures, and structures of compounds in recently published scientific documents. Approximately 8,000 journals, technical reports, dissertations, conference proceedings, and new books, available in at least 50 different languages, are monitored yearly, as are patent specifications from 27 countries and two international organizations. Chemical Abstracts ceased print publication on January 1, 2010.

Databases
The two principal databases that support the different products are CAplus and Registry.

CAS References
CAS References consists of bibliographic information and abstracts for all articles in chemical journals worldwide, and chemistry-related articles from all scientific journals, patents, and other scientific publications.

Registry
, the CAS Registry contains information on more than 200 million organic and inorganic substances, and about 70 million protein and nucleic acid sequences. The sequence information comes from CAS and GenBank, produced by the National Institutes of Health. The chemical information is produced by CAS, and is prepared by the CAS Registry System, which identifies each compound with a specific CAS registry number, index name, and graphic representation of its chemical structure.

The assignment of chemical names is done according to the chemical nomenclature rules for CA index names, which is slightly different from the internationally standard IUPAC names, according to the rules of IUPAC.

Products
CAS databases are available via two principal database systems, STN, and SciFinder.

STN

STN (Scientific & Technical Information Network) International is operated jointly by CAS and FIZ Karlsruhe, and is intended primarily for information professionals, using a command language interface. In addition to CAS databases, STN also provides access to many other databases, similar to Dialog.

SciFinder
SciFinder is a database of chemical and bibliographic information. Originally it was available only as a client application (for both Windows and MacOS operating systems), a web version was released in 2008. By that time it had a graphical interface, and was able to do graphical searches for chemical structures and reactions (the first ever database to allow such functions), as well as keyword searches for literature in chemistry and related disciplines. SciFinder Scholar was a very similar a product developed for academic institutions.
In 2017 the ACS released SciFinder-n as a web-only product with the same data content and improved user interface and search functions. In 2023 SciFinder Scholar was discontinued.

SciFinder is considered as the best source of chemical information worldwide, with substantially larger number of relevant information sources than Web of Science or Scopus with Reaxys. Five most significant disadvantages of SciFinder are:

(1) lack of SQL-like search capabilities for Titles, Abstracts, etc. Instead SciFinder provides keyword, chemical name, chemical structure and chemical reaction searches.

(2) due to its unique and unusual search functions, substantial training is needed in order to fully take advantage of SciFinder capabilities.

(3) SciFinder has an inconsistent coverage for patent documents with some years for some authorities randomly missing. For this reason, Questel-Orbit, which also has chemical structure search, is recommended for patent prior art searches.

(4) SciFinder has a limit (ca. 100-200 per day) on the number of search results (bibliometric data for references), that can be exported. SciFinder routinely permanently terminates access for users, who attempt to download a large number of references.

(5) The cost of subscription to SciFinder-n is rather high and apparently individually priced for each customer. The ACS prevents its customers from disclosing their product prices via non-disclosure agreements. Limited data (often obtained via FOIA requests to public universities) show, that in 2000 the price for a PhD-granting institution with one-at-a-time user access was $38,050 per year.

CASSI
CASSI stands for Chemical Abstracts Service Source Index. Since 2009, this formerly print and CD-ROM compilation is available as a free online resource to look up and confirm publication information. The online CASSI Search Tool provides titles and abbreviations, CODEN, ISSN, publisher, and date of first issue (history) for a selected journal. Also included is its language of text and language of summaries.

The range is from 1907 to the present, including both serial and non-serial scientific and technical publications. The database is updated quarterly. Beyond CASSI lists abbreviated journal titles from early chemical literature and other historical reference sources.

History

Chemical Abstracts (CA) began as a volunteer effort and developed from there. The use of volunteer abstractors was phased out in 1994. Chemical Abstracts has been associated with the American Chemical Society in one way or another since 1907.

For many years, beginning in 1909, the offices of Chemical Abstracts were housed in various places on the Columbus, Ohio campus of Ohio State University, including McPherson Laboratory and Watts Hall. In 1965, CAS moved to a new  site on the west bank of the Olentangy River, just north of The Ohio State campus. This campus became well known in the Columbus area and famous as the site of many Columbus Symphony Orchestra pop concerts. In 2009, the campus consisted of three buildings.

In 1907, William A. Noyes had enlarged the Review of American Chemical Research, an abstracting publication begun by Arthur Noyes in 1895 that was the forerunner of Chemical Abstracts. When it became evident that a separate publication containing these abstracts was needed, Noyes became the first editor of the new publication, Chemical Abstracts.

E. J. Crane became the first Director of Chemical Abstracts Service when it became an American Chemical Society division in 1956. Crane had been CA editor since 1915, and his dedication was a key factor in its long-term success.

Dale B. Baker became the CAS Director upon Crane's retirement in 1958. According to CAS, his visionary view of CAS' potential "led to expansion, modernization, and the forging of international alliances with other information organizations." CAS was an early leader in the use of computer technology to organize and disseminate information.

The CAS Chemical Registry System was introduced in 1965. CAS developed a unique registry number to identify chemical substances. Agencies such as the U.S. Environmental Protection Agency and local fire departments around the world now rely on these numbers for the definite identification of substances. According to the ACS, this is the largest chemical substance database in the world.

In 1965, CAS left their offices at OSU for a new headquarters north of campus. Ground was broken in 1971 for an expansion to the building designed by architects Brubaker/Brandt to accommodate the review of 400,000 new research reports printed each year. The 5-story 142,000 square foot building opened in May 1973.

In 2007, the ACS designated its Chemical Abstracts Service subdivision an ACS National Historic Chemical Landmark in recognition of its significance as a comprehensive repository of research in chemistry and related sciences.

In 2021, CAS rebranded along with a change in logo. The organization updated their mission to be more focused on dynamic responsiveness due to ongoing changes within scientific industries and communities.

In 2022, CAS announced the release of almost half a million CAS registry numbers under an open license in their Common Chemistry project.

See also

 Beilstein database
 Chemical database
 ChemInform
 ChemSpider
 FIZ Karlsruhe
 Google Scholar
 Inorganic Crystal Structure Database
 List of academic databases and search engines
 List of chemical databases
 List of open-access journals
 List of scientific journals
 PubChem

References

External links

American Chemical Society
Chemical databases
Chemistry journals
Bibliographic databases and indexes
1907 establishments in Ohio
Companies based in the Columbus, Ohio metropolitan area

Chemical Abstracts Service


Der DFB-Pokal 2013/14 war die 71. Austragung des Fußballpokalwettbewerbs der Männer. Das Finale fand am 17. Mai 2014 im Berliner Olympiastadion statt.

Mit dem insgesamt 17. Gewinn des DFB-Pokals sicherte sich der FC Bayern München zum zehnten Mal das "Double" aus Meisterschaft und Pokalsieg.

Da beide Pokalfinalisten für die UEFA Champions League 2014/15 qualifiziert waren, erhielt der Tabellenfünfte der Bundesliga, der VfL Wolfsburg, das Startrecht in der Gruppenphase zur UEFA Europa League 2014/15. Der Tabellensechste Borussia Mönchengladbach rückte in die Play-off-Runde, der Tabellensiebte 1. FSV Mainz 05 in die dritte Qualifikationsrunde auf.

Erstmals wurde mit Dynamo Dresden ein Verein von der Teilnahme am DFB-Pokal ausgeschlossen.

Seit der Saison 2008/09 dürfen keine zwei Mannschaften eines Vereins oder einer Kapitalgesellschaft an den Spielen um den DFB-Vereinspokal teilnehmen.

Teilnehmende Mannschaften
Für die erste Runde waren folgende 64 Mannschaften sportlich qualifiziert:

Termine
Die Spielrunden wurden an folgenden Terminen ausgetragen:
 1. Hauptrunde: 2.–5. August 2013 (Fr.–Mo.)
 2. Hauptrunde: 24./25. September 2013 (Di./Mi.)
 Achtelfinale: 3./4. Dezember 2013 (Di./Mi.)
 Viertelfinale: 11./12. Februar 2014 (Di./Mi.)
 Halbfinale: 15./16. April 2014 (Di./Mi.)
 Finale: 17. Mai 2014 (Sa.)

Übersicht
Die jeweils obere Mannschaft besaß Heimrecht.

1 Sieg nach Verlängerung2 Sieg im Elfmeterschießen

1. Hauptrunde
Die Auslosung der ersten Hauptrunde fand am 15. Juni 2013 im Rahmen der Sportschau statt. Die 64 Mannschaften wurden gemäß Reglement des DFB-Pokals in zwei Lostöpfe mit je 32 Mannschaften verteilt. In einem Topf waren die unterklassigen Mannschaften enthalten, die
 sich über die Landesverbände für den DFB-Pokal qualifiziert hatten (25),
 in der Saison 2012/13 in der 2. Bundesliga die letzten Plätze belegt hatten (3 von 4; Dynamo Dresden wurde ausgeschlossen),
 in der Saison 2012/13 in der 3. Liga die ersten vier Plätze belegt hatten (4).

Jeder dieser 32 Mannschaften wurde eine Mannschaft aus dem anderen Lostopf zugelost, in dem alle 18 Mannschaften der 1. Bundesliga und die 14 höchstplatzierten der 2. Bundesliga aus der Saison 2012/13 enthalten waren. Das Heimrecht stand den Mannschaften des erstgenannten Topfs zu. Eine Besonderheit stellte der MSV Duisburg dar, der sich mit dem FC Erzgebirge Aue in jedem Lostopf eine Kugel teilte, da zum Zeitpunkt der Auslosung noch keine Entscheidung zur Ligazugehörigkeit des MSV Duisburg gefallen war.

Die ehemalige deutsche Nationalspielerin Nia Künzer zog unter Aufsicht von DFB-Präsident Wolfgang Niersbach für den 2. bis 5. August 2013 folgende Begegnungen (in Klammern ist die Ligaebene angegeben, in der der Verein spielt):

|}

2. Hauptrunde
Die Paarungen der zweiten Hauptrunde wurden am 10. August 2013 im Rahmen der Sendung Samstag LIVE! beim Pay-TV-Sender Sky von der deutschen Fußballnationalspielerin Lena Goeßling ausgelost. Dabei wurde wie in der ersten Runde aus einem Amateur- und einem Profitopf gelost. Amateurteams wurden zuerst gezogen, bevor die Profimannschaften unter sich ausgelost wurden.

|}

Achtelfinale
Die Spiele des Achtelfinales wurden am 29. September 2013 im Rahmen der Sportschau durch Bundestrainer Joachim Löw ausgelost. Als Ziehungsleiter fungierte der Generalsekretär des DFB, Helmut Sandrock.

|}

Viertelfinale
Die Spiele des Viertelfinales wurden am 8. Dezember 2013 im Rahmen der Sportschau durch die Frauen-Bundestrainerin Silvia Neid und DFB-Torwarttrainer Andreas Köpke ausgelost. Sie fanden am 11. und 12. Februar 2014 statt.

|}

Halbfinale
Die Spiele des Halbfinales wurden am 12. Februar 2014 im Rahmen der Sportschau von der mehrmaligen Paralympics-Siegerin im Schwimmen Kirsten Bruhn und DFB-Kotrainer Hansi Flick ausgelost. Sie fanden am 15. und 16. April 2014 statt.

|}

Finale
Das Finale wurde am 17. Mai 2014 im Berliner Olympiastadion ausgetragen. Nach 2008 und 2012 ist die Paarung Borussia Dortmund gegen Bayern München neben den Finals zwischen Bayern München und Werder Bremen die häufigste Endspielpaarung. Für Manuel Neuer war es die vierte Finalteilnahme in Folge.

Das Spiel wurde im ersten Programm der ARD gezeigt und erreichte 14,27 Millionen Zuschauer. Dies entsprach einem Marktanteil von 48 %.

Zusätzliche Brisanz erhielt das Finale unter anderem deshalb, weil Borussia Dortmund ein Treffer innerhalb der regulären Spielzeit verwehrt blieb, wohingegen der FC Bayern seine beiden Tore erst in der Verlängerung erzielte. Nach einem Freistoß aus dem Halbfeld hatte Mats Hummels den Ball in der 64. Minute in Richtung des Münchener Tors geköpft. Der Innenverteidiger Dante klärte den Ball mit dem linken Fuß in leichter Schräglage, wobei er mit dem rechten Standbein auf der Torlinie stand. Anhand der Fernsehbilder war eindeutig zu erkennen, dass der Ball die Torlinie mit vollem Durchmesser deutlich überquert hatte. Da das Schiedsrichtergespann um Florian Meyer jedoch Zweifel am Dortmunder Treffer hatten und zum damaligen Zeitpunkt bei DFB-/DFL-Spielen weder Torlinientechnik noch Videobeweis vorgesehen waren, wurde der Treffer letztlich zu Unrecht nicht anerkannt, was insbesondere von Dortmunder Seite als spielentscheidend kritisiert wurde. Die gleichzeitig geäußerte Vermutung, der Linienrichter Frank Willenborg habe dem Hauptschiedsrichter mit seinem Sprint in Richtung der Mittellinie und gehobener Fahne ein reguläres Tor signalisieren wollen, stellte sich im Nachhinein als unrichtig heraus.

Siegermannschaft
(in Klammern sind die Spiele und Tore angegeben)

* Jan Kirchhoff (2/–) verließ den Verein während der Saison und wechselte auf Leihbasis zum FC Schalke 04.

Beste Torschützen
Nachfolgend sind die besten Torschützen des DFB-Pokals 2013/14 aufgeführt. Sie sind zunächst nach Anzahl ihrer Treffer, bei gleicher Torzahl alphabetisch sortiert.

TV-Prämien
Jede der an einer Runde teilnehmenden Mannschaften erhielt eine Prämie aus den TV-Geldern. Der Sieger erhielt als zusätzlichen Bonus 500.000 Euro, in Summe rund 6,3 Millionen Euro.

Weblinks
 Der DFB-Pokal auf der Website des Deutschen Fußball-Bundes

Einzelnachweise

201314
Fußballsaison 2013/14

DFB-Pokal 2013/14


Eski Cuma ili ( trl: Oblast Tırgovişte), Bulgaristan'ın üst orta kesimlerinde bir ildir. Merkezi Eski Cuma şehridir.

İlde Türk nüfus epey fazladır. Yöredeki Türkler, Anadolu'dan belirli aralıklarla iskan, sürgün, göç gibi nedenlerle gelen Türklerdir, ilin kuzeyi Deliorman bölgesindedir, buradaki Türkler ekseriyetle Tokat kökenlidirler (Kızıloğuzlar), ilin güneyinde bulunan Tozluk ve Gerlovo bölümlerindeki Türkler ise Kastamonu, Sivas, Tokat ve Kırşehir kökenlidirler (Uluyörük Çepnileri ve Gündüzlü Avşarları), ilde Türk eserlerinin çoğu tahrip olmuştur. İldeki bazı Türk eserleri şunlardır;

 Saat Camii
 Kız Ana tekke ve Türbesi
 Hüseyin Baba Türbesi
 Hüsam Baba Türbesi
 Baba Kondu Türbesi
 Bahadır Baba Türbesi

İlçe merkezleri

Kaynakça

Eski Cuma (il)


Çadır. Doğal hayatta sığınak olarak kullanılan kamp malzemesi.

Çadırlar üretildikleri malzemeye ve tasarımlarına göre farklı hava şartlarında kullanılmaya elverişli şekilleri vardır. Çadır için farklı çadır platformu türleri vardır.

Şekillerine göre çadır tipleri

Şekillerine göre çadırlar üç şekilde gruplanır. Ayrıca her grupta çadırdan yararlanacak kişi sayısına, çadır kurulacak bölgenin iklimine ve etkinliğin süresine göre farklı tasarım ve malzemelerle üretilen modeller vardır.

Üçgen çadırlar

Rüzgâra karşı dayanıksız ve kurulumu zahmetli çadırlardır, çadırın ayakta durabilmesi için 8 noktadan sabitlenmesi gerekir. Genellikle bahar ya da yaz aylarında kullanılırlar. Her ne kadar rüzgâra dayanıksız olarak kabul edilseler de, girişin rüzgârın ters yönüne bakacak şekilde kurulması, kazıkların uygun şekilde çakılması ve gergi iplerinin yeterince gerilmesiyle oldukça sert rüzgârlara da dayanabilirler.

Kazıkların çakılacağı toprağın yapısı, rüzgâra dayanıklılıkta birinci etkendir. Germe teli ve çadır kazığının çakılacağı toprak ne denli sertse kazık o denli sağlam oturacaktır. Nemli ve gevşek toprak, kazığı tutamaz.

Çadır kazıkları, hafif olmaları amacıyla alüminyum ve alaşımlarından yapıldığı için çok sağlam malzemeler değildir, fazlaca sert toprakta çabucak eğrilirler. Aynı durum toprağın altında bir taş ya da kaya olması durumunda da gerçekleşecektir. Bu durumda toprağa giriş açısını bir parça değiştirmek gerekir.

İç tentenin gergi ipleri elden geldiğince sert gerilmelidir. Tabii ki kumaşın yırtılmasına neden olacak kadar değil. Dış tentenin gergi ipleri de gergin tutulur ama, belirli bir esneme sağlamalıdır.

Bugün için üçgen çadırlar çift katlı malzemeden üretilmektedirler. İç malzeme, yani yaşanılan alanı örten malzeme genellikle hava ve nem geçirgenliği çok yüksek olan bir kumaştır, çok etkin bir havalandırma sağlar. Bunun üstüne gerilen tente, nem ve hava akımını önleyen malzeme ise hem çadırın içinin görünmesini önler, hem de neme karşı bir örtü sağlar.

İç tente, yaşam alanını tümüyle sarar. Zemin bölümü, kalın, su geçirmez bir malzemeden üretilir. Dış tente ise, bir dış kaplamadır ve yerden bir karış kadar yukarıda kalacak biçimde kurulur. Bu, hava ve dolayısıyla nem akışı için gereklidir.

Genellikle amatör doğa sporcuları tarafından, günübirlik ya da birkaç günlük etkinliklerde kullanılır.

Tünel çadırlar

Üçgen çadırlardan daha geniş alana sahip ve rüzgâra onlardan daha dayanıklı çadırlardır, ancak çadırı kurmadan önce rüzgâr yönüne dikkat etmek gereklidir. Bu çadırın sabit durabilmesi için çadır 4 noktadan sabitlenmelidir.

Zorlu koşullarda, profesyonel dağcılar tarafından, birkaç günlük olabilen kamplarda yaygın olarak kullanılan bir çadır türüdür.

Kubbe çadırlar

Şekilleri nedeniyle rüzgâra direnmezler ve bu rüzgâra dayanıklı olmalarını sağlar. Kar biriktirmeme ve kurulum kolaylığı sebepleriyle çok tercih edilirler. İç alanları geniştir ve çok fazla noktadan sabitlenme gerektirmezler.

Yapıldığı malzeme cinslerine göre çadır tipleri

Çadırlar; yapıldığı malzeme cinslerine göre, kıl, kumaş ve plastik çadırlar olmak üzere 3 grup altında incelenebilir.

Kıl çadırlar

Keçi kıllarından yapılan çullardan ya da keçelerden yapılan Anadolu'da ve Orta Asya'da topakev, aleyçik, karaçadır gibi isimlendirilen çadırlardır. Bu çadırlar eskiden göçebe insanların barınmak için kullandıkları çadırlardır. Günümüzde bu çadırları, Anadolu'da Sarıkeçililer olarak bilinen ve hala göçebe yaşam tarzını benimseyen çok az bir topluluk kullanmaktadır.

Kumaş çadırlar

Bu çadırlar, çeşitli özellikteki kumaşlardan yapılmıştır. Çok kullanılan çadır çeşitlerindendir.

Plastik çadırlar

Bu tip çadırlar, plastik türevli çadırlardır.

Kullanım amaçlarına göre çadır tipleri

Bugün için farklı kullanım tarzlarına, farklı ortamlara göre farklı çadırlar üretilmektedir. Belirli bir etkinlikte kullanılacak çadırı seçerken, ortama, iklim durumuna, çadır kurulacak bölgenin mikro klimasına, çadırdan yararlanacak kişi sayısına, kullanımın süresine uygun düşen bir çadır tipinin seçilmesi gerekmektedir.

Bu nedenle doğa sporları ve kampçılıkla ilgilenen kişilerin, birden çok çadırları olur.

Uygun bir çadırda aranması gereken koşullardan biri, malzemenin nem geçirgenliğidir. Çadırın, içerideki nemi dışarı atabilmesi, ancak dışardaki nemin içeri girmesini önlemesi esastır. Bunun için çoğu kez çift katlı çadırlar kullanılır. Ancak, Gore-Tex ya da benzeri nefes alabilen malzemeden yapılmış tek katlı çadırlar da kullanılır.

Olanaklıysa bagaj bölümü olan çadırlar tercih edilmelidir. Bagaj, çadırın giriş bölümünün dışında, yanları ve üstü örtecek biçimde su geçirmez kumaş uzantılarla oluşan hacimdir. Çadır içine alınmak istenmeyen ıslak ve çamurlu malzeme için bir depo alanı olarak kullanılabileceği gibi, karlı ve yağmurlu havalarda yemek pişirmek için de kullanılır. ancak bu, sadece yağışlı havalarda denenmelidir, yağışsız havalarda, çadırın dışında ateş yakılmalıdır. Çadırın içinde ise, sigara dahil olmak üzere asla ateş yakılmamalıdır.

Bahar ve yaz aylarındaki etkinliklere havadar, daha geniş iç hacimli olabilen üçgen çadırlar tercih edilir. Öngörülemeyen hava koşulları için tünel çadırlar daha konforlu ve güvenli olacaktır. Zor iklim koşullarında ise, kar, fırtına, yağış gibi, kesinlikle kubbe çadırlar tercih edilmelidir.

Depo çadırları
Çadırlar aynı zamanda firmaların ürün, malzeme veya ekipmanların dış etkenlere karşı korunması amacıyla kullanılabilmektedir. Bu çadırlar genellikle büyük ölçekli ve çelik iskelet üzerine oturtulmuş şekilde üretilmektedir. Dış kaplama malzemesi olarak rüzgara, yağmura, sıcak ve soğuk hava şartlarına dayanıklı branda kullanılır.

Çadırların kullanım süresi ve bakımı

Bir çadırın kullanım süresi, kaç kez kurulup söküldüğüne bağlıdır. Genel olarak bir çadırın standar kullanım süresi yüz kurum ve sökümdür. Kuşkusuz ki kötü kullanım ve kötü bakım bu süreyi kısaltacaktır. Yüz kurulumluk süre, uygun kullanım ve bakım koşullarında geçerlidir.

Kamp etkinliklerinde, doğal olarak çadırlar hızlıca sökülüp paketlenirler. Kamp dönüşünde mutlaka açılıp temizlenmeli, kesinlikle güneş görmeyen havadar bir yerde havalandırılmalı, sonra da düzgün bir şekilde yeniden paketlenmelidir. Paketlenmiş halde, güneş görmeyen ve rutubetsiz bir ortamda saklanmalıdır.

Türleri
 Koni çadır
 Çerçeve çadır
 Pelerin çadır
 Bender çadırı
 Çum (çadır)
 Fly (çadır)
 Goahti
 Kohte
 Lavvu
 Loue
 Modüler Komuta Post Sistemi
 Mumya çadırı
 Oktoberfest çadırı
 Panço çadır
 Ramazan çadırı
 Kırmızı çadır
 Çatı çadırı
 Sibley çadırı
 Spiegeltent
 Swag
 Muşamba çadır
 Tipi (çadır)
 Kamyon çadırı
 Tupeq
 Tupiq
 Duvar çadırı
 A-çerçeveli çadır
 Yaranga
 Yurt (çadır)

Doğa sporları malzemeleri
Çadır
Hayatta kalma
Farsçadan Türkçeye geçen sözcükler
Taşınabilir binalar ve barınaklar
Kamp malzemeleri

Çadır


Randomizirana procjena terapije protiv COVID-19 (eng: Randomised Evaluation of COVID-19 Therapy, RECOVERY Trial ili RECOVERY) veliko je kliničko ispitivanje mogućih tretmana za ljude u Ujedinjenom Kraljevstvu primljenih u bolnicu s teškom infekcijom COVID-19. Od 2. prosinca 2020., ispitivanje je testiralo devet intervencija na odraslima: sedam preuređenih lijekova, jedan novorazvijeni lijek i rekonvalescentnu plazmu.

Tretmani
Sljedeći se tretmani nasumično dodjeljuju hospitaliziranim osobama s teškom infekcijom od COVID-19:

 Niske doze deksametazona (steroid koji smanjuje upalu; samo kod djece)
 Tocilizumab (protuupalno)
 Rekonvalescentna plazma (krvna plazma ljudi koji su se oporavili od COVID-19 i koji mogu sadržavati antitijela protiv virusa SARS-CoV-2)
 Intravenski imunoglobulin (samo za djecu)
 REGN-COV2 (koktel od dva antivirusna monoklonska antitijela)
 Aspirin
 Kolhicin (protuupalni lijek)

Sljedeći tretmani prethodno su bili uključeni u ispitivanje:

 Lopinavir-ritonavir (lijek za HIV)
 Hidroksiklorokin (koristi se za liječenje malarije i reumatizma)
 Azitromicin (antibiotik)

Posljednja tri tretmana bila su zatvorena za nove korisnike nakon što se pokazalo da su neučinkovita.

Deksametazon je bio zatvoren za nove unose za odrasle nakon pozitivnih rezultata.

Dizajn
Ispitivanje RECOVERY je veliko, raznovrsno kontrolirano ispitivanje. Primarni cilj ispitivanja je "pružiti pouzdane procjene učinka ispitivanih tretmana na smrtnost od svih uzroka u 28 dana nakon prve randomizacije."

To je "otvorena oznaka" studije: ljudi koji se liječe i kliničari koji znaju liječe, koji se tretman primjenjuje. Riječ je o adaptivnom kliničkom ispitivanju s više ruku. Novi postupci mogu se dodavati u ispitivanje kako odmiču, a drugi "lijekovi" za liječenje zatvoreni su za novi upis kad se dobiju rezultati.

Protokol ispitivanja razvijen je u ožujku 2020. Dizajn minimizira administrativno opterećenje bolničkog osoblja koje se u to vrijeme suočavalo s velikim brojem primanja COVID-19.

Kad su ljudi koji su hospitalizirani s COVID-19 uključeni u ispitivanje, automatski se randomiziraju na probno liječenje. Ako bilo koji tretman nije dostupan ili je kontraindiciran ili je definitivno indiciran za tog pacijenta, tada taj tretman nije uključen u postupak randomizacije. Glavna faza randomizacije sastoji se od tri dijela, tako da pacijentima ne može biti dodijeljen nijedan ili jedan ili dva ili tri pokusna tretmana. Ako bolest napreduje, može postojati i druga randomizacija.

Operacije
Ispitivanje su vodili odjeli za zdravlje stanovništva i medicinu Nuffielda sa Sveučilišta u Oxfordu. Studiju vode Peter Horby i Martin Landray koji su bili su-glavni istražitelji suđenja. Ispitivanje se odvija u 176 bolnica NHS-a u Velikoj Britaniji, a uključuje tisuće zdravstvenih radnika.

Ispitivanje je započelo u ožujku 2020., a predviđeno trajanje bilo do lipnja 2021. Od prosinca 2020. u ispitivanje je bilo uključeno više od 20 000 sudionika COVID-19 primljenih u bolnice u Velikoj Britaniji.

Izvori

COVID-19
Medicina


Þorlákshafnarviti er líka kallaður Hafnarnesviti.
Hafnarnesviti er 7 metra hár ferstrendur turnlaga viti á Hafnarnesi við sunnanvert mynni Fáskrúðsfjarðar. Upphaflega var þar reistur 4 metra hár viti 1912 í þorpinu sem hafði byggst upp í kringum útræði á síðari hluta 19. aldar. Vitinn var endurbyggður 1938 og tekinn inn í vitakerfi landsins. Ljóseinkenni hans er Fl WRG 20s (eitt þrískipt blikkljós á 20 sekúndna fresti).

Fáskrúðsfjörður
Vitar á Íslandi

Hafnarnesviti


Spužva Bob Skockani je prvi film iz franšize o Spužva Bobu Skockanom. U ovom filmu, Spužva Bob i Plankton moraju naći tajnu formulu rakburgera nakon što ona tajanstveno nestane.

Likovi
Spužva Bob Skockani
Patrik Zvijezda
Gospodin Fantastikus
Eugen Kliještić
Šime Josip Plankton

Radnja
Grupa gusara otkriva škrinju s blagom punom ulaznica za film da bi vidjeli  The SpongeBob SquarePants Movie . Svi gusari navijaju i pjevaju pjesmu teme SpongeBob dok se kreću u kino kako bi vidjeli filmsku sliku.

Film započinje kada se SpongeBob SquarePants veselo priprema za ceremoniju otvaranja druge verzije Krusty Kraba, očekujući da će ga njegov šef gospodin Krabs promovirati u novog menadžera novog restorana. Umjesto toga, gospodin Krabs imenuje Squidward Tentacles, susjeda i suradnika SpongeBoba, kao menadžera, misleći kako je SpongeBob previše nezreo da bi se mogao nositi s ulogom, zbog čega je SpongeBob pao u stanje depresije. U međuvremenu, poslovni suparnik gospodina Krabsa, Plankton, žali zbog neuspjeha svojoj računalnoj supruzi Karen, jer nije mogao ukrasti tajnu formulu Krabby Pattyja. Kad Karen istakne plan "Z", shemu koju tek treba pokušati, Plankton ga odluči provesti.

Te noći, SpongeBob utapa svoje tuge u sladoledu sa svojim najboljim prijateljem Patrickom Starom u salonu sladoleda Goofy Goober's Ice Cream Party Brod. Inače, Plankton krade krunu kralja Neptuna, ostavljajući lažne dokaze da je g. Krabs prijavio zločin, a krunu šalje u daleku zemlju Shell Cityja. Sljedećeg jutra, Neptun upada u Krusty Krab 2 i prijeti gospodinu Krabsu zbog njegovog navodnog lopova. SpongeBob stiže i kažnjava gospodina Krabsa pod utjecajem sladolednog mamurluka, ali vidjevši život šefa u riziku šokira SpongeBob natrag u pamet i obeća Neptunu da će preuzeti krunu iz Shell Cityja. Neptun je uvjerio svoju kćer Mindy da je zasad poštedio gospodina Krabsa i zamrznuo ga, naređujući SpongeBob-u da se vrati s krunom za točno šest dana. SpongeBob i Patrick kreću u Shell City u automobilu oblika Krabby Patty zvanom Patty Wagon. Ubrzo nakon što odlaze, Plankton krade formulu Krabby Patty i koristi je za proizvodnju i prodaju Krabby Patties u njegovom restoranu, Chum Bucket. Svojim kupcima poklanja i besplatne kacige Chum Bucket, koje su zapravo uređaji koji kontroliraju um i koji Plankton aktivira za kontrolu stanovnika Bikini Bottoma i zauzimanje grada. Squidward odlazi u The Chum Bucket kako bi se suprotstavio Planktonu, ali ga očaravaju i porobljavaju opušteni kupci.

Nakon što su na svom putovanju nadvladali nekoliko poteškoća, uključujući žrtvovanje Patty Wagon kako bi pobjegli od gavrane žabe, SpongeBob i Patrick stižu u opasan rov ispunjen čudovištem. Kad konačno zaključe da zbog nezrelosti ne mogu završiti misiju, suzno odustaju. Mindy stiže u rov i govori SpongeBob-u i Patricku o Planktonovom planu. Pretvara se da ih čarobno pretvara u muškarce dajući im brkove morske trave. S pobunjenim samopouzdanjem hrabrili su rov, ali suočeni su s Dennisom, hitmerom kojeg je Plankton unajmio da ih eliminira. Denisa iznenada zaustavi ronilac s tvrdim šeširom za koji SpongeBob i Patrick vjeruju da su kiklop. Ciklop zgrabi SpongeBob i Patricka i odvede ih do njegove trgovine na plaži, za koju je otkriveno da je Shell City.

U prodavaonici SpongeBob i Patrick nalaze krunu, ali su osušeni pomoću toplotne žarulje Ciklopa. Dok gusari koji promatraju suze oplakuju gubitke SpongeBob-a i Patricka, potonji suze kratko spajaju kabel napajanja svjetiljke, a njegov dim aktivira sustav prskalice, ponovno hidrirajući ih i ostala osušena morska stvorenja koja su namijenjena prodaji kao suveniri, Dok osvetoljubiva morska bića napadnu i nadvladaju Kiklope, SpongeBob i Patrick uzimaju vijenac i kreću prema plaži, gdje se pojavljuje David Hasselhoff i nudi im vožnju. Pliva s plaže do bikini dna noseći ih na leđima. Dennis ih sustigne, ali katamaranom ih odbacuje natrag u more. Zatim, kad stignu do dna Bikinija, Hasselhoff lansira SpongeBob i Patricka dolje u Krusty Krab 2.

Na Krusty Krab 2, kralj Neptun stiže pogubiti gospodina Krabsa, što je mnogo za Planktonovo uživanje i Mindyjevu užas, ali SpongeBob i Patrick se vraćaju s krunom prije nego što je u mogućnosti to učiniti. Oni i Mindy se sukobljavaju s Planktonom, ali on ispusti kantu veličine kralja veličine uma na Neptunu, porobljavajući ga i otkrivši da Planktonov plan nije bio samo ukrasti formulu Krabby Pattyja, već i postaviti Neptun kako bi mogao preuzeti svijet. Prije nego što Plankton uspije usmjeriti Neptun da ih ubije, SpongeBob napokon prihvaća svoju nezrelost i upada u rock pjesmu pod nazivom "Goofy Goober Rock" (parodija na "I Wanna Rock" Twisted Sister, koja uništava kacige koje kontroliraju um, oslobađajući kralja Neptuna, Lignje i ostali stanovnici Bikini dna iz Planktonove kontrole. Plankton pokušava pobjeći, ali na njega su zakoračili i ostali građani. Plankton je uhićen zbog svih svojih zločina, dok Neptun odmrzava gospodina Krabsa, koji u znak zahvalnosti promovira SpongeBob menadžera Krusty Kraba 2.

Na sceni nakon priznanja, gusari su još uvijek u kazalištu dok im jedan od poslužitelja ne kaže da moraju otići, što oni s oklijevanjem čine.

Izvori

Filmovi o Spužvi Bobu Skockanom
Američki animirani filmovi 2000-ih

Spužva Bob Skockani (2004.)