is a public holiday in Japan held annually on the second Monday of January under the Happy Monday System. It is held in order to congratulate and encourage all those who have already reached the age of maturity between April 2 of the previous year and April 1 of the current year, and to help them realise that they have become adults. Festivities include  held at local and prefectural offices, as well as after-parties among family and friends.

Overview
On June 13, 2018, the age of majority was lowered for the first time since it was established. According to the new law, which comes into force in 2022, a citizen is considered an adult with the onset of full 18 years.
Note that Coming of Age Day and the ceremony itself are not directly linked to changes in the legal status of young people. For example, adult status becomes effective on the 18th birthday, with some exceptions; both men and women can marry and are released from parental authority. At the same time, they are released from the various family and social restrictions imposed on minors. As adults, they become eligible for contracting on their own. As before, drinking and smoking are allowed at age 20, and the right to vote and to obtain a driver's license for passenger vehicles begins at age 18 (16 for motorcycles).

History
Coming of age ceremonies have been celebrated in Japan since at least 714 CE, during the reign of Empress Genmei when a young prince donned new robes and a hairstyle to mark his passage into adulthood.

Rituals to celebrate adulthood have existed since ancient times, such as Genpuku (changing to adult clothing) and Fundoshi Iwai (loincloth celebration) for boys and Mogi (dressing up) and Keppatsu (tying the hair up) for girls. Cultural anthropology and folklore studies treat such ceremonies as rites of passage (initiations).

Genpuku

 is a Japanese coming-of-age ceremony which dates back to Japan's classical Nara period (710–794 AD).[1] This ceremony marked the transition from child to adult status and the assumption of adult responsibilities. The age of participation varied throughout history and depended on factors such as sex, political climate, and social status. Most participants were aristocratic children between the ages of 10 and 20, and most descriptions of genpuku focus on the male ceremony rather than the female ceremony due to the exclusion of women from politically important court positions and warrior status. Important changes in clothing and hairstyle typically denoted this transition, for both men and women. Youth and children were often synonymous, and a period of adolescence was not often present throughout the periods in which traditional genpuku flourished. The etymology of the word, which is atypical, reflects the major points of genpuku ceremonial format; in this case  means "head" and  means "wearing". The ceremony is also known as , , , , and .

General ceremonial format
Genpuku was traditionally considered a major rite, an important ritual affecting life course in which a child exchanged his childhood status for an adult status, and continues from the Nara (710–794 AD) into the Tokugawa period (1603–1868). The ceremony was usually backed by an older society member of political importance, and included the exchange of a childhood name for a , the adoption of adult hairstyles and clothing, and the assumption of adult responsibilities. Genpuku was undergone by both males and females, but was differentiated by ceremonial dress, with men receiving signifying headgear such as a  or samurai helmet and women receiving, instead, a . The population, and members of the population, participating in genpuku depended largely upon both which historical time period the ceremony took place in and the kind of government that was in place at the time. Specific ceremonial formats are built around specific constructions of class, rank, and time period.

Child roles as preparation for adult roles
Since aristocratic children between the ages of 10 and 20 took part in genpuku in order to assume adult status and responsibilities, the role of the aristocratic child was to prepare for adult life. For both male and female children, studies in the Heian period began between ages 3 and 4, usually under the supervision of a wet nurse and perhaps her husband. Children of these ages were taught about key court ceremonies, Buddhist doctrine, and proper ethics. At the age of seven they moved on to more formal learning, specifically studying the skills needed to navigate court life and to succeed in court positions. Skills included, but were by no means limited to, handwriting and calligraphy, and were mainly an education requirement for male children; however, the education of girls was important as well. The ultimate goal of children, whether they were male or female, was to successfully carry on their family's tradition and reputation. Proper education for girls tied to successful or advantageous marriage, or their future ability to maintain a wealthy patron within the court.

Nara and Heian periods (710–1192)

The earliest official record of genpuku in Japan dates back to the Nara period (710–794 AD), and the ceremony itself is based on an earlier Chinese custom in the Tang dynasty. Beyond the Nara, the ceremony flourished throughout the aristocratic Heian period (794–1185 AD), the last classical period in which Japan was governed by an aristocratic court. Children during Heian were not recognized as officially gendered before genpuku, and were said to have remained near the gods as "children of the kami". As children of the gods, those who had not undergone genpuku were often seen as youthful mediums and were some of the primary performers of ritual exorcisms. In addition, clothing and attire of childhood were ungendered and it was not uncommon for male children to wear makeup often as wakashū. In the period between early childhood and genpuku, boys were classified as wakashū.

During these periods, primarily male members of the aristocracy between the ages of seven and fifteen engaged in genpuku. The ceremony was generally a precursor to obtaining court cap and rank. Parents chose when to hold their children's genpuku based on a number of factors, including the arrival of a suitable opportunity, the child's readiness for court service, the presence of one or more influential court backers, and the parents' ability to finance the ceremony.

Once it was deemed an appropriate time for a child to undergo genpuku, a variety of preparations were made for the upcoming ceremony. The child had to acquire a "capping parent", usually a person of influence, who would help the child don the ritual clothing of adulthood, most significantly a ceremonial court hat (kanmuri). Both the capping parent and the biological parents made preparations for the ceremony, but the capping parent was more active in making arrangements.

The genpuku ceremony itself almost always took place in the evening on a predetermined "auspicious day," either at the residence of a Kakan (dignitary) or at the Shishinden (Kyoto Imperial Palace). When the capping ceremony was held for the son of a Counselor or Consultant, the capping parent was most often a Kakan and the ceremony took place at a Kakan's residence. When the ceremony was held for an Emperor or Crown prince, the current Emperor would sometimes cap the initiate within the Shishinden. The capping parent was joined by another important ceremonial participant, either the Nokan (if an Emperor was undergoing the ceremony) or a Rihatsu, who "loosened the childhood coiffure, cut the ends of the hair, bound the head with a fillet, and otherwise prepared the boy to receive the cap". After the capping, the child retreated to a private room to exchange his ungendered wide-sleeved childhood robes for adult male robes. The transition from child to adult was complete, and feasting followed closely thereafter. Genpuku and adult status were accompanied by marriage eligibility, gendering, a removal from the male "erotic gaze" within court, the abandon of makeup use for males, and the opportunity to obtain court rank.

Girls engaged in genpuku as well, although the particular ceremonial rituals were more commonly referred to as mogi. For women, as for men, the ceremony revolved around the presentation of adult clothing; however, women were presented with a pleated skirt, not a court cap.  Girls participating in mogi coming-of-age ceremonies traditionally blackened their teeth, shaved their eyebrows, and applied makeup. In addition, their long unbound hair was tied on top of their head in an adult hairstyle.

Age of the samurai (1185–1868)

In 1185 AD the aristocratic court government of classical Japan was forced to coexist with a warrior-administration, ushering in the Age of the Samurai. Just as the sons of aristocracy underwent the ceremony of genpuku to signify their adulthood, so did the sons of warrior nobility. The central feature of genpuku throughout this time period was the placing of a samurai helmet, rather than court cap, by a high status warrior. Adult samurai received their swords and armor at this time. After going through genpuku, youths were expected to do adult labor, and samurai-class men acquired full warrior status and were expected to fight in open battle. In addition, youths gained the right to marry, and to officiate at shrine ceremonies. The ceremony acted to bind youth to the previously mentioned high status warrior. Often this practice was used to confirm and solidify the social status of samurai families. For example, a samurai family of lower status might, through the ceremony of genpuku, become tied to a higher status family. The lower status son would then act as a retainer to the higher status warrior to whom he was tied. After genpuku, warrior sons were accepted as full adults and welcomed to a career in the warrior-administration.

The average age of genpuku varied over time. For example, throughout the Tokugawa period (1603–1868), the age at which children underwent genpuku depended upon whether there was unrest. Full-fledged warriors were expected to take part in battle, so during the unsettled first years of the Tokugawa period, parents delayed genpuku until their sons were full-grown, at around 20 years old. However, as the country became more peaceful, a transition period resembling adolescence emerged. Young boys underwent genpuku and trained to be warriors under an older warrior, but did not engage in war. War acted as a sort of consummation following genpuku, solidifying societal acknowledgement of full adult warrior status. As the long peace continued, the appropriate age to transition from child to adult was lowered in response to dynastic pressures to marry and produce heirs. Boys could not marry until they came of age, so the "adolescent phase" vanished. By the 1700s the average coming of age of samurai-class boys was at 15 to 17, and in the early to mid-1800s it dropped to an average of 13 to 15.

Muromachi period (1338–1573)
During the Muromachi period, a period set within the Age of the Samurai, genpuku gradually spread from the samurai class to include men and women of lower ranks. Within the less wealthy, genpuku was used as a way of acknowledging an entrance into occupational roles, often in the form of apprenticeship. Boys of farming families and the artisan class came of age at 15 to 17, an age that had more to do with their ability to do adult work and take on adult social responsibilities than with their readiness for marriage or war.[1] As a result of the new meanings tied to the ceremony and work, the once solid transitions between childhood and adulthood were lost within the artisan and merchant classes. Adulthood was put off in order that youth could acquire more or new skills related to their future occupations, resulting in the re-emergence of a period resembling adolescence.

Warabi Town, 1946
Today's form of the Japanese Coming of Age Ceremony has roots from the Youth Festival held in Warabi Town (currently Warabi City), Kitaadachi County, Saitama Prefecture on November 22, 1946, shortly after Japan's defeat in World War II. At the time, when Japan was in a state of despair due to the defeat, Shojiro Takahashi, then the leader of the Youth League of Warabi Town (later the mayor of Warabi City), hosted a youth festival in order to give hope and encouragement to the young people who would bear Japan's future. The festival was held in a tent on the school grounds of Warabi First Elementary School (currently North Warabi Elementary School), which included the Adulthood Ceremony. This ceremony spread throughout the country and became the present Coming of Age Ceremony.

In Warabi City, it is still called the Adulthood Ceremony. On the Coming of Age Day in 1979, the city erected a monument to mark the birthplace of the Coming of Age Ceremony in Warabi Castle Site Park and commemorated the 20th anniversary of the promotion to a city and the 30th anniversary of the establishment of Coming of Age Day.

The first holiday
Inspired by Warabi's youth festival, the Japanese government promulgated and enacted the National Holidays Law in 1948, to be held every year on January 15. The official holiday aimed "to realise the passage from youth to adulthood, and to celebrate and encourage young people embarking on their adult lives".

In 1949, January 15 was designated as the Coming of Age Day to congratulate and exhort young people to become adults and live independently. Since then, the Coming of Age Ceremony has been held on this day in most regions of Japan. Later, with the 1998 revision of the National Holidays Law, the Coming of Age Day was moved to the second Monday of January in 2000. This amendment is called the Happy Monday System because it makes a long weekend (Saturday – Monday). In addition, according to a survey conducted around 2018, Nagoya City and Morotsuka Village in the Higashiusuki District, Miyazaki Prefecture also claim to be the birthplace of the Coming of Age Ceremony.

Japan's low birth rate and shrinking percentage of young people, coupled with disruptions to some ceremonies in recent years (such as an incident in Naha in 2002, when drunken Japanese youths tried to disrupt the festivities) and a general increase in the number of 20-year-olds who do not feel themselves to be adults have led to decreased attendance of the ceremonies, which has caused some concern among older Japanese. In 2012, the decline continued for the fifth year in a row, with a total of 1.22 million adults celebrating the holiday in 2012 – under half of the participants seen at its peak in 1976, when 2.76 million adults attended ceremonies. This was the first time it has declined below the 50% threshold. Japan lowered the age of adulthood in 2018 from 20 years of age to 18 which took effect in 2022. This change has caused confusion on the status of the holiday, and raised concerns among the kimono industry which profits from the garments worn during the ceremonies.

Ceremonies

 mark one's ending of coming of age (age of maturity), which reflects both the expanded rights but also increased responsibilities expected of new adults. The ceremonies are generally held in the morning at local city offices throughout Japan. All young adults who turned or will turn 18 between April 2 of the previous year and April 1 of the current one and who maintain residency in the area are invited to attend. Government officials give speeches, and small presents are handed out to the newly recognized adults.

During the Ceremony, guest speakers give lectures, and commemorative gifts are presented. It is not sponsored by the Japanese government but by each municipality independently. Therefore, although the school-age system, which determines the eligibility for participation, is the same everywhere, some municipalities hold the event on days other than the Coming of Age Day. The age of adulthood was lowered from 20 to 18 on April 1, 2022. However, some municipalities continue to set the age eligible for participating in the Ceremony at 20, while others have lowered it to 18.

Many women celebrate this day by wearing furisode, a style of kimono with long sleeves that hang down, and zōri sandals. Since most are unable to put on a kimono by themselves due to the intricacies involved, many choose to visit a beauty salon to dress and to set their hair. A full set of formal clothing is expensive, so it is usually either borrowed from a relative or rented rather than bought especially for the occasion. Men sometimes also wear traditional dress (e.g. dark kimono with hakama), but nowadays many men wear formal Western clothes such as a suit and tie more often than the traditional hakama. After the ceremony, the young adults often celebrate in groups by going to parties or going out drinking.

The ceremony often takes place in the city hall or school's gyms. There are some special cases such as the ceremony having been held at Tokyo Disneyland since 2002.

Date
The Ceremony is commonly held on the Coming of Age Day, but there are regional variations. Some municipalities hold it during Golden Week (a week from late April to early May when Japanese holidays follow one after another), Obon (days to honor one's ancestors), or January 1–3. For example, in Niigata prefecture in 2017, no city held it on the Coming of Age Day (January 8); two were on January 7, and all others were during March, April, May, or August. It is because these areas have high snowfall, and many young people are out of town and do not come back until Golden Week or Obon. Many ceremonies were canceled or postponed in 1988 due to the death of the Emperor, and in 2020 due to the Corona pandemic.

Eligibility
Initially, eligible people to participate in the Coming of Age Ceremony were those with birthdays between the day after the Coming of Age Day of the previous year and that of the current year. So for the Ceremony held on January 15, 1999, participants must have been born after January 15, 1980 (19 years ago), until January 14, 1981 (18 years ago). However, recently (especially since the introduction of the Happy Monday System), the school-age system has become more common. In the Japanese school system, a grade consists of students born between April 2 of a year and April 1 of the subsequent year. Today, those who legally become adults between April of the previous year and March of the current year are eligible to participate in the ceremony.

This new practice caused a problem. If the eligibility for the Coming of Age Ceremony is based on the school age, those born after the Coming of Age Day and before April 2 must attend the Ceremony a year later than their peers. Consequently, they can find fewer friends to celebrate with at the Ceremony.

Due to the Happy Monday system, there were some people who were still 19 years old at the Coming of Age Ceremony for the year, but they would become 21 years old at the Ceremony of the following year. For example, as shown in the January 2001 calendar, a person born on the second Monday, January 12, 1981 was still 19 years old on the Coming of Age Day (January 8, 2001), but the same person became 21 years old on the Day in 2002. The same problem occurred for those born between January 10–13 in 1992 and January 9–13 in 1998.

Additionally, in Sapporo City, Hokkaido and Hiroshima City, Hiroshima Prefecture, the calendar year system was used in which those who reached their 20th birthday between January 1 and December 31 of the past year were eligible to participate in the Coming of Age Ceremony. This system has been switched to the school-age system since 2000, however.

Until the 1960s, more than half of the new adults were working youths who had already entered society. However, since the 1970s, the number of students entering universities and vocational schools has increased, while the number of junior high school and high school graduates finding employment has decreased. Consequently, the ratio of students (rather than working youth) to all new adults has been increasing year by year.

The Statistics Bureau of the Ministry of Internal Affairs and Communications estimated the population of new adults in January 2020 to be 1.22 million. Its percentage in comparison to the total population had been below 1% for 10 consecutive years. The participation of people from other countries, such as technical intern trainees and international students, has also been increasing. In 2020, Shiogama City, Miyagi Prefecture sent out invitations in Indonesian, Vietnamese, English, and Easy Japanese. The city had 30 foreign-born participants in 2019, about 6% of the total participating adults.

Business
In recent years, fewer Japanese people have worn kimonos. Since many participants wear expensive kimonos for the Ceremony, the kimono industry promote kimonos. However, because kimonos are so expensive that many end up renting them or using those handed down from their mothers.

The Ceremony is also a good opportunity for the beauty industry, which dresses, makes up, and hairdos for the attendees. They host makeup workshops for those who begin wearing makeup earnestly and sell cosmetic products. Even photo studios, where attendees take commemorative pictures after being decorously dressed, will focus on advertising. Competition for customers has become zealous in related businesses.

In 2018, Harenohi, a company that sells furisode (long-sleeved kimono) in Yokohama and other cities, abruptly shut down its business on January 8, the Coming of Age Ceremony day. This incident caused an uproar because those who had made reservations to purchase or rent a furisode from the company were unable to wear it, and some had to cancel their participation in the Ceremony.

Problems
According to the public opinion survey conducted by the Yokohama City Board of Education in March 2004, among minors, new adults, and people in their 20s, approximately 20% to 30% viewed the Coming of Age Ceremony as an event like a reunion where friends meet again. Furthermore, 20% of the women in their 20s or younger responded that the Ceremony is an event where new adults meet in formal suits and festive clothes. This result suggests that the event's purpose and the target group's expectations are divergent.

In this survey, 82.7% of high school students and minors said that they wanted to participate in the Ceremony, while 17.2% said they did not. Among high school students and minors, the most common reason for not participating was "not interested in the content," at 36.8%. While more than 50% of high school students, minors, and new adults answered that attractions such as concerts by singers were necessary, half of them also answered that introductions of guests such as mayors and politicians were unnecessary. The Yokohama City's proposal determines that such components make the Ceremony lengthy and impoverish the content.

Risshi-shiki
 is a ceremony held in school for students who have turned 15 years of age; literally "establishing aspirations ceremony," in which children stand in front of the school and declare their goals for the future.

See also
 Guan Li, the Chinese coming-of age ceremony
 Secular coming-of-age ceremony

Notes
 In premodern Japan, ages 15, 16, 17, etc. corresponded roughly with modern Japanese and Western ages 14, 15, 16, etc. The average age of genpuku was therefore 15 to 18 in premodern Japanese reckoning, and 14 to 17 in modern reckoning.

References

External links
 The Tale of Genji  – Contains a description of genpuku during the aristocratic Heian period

Festivals in Japan
January observances
Society of Japan
Public holidays in Japan
Rites of passage
Holidays and observances by scheduling (nth weekday of the month)
Annual events in Japan
Articles containing video clips

Coming of Age Day


An Carex kurdica in uska species han Liliopsida nga ginhulagway ni Georg Kükenthal ngan Hand.-mazz.. An Carex kurdica in nahilalakip ha genus nga Carex, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Carex

Carex kurdica


Palatul hanului sau Hansarai este situat în orașul Bahcisarai, Crimeea. A fost construit în secolul al XVI-lea și a devenit reședința unui șir de hani tătari ai Crimeii. Complexul arhitectonic înconjurat de ziduri cuprinde o moschee, un harem, un cimitir, clădiri de locuit și grădini. Interiorul palatului a fost viu decorat și reflectă stilul tătar crimeean tradițional din secolul al XVI-lea. El este unul dintre cele mai cunoscute palate musulmane din Europa, alături de Palatul Topkapı, Palatul Dolmabahçe, Palatul Yıldız, Palatul Aynalıkavak, Palatul Edirne, Palatul Çırağan din Turcia și Alhambra din Spania.

Istoric
Orașul Bahcisarai și palatul hanului au fost construite la comanda hanilor tătari ai Crimeii, care și-au mutat aici capitala de la Salaçıq în prima jumătate a secolului al XVI-lea. Palatul principal și minaretele au fost construite în secolul al XVI-lea de arhitecți otomani, perși și italieni. Avariile produse ulterior au necesitat o reconstrucție parțială a complexului Bahcisarai, dar, cu toate acestea, palatul și-a păstrat o mare parte din aspectul lui original. Unele dintre clădirile originale ale complexului au fost distruse în secolul al XVIII-lea, fiind construite în locul lor clădiri mai noi.

Fântâna Bahcisarai
Într-o curte interioară se află o mică fântână, a cărei poveste tristă l-a impresionat atât de mult pe scriitorul rus Aleksandr Pușkin când a vizitat-o încât a scris un lung poem epic intitulat "Fântâna din Bahcisarai".

Fântâna Bahcisarai sau Fântâna Lacrimilor este un caz real al reprezentării artistice a unei situații reale de viață. Fântâna este cunoscută ca întruchipare a iubirii unuia dintre ultimii hani ai Crimeii, Qırım Ghirai Han, pentru tânăra sa soție și a durerii resimțite pentru moartea ei timpurie. Potrivit legendei, hanul s-a îndrăgostit de o  prizonieră poloneză pe nume Maria, care făcea parte din haremul său. Maria ar fi fost ucisă din dușmănie de georgiana Zarema, fosta soție preferată a hanului. În ciuda sufletului său aspru, călit în numeroasele bătălii, hanul s-a întristat și a plâns moartea polonezei Maria, uimindu-i pe toți cei care îl cunoșteau. El a comandat construirea unei fântâni din marmură, pentru ca piatra să plângă, ca și el, pentru totdeauna.

Amplasată inițial lângă mormântul tinerei femei într-o grădină odihnitoare, fântâna a fost transferată în locul ei actual din Curtea Ambasadorilor, după ce împărăteasa Ecaterina a II-a a anexat teritoriul Crimeii. Versurile scrise de Pușkin au avut o contribuție importantă la conservarea palatului până în prezent.

Moscheea mare a hanului

Moscheea mare a hanului (în ) este situată în Piața Palatului, la est de poarta de nord. Este una dintre cele mai mari moschei din Crimeea și una dintre primele clădiri ale complexului arhitectonic de la Bahcisarai. Moscheea a fost construită în 1532 de hanul Sahib I Ghirai și a purtat numele său în secolul al XVII-lea.

Moscheea este alcătuită dintr-o sală de rugăciune pătrată, cu trei culoare, și are un acoperiș încovoiat, o tindă și porticuri pe laturile de est și către vest. Două minarete octogonale simetrice se ridică prin porticuri; ele au o înălțime de 28 de metri și au acoperișuri conice și săgeți. Un chioșc de formă pătrată este atașat zidului de nord-est al moscheii. Se crede că o medresă construită în 1750 de hanul Arslan Ghirai s-a aflat mai demult lipită de zidul de est al clădirii. Intrarea în moschee se face printr-un portal aflat pe latura de nord. În interior, pe trei dintre cei patru pereți este atașat un balcon, unde se afla loja rezervată hanului. Cercetătorii istorici susțin că acoperișul moscheii era format inițial din cupole de diferite dimensiuni.

În 1736 moscheea a fost distrusă de un incendiu și a fost restaurată ulterior în timpul domniei hanului Selameta Ghirai.

Moscheea mică a hanului
Moscheea mică a hanului (în ) se află în clădirea principală și a fost construită pentru membrii familiei hanului și pentru demnitarii importanți. Construirea micii moschei a avut loc în secolul al XVI-lea, iar picturile din moschee datează din secolele al XVII-lea și al XVIII-lea.

În zidul sudic se află mihrabul, ce este tăiat la partea superioară de șapte curele ornamentate, simbolizând cele șapte nivele ale cerului. Deasupra mihrabului este o fereastră de tip vitraliu, pe care este reprezentant sigiliul lui Suleiman (hexagrama). Pereții moscheii mici conțin imagini de bărci cu vele, cai și călăreți.

Galerie

 Clădiri

 Interior

Note

Legături externe
 Palace's official website
 ArchNet.org - Palace Images
 Pushkin and Soviet-era Composers
 The Fascinating Bakhchisaray Palace

Bahcisarai

Palatul Bahcisarai


"The World Is Yours" prvi je singl s desetog studijskog albuma švedskog melodičnog death metal sastava Arch Enemy - Will to Power. Singl je bio objavljen 14. srpnja 2017. godine.

Glazbeni video
Glazbeni video za pjesmu režirao je Patric Ullaeus. Video jednostavno prikazuje sastav kako izvodi pjesmu.

Osoblje
Arch Enemy
Alissa White-Gluz — vokali
Michael Amott — gitara
Jeff Loomis — gitara
Sharlee D'Angelo — bas-gitara
Daniel Erlandsson — bubnjevi

Izvori

Arch Enemy
Melodični death metal

The World Is Yours


Warriors of the World er den niende album af heavy metalbandet Manowar. Det blev udgivet den 4. juni 2002. Sangen Nessun Dorma blev dedikeret til Adams' mor, der var død tidligere samme år. Blandt albummets numre er hyldester til Wagner, Pavarotti og Elvis Presley. Albummet toppede som nummer to på den tyske albumhitliste.

Der blev udgivet en musikvideo til nummeret "Warriors of the World United", der blev filmet i 2002.

Track listing
Alle sange er skrevet af Joey DeMaio, bortset fra hvor andet er noteret.

Personnel
 Eric Adams – vokal
 Karl Logan – guitar, keyboards
 Joey DeMaio – basguitar, keyboard
 Scott Columbus – trommer

Yderligere personel
 Ken Kelly - cover

Referencer

Eksterne henvisninger
 Lyrics at darklyrics.com
 Official artist website

Manowar-album
Album fra 2002

Warriors of the World


Škola za dizajn, grafiku i održivu gradnju je splitska strukovna škola, danas na adresi Matice hrvatske 11 u gradskom kotaru Split 3. Osnovao ju je 1907. godine inženjer, arhitekt, reformator obrazovanja i osnivač Etnografskog muzeja i Galerije umjetnina Kamilo Tončić.

Smjerovi
Škola ima smjerove za umjetnička zanimanja: aranžersko scenografski dizajner, dizajner keramike, dizajner metala, dizajner unutrašnje arhitekture; graditeljska zanimanja: krovopokrivač – izolater, armirač, keramičar – oblagač, podopodlagač, zidar – JMO, rukovoditelj sam. građevinskim strojevima, soboslikar – ličilac – JMO, tesar – JMO; grafička zanimanja: web dizajner, web programer, grafičar dorade, grafičar pripreme, grafičar tiska, grafički tehničar, grafički tehničar pripreme, grafički urednik dizajner, medijski tehničar, pomoćni kartonažer TES.

Povijest
Školske godine 1920./21. osniva se "Srednja tehnička škola" koja obuhvaća mušku i žensku zanatsku školu. Pod tim nazivom škola djeluje do 1932. godine kada mijenja naziv u "Državna tehnička srednja škola u Splitu".

Školske godine 1940./41. škola mijenja naziv u "Srednja tehnička škola s arhitektonsko-građevinskim odsjekom".Tijekom talijanske okupacije, školske godine 1942./43. škola djeluje pod imenom "Scuola media tecnica". Školske godine 1947./48. škola vraća naziv u "Srednja tehnička škola u Splitu". Od 1948. do 1951. godine škola djeluje pod nazivom "Građevinski tehnikum". Školske godine 1951./52. škola dobiva naziv "Srednja tehnička građevinska Škola". Škola ponovo mijenja naziv školske godine 1959./60. u "Građevinska tehnička škola u Splitu".

Godine 1963. Odlukom Općinske skupštine Split osnovan je "Građevinski školski centar".
Od godine 1974. Građevinski školski centar djeluje kao radna organizacija s tri OOUR-a: OOUR Škola u Splitu, Teslina 4, OOUR Dom učenika u Splitu,V. Masleše b.b. i OOUR Pogon za proizvodni rad u Splitu, P. Brigada 6.

Građevinski školski centar se 1978. godine spaja s Gimnazijom "Ćiro Gamulin" u novu radnu organizaciju Centar za odgoj i obrazovanje u građevinarstvu i industriji građevinskih materijala "Ćiro Gamulin".
Centru 1980. godine pristupa kao samostalni OOUR Obrazovanje i odgoj kadrova za industriju kamena i mramora iz Pučišća. Školske godine 1985./86. iz Centra se izdvaja MIOC kao samostalna škola, a 1991. izdvaja se "Graditeljska škola Split". Godine 1993. iz "Graditeljske škole Split" izdvaja se "Graditeljska industrijskoobrtnička škola Split" koja 1996. mijenja naziv u "Graditeljska obrtnička i grafička škola u Splitu". Pod tim nazivom djeluje do šk.god. 2011./2012. kada mijenja naziv u "Škola za dizajn, grafiku i održivu gradnju Split".

Humanitarne akcije i projekti
Škola sudjeluje u uređivanju prostorije KBC Split, radu socijalne samoposluge, u projektu za razvoj i promociju volonterstva "Vinka Luković". U 2014. godini dobili su nagradu Županije splitsko-dalmatinske za doprinos razvoju odgoja, srednjoškolskog obrazovanja i vannastavne aktivnosti. U sklopu projekta "Pretežno vedro" učenici su izražavali osjećaje izrađujući maske s ciljem poticanja emocionalnog razvoja gdje se pokazalo kako kreativnost učenika omogućuje samopomoć i aktivno pomaganje vršnjacima.

Podržali su i sudjelovali u županijskom projektu "Poveži se bojom, približi se slikom" kojem je cilj potaknuti i olakšati uključivanje djece i mladih s posebnim potrebama u socijalnu komunikaciju i interakciju s vršnjacima kroz različite radionice na temu "Boje, osjećaji i raspoloženje". Sudjelujemo i u humanitarnoj akciji "Splite, otvori srce".

Pet puta organizirali su državno natjecanje graditeljskih škola, po jedanput grafičkih i likovnih škola. Od 2004. godine organiziraju Izložbu učeničkih radova, u početku u "Konzervatorskom zavodu", a od 2011. godine u Muzeju grada Splita, na kojoj prezentiramo uratke nastale tijekom školske godine u grafičkim i umjetničkim zanimanjima. Posebnu pozornost ove godine izazvao je film "Kreativnost" kojeg su režirali, snimili i montirali učenici. Film je nastao u sklopu školskog projekta "Kreativnost", unutar kojeg učenici koji se školuju za zanimanje medijski tehničar, istraživanjem u različitim medijima propituju značaj kreativnosti u svim područjima ljudske djelatnosti, a kao preduvjet za razvoj pojedinca i društva u cjelini.

Učenici ove škole su najuspješniji u badmintonu, streljaštvu, atletici i odbojci.

Poznati ljudi

Vidi
dizajn
grafika
održiva gradnja

Izvori

Vanjske poveznice

Službena stranica
Škola za dizajn, grafiku i održivu gradnju na Facebooku
Škola za dizajn, grafiku i održivu gradnju - druga stranica na Facebooku

Srednje škole u Hrvatskoj
Odgoj i obrazovanje u Splitu


L USS Marlin (SST-2), à l'origine USS T-2 (SST-2), était un sous-marin d'entraînement de classe T-1 en service de 1953 à 1973. Il était le deuxième sous-marin de l'United States Navy à porter le nom du marlin, un poisson gros gibier. À l'exception des 25 premiers sous-marins de développement antérieur à la Première Guerre mondiale, il était l'un des plus petits sous-marins opérationnels jamais construits pour l'US Navy.

Il a rejoint le Freedom Park à Omaha, dans le Nebraska, en tant que navire musée en 1974.

Historique
Le T-2 a été établi le 1er mai 1952 par la division des bateaux électriques du Chantier naval Electric Boat de Groton au Connecticut. Il a été lancé le 14 octobre 1953 et mis en service en tant qu'USS T-2 le 20 novembre 1953. Après les essais en mer dans la région de la baie du Massachusetts, il a rejoint New London, fin janvier 1954 pour son port d'attache à la Naval Air Station Key West en Floride. Affecté au Submarine Squadron 12 de l'United States Fleet Forces Command, il a immédiatement commencé ses opérations dans le secteur du sud de la Floride en Baie de Guantánamo, à Cuba. Pendant une décennie et demie, il a rendu de précieux services en tant que cible et navire-école et a aidé à évaluer l'équipement et les tactiques de lutte anti-sous-marine.

Rebaptisé Marlin le 15 mai 1956, le sous-marin s'est déployé en baie de Guantanamo  pour des services au Fleet Training Group en janvier 1956, juillet et août 1958, mars 1960 et décembre 1961. En mars 1963, Marlin a participé à la  manifestation du (NDIA).

À partir de 1963, Marlin a effectué principalement des tâches ciblées pour les unités anti-sous-marines de surface et aériennes à la  de Key West. En plus de la cible et de l'entraînement, Marlin a participé à diverses opérations de la flotte. Du 7 mars 1965 au 4 avril 1965, par exemple, Marlin rejoint son navire jumeau  et attaque les sous-marins ,  et  , ainsi qu'un groupe de travail de la Mine Force, à participer à des manœuvres de guerre des mines.

Marlin et son navire jumeau Mackerel ont été mis hors service le 31 janvier 1973 lors d'une double cérémonie à la base navale de Key West. Tous deux ont également été rayés du registre des navires de la marine ce jour-là.

Préservation
Le 15 août 1973, la marine américaine a fait don de Marlin pour l'utiliser comme navire-musée. Le 20 août 1974, il a été affecté pour être exposé en tant que sous-marin commémoratif dans le Freedom Park. Il est ouvert au public avec le sous-marin  sur le front de mer du fleuve Missouri.

Il a été classé au registre national des lieux historiques le 17 janvier 1979  .

Galerie

Voir aussi

Notes et références

Liens internes

Liens externes

   USS Marlin (SST-2)  - Site NavSource Online
 USS Marlin (SST-2) - Historic Naval Ships Association

Sous-marin de l'US Navy de la guerre froide
Bateau lancé en 1953
Navire construit à Groton (Connecticut)
Navire musée au Nebraska
Sous-marin inscrit au Registre national des lieux historiques
Bateau inscrit au Registre national des lieux historiques dans le Nebraska
Registre national des lieux historiques à Omaha (Nebraska)
Registre national des lieux historiques en 1979

USS Marlin (SST-2)


Lindell Shamar Wigginton (Halifax, 28 de março de 1998) é um jogador canadense de basquete profissional que atualmente joga no Milwaukee Bucks da National Basketball Association (NBA) e no Wisconsin Herd da G League.

Ele jogou basquete universitário na Universidade Estadual de Iowa de 2017 a 2019.

Carreira no ensino médio
A mãe de Wigginton cresceu na Uniacke Square de Halifax e seu pai é de North Preston. Ele jogou um ano na Prince Andrew High School em sua terra natal, Dartmouth, Nova Escócia, antes de cruzar a fronteira para ingressar na Oak Hill Academy em Mouth of Wilson, Virgínia, aos 15 anos.

Um recruta de quatro estrelas no ranking da ESPN, ele se comprometeu com a Universidade Estadual de Iowa em outubro de 2016. Representando a World Select Team, Wigginton teve 11 pontos e 7 assistências em 22 minutos no Nike Hoop Summit de 2017.

Carreira universitária

Como calouro, Wigginton foi um dos melhores jogadores de Iowa State com médias de 16,7 pontos, 3,7 rebotes e 2,8 assistências. No entanto, ele perdeu a posse de bola 92 vezes no ano. Após a temporada, Wigginton se declarou elegível para o Draft da NBA de 2018, mas não contratou um agente e acabou voltando para a universidade.

Em sua segunda temporada, ele teve médias de 13,4 pontos, 4,0 rebotes e 2,1 assistências em 26 minutos e foi nomeado o Sexto Homem do Ano da Big 12. Após a temporada, ele contratou um agente e se declarou para o draft da NBA de 2019.

Carreira profissional

Iowa Wolves (2019–2020)
Depois de não ser selecionado no draft da NBA de 2019, Wigginton se juntou ao Toronto Raptors para a Summer League de 2019.

Em 4 de setembro de 2019, Wigginton assinou um contrato de 10 dias com o Minnesota Timberwolves. Após o acordo, ele começou a jogar no afiliado dos Timberwolves na G-League, o Iowa Wolves. Em 8 de novembro, ele registrou 24 pontos, sete assistências e seis rebotes em uma derrota para o Sioux Falls Skyforce. Wigginton teve médias de 15,3 pontos, 3,7 rebotes e 3,6 assistências na G League.

Ironi Nes Ziona (2020)
Em 18 de maio de 2020, Wigginton assinou com o Ironi Nes Ziona da Liga Israelense e obteve média de 8,6 pontos.

Retorno a Iowa (2021)
Em 25 de janeiro de 2021, Wigginton renovou com o Iowa Wolves. Em 17 jogos, ele teve médias de 17,1 pontos, 5,2 assistências, 4,1 rebotes em 34,9 minutos.

Hamilton Honey Badgers (2021)
Em 14 de junho de 2021, Wigginton assinou com o Hamilton Honey Badgers da Liga Canadense.

Wisconsin Herd (2021–2022)
Em outubro de 2021, Wigginton ingressou no Wisconsin Herd depois de ser adquirido em uma negociação.

Milwaukee Bucks (2022-presente)
Em 13 de janeiro de 2022, Wigginton assinou um contrato de duas vias com o Milwaukee Bucks e com o Wisconsin Herd.

Carreira na seleção
Em 2016, Wigginton ajudou a levar a Seleção Canadense a uma medalha de prata no Copa América Sub‑18 em Valdivia, Chile. Ele desempenhou um papel crucial no ouro no Campeonato Mundial Sub-19 de 2017 no Cairo, Egito com médias de 12,4 pontos, 7,0 rebotes e 4,2 assistências. Ele perdeu as quartas e semifinais devido a sintomas de concussão, mas estava de volta para a final contra a Itália, registrando onze pontos, três rebotes e três assistências.

Estatísticas da carreira

NBA

Temporada regular

Universitário

Fonte:

Ligações externas

 Biografia em Iowa State Cyclones
 Lindell Wigginton em fiba.com
 Lindell Wigginton em ESPN.com
 Lindell Wigginton em nbadraft.net

Basquetebolistas do Milwaukee Bucks
Pessoas vivas
Nascidos em 1998
Basquetebolistas do Canadá

Lindell Wigginton


Victoria Catherine Lacey de Hollowell (n. 1954) es una botánica, exploradora, y agrostóloga estadounidense.

En 1976, obtuvo su licenciatura de la Universidad de Carolina del Norte. En 1979, su M.Sc. por la Appalachian State University en Boone (Carolina del Norte). Y en 1987, su Ph.D. por la Universidad del Este de Carolina.

Se dedica a la investigación sobre sistemática de la familia de las gramíneas (en especial bambús), fitopatología sobre todo con la infección por potyvirus), plantas transgénicas, florística del sudeste de Estados Unidos; genética y biología evolutiva de Peromyscus.

Participa en el Proyecto de Flora Mesoamericana, un proyecto de colaboración destinado a identificar y describir las plantas vasculares de Mesoamérica.

Es Jefa del Servicio de Prensa del Jardín Botánico de Misuri, y editora de su revista Anales del Jardín Botánico de Misuri, y de Novon. También editora del Molecular Systematics Of Bryophytes

Algunas publicaciones

Libros
 . 2007a. The ladyslipper and I. Volumen 109 de Monographs in systematic botany. Colaborador Vassiliki Betty Smocovitis. Edición ilustrada de Missouri Botanical Garden, 173 pp. ISBN 1930723652

 . 2007b. G. Ledyard Stebbings The Ladyslipper and I. Volumen 109 de Monographs in Systematic Botany. Colaborador Vassiliki Betty Smocovitis. Editor	Missouri Botanical Garden, 173 pp.

 --------------------------, . 2005. A Festschrift for William G. D'arcy: the legacy of a taxonomist. Volumen 104 de Monographs in systematic botany. Colaborador William G. D'Arcy. Edición	ilustrada de Missouri Botanical Garden, 420 pp. ISBN 1930723458

 . 2004. Molecular systematics of bryophytes. Volumen 98 de Monographs in systematic botany, & Molecular systematics of bryophytes. Edición ilustrada de Missouri Botanical Garden Press, 448 pp. ISBN 1930723385

 -------------------------. 2001. Managing human-dominated ecosystems: proceedings of the symposium at the Missouri Botanical Garden, St. Louis, Missouri, 26-29 March 1998. Volumen 84 de Monographs in systematic botany. Editor Missouri Botanical Garden Press, 371 pp. ISBN 0915279851

 -------------------------. 1979. A floristic survey of Phoenix Mountain, Ashe County, North Carolina: a thesis. Editor Appalachian State University, 218 pp.

Honores
Miembro de
 Sociedad Estadounidense de Taxónomos de plantas
 Sociedad Botánica de América

Fuentes

Referencias

Enlaces externos

 Página de Victoria Hollowell, sitio web del Missouri Botanical Garden.

Profesoras de Estados Unidos
Botánicos de Estados Unidos
Agrostólogos
Alumnado de la Universidad del Este de Carolina

Victoria C. Hollowell


Gods er en dansk dokumentarfilm fra 1962 instrueret af Jesper Tvede efter eget manuskript.

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 1962

Gods (dokumentarfilm)


ضهر المغارة هي إحدى القرى اللبنانية من قرى قضاء الشوف في محافظة جبل لبنان. وأغلب سكانها من المسيحيين وتبعد 20 كم جنوب بيروت

المراجع

أماكن مأهولة في قضاء الشوف
أماكن مأهولة في لبنان
مدن لبنان

ضهر المغارة


Sne er en dansk dokumentarfilm fra 2013 instrueret af Laurits Flensted-Jensen.

Handling
Det er vinter i København og sneen har lagt gaderne øde. Et sted i Nordvest står Ala og Ibrahim og kigger på S-toget der kører forbi...

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Filmskolefilm fra Danmark
Danske film fra 2013

Sne (dokumentarfilm)


Volsemenhusen Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Dithmarschen iline bağlı bölge. 16.79 km² yüzölçümüne sahiptir. Nüfusu, 30 Haziran 2005 itibarıyla yaklaşık 363 olarak tespit edilmiştir. Belediye Başkanlığı Carsten Holtmeier tarafından yürütülmektedir.

Volsemenhusen


Lavers Hill ist ein kleiner Ort in Victoria, Australien, der 48 km von Port Campbell und Apollo Bay sowie 205 Kilometer von Melbourne entfernt liegt. Die Ortschaft befindet sich nordwestlich von Cape Otway an der touristisch bedeutsamen Great Ocean Road zwischen Port Campbell und Apollo Bay und bildet einen weiteren Kreuzungspunkt von Straßen, die nach Cobden und Colac führen. 2016 wurden in Lavers Hill 78 sesshafte Einwohner gezählt.

Geschichte
Der Name Lavers Hill stammt von einem Siedler aus Gippsland, der große Gebiete um das heutige Lavers Hill rodete.

Erkundet wurde das Gebiet um Lavers Hill 1891 und anschließend lange Jahre von der Holzwirtschaft genutzt. Das erste Sägewerk wurde 1900 aufgebaut, dem weitere folgten. 1906 wurden eine Schule und eine Käsemanufaktur gebaut und eine Eisenbahn erreichte das Gebiet im Jahr 1912. Der Ort entwickelte sich und es entstand ein Post Office, ein Hotel, Bauern siedelten sich an und Ladengeschäfte wurden gegründet.

Heute
Heute befinden sich in Lavers Hill ein kleines kommerzielles Zentrum, das für Touristen ein Café, eine Bäckerei, einen Pub mit Bistro und touristische Informationen bereitstellt. Tourismus ist die wesentliche Einnahmequelle des Ortes.

Der Ort liegt auf dem höchsten Punkt der Great Ocean Road, wo es Ausblicke in die ihn umgebende Natur der Otway Ranges gibt. Unweit von Lavers Hill befinden sich die Wasserfälle Triplet Falls, Hopetoun Falls und Beauchamp Falls. Der Great-Otway-Nationalpark mit seinen gemäßigten Regenwäldern umgibt Teile der Ortschaft. Des Weiteren ist der Wanderweg Otway Fly zu nennen, an dem sich ein 45 Meter hoher Aussichtsturm befindet.

Zwölf Kilometer von Lavers Hill entfernt befindet sich der Surfstrand Johanna Beach. Bei Glenaire liegen ertragreiche Fischgründe und dort bieten sich Möglichkeiten zum Surfen.

Einzelnachweise

Colac Otway Shire

Lavers Hill


Mirko Slišković Slomić (Mokro, kraj Konjica,'1920. - Zagreb,  28. svibnja 1945.), bio je pripadnik ustaškog pokreta, jedan od rukovodećeg osoblja u sustavu koncentracijskog logora Jasenovac.

Odlukom Vojnoga suda u Zagrebu 1945. osuđen je za ratne zločine i zločine protiv civilnog stanovništva počinjene tijekom Drugoga svjetskog rata.

Životopis
Rođen je 1920. u mjesto Mokro, pokraj Konjica u BiH, u hrvatskoj, katoličkoj obitelji. U međuratnom je razdoblju, u Kraljevini Jugoslaviji, studirao pravo, na Zagrebackom sveučilištu, da bi se nakon izbijanja Drugoga svjetskog rata, okupacijom Jugoslavije i uspostavom NDH, priključio ustaškom pokretu, te je poslan na službu u sustav koncentracijskog logora Jasenovac. Naime, u studenom 1942. postavljen za zamjenika upravitelja, da bi potom ubrzo bio imenovan za nadstojnika Upravnog odjela Logora III Ciglana.

Tijekom svojega boravka u službi u Jasenovcu, upoznaje se i potom ženi s Majom Buždon Slomić, s kojom u braku nije imao djece. Pred dolaskom jedinica JA, suoružnici zajedno odlaze u Zagreb, te postoji nekoliko verzija njihove sudbine, od toga kako su ostali u Zagrebu, do toga da su zarobljeni tijekom povlačenja u svibnju 1945., u okolici Dravograda. Svakako je poznat podatak da su oboje bili uhićeni, pritvoreni i osuđeni u Zagrebu, te je Mirko Slišković Slomić, presudom br. 5. Vojnog suda Komande zagrebačkog područja, od 20. svibnja 1945., proglašen krivim za počinjenje ratnih zločina i zločina protiv civilnog stanovništva, te osuđen na smrt strijeljanjem, odluka koja je bila izvršena 28. svibnja 1945., u Zagrebu.

Tijekom boravka u pritvoru, bračni par, Maju Buždon Slomić i Mirka Sliškovića Slomića, fotografirali su pripadnici zagrebačke OZN-e.

Vezani članci

 Maja Buždon Slomić
 Dinko Šakić
 Vjekoslav Maks Luburić

Izvori

Članovi ustaškog pokreta

Mirko Slišković Slomić


Malouma Menta El Meidah (المعلومة منت الميداح,, sau pur și simplu Malouma; ) este o cântăreață mauritană, compozitoare și om politic. Crescută în partea de sud-vest a țării de către părinții săi versați în muzica tradițională mauritană, ea evoluează pentru prima dată la doisprezece ani, cântând și în concerte solo. Prima ei piesă este intitulată Habibi Habeytou, în care a criticat dur modul în care femeile erau tratate de către soții lor. Deși avuse un succes imediat, a provocat un val de proteste din partea claselor tradiționale de la conducere. După ce a fost forțată să se căsătorească în timp ce era adolescentă, Malouma a trebuit să renunțe la cântat până în anul 1986. Și-a dezvoltat propriul stil care combină muzica tradițională cu blues-ul, jazz-ul și muzica electronică. La începutul anilor 1990 ajunge să fie cenzurată în Mauritania, după ce la televizor apar melodii în care abordează subiecte extrem de controversate, cum ar fi viața conjugală, sărăcia, și inegalitatea, dar a începe să evolueze în străinătate până la sfârșitul deceniului. În cele din urmă, după ce interdicția a fost ridicată, s-a relansat cântând piesele sale, înregistrându-și cariera și câștigând popularitate, în special în rândul tinerei generații. Al patrulea album, Knou (2014), conține versuri care exprima opiniile sale privind drepturile omului și locul femeilor în societate.

Referințe

Nașteri în 1960
Mauritani
Cântăreți din secolul al XX-lea
Politicieni din secolul al XXI-lea
Cântăreți din secolul al XXI-lea
Cavaleri ai Legiunii de onoare
Oameni în viață
Provocarea 16 femei din Africa

Malouma


An enamine is an unsaturated compound derived by the condensation of an aldehyde or ketone with a secondary amine. Enamines are versatile intermediates.

The word "enamine" is derived from the affix en-, used as the suffix of alkene, and the root amine. This can be compared with enol, which is a functional group containing both alkene (en-) and alcohol (-ol). Enamines are considered to be nitrogen analogs of enols.

If one or both of the nitrogen substituents is a hydrogen atom it is the tautomeric form of an imine. This usually will rearrange to the imine; however there are several exceptions (such as aniline). The enamine-imine tautomerism may be considered analogous to the keto-enol tautomerism. In both cases, a hydrogen atom switches its location between the heteroatom (oxygen or nitrogen) and the second carbon atom.

Enamines are both good nucleophiles and good bases.  Their behavior as carbon-based nucleophiles is explained with reference to the following resonance structures.

Formation

Enamines are labile and therefore chemically useful moieties which can be easily produced from commercially available starting reagents. A common route for enamine production is via an acid-catalyzed nucleophilic reaction of ketone or aldehyde species containing an α-hydrogen with secondary amines.  Acid catalysis is not always required, if the pKaH of the reacting amine is sufficiently high (for example, pyrrolidine, which has a pKaH of 11.26). If the pKaH of the reacting amine is low, however, then acid catalysis is required through both the addition and the dehydration steps (common dehydrating agents include MgSO4 and Na2SO4). Primary amines are usually not used for enamine synthesis due to the preferential formation of the more thermodynamically stable imine species. Methyl ketone self-condensation is a side-reaction which can be avoided through the addition of TiCl4 into the reaction mixture (to act as a water scavenger). An example of an aldehyde reacting with a secondary amine to form an enamine via a carbinolamine intermediate is shown below:

Reactions

Alkylation
Even though enamines are more nucleophilic than their enol counterparts, they can still react selectively, rendering them useful for alkylation reactions. The enamine nucleophile can attack haloalkanes to form the alkylated iminium salt intermediate which then hydrolyzes to regenerate a ketone (a starting material in enamine synthesis). This reaction was pioneered by Gilbert Stork, and is sometimes referred to by the name of its inventor (the Stork enamine alkylation). Analogously, this reaction can be used as an effective means of acylation. A variety of alkylating and acylating agents including benzylic, allylic halides can be used in this reaction.

Acylation

In a reaction much similar to the enamine alkylation, enamines can be acylated to form a final dicarbonyl product. The enamine starting material undergoes a nucleophilic addition to acyl halides forming the iminium salt intermediate which can hydrolyze in the presence of acid.

Metalloenamines

Strong bases such as LiNR2 can be used to deprotonate imines and form metalloenamines.  Metalloenamines can prove synthetically useful due to their nucleophilicity (they are more nucleophilic than enolates). Thus they are better able to react with weaker electrophiles (for example, they can be used to open epoxides.)  Most prominently, these reactions have allowed for asymmetric alkylations of ketones through transformation to chiral intermediate metalloenamines.

Halogenation

β-halo immonium compounds can be synthesized through the halogenation reaction of enamines with halides in diethyl ether solvent. Hydrolysis will result in the formation of α-halo ketones. Chlorination, bromination, and even iodination have been shown to be possible. The general reaction is shown below:

Oxidative coupling

Enamines can be efficiently cross-coupled with enol silanes through treatment with ceric ammonium nitrate. These reactions were reported by the Narasaka group in 1975, providing a route to stable enamines as well as one instance of a 1,4-diketone (derived from a morpholine amine reagent). Later, these results were exploited by the MacMillan group with the development of an organocatalyst which used the Narasaka substrates to produce 1,4 dicarbonyls enantioselectively, with good yields. Oxidative dimerization of aldehydes in the presence of amines proceeds through the formation of an enamine followed by a final pyrrole formation. This method for symmetric pyrrole synthesis was developed in 2010 by the Jia group, as a valuable new pathway for the synthesis of pyrrole-containing natural products.

Annulation

Enamines chemistry has been implemented for the purposes of producing a one-pot enantioselective version of the Robinson annulation. The Robinson annulation, published by Robert Robinson in 1935, is a base-catalyzed reaction that combines a ketone and a methyl vinyl ketone (commonly abbreviated to MVK) to form a cyclohexenone fused ring system. This reaction may be catalyzed by proline to proceed through chiral enamine intermediates which allow for good stereoselectivity. This is important, in particular in the field of natural product synthesis, for example, for the synthesis of the Wieland-Miescher ketone – a vital building block for more complex biologically active molecules.

Reactivity

Enamines act as nucleophiles that require less acid/base activation for reactivity than their enolate counterparts. They have also been shown to offer a greater selectivity with less side reactions. There is a gradient of reactivity among different enamine types, with a greater reactivity offered by ketone enamines than their aldehyde counterparts. Cyclic ketone enamines follow a reactivity trend where the five membered ring is the most reactive due to its maximally planar conformation at the nitrogen, following the trend  5>8>6>7 (the seven membered ring being the least reactive). This trend has been attributed to the amount of p-character on the nitrogen lone pair orbital - the higher p character corresponding to a greater nucleophilicity because the p-orbital would allow for donation into the alkene π- orbital. Analogously, if the N lone pair participates in stereoelectronic interactions on the amine moiety, the lone pair will pop out of the plane (will pyramidalize) and compromise donation into the adjacent π C-C bond.

There are many ways to modulate enamine reactivity in addition to altering the steric/electronics at the nitrogen center including changing temperature, solvent, amounts of other reagents, and type of electrophile. Tuning these parameters allows for the preferential formation of E/Z enamines and also affects the formation of the more/less substituted enamine from the ketone starting material.

See also
Enders SAMP/RAMP hydrazone-alkylation reaction
Hajos–Parrish–Eder–Sauer–Wiechert reaction
Michael Addition
Nenitzescu indole synthesis
Organocatalysis
Robinson annulation
Thorpe reaction
Fluoxymesterone

References

Functional groups

Enamine


An Rhynchospora macrostachya in uska species han Liliopsida nga ginhulagway ni John Torrey ngan Asa Gray. An Rhynchospora macrostachya in nahilalakip ha genus nga Rhynchospora, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Rhynchospora

Rhynchospora macrostachya


5256 Farquhar este un asteroid din centura principală de asteroizi.

Descriere
5256 Farquhar este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Observatorul Palomar de Helin, E. F., Mikolajczak, C., Coker, R.. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,55 ua, o excentricitate de 0,20 și o înclinație de 14,9° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 5001-6000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1988
Centura de asteroizi

5256 Farquhar


Gaia Sky é um programa de desktop e VR de visualização de astronomia livre e de código-aberto com versões para Windows, Linux e macOS. É criado e desenvolvido por Toni Sagristà Sellés no âmbito da missão Gaia da ESA para criar um mapa multidimensional de mil milhões de estrelas da nossa Via Láctea, no grupo Gaia do Astronomisches Rechen-Institut (ZAH, Universität Heidelberg). Gaia Sky é um produto do grupo de trabalho de divulgação do Gaia Data Processing and Analysis Consortium. O software é lançado sob a Licença Pública Mozilla.

O funcionamento interno do Gaia Sky é descrito em detalhes no artigo Gaia Sky: Navigating the Gaia Catalog.

O Gaia Sky oferece muitos recursos avançados, como renderizadores estereoscópico (3D), planetário e panorama. Ele também funciona com headsets de realidade virtual através do SteamVR, é totalmente programável com Python e possui suporte a controlador de jogo que possibilita operá-lo mesmo com um volante.

Gaia Sky é usado pela ESA para auxiliar na produção de vídeo de Gaia Data Releases. Um vídeo feito com o Gaia Sky também foi destaque no site Astronomy Picture of the Day.

Dados

Os pacotes de instalação do Gaia Sky contêm o programa, mas nenhum dado. Para utilizar o Gaia Sky, é necessário pelo menos o download do pacote de dados base, contendo o Sistema Solar com texturas de resolução baixa. O Gaia Sky  oferece um gerenciador de download integrado que se conecta aos servers do Astronomisches Rechen-Institut em Heidelberg para buscar os conjuntos de dados desejados. Os processos de download e implantação são perfeitos para o usuário.

Vários conjuntos de dados estão disponíveis, oferecendo texturas de maior resolução, diferentes cortes do catálogo Gaia eDR3 (até 1,46 bilhão de estrelas), outros catálogos de estrelas, como o catálogo Hipparcos, diferentes mapas de galáxias (poeira, regiões HII, etc.), nebulosas ou extragalácticos catálogos como NBG ou Sloan Digital Sky Survey.

Todos os conjuntos de dados são especificados em arquivos JSON seguindo um formato compreensível e bem documentado.

Ligações externas

 Repositório de fontes Gaia Sky
 Documentação oficial
 Lista de lançamentos
 pacote AUR
 Flatpak (link Flathub)
 Trailer da versão 3.0.0

Freeware
Programas de computador livres educativos
Software livre multiplataforma

Gaia Sky


Brad Templeton (born June 1960 near Toronto) is a Canadian software developer, internet entrepreneur, online community pioneer, publisher of news, comedy, science fiction and e-books, writer, photographer, civil rights advocate, futurist, public speaker, educator and self-driving car consultant. He graduated from the University of Waterloo.

Notable projects

ClariNet
Most notably, Templeton was founder and CEO in 1989 of ClariNet Communications, the first company founded to engage in commercial activity over the early Internet.

Electronic Frontier Foundation

Templeton has been involved with the Electronic Frontier Foundation since 1997, including being chairman from 2000 to 2010.  His involvement in online civil rights also includes being the subject of one of the first major internet bans and being a plaintiff before the Supreme Court of the United States in Reno v. ACLU  Templeton's strongest efforts have been in the areas of free speech, computer security, privacy and intellectual property.

rec.humor.funny and USENET
Templeton played an active role over the life of Usenet, including the development of software tools for it.  His most notable activities involved the creation and moderation of the newsgroup "rec.humor.funny", a moderated newsgroup devoted to comedy. USENET statistics reported by Brian Reid reported rec.humor.funny as the most widely read online publication starting in 1989, continuing in that position into the mid-1990s, with an estimated 440,000 readers.

Software career
Templeton began as the first employee of VisiCorp (then called Personal Software Inc.) the first PC applications software company, where he published several games and tools and assisted on Visicalc the first spreadsheet and personal computing productivity tool.  He also developed the IBM-PC version of the VisiPlot companion before release of the PC.  He was CEO and Founder of Looking Glass Software Ltd. in Ontario.  His software specialty has been languages, tools and spreadsheets, as well as software for USENET.

e-Books
Templeton was editor and publisher for ClariNet's Hugo and Nebula Anthology 1993, one of the largest early commercial e-Book projects.  It offered 5 full novels still in hardback release, along with a wide array of short fiction and multimedia.   In later years, it has become the norm for the administrators of the Hugo Award to produce an annual digital anthology of award nominees.

This was an adjunct of the "Library of Tomorrow" project, which offered a full library of fiction on an "all you can read" subscription basis.  The library failed, but presaged many similar attempts to sell online content by subscription.

Foresight Institute
Since 2004, Templeton has been a board member of the Foresight Institute, one of the oldest futurist organizations and the leading one in the field of nanotechnology.

Singularity University
Templeton joined the founding faculty for Singularity University, an educational institution and think-tank devoted to rapidly changing technology and its effects.  Since 2010 he has been Chair for Networks and Computing on that faculty.

Robocars
Templeton has been an active writer in the field of Robocars since 2007, building the site Robocars.com and writing regularly at Brad Ideas.  In 2010, he joined the Google self-driving car project (now known as Waymo) where he consulted on strategy and technology.   He has also served as a consulting advisor for Starship Technologies in the delivery robot space and Quanergy LIDAR, among others.  He writes frequently on this topic on his own web site, the Forbes site and others.   Templeton is inventor on 21 patents in self-driving cars and telephony.

Speaker
Templeton has been a keynote speaker at many conferences and events, including Wired UK, Pioneers Festival Vienna, University of British Columbia Master Mind Class, Web Summit, Next Berlin, The Next Web Amsterdam, Ontario Centres of Excellence Toronto, USI Paris, Australian Unix Users Group (AUUG) Sydney, Korean Global Leaders Forum, CLSA Forum Hong Kong and Tokyo, Baidu Big Talk, Beijing, Singularity Summit Chile (also Buenos Aires, Christchurch, Budapest, Seville, Johannesburg, Milan, Amsterdam, Berlin and Copenhagen) and Innotown Norway.

Software and bibliography
 Author, Time Trek game for Commodore PET (VisiCorp 1978)
 Consultant, VisiCalc port to Commodore PET (VisiCorp 1979)
 Port, Checker King game for Apple and Atari (VisiCorp 1979)
 Port, Microchess game for Atari (VisiCorp 1980)
 Lead Author, Visiplot graphing tool for IBM PC (VisiCorp 1981)
 Author, PAL Assembler for Commodore computers (Temtech, 1980)
 Author, POWER programming tools for Commodore (Professional Software, Pro-Line) 1981
 Lead Author, ALICE: The Personal Pascal Structure editor and integrated development environment for IBM PC, Atari ST and QNX (Looking Glass Software / Software Channels, 1985)
 Lead Author, ALICE Basic structure editor and IDE for QNX (Looking Glass Software 1986)
 Lead Author, 3-2-1 Blastoff spreadsheet compiler for Lotus 1-2-3 (Frontline Systems/Intel, 1987)
 Author, 3-2-1 Gosub programming tool for Lotus 1-2-2 (Frontline Systems, 1988)
 Compressor Author, Stuffit Deluxe (Aladdin Systems, 1989)
 Author, Newsclip programming language for Usenet filtering, 1988
 Author, TVWish wishlist system for MythTV (open source)
 Editor, The Internet Jokebook (Peer-to-peer Publishing, 1995)
 Editor, The Telejokebook/rec.humor.funny annual Vol I-IV (ClariNet 1988–1992)
 Editor, Electric Science Fiction online award nominees (ClariNet, 1992)
 Editor, Hugo and Nebula Anthology 1993 (ClariNet, 1995)

Other roles
Templeton was a director of Bittorrent Inc. Bittorrent's software was the largest driver of internet bandwidth use during the early 21st century.  He is also the author of several well known internet essays on copyright and netiquette.  He was also an active artist at Burning Man creating installations based on photography and telephony.

Family
Templeton is the son of Charles Templeton and Sylvia Murphy, and the brother of Ty Templeton.

See also
 List of University of Waterloo people

References

External links
  – Templeton's home page
  – rec.humor.funny website
  – Templeton's blog
  – Robocars

1960 births
Living people
Computer programmers
Canadian businesspeople
Usenet people
University of Waterloo alumni

Brad Templeton


Løgumkloster Kirke, Rømø-Drømø er en dansk dokumentarfilm fra 1984 instrueret af Anders Born.

Handling
Rømø er en ø fyldt med modsætninger. Det er en ferieø med al sin reklame og stor omsætning af burgere og hurtige penge. De gamle Rømø-boere kan huske øen, som den var inden turisterne kom. Filmen viser en række af kirkens detaljer kædet sammen af domorg..

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 1984

Løgumkloster Kirke, Rømø-Drømø


Woltersdorf, Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Herzogtum Lauenburg iline bağlı bölge. 7,90 km² yüzölçüme sahiptir. Nüfusu, 31 Mart 2010 itibarıyla 268 olarak tespit edilmiştir. Belediye Başkanlığı Rainer Schmitt tarafından yürütülmektedir.

Dış bağlantılar
 www.amt-breitenfelde.de

Herzogtum Lauenburg iline bağlı yerleşim birimleri

Woltersdorf (Lauenburg)


(Manipur) නැගෙනහිර භාරතයේ ප්‍රාන්තයකි. අගනුවර: ඉම්පාල්.

ප්‍රාන්ත - ඉන්දියාව
ඉන්දියාව
ඉන්දියාවේ ප්‍රාන්ත

මනිපූර්


The Dears are a Canadian indie rock band from Montreal, Quebec. The band is led by the husband-and-wife duo of singer-guitarist Murray Lightburn and keyboardist Natalia Yanchak.

History
The band formed in 1995 and released their first album, End of a Hollywood Bedtime Story, in 2000. Their orchestral, dark pop sound and dramatic live shows established The Dears as part of the then-emerging Canadian indie renaissance.

The Dears performed in Toronto in October 2001 with Sloan. In 2001 and 2002, they released the EPs Orchestral Pop Noir Romantique and Protest, respectively, as well as a collection of unreleased songs, Nor the Dahlias. In 2003 they released their second full-length album No Cities Left, and a string of shows at SXSW '04 launched their international career.

The Dears toured extensively across Canada, U.S., UK, Europe, Japan and Australia supporting the international release of No Cities Left and returned to the studio to record in 2005. Gang of Losers was released in 2006, and was well received by the press.

The Dears have had high-profile gigs as opening act for Sloan, The Tragically Hip, Keane, The Secret Machines and Morrissey, to whom Lightburn is often compared. Their music has been described as a cross between The Smiths and Serge Gainsbourg with Lightburn's singing voice being likened to Morrissey as well as Blur's Damon Albarn. The complexity of the music and arrangements has also been compared to Radiohead, Jethro Tull and early Genesis. The Dears' powerful live shows have been described as: "...the sonic equivalent of seeing the face of God."

On July 10, 2007, The Dears' album Gang of Losers was named to the shortlist for the 2007 Polaris Music Prize. The follow-up Missiles was released in the United Kingdom on October 20 and in North America on October 21, 2008.

On February 15, 2011, The Dears released their fifth studio album, Degeneration Street. The album was named as a longlisted nominee for the 2011 Polaris Music Prize.

Band members

Current members
Murray Lightburn (since 1995) - vocals, guitar, keyboards, percussion, bass
Natalia Yanchak (since 1998) - keyboards, vocals
Jeff Luciani (since 2010) - drums
Steve Raegele (since 2015) - guitar
Rémi-Jean LeBlanc (since 2019) - bass

Past members
Clinton Ryder (2018) - touring bass player
Tessa Kautzman (2016-2017) - touring bass player
Rob Benvie (2002–2003, 2009, 2016–2017) - guitar, bass, keyboards, percussion, vocals
Patrick Krief (2003–2008, 2010–2015) - guitar, vocals, piano
Roberto Arquilla (1997–2000, 2010–2015) - bass
Laura Wills (2008–2009) - touring keyboards, vocals
Jason Kent (2008–2009, 2017) - touring guitar, vocals, keyboards
Christopher McCarron (2008–2009) - touring guitar player
Yann Geoffroy (2008–2009) - touring drummer, keyboards
Lisa Smith (2008–2009) - touring bass player
George Donoso III (2001–2008) - drums, vocals
Martin Pelland (2001–2007) - bass, vocals
Valérie Jodoin Keaton (2002–2007) – keyboards, flute, vocals, percussion
Jonathan Cohen (1999–2002) - guitar
Brigitte Mayes (1999–2002) - cello, flute
Richard MacDonald (1995–1998) - guitar
John Tod (1995–2000) - drums
Andrew White (1995–1998) - bass

Timeline

Discography

Studio albums
 2000: End of a Hollywood Bedtime Story
 2003: No Cities Left (No. 127 UK)
 2006: Gang of Losers (No. 52 CAN, No. 77 UK)
 2008: Missiles
 2011: Degeneration Street (No. 37 CAN)
 2015: Times Infinity Volume One
 2017: Times Infinity Volume Two
 2020: Lovers Rock

EPs
 2001: Orchestral Pop Noir Romantique
 2002: Protest
 2009: iTunes Live from Montreal

Compilation albums
 2001: Nor the Dahlias: The Dears 1995-1998

Live albums
 2004: Thank You Good Night Sold Out
 2012: The Dears Live at Pasagüero - Mexico City, Mexico, 2010 (digital only, released by Arts & Crafts Mexico)

Singles
 2004: "We Can Have It"
 2004: "Lost in the Plot"
 2005: "22: The Death of All The Romance"
 2006: "Ticket to Immortality"
 2006: "Whites Only Party"
 2007: "You and I Are a Gang of Losers"
 2008: "Money Babies"
 2010: "Omega Dog"
 2011: "Thrones"
 2015: "I Used To Pray For The Heavens To Fall"
 2015: "Here's to the Death of All the Romance"
 2017: "To Hold and Have"
 2017: "Of Fisticuffs"
 2017: "1998"
 2017: "I'm Sorry That I Wished You Dead"
 2020: "The Worst In Us"
 2020: "Heart Of An Animal"

Other contributions
 Syrup & Gasoline Vol. 2 (2001, Grenadine Records) – "Le pauvre chanteur (From The South Shore)"
Acoustic 07 (2007, V2 Records) – "You and I Are a Gang of Losers"

Awards and nominations

2016: No Cities Left - Shortlisted: 2016 Slaight Family Polaris Heritage Prize (1996-2005).
2011: Degeneration Street – Longlisted: 2011 Polaris Music Prize.
2007: Gang of Losers – Shortlisted: 2007 Polaris Music Prize.
2007: Gang of Losers – Nominated: GAMIQ Awards – International Career, Best Indie Rock Album, Best Concert categories.
2006: Gang of Losers – Nominated: CMW Canadian Independent Music Awards – Favourite Group category.
2006: Whites Only Party  – Winner: CBC Radio 3's Bucky Awards – Catchiest Beat category.
2004: No Cities Left – Nominated in First Round: New Pantheon Music Award.
2004: No Cities Left – Nominated: Juno Award – Best New Group category.
2004: No Cities Left – Nominated: CMW Canadian Independent Music Awards – Favourite Group category.
2003: No Cities Left – Nominated: CASBY Award – Favourite Indie Release.
2002: Orchestral Pop Noir Romantique – Winner: MIMI (Montreal Independent Music Initiative) Awards – Best Production category.
2001: End of a Hollywood Bedtime Story – Nominated: CMW Canadian Independent Music Awards – Best Alternative Album category.
2001: End of a Hollywood Bedtime Story – Nominated: MIMI (Montreal Independent Music Initiative) Awards – Best Album, Best Concert (June 2, 2000), Best Pop Artist categories.

See also

Music of Canada
Music of Quebec
Canadian rock
List of Canadian musicians
List of Quebec musicians
List of bands from Canada
Culture of Quebec

References

External links

Musical groups established in 1995
Canadian indie rock groups
Musical groups from Montreal
English-language musical groups from Quebec
Arts & Crafts Productions artists
MapleMusic Recordings artists
Bella Union artists
Albert Productions artists
Dangerbird Records artists

The Dears


Alibi er en amerikansk kriminalfilm fra 1929, instrueret af Roland West. Manuskriptet blev skrevet af West og C. Gardner Sullivan og var en filmatisering af broadway-skuespillet Nightstick skrevet af Elaine Sterne Carrington, J.C. Nugent, Elliott Nugent og John Wray.
Filmen er en krimi-melodrama og har Chester Morris, Harry Stubbs og Mae Busch på rollelisten. Instruktøren eksperimenterede meget med lyd, musik og kameravinkler.

Filmen blev nomineret til tre Oscar: Oscar for bedste film, Oscar for bedste mandlige hovedrolle (Chester Morris) og Oscar for bedste scenografi (William Cameron Menzies).

Referencer

Eksterne henvisninger

Amerikanske film fra 1929
Engelsksprogede film
Sort-hvide film fra USA

Alibi (film fra 1929)


An Sunipia soidaoensis in uska species han Liliopsida nga syahan ginhulagway ni Gunnar Seidenfaden, ngan ginhatag han pagkayana nga asya nga ngaran ni Peter Francis Hunt. An Sunipia soidaoensis in nahilalakip ha genus nga Sunipia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Sunipia

Sunipia soidaoensis


La Conspiration du Caire (, Walad min al Janna,  « Garçon venant du Paradis ») est un film suédois écrit et réalisé par Tarik Saleh, sorti en 2022.

Il est sélectionné en compétition officielle au Festival de Cannes en . Il remporte le prix du scénario du Festival de Cannes et le prix François-Chalais.

Synopsis
Adam est fils d'un simple pêcheur. Il est admis à l'université al-Azhar au Caire, institution sunnite par excellence. Le jour de la rentrée, le grand imam de la mosquée Al-Azhar, plus haute autorité de l'islam sunnite en Égypte, meurt, presque devant les étudiants. Commence alors une guerre sans pitié pour lui trouver un successeur.

Le pouvoir politique égyptien veut absolument éviter le choix d'un imam proche des Frères Musulmans et imposer un candidat qui lui convienne. Le colonel Ibrahim de la sûreté d'État se voit confier la mission d'orienter l'élection. Pour agir au sein de la prestigieuse institution, il recourt à l'aide d'étudiants qu'il appelle ses "anges". Zizo, l'étudiant avec lequel il travaille, est inquiet pour sa sécurité et souhaite interrompre sa collaboration avec Ibrahim. Il se rapproche alors d'Adam et gagne sa confiance, car il souhaite le proposer à Ibrahim pour le remplacer.

Une nuit, Zizo est assassiné sous les yeux d'Adam. Ibrahim se voit confier l'enquête sur son décès. Il convainc Adam de collaborer avec lui en lui promettant le financement d'une opération qui doit sauver la vie de son père. Il ordonne à Adam de se rapprocher et d'espionner des étudiants proches des Frères Musulmans.

Le Cheikh Ngem, qui est aveugle et charismatique, et est considéré comme un candidat tout à fait crédible pour le poste de grand imam, se présente à la sûreté et s'accuse du meurtre de Zizo, ce qui est évidemment très peu crédible. Il est néanmoins emprisonné. Ibrahim comprend que le Cheikh Ngem sait en fait que Zizo a été assassiné par la sûreté et qu'il compte profiter de son futur procès pour dénoncer les vrais coupables.

Le colonel Ibrahim s'arrange pour qu'Adam devienne l'assistant du cheikh Al Durani, un candidat proche des Frères Musulmans que le pouvoir égyptien ne veut pas voir obtenir la direction de l'institution. Grâce aux informations transmises par Adam, Ibrahim découvre que le cheikh a contracté un mariage secret avec une très jeune fille avec qui il a eu un enfant, et Adam et lui se servent de cette information pour l'écarter de la compétition.

Finalement, le candidat élu au poste de grand imam sera le cheikh Omar Beblawi, un proche du pouvoir égyptien. Le supérieur d'Ibrahim décide alors qu'Adam est désormais inutile, et demande à Ibrahim de l'arrêter pour qu'il soit accusé du meurtre de Zizo et condamné à mort. Ibrahim refuse de jouer le jeu, mais Adam est tout de même arrêté. Ibrahim va alors voir le chef de la Sureté et le convainc qu'Adam peut convaincre le cheikh Ngem de renoncer à s'accuser du meurtre de Zizo.

Adam est finalement libéré et peut retourner dans son village.

Adam est

Tarik Saleh explique que son scénario a été inspiré par les conflits religieux qu'il a découverts dans le roman d'Umberto Eco, Le Nom de la rose. Le personnage d'Adam peut également être rapproché du propre grand-père de Tarik Saleh, qui était originaire d'un petit village du delta du Nil et a étudié à Al-Azhar alors que sa famille était analphabète.

Fiche technique

 Titre international :
 Titre original : Walad Min Al Janna
 Titre français : La Conspiration du Caire
 Réalisation et scénario : Tarik Saleh
 Musique :
 Direction artistique : Sila Karakaya
 Décors : Roger Rosenberg
 Costumes : Denise Östholm
 Photographie : Pierre Aïm
 Son : Fredrik Jonsäter
 Montage : Theis Schmidt
 Production : Kristina Åberg et Fredrik Zander
 Sociétés de production : Atmo Production ; Film i Väst, Final Cut for Real, Memento Films, Oy Bufo Ab et Sveriges Television (SVT) (coproductions)
 Société de distribution : Memento Distribution
 Pays de production : , ,  et
 Langue originale : arabe
 Format : couleur - Dolby Digital
 Genres : thriller ; drame
 Durée : 120 minutes
 Dates de sortie :
 France :  (Festival de Cannes) ;  (sortie nationale)
 Suède :
 Belgique :

Distribution

 Tawfeek Barhom  : Adam
 Fares Fares  : Ibrahim
 Mehdi Dehbi : Zizo
 Mohammad Bakri : le général Al Sakran
 Makram Khoury : Cheikh Negm
 Moe Ayoub : Sohby
 Sherwan Haji : Soliman
 Ahmed Laissaoui : Raed
 Jalal Altawil  : Cheikh Omar Beblawi
 Ramzy Choukair  : Cheikh Al Durani
 Yunus Albayrak : le professeur de Sharia
 Mouloud Ayad : Nazim
 Youssef Salama Zeki : le professeur de biologie
 Ayman Fathy : un soldat
 Amr Mosad : Harun
 Okan Bozkuş : étudiant

Production

Tournage
Tarik Saleh n'a pas pu tourner le film en Égypte, où il craignait d'être arrêté dès sa descente d'avion. Le film a donc été réalisé en Turquie, principalement à Istanbul durant l'été 2021 et notamment à la mosquée Süleymaniye.

Selon Le Parisien, le film .

Accueil

Critiques
En France, le site Allociné propose une moyenne de  à partir de l'interprétation de 33 critiques de presse.

Selon Jacques Mandelbaum du Monde, La Conspiration du Caire est .

Selon Jacky Bornet de France TV info .

Selon Jérôme Garcin de France Inter, c'est . Le film reçoit un accueil dithyrambique par les critiques du Masque et la plume.

Pour Mathieu Victor-Pujebet du site Ecran Large, le long-métrage bénéficie d'une  tout en insufflant . Le film est . Le critique considère également la distribution comme très réussie. Le critique résume sa pensée ainsi : .

Box-office
Pour son premier jour d'exploitation en France, La Conspiration du Caire réalise  dont  en avant-première, pour 205 copies. Le long-métrage est troisième au box-office des nouveautés, derrière La Proie du diable () et devant L'école est à nous (). Au bout d'une première semaine d'exploitation, le long-métrage totalise  pour une dixième place au box-office français, derrière Belle et Sébastien : Nouvelle Génération (). En semaine 2, le long-métrage réalise  supplémentaires pour une dernière position dans le top 10 du box-office de la semaine, derrière Amsterdam (). Pour sa troisième semaine d'exploitation, le long-métrage réalise  supplémentaires pour une neuvième place au box-office, derrière Le Nouveau Jouet () et devant Plancha ().

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 Récompenses et distinctions

 Récompenses
 Festival de Cannes 2022 : prix du scénario
 Prix François-Chalais 2022
 Prix des auditeurs du Masque et la Plume du meilleur film étranger de l'année 2022

 Nominations
 César 2023 : meilleur film étranger

 Sélections
 Festival de Cannes 2022 : sélection officielle en compétition pour la Palme d'or

 Notes et références

 Voir aussi
 Bibliographie
 Jean-Philippe Domecq, « La religion est police dont l'État a le secret », Positif, , Institut Lumière/Actes Sud, Paris, , ,
 Pierre-Simon Gutman, « La Conspiration du Caire », L'Avant-scène Cinéma'', , Alice Edition, Paris, , ,

Articles connexes
 Sunnisme
 Université al-Azhar
 Mosquée Al-Azhar
 Frères Musulmans

Liens externes

Film suédois sorti en 2022
Film français sorti en 2022
Film finlandais sorti en 2022
Film danois sorti en 2022
Film dramatique suédois
Film dramatique français
Film dramatique finlandais
Film dramatique danois
Thriller (film) suédois
Thriller (film) français
Thriller (film) finlandais
Thriller (film) danois
Film réalisé par Tarik Saleh
Film d'Arte
Film se déroulant au Caire
Film tourné en Turquie
Film sur l'islam
Prix du scénario au Festival de Cannes
Film en arabe

La Conspiration du Caire


Flörsbach steht für

 Flörsbach (Flörsbachtal), ein Ortsteil von Flörsbachtal
 Flörsbach (Lohr), ein Nebenfluss der Lohr

Flörsbach


Das Philharmonische Staatsorchester Mainz ist das Hausorchester des Staatstheaters Mainz. Neben den Musiktheater- und Ballettvorstellungen gehören Sinfonie-, Jugend- und Kammerkonzerte zum Tätigkeitsbereich. Es ist eines der fünf Sinfonieorchester des Landes Rheinland-Pfalz. Seit September 2011 ist Hermann Bäumer Chefdirigent.

Geschichte

16. und 17. Jahrhundert
Unter Kurfürst Albrecht von Brandenburg, der ab 1514 in Mainz residierte, wird die Kurfürstliche Mainzer Hofkapelle erstmals erwähnt. Der erste nachweisbare Kapellmeister, Jan le Febure, nahm seine Tätigkeit am Mainzer Hof im Jahre 1601 auf. In der Folgezeit ist die musikalische Ausgestaltung zahlreicher Kaiserkrönungen belegt, wodurch die Mainzer Hofkapelle bereits früh überregional Bekanntheit erlangte. So spielte das Orchester im Jahre 1612 zur Krönung von Kaiser Matthias. Am Anfang des 18. Jahrhunderts begann Kurfürst Lothar Franz von Schönborn damit, einen weltlich orientierten Neuaufbau der Hofkapelle vorzunehmen. Dazu zählte die Erweiterung der Streicher durch Holzbläser und Hörner. Kurfürst von Schönborn war es auch, der Einstellungsurkunden in Form eines Dekrets für Hofmusiker einführte.

18. und 19. Jahrhundert
Für das Jahr 1777 ist bereits eine Orchesterstärke von 35 Mitgliedern belegt. Der erste ständige Theaterbau wurde in Mainz im Jahre 1760 errichtet. Kurfürst Emmerich Joseph von Breidbach zu Bürresheim gestattete hier seinen Musikern ausdrücklich die Mitwirkung bei Opernaufführungen. Damit war das Orchester nun auch Opernorchester. Nur wenige Jahre später ließ Kurfürst Emmerich Joseph das Kurfürstliche Komödienhaus an der Großen Bleiche errichten. Er bezuschusste den Spielbetrieb und stellte wiederum sein Orchester zu Verfügung. Im ersten Musikalischen Almanach von 1782 wird die Mainzer Hofkapelle inzwischen unter den hervorragendsten Deutschlands genannt. Die Oper machte sich in den folgenden Jahren vor allem mit Mozarts Werken einen Namen. So war Mozarts Don Giovanni 1789 als Erstaufführung in deutscher Sprache in Mainz zu erleben. Mozart weilte mehrfach in Mainz und gab Konzerte mit der Hofkapelle. Die Oper erlebte am Ende des 18. Jahrhunderts in Mainz eine besondere Zeit der Blüte und galt als eine der besten in ganz Deutschland. Die Stärke der Hofkapelle betrug für damalige Verhältnisse beachtliche 48 Musiker. Kurfürst Friedrich Karl Joseph von Erthal hatte das Theater inzwischen zum Nationaltheater aufgewertet. Doch schon wenige Jahre später, während des Ersten Koalitionskriegs, wurde das Komödienhaus zerstört. Der Kurfürst ordnete den Umbau seines Marstalls zum Theater an. Er sollte in den nächsten 40 Jahren als Spielstätte dienen.

Mit dem Ende des Kurfürstentums in Mainz begannen für die Musiker schwere Zeiten. Vom Orchester war nur noch ein kleiner Teil in Mainz verblieben und bildete nun unter neuer Leitung das Theaterorchester. Es war direkt von Erfolg oder Misserfolg der ständig wechselnden Theaterdirektoren abhängig. Doch bereits 1804 gründete sich die Gesellschaft "Vereinigte Musikfreunde" und gab dem Konzertbetrieb stabile Rahmenbedingungen. Nun war man in der Lage regelmäßige Sinfoniekonzerte zu organisieren und hierfür bedeutende Musiker, wie Nicolò Paganini oder Franz Liszt, zu gewinnen.

Am 21. September 1833 hob sich im inzwischen neu gebauten Theater am Gutenbergplatz (dem heutigen Staatstheater) zum ersten Mal der Vorhang. Gespielt wurde Webers9 "Jubelouvertüre" und Mozarts "Titus". Die schwierige Lage des Orchesters stabilisierte sich schließlich durch die Übernahme durch die Stadt Mainz im Jahre 1876. Unter dem Dach der Stadt war man mit 45 Musikerstellen nun nicht mehr direkt von finanziellen Misserfolgen am Theater bedroht. Unter dem ersten städtischen Kapellmeister Emil Steinbach, wurde die Mainzer Bühne führend in der Interpretation von Richard Wagners Werken. Aber auch im Konzert waren seine Werke zu hören. So konnte am 30. November 1877 in Mainz die erste öffentliche Aufführung der Konzertfassung von Wagners "Siegfried-Idyll" unter Steinbachs Leitung stattfinden. Die Uraufführung von Hans Pfitzners "Der arme Heinrich" am 24. März 1895 leitete der Komponist selbst.

20. und 21. Jahrhundert
Am 21. Dezember 1906 begann mit der ersten Aufführung der "Salome" auch die Zeit der intensiven Pflege der Richard Strauss`schen Werke. 1927 hatte "Das schlaue Füchslein" von Leoš Janáček in Mainz ihre deutsche Erstaufführung. Das Festkonzert zum 100-jährigen Bestehen des Theaters am Gutenbergplatz leitete Hans Knappertsbusch. In den folgenden Jahren waren Dirigenten wie u. a. Karl Schuricht, Erich Kleiber, Rudolf Kempe, Eugen Jochum, Karl Böhm zu Gast. Nachdem das Theater während der Luftangriffe auf Mainz im Zweiten Weltkrieg teilweise zerstört worden war, begann Karl Maria Zwißler das Orchester neu zu formieren. So brachte die Gutenberg-Festwoche 1947 wieder einen ersten Höhepunkt mit einer konzertanten Aufführung von Wagners "Tristan und Isolde". 1954 folgte die konzertante Aufführung des "Ring des Nibelungen" von Richard Wagner. Neben eigenen Kräften machten hervorragende Gastsolisten die Aufführungen geradezu legendär. Die Umgestaltung des Theaters zur Staatstheater-GmbH im Jahre 1990 brachte für das Orchester eine nochmalige Verstärkung auf nun 81 Planstellen und die Umbenennung in Philharmonisches Orchester des Staatstheaters Mainz mit sich. 2001 wurde Catherine Rückwardt Generalmusikdirektorin des Orchesters, eine der ersten Frauen in dieser Position an einem Staatstheater.

2003 plante das zuständige Ministerium im Rahmen einer "Strukturreform" zunächst die Fusion der Orchester in Mainz und Ludwigshafen zu einer "Neuen Staatsphilharmonie". Dies konnte verhindert werden, doch der Kompromiss sah eine Reduzierung der Stellenzahl in Mainz auf 66 vor und führte 2006 zur Herauslösung der Orchesters aus der Staatstheater-GmbH, das nunmehr als Landesbetrieb und als Philharmonisches Staatsorchester Mainz firmiert.

Seit 2011 ist Hermann Bäumer Chefdirigent des Philharmonischen Staatsorchesters Mainz. 2019 erhielt das Orchester vom Deutschen Musikverleger-Verband die Auszeichnung "Bestes Konzertprogramm der Spielzeit".

Konzert-Aktivitäten
Das Philharmonische Staatsorchester Mainz bespielt das Staatstheater Mainz und Ballett Mainz. Pro Spielzeit werden ca. 11 Musiktheaterproduktionen und Ballettproduktionen mit dem Orchester inszeniert (ca. 100 Vorstellungen). Seine Konzerttradition wird jährlich durch etwa 50 Konzerte weitergeführt. Dazu gehören 9 Sinfoniekonzerte, 4 Konzerte für junge Leute, Kinderkonzerte, Sonderkonzerte sowie mehrere Kammerkonzertreihen. Das Orchester betreibt eine eigene Jugendarbeit. Neben dem Instrumentarium der Musikpädagogik (Kinder- und Jugendkonzerte, Probenbesuche, Schulbesuche) zeichnet sich das Mainzer Orchester durch Projekte wie Kulturschule, Opernclub und Orchester-mobil aus.

CD-Produktionen
 Hans Rott: Sinfonie für Streichorchester As-Dur
 Hans Rott: Streichquartett c-moll
 Hans Rott: Sinfonie Nr. 1 E-Dur
 Friedrich Gernsheim: Sinfonie Nr. 1 g-Moll, Sinfonie Nr. 3 c-Moll

Orchester Mobil
 Peter und der Wolf, Sinfonisches Märchen op. 76 für Erzähler und Sinfonieorchester von Sergej Prokofjew. Text vom Komponisten. Deutsche Textfassung von Christoph Rueger.
 Nussknacker und Mausekönig, Musik von Pjotr Iljitsch Tschaikowski. Text von Anne do Paço nach dem gleichnamigen Marchen von E. T. A. Hoffmann.
 Ali und der Zauberkrug, ein Märchen über die magische Wirkung der Musik von Enjott Schneider.

Hofkapellmeister und Chefdirigenten
Die Hofkapellmeister und Chefdirigenten des Philharmonischen Staatsorchesters Mainz:

Weblinks

 Homepage des Orchesters
 Orchesterstiftung
 Staatstheater Mainz

Einzelnachweise

Musikgruppe (Mainz)
Sinfonieorchester (Deutschland)
Orchester (Rheinland-Pfalz)

Philharmonisches Staatsorchester Mainz


Manuel Romero Ancona fue un político y abogado mexicano nacido en Tixkokob y fallecido en Mérida, Yucatán. Fue gobernador de Yucatán de 1878 a 1882. Fue el primer gobernador electo de Yucatán durante el porfiriato.

Datos históricos
Romero Ancona tuvo como compañero de fórmula en la vice-gubernatura del estado a José María Iturralde Lara quien había sido gobernador interino en fecha inmediata anterior. Este último volvería a ser gobernador interino en varias ocasiones.

La gestión de Romero Ancona fue marcada por su pugna con el periodista José Vidal Castillo, director de la Revista de Mérida, órgano antecedente del actual Diario de Yucatán, a quien mandó aprehender, vejándolo, por hacer juicios "indebidos" de la administración pública. La aprehensión fue revertida por un fallo de la Suprema Corte de Justicia de la Nación.

Promulgó el decreto de creación de la Escuela Normal de Profesores ante la necesidad manifiesta de incrementar el número de mentores en Yucatán. También revirtió un decreto del gobernador Manuel Cirerol y Canto por el que se había nombrado al poblado Sierra Papacal con el nombre de Justo Sierra  O'Reilly.

En 1890 intentó reelegirse gobernador, sin lograrlo.

Véase también
 Historia de Yucatán
 Gobernantes de Yucatán

Referencias

Enlaces externos
 Gobernadores de Yucatán durante la dictadura porfirista Consultado el  13 de febrero de 2012.

Nacidos en Tixkokob
Gobernadores de Yucatán del siglo XIX
Fallecidos en Mérida (México)

Manuel Romero Ancona


Haley Chura née le  à Bozeman aux États-Unis est une triathlète professionnelle, multiple vainqueur sur triathlon Ironman 70.3.

Biographie

Haley Chura a fait des études de comptabilité à l'Université de Géorgie où elle était nageuse universitaire, son diplôme en poche elle a travaillé dans un cabinet comptable à Atlanta où son patron l'a mise au défi de s'entraîner à courir avec lui, ce qui l'a emmené par la suite à son premier triathlon.

Haley Chura termine neuvième au championnat d'Ironman 70.3 à Chattanooga, (Tennessee - États-Unis) en 2017 et troisième du championnat du monde Challenge à Šamorín (Slovaquie) en 2021.

Palmarès
Le tableau présente les résultats les plus significatifs (podium) obtenus sur le circuit international de triathlon depuis 2013.

Notes et références

Voir aussi

Articles connexes
 Challenge (triathlon)
 Ironman 70.3

Liens externes

Triathlète américaine
Naissance à Bozeman
Naissance en juillet 1985

Haley Chura