Green Bullfrog is a blues album recorded by an ad hoc band and produced by Derek Lawrence. The bulk of the album was recorded over two sessions at De Lane Lea Studios, London in 1970, with later string and brass overdubs. It was originally released in 1971, with reissues in 1980 and 1991.

The album listed pseudonyms in the credits for contractual reasons and was commercially unsuccessful. The musicians were eventually confirmed as including Deep Purple's Ritchie Blackmore and Ian Paice, Procol Harum's Matthew Fisher, Chas & Dave's Chas Hodges and session guitarists Albert Lee and Big Jim Sullivan.

Background

Green Bullfrog was the idea of producer Derek Lawrence, who assembled a group of musicians with whom he had worked in the 1960s. Guitarist Albert Lee had been working with Lawrence as a session player, and the original idea had been to record with former Screaming Lord Sutch bassist Tony Dangerfield. However, the sessions did not work out, so the pair decided to invite other session musicians and Sutch alumni and record a studio jam.

The backing tracks were recorded in two overnight sessions on 20 April and 23 May 1970 at De Lane Lea Studios, London, starting at 11pm. It was recorded live into four track tape. Deep Purple and former Sutch guitarist Ritchie Blackmore had previously worked with Lawrence and brought along their drummer Ian Paice. According to Lee, Blackmore and Paice arrived at the studio directly from Deep Purple gigs on both occasions. Session guitarist Big Jim Sullivan was invited as he had originally taught Blackmore how to play guitar and was greatly admired by him. Guitarist Rod Alexander was friends with Blackmore and worked in a music shop on Charing Cross Road. He arrived at the session to deliver some guitar strings and was persuaded to stay. All the musicians had wanted to play together for some time, but were too busy with touring or session work to do so. Singer Earl Jordan had been recording with the Les Humphries Singers. He put down guide vocals during the main session, then re-recorded all his parts after everyone else had left. Strings and brass overdubs were added on 4 January 1971.

A few originals (penned by Lawrence) were played, as well as many blues-inflected cover versions. Sullivan rearranged Lawrence's "Lovin' You (Is Good for Me Baby)" in  compound time to make it more interesting to play. The guitar workout instrumental "Bullfrog" is a Deep Purple song "Jam Stew", which had been previously recorded at a BBC Radio 1 session. Blackmore played the main riff once to Sullivan and Lee, who both immediately created guitar harmonies around it. The track also features Tony Ashton on Hammond organ. The sessions also included a cover of the Creation's "Makin' Time", which Blackmore and Lawrence had both wanted to record. Lawrence selected all the other songs for everyone to record.

For contractual reasons, the musicians were billed under pseudonyms. Lee was called "Pinta" after an in-joke where he would say "I'm only delivering the milk!" when a second take of a song was requested. Ashton was called "Bevy" because he liked to keep bottles of light ale under his organ. Bassist Chas Hodges (who previously played with Blackmore in the Outlaws and would later be one half of Chas & Dave) took the name "Sleepy" due to his habit of falling asleep at sessions. Blackmore was called "Boots" because he frequently wore suede cowboy boots, while Sullivan was nicknamed "The Boss" due to his respect from the others as one of the best session players. Procol Harum's Matthew Fisher, who played piano on the album, was named "Sorry" after his reputation of apologising if another take was required. Alexander was called "The Vicar" after Lawrence's habit of saying "hello, vicar" to him, while Paice was nicknamed "Speedy" owing to his fast playing style. Despite rumours at the time, Roger Glover and Jon Lord did not attend any of the sessions.

Release

The title Green Bullfrog was chosen by Lawrence. Hodges later said it was because Lawrence wanted to name every project after a colour. The first release of the session was on 19 March 1971 in the US by Decca Records, as well as a single coupling the tracks "My Baby Left Me" and "Lovin' You Is Good for Me, Baby". It was issued in the UK by MCA Records in March 1972 after Lawrence played some tracks to company president Mike Maitland. However, Maitland had left the company by the time the album was released, so it had little promotion and was commercially unsuccessful.

The album was re-released in 1980 under ECY Street Records in the US. The reissue had additional sleeve notes written by Ed Chapero. The front cover had a quote from Blackmore taken from an interview with Guitar Player magazine in September 1978, which correctly identified himself, Paice, Lee and Sullivan on the album but mistakenly credited Glover. Both Blackmore and Glover were unimpressed with the front cover quotation. It was remixed at Abbey Road Studios, London in 1991 by Lawrence and engineer Peter Vince and reissued on LP and CD. The re-release contained extra tracks not on the original release, and additional information and sleeve notes including an interview with Lawrence. It was the first release that properly credited all the musicians. Four tracks recorded by Green Bullfrog have been published on the 2005 Blackmore compilation Get Away – Groups and Sessions.

Dave Thompson gave a retrospective review on AllMusic which was mixed, praising the quality of musicians, but felt there was "little [...] to truly engage the attention".

Track listing

LP
Taken from the sleeve notes

Side one
"My Baby Left Me" (Arthur Crudup)
"Makin' Time" (Eddie Phillips, Kenny Pickett)
"Lawdy Miss Clawdy" (Lloyd Price)
"Bullfrog" (Derek Lawrence, Ritchie Blackmore, Ian Paice)

Side two
"I Want You"  (Tony Joe White)
"I'm a Free Man"  (Mark "Moogy" Klingman)
"Walk a Mile in My Shoes" (Joe South)
"Lovin' You Is Good for Me Baby"  (Lawrence/Corlett/Hutton)

CD reissue
Tracks marked * are on the original LP.
"Ain't Nobody Home" (Jerry Ragovoy)
"Bullfrog" (Derek Lawrence, Ritchie Blackmore, Ian Paice)*
"Walk a Mile in My Shoes" (Joe South)*
"My Baby Left Me" (Arthur Crudup)*
"Makin' Time" (Eddie Phillips, Kenny Pickett)*
"Lawdy Miss Clawdy" (Lloyd Price)*
"I'm a Free Man"  (Mark "Moogy" Klingman)*
"Lovin' You Is Good for Me Baby"  (Lawrence/Corlett/Hutton)*
"I Want You"  (Tony Joe White)*
"Louisiana Man" (Doug Kershaw)
"Who Do You Love?" (Ellas McDaniel)

Personnel
 "Speedy" (Ian Paice) – drums
 "Sleepy" (Chas Hodges) – bass
 "Bevy" (Tony Ashton) – piano / organ
 "Sorry" (Matthew Fisher) – piano
 "Boots" (Ritchie Blackmore) – guitar
 "Pinta" (Albert Lee) – guitar
 "The Boss" (Big Jim Sullivan) – guitar
 "The Vicar" (Rod Alexander) – guitar
 "Jordan" (Earl Jordan) – vocals

Production
 Derek Lawrence – producer
 Martin Birch – engineer

Notes

References

Sources

External links
Green Bullfrog – Deep Purple Podcast

1971 debut albums
Albums produced by Derek Lawrence
Decca Records albums
Deep Purple

Green Bullfrog


Die Hong Kong Open 1997 im Badminton fanden Anfang November 1997 in Hongkong statt.

Medaillengewinner

Weblinks
 http://www.tournamentsoftware.com/sport/tournament.aspx?id=DF4CF2B6-AFC9-45E9-AB36-6376C1E3F657

World Badminton Grand Prix 1997
1997

Hong Kong Open 1997


Ines Ivanišević-Šilović (Porto Alegre, 23. travnja 1915. – Zagreb, 20. rujna 2003.), hrvatska balerina, baletna kostimografica, baletna kritičarka, kazališna djelatnica.

Životopis
Rođena je u Brazilu. U Francuskoj je na Sorbonnei studirala povijest umjetnosti. Diplomirala je u Zagrebu. Baletna znanja stekla je u Zagrebu i Parizu. U Zagrebu ju je poučavala M. Froman. Plesala je 1930-ih dvije godine u Baletu zagrebačkoga HNK. Osnovala je Ansambl narodnih plesova i pjesama Hrvatske LADO čija je bila prva ravnateljica. Osnovala je i Školu za ritmiku i ples. U srednjoj baletnoj školi u Zagrebu dvadeset godina je bila ravnateljicom. Bila je tajnica ZKM.

Umrla je 20. rujna 2003. i pokopana na Mirogoju.

Obitelj
Mati joj je bila Irena Šilović r. Gavella, ujak dr. Branko Gavella, otac liječnik dr. Srećko Šilović (veleposlanik i veliki meštar lože Maksimilijana Vrhovca), a djed rektor i ban Josip Šilović. Sestra joj je bila balerina Nana Šilović, supruga Otokara Keršovanija, koju je Staljin dao likvidirati. Suprug joj je bio hrvatski pjesnik i slikar Drago Ivanišević, a kći joj je kostimografica i scenografica Latica Ivanišević. Rođak joj je bio teatrolog Nikola Batušić.

Izvori

Životopisi, Zagreb
Hrvatske balerine
Brazilski umjetnici
Hrvatsko iseljeništvo

Ines Ivanišević-Šilović


A Maine Wing Civil Air Patrol (MEWG) é uma das 52 "alas" (50 estados, Porto Rico e Washington, D.C.) da "Civil Air Patrol" (a força auxiliar oficial da Força Aérea dos Estados Unidos) no Estado do Maine. A sede da Maine Wing está localizada na cidade de Augusta. A Maine Wing consiste em mais de 700 cadetes e membros adultos distribuídos em 17 locais espalhados por todo o Estado.

A ala de Connecticut é membro da Região Nordeste da CAP juntamente com as alas dos seguintes Estados: Connecticut, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, Rhode Island e Vermont.

Missão
A Civil Air Patrol tem três missões: fornecer serviços de emergência; oferecer programas de cadetes para jovens; e fornecer educação aeroespacial para membros da CAP e para o público em geral.

Serviços de emergência
A CAP fornece ativamente serviços de emergência, incluindo operações de busca e salvamento e gestão de emergência, bem como auxilia na prestação de ajuda humanitária.

A CAP também fornece apoio à Força Aérea por meio da realização de transporte leve, suporte de comunicações e levantamentos de rotas de baixa altitude. A Civil Air Patrol também pode oferecer apoio a missões de combate às drogas.

A Maine Wing tem uma equipe de gerenciamento de estresse de incidente crítico usada para avaliar membros e não membros quanto a sinais de trauma ou estresse ao responder a uma emergência.

Programas de cadetes
A CAP oferece programas de cadetes para jovens de 12 a 21 anos, que incluem educação aeroespacial, treinamento de liderança, preparo físico e liderança moral para cadetes.

A Maine Wing oferece um acampamento anual onde cadetes recebem treinamento adicional.

Educação Aeroespacial
A CAP oferece educação aeroespacial para membros do CAP e para o público em geral. Cumprir o componente de educação da missão geral da CAP inclui treinar seus membros, oferecer workshops para jovens em todo o país por meio de escolas e fornecer educação por meio de eventos públicos de aviação.

Organização

Ver também
 First Air Force
 Civil Air Patrol
 Maine Air National Guard
 Maine State Guard
 História da Civil Air Patrol

Ligações externas

 Command change for Civil Air Patrol Maine Wing, York County Squad
 Civil Air Patrol Newsroom
 Civil Air Patrol Official Website

Organizações dos Estados Unidos
Educação e treinamento militar
Força Aérea dos Estados Unidos
Ajuda humanitária

Maine Wing Civil Air Patrol


L'île Selapiu est une île de Papouasie-Nouvelle-Guinée, située au sud de l'île de la Nouvelle-Hanovre et à l'ouest de la partie nord de la Nouvelle-Irlande.

Géographie

Histoire

Politique

Économie
Une plantation est installée sur cette île.

Référence

Île en Papouasie-Nouvelle-Guinée

Selapiu


La chapelle Sainte-Philomène et Saint-Michel est une chapelle catholique de style néo-classique, située au carrefour de la rue d'Argoad (ou Argoat) et de la route de la Croix de Pierre, au Nord-Est du bourg de Plourin-lès-Morlaix, dans le département du Finistère. C'est le seul édifice religieux du Diocèse de Quimper et de Léon à être dédié à Sainte Philomène, vierge et martyre au  sous Dioclétien.

Historique

Construction
Cet édifice a été construit en 1843.

Changement de vocable et abandon
En 1961, à la suite de la décision de Jean XXIII de rayer sainte Philomène du calendrier liturgique sous prétexte qu'elle n'a jamais existé, la chapelle changea de vocable pour prendre celui de Saint Michel Archange.

Mais, au fil des années, l'édifice finit par être délaissé et son état devint tel qu'il fut fermé au public.

Désacralisation et rénovation
Au début des années 2010, la chapelle est désacralisée, puis rénovée entre 2012 et 2015 par la commune de Plourin-lès-Morlaix, propriétaire de l'édifice, avant d'être inauguré le 17 avril 2015 ; elle sert désormais d'espace d'animation.

Description
Cet un édifice de plan rectangulaire à vaisseau unique terminé par un chevet plat flanqué d'une sacristie et orienté sud-est – nord-ouest.

Le gros œuvre est en moellon de schiste et de granit, à l'exception des encadrements de baies et des chaînages d'angle, qui sont en pierre de taille de granit.

Mobilier
En 1988, cet édifice abriterait un tableau représentant l'apparition de Sainte Philomène à un malade.

Cloche
Le clocheton surmontant le pignon nord-ouest de la chapelle possède une cloche de volée datant de 1760 et actuellement hors-service depuis la rénovation de l'édifice (il n'y a plus de battant, ni de corde).

Notes et références

Voir aussi

Articles connexes
 Sainte Philomène

Plourin-lès-Morlaix

Chapelle Sainte-Philomène de Plourin-lès-Morlaix


ඔටෝඩෙස්ක් සොෆ්ට්ඉමේජ්, හෝ පහසුවෙන් සොෆ්ට්ඉමේජ් (), යනු ඇවිඩ් ටෙක්නොලොජි ආයතනයේ උප ආයතනයක් වන සොෆ්ට්ඉමේජ් ආයතනය මගින් නිර්මාණය කරන ලද ඉහළ ගණයේ 3D ග්‍රැෆික් යෙදුමකි. මෙය චිත්‍රපටි, පරිගණක ක්‍රීඩා හා ප්‍රචාරක කර්මාන්තවලදී 3D  වටපිටා හා දර්ශන නිෂ්පාදනය සඳහා බහුලව භාවිතා කෙරේ.

පරිශීලකයන්ගේ විවිධ වූ අවශ්‍යතා හා මූල්‍යමය තත්වයන්ට ගැලපෙන පරිදි  සොෆ්ට් ඉමේජ් ආයතනය විසින් මෙම මෘදුකාංගයේ විවිධ සංස්කරණ 4ක් නිර්මාණය කර ඇත. ඒවා නම් අධ්‍යාපනය, පදනම,අත්‍යවශ්‍ය හා උසස් (education, foundation, essentials and advanced) යන ඒවාය.

තවත් සංස්කරණ 2ක් ක්‍රීඩා නවීකරණය කිරීමේ සමාජ සඳහා නිපදවා ඇත. ඒවා නම් සොෆ්ට්ඉමේජ් XSI මොඩ් ටූල් හා  හාෆ් ලයිෆ් - 2 සඳහා වූ සොෆ්ට්ඉමේජ් mXSI EXP යන ඒවාය.  පසුව සඳහන්කළ සංස්කරණය වෑල්ව් මෘදුකාංග හා සමීප සබඳතාවයකින් යුතුව නිර්මාණය කර ඇති අතර එසේ කර ඇත්තේ ක්‍රීඩා නවීකරණ කිරීමේ සමාජයට විශේෂයෙන් හාෆ් ලයිෆ් - 2 සඳහා වූ අන්තර්ගත නිර්මාණය කිරීමටය.

References
http://en.wikipedia.org/wiki/Autodesk_Softimage

මෘදුකාංග

ඔටෝඩෙස්ක් සොෆ්ට්ඉමේජ්


Las diacilglicerol cinasas tipo 5 () son enzimas que catalizan la conversión de diacilglicerol (DAG) a ácido fosfatídico (PA) utilizando ATP como fuente de fosfato.

 1,2-diacilglicerol + ATP  1,2-diacilglicerol-3-fosfato + ADP

El gen de las diacilglicerol cinasas tipo 5 presentes en el ser humano es el . Este tipo de diacilglicerol cinasas se caracteriza por la presencia de un tercer dominio rico en cisteína, un dominio homólogo a la pleckstrina y una región rica en prolina.

DGKQ

Función

La diacilglicerol cinasa theta (DGKQ) fosforila diacilglicerol para generar ácido fosfatídico. Puede que regule la actividad de la proteína cinasa C controlando el equilibrio entre los lípidos señalizadores diacilglicerol y ácido fosfatídico. Es activada en el núcleo en respuesta a la alfa-trombina y al factor de crecimiento nervioso. Puede que participe en la activación inducida por cAMP de la NR5A1 y la consecuente transcripción esteroidogénica proporcionando ácido fosfatídico como ligando de la NR5A1. Actúa de forma sinérgica con la NR5A1 en la actividad transcripcional de la CYP17.

Regulación

La DGKQ es inactivada por la unión a RHOA. No es inhibida por la fosfatidilserina.

Estructura

Interacciona con RHOA produciendo la inhibición de la DGKQ. Interacciona con la proteína cinasa C tipo epsilon (PRKCE) y tipo eta (PRKCH). Interacciona con PLCB1. Interacciona con NR5A1; esta interacción requiere dos motivos L-X-X-L-L en la DGKQ.

Localización celular

Se translocaliza al núcleo en respuesta a la estimulación por trombina. Se translocaliza a la membrana plasmática en respuesta a la estimulación del receptor de la hormona esteroide. La translocalización a la membrana plasmática es dependiente a la estimulación del receptor acoplado a la proteína G y la consecuente activación de PRKCE y PRKCH.

Referencias

Diacilglicerol cinasas
EC 2.7.1

Diacilglicerol cinasa tipo 5


Korsør Fæstning eller Korsør Slot er et tidligere borganlæg i Korsør på Vestsjælland. Det blev anlagt umiddelbart nord for den gamle bykerne på en lille ø ved indsejlingen til byen i 1300-tallet under Valdemar Atterdag, hvor det afløste et ældre anlæg kaldet Tårnborg længere inde i Korsør Nor. Under Karl Gustav-krigene fra 1657-1660 ombyggede svenskerne en del af sætningen med kanonbastioner, for bedre at kunne kontrollere sejladsen på Storebælt.

Slottet blev revet ned i 1700-tallet for i stedet at etablere et batteri. Slottets to fløjet blev nedrevet i 1812. Blandt de bevarede dele af jordvoldene, flere bastioner og en tidligere magasinbygning i tre etager, der blev opført af Christian 4. omkring 1610, og som nu huser Korsør By- og Overfartsmuseum. Dertil kommer det store fæstningstårn på ca. 25 m, der sammen med Gåsetårnet i Vordingborg er de eneste bevarede fæstningstårne i Danmark som stammer fra Middelalderen. Det måler knap 9 m² i grundplan.

Herregården Tårnborg var knyttet til slottet.

Referencer

Eksterne henvisninger

Slotte i Danmark
Residensslotte i Danmark
Fredede slotte og herregårde i Danmark
Fæstning

Korsør Fæstning


Şemsettin Ünlü, (d. 1 Eylül 1928, Harput - ö. 17 Ağustos 2019), Türk şair, roman yazarı ve çevirmen.

1948 yılında Hava Harp Okulu'nu, 1968'de ise ODTÜ İktisadi ve İdari Bilimler Fakültesi, Ekonomi İstatistik Bölümü'nü bitirdi. Türk Silahlı Kuvvetleri'nin çeşitli birimlerinde (1948-1970) arası görev yaptı. Albay rütbesine kadar yükseldi. 1953-1954'te Kore Türk Tugayı'nda bulundu. 1970 yılında kendi isteği ile albay rütbesinde iken emekli oldu. Türk Otomotiv Endüstrileri Anonim şirketinde 1983 yılına kadar çalıştı.

Elazığ Son HaberYalnızlık adlı ilk şiiri 1951'de Varlık'''ta yayınlandı. Çağdaş Türk Dili dergisinde editör olarak çalıştı. Türk Dili, Yeni Ufuklar, Çağdaş Türk Dili ile Adam Sanat dergilerinde şiirleri, yazıları ve denemeleri yayımlandı.Yukarışehir romanı ile 1987 yılında Orhan Kemal Roman Armağanı'nı kazandı. 1989 yılında ise Toprak Kurşun Geçirmez adlı eseri ile Madaralı Roman Ödülü'nu kazandı.

 Eserleri Durur Bakar İbrahim (şiirler, 1977)Dirlik Düzenlik Türküleri (şiirler, 1980)Yukarışehir (roman, Orhan Kemal Roman Armağanı, 1987) ISBN  975-10-1254-6Toprak Kurşun Geçirmez (roman, Madaralı Roman Ödülü, 1989) ISBN  975-10-1255-4Yüz Uzun Yıl (roman, 1993) ISBN  975-510-490-9Büyülü Değirmen (masal, 1998) ISBN  975-10-1273-2Eksi Beş Kelaynak: Denemeler (denemeler, Kültür Bakanlığı Cumhuriyetin 75.Yılı Deneme Başarı Ödülü, 1999) ISBN  975-17-2161-Xİsmet Paşa'nın Ağır Topları (roman, 2003) ISBN  975-304-099-7Romanların Dünyası'' (denemeler, 2006) ISBN  975-304-239-6

Kaynakça

Orta Doğu Teknik Üniversitesi İktisadi ve İdari Bilimler Fakültesinde öğrenim görenler
Orhan Kemal Roman Armağanlı yazarlar
1928 doğumlular
20. yüzyıl Türk roman yazarları
21. yüzyıl Türk roman yazarları
Türk çevirmenler
20. yüzyıl Türk şairleri
21. yüzyıl Türk şairleri

Şemsettin Ünlü


, ou o "Templo do Grande Oeste", é um templo budista que já foi um dos poderosos Sete Grandes Templos na cidade de Nara, Prefeitura de Nara, Japão. O templo foi estabelecido pela primeira vez em 765 como uma contrapartida a Tōdai-ji e é o principal templo da seita budista  depois que o fundador da seita, , assumiu a administração em 1238. Ele passou por vários esforços de reconstrução desde então, durante os séculos seguintes.

Um edifício, o Aizen-dō, abriga uma estátua de Aizen Myō-ō, enquanto a imagem principal é do Buda Sidarta Gautama, erguido por Eison em 1249.

Lista de construções

 Salão Principal (Hondō – 本堂) – Propriedade Cultural Importante. Foi reconstruído em 1808.
 Shiō-dō (四王堂) – Foi reconstruído em 1674.
 Aizen-dō (愛染堂) – Foi reconstruído em 1762.

Templos budistas do Japão

Saidai-ji


محمد إبراهيم  أو دكتور مو إبراهيم (مواليد 1946) مدينة حلفا القديمة بدولة السودان هو مهندس ومقاول اتصالات متنقلة بريطاني - سوداني حيث تعود أصول أسرته النوبية الي مدينة حلفا القديمة. عمل في عدد من شركات الاتصالات النقالة قبل تأسيسه لشركة سلتيل Celtel التي تتواجد في نحو 15 دولة أفريقية باستثمارات تصل إلى 750 مليون دولار أمريكي، وأكثر من 24 مليون مشترك وقام ببيعها في العام 2005 بمبلغ 3.4 مليار دولار.

وفي بادرة إنسانية فريدة أسس في عام 2005 مؤسسة مو إبراهيم التي تقدم جائزة مو إبراهيم لدعم وتشجيع الحكم الرشيد في القارة الأفريقية وهي جائزة سنوية قيمتها خمسة ملايين دولار لأفضل رئيس أفريقي يقوم بجهود واضحة ومعترف بها في مجال بسط الامن والصحة والتعليم والتنمية الإقتصادية ويتنازل سلمياً وديمقراطياً عن السلطة.

مو إبراهيم متزوج حاليا من «سكرتيرته الإنجليزية» قبل أن يطلق مؤخرا زوجته «هنية مرسي» وهي، مستشارة اختصاصية سابقة للعلاج بالأشعة في ناشونال هيلث سيرفيس ولديهما ابنة هديل وولد هوش.

مو حصل على شهادة البكالوريس في هندسة الإلكترونيات من جامعة الإسكندرية، وعلى درجة الماجستير من جامعة برادفورد وكلاهما في تخصص الهندسة الكهربائية وعلى درجة الدكتوراة "PhD" من جامعة برمنغهام في مجال اتصالات الهواتف النقالة.
إختارته مجلة فوربس من بين أقوى 72 شخصية عالمية للعام 2013 وهذه المرة الأولي لشخصية من أصول إفريقية تنال هذا التقييم.

وصلات خارجية

 مؤسسة مو إبراهيم

مراجع

فاعلو خير بريطانيون في القرن 21
أشخاص على قيد الحياة
أصحاب أعمال بريطانيون
أصحاب أعمال سودانيون
أكاديميون من كلية لندن للأعمال
إنجليز من أصل سوداني
بريطانيون متجنسون
بريطانيون مغتربون في موناكو
حائزون على وسام القديس مايكل والقديس جورج من رتبة قائد فرسان
خريجو جامعة الإسكندرية
خريجو جامعة برادفورد
خريجو جامعة برمنغهام
فاعلو خير بريطانيون
فاعلو خير في القرن 21
مليارديرات بريطانيون
مهاجرون سودانيون إلى المملكة المتحدة
مهندسون بريطانيون
مهندسون سودانيون
مهندسون كهربائيون بريطانيون
مواليد 1946
مواليد في السودان

محمد إبراهيم (مهندس)


Siseby Sogn (på tysk Kirchspiel Sieseby) er et sogn i Svans i det østlige Sydslesvig, tidligere i Risby Herred (≈Svans Adelige Distrikt), fra 1853 Egernførde Herred, nu kommunerne Holttorp, Tumby, den sydlige del af Vindemark, den vestlige af Damp og den nordlige af Risby i Rendsborg-Egernførde Kreds i delstaten Slesvig-Holsten.

I Siseby Sogn findes flg. stednavne:
 Binebæk (Bienebek)
 Binebæk Mølle
 Boholm (Buchholz)
 Bommerlund
 Bogsryde eller Bogsrye (Bocksrüde)
 Bosby eller Bøsby (Bösby)
 Bosbymark
 Borntved (Börentwedt)
 Budved (Budwedt)
 Bøgeaa (Buchenau)
 Fuglsang (Vogelsang, dog uden Grønholt, som hører under Karby Sogn)
 Frueskov
 Guggelsby (også Gugelsby, Guckelsby)
 Grønlund (Grünlund)
 Hoheluft
 Holstoft (også Holstorp, Holtrup, Holzdorf)
 Krageryd (Krakery)
 Krisby eller Kriseby
 Kønsby
 Måslev el. Maaslev (Maasleben)
 Mariegård el. Mariegaard (Marienhof)
 Nydam (Neuteich)
 Oksehave
 Pommerby med Fuglsang Kro
 Pommerbyskov
 Pommerryd
 Siseby (Sieseby)
 Simmert (Zimmert)
 Snurom (Schnurrum)
 Stavn (Staun)
 Stemperyd
 Storskov (Großholz)
 Svartholm
 Svartstrøm el. Svastrum (Schwastrum)
 Søby (Söby)
 Sønsby (Sensby)
 Ulveskov
 Vestager
 Vejholt

Litteratur
 Jens Peter Trap: Statistisk-topographisk beskrivelse af hertugdømmet Slesvig, Kjøbenhavn 1864, s. 644/645
 Gerret Liebing Schlaber: Administrative tilhørsforhold mellem Ejderen og Kongeåen indtil 2007, Flensborg 2007, s. 262

Eksterne henvisninger
 Siseby Menighed / Kirchengemeinde Sieseby

Sogne i Sydslesvig
Svans adelige godsdistrikt
Svans

Siseby Sogn


Arzt aus Leidenschaft ist der Titel folgender Filme:

 Arzt aus Leidenschaft (1936), deutscher Film von Hans H. Zerlett
 Arzt aus Leidenschaft (1959), deutscher Film von Werner Klingler

Arzt aus Leidenschaft


La tamponnade cardiaque (également connue sous le nom de tamponnade péricardique ou simplement tamponnade) est un état de compression du cœur qui résulte de l'accumulation de liquide dans le péricarde. Son début peut être rapide ou progressif. Les symptômes sont typiquement ceux d'un choc obstructif à savoir un essoufflement, une faiblesse, des étourdissements et une toux . D'autres symptômes peuvent survenir en lien avec la cause sous-jacente.

Les causes les plus courantes de tamponnade sont les cancers, l'insuffisance rénale très avancée ou terminale, les traumatismes thoraciques, l'infarctus du myocarde et les péricardites. Moins souvent, une tamponnade peut résulter d'une hypothyroïdie, d'une maladie auto-immune et/ou des tissus conjonctifs, d'une rupture aortique (par exemple traumatique ou compliquant une dissection de l'aorte proximale), ou compliquer l'évolution post-opératoire précoce d'une chirurgie cardiaque. En Afrique, l'atteinte péricardique de la tuberculose est une cause relativement fréquente de tamponnade.

Le diagnostic peut être suspecté sur la base d'une hypotension artérielle, d'une turgescence jugulaire et d'une diminution des bruits cardiaques (triade de Beck , rare en pratique). Un frottement péricardique est possible en cas de péricardite. L'échocardiographie est de loin l'examen complémentaire le plus utile car elle confirme rapidement la suspicion clinique et permet une évaluation simple et fiable de la gravité. Dans une moindre mesure, certaines anomalies de l'électrocardiogramme (ECG) et de la radiographie du thorax peuvent contribuer au diagnostic. L'apparition d'une tamponnade est étroitement liée à la vitesse d'installation de l'épanchement péricardique. S'il augmente lentement, le sac péricardique peut se dilater sans comprimer les cavités cardiaques, jusqu'à contenir plus de deux litres dans les cas extrêmes ; si l'augmentation est rapide, un épanchement de 200 mL peut suffire à entraîner une tamponnade.

La tamponnade est une urgence médicale. Dès lors qu'elle est symptomatique, l'évacuation de l'épanchement s'impose. On peut procéder par une ponction à l'aiguille (péricardiocentèse éventuellement complétée d'un drainage péricardique) ou chirurgicalement, en créant une ouverture dans le péricarde pour drainer le liquide (fenêtre péricardique) ou en réséquant la membrane péricardique plus ou moins complètement (péricardectomie). Ces gestes peuvent aussi servir au diagnostic d'une infection ou d'un cancer. Le traitement peut aussi comporter un remplissage vasculaire si le volume sanguin est insuffisant, voire un support inotrope par dobutamine. En l'absence de symptômes et de signes d'alerte (notamment échographiques), l'abstention thérapeutique est possible sous couvert d'une surveillance rapprochée. La fréquence de la tamponnade est mal connue. Une estimation aux États-Unis la situe à 2 pour  par an.

Signes et symptômes
Le début peut être rapide (aigu) ou plus progressif (subaigu). Les signes de tamponnade cardiaque comprennent généralement ceux d'un choc cardiogénique, notamment la dyspnée, la faiblesse, les étourdissements, la toux  et ceux de la triade de Beck, par exemple la turgescence de la veine jugulaire, la diminution des bruits cardiaques et l'hypotension artérielle. D'autres symptômes peuvent être liés à la cause sous-jacente.

D'autres signes généraux de choc (tels qu'une tachycardie, une dyspnée et une diminution du niveau de conscience) peuvent également survenir. Cependant, certains de ces signes peuvent ne pas être présents dans certains cas. La tachycardie, bien qu'attendu, peut être absente chez les personnes souffrant d'hyperurémie et/ou d'hypothyroïdie.

L'HVG et l'hypervolémie retardent les signes cliniques alors que l'hypovolémie accentue les signes.

Chez un patient en état de choc, le recours à l'échographie peut permettre de diagnostiquer un épanchement péricardique.

Un épanchement « asymptomatique » découvert à l'échographie nécessite une analyse rigoureuse des images bidimensionnelles et des variations respiratoires des flux doppler afin d'apprécier le risque de tamponnade.

Causes
La tamponnade cardiaque est causée par un épanchement péricardique important ou incontrôlé, c'est-à-dire l'accumulation de liquide à l'intérieur du péricarde. Cela survient généralement à la suite d'un traumatisme thoracique (à la fois contondant et pénétrant) mais cet épanchement peut également être causé par un infarctus du myocarde, une rupture du myocarde de l'aorte, un cancer (le plus souvent un lymphome de Hodgkin), une hyperurémie, une péricardite ou une chirurgie cardiaque. La tamponade survient rarement lors de la dissection aortique rétrograde ou lors de la prise d'un traitement anticoagulant. L'épanchement peut survenir rapidement (comme dans le cas d'un traumatisme ou d'une rupture du myocarde) ou sur une période plus progressive (comme dans le cas d'un cancer). Le liquide en cause est souvent du sang, mais du pus est également présent dans certaines circonstances.

Opération chirurgicale
L'un des paramètres les plus courants pour la tamponnade cardiaque se situe dans les sept premiers jours après une chirurgie cardiaque. Après une chirurgie cardiaque, des drains thoraciques sont mis en place pour drainer le sang. Ces drains thoraciques, cependant, sont sujets à la formation de caillots. Lorsqu'un drain thoracique s'obstrue, le sang ne peut plus être drainé et peut s'accumuler autour du cœur, entraînant une tamponnade.

Physiopathologie

Le péricarde est un sac à double paroi contenant le cœur et les racines des gros vaisseaux sanguins. Il se compose d'une couche de péricarde fibreux à l'extérieur et d'un péricarde séreux à double couche à l'intérieur. Entre les deux couches du péricarde séreux se trouve l'espace péricardique, qui est rempli de liquide séreux lubrifiant qui empêche la friction lorsque le cœur se contracte. La couche externe du cœur est constituée de tissu fibreux qui ne s'étire pas facilement, donc une fois que l'excès de liquide commence à pénétrer dans l'espace péricardique, la pression commence à augmenter. Par conséquent, le cœur se comprime en raison de son incapacité à se détendre complètement.

Si le liquide continue de s'accumuler, chaque période diastolique successive conduit à moins de sang entrant dans les ventricules. Finalement, l'augmentation de la pression sur le cœur force le septum à se plier vers le ventricule gauche, entraînant une diminution du volume d'éjection systolique. Cela provoque le développement d' un choc obstructif qui, s'il n'est pas traité, peut entraîner un arrêt cardiaque (se présentant souvent comme une activité électrique sans pouls ). La diminution du volume d'éjection systolique peut également entraîner une diminution du débit cardiaque, qui pourrait être signalée par une tachycardie et une hypotension.

Diagnostic

Les trois signes classiques, connus sous le nom de triade de Beck, sont hypotension artérielle, une turgescence jugulaire et des bruits cardiaques étouffés. D'autres signes peuvent inclure un pouls paradoxal (une chute d'au moins 10 mmHg de la pression artérielle à l'inspiration) et des modifications du segment ST sur l'électrocardiogramme qui peuvent également montrer des complexes QRS microvoltés.

Imagerie médicale
La tamponnade peut souvent être diagnostiquée par radiographie. L'échocardiographie, qui est le test diagnostique majeur, montre souvent un péricarde élargi ou des ventricules affaissés. Une tamponnade cardiaque importante se manifestera par un cœur élargi de forme globulaire sur la radiographie pulmonaire. Pendant l'inspiration, la pression négative dans la cavité thoracique entraînera une augmentation de la pression dans le ventricule droit. Cette pression accrue dans le ventricule droit provoquera un renflement du septum interventriculaire vers le ventricule gauche, entraînant une diminution du remplissage du ventricule gauche. Dans le même temps, le volume du ventricule droit est nettement diminué et parfois il peut s'effondrer.

Diagnostic différentiel
Le diagnostic initial de tamponnade cardiaque peut être difficile, car il existe de nombreux diagnostics différentiels. Le diagnostics repose sur les symptômes, l'évolution dans le temps, le mécanisme de la blessure, les antécédents du patient. La tamponnade cardiaque d'apparition rapide peut également ressembler à un épanchement pleural, un choc, une embolie pulmonaire et un pneumothorax compressif.

Si les symptômes sont apparus plus progressivement, le diagnostic différentiel inclut l'insuffisance cardiaque aiguë.

Chez une personne traumatisée présentant une dissociation électromécanique en l'absence d'hypovolémie et de pneumothorax sous tension, le diagnostic le plus probable est la tamponnade cardiaque.

Traitement

Soins pré-hospitaliers
Le traitement initial administré sera généralement de nature symptomatique, par exemple l'administration d'oxygène et la surveillance. Il y a peu de soins qui peuvent être prodigués avant l'hospitalisation autres que le traitement général du choc.

Un diagnostic et un traitement rapides sont la clé de la survie avec la tamponnade. Certains personnels préhospitaliers disposeront d'installations pour effectuer une péricardiocentèse, ce qui peut sauver des vies. Si la personne a déjà subi un arrêt cardiaque, la péricardiocentèse ne peut à elle seule assurer la survie, et une évacuation rapide vers un hôpital est donc généralement recommandée. .

Gestion hospitalière
La prise en charge initiale à l'hôpital se fait par péricardiocentèse. Cela implique l'insertion d'une aiguille à travers la peau et dans le péricarde et l'aspiration de liquide sous guidage échographique. Cela peut être fait latéralement à travers les espaces intercostaux, généralement le cinquième, ou en tant qu'approche sous-xiphoïdienne. Un abord parasternal gauche débute 3 à  à gauche du sternum pour éviter l'artère mammaire interne gauche, dans le  espace intercostal. Souvent, une canule est laissée en place pendant la réanimation après le drainage initial afin que la procédure puisse être effectuée à nouveau si le besoin s'en fait sentir. Si des installations sont disponibles, une fenêtre péricardique d'urgence peut être effectuée à la place au cours de laquelle le péricarde est ouvert pour permettre au liquide de s'écouler. Après stabilisation de la personne, une intervention chirurgicale est prévue pour sceller la source du saignement et réparer le péricarde. Il est nécessaire de maintenir la ventilation spontanée le plus longtemps possible, la ventilation mécanique risquant d'entraîner un désamorçage ventriculaire et le décès.

Après une chirurgie cardiaque, la quantité de drainage du drain thoracique est surveillée. Si le volume de drainage diminue et que la pression artérielle baisse, cela peut suggérer une tamponnade due à l'obstruction du drain thoracique. Dans ce cas, la personne est ramenée au bloc opératoire pour une réintervention d'urgence. En cas de tamponnade post-opératoire chez un patient ventilé, le diagnostic est difficile, car les signes cliniques sont frustres.

Si un traitement agressif est proposé immédiatement et qu'aucune complication ne survient (choc, arythmie, insuffisance cardiaque, anévrisme, myocardite, embolie ou rupture), ou si elles sont traitées rapidement et entièrement maîtrisées, une survie adéquate est toujours possible.

Épidémiologie
La fréquence de la tamponnade n'est pas claire. Une estimation des États-Unis le situe à 2 pour  par an. On estime qu'il survient chez 2% des personnes ayant des blessures par arme blanche ou par balle à la poitrine.

Notes et références

Voir aussi

Bibliographie

Liens externes

Maladie du péricarde
Chirurgie cardiovasculaire
Urgence médicale

Tamponnade cardiaque


Agrilus laticeps é uma espécie de inseto do género Agrilus, família Buprestidae, ordem Coleoptera.

Foi descrita cientificamente por Waterhouse, 1889.

Referências

laticeps

Agrilus laticeps


Raghav Mathur conocido simplemente como Raghav (n. 2 de abril de 1981), es un cantante de Pop y R&B canadiense. Es conocido por los sencillos So Confused y Angel Eyes, este último alcanzó el 7° lugar en las listas de popularidad del Reino Unido. Los sencillos So Confused, It Can't Be Right y Can't Get Enough, alcanzando con ellos el Top Ten en 2004, convirtiéndolo en el único artista en posicionar tres éxitos en ese año en las listas de popularidad del Reino Unido.

Biografía
Raghav nació el 2 de abril de 1981 en Toronto, Canadá siendo el más joven de dos hijos. Sus padres son  hindúes provenientes de la India. Siendo aún pequeño se mudó junto con sus padres a Alberta estableciéndose en Calgary y Fort McMurray donde creció. Sus padres disfrutaban escuchando música clásica de la India y música Hindi, lo que influiría después en su estilo musical. Cuando tenía 5 años tomó clases para desarrollar su talento y durante su aprendizaje fue ampliamente influenciado por la música de Stevie Wonder, Michael Jackson, Harry Belafonte, Garth Brooks and Marvin Gaye, por mencionar solo algunos.

A los 17 años, movido por su pasión a la música, se mudó a Los Ángeles para desarrollar sus habilidades vocales con la ayuda de Seth Riggs (entrenador vocal de Madonna y Michael Jackson entre otros). Un años más tarde viajaría a Liverpool, Inglaterra para estudiar en el Liverpool Institute of Performing Arts; fue durante esta etapa que se unió a la banda R&B llamada 11/7, la cual sería nominada en los Music of Black Origin Awards.

Carrera
Raghav firmó contrato con A&R Records en 2003 y comenzó trabajando con el productor musical y DJ 2Play, el primer sencillo So Confused lanzado en 2004, se volvió muy popular y alcanzó la posición número cuatro en la lista de popularidad de sencillos en Reino Unido; el siguiente sencillo se llamó Can't Get Enough y entró en la misma lista de popularidad ocupando la posición 10. En agosto de 2004, y con otra colaboración con 2Play se lanzó It Can't Be Right ocupando la posición número ocho; el sencillo Let's Work It Out ocupó el 15° lugar de popularidad.

En 2004 se lanza su álbum debut titulado Storyteller bajo el sello discográfico A&R Records, contando con cuatro sencillos y realizando una gira mundial en 2005 incluyendo una serie de conciertos en la India, Estados Unidos, África, Australia y su país natal Canadá. El álbum Storyteller ha vendido 1.6 millones de copias alrededor del mundo.

En 2009 es lanzado el álbum Identity, pero en esta ocasión a través de Universal.

Su tercer álbum llamado The Phoenix se lanzó en Canadá en 10 de abril de 2012 con la discográfica Cordoba Bay Label; en este disco trabajó con el productor Jim Beanz, e incluye el tema Love, que originalmente sería grabado por Michael Jackson sin llegar a hacerlo, de tal forma que el productor Beanz decidió que sería Raghav quién lo interpretara en este disco.

Discografía

Premios y nominaciones
 2005 - Southern Asian Music Awards; Best Artist
 2005 - UK Asian Music Awards; Best Single
 2005 - UK Asian Music Awards; Best Newcomer
 2005 - Urban Music Award; Best Chart Act
 2004 - Asian Achievers Award
 2004 - MOBO Award; Best Collaboration
 1997 - National Songwriters Association of America Award

Referencias

Enlaces externos
Raghav.com, Sitio oficial.
myspace.com/RaghavWorldwide, Raghav en myspace.com.

Cantantes masculinos de Canadá
Nacidos en Toronto

Raghav


When We All Fall Asleep, Where Do We Go? (stiliziran pod velikim slovima) debitantski je studijski album američke pjevačice i kantautorice Billie Eilish. Objavljen je 29. ožujka 2019. godine. Eilish je pjesme na albumu uglavnom napisala sa svojim bratom Finneasom O'Connellom, koji je producirao njezinu glazbu u svojem studiju, maloj spavaćoj sobe u losanđeleskom Highland Parku.

Album žanrovski pripada pop-glazbi iako sadrži i utjecaje hip hopa. U pjesmama su obrađene teme poput moderne mladosti, ovisnosti o drogama, slomljenoga srca, samoubojstva i mentalnog zdravlja. Eilish je izjavila da je album djelomično nadahnut lucidnim sanjanjem i noćnim strahovima, što je odrađeno na naslovnici.

S albuma je objavljeno sedam singlova, a njih četiri dosegli su platinastu nakladu u SAD-u: "You Should See Me in a Crown", "When the Party's Over", "Bury a Friend", i "Bad Guy". Eilish je također krenula na nekoliko turneja da bi podržala album, a među njima je bila i turneja When We All Fall Asleep Tour. Do lipnja 2019. album je prodan u više od 1,3 milijuna primjeraka u SAD-u te je postao najprodavaniji album godine u Kanadi.

Popis pjesama
Sve pjesme napisali su Billie Eilish i Finneas O'Connell. Sve pjesme producirao je F. O'Connell.

Izvori

Američki glazbeni albumi
Albumi iz 2019.


تحتوي هذه المقالة على قائمة لجميع الألوان المتضمنة في مقالات ويكيبيديا حول اللون. ولاحظ أن نسبة كبيرة من عينات اللون أدناه مأخوذة من مخططات التسمية التخصصية (لغة مجال محدد)، مثل X11 أو لغة ترميز النص الفائق. وقد أعطيت قيم RGB لكل عينة، وذلك لأن هذه المعايير معرفة في ضوء الفضاء اللوني المعياري أحمر أخضر أزرق (sRGB). من غير الممكن تحويل العديد من هذه العينات إلى قيم CMYK بدقة، وذلك بسبب اختلاف السلسلة اللونية لهذين الفضائين اللونين. ولكن أنظمة إدارة الألوان، الموجودة في أنظمة التشغيل وبرامج الرسوميات، تقوم بمثل هذه التحويلات بأكبر قدر ممكن من الدقة.

وتعطى في الجدول التالي قيم ص ش ق (الصبغة، الإشباع، القيمة)، والتي تعرف أحيانا باسم ص ش س (الصبغة، الإشباع، السطوع) وثلاثية هيكس (Hex Triplets) الخاصة بألوان الويب. كما أدرجت الألوان في لوحة ألوان الويب الآمنة (web-safe color) -التي تتضمن 16 لونا مسمى. قد يختلف مظهر لوحات الألوان الحالية الموجودة في الأسفل اعتمادا على الكثير من العوامل مثل خصائص جهاز العرض، وإعدادات إدارة الألوان وظروف الرؤية المحيطة.

ولاحظ أيضا أن تسمية الألوان قد تكون غامضة وكيفية، وتتفاوت بين الشعوب والثقافات، ولا يوجد عينة واحدة تمثل أي من أسماء الألوان تمثيلا مناسبا. بالإضافة إلى ذلك، إظهار شاشة الحاسوب ذو سلسلة لونية محددة، ولهذا لا يمكن تمثيل العديد من الخضب الملونة على شاشة الكمبيوتر كليا.

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الألوان

الأبيض

يعتبر اللون الأبيض مزيجا متوازنا من جميع ألوان الطيف المرئي، أو من زوج من الألوان المكملة، أو من ثلاثة أو أكثر من الألوان الأولية. وهو لون حيادي أو لون لا نقبي أي بدون لون مثل الأسود والرمادي.

الوردي

يعتبر اللون الوردي مشيجا من اللون الأحمر حيث ينتج عنه بإضافة بعض من اللون الأبيض.

الأحمر

اللون الأحمر هو أي من عدد من الألوان المتشابهة التي يثيرها الضوء، وتتكون في الغالب من أطول موجات يمكن تمييزها بالعين البشرية في مجال الطول الموجي 625-750 نانومتر. ويعتبر الأحمر أحد الألوان الأولية الجمعية.

البرتقالي

يقع اللون البرتقالي بين الأحمر والأصفر في الطيف المرئي بطول موجة 585-620 نانومتر. وفي الفضاء اللوني ص ش ق تكون صبغة اللون للبرتقالي بزاوية 30 درجة.

البني

تعتبر الألوان البنية ظلال داكنة للأحمر، والبرتقالي، والأصفر.

الأصفر

الأصفر هو لون من الضوء ذو طول موجي يتراوح بين 570-580 نانومتر. وفي الفضاء اللوني ص ش ق تكون صبغة اللون الأصفر عند 60 درجة. وهو يعتبر واحدًا من الألوان الأولية الطرحية.

الرمادي

اللون الرمادي هو لون لا نقبي بين الأسود والأبيض.

الأخضر

اللون الأخضر هو لون من الضوء وله طول موجة يتراوح بين 520-570 نانومتر. ويعتبر أحد الألوان الأولية الجمعية.

السيان

السيان هو لون في المجال بين الأخضر والأزرق من ألوان الطيف المرئي. كما يعتبر واحدا من الألوان الأولية الطرحية.

الأزرق

الأزرق هو لون ينتج من الضوء وله طول موجي يتراوح بين 440-490 نانومتر. كما يعتبر واحدًا من الألوان الأولية الجمعية.

البنفسجي

البنفسجي هو لون ذو طول موجي يتراوح بين 380-450 نانومتر.

ألوان الويب

وهي الألوان التي يستخدمها مصممي الرسومات الحاسوبية لتصميم صفحات الويب، حيث تعرض هذه الألوان على شاشات الحواسيب.

اقرأ أيضًا
 لون العين
 لون أولي
 لون ثانوي
 لون ثالثي
 عمى الألوان
 خضاب

المراجع

ألوان
درجات الألوان
قوائم القوائم
قوائم ألوان

قائمة الألوان


Diários de Otsoga () é um filme luso-francês de 2021 do género drama, realizado por Miguel Gomes e Maureen Fazendeiro a partir de um argumento de ambos com Mariana Ricardo. Esta é a primeira longa-metragem de Fazendeiro. A obra é protagonizada por Crista Alfaiate, Carloto Cotta e João Nunes Monteiro, interpretando versões ficcionalizadas de si mesmos, enquanto constroem um borboletário durante um confinamento em grupo numa quinta junto ao mar.

Foi exibido em competição na Quinzena dos Realizadores do Festival de Cannes a 13 de julho de 2021. Comercialmente, o filme estreou em França a 14 de julho de 2021, e em Portugal a 19 de agosto do mesmo ano.

Sinopse
Em pleno estado de confinamento, toda uma equipa de cinema (técnicos, atores, duas cozinheiras e outros elementos da produção) é forçada a interromper gravações e manter-se isolada numa quinta em Sintra. Ao longo dos dias de um mês, partilham-se casa, tarefas e as próprias vidas. Os três amigos atores Crista, Carloto e João deixam de trabalhar nas suas personagens com os realizadores e a co-argumentista, e decidem construir juntos um borboletário.

Entretanto, uma série de peripécias rapidamente envolve toda a equipa e geram-se momentos de tensão quando Carloto escapa ao confinamento para passar umas horas na praia a surfar. Na quinta, a ansiedade espalha-se e complica o processo criativo. Numa tentativa de ultrapassar os problemas, Crista, Carloto e João decidem organizar uma festa.

Elenco
Interpretando versões ficcionalizadas de si mesmos, o elenco de Diários de otsoga conta com três atores profissionais, sendo os restantes participantes membros da equipa técnica:
Crista Alfaiate;
Carloto Cotta;
João Nunes Monteiro;
Adilsa;
Andresa Soares;
Isabel Cardoso;
Joaquim Carvalho;
Marian Ungureanu;
Mariana Ricardo;
Mário Castanheira;
Maureen Fazendeiro;
Miguel Gomes;
Miguel Martins;
Patrick Mendes;
Pedro Filipe Marques;
Ricardo Simões;
Rui Monteiro;
Vasco Pimentel;
Vladimir Ungureanu.

Equipa técnica

Realização: Maureen Fazendeiro e Miguel Gomes.
Argumento: Maureen Fazendeiro, Miguel Gomes e Mariana Ricardo.
Assistente de realização: Patrick Mendes.
Cinematografia: Mário Castanheira.
Som: Vasco Pimentel e Miguel Martins.
Anotação e edição: Pedro Filipe Marques.
Decoração: Andresa Soares.
Edição de som e mistura: Miguel Martins.
Cor: Andreia Bertini.
Direção de produção: Joaquim Carvalho.
Produção: Luís Urbano, Filipa Reis, Sandro Aguilar e João Miller Guerra.

Produção
Diários de otsoga é uma longa-metragem em 2K, com a produção de O Som e a Fúria e Uma Pedra no Sapato. A obra contou com a participação financeira da RTP e o apoio à internacionalização do Instituto do Cinema e Audiovisual.

Desenvolvimento
O projeto nasceu alguns meses após o início do confinamento em Portugal pela pandemia de COVID-19. Miguel Gomes e Maureen Fazendeiro viram os projetos nos quais estavam a trabalhar serem suspensos, como o filme épico Selvajaria, uma adaptação de Gomes de Os Sertões (Euclides da Cunha). Ainda assim, sentiram-se interessados em aproveitar as circunstâncias para trabalhar juntos, envolvendo outros colaboradores regulares. Sem terem uma ideia concreta do que desenvolver, a equipa aceitou reunir-se numa quinta de Sintra do tio de um dos produtores para viver em confinamento auto-imposto durante um mês. Ao longo da primeira semana, o argumento foi começando a ser planeado a partir de uma reflexão quanto às restrições impostas às equipas de filmagem, como a proibição de filmar cenas de beijo. Fazendeiro afirma que tal resultou em "três ideias. A primeira: queríamos ter um beijo. [...] Outra ideia era filmar uma construção. [...] A última ideia era fazer um filme que trabalhasse com a vida real, com o que nos acontecesse dentro da casa, no dia-a-dia." Na segunda semana, os atores juntaram-se à equipa para ensaios, escrever diálogos inspirados em improvisação e concretizar ideias mais concretas.

Rodagem
A longa-metragem foi filmada em 16mm, entre 17 de agosto e 10 de setembro de 2020, ainda durante o período de confinamento em Portugal pela pandemia de COVID-19. As gravações seguiram uma ordem narrativa cronológica, ainda que os autores pretendessem que a montagem invertesse a mesma. Durante a estadia, a equipa envolveu-se nas tarefas rotineiras da quinta, como a alimentação de pavões, trabalhos de agricultura ou banhar cães, que foram também filmadas.

Miguel Gomes descreveu este período do seguinte modo: "não sabíamos disso, mas depois descobrimos durante o processo que a razão principal da existência do filme era o desejo de estar uns com os outros. O filme nasce da nossa vontade de procurar algo que nos faltava durante o primeiro confinamento. Vivemos esse isolamento imposto, ou seja, cada um da equipa estava só. Então o que lhes propusemos foi fazer uma espécie de confinamento alternativo, desta vez juntos".

Temáticas e estética

Pandemia e tempo
No início dos anos 2020, vários projetos surgiram abordando a pandemia de COVID-19, tais como Hygiène sociale, de Denis Côté, In my room, de Mati Diop, ou Babardeală cu bucluc sau porno balamuc, de Radu Jude. Nestas obras, as condições da pandemia são enquadradas como um problema formal a ser resolvido. Numa abordagem contrária, Fazendeiro e Gomes exploram esta temática através de um foco no confinamento, explorando a distorção do tempo, como consequência inevitável do mesmo. Por isso, a história do filme não só é contada por ordem cronologicamente inversa, como o seu título apresenta a palavra "agosto" escrita ao contrário. Os curadores do Festival Mar del Plata, escrevem que os autores "apropriam-se de forma inteligente da confusão temporal que reinou naquele ano, organizando [no filme] uma estrutura reversível e circular, na qual a sucessão dos dias não segue uma lógica". O filme foi apontado como seguindo a teoria do sociólogo polaco Zygmund Bauman, que usa o conceito de "modernidade líquida" para definir o tempo presente. Segundo esta teoria, as formas de vida contemporânea (no filme, os três protagonistas) assemelham-se pela vulnerabilidade e fluidez, incapazes de manter a identidade por muito tempo, o que reforça um estado temporário e frágil das relações sociais e dos laços humanos. Para o trio de atores, o tempo transcorre de seis formas (inércia, desorientação, apatia, euforia, completude e confusão) que refletem a atmosfera da pandemia.

Diários de otsoga demonstra também como o isolamento pode ser uma oportunidade para reestabelecer uma relação com os elementos naturais (eg. os protagonistas decidem construir um borboletário). Desse ponto de vista, o próprio filme torna a adotar uma abordagem oposta a obras do cinema deste período, uma vez que predominam cenários exteriores, vistas de jardim e pessoas juntas em detrimento de quaisquer elementos tecnológicos. Assim, o filme retrata um momento histórico específico, abordando conceitos como amizade e comunidade, registando estados de convivência num período em que os mesmos eram intensamente desaconselhados.

Cinema
Diários de otsoga é um filme sobre si mesmo e sobre o desejo de fazer cinema. Nenhum dos intervenientes, nem mesmo os atores, adotam personagens com nomes diferentes dos seus. Pelo contrário, são filmados a documentar a sua própria ficção e a viver através de um filme. Miguel Gomes comentou esta abordagem do seguinte modo: "o processo de rodar o filme não foi um documentário, não foi um making-of. Não foi uma recreação, não é um espelho da realidade. Estamos a representar, somos personagens. [...] Para nós, o filme, é menos meta-cinema do que sobre o cinema em geral, sobre o nosso trabalho, e mais ainda sobre a vida, sobre estarmos juntos, esperar o nascimento de um bebé, sobre fazer um filme com os amigos e com as pessoas que não eram amigas mas acabaram por se tornar, tudo isso uma tentativa de capturar as nossas vidas. Não se trata de cinema, mas, bem, é um filme que é um diário da produção de um filme. [...] Viver naquelas condições enquanto se faz um filme é o limite dessa mistura de vida e cinema".

Continuidade artística
No filme, há vários leitmotivs que podem ser encontrados nos corpos de trabalho de ambos autores, desde elementos estruturais de Motu maeva ou Soleil noir até temas e mecanismos vindos de A cara que mereces, Aquele querido mês de agosto e As mil e uma noites. O conceito de filme dentro de um filme e a temática da busca pelo filme haviam sido, aliás, igualmente explorados na segunda longa-metragem de Miguel Gomes. Tal como em Aquele querido mês de agosto, o filme de 2021 dramatiza uma equipa de cinema num limbo criativo, ainda que em Diários de otsoga a frustração tenha origem diversa: a realidade da pandemia de COVID. Também em ambos filmes, a performance dramatúrgica quebra a quarta parede, mesclando-se com reuniões de produção. De tal modo que o técnico de som, Vasco Pimentel, torna a ser repreendido pelos restantes membros da equipa, sendo-o em Diários de otsoga por ignorar os e-mails sobre o protocolo de gravação em pandemia. A equipa de rodagem funciona, assim, como um organismo cinematográfico onde os instintos individuais se somam a um trabalho verdadeiramente coletivo, transmutando as restrições do cinema da era pandémica.

Distribuição

Lançamento
Diários de otsoga foi selecionado para o programa da Quinzena dos Realizadores do Festival de Cannes, onde foi apresentado a 13 de julho de 2021. Depois desta estreia mundial, a longa-metragem estreou comercialmente em França a 14 de julho, através da distribuidora Shellac. Em Portugal, o filme chegou às salas a 19 de agosto, pela distribuidora Desforra Apache.

Ao longo do ano de 2022, Diários de otsoga foi também lançado noutros países. A KimStim distribuiu a obra nos EUA, com estreia a 27 de maio. Em Espanha, o lançamento ficou marcado para 3 de junho. A longa-metragem chegou também aos cinemas brasileiros em 21 de julho, com distribuição da Vitrine Filmes.

Festivais
Após a sua apresentação no Festival de Cannes, o filme despertou o interesse de vários programadores de Festivais internacionais de cinema. Diários de otsoga percorreu um longo circuito, no qual se destacam os seguintes eventos:
 Curtas Vila do Conde (Portugal, 2021);
 FIDMarseille International Film Festival (França, 20 de julho de 2021);
 Festival Internacional de Cinema de Melbourne (Austrália, 8 de agosto de 2021);
 New Horizons International Film Festival (Polónia, 13 de agosto de 2021);
 Karlovy Vary International Film Festival (Chéquia, 20 de agosto de 2021);
 Festival Internacional de Cinema de Toronto (Canadá, 14 de setembro de 2021);
 The Art Newspaper Russia Film Festival (Rússia, 19 de setembro de 2021);
 Festival de Cinema de Nova Iorque (EUA, 25 de setembro de 2021);
 Busan International Film Festival (Coreia do Sul, 7 de outubro de 2021);
 Festival de Cinema de Londres (Reino Unido, 8 de outubro de 2021);
 Festival Internacional de Cinema de Chicago (EUA, 14 de outubro de 2021);
 Festival de Cinema de Gante (Bélgica, 19 de outubro de 2021);
 Brisbane Film Festival (Austrália, 26 de outubro de 2021);
 Viennale (Áustria, 27 de outubro de 2021);
 45ª Mostra Internacional de Cinema de São Paulo (Brasil, outubro de 2021);
 Black Canvas (México, outubro de 2021);
 Festival Internacional de Cinema de Valdivia (Chile, outubro de 2021);
 Festival de Cinema de Sydney (Austrália, 7 de novembro de 2021);
 Festival de Cinema Europeu de Sevilha (Espanha, 9 de novembro de 2021);
 Festival de Cinema de Cork (Irlanda, 10 de novembro de 2021);
 Taipei Golden Horse Film Festival (Taiwan, 11 de novembro de 2021);
 Festival de Cinema de Salonica (Grécia, 13 de novembro de 2021);
 Caminhos do Cinema Português (Portugal, 13 de novembro de 2021);
 AFI Fest (EUA, 14 de novembro de 2021);
 Festival Internacional de Cinema de Mar del Plata (Argentina, 23 de novembro de 2021);
 International Film Festival Mannheim-Heidelberg (Alemanha, novembro de 2021);
 Festival Internacional de Cine de Cali (Colômbia, novembro de 2021);
 Festival dei Popoli (Itália, novembro de 2021);
 Singapore International Film Festival (Singapura, novembro de 2021);
 Bucharest International Experimental Film Festival (Roménia, novembro de 2021);
 Santiago International Documentary Film Festival (Chile, novembro de 2021);
 Festival do Rio (Brasil, 10 de dezembro de 2021);
 Festival de Cinema de Gotemburgo (Suécia, 29 de janeiro de 2022);
 Festival Internacional de Documentário de Copenhague (Dinamarca, 23 de março de 2022);
 D'A Film Festival (Espanha, 4 de maio de 2022);
 Midnight Sun Film Festival (Finlândia, 16 de junho de 2022);
 Hong Kong International Film Festival (Hong Kong, 19 de agosto de 2022);
 Image Forum Festival (Japão, 18 de setembro de 2022);
 Chicago European Union Film Festival (EUA, 2022);
 Kerala International Film Festival (Índia, 2022);
 Las Palmas de Gran Canaria International Film Festival (Espanha, 2022);
 Festival L'Europa a San Marino, San Marino in Europa (São Marino, 20 de abril de 2023).

Receção

Audiência
Aquando a sua distribuição comercial durante 2021 em Portugal e França, Diários de otsoga recebeu respetivamente 1.507 e  5.171 espetadores em sala. No ano seguinte, o filme foi visto por mais 753 em Espanha.

Crítica
Diários de otsoga recebeu, de forma geral, comentários positivos pela crítica especializada. No agregador de críticas Rotten Tomatoes, o filme mantém um rating de aprovação de 77%, baseado em 26 críticas, com um rating médio de 7.20/10. Num outro agregador, Metacritic, que atribui uma classificação até 100 a partir das publicações de críticos de cinema convencionais, o filme recebeu uma pontuação de 87, com base em 6 críticas, indicando "aclamação universal".

A crítica lusófona demonstrou uma receção morna do filme, como Roger Lerina, que lhe atribui três estrelas (de cinco) no Matinal jornalismo. Em Portugal, Vasco Câmara (Público) assumiu-se desiludido pelo modo como Diários de otsoga "parece frustrar voluntariamente as expectativas criadas por uma filmografia (porque um dos co-autores é Miguel Gomes...), colocando-se à margem de uma cronologia, interrompendo as esperadas delícias de uma leitura alinhada". Barbara Demerov defende, em Veja São Paulo, que o filme "ganha pontos ao mostrar o prosaico — o banho no cão, o corte das batatas, a limpeza da piscina, a janela a bater — e extrair alguma poesia do banal, em uma fase da vida — o início da pandemia — que a gente nem gosta muito de recordar". Em Papo de cinema, Bruno Carmelo compara Diários de otsoga a um exercício universitário, que tem tanto de agradável quanto de leviano e superficial.

Internacionalmente, um dos aspetos mais debatidos foi a abordagem experimental do filme. Tom O'Brien (Next big picture) apresenta uma perspetiva moderada, elogiando a longa-metragem pela sua montagem não se tornar cansativa ou irritante, mas argumentando que a ordem cronologicamente inversa da narrativa diminui o envolvimento dos espetadores com a história. Concordante, em Reeling reviews, Robin Clifford argumenta que a obra resulta num conceito de filmagem tecnicamente interessante, mas o manteve pouco envolvido. No sentido oposto, em Slant magazine, Pat Brown elogia o uso da metatextualidade e estrutura anti-linear, precisamente por considerar que tornou a progressão das cenas intelectualmente envolvente. Também Juan Pablo Russo (Escrebiendo cine) apreciou o uso da metalinguagem, não apenas pelo seu resultado na narrativa, mas também pelo modo como demonstra o processo criativo. David Katz (Cineuropa) destaca como os autores "criaram uma das melhores respostas a este desafiador enigma existencial, desenvolvendo ainda mais a habilidade [de Gomes] de misturar ficção e documentário.

Soham Gadre (The film stage) e Filipe Freitas (Always good movies) consideram a obra uma demonstração de como a liberdade artística e criatividade improvisada podem melhor responder em tempos de restrições rígidas na produção cinematográfica. No mesmo sentido, Tomas Trussow escreve na The lonely film critic e Emilio Luna em El antepenultimo mohicano textos nos quais elogiam a abordagem inovadora dos autores, por fazerem um filme rejuvenescedor e comemorativo, por comparação com outros autores que abordam a pandemia de COVID de uma forma mórbida.

Reconhecimentos

Ligações externas
 Na Vitrine Filmes

Filmes em língua portuguesa
Filmes de Portugal de 2021
Filmes da França de 2021
Filmes de drama de Portugal
Filmes de drama da França
Filmes de drama premiados
Filmes de drama da década de 2020
Filmes da década de 2020
Filmes realizados por Miguel Gomes (cineasta)
Filmes gravados em Sintra
Filmes distribuídos pela Vitrine Filmes
Filmes ambientados em Portugal
Filmes ambientados no distrito de Lisboa
Filmes ambientados no século XXI
Filmes independentes da década de 2020
Filmes independentes de Portugal
Filmes premiados

Diários de Otsoga


Bile (en ) est le seul village de l'Île des Serpents. Bien que le village soit situé sur une île, il est intégré à la ville de Vylkove, qui fait partie du raïon d'Izmail dans l'oblast d'Odessa, en Ukraine.

Histoire
Bile a été fondée en 2007 sur l'Île des Serpents pour servir l'Ukraine dans un litige alors en cours entre ce pays et la Roumanie concernant les eaux territoriales entourant l'île. La fondation du village a été critiqué par la Roumanie, qui a tenté de prouver que le village de l'île ne pouvait pas constituer une colonie permanente. Le différend a pris fin en 2009 à la suite de la médiation de la Cour internationale de justice (CIJ) qui a statué que la Roumanie obtiendrait 80% de la zone maritime contestée. Cela a été accepté par les deux parties.

Le village de Bile ne se compose que de quelques maisons des soldats ukrainiens qui y étaient stationnés, ainsi que d'un monument aux 25 marins russes morts en 1905 pendant la guerre russo-japonaise et d'une enseigne dédiée à saint Georges, soldat romain et saint chrétien.

Le 24 février 2022, lors de l'invasion russe de l'Ukraine, l'île est attaquée et pratiquement toutes les infrastructures du village ont été détruites. Les treize gardes-frontières ukrainiens qui défendaient l'île ont été capturés comme prisonniers de guerre par les forces russes.

Le 30 juin 2022 les forces russes annoncent leur retrait de l'île des Serpents, officiellement pour manifester la « bonne volonté » du Kremlin, mais dans l'impossibilité d'y protéger leurs troupes et de la tenir sous les bombardements ukrainiens, récemment équipés en armes occidentales (dont des missiles anti-navire américains Harpoon, des munitions OTAN pour les canons...).

Bile retrouve donc sa souveraineté ukrainienne, mais reste déserté et entouré d'épaves de barges éventrées dont s'échappent du fioul et du phosphore provenant des munitions ; les constructions à terre, y compris l'ancien phare roumain, sont en ruines.

Références

Liens externes

Commune rurale dans l'oblast d'Odessa

Bile (Ukraine)


مكتبة أمبروسيانا مكتبة تاريخية في ميلان مع معرض فني سميت نسبة إلى أمبروسي القديس الراعي لميلان. أسسها الكارديناك فدريكو بوروميو الذي بحث عملاؤه في مكتبات غرب أوروبا وحتى اليونان وسوريا لتحصيل المخطوطات والكتب.

من مقتنيات المكتبة القطعة الموراتورية التي تعود لسنة 170 م تقريبا وهي أقدم مثال عن القانون الكتابي بالإضافة إلى لوحة صورة موسيقي لليوناردو دافينشي، كما تحوي على مخطوطات عربية.

مصادر

 مكتبة الأمبروزيانا بميلانو تاريخها وبعض مخطوطاتها - محمد إبراهيم المرشد التميمي، جريدة الرياض

التعليم في ميلانو
الثقافة في ميلانو
تأسيسات سنة 1609 في إيطاليا
تأسيسات سنة 1618 في الإمبراطورية الرومانية المقدسة
متاحف فنية ومعارض في ميلانو
مكتبات أسست في 1609
مكتبات في إيطاليا
مكتبات في ميلانو
مواقع جذب سياحي في ميلانو

مكتبة الأمبروزيانا


An Carex huehueteca in uska species han Liliopsida nga ginhulagway ni Paul Carpenter Standley ngan Julian Alfred Steyermark. An Carex huehueteca in nahilalakip ha genus nga Carex, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Carex

Carex huehueteca


Serra adını taşıyan Portekiz'de yerleşim birimleri:

 Serra - Tomar belediyesinde bucak.
 Serra d'El-Rei - Peniche belediyesinde bucak.
 Serra de Água - Ribeira Brava belediyesinde bucak.

İtalyanca deyişler
Katalanca deyişler
Portekizce deyişler

Serra


Koki Nakano est un pianiste japonais né en 1988 à Fukuoka, au Japon.

Biographie

Formation

Il commence à jouer du piano à l'âge de trois ans. Il fait ses études à la Toho Gakuen School of Music de Tokyo, et poursuit sa formation au département de composition de l'Université des Arts de Tokyo.

Son univers musical, qu'il peaufine pendant ses études, s'exprime à travers de nombreuses compositions de piano solo, de piano accompagné de violoncelle et de mélange entre piano et musique électronique. Sa notoriété lui permet rapidement de jouer des récitals à l'étranger, le menant à Paris, Budapest, Londres ou New York.

Carrière
En 2016, Koki Nakano publie son premier album Lift avec le violoncelliste Vincent Ségal sur le label parisien Nø Førmat!. Ensemble, ils élaborent un album inspiré par "l'impressionnisme français" et "le minimalisme américain". En octobre 2018, les deux artistes dévoilent le clip de "Introduction I", tourné au Spiral Hall Tokyo.

En 2019, Koki Nakano prend part à l'atelier de recherche du Reborn Art Festival dans la baie d'Ishinomaki, au Japon. Il délivre une performance aux côtés du chorégraphe Damien Jalet, de l'artiste visuel Kohei Nawa et de danseurs. Ensemble, ils explorent différents points de fusion entre le corps humain et le paysage de la baie.

En 2020, Koki Nakano dévoile Pre-Choregraphed, son premier album solo sur le label . Le projet associe fortement piano et musique électronique, et explore son rapport au corps en mouvement. Cultivant une relation profonde entre la musique et la danse, il présente en parallèle des clips chorégraphiés par Mariko Kakizaki ("Bloomer"), Amala Dianor ("Near-Perfect Synchronization"), Damien Jalet ("Train-Train") et Imre Van Obstal ("Faire Le Poirier").

En juillet 2021, certains morceaux de l'album Pre-Choregraphed font l'objet de remix de producteurs électroniques. "Palinopsia" est remixé par le compositeur luxembourgeois Francesco Tristano, "Genou Respirant" est remixé par le musicien allemand Stimming et "Overlay" est remixé par le producteur kényan KMRU.

En novembre 2021, Koki Nakano joue au Palais Garnier aux côtés des danseurs de l'Opéra de Paris pour le Gala d'ouverture de la saison 2021-22. À l'invitation de Damien Jalet, il compose la musique originale de la pièce "Brise-lames".

Koki Nakano revient en janvier 2022 avec l'album Oceanic Feeling, annoncé par le clip de "Glances", chorégraphié et interprété par la danseuse américaine Tess Voelker. Les singles "Treg" et "Port de Bras" sont ensuite dévoilés. "Port de Bras" est accompagné d'un clip, dans lequel danse Mourad Bouayad. "Oceanic Feeling" explore une nouvelle fois la relation du pianiste avec la musique électronique, et le voit s'intéresser au "sentiment océanique", un terme emprunté à Romain Rolland.

Discographie
 2016 : Lift avec Vincent Ségal
 2020 : Pre-Choregraphed

Notes et références

Liens externes

Naissance à Fukuoka
Naissance en 1988
Compositeur japonais

Koki Nakano


The Democratic Labor Party () was a progressive and nationalist political party in South Korea. It was founded in January 2000, in the effort to create a political wing for the Korean Confederation of Trade Unions and was considered more left-wing and more independent of the two union federations in South Korea. Its party president was Kwon Young-gil, Kang Gi-gap, and Lee Jung-hee. In December 2011, the party merged into the Unified Progressive Party.

In the South Korean political history, DLP is considered as the ancestor of all of modern day left-leaning political parties such as Justice Party and Progressive Party.

History
The party gained 10 seats in the National Assembly for the first time in the 2004 parliamentary election, making it the first major left-wing party to enter the Assembly.

Before and during the 2007 presidential election, conflicts arose between the two main factions within the party. The "equality" or the "left" faction, represented by the People's Democracy group, stressed issues ranging from social welfare, civil liberties, and labor rights, and took an antagonistic position against ruling liberal Roh Moo-hyun government.

Against them, the "autonomy" faction, represented by the National Liberation group, emphasized anti-imperialist struggle and viewed Korean reunification to be a paramount goal. In contrast to the "left" faction, "autonomy" faction advocated "democratic coalition government" (민주연립정부) with the ruling Uri Party, and took a reconciliatory position towards Roh government.

After the 2007 presidential election, the People's Democracy faction quit the party and formed the New Progressive Party (NPP). Despite the split, DLP gained 5 seats in the National Assembly in the 2008 election, but NPP gained none. In the 2009 by-election, NPP got one seat. On 5 December 2011, the party merged with the People's Participation Party and a faction of the NPP to found the Unified Progressive Party by Lee jung-hwee.

Political position
The Democratic Labor Party was originally considered as a democratic socialist party, including some left-wing nationalist ideologies. The party strongly opposed two-party system in South Korea, and represented the broad left-wing tendencies against the major liberal and conservative parties.

In 2008, the socialist-leaning Minjungminju-wing () left the party after the ideological dispute about North Korea and established the New Progressive Party. After the party split, remained nationalist-leaning Minjokhaebang-wing () tried to make a partnership with major liberal Democratic Party. From the 2010 local elections, the party joined an electoral coalition with the Democratic Party.

In June 2011, the Democratic Labor Party removed "socialism" from the party code and replaced the phrase "socialism" (사회주의) with "progressive democracy" (진보적 민주주의), a liberal ideology.

Election results

President

Legislature

Local

See also
Unified Progressive Party
Politics of South Korea
Lists of political parties
Kwon Young-ghil
Social Democratic Party (Japan) - DLP interacted with major Japanese social democrats and democratic socialist politicians, including Mizuho Fukushima.
Socialism in South Korea

References

External links

2000 establishments in South Korea
Defunct political parties in South Korea
Democratic socialist parties in Asia
Korean nationalist parties
Left-wing nationalism in South Korea
Left-wing nationalist parties
Labour parties
Political parties established in 2000
Progressive parties in South Korea
Social democratic parties in Korea

Democratic Labor Party (South Korea)


Bolu, Bolu ilinin merkezi olan şehirdir.

Coğrafya
Türkiye yüz ölçümünün %1,015'lik bölümünü kaplayan Bolu ili, 8.323 km² yüz ölçümü ile Karadeniz Bölgesi'nin Batı Karadeniz bölümünde yer alır. İl arazisinin yaklaşık %18'ini tarım alanları oluşturmaktadır. Orman alanları ise %64'lük bir oran ile Türkiye ormanları içinde %2,55'lik paya sahiptir. Çayır ve meraların kapladığı alan yaklaşık %15'tir. Geriye kalan %8 dolayında alan ise tarım dışı alanlardır.

Ortalama rakım 1000 m, merkez ilçe rakımı ise 725 m civarındadır. Matematiksel konum açısından 30 derece 32 dakika - 32 derece 36 dakika Doğu boylamları ile 40 derece 06 dakika - 41 derece 01 dakika Kuzey enlemleri arasındadır.

Bolu İl Merkezine göre; Dörtdivan, Yeniçağa ve Gerede İlçeleri doğuda, Mengen kuzeydoğuda, Göynük ve Mudurnu İlçeleri güneybatıda, Seben ve Kıbrıscık İlçeleri ise güneyde yer almaktadır. Bolu'nun, batısında Düzce ve Sakarya, güneybatısında Bilecik ve Eskişehir, güneyinde Ankara, doğusunda Çankırı, kuzeyinde Zonguldak ve kuzey doğusunda Karabük İlleri yer alır.

Düzce'nin 584 Sayılı Kanun Hükmünde Kararname ile (09.12.1999 tarih ve 23901 sayılı R.G.) il olarak ayrılmasıyla, Bolu'nun denizle bağlantısı kalmamıştır.

Dağlar: İl topraklarının %56'sını kaplamaktadır. İlin güneybatı - kuzeydoğu istikametinde Bolu Dağları; en yüksek yeri 1980 m. ile Çele Doruğu, ve Abant Dağları (1748 m.), Gerede'nin kuzeyinde Arkot (1877 m.) ve Göl Dağları (1112 m.)dır. En güneyde ilk iki sıradan daha yüksek olan ve genel olarak Köroğlu Dağları (en yüksek yeri 2499 m.) adı verilen volkanik dağlar uzanır. Bolu'nun güneyindeki uzantısı Seben Dağları 1854 m. Mudurnu civarında Ardıç Dağları 1443 m. Güneydeki Çal Tepesi ise 1640 m. yüksekliğindedir.

Ovalar: İl Yüzölçümünün %8'ini kaplayan ovalar genel olarak batı – doğu istikametinde uzanırlar. 725 m. yükseltideki Bolu Ovası ve 1300 m. yükseltideki Gerede Ovaları en genişleridir. Diğer ovalar ise Yeniçağa Ovası, Mudurnu Ovası ve Göynük ilçesinin güneyinde Himmetoğlu Ovasıdır.

Akarsular: Bolu'da en önemli akarsular Büyüksu, Mengen Çayı, Aladağ Çayı, Mudurnu Çayı, Göynük Suyu, Çatak Suyu ve Gerede Çayıdır.

Göller: Yörede morfolojik yapının karmaşıklığı, akarsu sayısının çokluğu, yükselti farklılıkları ve eğimin fazlalığı gibi faktörler çok sayıda gölün oluşmasına neden olmuştur. Havzaların ve çanakların yüzölçümlerinin küçüklüğü göllerin de küçük alanlı olması sonucunu doğurmuştur. Abant Gölü, Yeniçağa, Çubuk, Sünnet, Yedigöller, Karagöl, Sülüklügöl, Karamurat en önemli göllerdir.

İklim: Bolu genellikle Batı Karadeniz ve Karadeniz iklim tiplerinin içinde yer almaktadır. Bunun yanında güneybatı bölümlerinde Marmara ve İç Anadolu iklim tipleri de görülmektedir. Son 52 yıllık verilere göre ortalama günlük güneşlenme süresi 5 saat 49 dakika, yıllık yağış 536 mm. yıllık ortalama yağışlı gün sayısı ise 137 gündür.

Bitki örtüsü: Bolu'da hakim bitki örtüsü ormanlardır. İl topraklarının %55'i ormanlarla kaplıdır. Karadere, Seben ve Aladağ Ormanları yurdumuzun en zengin ormanlarıdır. Hakim ağaç türleri kayın, gürgen, ıhlamur, dişbudak, meşe, kızılağaç, karaağaç, kavak, köknar ve sarıçamdır.
Ulaşım Ankara–İstanbul karayolu üzerinde bulunan Bolu'ya sadece kara yolu ile ulaşım sağlanabilmektedir.

Tarihçe
MÖ 1200'lü yıllarda bütün Hitit toprakları gibi Bolu da Friglerin elindeydi. MÖ 6. asırda Persler bölgeye hakim oldular. MÖ 336'da Büyük İskender Persleri yenerek Anadolu'nun birçok yeri gibi Bolu'yu da ele geçirdi. Büyük İskender'in ölümü üzerine Makedonya yıkılınca Bolu bölgesinde Bitinya Krallığı kuruldu. Yazılı belgeler, o dönemlerden kalan arkeolojik eserler ve tarih kaynaklarına göre, Trak göçleri sonunda Sakarya ve Filyos Nehrinin yayı içine yerleşen halk "Bithyn" ismi ile anılıyordu. Bu yüzden Bolu'nun da içinde bulunduğu Kuzeybatı Anadolu'ya "Bithynia" denilmiştir. Bithynler tarafından Salonia Campus denilen Bolu Ovası ve çevresinin adı Romalılar tarafından "Claudio Polis" olarak değiştirilmiştir. Bolu isminin de "Polis"ten geldiği sanılmaktadır. Üç tepe üzerinde kurulmuş olan şehir içte ve dışta surlara sahipti. Şehrin kuzeyinde Halı Hisarı bölgesinde bu surların kalıntıları görülebilmektedir. 1071 Malazgirt zaferinden sonra batıya yayılan Türkmenler 3 yıl sonra Bolu'ya yerleştiler. Selçuklu Devleti'nin komutanları Artuk, Tutuk, Danişmend, Karateki ve Saltuk Beyler Süleyman Şah'ın emrinde İstanbul sınırına dayandılar. Bu akınlar sırasında Bolu, Horasanlı Aslahaddin tarafından fethedilmiştir.

Bolu Yöresine Osmanlı akını ilk kez Osman Gazi tarafından başlatılmıştır. Bolu yöresinin tümüyle fethedilmesi ise Orhan Gazi döneminin ilk yıllarına (1324 - 1326) rastlar. Bir başka rivayete göre Osmanlılar zamanında bölgede, bol olarak Uluğ - Alim olması nedeniyle önceleri "Bol Uluğ", zamanla yöre "BOLU" olarak isimlendirilmiştir. Yıldırım Beyazid'in ölümü ile başlayan şehzadeler savaşına Bolu, birçok kez sahne oldu. Bolu, Ankara Savaşı sonrası Timur'un talan ettiği bölgelerin dışında kaldığı gibi, bu tehlike bitinceye kadar, Osmanlı Devleti'nin 2. kurucusu sayılan Çelebi Mehmet'i de Kızık Yaylasında barındıran belde olmuştur. Çelebi Mehmet'in Osmanlı Devleti'nin birliğini sağlamasından sonra ise Bolu, düzenli bir yönetime kavuştu.

1324 – 1692 yılları arasında Bolu, 36 kazası olan bir sancak beyliği idi. XVI. Yüzyılda Bolu, ikinci derece Şehzade sancaklarından biri oldu. 2. Bayezit döneminde Şehzade Süleyman (Kanuni) buraya atandı. 1683-1792 yılları arasında Bolu, Voyvodalıkla yönetildi. II. Mahmut zamanında ise Mutasarrıflığa dönüştürüldü. (1811) Tanzimat sonrası Bolu; Kastamonu eyaletine bağlandı (1864). 1909 yılında ise tekrar Mutasarrıflığa dönüştürüldü.

Mondros Mütarekesi'nin yürürlüğe girmesi ve İzmir'in işgal edilmesinin ardından Bolu yöresinde ilk Müdafa-i Hukuk Cemiyeti Gerede'de örgütlendi. Bolu 1. Dünya Savaşı'nda ve sonrasında düşman işgaline uğramadı fakat maddi zarar gördü. Mustafa Kemal Paşa önderliğinde yapılan milli mücadele dönemlerinin sonunda Bolu, 10 Ekim 1923'te Mutasarrıflık devrini tamamladı ve vilayet haline getirildi.

Nüfus

Kaynakça

Dış bağlantılar
 Bolu Valiliği
 Bolu Belediyesi
Meb Bolu İl Milli Eğitim Müdürlüğü
Bolu İl Nüfus ve Vatandaşlık Müdürlüğü
Bolu İzzet Baysal Devlet Hastanesi
Bolu İl Sağlık Müdürlüğü
Bolu - İŞKUR
Bolu İl Jandarma Komutanlığı
Bolu Emniyet Müdürlüğü

Bolu


A professional video camera (often called a television camera even though its use has spread beyond television) is a high-end device for creating electronic moving images (as opposed to a movie camera, that earlier recorded the images on film). Originally developed for use in television studios or with outside broadcast trucks, they are now also used for music videos, direct-to-video movies (see digital movie camera), corporate and educational videos, wedding videos, among other uses.  Since the 2000s, most professional video cameras are digital (instead of analog) professional video cameras.

The distinction between professional video cameras and movie cameras became much smaller as HD digital video cameras with sensors the same size as 35mm movie cameras - plus dynamic range (exposure latitude) and color rendition approaching film quality - were introduced in the late 2010s. Nowadays, HDTV cameras designed for broadcast television, news, sports, events and other works such as reality TV are termed as professional video cameras. A digital movie camera is designed for movies or scripted television to record files that are then color corrected during post-production. The video signal from a professional video camera can be broadcast live, or is meant to be edited quickly with little or no color or exposure adjustments needed.

History
The earliest video cameras were mechanical flying-spot scanners which were in use in the 1920s and 1930s during the period of mechanical television. Improvements in video camera tubes in the 1930s ushered in the era of electronic television. Earlier, cameras were very large devices, almost always in two sections. The camera section held the lens and camera tube pre-amplifiers and other necessary electronics, and was connected to a large diameter multicore cable to the remainder of the camera electronics, usually mounted in a separate room in the studio, or a remote truck. The camera head could not generate a video picture signal on its own. The video signal was output to the studio for switching and transmission. By the fifties, electronic miniaturization had progressed to the point where some monochrome cameras could operate standalone and even be handheld. But the studio configuration remained, with the large cable bundle transmitting the signals back to the camera control unit (CCU). The CCU in turn was used to align and operate the camera's functions, such as exposure, system timing, video and black levels.

The first color cameras (1950s in the US, early 1960s in Europe), notably the RCA TK-40/41 series, were much more complex with their three (and in some models four) pickup tubes, and their size and weight drastically increased. Handheld color cameras did not come into general use until the early 1970s - the first generation of cameras were split into a camera head unit (the body of the camera, containing the lens and pickup tubes, and held on the shoulder or a body brace in front of the operator) connected via a cable bundle to a backpack CCU.

The Ikegami HL-33, the RCA TKP45 and the Thomson Microcam were portable two piece color cameras introduced in the early 1970s. For field work a separate VTR was still required to record the camera's video output. Typically this was either a portable 1" reel to reel VTR, or a portable 3/4" U-matic VCR. Typically, the two camera units would be carried by the camera operator, while a tape operator would carry the portable recorder. With the introduction of the RCA TK76 in 1976, camera operators were finally able to carry on their shoulders a one piece camera containing all the electronics to output a broadcast quality composite video signal. A separate videotape recording unit was still required.

Electronic news-gathering (ENG) cameras replaced the 16mm film cameras for TV news production from the 1970s onwards because the cost of shooting on film was significantly more than shooting on a reusable tape. Portable video tape production also enabled much faster turnaround time for the quick completion of news stories, compared to the need to chemically process film before it could be shown or edited. However some news feature stories for weekly news magazine shows continued to use 16mm film cameras until the 1990s.

At first all these cameras used tube-based sensors, but charge-coupled device (CCD) imagers came on the scene in the mid-80s, bringing numerous benefits. Early CCD cameras could not match the colour or resolution of their tube counterparts, but the benefits of CCD technology, such as introducing smaller and lightweight cameras, a better and more stable image (that was not prone to image burn in or lag) and no need for registration meant development on CCD imagers quickly took off and, once rivaling and offering a superior image to a tube sensor, began displacing tube-based cameras - the latter of which were all but disused by the early 1990s. Eventually, cameras with the recorder permanently mated to the camera head became the norm for ENG. In studio cameras, the camera electronics shrank, and CCD imagers replaced the pickup tubes. The thick multi-core cables connecting the camera head to the CCU were replaced in the late seventies with triax connections, a slender video cable that carried multiple video signals, intercom audio, and control circuits, and could be run for a mile or more. As the camera innards shrunk, the electronics no longer dictated the size of the enclosure, however the box shape remained, as it is necessary to hold the large studio lenses, teleprompters, electronic viewfinder (EVF), and other paraphernalia needed for studio and sports production. Electronic Field Production cameras were often mounted in studio configurations inside a mounting cage. This cage supported the additional studio accessories.

In the late 1990s, as HDTV broadcasting commenced, HDTV cameras suitable for news and general purpose work were introduced. Though they delivered much better image quality, their overall operation was identical to their standard definition predecessors.  New methods of recording for cameras were introduced to supplant video tape, tapeless cameras. Ikegami and Avid introduced EditCam in 1996, based on interchangeable hard drives. Panasonic introduced P2 cameras. These recorded a DVCPro signal on interchangeable flash memory media. Several other data storage device recording systems were introduced, notably XDCAM from Sony.  Sony also introduced SxS (S-by-S), a flash memory standard compliant to the Sony and Sandisk-created ExpressCard standard. Eventually flash storage largely supplanted other forms of recording media.

In 2000s, major manufacturers like Sony, Philips introduced the digital professional video cameras. These cameras used CCD sensors and recorded video digitally on flash storage. These were followed by digital HDTV cameras. As digital technology improved and also due to digital television transition, digital professional video cameras have become dominant in television studios, ENG, EFP and even in other areas since 2010s. CCD sensors were eventually replaced by CMOS sensors.

Chronology

 1926 to 1933 "cameras" were a type of flying spot scanner using mechanical disk.
 1936 saw the arrival of RCA's iconoscope camera.
 1946 RCA's TK-10 studio camera used a 3" IO – Image Orthicon tube with a 4 lens turret. The RCA TK-30 (1946) was widely used as a field camera. A TK-30 is simply a TK-10 with a portable camera control unit.
 The 1948 Dumont Marconi MK IV was an Image Orthicon camera. Marconi's first camera was shown in 1938. EMI cameras from the UK were used in the US in the early 1960s, like the EMI 203/4. Later in the 60s the EMI 2000 and EMI 2001.
 In 1950 the arrival of the Vidicon camera tube made smaller cameras possible. 1952 saw the first Walkie-Lookie "portable cameras".  Image Orthicon tubes were still used till the arrival of the Plumbicon.
 The RCA TK-40 is considered to be the first color television camera for broadcasts in 1953. RCA continued its lead in the high-end camera market till the (1978) TK-47, last of the high-end tube cameras from RCA.
 1954 RCA's TK-11 studio camera used a 3" IO – Image Orthicon tube with a four-lens turret. The RCA TK-31 (1954) was widely used as a field camera. A TK-31 is simply a TK-11 with a portable camera control unit. There is some commonality between the TK-11/TK-31 and the earlier TK-10/TK-30.
 Ikegami introduced the first truly portable hand-held TV camera in 1962.
 Philips' line of Norelco cameras were also very popular with models such as PC-60 (1965), PC-70 (1967) and PCP-90 (1968 Handheld). Major US broadcaster CBS was a notable early customer of the PC-60 and PC-70 units. Philips/BTS-Broadcast Television Systems Inc. later came out with an LDK line of camera, like its last high end tube camera the LDK 6 (1982).  Philips invented the Plumbicon pick up video camera tube in 1965, that gave tube cameras a cleaner picture. BTS introduced its first handHeld Frame transfer CCD- Charge-coupled device-CCD camera the LDK90 in 1987.
 Bosch Fernseh marketed a line of high end cameras (KCU, KCN, KCP, KCK) in the US ending with the tube camera KCK-40 (1978). Image Transform (in Universal City, California) used specially modified 24 frame KCK-40 for their "Image Vision" system. This had a 10 MHz bandwidth, almost twice NTSC bandwidth. This was a custom pre HDTV video System. At its peak this system was used to make "Monty Python Live at the Hollywood Bowl" in 1982. This was the first major high-definition analog wideband videotape-to-film post production using a film recorder for film out.
 In the 2000s, major manufacturers like Sony, Philips introduced the flash storage based digital television cameras. Since the 2010s, these digital cameras have become most widely used of all other systems.

Usage types
Most professional cameras utilize an optical prism block directly behind the lens. This prism block (a trichroic assembly comprising two dichroic prisms) separates the image into the three primary colors, red, green, and blue, directing each color into a separate charge-coupled device (CCD) or Active pixel sensor (CMOS image sensor) mounted to the face of each prism. Some high-end consumer cameras also do this, producing a higher-resolution image, with better color fidelity than is normally possible with just a single video pickup.

In both single sensor Bayer filter and triple sensor designs, the weak signal created by the sensors is amplified before being encoded into analog signals for use by the viewfinder and also encoded into digital signals for transmission and recording. The analog outputs were normally in the form of either a composite video signal, which combined the color and luminance information to a single output; or an R-Y B-Y Y component video output through three separate connectors.

Studio cameras

Most television studio cameras stand on the floor, usually with pneumatic or hydraulic mechanisms called pedestals to adjust the height and position in the studio. The cameras in a multiple-camera setup are controlled by a device known as a camera control unit (CCU), to which they are connected via a triax, fibre optic or the almost obsolete multicore cable. The CCU, along with genlock and other equipment, is installed in the central apparatus room (CAR) of the television studio. A remote control panel in the production control room (PCR) for each camera is then used by the vision engineer(s) to balance the pictures.

When used outside a formal television studio in outside broadcasting (OB), they are often on tripods that may or may not have wheels (depending on the model of the tripod). Initial models used analog technology, but are now obsolete, supplanted by digital models.

Studio cameras are light and small enough to be taken off the pedestal and the lens changed to a smaller size to be used handheld on a camera operator's shoulder, but they still have no recorder of their own and are cable-bound. Cameras can also be mounted on a tripod, a dolly or a crane, thus making the cameras much more versatile than previous generations of studio cameras. These cameras have a tally light, a small signal-lamp used that indicates, for the benefit of those being filmed as well as the camera operator, that the camera is 'live' – i.e. its signal is being used for the 'main program' at that moment.

ENG cameras

ENG (electronic news gathering) video cameras were originally designed for use by news camera operators. While they have some similarities to the smaller consumer camcorder, they differ in several regards:

 ENG cameras are larger and heavier (helps dampen small movements), and usually supported by a camera shoulder support or shoulder stock on the camera operator's shoulder, taking the weight off the hand, which is freed to operate the zoom lens control.
 The camera mounts on tripods with Fluid heads and other supports with a quick release plate.
 3 CCDs or CMOS active pixel sensors are used, one for each of the primary colors
 They have interchangeable lenses.
 The lens is focused manually and directly, without intermediate servo controls. However the lens zoom and focus can be operated with remote controls with a television studio configuration operated by a camera control unit (CCU).
 A rotating behind-the-lens filter wheel, for selecting an 85A and neutral density filters.
 Controls that need quick access are on hard physical switches, all in the same general place on the camera, irrespective of the camera manufacturer, such as Gain Select, White/Black balance, color bar select, and record start controls and not in menu selection.
 All settings, white balance, focus, and iris can be manually adjusted, and automatics can be completely disabled.
 Professional BNC connectors for video out and genlock in.
 Can operate an electronic viewfinder (EVF) or external CRT viewfinder.
 At least two XLR input connectors for audio are included.
 Direct slot-in for portable wireless microphones.
 Audio is adjusted manually, with easily accessed physical knobs.
 A complete time code section is available, allowing time presets; multiple-camera setups can be time code-synchronized or jam synced to a master clock.
 "Bars and tone" are available in-camera (the SMPTE color bars (Society of Motion Picture and Television Engineers) Bars, a reference signal that simplifies calibration of monitors and setting levels when duplicating and transmitting the picture.)
 Recording is to a professional medium like some variant of Betacam or DVCPRO or Direct to disk recording or flash memory. If as in the latter two, it's a data recording, much higher data rates (or less video compression) are used than in consumer devices.

EFP cameras

Electronic field production cameras are similar to studio cameras in that they are used primarily in multiple camera switched configurations, but outside the studio environment, for concerts, sports and live news coverage of special events. These versatile cameras can be carried on the shoulder, or mounted on camera pedestals and cranes, with the large, very long focal length zoom lenses made for studio camera mounting. These cameras have no recording ability on their own, and transmit their signals back to the broadcast truck through a fiber optic, triax, radio frequency or the virtually obsolete multicore cable.

Others

Remote cameras are typically very small camera heads designed to be operated by remote control. Despite their small size, they are often capable of performance close to that of the larger ENG and EFP types.

Block cameras are so called because the camera head is a small block, often smaller than the lens itself. Some block cameras are completely self-contained, while others only contain the sensor block and its pre-amps, thus requiring connection to a separate camera control unit in order to operate. All the functions of the camera can be controlled from a distance, and often there is a facility for controlling the lens focus and zoom as well. These cameras are mounted on pan and tilt heads, and may be placed in a stationary position, such as atop a pole or tower, in a corner of a broadcast booth, or behind a basketball hoop. They can also be placed on robotic dollies, at the end of camera booms and cranes, or "flown" in a cable supported harness, as shown in the illustration.

Lipstick cameras are so called because the lens and sensor block combined are similar in size and appearance to a lipstick container. These are either hard mounted in a small location, such as a race car, or on the end of a boom pole. The sensor block and lens are separated from the rest of the camera electronics by a long thin multi conductor cable. The camera settings are manipulated from this box, while the lens settings are normally set when the camera is mounted in place.

See also

Akai
Ampex
John Logie Baird
Betacam
Broadcast Television Systems Inc. LDK Norelco- line of cameras
Digital cinematography
Digital cinematography cameras
Allen B. DuMont
EMI 2001
Link Electronics Ltd
Fernseh KC- line of cameras
Film Chain
Grass Valley (company) LDK - line of cameras
Hitachi SK- line of cameras
Ikegami HL and HK -line of cameras
Marconi Company EMI - line of cameras
Multiple-camera setup
Norelco PC line of cameras
NTSC
PAL
Philips KD - line of cameras
RCA TK- line of cameras
Sony
Video camera tube

References

Bibliography
 Zettl, H. 2006 "Television Production Handbook", Thomson Wadsworth,

External links

 Television's history through the eyes of its cameras. Over 3000 images and largest site of its kind worldwide.
 History of RCA cameras

Film and video technology
Japanese inventions
Cameras

Professional video camera


كريستيانو ديل غروسو  (مواليد 24 مارس 1983 في جيوليانوفا - إيطاليا) لاعب كرة قدم إيطالي يلعب حاليا لصالح نادي الدرجة الأولى سيينا الإيطالي منذ 2008 في مركز الظهير الأيسر . .

روابط خارجية

مراجع

مدافعو كرة قدم رجالية
أشخاص على قيد الحياة
أشخاص من جوليانوفا
توائم إيطاليون
توأم رياضي
رياضيون من أبروتسو
لاعبو الدوري الإيطالي
لاعبو الدوري الإيطالي الدرجة الثالثة
لاعبو أتالانتا
لاعبو أسكولي
لاعبو باري
لاعبو بسكارا 1936
لاعبو الدوري الإيطالي الدرجة الثانية
لاعبو سيينا
لاعبو فينيزيا
لاعبو كالياري
لاعبو كرة قدم إيطاليون
لاعبو نادي سبال
مواليد 1983
مواليد في جوليانوفا

كريستيانو ديل غروسو


Lüleburgaz ( Arkadiopolis, Bulgarca: Люлебургас Lyuleburgas), Türkiye'nin Kırklareli iline bağlı bir ilçedir. İlçenin sınırları dahilinde altı belde ve otuz köy bulunmaktadır. Çorlu, Çerkezköy, Edirne ve Tekirdağ'dan sonra Doğu Trakya'nın beşinci en büyük yerleşim yeridir. Kırklareli'nin güneyinde, sanayisi ve tarımı ile öne çıkan Lüleburgaz, söz konusu ilin en büyük ve en gelişmiş ilçesidir.

Tarihçe
Lüleburgaz ve civarı milattan önceki dönemde Trak, Büyük İskender ve Roma İmparatorluğu hakimiyetine girdi. Roma İmparatorluğu'nun bölünme döneminde Bizans egemenliğine girdi. Lüleburgaz, Osmanlı'nın kuruluş döneminde Osmanlı'nın eline geçti.

Edirne Vilayet Matbaası Müdürü Şevket Dağdeviren'in yazdığı 1892 tarihli salnameye göre;

Kırkkilise sancağının ikinci sınıf bir kazası olan Lüleburgaz kazası içinde 2 nahiye ve 30 köyde 3492 evde 14950 nüfus bulunur. Kaza içinde 22 cami ve bir mescit vardır. Büyük caminin harem avlusunda 17 odalı bir medrese vardır. Kazada 20 okul, telgrafhane, belediye dairesi, jandarma dairesi, aşar ambarı, büyük saat kulesi, 2 hamam, 20 çeşme, su kemeri ve çömlekhane vardır.

14. yüzyıldan 1919'a kadar Osmanlı egemenliğinde kalan Lüleburgaz, Türk Kurtuluş Savaşı'nın önemli kongrelerinden Trakya Paşaeli Müdafaa-i Hukuk Cemiyeti'nin düzenlediği Lüleburgaz Kongresi'ne sahne oldu. Sevr Antlaşması'ndan sonra yöre Yunanlarca işgal edildi. Yöre, işgalden ancak Mudanya Mütarekesi'nden sonra kurtulabildi.

Coğrafya
Lüleburgaz, Kırklareli ilinin güneyinde yer almakta olup, doğusunda Tekirdağ ilinin Saray ve Çorlu ilçeleri, batısında Kırklareli ilinin Babaeski ilçesi, kuzeyinde Kırklareli ilinin Pınarhisar ilçesi ve güneyinde ise Tekirdağ ilinin Hayrabolu ve Muratlı ilçeleriyle çevrilmiştir. Kırklareli ilinin en büyük yerleşim yeri olan ilçenin toplam alanı 1372 hektar olup, ilçe merkezinin denizden yüksekliği 30 metredir. İklim genel olarak yazları sıcak ve kurak, kışları ise yağışlı ve soğuktur. Genellikle kışın Balkanlardan gelen soğuk hava akımlarından etkilenmektedir.

Nüfus

Lüleburgaz ilçesinin toplam nüfusu 2020 yılı verilerine göre 152.192 kişidir. Bunun 122.635'i ilçe merkezinde 29.557'si ise belde ve köylerdedir. 2000 yılına göre ilçe nüfusunda %29'luk bir artış görünmektedir. Bu artış ilçe merkezinde %55 olarak görülürken kırsal nüfus da ise %24'lük bir azalma görülmüştür. Nüfus artış oranı ülke genelinin çok üzerinde olup, artış genellikle diğer bölgelerden ve köylerden şehre yoğun göçten kaynaklanmaktadır. Özelikle Tekstil ve Kimya sanayisinin burada toplanması nedeniyle farklı bölge ve şehirlerden göç almaktadır.

Folklor
Dere Geliyor Dere, Ah Tren Kara Tren şarkısı Lüleburgaz yöresine aittir.

Kaynakça

Lüleburgaz


Lantau je najveći otok u Hong Kongu u Kini, koji se nalazi na ušću Biserne rijeke.

Ime je porijeklom od staroga domaćega naziva za Lantau Vrh (kin. 爛頭, doslovno "čupava glava"). Administrativno, Lantau je dio okruga Otok, a manji dio na sjeveroistoku otoka pripada okrugu Cuen Ven. Ima površinu od 147 km². Originalno ovo mjesto imalo je puno sela ribara. Otok je posljednjih godina poprište velikih infrastrukturnih projekata, uključujući Međunarodnu zračnu luku Hong Kong, žičaru Ngong Ping 360 i Hong Kong Disneyland.

Artefakti iskopani na otoku Lantau pokazuju ljudsku aktivnost, koja seže u doba neolita i brončanog doba. Otok je bio poznat pod imenom Tai Hai Šan (大奚山) u dalekoj prošlosti. Bio je često prikazan u navigacijskoj karti zbog blizine glavnoga morskoga smjera u Južnoj Kini.

Dvor Južne Song dinastije pobjegao je do Guangdonga brodom 276. godine, bježeći od mongolskih napadača, ostavljajući cara Gong Di u zaleđu. Carski sud tražio je utočište prvo u Srebrno Rudnoj Luci na otoku Lantau, a kasnije u današnjem Koowlun Gradu.
Sol se ilegalno proizvodila u Lantau. To je smetalo kineskim vladarima u 16. stoljeću pa je lokalni gospodar mnoge otočane osudio na smrt.

Kao i Čeng Čau, Lantau je bio baza za gusare i krijumčare te je bio jedna od baza za Čeng Po Caia u 19. stoljeću.

Otok Lantau zajedno s Tuen Munom bio je među prvim europskim trgovačkim naseljima u području Biserne rijeke, koje su osnovali portugalski trgovci 1510. godine. Portugalci su napustili ta naselja oko 1517. godine, nakon poraza od kineske vojske. Kasnije, otok je postao važna trgovačka luka za Britance, puno prije nego što su pokazali zanimanje za otok Hong Kong.

Srebro je bilo iskopavano iz rudnika u Mejvou do 19. stoljeća.
Lantau je bio bitno mjesto otpora protiv Japana tijekom Drugog svjetskog rata. Pokret otpora koristio je šumovita područja i duboke doline, kako bi organizirali zasjede i uništavali zalihe. Pobunjenički pokret je ustrajao kroz rat sve do poraza Japana 1945. godine.

Hong Kong
Kineski otoci u Južnom kineskom moru

Lantau