Carnivàle () is an American television series set in the United States Dust Bowl during the Great Depression of the 1930s. The series, created by Daniel Knauf, ran for two seasons between 2003 and 2005. In tracing the lives of disparate groups of people in a traveling carnival, Knauf's story combined a bleak atmosphere with elements of the surreal in portraying struggles between good and evil and between free will and destiny. The show's mythology drew upon themes and motifs from traditional Christianity and gnosticism together with Masonic lore, particularly that of the Knights Templar order.

Carnivàle was produced by HBO and aired between September 14, 2003, and March 27, 2005. Its creator, Daniel Knauf, also served as executive producer along with Ronald D. Moore and Howard Klein. Jeff Beal composed the original incidental music. Nick Stahl and Clancy Brown starred as Ben Hawkins and Brother Justin Crowe, respectively. The show was filmed in Santa Clarita, California, and nearby Southern California locations.

Early reviews praised Carnivàle for style and originality but questioned the approach and execution of the story. The first episode set an audience record for an HBO original series and drew durable ratings through the first season. When the series proved unable to sustain these ratings in its second season, it was cancelled. An intended six-season run was thus cut short by four seasons.

In all, 24 episodes of Carnivàle were broadcast. In 2004, the series won five Emmys out of fifteen nominations. The show received numerous other nominations and awards between 2004 and 2006.

Episodes

The two seasons of Carnivàle take place in the Depression-era Dust Bowl between 1934 and 1935, and consist of two main plotlines that slowly converge. The first involves a young man with strange healing powers named Ben Hawkins (Nick Stahl), who joins a traveling carnival when it passes near his home in Milfay, Oklahoma. Soon thereafter, Ben begins having surrealistic dreams and visions, which set him on the trail of a man named Henry Scudder, a drifter who crossed paths with the carnival many years before, and who apparently possessed unusual abilities similar to Ben's own.

The second plotline revolves around a Father Coughlin-esque Methodist preacher, Brother Justin Crowe (Clancy Brown), who lives with his sister Iris (Amy Madigan) in California. He shares Ben's prophetic dreams and slowly discovers the extent of his own unearthly powers, which include bending human beings to his will and making their sins and greatest evils manifest as terrifying visions. Certain that he is doing God's work, Brother Justin fully devotes himself to his religious duties, not realizing that his ultimate nemesis Ben Hawkins and the carnival are inexorably drawing closer.

Production

Conception

Daniel Knauf conceived the initial script for the show between 1990 and 1992 when he was unsatisfied with his job as a Californian health insurance broker and hoped to become a screenwriter. He had always been interested in carnivals and noted that this subject had rarely been dramatized on film. Knauf's experiences of growing up with a disabled father who was not commonly accepted as a normal human strongly informed the story and its treatment of freaks.

Knauf named the intended feature film script Carnivàle, using an unusual spelling for a more outlandish look. Knauf had plotted the story's broad strokes as well as several plot details from early on and knew the story destination until the final scene. However, the resulting 180-page long script was twice the length of a typical feature film script, and Knauf still felt that it was too short to do his story justice. He therefore shelved the screenplay as a learning experience. In the meantime, Hollywood studios rejected all but one of Knauf's other scripts, often for being "too weird."

In the mid-1990s, Knauf met a few Writers Guild TV writers who encouraged him to revise Carnivàle as a TV series. Knauf turned the script's first act into a pilot episode, but, having no contacts in the television business, he was forced to shelve the project again and return to his regular job. A few years later, after realizing that his insurance career was not working out, he decided to give his screenwriting efforts a last chance by offering the Carnivàle pilot on his website. The script was subsequently forwarded to Howard Klein by Scott Winant, a mutual friend of the two men. After several meetings and conversations, Klein felt confident that Carnivàle would make a good episodic television series that could last for many years. Klein brought it to the attention of Chris Albrecht and Carolyn Strauss of HBO, who were immediately receptive. The network deemed Knauf too inexperienced in the television business to give him full control over the budget, and appointed Ronald D. Moore as showrunner. (Knauf replaced Moore after one season when Moore left for the reimagined Battlestar Galactica.)

The pilot episode, which was filmed over a period of 21 days, served as the basis for additional tweaking of intended story lines. Long creative discussions took place among the writers and the network, leading to the postponement of the filming of the second episode for fourteen months. One major change was the addition of extra material for Brother Justin's side of the story. Brother Justin was originally conceived as a well-established preacher, and as a recurring character rather than a regular one. However, after perusing the preliminary version of the pilot, Knauf and the producers realized that there was no room for Justin to grow in a television series. Hence, it was decided to make Brother Justin an ordinary Methodist minister in a small town, setting him back in his career by about one or two years. Expanding Brother Justin's role opened new possibilities, and his sister Iris was created as a supporting character. Little was changed on Ben Hawkins' side except for the addition of the cootch (striptease) family; a Carnivàle consultant had elated the producers by calling attention to his research about families managing cootch shows in the 1930s.

Format
The Carnivàle story was originally intended to be a trilogy of "books", consisting of two seasons each. This plan did not come to fruition, as HBO canceled the show after the first two seasons. Each season consists of twelve episodes.

Airing on HBO benefited Carnivàle in several ways. Because HBO does not rely on commercial breaks, Carnivàle had the artistic freedom to vary in episode length. Although the episodes averaged a runtime of 54 minutes, the episodes "Insomnia" and "Old Cherry Blossom Road" were 46 minutes and 59 minutes, respectively. HBO budgeted approximately US$4 million for each episode, considerably more than most television series receive.

Historical production design
Carnivàle 1930s' Dust Bowl setting required significant research and historical consultants to be convincing, which was made possible with HBO's strong financial backing. As a result, reviews praised the look and production design of the show as "impeccable," "spectacular" and as "an absolute visual stunner." In 2004, Carnivàle won four Emmys for art direction, cinematography, costumes, and hairstyling.

To give a sense of the dry and dusty environment of the Dust Bowl, smoke and dirt were constantly blown through tubes onto the set. The actors' clothes were ragged and drenched in dirt, and Carnivàle had approximately 5,000 people costumed in the show's first season alone. The creative team listened to 1930s' music and radio and read old Hollywood magazines to get the period's sound, language, and slang right. The art department had an extensive research library of old catalogs, among them an original 1934 Sears Catalog, which were purchased at flea markets and antique stores. The East European background of some characters and Asian themes in Brother Justin's story were incorporated into the show. Aside from the show's supernatural elements, a historical consultant deemed Carnivàle historical accuracy to be excellent regarding the characters' lives and clothes, their food and accommodations, their cars and all the material culture.

Filming locations
Carnivàle interiors were filmed at Santa Clarita Studios in Santa Clarita, California, while the show's many exterior scenes were filmed on Southern California locations. The scenes of fictional California town of Mintern, where the stories about Brother Justin and Iris in Season 1 were based, were shot at Paramount Ranch in Agoura Hills. The carnival set itself was moved around the greater Southern California area, to movie ranches and to Lancaster, which were to replicate the states of Oklahoma, Texas, and New Mexico. The permanent filming location of the carnival in Season2 was Big Sky Ranch, which was also used for Brother Justin's new home in fictional New Canaan.

Opening title sequence

Carnivàle opening title sequence was created by A52, a visual effects and design company based in Los Angeles, and featured music composed by Wendy Melvoin and Lisa Coleman. The opening title sequence won an Emmy for "Outstanding Main Title Design" in 2004.

 The production team of A52 had intended to "create a title sequence that grounded viewers in the mid-1930s, but that also allowed people to feel a larger presence of good and evil over all of time." In early 2003, A52 pitched their idea to Carnivàle executives, who felt that the company's proposal was the most creative for the series' concept. The actual production included scanned transparencies of famous pieces of artwork, each scanned transparency being up to 300 MB in size. The resulting images were photoshopped and digitally rendered. A last step involved stock footage clips being compiled and digitally incorporated into the sequence.

The opening title sequence itself begins with a deck of Tarot cards falling into the sand, while the camera moves in and enters one card into a separate world presenting layers of artwork and footage from iconic moments of the American Depression era; the camera then moves back out of a different card and repeats the procedure several times. The sequence ends with the camera shifting from the "Judgement" Tarot card to the "Moon" and the "Sun", identifying the Devil and God respectively, until the wind blows away all cards and the underlying sand to reveal the Carnivàle title artwork.

Music
Carnivàle features instrumental music composed by Jeff Beal, as well as many popular or obscure songs from the 1920s and 1930s, the time when Carnivàle story takes place. However, "After the Ball," which was a major hit in the 1890s, is used to prominent effect at the close of season 1, episode 2.

The main title was written by The Revolution members Wendy Melvoin and Lisa Coleman, and was released with selected themes by Jeff Beal on a Carnivàle television soundtrack by the record label Varèse Sarabande on December 7, 2004. Beal released tracks of Season2 on his personal website. A complete list of music credits is available on the official HBO website.

Jeff Beal's score is primarily acoustic sounding electronics, but mixes themes of bluegrass as well as atmospheric rhythmic sounds. Bigger groups of strings support smaller ensembles of guitars, pianos, violins, cellos, and trumpets. The music sometimes uses ethnic instruments such as banjos, harmonicas, ukuleles, and duduks.

Because HBO does not break individual episodes with commercials, Carnivàle music is paced similar to a movie, with character-specific leitmotifs from as early as the first episode. Characters are musically identified by solo instruments chosen for the character's ethnic background or nature. Some characters whose connections are only disclosed later in the series have intentionally similar themes.

Different music is consciously used to represent the two different worlds of the story. Brother Justin's world features music of constructed orchestral sound with religious music and instruments. On the other hand, the score of the carnival side is more deconstructed and mystical, especially when the carnival travels through the Dust Bowl and remote towns. For carnival scenes taking place in the cootch (striptease) show or in cities, however, contemporary pop music, blues, folk, and ethnic music is played. One of the most defining songs of Carnivàle is the 1920s song "Love Me or Leave Me" sung by Ruth Etting, which is used in several episodes to tie characters in the two worlds thematically.

Cast

The plot of Carnivàle takes place in the 1930s Dust Bowl and revolves around the slowly converging storylines of a traveling carnival and a Californian preacher. Out of the 17 actors receiving star billing in the first season, 15 were part of the carnival storyline. The second season amounted to 13 main cast members, supplemented by several actors in recurring roles. Although such large casts make shows more expensive to produce, the writers are benefited with more flexibility in story decisions. The backgrounds of most characters were fully developed before the filming of Carnivàle began but were not part of the show's visible structure. The audience therefore only learned more about the characters as a natural aspect in the story.

Season 1's first storyline is led by Nick Stahl portraying the protagonist Ben Hawkins, a young Okie farmer who joins a traveling carnival. Michael J. Anderson played Samson, the diminutive manager of the carnival. Tim DeKay portrayed Clayton "Jonesy" Jones, the crippled chief roustabout. Patrick Bauchau acted as the carnival's blind mentalist Lodz, while Debra Christofferson played his lover, Lila the Bearded Lady. Diane Salinger portrayed the catatonic fortune teller Apollonia, and Clea DuVall acted as her tarot-card-reading daughter, Sofie. Adrienne Barbeau portrayed the snake charmer Ruthie, with Brian Turk as her son Gabriel, a strongman. John Fleck played Gecko the Lizard Man, and Karyne and Sarah Steben appeared as the conjoined twins Alexandria and Caladonia. The cootch show Dreifuss family was played by Toby Huss and Cynthia Ettinger as Felix "Stumpy" and Rita Sue, and Carla Gallo as their daughter Libby. Amanda Aday portrayed their other daughter, Dora Mae Dreifuss, in a recurring role. John Savage played the mysterious Henry Scudder in several episodes, while Linda Hunt lent her voice to the mysterious Management. The second storyline is led by Clancy Brown portraying the primary antagonist, the Methodist minister Brother Justin Crowe. Amy Madigan played his sister Iris. Robert Knepper supported them as the successful radio host Tommy Dolan later in the first season, while Ralph Waite had a recurring role as Reverend Norman Balthus, Brother Justin's mentor. K Callan performed in a recurring role as Eleanor McGill, a parishioner who became devoted to Brother Justin after seeing his power firsthand.

Several cast changes took place in Season 2, some of them planned from the beginning. John Fleck, Karyne Steben and her sister Sarah had made their last appearance in the first season's finale, while Patrick Bauchau's and Diane Salinger's status was reduced to guest-starring. Ralph Waite joined the regular cast. Several new characters were introduced in recurring roles, most notably John Carroll Lynch as the escaped convict Varlyn Stroud and Bree Walker as Sabina the Scorpion Lady.

Casting
The casting approach for Carnivàle was to cast the best available actors and to show the characters' realness as opposed to depending on freak illusions too much. Carnivàle casting directors John Papsodera and Wendy O'Brien already had experience in casting freaks from previous projects. The producers generally preferred actors who were not strongly identified with other projects, but were willing to make exceptions such as for Adrienne Barbeau as Ruthie.

The script for the pilot episode was the basis for the casting procedure, with little indication where the show went afterwards. This resulted in some preliminary casting disagreements between the creators and producers, especially for leading characters such as Ben, Brother Justin and Sofie. The character of Ben was always intended to be the leading man and hero of the series, yet he was also desired to display a youthful, innocent and anti-hero quality; Nick Stahl had the strongest consensus among the producers. The character of Sofie was originally written as more of an exotic gypsy girl, but Clea DuVall, a movie actor like Stahl, got the part after four auditions. Tim DeKay was cast as Jonesy because the producers felt he best portrayed a "very American-looking" baseball player of that period. One of the few actors who never had any real competition was Michael J. Anderson as Samson, whom Daniel Knauf had wanted as early as the initial meeting.

Mythology

Although almost every Carnivàle episode has a distinctive story with a new carnival setting, all episodes are part of an overarching good-versus-evil story that culminates and is resolved only very late in Season 2. The pilot episode begins with a prologue talking of "a creature of light and a creature of darkness" (also known as Avatars) being born "to each generation" preparing for a final battle. Carnivàle does not reveal its characters as Avatars beyond insinuation, and makes the nature of suggested Avatars a central question. Reviewers believed Ben to be a Creature of Light and Brother Justin a Creature of Darkness.

Other than through the characters, the show's good-and-evil theme manifests in the series' contemporary religion, the Christian military order Knights Templar, tarot divination, and in historical events like the Dust Bowl and humankind's first nuclear test. The writers had established a groundwork for story arcs, character biographies and genealogical character links before filming of the seasons began, but many of the intended clues remained unnoticed by viewers. While Ronald D. Moore was confident that Carnivàle was one of the most complicated shows on television, Daniel Knauf reassured critics that Carnivàle was intended to be a demanding show with a lot of subtext and admitted that "you may not understand everything that goes on but it does make a certain sense". Knauf provided hints about the show's mythological structure to online fandom both during and after the two-season run of Carnivàle, and left fans a production summary of Carnivàle first season two years after cancellation.

Matt Roush of TV Guide called Carnivàle "the perfect show for those who thought Twin Peaks was too accessible". The Australian said Carnivàle "seems to have been conceived in essentially literary terms" which "can sometimes work on the page but is deadly on the large screen, let alone a small one. It's almost like a biblical injunction against pretension on television." A reviewer admitted his temptation to dismiss the first season of Carnivàle as "too artsy and esoteric" because his lack of involvement prevented him from understanding "what the heck was going on, [which] can be a problem for a dramatic television series." TV Zone however considered Carnivàle "a series like no other and [...] the fact that it is so open to interpretation surprisingly proves to be one of its greatest strengths." Carnivàle was lauded for bringing "the hopelessness of the Great Depression to life" and for being among the first TV shows to show "unmitigated pain and disappointment", but reviewers were not confident that viewers would find the "slowly unfolding sadness" appealing over long or would have the patience or endurance to find out the meaning of the show.

Cancellation
At the time, HBO made their commitments for only one year at a time, a third season would have meant opening up a new two-season book in Daniel Knauf's six-year plan, including the introduction of new storylines for current and new characters, and further clarification and elaboration on the show's mythology. HBO announced that the show had been cancelled on May 11, 2005. HBO's president Chris Albrecht said the network would have considered otherwise if the producers had been willing to lower the price of an episode to US$2 million; but the running costs for the sizable cast, the all-on-location shooting and the number of episodes per season were too enormous for them.

The cancellation resulted in several story plot lines being unfinished, and outraged loyal viewers organized petitions and mailing drives to get the show renewed. This generated more than 50,000 emails to the network in a single weekend. Show creator Daniel Knauf was unconvinced of the success of such measures, but explained that proposed alternatives like selling Carnivàle to a competing network or spinning off the story were not possible because of HBO owning Carnivàle plot and characters. At the same time, Knauf was hopeful that, given a strong enough fan base, HBO might reconsider the show's future and allow the continuation of the show in another medium; but because of the amount of unused story material he still had, Knauf did not favor finishing the Carnivàle story with a three-hour movie.

Knauf did not release a detailed run-down of intended future plots to fans, explaining that his stories are a collaboration of writers, directors and actors alike. He and the producers did, however, answer a few basic details about the immediate fate of major characters who were left in near-fatal situations in the final episode of Season 2. Knauf additionally provided in-depth information regarding the underlying fictional laws of nature that the writers had not been able to fully explore in the first two seasons. June 2007 however marked the first time that a comprehensive work of detailed character backgrounds was made public. Following a fundraising auction, Knauf offered fans a so-called "Pitch Document," a summary of Carnivàle first season. This document was originally written in 2002 and 2003 to give the writers and the studio an idea about the series' intended plot, and answered many of the show's mysteries.

Marketing and merchandise

Pre-broadcast marketing
HBO reportedly invested in Carnivàle promotion as much as for any of its primetime series launches. The series' unconventional and complex narrative made the network deviate from its traditional marketing strategies. Teaser trailers were inserted on CD-ROMs into Entertainment Weekly issues to draw attention to the show's visual quality. 30-second TV spots were aired in national syndication, cable and local avails for four weeks before the show's premiere instead of the usual seven days. The historical context of Carnivàle was deliberately emphasized in the show's print art, which depicted the 17-member cast surrounding a carnival truck. This image was accompanied by a tagline of the show's good versus evil theme: "Into each generation is born a creature of light and a creature of darkness." These measures were hoped to be backed up by positive critical reviews. To give ratings an initial boost, HBO placed the premiere of Carnivàle directly after the series finale of the successful Sex and the City. The series continued to receive extensive online advertisement for almost its entire run.

Games
Personalized and interactive online games inspired by tarot divination were created for Carnivàle internet presence. The official HBO website collaborated with RealNetworks to offer FATE: The Carnivàle Game, a downloadable game made available for trial and for purchase.

DVDs
Carnivàle: The Complete First Season was released as a widescreen six-disc Region 1 DVD box set on December 7, 2004, one month before the premiere of the second season. It was distributed by HBO Home Video and contained three audio commentaries and a behind-the-scenes featurette. The outer slipcover of the Region 1 set was made of a thick cardboard to mimic a bound book. The same set was released with less elaborate packaging in Region 2 on March 7, 2005, and in Region 4 on May 11, 2005.

Carnivàle: The Complete Second Season was released as a widescreen six-disc Region 1 DVD box set on July 18, 2006, in Region 2 on August 7, 2006, and in Region 4 on October 4, 2006. Each of these releases was distributed by HBO Home Video and contained three audio commentaries, on-stage interviews of the cast and producers, a featurette about the mythology of the series, and four short "Creating the Scene" segments about the concept, inspiration and execution process.

Reception

Ratings
Carnivàle aired on HBO on a Sunday 9:00 pm timeslot during its two-season run between 2003 and 2005. "Milfay", Carnivàle pilot episode, drew 5.3 million viewers for its premiere on September 14, 2003. This marked the best ever debut for an HBO original series at the time, caused in part by the established HBO series Sex and the City being Carnivàle lead-in. This record was broken on March 21, 2004, by HBO series Deadwood, which debuted with 5.8 million viewers as the lead-out of The Sopranos.

Viewership dropped to 3.49 million for Carnivàle second episode but remained stable for the remainder of the season. The final episode of season one finished with 3.5 million viewers on November 30, 2003. Season one averaged 3.54 million viewers and a household rating of 2.41.

Viewership for the second-season premiere on January 9, 2005, was down by two-thirds to 1.81 million. The ratings never recovered to their first-season highs, although the season two finale experienced an upswing with 2.40 million viewers on March 27, 2005. Season 2 averaged 1.7 million viewers, not enough to avert an imminent cancellation.

Critical reviews

Many early reviews gave Carnivàle good marks but also said its unique characters and story might prevent it from becoming a huge mainstream audience success. Daily Variety TV editor Joseph Adalian predicted that "it will get mostly positive reviews but some people will be put off by the general weirdness of the show." Phil Gallo of Variety described Carnivàle as "an absolute visual stunner with compelling freak show characters—but the series unfortunately takes a leisurely approach toward getting to a point," and Eric Deggans of the St. Petersburg Times suggested that "it's as if executives at the premium cable network want to see how far they can slow a narrative before viewers start tossing their remotes through the screen". James Poniewozik of Time called the first three episodes "frustrating" as well as "spellbinding." Amanda Murray of BBC said "With so little revealed, it's almost impossible to pass judgment on the show—it's hard to tell if this is just good, or going to be great."

Later reviews were able to judge the series based on full seasons. While the acting, set design, costuming, art direction and cinematography continued to be praised, some reviewers disfavored the writing, especially of Season 1, saying "the plot momentum is often virtually non-existent" or as "sometimes gripping but mostly boring." Other reviewers pointed out that Carnivàle may "demand more from its audience than many are willing to invest. [...] Without paying close attention, it's tempting to assume that the show is unnecessarily cryptic and misleading." Carnivàle story was surveyed as long and complex, "and if you don't start from the beginning, you'll be completely lost." IGN DVD's Matt Casamassina, however, praised the show in two reviews, writing that the "gorgeously surreal" first season "dazzles with unpredictable plot twists and scares", and the "extraordinary" second season was "better fantasy – better entertainment, period – than any show that dares to call itself a competitor."

A significant portion of reviews drew parallels between Carnivàle and David Lynch's 1990s mystery TV series Twin Peaks, a show in which Carnivàle actor Michael J. Anderson had previously appeared. Knauf did not deny a stylistic link and made comparisons to John Steinbeck's novel The Grapes of Wrath. When Lost began to receive major critical attention, Carnivàle and its type of mythological storytelling were compared to Lost story approach in several instances.

Critical opinion remained divided about Carnivàle in the years after the show's cancellation. Alessandra Stanley of the Australian newspaper The Age remembers Carnivàle as a "smart, ambitious series that move[s] unusual characters around an unfamiliar setting imaginatively and even with grace, but that never quite quit the surly bonds of serial drama." Varietys Brian Lowry remembers the show as "largely a macabre fantasy" that eventually suffered from "its own bleakness and eccentricities".  The A.V. Club dwelled on Carnivàles cliffhanger ending in a piece on unanswered TV questions and called the show "a fantastically rich series with a frustratingly dense mythology".

Fandom

Like other cult television shows, Carnivàle gained a respectable following of dedicated viewers. Carnivàle fans referred to themselves as "Carnies" or "Rousties" (roustabouts), terms adopted from the show. Carnivàle complexity and subliminal mythology spawned dedicated fansites, although most discussion took place on independent internet forums. Show creator Daniel Knauf actively participated in online fandom and offered story- and mythology-related clues. He also gave insight into reasons for Carnivàle cancellation on a messageboard before speaking to the press.

One year after Carnivàle cancellation, a major Carnivàle convention called CarnyCon 2006 Live! was organized by fans. It took place in Woodland Hills, California on August 21–23, 2006. Many of the show's cast and crew attended the event and participated in discussion panels, which were recorded and made available on DVD afterwards.

Awards

Despite its short two-season run, Carnivàle received numerous awards and nominations. The show's inaugural season received nominations for seven Emmy Awards in 2004, winning five including "Outstanding Art Direction For A Single-camera Series" and "Outstanding Costumes For A Series" for the pilot episode "Milfay", "Outstanding Cinematography For A Single-Camera Series" for the episode "Pick A Number", "Outstanding Hairstyling For A Series" for the episode "After the Ball Is Over", and "Outstanding Main Title Design". In 2005, the second season received eight further Emmy nominations without a win.

Other awards include but are not limited to:
 Win – Artios Award: "Best Casting for TV, Dramatic Pilot", 2004
 Win – VES Award: "Outstanding Special Effects in Service to Visual Effects in a Televised Program, Music Video or Commercial", 2004
 Win – Costume Designers Guild Award: "Excellence in Costume Design for Television – Period/Fantasy", 2005
 Nominated – two Golden Reel Awards, 2003
 Nominated – two Saturn Awards, 2004
 Nominated – two VES Awards, 2004
 Nominated – Costume Designers Guild Award, 2005

International reception and broadcasters
HBO president Chris Albrecht said Carnivàle was "not a big show for foreign [distribution]," but did not go into more detail. Reviews however indicate that the show's cryptic mythology and inaccessibility to the casual viewer were major factors. Nevertheless, Carnivàle was sold to several foreign networks and was distributed to HBO channels abroad. The DVD releases of Carnivàle extended the availability of the show further.

Lawsuit
On June 9, 2005, a lawsuit was filed in the United States District Court for the Northern District of California by Los Angeles writer Jeff Bergquist. He claimed that the creators of Carnivàle did not originate the idea for the show, but rather stole it from his unpublished novel Beulah, a quirky drama set amid a traveling carnival during the Depression that Bergquist had been working on since the 1980s. Bergquist sought both monetary damages and an injunction preventing HBO from distributing or airing Carnivàle any further. HBO and Daniel Knauf denied the claims of copyright infringement as having "absolutely no merit."

References

External links

2000s American drama television series
2003 American television series debuts
2005 American television series endings
Fiction set in 1934
Fiction set in 1935
American fantasy drama television series
Television shows set in circuses
Dark fantasy television series
English-language television shows
Fictional rivalries
Great Depression television series
HBO original programming
Religious drama television series
Serial drama television series
Tarot in fiction
Television series set in the 1930s
Television series by Home Box Office
Television series by 3 Arts Entertainment
Television shows involved in plagiarism controversies
Television shows set in Oklahoma
Television shows set in the United States
Television shows filmed in Santa Clarita, California

Carnivàle


Neuendorf-Sachsenbande, Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Steinburg iline bağlı yerleşim yeri. 19,31 km² yüzölçüme sahiptir. Nüfusu, 30 Haziran 2005 itibarıyla yaklaşık 513 olarak tespit edilmiştir. Belediye Başkanlığı Johannes Rehder tarafından yürütülmektedir.

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ෆුල් හවුස් 2004 දී නිෂ්පාදනය කෙරුණු කොරියානු ටෙලි නාට්‍යකි. මෙයට සොන් හේ ක්යෝ, රේන්, හන් ඉයුන් ජුන් සහ කිම් සන් සූ යන රංගන  ශිල්පීන් රංගනයෙන් දායක වෙති. මෙය ප්‍රහසනාත්මක ප්‍රේම වෘතාන්තයක් වන අතර දකුණු කොරියානුKBS2නාලිකාවේ 2004ක් වූ ජුලි මස 14වනදා  ද සිට සැප්තැම්බර් 4වනදා දක්වා සම බදාදාවකම සහ බ්‍රහස්පතින්දාවකම රාත්‍රී 9.30ට විකාශය වුණි. ඒ කොටස් 16ක් ලෙසින්ය.

සාරාංශය

හන් ජියැන් නම් තිර පිටපත් රචිකාව නම මියගිය පිය සැදු ෆුල් හවුස් නම් නිවසේ ජීවත් වේ. දිනක්, අයගේ හොඳම මිතුරන් දෙදෙනා අයව උපායක් මගින් උගුලකට කොටු කරවති; ඒ ඇය නිවාඩුවක් දින ඇති බව පවසමිණි. එය ඇසු ඇය නිවාඩුව සඳහා පිටත් වේ. එම කාලය අතරතුර අයගේ හොඳම මිතුරන් අයගේ නිවාස විකිණීමට සමත් වේ. ගුවන් යානයේදී ජියැන් ට ප්‍රසිද්ධ රඟන ශිල්පියෙකු වන ලී යුන් ජේ හමුවේ. ඇයගේ ආගමනයෙන් පසු යට හෙළිවන්නේ, තම මිතුරන් දෙදෙනා තම නිවාස යුන් ජේට විකුණා ඇති බවයි. අවසානයේදී ඔවුන් එක්ව ජීවත්වීමට කැමතිවේ. යුන් ජේ යනු ඉක්මනින් කෝපාවිෂ්ට වන , පිරිසිදුකමට සහ පිළිවෙලට ඉතා ලැදි අයෙකි. ජියැන් මුලදී යුන්ජේ ගේ සේවිකාව ලෙස කටයුතු කරයි; ඒ ෆුල් හවුස් නිවාස ක්‍රමක්‍රමයෙන් මිලදී ගැනීමටය. එයින් ප්‍රයෝජන ගන්න ජේ, තමන්ට සදෙන කටකතා පාලනය කිරීමට ජියැන් ව විවාහ කරගනී, ඒ ගිවිසුම් විවාහයක් ලෙසයි.

රඟපෑම

 "සොන් හේ ක්යෝ" මෙහි "හන් ජි-යැන්" ගේ චරිතයට පණපොවයි.
ජියැන් සර්ව ශුභවාදී සහ ප්‍රීතිමත් තරුණියක් වන අතර මිතුරන්ට ඉතා හිතවත්ය. එසේම ඇය බුද්ධිමත්  නොවන අතර ධෛර්යමත සහ යහපත් චරිතයකි. එමගින් ඇය ලේකිකාවක් වීමට දැඩි උත්සාහයක නිරත් වේ. ඇය ජීවත් වන්නේ ෆුල් හවුස් නම් ඉතා සුන්දර නිවසකය; එය ඇයගේ මියගිය දෙමව්පියන් සැදුවකි. යට යුන්-ජේ මනගසීමට පෙර සිටියේ මිතුරන් දෙදෙනෙක් පමණි; ඒ හී ජින් සහ ෂින් ඩොන් වූක් ය.ජි-යැන් ,ඔවුන්ගේ "නොමිලේ" ෂැන්හයි ගමනට සහභාගී වීමට කැමැත්ත පළකරයි. ජි-යැන් රටින් පිටවන වහාම හී ජින් සහ ෂින් ඩොන් වූක් ඔවුන්ගේ සැලසුම ක්‍රියාත්මක කරයි, ඒ ජි-යැන් ගේ නිවාස විකිණීමයි.ගුවන් යානයේදී ඇයට අසලින් වැඩිවී සිටින්නේ යුන් ජේ යි. එහිදී ඔවුන් දෙදෙනා ප්‍රථම වතාවට මුණගැසේ.  එහෙත් එම හමුවීම එතරම් සාර්ථක නොවේ.ඇයට හෝටලයේ කාමරයක් ලබාගැනීමට උදව් කරන්නේ මින් හ්යුක් ය.එහිදී ඔවුන් දෙදෙනා මුණගැසේ. ඇය හෝටල් කාමරයක් ලබා ගත පසු තවත් ප්‍රශ්නයකට මැදි වේ; ඒ හෝටල් ගාස්තුව ගෙවන අන්දමයි. මේ වනවිට ඇය සතුව කිසිදු මුදලක් නොපවතින නිසාය.එසේම ඇයට නැවත කොරියාවට යාම සඳහා ගුවන් ටිකට් පතක් ගැනීමටද මුදල් අවශ්‍ය වේ. එම අවස්ථාවේ යුන් ජේ ගෙන් ප්‍රයෝජන ගන්නා ජි-යැන් ඔහුව උපායමාර්ගිකව මුදල් ලබාදීමට පොළඹව ගනී. ඇය කොරියාවට පා තැබූ පසුව වී ඇති සියල්ල දැනගැනී.ඒ වනවිටත් ඇය ප්‍රමාද වී වැඩිය. අයගේ නිවාස විකුණා ඇත්තේ යුන්-ජේටය.පසුව යුන්-ජේ සහ ජි-යැන් කොන්ත්‍රාත් විවාහයකට එකඟ වේ.එම ගිවිසුමට අනුව දික්කසාදයෙන් පසුව ෆුල් හවුස් නිවාස ජි-යැන් හට හිමිවිය යුතු වේ.ඇය යුන්-ජේ ගේසේවිකාව ලෙසට සේවය කරන්නීය.මෙහිදී යුන් ජේ හේ වොන් සමගද ජි-යැන් මින්-හ්යුක් නම් ලේඛකයා සමගද කාලය ගතකරයි.ඒ අතර ජි-යැන් , යුන්-ජේ වඅතර ඇති විවාහය ඇනහිටී. එහෙත් පසුව යුන්-ජේ ,ජි-යැන් හට විවාහ වීමට යෝජනා කරයි, මෙවර විශේෂත්වය වන්නේ මෙවර එය සත්‍ය වශයෙන් ම සිදුකරන නිසාවෙනි. ඉන්පසුව යුන්-ජේ සහ හන්-ජි-යැන් සත්‍යවශයෙන්ම විවාහ වේ.

රේන් , ලී යුන්-ජේ ලෙස
යුන්-ජේ යනු ජනප්‍රිය කොරියානු නළුවෙකි, තරුණියන් අතර ඔහු ඉතා ජනප්‍රියය. Though appearing to be egotistical and stubborn, mostly to maintain his pride, he has secret unrequited feelings for his childhood friend, Hye-won. But later on, Young-jae falls in love with Ji-eun. He also has a fragile relationship with his father, who is a doctor. Young-jae also had a sister who died as a child. Though he can be selfish, he cares deeply for his friends. He starts to realize his feelings for Ji-eun when she begins to date Min-hyuk. He is seeing Hye-won at the time and is extremely jealous of Min-hyuk and Ji-eun. After talking with Hye-won he realizes that he is in love with Ji-eun and thus Hye-won and Young-jae end their relationship. He ends up proposing to Ji-eun and she says yes.

රූපවාහිනී කතාමාලා

ෆුල් හවුස් (දකුණු කොරියානු රූපවාහිනී කතාමාලාව)


Construim este un film românesc din 2008 regizat de Erich Nussbaum.

Prezentare

Note

Legături externe

Vezi și
 2008 în film

Filme românești
Filme în limba română
Filme din 2008
Filme de animație

Construim


Die anglikanische Kirche im bayerischen Staatsbad Bad Kissingen bestand von 1862 bis zu ihrem Abriss im Jahr 1968.

Geschichte
Zahlreiche Kurgäste und Sommerfrischler aus Großbritannien waren der Grund, weshalb man sich um die Mitte des 19. Jahrhunderts in Bad Kissingen erste Gedanken über den Bau eines anglikanischen Gotteshauses machte. Nach Spendenaufrufen in der Lokalpresse und weiteren Aktionen eines Kirchenkomitees kamen Spenden von Gästen und Gönnern. Komiteevorsitzender George Tomlinson (1794–1863), als Bischof von Gibraltar verantwortlich für alle im Ausland lebenden oder reisenden Gläubigen, und der italienischstämmige britische Arzt Augustus Bozzi Granville (1783–1872) als Sekretär waren für Verwaltung und Verwendung der gesammelten Spenden verantwortlich.

Am 24. August 1862 konnte das Kirchengebäude an der Ecke Salinenstraße und Maxstraße nach siebenjähriger Bauzeit geweiht werden. Der turmlose Bau im Stil der romantisierenden Neugotik hatte einen kreuzförmigen Grundriss und war durch Filialpfeiler vertikal gegliedert. Die schon vor der Eröffnung durch Spenden gedeckten Kosten lagen bei 1.350 englischen Pfund. Auch die komplette Ausstattung wie die Bemalung der Decke und die schmiedeeiserne Umzäunung konnten durch spätere Spenden finanziert werden. Treuhänder Granville stellte außerdem einen Pfarrer mit einem Monatsgehalt von 15 Pfund ein. Der Organist Gould sammelte nach den Gottesdiensten weitere Spenden. Gehälter und alle weiteren Ausgaben konnten durch diese fortlaufenden Spenden gedeckt werden.

Der Erste Weltkrieg sorgte für einen Einbruch, später ein Ausbleiben der aus Großbritannien kommenden Kurgäste, so dass es keiner Gottesdienste mehr bedurfte. 1953 kaufte die evangelische Kirchengemeinde das anglikanische Gotteshaus in der Absicht, es zu einem Gemeindehaus umzubauen. Ein Jahr später wurde es tatsächlich als Behelfshaus genutzt. Doch zeigten sich bald schwere Schäden am Fundament, so dass sich bis 1965 die südliche Giebelmauer zunehmend zur Maxstraße hinneigte.

Schließlich wurde das Gebäude 1968 abgerissen. An seiner Stelle baute die evangelische Kirche ein neues Gemeindehaus.

Literatur
 Marion Page: Die anglikanische Kirche. In: Thomas Ahnert, Peter Weidisch (Hrsg.): 1200 Jahre Bad Kissingen, 801–2001, Facetten einer Stadtgeschichte. (= Festschrift zum Jubiläumsjahr und Begleitband zur gleichnamigen Ausstellung / Sonderpublikation des Stadtarchivs Bad Kissingen). Verlag T. A. Schachenmayer, Bad Kissingen 2001, ISBN 3-929278-16-2, S. 308.

Anglikanische Kirche
Anglikanisches Kirchengebäude in Deutschland
Anglikanische Kirche
Neugotisches Bauwerk in Bayern
Erbaut in den 1860er Jahren
Zerstört in den 1960er Jahren
Neugotisches Kirchengebäude
Kirchengebäude in Europa

Anglikanische Kirche (Bad Kissingen)


المعلم يعقوب أو الجنرال يعقوب أحد الشخصيات التي دار حولها جدل كبير في التاريخ المصري.

ويرجع هذا الجدل إلى تعاونه مع الحملة الفرنسية على مصر التي احتلت مصر بقيادة نابليون بونابرت.  إلا ان البعض من مؤرخى المسيحيين يراه كثائر على الظلم العثماني وبطل وطني حاول جعل مصر مستقلة بمساعدة فرنسا أو إنجلترا مثل الدكتور لويس عوض والدكتور شفيق غربال والدكتور أنور لوقا في حين أن هناك أيضا من مؤرخى الأقباط من يراه خائن متعاون مع المحتل.

بداية المعلم يعقوب

ولد يعقوب حنا بمدينة ملوي بمحافظة المنيا مصر عام 1745 م لأسرة قبطية متوسطة، تعلم بأحد الكتاتيب القبطية وتعلم بها بالأضافة إلى المواد الدينية القراءة والكتابة والحساب، عمل مساعدا لبعض أبناء طائفته العاملين بجباية الأموال والحسابات حتى تعلم حرفتهم، عمل بعد ذلك لدى سليمان بك أغا رئيس الأنكشارية وكان من كبار أغنياء المماليك وتكونت لدى يعقوب ثروة كبيرة من عمله لديه.

كان رجال الكنيسة غير راضين عن يعقوب لتصرفاته التي كانت تخالف تعاليم الكنيسة سواء تصرفاته الشخصية أو حتى مع أخوانه من أبناء ملته.

وعندما جاءت قوات حسن باشا إلى مصر عام 1786 م لتثبيت الحكم العثمانى شارك المعلم يعقوب في قتالهم بصفوف المماليك، مما جعله يتقن فنون القتال والفروسية.

الحملة الفرنسية على مصر

عندما قامت الحملة الفرنسية على مصر كان يعقوب في الثالثة والخمسين من عمره وقد تكونت لديه ثروة طائلة، وكان الفرنسيين يريدون تثبيت حكمهم وإدارتهم لمصر ولكن كانوا يواجهون صعابا في تحقيق ذلك فلم يكن هناك بيانات تسجل إيرادات ومصروفات البلاد والضرائب التي يجب فرضها على الشعب فاستعان نابليون ببعض المسيحيين الذين كانوا مشهورين في ذلك الوقت كجباة للأموال وصيارفة، فعين نابليون المعلم جرجس الجوهرى ليكون مسئولا عن تنظيم الموارد المالية للحكومة، واستعان المعلم جرجس بيعقوب بعد أن عرض يعقوب عليه خدماته وزكاه عند الجنرال ديسيه الذي استعان به في حملته التي قام بها لإخضاع الصعيد ومطاردة جيش مراد بك حيث كانت لدى يعقوب خبرة بطرق الصعيد وأوضاعه المالية والإدارية كما قام يعقوب بتجهيز ما يلزم الحملة وتأمين مواصلاتها وأيضا المشاركة في القتال بهذه الحملة، وكانت لديه معرفة بطريقة تفكير المماليك لعمله معهم قترة طويلة واشتراكه في الحروب بصفوفهم.

قاد المعلم يعقوب فصيلة من الجيش الفرنسي المكلف بهذه الحملة ضد قوة مملوكية في أسيوط واستطاع أن يحقق الانتصار ويهزم المماليك، مما دفع ديزيه إلى أن يقدم له تذكاراً عبارة عن سيفٍ منقوش على مقبضه: معركة عين القوصية 24 ديسمبر 1798م.

ويستشهد المؤرخ شفيق غربال على دور المعلم يعقوب برسالة كتبها الجنرال جاك فرانسوا مينو إلى بونابرت يقول فيها: «إنى وجدت رجلا ذا دراية ومعرفة واسعة اسمه المعلم يعقوب وهو الذي يؤدى لنا خدمات باهرة منها تعزيز قوة الجيش الفرنسي بجنود إضافية من القبط لمساعدتنا»

نشأت بعد ذلك صداقة حميمة بين المعلم يعقوب والجنرال ديسيه

المعلم يعقوب قائدا عسكريا

تولى يعقوب بعد ذلك جمع الضرائب من أهالي الصعيد وكان يستخدم أبشع وأعنف الوسائل في الجباية سواء مع أهل الصعيد المسلمين أو المسيحيين، وكان أهل الصعيد يسمون حملة الجنرال ديسيه (جيش المعلم يعقوب).

عاد يعقوب إلى القاهرة بعد حملة الصعيد وقد قامت ثورة القاهرة الأولى، وحول داره إلى ما يشبه القلعة العسكرية، وجعل لها بوابةً محصنة يقف عليها الحرس المسلحون ليلاً ونهاراً، وتوافق ذلك مع شروع نابليون في بناء عدة قلاعٍ حول القاهرة، بحيث تحيط مدافعه بالقاهرة كلها، واعتبرت قلعة المعلم يعقوب واحدةً من قلاع الفرنسيين في القاهرة.

كما قام يعقوب بتقديم خدمات كثيرة لمساعدة الجنرال كليبر على قمع ثورة القاهرة الثانية فقد كان حينئذ من ضباط ديسيه فكافأه كليبر بأن وكله بجمع الأموال العامة من الشعب كيف يشاء، فلم يتوانى يعقوب واستخدم أسوء الوسائل لجمع المال فكان يفرض على الفلاحين مالا يطيقون على دفعه ومن لم يستطع كان أعوان يعقوب يتطاولون عليهم بالسب والضرب وحرق ممتلكاتهم والأعتداء على أعراضهم، كل هذا جعل ليعقوب حظوة كبيرة لدى الفرنسيين فقد كان أحد أدواتهم لمعاقبة المصريين على ثورة القاهرة الثانية، وتعاظمت ثروته وازداد نفوذه، وقد كتب الجنرال بليار نائب الجنرال منو في مذكراته عن يعقوب «ومع انه كان يعمل لحسابنا فهو لم ينس مصالحه الخاصة».

ولقد منح الجنرال كليبر يعقوب رتبة كولونيل وجعله على رأس فرقة عسكرية من شباب المسيحيين تم تدريبهم على أيدى ضباط فرنسيين وتولى يعقوب على نفقته الخاصة تزويدهم بالسلاح والعتاد اللازم لهذه الفرقة، ويرى بعض المؤرخين ان فكرة هذه الفرقة ترجع إلى المعلم يعقوب بينما يرى أغلبيتهم انها راجعة إلى الجنرال كليبر فقد كون كذلك فرقة من اليونانين بعد ثورة القاهرة الأولى كانت متمركزة بجزيرة الروضة، وكانت هذه الفرق على كل حال تصب في مصلحة الأحتلال الفرنسي الذي كان يتبع سياسة ضم الأقليات اليه وتشجيعهم وشراءهم بالمال.

استمر يعقوب في تقديم خدماته للأحتلال الفرنسي بعد اغتيال كليبر وتعيين الجنرال جاك مينو فكافأه مينو بأن منحه رتبة جنرال وكان ذلك في عام 1801 م.

مصرع الجنرال ديسيه

كان الجنرال ديسيه صديق المعلم يعقوب الحميم قد غادر مصر في عهد كليبر مع بونابرت لينضم إليه في حربه مع النمساويين وهناك لقى مصرعه، فلما وصل إلى يعقوب هذا الخبر حزن وكتب إلى الجنرال مينو يعرض عليه دفع ثلث تكاليف النصب المزمع إقامته تخليدا لذكراه، كما كلف يعقوب الأب روفائيل وكان صديقا ليعقوب بنظم رسالة شعرية يرثي فيها صديقه ليرسلها إلى حكومة باريس.

نهاية الحملة الفرنسية

مع نهاية الحملة الفرنسية على مصر بزحف الجيش العثماني نحو القاهرة والجيش الأنجليزى نحو رشيد ووقوف الجنرال منو محاصرا في الإسكندرية اضطر مينو إلى عقد مفاوضات مع العثمانين والأنجليز للجلاء عن مصر، عزم الجنرال يعقوب على السفر إلى فرنسا فجمع متاعه وأهله وعسكره من المسيحيين وخرج إلى الروضة ليكون مع من قرروا المغادرة مع الحملة إلى فرنسا، وركب السفينة الأنجليزية بالاس ليخرج من القاهرة في 10 أغسطس عام 1801م.

مصرع المعلم يعقوب

أصيب يعقوب بعد يومين من ركوبه السفينة بالحمي ومات على إثر إسهال حاد، وكانت آخر وصية له أن يدفن بجوار صديقه الجنرال ديسيه، وهناك شك في أن يكون الفرنسيون قد نفذوا وصيته، حيث تروى بعض الروايات أنه قد تم إلقاء جثمانه في البحر نظراً لطول مدة السفر وعدم توفر وسائل لحفظ الجثة.

كتاب «المعلم يعقوب بين الأسطورة والحقيقة»

أعادت سلسلة ذاكرة الوطن في هيئة قصور الثقافة في عام 2009 نشر كتاب «المعلم يعقوب بين الأسطورة والحقيقة» للدكتور أحمد حسين الصاوى

مصادر

 المعلم يعقوب بين الأسطورة والحقيقة – أحمد حسين الصاوي

أشخاص من ملوي
الحملة الفرنسية على مصر
مواليد 1745
وفيات 1801

المعلم يعقوب


En triade (gr. trias, triados tretal, trehed) er et sprogligt virkemiddel, hvor en del af en sætning gentages 3 gange. Dette er med til at cementere et budskab og- eller skabe rytme.

Referencer

Retorik
Filosofi
Græske ord og vendinger

Triade (retorik)


An Oberonia kwangsiensis in uska species han Liliopsida nga ginhulagway ni Gunnar Seidenfaden. An Oberonia kwangsiensis in nahilalakip ha genus nga Oberonia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Oberonia

Oberonia kwangsiensis


Der Bergmatten-Kräuterspanner (Mesotype verberata, Syn.: Perizoma verberata) auch als Hangmoor-Wellenlinien-Blattspanner oder Hangmoorrasen-Blattspanner bezeichnet, ist ein Schmetterling (Nachtfalter) aus der Familie der Spanner (Geometridae).

Merkmale

Falter
Die Flügelspannweite der Falter beträgt 24 bis 32 Millimeter. Die Grundfarbe der Vorderflügel ist weißlich bis cremefarbig, zuweilen leicht bräunlich überstäubt. Die Vorderflügel zeigen drei bis fünf dunkle, wellige Querlinien, die in Richtung des Vorderrandes leicht abknicken. Das Saumfeld ist gelegentlich etwas verdunkelt. Am äußersten Saumrand ist eine dünne schwarze, unterbrochene Linie zu erkennen. Diskalflecke sind zumeist nicht erkennbar oder nur als winziger Punkt vorhanden. Die Hinterflügel sind weißlich und zeigen ein bis zwei undeutliche Querlinien.

Ei
Das Ei ist zunächst grünlich und verfärbt sich später in hellbraune Tönungen. Das Schmalprofil ist angenähert birnenförmig. Die Breitseiten weisen deutliche Vertiefungen auf. In der Draufsicht wirkt es nahezu rechteckig. Die Netzstruktur ist sehr fein und nur schwach erkennbar. Die Mikropylrosette ist zwölfblättrig und schwarz unterlegt.

Raupe
Erwachsene Raupen sind graugrün gefärbt, haben eine dunkle Rückenlinie und einen breiten weißen Seitenstreifen. Der vordere Teil ist leicht verjüngt.

Puppe
Die Puppe hat eine gelbbraune Farbe und einen schwärzlichen Kremaster.

Geographische Verbreitung und Vorkommen
Der Bergmatten-Kräuterspanner ist überwiegend in gebirgigen und bergigen Gegenden Mitteleuropas zu finden. Die Verbreitung reicht von Spanien über die Alpen und den Balkan bis nach Vorderasien. Er fehlt in Nord- und Osteuropa. Die Höhenverbreitung umfasst Lagen von 600 bis zu 2500 Meter, bevorzugt wird in den Alpen der Bereich zwischen 1000 und 1500 Meter. Hauptlebensraum der Art sind Waldwiesen und -ränder, Bergmatten, Magerrasenflächen, mit Stauden bewachsene Graslandschaften sowie mooriges Gelände.

Lebensweise
Die Hauptflugzeit der Falter sind die Monate Juni, Juli und August. Sie sind überwiegend dämmerungs- und nachtaktiv. In der Abenddämmerung saugen sie gerne an den Blüten folgender Pflanzen:
 Gewöhnliche Goldrute (Solidago virgaurea)
 Blauer Eisenhut (Aconitum napellus)
 Rundblättrige Glockenblume (Campanula rotundifolia).
Nachts besuchen sie künstliche Lichtquellen. Die Weibchen verstreuen ihre Eier meist einzeln und lose in der Vegetation. Die Raupen ernähren sich von verschiedenen niedrigen Pflanzen, beispielsweise von Bärwurz (Meum athamanticum) oder Hasenlattich (Premanthes purpurea) und leben von April bis Juni. Sie verpuppen sich in einem leichten Gespinst an der Erde. Die Art überwintert als Ei.

Gefährdung
Der Bergmatten-Kräuterspanner kommt in Deutschland in unterschiedlicher Anzahl vor, fehlt in einigen westlichen, nördlichen und nordöstlichen Regionen und wird auf der Roten Liste gefährdeter Arten in Kategorie 3 (gefährdet) geführt.

Quellen

Einzelnachweise

Literatur

 Walter Forster, Theodor A. Wohlfahrt: Die Schmetterlinge Mitteleuropas. Band 5: Spanner. (Geometridae). Franckh'sche Verlagshandlung, Stuttgart 1981, ISBN 3-440-04951-5.
 Manfred Koch, Wolfgang Heinicke, Bernd Müller: Wir bestimmen Schmetterlinge. Band 4: Spanner. 2., verbesserte und erweiterte Auflage. Neumann, Leipzig/Radebeul 1976, .

Weblinks

 Lepiforum e.V. Fotos
  www.lepidoptera.pl Vorkommen in Europa
 www.schmetterlinge-deutschlands.de Gefährdung

Larentiinae (Spanner)

Bergmatten-Kräuterspanner


Reach for the Sky es el cuarto álbum de larga duración de Ratt. A pesar de que venden lo suficiente como para alcanzar el estado de platino de ventas y dio lugar a  "I Want a Woman" y "Way Cool Jr.", no fue suficiente para mantener la banda de gira por más de siete meses. Como resultado "What's It Gonna Be" no fue lanzado como sencillo sino que fue utilizado como Lado B de otro sencillo denominado "Lovin 'You is a Dirty Job", el primer sencillo de su próximo lanzamiento Detonator. El objetivo era que la gente vaya hacia atrás y diera un segundo vistazo al disco Reach for The Sky.

Ratt en esa época abría grandes cinciertos en vivo junto con Warrant y Kix.

Este álbum también fue el último en el que Beau Hill estuvo de productor.

El luchador profesional Brian Pillman utilizaba su tema de apertura "Don't Bite the Hand That Feeds".

Lista de canciones
 "City to City" (Pearcy/Crosby/DeMartini/Croucier/Hill) – 3:31
 "I Want a Woman" (Pearcy/Crosby/Croucier/Hill) – 3:58
 "Way Cool Jr." (Pearcy/DeMartini/Hill) – 4:27
 "Don't Bite the Hand That Feeds" (Pearcy/Crosby/Croucier/Hill) – 3:08
 "I Want to Love You Tonight" (Pearcy/Crosby/DeMartini) – 4:27
 "Chain Reaction" (Pearcy/DeMartini/Croucier) – 3:42
 "No Surprise" (Pearcy/DeMartini)– 4:03
 "Bottom Line" (Pearcy/Crosby/DeMartini/Croucier/Hill) – 4:20
 "What's It Gonna Be" (Pearcy/Crosby/DeMartini/Croucier/Hill) – 4:07
 "What I'm After" (Pearcy/Croucier) – 3:35

Integrantes
 Stephen Pearcy: Voz Líder
 Warren DeMartini: Guitarra Líder
 Robbin Crosby: Guitarra Líder y Rítmica
 Juan Croucier: Bajo
 Bobby Blotzer: Batería

Certificaciones

Posiciones en las listas

Billboard Music Charts

Billboard singles

Referencias

Álbumes de Ratt
Álbumes de 1988
Álbumes en inglés

Reach for the Sky


Endogamia (spre deosebire de exogamie) reprezintă un fenomen social care constă în contractarea căsătoriilor în cadrul aceleiași comunități (grup etnic, grup religios), având drept consecință segregarea acesteia față de comunitățile învecinate. Se poate ajunge la consangvinitate, ale cărei riscuri sunt: reducerea vitalității membrilor comunității respective și creșterea riscurilor de apariție a maladiilor genetice degenerative, a dimorfismelor și a cazurilor de sterilitate.

Vezi și

 Efect de fondator

Rudenii și descendență
Tipuri de căsătorii
Genetică

Endogamie


Paaskebrød var en dansk fødevarevirksomhed, der producerede pølsebrød og andre specialbrød til fastfood-branchen.

Virksomheden så sin begyndelse i 1951, da Julius Barclay Estrup Paaskesen (født 7. juli 1922 – død 27. april 2015) iværksatte et bageri på Vesterbro i København. Ti år senere flyttede produktionen til Rødovre, men i 1968 flyttede man produktionen til en større fabrik i Glostrup, hvor der blev produceret op til 72.000 pølsebrød i timen. Julius Paaskesen overlod i 1985 virksomheden til sin søn. Paaskebrød blev i 1988 solgt til den svenske fødevarekoncern Lantmännen. Produktionen i Glostrup fortsatte frem til 2010, hvor den blev flyttet til Finland og Tyskland. Da produktionen var på sit højeste producerede Paaskebrød 144.000 pølsebrød i timen.

Kildehenvisninger

Bagerier i Danmark
Ophørt i 2010

Paaskebrød


Morphological typology is a way of classifying the languages of the world (see linguistic typology) that groups languages according to their common morphological structures. The field organizes languages on the basis of how those languages form words by combining morphemes. Analytic languages contain very little inflection, instead relying on features like word order and auxiliary words to convey meaning. Synthetic languages, ones that are not analytic, are divided into two categories: agglutinative and fusional languages. Agglutinative languages rely primarily on discrete particles (prefixes, suffixes, and infixes) for inflection, while fusional languages "fuse" inflectional categories together, often allowing one word ending to contain several categories, such that the original root can be difficult to extract. A further subcategory of agglutinative languages are polysynthetic languages, which take agglutination to a higher level by constructing entire sentences, including nouns, as one word.

Analytic, fusional, and agglutinative languages can all be found in many regions of the world. However, each category is dominant in some families and regions and essentially nonexistent in others. Analytic languages encompass the Sino-Tibetan family, including Chinese, many languages in Southeast Asia, the Pacific, and West Africa, and a few of the Germanic languages. Fusional languages encompass most of the Indo-European family—for example, French, Russian, and Hindi—as well as the Semitic family and a few members of the Uralic family. Most of the world's languages, however, are agglutinative, including the Turkic, Japonic, Dravidian, and Bantu languages and most families in the Americas, Australia, the Caucasus, and non-Slavic Russia. Constructed languages take a variety of morphological alignments.

The concept of discrete morphological categories has been criticized. Some linguists argue that most, if not all, languages are in a permanent state of transition, normally from fusional to analytic to agglutinative to fusional again. Others take issue with the definitions of the categories, arguing that they conflate several distinct, if related, variables.

History

The field was first developed by brothers Friedrich von Schlegel and August von Schlegel.

Analytic languages

Analytic languages show a low ratio of morphemes to words; in fact, the correspondence is nearly one-to-one. Sentences in analytic languages are composed of independent root morphemes. Grammatical relations between words are expressed by separate words where they might otherwise be expressed by affixes, which are present to a minimal degree in such languages. There is little to no morphological change in words: they tend to be uninflected. Grammatical categories are indicated by word order (for example, inversion of verb and subject for interrogative sentences) or by bringing in additional words (for example, a word for "some" or "many" instead of a plural inflection like English -s). Individual words carry a general meaning (root concept); nuances are expressed by other words. Finally, in analytic languages context and syntax are more important than morphology.

Analytic languages include some of the major East Asian languages, such as Chinese, and Vietnamese. Note that the ideographic writing systems of these languages play a strong role in regimenting linguistic continuity according to an analytic, or isolating, morphology (cf. orthography).

Additionally, English is moderately analytic, and it and Afrikaans can be considered as some of the most analytic of all Indo-European languages. However, they are traditionally analyzed as fusional languages.

A related concept is the isolating language, one in which there is only one, or on average close to one, morpheme per word. Not all analytic languages are isolating; for example, Chinese and English possess many compound words, but contain few inflections for them.

Synthetic languages

Synthetic languages form words by affixing a given number of dependent morphemes to a root morpheme. The morphemes may be distinguishable from the root, or they may not. They may be fused with it or among themselves (in that multiple pieces of grammatical information may potentially be packed into one morpheme). Word order is less important for these languages than it is for analytic languages, since individual words express the grammatical relations that would otherwise be indicated by syntax. In addition, there tends to be a high degree of concordance (agreement, or cross-reference between different parts of the sentence). Therefore, morphology in synthetic languages is more important than syntax. Most Indo-European languages are moderately synthetic.

There are two subtypes of synthesis, according to whether morphemes are clearly differentiable or not. These subtypes are agglutinative and fusional (or inflectional or flectional in older terminology).

Fusional languages

Morphemes in fusional languages are not readily distinguishable from the root or among themselves. Several grammatical bits of meaning may be fused into one affix. Morphemes may also be expressed by internal phonological changes in the root (i.e. morphophonology), such as consonant gradation and vowel gradation, or by suprasegmental features such as stress or tone, which are of course inseparable from the root.

The Indo-European and Semitic languages are the most typically cited examples of fusional languages. However, others have been described. For example, Navajo is sometimes categorized as a fusional language because its complex system of verbal affixes has become condensed and irregular enough that discerning individual morphemes is rarely possible. Some Uralic languages are described as fusional, particularly the Sami languages and Estonian. On the other hand, not all Indo-European languages are fusional; for example, English and Afrikaans, as well as some North Germanic languages lean more toward the analytic.

Agglutinative languages

Agglutinative languages have words containing several morphemes that are always clearly differentiable from one another in that each morpheme represents only one grammatical meaning and the boundaries between those morphemes are easily demarcated; that is, the bound morphemes are affixes, and they may be individually identified. Agglutinative languages tend to have a high number of morphemes per word, and their morphology is usually highly regular, with a notable exception being Georgian, among others.

Agglutinative languages include Hungarian, Tamil, Telugu, Kannada, Malayalam, Turkish, Mongolian, Korean, Japanese, Swahili, Zulu and Indonesian.

Polysynthetic languages

In 1836, Wilhelm von Humboldt proposed a third category for classifying languages, a category that he labeled polysynthetic. (The term polysynthesis was first used in linguistics by Peter Stephen DuPonceau who borrowed it from chemistry.) These languages have a high morpheme-to-word ratio, a highly regular morphology, and a tendency for verb forms to include morphemes that refer to several arguments besides the subject (polypersonalism). Another feature of polysynthetic languages is commonly expressed as "the ability to form words that are equivalent to whole sentences in other languages". The distinction between synthetic languages and polysynthetic languages is therefore relative: the place of one language largely depends on its relation to other languages displaying similar characteristics on the same scale.

Many Amerindian languages are polysynthetic; indeed, most of the world's polysynthetic languages are native to North America. Inuktitut is one example, for instance the word-phrase: tavvakiqutiqarpiit roughly translates to "Do you have any tobacco for sale?". However, it is a common misconception that polysynthetic morphology is universal among Amerindian languages. Chinook and Shoshone, for instance, are simply agglutinative, as their nouns stand mostly separate from their verbs.

Oligosynthetic languages

Oligosynthetic languages are ones in which very few morphemes, perhaps only a few hundred, combine as in polysynthetic languages. Benjamin Whorf categorized Nahuatl and Blackfoot as oligosynthetic, but most linguists disagree with this classification and instead label them polysynthetic or simply agglutinative. No known languages are widely accepted as oligosynthetic.

In constructed languages

Constructed languages (conlangs) take a variety of morphological alignments. Despite the Indo-European family's typical fusional alignment, most universal auxiliary languages based on the family have ended up being agglutinative morphologically because agglutination is more transparent than fusion and thus furthers various goals of the language creators. This pattern began with Volapük, which is strongly agglutinative, and was continued with Esperanto, which tends to be agglutinative as well.  Other languages inspired by Esperanto like Ido and Novial also tend to be agglutinative, although some examples like Interlingua might be considered more fusional. Zonal constructed languages such as Interslavic tend to follow the language families they are based on.

Fictional languages vary among J. R. R. Tolkien's languages for the Middle earth universe, for example, Sindarin is fusional while Quenya is agglutinative. Among engineered languages, Toki Pona is completely analytic, as it contains only a limited set of words with no inflections or compounds. Lojban is analytic to the extent that every gismu (basic word, not counting particles) involves pre-determined syntactical roles for every gismu coming after it in a clause, though it does involve agglutination of roots when forming calques. Ithkuil, on the other hand, contains both agglutination in its addition of affixes and extreme fusion in that these affixes often result from the fusion of numerous morphemes via ablaut.

Interconnectedness
While the above scheme of analytic, fusional, and agglutinative languages dominated linguistics for many years—at least since the 1920s—it has fallen out of favor more recently. A common objection has been that most languages display features of all three types, if not in equal measure, some of them contending that a fully fusional language would be completely suppletive. Jennifer Garland of the University of California, Santa Barbara gives Sinhala as an example of a language that demonstrates the flaws in the traditional scheme: she argues that while its affixes, clitics, and postpositions would normally be considered markers of agglutination, they are too closely intertwined to the root, yet classifying the language as primarily fusional, as it usually is, is also unsatisfying.

Cyclical evolution

R. M. W. Dixon (1998) theorizes that languages normally evolve in a cycle from fusional to analytic to agglutinative to fusional again. He analogizes this cycle to a clock, placing fusional languages at 12:00, analytic languages at 4:00, and agglutinative languages at 8:00. Dixon suggests that, for example, Old Chinese was at about 3:00 (mostly analytic with some fusional elements), while modern varieties are around 5:00 (leaning instead toward agglutination), and also guesses that Proto-Tai-Kadai may have been fusional. On the other hand, he argues that modern Finno-Ugric and Dravidian languages are on the transition from agglutinative to fusional, with the Finno-Ugric family being further along. Dixon cites the Egyptian language as one that has undergone the entire cycle in three thousand years.

Other linguists have proposed similar concepts. For instance, Elly van Gelderen sees the regular patterns of linguistic change as a cycle. In the unidirectional cycles, older features are replaced by newer items. One example is grammaticalization, where a lexical item became a grammatical marker. The markers may further grammaticalize, and a new marker may come in place to substitute the loss of meaning of the previous marker.

WALS
The World Atlas of Language Structures (WALS) sees the categorization of languages as strictly analytic, agglutinative, or fusional as misleading, arguing that these categories conflate multiple variables. WALS lists these variables as:
Phonological fusion – how intrinsically connected grammatical markers are phonologically to their host words
Formative exponence – the number of categories expressed in a single marker (e.g., tense + number + gender for verbs in some languages)
Flexivity – allomorphy and inflectional classes such as possessive classification
These categories allow to capture non-traditional distributions of typological traits. For example, high exponence for nouns (e.g., case + number) is typically thought of as a trait of fusional languages. However, it is absent in many traditionally fusional languages like Arabic but present in many traditionally agglutinative languages like Finnish, Yaqui, and Cree.

References

External links
  , chapter 9 of Halvor Eifring & Rolf Theil: Linguistics for Students of Asian and African Languages
 The book Language: An Introduction to the Study of Speech by Edward Sapir (1921) contains a classic introduction to the subject.
 Japanese Morphological Analysis API Japanese Morphological Analysis API by NTT Resonant

typology

Morphological typology


Cataratas Athabasca são cachoeiras localizadas no Parque Nacional Jasper, acima do rio homônimo, cerca de trinta quilômetros ao sul da cidade de Jasper, província de Alberta, Canadá, e a oeste da Icefields Parkway.

Galeria

Alberta

Cataratas Athabasca


An Eriocaulon luzulifolium in uska species han Liliopsida nga ginhulagway ni Carl Friedrich Philipp von Martius. An Eriocaulon luzulifolium in nahilalakip ha genus nga Eriocaulon, ngan familia nga Eriocaulaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Eriocaulon

Eriocaulon luzulifolium


Tejedor ist der Familienname folgender Personen:

 Antonio Álvarez Tejedor, spanischer Hispanist und Hochschullehrer

 Francisco Tejedor (* 1966), kolumbianischer Boxer

Tejedor


Stepanivka (în ucraineană Степанівка, în trecut Stepanovka) este localitatea de reședință a comunei Stepanivka, din raionul Rozdilna, regiunea Odesa, Ucraina.  Satul a fost locuit de germanii pontici.

La mijlocul anilor 1960 fostul sat Stepanovka s-a unit cu satele Buzynivka (în trecut Ivano Buzinovka) și Mylolyubivka (în trecut Miloliubovka).

Demografie

Conform recensământului din 2001, majoritatea populației localității Stepanivka era vorbitoare de ucraineană (%), existând în minoritate și vorbitori de română (%) și rusă (%).

Stepanivka, Rozdilna, Rozdilna, Odesa
Stepanivka, Rozdilna, Rozdilna, Odesa
Stepanivka, Rozdilna, Rozdilna, Odesa

Stepanivka (Stepanivka), Rozdilna


Eysturkommuna er en kommune på Færøerne som ligger på østkysten af Eysturoy. Kommunen blev oprettet den 1. januar 2009, da Leirvík og Gøta kommuner slog sig sammen. Rådhuset ligger i den største bygd Norðragøta. Øvrige bygder er Syðrugøta, Gøtugjógv, Gøtueiði og Leirvík. Den 1. januar 2014 havde Eysturkommuna 1 933 indyggere, hvilket gør den til Færøernes femtestørste kommune.

Politik
Seneste kommunalvalg blev afholdt den 13. november 2012, og valgte kommunestyre for perioden 2013–2016:

Referencer

Eksterne henvisninger
Officiell netside

Kommuner i Færøerne
Eysturoy

Eysturkommuna


Cebelitarık, İber Yarımadası'nın güney ucunda yer alan bir Britanya Denizaşırı Toprağı'dır. 6,7 km²'lik (2,6 sq mi) bir alana sahiptir ve kuzeyde İspanya ile sınırı vardır. Manzaraya, eteğinde yoğun nüfuslu bir kasaba bölgesi olan ve başta Cebelitarık olmak üzere 33.000'den fazla kişiye ev sahipliği yapan Cebelitarık Kayası hakimdir.

1704'te İngiliz-Hollandalı kuvvetler, Habsburgların İspanyol tahtına iddiası adına İspanyol Veraset Savaşı sırasında İspanya'dan Cebelitarık'ı ele geçirdi. Bölge, 1713'te Utrecht Antlaşması uyarınca ebediyen Büyük Britanya'ya devredildi. Napolyon Savaşları ve II. Dünya Savaşı sırasında, Akdeniz'e, Cebelitarık Boğazı'na giriş ve çıkışı kontrol ettiği için Kraliyet Donanması için önemli bir üs oldu. Bu deniz boğulma noktasında sadece 14,3 km (8,9 mil) genişliğindedir. Dünyanın deniz ticaretinin yarısının boğazdan geçmesi sebebiyle stratejik olarak önemlidir. Cebelitarık'ın ekonomisi büyük ölçüde turizm, çevrimiçi kumar, finansal hizmetler ve yakıt ikmaline dayanmaktadır.

Cebelitarık'ın egemenliği, İngiliz-İspanyol ilişkilerinde bir çekişme noktasıdır, çünkü İspanya; toprak üzerinde bir hak iddia etmektedir. Cebelitarık halkı, 1967 referandumunda İspanyol egemenliği önerilerini reddettiler ve 2002 referandumunda ortak egemenlik fikri de reddedildi.

İsim
Adı Arapçadan türemiştir: جبل طارق, (Romanizasyon: Jabal Ṭāriq, "Tarık Dağı" (adını 8. yüzyıl Mağribi askeri lideri Tarık bin Ziyad'dan almıştır). Arapçadaki adı olmaya devam ediyor. İsmin Arapçanın kısaltılmış hali olduğu da öne sürülmüştür: جبل على الطريق, (Romanizasyon: Jabal Ealaa Altariq, Afrikadan İberya'ya yolda ilerliyor)

Tarihçe
Antik çağdaki adı Calpe'dir. Endülüs fâtihi Tarık bin Ziyad'ın 711 yılında ordusuyla birlikte ilk ayak bastığı ve askeri karargâh olarak kullandığı yer olması sebebiyle İslam kaynaklarında "Cebelü Târık" (Tarık'ın Dağı) diye adlandırılmıştır. Bu isim İtalyancaya Gibilterra, öteki Avrupa dillerine de Gibraltar şeklinde geçmiştir. Cebelitarık'a İslam kaynaklarında "Cebelü'l-feth" de denilmektedir. Muvahhidler'in Endülüs'e geçişine kadar Cebelitarık ve eteğindeki koy daha ziyade muhtelif cins gemiler için bir sığınak yeriydi. Endülüs 1145 yılında Muvahhidler'in hakimiyetine geçince Muvahhid Hükümdarı Abdülmü'min (1130-1163) Afrika seferinden dönüşünde İşbiliye'de bulunan veliahdı Yusuf b. Abdülmü'min'e haber göndererek Hristiyanlara karşı düzenleyeceği seferlerde karargâh ve kışla olarak kullanmak üzere Cebelitarık'ın eteğinde bir şehir kurmasını emretti. Bunun üzerine Yusuf, Gırnata'da bulunan kardeşi Osman'ın da yardımıyla çok sayıda usta ve işçi toplayarak 1159-1160 tarihlerinde, içinde büyük bir cami, saray, resmi binalar, kışla, güzel bahçeler ve su dağıtım şebekesinin bulunması planlanan şehrin inşasını başlattı.

Muvahhidlerlerin yıkılmasından sonra Endülüs Beni Ahmer Devleti'nin yönetimine geçti. 1309 yılında Alonso Pérez de Guzmán el-Bueno, Kastilya Kralı IV. Ferdinand adına Cebelitarık'ı ele geçirdi. Gırnata Emiri, Meriniler'i yardıma çağırmak zorunda kaldı. Bunun üzerine Endülüs'e geçen bir Merini ordusu 1333'te Cebelitarık'ı geri aldı. 1340 yılında Kastilya Kralı XI. Alfonso Cebelitarık'ı kuşattı; ancak başarılı olamadı. 1355'te Merini Valisi Süleyman b. Dâvûd'un idaresinde olan Cebelitarık 1410-1462 yılları arasında Nasriler'in elinde kaldı. Daha sonra Medina-Sidonia dükü tarafından ele geçirildi. I. Isabel 1502'de Cebelitarık'ı İspanya Krallığı'na kattı.

1704'te İngiltere-Hollanda deniz kuvvetleri tarafından ele geçirilmiştir. 1713 tarihindeki Utrecht Antlaşmasıyla İspanya kaleyi İngiltere'ye iade etmeyi kabul etmiştir.

Cebelitarık'ın statüsü iki ülke, İspanya ile İngiltere arasında hala tartışılmaktadır. Kendi isteğiyle İngiliz sömürgesi olarak kalmak isteyen 6 km² yüzölçümü, 35.000 nüfusuyla ülke olarak bayrağı ve marşı olan Cebelitarık, dünya üzerinde küçük bir alan zapt etmesine rağmen iki ülke arasında zaman zaman sorunlara neden olmaktadır. 1967 ve 2006 yıllarında yapılan referandumlarda Cebelitarıklılar, Birleşik Krallık yönetiminde kalma yönünde karar aldılar.

Nüfus
Birleşik Krallık'ın Avrupa kıtasındaki tek sömürgesi olan bu yarımada etnik olarak çoğulcu bir yapıya sahiptir. 1753 yılında yapılan nüfus sayımına göre Cebelitarık bölgesinde; 434 Britanyalı, 597 Cenevizli, 575 Yahudi, 185 İspanyol ve 25 Portekizli yaşamaktaydı. Napolyon Savaşları süresince Cebelitarık'ın İngiliz mallarının Avrupa'daki diğer ülkelere geçişi için açık tek liman olmasından dolayı 1814 yılında nüfus 10.184 kişiye çıkmıştır. 1829 yılı polis sayımında nüfus 16.394 olarak belirlenmiştir.

1995 yılında seçmen kütüklerindeki orijinal isimlerine bakıldığında yarımadada yaşayan halkın %27 Britanyalı, %24 İspanyol, %19 İtalyan, %11 Portekizli, %8 Maltalı' dır. Geri kalan kısmı küçük etnik gruplardan oluşmaktadır.

(*) Faslılar ve diğer milletler toplamı

2012 yılı verilerine göre Cebalitarık'ın nüfusu 30.001 kişiden oluşmaktadır.

Ekonomi
Günümüzde Cebelitarık, Avrupa'daki durgun ekonomiyle tezat teşkil edecek şekilde yüksek büyüme hızı (2012 yılında %7,8) ve düşük işsizlik oranıyla (2012 yılında %2,5) dikkat çekmektedir. Cebelitarık ekonomisi; genel ticaret, bankacılık, mali hizmetler sağlanması, iletişim, e-kumar, turizm ve denizcilik faaliyetlerine dayanmaktadır.

Yönetim
Birleşik Krallık Cebelitarık'ı kendisinin denizaşırı toprağı olarak tanımlamaktadır. İspanya, Cebelitarık'ın Birleşik Krallık'a Veraset Savaşları sonucunda 1713 Utrecht Antlaşması ile bırakılmak zorunda kalındığını, ancak antlaşmada boğaz ve karasularıyla ilgili bir hüküm olmadığını savunmaktadır. Buna karşılık Birleşik Krallık ise İspanya'nın Cebelitarık'ı şehri, kalesi, limanı dahil olmak üzere bir bütün olarak İngiliz yönetimine bıraktığını belirtmektedir. Birleşik Krallık, Cebelitarık üzerindeki egemenlik hakkında ısrar ederek sorunun çözülmesi maksadıyla 1966 yılında Uluslararası Adalet Divanı'na başvurmayı teklif etmiş, ancak İspanya buna karşı çıkmıştır. BM kararları uyarınca Birleşik Krallık Cebelitarık halkının iradesini hangi yönde kullanmak istediğini öğrenmek amacıyla bölgede 1967 yılında referanduma gitmiştir. Referandum sonucunda Cebelitarık halkının İspanya ile yakınlaşmak yerine Birleşik Krallık ile mevcut bağlarının devam etmesini istediği ortaya çıkmış, ancak bu referandum BM tarafından 2353 sayılı kararla geçersiz ilan edilmiştir. Birleşik Krallık ise referandum sonucuna dayanarak 1969 yılında Cebelitarık ile ilgili bir yasa kabul ederek, halkın egemenliğin Birleşik Krallık'tan başka bir devlete devrini reddetme hakkını tanımıştır. 1984 yılında Lizbon Antlaşmasından sonra İspanya 1969'da kapattığı Cebelitarık sınırını kontrollü bir şekilde açmıştır. İspanya yönetimi 2002 yılından bu yana Cebelitarık'a İspanya devletine bağlı olmak şartıyla bölgesel veya toplumsal özerklik tanınması teklifini sunmaktadır. 2002 senesinde Cebelitarık'ta düzenlenen egemenlik referandumunda seçmenler egemenliğin İspanya ve Birleşik Krallık arasında paylaşılması planına karşı çıkmışlardır. Cebelitarık halkı 1960 yılında Birleşik Krallık tarafından kendilerine verilmiş olan kendi kaderini tayin hakkının, BM Şartı tarafından da tüm eski sömürgelere tanınan bir hak olduğunu savunmaktadır. Cebelitarık'ın 2006 yılındaki referandumla kabul ettiği anayasanın Cebelitarık halkına, İngiliz egemenliği altında ve dış ilişkilerinde Birleşik Krallık'a karşı sorumlu olmaya devam etmekle birlikte, kendi kendini yönetme hakkını verdiği" ifadeleri yer almıştır. İspanya ise kendi onayı olmadan Cebelitarık'ın bağımsız olmasının imkânsız olduğunu, Birleşik Krallık'ın İspanya egemenliğindeki bir toprağı işgal ettiğini, Cebelitarık'ın özel durumunda kendi kaderini tayin prensibi yerine toprak bütünlüğü ilkesinin öncül olduğunu belirtmiştir. Cebelitarık BM'nin "özerk olmayan ülke" listesinde yer almaktadır. Cebelitarık yönetimi söz konusu listeden çıkarılıp bağımsızlığını elde etmek üzere defalarca BM'ye başvurmuştur.

Galeri

Kaynakça

Avrupa'daki başkentler
Avrupa'daki burunlar
Batı Avrupa
Kıyı şehirleri
İspanya'nın toprak anlaşmazlıkları
1700'lerde İspanya
Britanya Denizaşırı Toprakları
Avrupa'daki bağımlı topraklar
Anklavlar ve eksklavlar
İngilizce konuşan ülkeler
İber Yarımadası
1704'te kurulan bölgeler ve ülkeler

Cebelitarık


තරු අති විශාල ප්‍රමාණයකින් සැදුම්ලත් පද්ධතියක්,චක්‍රාවාටයක් හෙවත් මන්දාකිණියක් ලෙස හැදින් වේ.තවද සූර්යයා වැනි තාරකා බිලියන ගණනක්,කළු කුහර (black holes) හා දූවිලිවළා බිලියන ගණනක එකතුවක් ලෙස ද හැඳින්විය හැක.  විශාල ස්කන්ධයකින් යුතු වෙයි.ඒ නිසා ප්‍රබල ගුරුත්වාකර්ශන බලයක් ඒවා සතුව ඇත .මේ හේතුව නිසා මන්දාකිනි එකිනෙකට පොකුරු ලෙසින් එක් වී චලනය වෙයි.මෙම මන්දාකිනි අතර ඇති ගුරුත්ව බලය හා ඒවායේ චලිතය නිසා අභ්‍යවකාශයට යම් සමතුලිතතාවක් ලැබී ඇත.මෙවැනි මන්දාකිනි පොකුරු එක්වී සුපිරි මන්දාකිනි පොකුරු(super cluster of galaxies)සාදයි.අපගේ මන්දාකිනිය වන ක්ෂීරපථය(milky way)ස්තානීය පොකුර (local group)නම් මන්දාකිනි පොකුරට අයත් වේ.මෙම මන්දාකිනි පොකුරට මන්දාකිනි 13 අයත් වෙයි.

මන්දාකිනි වර්නාවලිය පරීක්ශා කිරීමේදී පෙනී ගොස් ඇත්තේ සියලුම මන්දාකිනි වර්නාවලියේ වැඩි තරන්ග ආයාමයක් ඇති දිශාවට අපගමනය වන බවයි.

නිරුක්තිය

නිරීක්ෂණ ඉතිහාසය

මිල්කිවේ චක්‍රාවාටය

නවීන පර්යේෂණ

වර්ගය සහ රූපාකාරය
චක්‍රාවාට අවිධිමත්, සර්පිලාකාර හා ඉලිප්සාකාර යනුවෙන් තුන් ආකාරයකි.

ඉලිප්සාකාර

සර්පිලාකාර
අප අයත් වන මිල්කිවේ ක්ෂීරපථය සර්පිලාකාරය.

වෙනත් රූපීය ආකාර

වාමණයින්

ක්‍රියාකාරි න්‍යෂ්ටි

නිර්මාණය හා පරිණාමය

නිර්මාණය

පරිණාමය

අනාගත නැඹුරුව

මහා පරිමාණ ව්‍යූහය

බහු තරංග ආයාම නිරික්ෂණය

ආශ්‍රිත ලිපි

 මිල්කිවේ ක්ෂීරපථය
 තාරකා භෞතික විද්‍යාව

සටහන්

මූලාශ්‍ර

ලේඛන නාමාවලිය

බාහිර සබැදි

 Galaxies, SEDS Messier pages
 An Atlas of The Universe
 Galaxies — Information and amateur observations
 The Oldest Galaxy Yet Found
 Galaxy classification project, harnessing the power of the internet and the human brain
 How many galaxies are in our Universe?
 The most beautiful galaxies on Astronoo
 3-D Video (01:46) – Over a Million Galaxies of Billions of Stars each – BerkeleyLab/animated.

මන්දාකිණි


Nikola Milenković (în , ; n. 12 octombrie 1997) este un fotbalist sârb care joacă pe postul de fundaș central și dreapta pentru Fiorentina și echipa națională a Serbiei.

Cariera pe echipe

Partizan

Sezonul 2015-2016
Trecând la echipele de tineret ale lui Partizan, Milenković a fost împrumutat la Teleoptik pentru sezonul 2015-2016. La începutul anului 2016, a intrat în prima echipă a lui Partizan sub comanda antrenorului Ivan Tomić și a semnat un contract pe cinci ani, dar a rămas să joace pentru Teleoptik până la sfârșitul sezonului. La câteva zile după debutul pentru echipa națională U19 a debutat pentru Partizan într-un meci de Superliga Serbiei împotriva lui Mladost Lučani jucat la 10 aprilie 2016. Într-un meci împotriva lui Čukarički din șaisprezecimile aceluiași sezon a primit un cartonaș roșu pentru un fault dur Petar Bojić, care i-a adus o suspendare pentru următoarele patru meciuri. Milenković a marcat primul său gol pentru Partizan în ultima partidă disputată al Superligii Serbiei 2015-2016, împotriva Voivodineia, fiind al o sutălea gol marcat pentru club în acel sezon.

Sezonul 2016-2017
Milenković a început noul sezon într-un meci cu Cédric Gogoua contând pentru a doua rundă de calificare în UEFA Europa League 2016-2017 împotriva lui Zagłębie Lubin. De asemenea, a început ca titular în Superliga Serbiei în primul meci de campionat cu Bačka Bačka Palanka, fiind lăsat pe bancă în următoarele două meciuri. După câteva rezultate slabe și accidentări ale jucătorilor din apărare, Milenković a început să joace constant din a patra etapă împotriva lui Javor Ivanjica. A marcat primul gol al sezonului într-un meci împotriva lui Rad, jucat la 27 august 2016. De asemenea, a debutat în Cupa Serbiei în meciul din primul tur, împotriva lui Napredak Kruševac, la 21 septembrie 2016. După accidentarea lui Miroslav Vulićević într-un meci de cupă împotriva lui Žarkovo la 25 octombrie 2016, Milenković a purtat banderola de căpitan. În februarie 2017, a fost numit ca fiind unul dintre cei mai buni tineri jucători din lume de către ziarul italian La Gazzetta dello Sport. A marcat al treilea gol pentru Partizan în meciul din etapa a 27-a a sezonului împotriva lui Voždovac, jucat la 18 martie 2017.

La 27 mai, în ultima partidă pentru Partizan, Milenković a înscris un gol cu capul împotriva celui mai mare rival al echipei Partizan, Steaua Roșie, în urma căruia a câștigat meciul și a obținut dubla la Partizani, câștigând atât cupa, cât și campionatul.

Fiorentina
La 24 mai 2017, președintele lui Partizan, Milorad Vučelić, a afirmat că Milenkovic se va alătura echipei de Serie A, Fiorentina în vară. Suma de transfer a fost estimată la 5,1 milioane de euro. Milenkovic și-a făcut debutul pentru Fiorentina în victoria cu 1-0 din deplasarea de la Cagliari la 22 decembrie 2017, după ce a jucat 84 de minute.

Cariera la națională
Milenković a fost component al echipei sub 19 a Serbiei la începutul anului 2016. În cursul aceluiași an, a fost chemat la echipa națională a Serbiei U-20 de antrenorul Nenad Lalatović și a debutat pentru echipă într-un meci împotriva Muntenegrului. Milenković a fost chemat la echipa U21 de Lalatović în martie 2017. El și-a făcut prima apariție la U21 la 28 martie 2017, într-un meci amical împotriva Slovaciei.

Echipa mare
Milenković și-a făcut debutul internațional pentru echipa națională de fotbal a Serbiei într-un amical pierdut în fața Qatarului cu 3-0 pe 29 septembrie 2016.

În iunie 2018, antrenorul principal al Serbiei, Mladen Krstajić, l-a inclus Milenković în lotul final de 23 de jucători pentru Campionatul Mondial din 2018. A jucat în toate cele trei meciuri din grupe. A fost considerat unul dintre cei mai eficienți jucători ai ediției din 2018, cu 34 de deposedări reușite (cel mai mult în faza grupelor), arătând calități reale de poziționare în teren.

Statistici privind cariera

Club

 Până în 19 mai 2019

Internațional

 Până pe data de 25 martie 2019

Titluri

 Partizan

 Superliga Serbiei: 2016-2017
 Cupa Serbiei : 2015-2016, 2016-2017

Referințe

Legături externe

 Nikola Milenković statistici la utakmica.rs

Fotbaliști ai Campionatului Mondial de Fotbal 2018
Fotbaliști ai Fiorentinei
Fotbaliști internaționali sârbi
Fotbaliști sârbi
Fundași
Oameni în viață
Nașteri în 1997
Articole cu surse în limba sârbă (sr)
Oameni din Belgrad

Nikola Milenković


Stjernøya (nordsamisk Stierdná) er en ø i Troms og Finnmark fylke i Norge. Den har et areal på 245,03 km². Øen er adskilt fra Seiland i øst af Rognsundet, fra Sørøya i nord af Sørøysundet, og fra fastlandet i syd af Stjernsundet. Den er delt mellem kommunerne Alta, Hasvik og Loppa. Bosætningen er koncentreret til bebyggelserne Store Kvalfjord og Pollen, begge i Alta kommune. Stjernøya har flere fjelde der er over 900 meter over havet og højest er Kjerringfjordfjellet på 960 meter over havet.

Stjernøya er historisk set også sommerland for rendriftssamer fra Kautokeino. Fra april til oktober er øen tilholdssted for ca. 2000 rensdyr og flere samiske familiegrupper, som i sommerhalvåret hvert år er mere eller mindre bofaste på øen.

I Lillebukt på sydsiden af øen har der siden 1961 været et stenbrud for mineralet nefelinsyenit der anvendes i glas og keramikproduktion. På grund af faren for sneskred udløser mineselskabet fra tid til anden kontrollerede skred.

Kilder og henvisninger

 Stjernøya på norgeskart.no

Øer i Troms og Finnmark
Alta (Norge)
Hasvik
Loppa

Stjernøya