Franka Potente (; born 22 July 1974) is a German actress. She first appeared in the comedy film After Five in the Forest Primeval (1995), for which she won a Bavarian Film Award for Best Young Actress. Her breakthrough came in 1998, when she portrayed the title role in the acclaimed action thriller Run Lola Run, for which she won a BAMBI Award for Best Actress. She received further critical acclaim and a Bavarian Television Award nomination for her performance in the television film Opernball (also 1998).

After half a decade of well-received roles in German productions, Potente made the transition into Hollywood with her role in the biographical crime film Blow (2001), and achieved wider recognition for her appearances in The Bourne Identity (2002) and The Bourne Supremacy (2004). She portrayed communist revolutionary Tamara Bunke in Che (2008), and psychologist Anita Gregory in The Conjuring 2 (2016). Her other notable films include Anatomy (2000), The Princess and the Warrior (2000), Creep (2004), Romulus, My Father (2007), Eichmann (2007), and Muse (2017).

Potente has starred in the television series Copper (2012–2013), Taboo (2017) and currently, Claws and Titans and Echo 3 in 2022. She also played recurring roles in the second seasons of American Horror Story (2012) and The Bridge (2014).

Early life
The elder of two children, Potente was born in Münster, West Germany, and raised in nearby Dülmen. Her mother, Hildegard, is a medical assistant, and her father, Dieter Potente, is a teacher. Her Italian surname stems from her great-grandfather, a Sicilian slater who migrated to Germany during the 19th century. When she was 17 years old, Potente spent a few months as an exchange student in Humble, a suburb of Houston, Texas.

Career

1990s
After finishing high school in Germany, Potente enrolled at the Otto Falckenberg School of Performing Arts in Munich. Potente took acting jobs outside school time and appeared in her first movie in the 1995 student film Aufbruch. She was then spotted by a casting agent and appeared in the film Nach Fünf im Urwald (After Five in the Forest Primeval), directed by her then-boyfriend, Hans Christian Schmid. She played the role of a 17-year-old girl named Anna who, in search of freedom in an urban environment, runs away from home with a boy who has a crush on her. The film premiered at the 1995 Hof International Film Festival and opened in German theaters on 25 April 1996. She received the 1996 Bavarian Film Award for Young Talent for her work in this film. She subsequently finished her last year of training at the Lee Strasberg Theatre Institute in Manhattan.

Potente returned to Europe and worked in German and French films; her breakthrough came with 1998's Lola rennt (Run Lola Run) after meeting the director, Tom Tykwer, in a café. Specifically written for her persona, her role was that of a woman who needs to obtain 100,000 Deutsche Mark in twenty minutes to save her boyfriend's life. Budgeted at US$1 million, the arthouse thriller was a critical and commercial success, grossing US$14.5 million worldwide. Variety wrote that her performance was "heroic, fierce, frightened and vulnerable all at once", while eFilmCritic.com called her casting a "smart choice". Following her newfound success, she starred opposite Teemu Aromaa in Downhill City (1999), a small-scale drama directed by Finnish director Hannu Salonen, and in the romantic comedy Bin ich schön?, about people having trouble with love and identity, which was released on 17 September 1999 in Germany.

2000s

In the German-language horror film Anatomy (2000), she starred as a medical student who wins a place at an exclusive Heidelberg medical school, where she uncovers a gruesome conspiracy by a secret Anti-Hippocratic society. The film was a box office success in Germany, grossing US$10.5 million domestically, and Variety, in its review for the film, remarked: "Boasting a gutsy performance from sturdy young German star Franka Potente (Run Lola Run), Anatomy is creepy, sometimes gruesome, widescreen fun that pushes all the right buttons. Out-performing Scream at the local [box office] and the biggest German pic of the year so far, this is natural latenight/fantasy fest fare that could become a cult item on half-inch and possibly even theatrically". Also in 2000, she had the starring role in the romantic drama The Princess and the Warrior, directed by Tykwer, her Run Lola Run director. In the film, she portrayed a psychiatric hospital nurse who, after a near-death experience, enters into a relationship with an anguished former soldier (Benno Fürmann, also her co-star in Anatomy) who lapses into criminality. The independent film was favorably received by critics; eFilmCritic stated that Potente "proves her versatility as an actress here with a much more subdued character, but is still capable of delivering powerhouse emotional scenes", while the consensus of review-aggregator website Rotten Tomatoes was: "More slow-moving than Run Lola Run, this film nonetheless offers an intriguing storyline about love and fate". She received nominations for the European Film Award and the German Film Award for Best Actress.

Potente's first English-language role was that of a flight attendant who becomes engaged to cocaine smuggler George Jung in the biographical crime film Blow, alongside Johnny Depp. The film received mixed reviews, while it grossed US$83.2 million worldwide. She played a film editor in the controversial independent drama Storytelling (2001), with Leo Fitzpatrick and Selma Blair. It premiered at the 2001 Cannes Film Festival, and received a limited release in most international markets. Potente next found a much wider recognition from audiences for her performance in The Bourne Identity (2002), co-starring Matt Damon. In the film, she played a European woman who grows closer to the title character, a man suffering from extreme memory loss and attempting to discover his true identity amidst a clandestine conspiracy within the Central Intelligence Agency. A positive critical reception greeted the film upon its release, and budgeted at US$60 million, it grossed US$214 million globally. After her role in the film, she starred in the American films All I Want (2002) and I Love Your Work (2003), and in the German production Blueprint (2003).

She briefly reprised her role in the German horror sequel Anatomy 2 (2003), and also took on for the second time her part in The Bourne Supremacy (2004), which made US$288.5 million around the globe. In 2004, she starred in the British-German horror film Creep, as a woman locked in the London Underground overnight who finds herself being stalked by a hideously deformed killer living in the sewers below. Despite mixed reviews, the film grossed US$3.2 million in UK cinemas. ViewLondon wrote: "The performances are good, particularly Potente, who avoids scream queen clichés by making her character surprisingly unlikeable – Kate is rude and arrogant in her early scenes and the fact that she's German is, of course, a coincidence."

In 2006, Potente appeared in the German coming-of-age drama Elementarteilchen (Atomised), based on the novel Les Particules élémentaires by Michel Houellebecq and directed by Oskar Roehler. She wrote and directed Der die Tollkirsche ausgräbt, a silent also released in 2006. She next starred with Eric Bana and Kodi Smit-McPhee in the Australian drama film Romulus, My Father (2007), about the struggle of a couple to raise their son amid great adversity. For her portrayal, she was nominated for an Australian Film Industry Award for Best Lead Actress. Starting in May 2007, Potente had a three-episode recurring arc in the FX drama The Shield, where she played Diro Kesakhian, "the ruthless godmother of L.A.'s Armenian mafia". Also in 2007, she appeared in Eichmann (2007), a biographical film detailing the interrogation of Adolf Eichmann.

In Che (2008), a two-part biopic about Argentine Marxist revolutionary Ernesto "Che" Guevara, Potente took on the role of communist revolutionary Tamara Bunke. She described the film as "really epic and [...] very emotional", during an interview with Vulture magazine. The film, first screened at the Cannes Film Festival, garnered a positive critical response while it made US$40.9 million worldwide. The New Yorker, pointing out Potente, remarked that "[m]ajor figures come and go, diverting the plot without registering much of an impact", and The Hollywood Reporter described her part as a "small role" and felt that the actress "seems utterly uncomfortable in every scene". In 2009, she appeared in the House television series two-part episode "Broken".

2010s
Potente filmed the American neo-noir film Shanghai in Bangkok, Thailand, with production wrapping in August 2008. The film, set in the 1940s Chinese spy world, was released on 9 June 2010 in China, and on 2 October 2015 in North America. In 2011, she played the leading role of a passenger in the drama The Sinking of the Laconia, about the Laconia incident. The two-part television film first aired in January 2011 on BBC Two.

Potente starred in BBC America's first original scripted series, Copper, as Eva Heissen, a shrewd German-American businesswoman and the madam of a brothel in the Five Points district of New York City during the American Civil War. The show premiered on 9 August 2012 and had the largest debut in the network's history. It was subsequently renewed for a second season, but the BBC announced its cancellation following its finale. Potente subsequently had a two-episode appearance in American Horror Story: Asylum, as a woman who claims to be Holocaust victim and diarist Anne Frank.

In 2014, Potente landed a role on the second season of the FX series The Bridge as Eleanor Nacht, a "fixer" for the cartel. She returned to the big screen in the horror sequel The Conjuring 2 as real-life German-British parapsychologist Anita Gregory, who investigated the Enfield Poltergeist case in the late 20th century. The Hollywood Reporter found her to be "curiously sidelined for much of the action", but with a worldwide gross of US$320.3 million, it emerged as Potente's most widely seen film. Also in 2016, she obtained the two-episode role of a "calculated and determined" Chief Inspector in the second season of the Canadian supernatural series Dark Matter, and in 2017, she was cast in a supporting role in the BBC period drama series Taboo, alongside Tom Hardy.

2020s
In 2020, she made her first feature film Home, for which she was also responsible for the screenplay. The film premiered in October 2020.

In 2022, Potente appeared in season four of Titans where she portrayed Mother Mayhem.

Authored works
Based on Potente's correspondence with colleague Max Urlacher during his time in Los Angeles, a book entitled Los Angeles – Berlin was published in September 2005. In May 2009, Potente published her second book Kick Ass – An Alternative Workout, co-written with her personal trainer Karsten Schellenberg. In August 2010 her first volume of stories "Zehn" was published.

Personal life
After relationships with German film director Tom Tykwer and American actor Elijah Wood, among others, Potente married American actor Derek Richardson in mid 2012, in a private ceremony. The couple live in Los Angeles, and have two daughters, born in 2011 and 2013.

Filmography

Film

Television

Video games

Discography
 Believe (1998)
 Wish (Komm zu mir) (1998)
 Easy Day (1999)
 Fly with Me (2001)

Bibliography
 2005: Los Angeles – Berlin. Ein Jahr
 2006: Der die Tollkirsche ausgräbt, Drehbuch zum Film
 2009: Kick Ass – Das alternative Workout
 2010: Zehn: Stories
 2014: Almählich wird es Tag

Awards and nominations

References

External links

1974 births
20th-century German actresses
21st-century German actresses
German people of Italian descent
German expatriates in the United States
German film actresses
German television actresses
German people of Sicilian descent
Lee Strasberg Theatre and Film Institute alumni
MTV Europe Music Award winners
Living people
Actors from Münster

Franka Potente


"One in a Million" é uma canção da cantora americana Aaliyah, presente em seu segundo álbum de estúdio de mesmo nome. Foi escrita por Missy Elliott e Timbaland, com este último sendo o produtor da faixa. Musicalmente, a canção é uma balada de clube R&B com trip hop e influências de drum and bass. Liricamente, é sobre Aaliyah professando seu amor por um cara que ela identifica como sendo seu "um em um milhão". A canção foi lançada como terceiro single do álbum pela Blackground e Atlantic Records em 10 de dezembro de 1996. Após o seu lançamento, foi recebida com críticas geralmente positivas, com muitos elogiando a produção inovadora da canção, creditando-a como uma canção revolucionária dentro do gênero R&B. Em 1998, "One in a Million" foi indicada ao prêmio de Melhor Single Feminino de R&B/Soul na 12ª edição anual do Soul Train Music Awards.

Nos Estados Unidos, "One in a Million" obteve um desempenho moderadamente bom, atingindo a 25ª posição da parada Radio Songs da Billboard. A canção teve uma performance ainda melhor na R&B/Hip-Hop Airplay, onde ficou na primeira posição por sete semanas. Na parada Dance Club Songs a canção atingiu a segunda posição. Internacionalmente, a canção foi lançada como single duplo com "If Your Girl Only Knew" no Reino Unido, alcançando a 15ª posição da UK Singles Chart. Ainda no Reino Unido, a canção atingiu a quinta posição da parada dance. De acordo com a Official Charts Company, "One in a Million" é o sexto single de Aaliyah mais vendido na região.

Antecedentes
Junto com "If Your Girl Only Knew", "One In a Million" foi uma das primeiras canções que Aaliyah gravou com Timbaland e Missy Elliott. De acordo com Elliott, ela escreveu a música em um estilo de rap porque ela não sabia como escrever músicas para cantores, já que ela era uma rapper. Elliott explicou: "Porque eu não era realmente uma cantora assim, é por isso que escrevi assim, porque eu era uma rapper, então cada faixa que eu atacaria, eu o atacaria como se estivesse cantando um rap". Durante os primeiros estágios do processo de gravação da música, Elliott estava com medo de tocar a faixa para Aaliyah porque o som da música era muito diferente. Assim que Aaliyah ouviu a música, ela gostou. Em relação a Aaliyah curtir a música, Elliott disse que "ela tinha um ouvido e sabia como a música a fazia se sentir. Ela estava no próximo nível para entender que este é o próximo nível de música. Este não é apenas o som que acontecendo agora - este é um novo som que está sendo criado. Todo esse movimento é novo".

Depois que a música foi concluída e enviada para as rádios, as estações de rádio não quiseram tocá-la no início. Muitas estações de rádio desculparam-se por não poderem tocar a música, dizendo "eles não podiam misturá-la, eles não podiam misturá-la com faixas antes ou depois porque a cadência não tinha sido feita antes". De acordo com o CEO da Blackground Records, Jomo Hankerson, muitos diretores de programas de estações de rádio tiveram problemas com o que chamavam de "sons de grilo" na música. Hankerson lembrou que um diretor de programa em Chicago afirmou que não tocaria uma música que continha grilos. Ao tentar criar uma solução para que "One in a Million" pudesse ser tocado nas rádios, a Atlantic Records sugeriu que a música fosse remixada e tornada mais amigável ao rádio. Para Hankerson, ele se recusou a mudar a música e levou as fitas do estúdio para que ninguém pudesse remixar a música. "A Atlantic achou que deveríamos remixar o disco e diminuir a batida tripla para torná-la mais amigável às rádios, mas fomos muito teimosos sobre isso. Ouvimos que eles estavam tentando fazer os remixes, então pegamos as fitas do estúdio. Naquela época, antes do Pro Tools, você realmente podia controlar para onde ia a música. Se você tivesse aquele rolo de duas polegadas, você tinha a faixa. Então, pegamos os rolos de duas polegadas e todas as fitas para que ninguém pudesse fazer remixes não autorizados e seguimos firme nessa versão do álbum".

Composição e interpretação lírica
"One in a Million" foi descrita como sendo uma balada club etérea com funk "sedutor", música eletrônica, trip hop e influências de drum and bass. A canção também apresenta sintetizadores "brilhantes" e grilos em sua produção. De acordo com Craig Jenkins da Complex, a canção apresenta "funk sensual acentuado pela programação de bateria hiperativa e os sons de pássaros, grilos e aviões espalhados pela mistura". A música "imediatamente captura toda a sua atenção com seu baixo forte, sintetizadores peculiares e samples vocais cortados". Andrew Unterberger da Billboard descreveu a canção como "um hino lento e agitado que soava exuberante e minimalista, expansivo e íntimo, alienígena e sexy". Liricamente, a música é sobre Aaliyah professando seu amor por um cara que "ela vê como um em um milhão e um amor ao qual ela não consegue resistir". De acordo com Bob Waliszewski do Plugged In, na música "Aaliyah comunica amor e compromisso com seu homem".

Recepção da crítica
De acordo com Khal da Complex, "'One in a Million' apresentou um trio imparável, com Aaliyah sendo uma musa perfeita para as vibrações futurísticas que Missy e Timbaland estavam criando e realmente ajudaram a mudar o jogo. Suas músicas lentas não precisavam mais de bateria lenta batidas; você poderia estabelecer essa vibe e jogar tantos preenchimentos e chimbais agitados na faixa e torná-la algo único em vez do sabor da semana (embora sendo tão futuro significa que todos estavam em demanda)". Georgette Cline do The Boombox elogiou a música dizendo "O instrumental em si gotejava sex appeal e o estilo musical de Aaliyah apenas aumentava a vibração. A então jovem de 17 anos atingiu o ouro lírico com 'Não deixe ninguém vir e tomar o seu lugar / Porque o amor que você dá não pode ser substituído / Veja que ninguém mais me ama como você / É por isso que não me importo de passar minha vida com você'". Quentin B. Huff do PopMatters sentiu que a música representou Aaliyah "melhor no departamento do hino lenta". Ele também elogiou a produção da música, dizendo: "A batida de "One in a Million" é terrivelmente difícil para uma música romântica, mas esse é o ponto, na verdade: amor - ou, pelo menos o tipo de amor retratado nesta música - é belo, mas contínuo e inexorável". A publicação musical udiscovermusic sentiu que os "vocais etéreos" de Aaliyah estavam em plena exibição na canção e que, no geral, a canção era "a destilação perfeita de todos os sons penetrantes da era".

Desempenho nas tabelas musicais
"One in a Million" foi lançada como segundo single nos Estados Unidos e terceiro single do álbum, como um todo, em 10 de dezembro de 1996. Em 10 de maio de 1997, "One in a Million" alcançou o pico na segunda posição da parada Dance Club Songs da Billboard. Em 4 de janeiro de 1997, a canção atingiu a primeira posição da R&B/Hip-Hop Airplay, ficando sete semanas no topo da parada. Na parada rítmica a canção atingiu a segunda posição em 2 de março de 1997, ao passo que alcançou a 25ª posição na parada Radio Songs. Internacionalmente, a canção foi lançada como single duplo com "If Your Girl Only Knew" no Reino Unido, alcançando a 15ª posição da UK Singles Chart. A canção eventualmente alcançou o top 5 nas paradas de dance e de R&B no Reino Unido. De acordo com a Official Charts Company, "One in a Million" é o sexto single de Aaliyah mais vendido na região. Na Oceania, a canção alcançou a 11ª posição na Nova Zelândia em 15 de junho de 1997.

Clipe

Antecedentes
O videoclipe de "One in a Million" foi dirigido por Paul Hunter e foi filmado em Los Angeles. Hunter conheceu Aaliyah através de seu tio durante uma reunião em um estúdio de Nova York, logo após o encontro, ele foi escolhido como o diretor de seu videoclipe. De acordo com Hunter, durante a filmagem do vídeo tudo correu bem e eles permaneceram dentro do cronograma. Hunter também lembra que quando eles estavam se mudando para outro local de filmagem, Aaliyah estava no carro com a equipe de produção. Hunter declarou: "Ela era uma jovem superstar e precisamos ir para o próximo local e ela simplesmente veio com a equipe". Ele continuou dizendo: "Ela não pediu uma limusine nem nada. Foi muito fofo. Ela era apenas uma garota normal a esse respeito, sabe?".

Recepção
O clipe de "One in a Million" estreou em 10 de novembro de 1996 nos canais BET e The Box. Eventualmente, o videoclipe e tornou o oitavo mais tocado no canal BET durante a semana de 16 de fevereiro de 1997. Em 5 de janeiro de 1997, o clipe estreou na MTV. Durante a semana de 23 de fevereiro de 1997, o videoclipe foi o sétimo mais reproduzido na MTV. Ainda em fevereiro de 1997, o clipe estreou na VH1.

Em um artigo de 1997 discutindo o videoclipe One in a Million, a MTV sentiu que Aaliyah estava ficando "toda adulta e cheia de vapor no vídeo". Jordan Simon, do Idolator, sentiu que o clipe de "One In a Million" exibia uma notável semelhança com vários filmes futurísticos de ficção científica como Aliens, O Quinto Elemento e Matrix. O vídeo também foi incluído na lista "Os Melhores Clipes de R&B dos Anos 90" da Complex.

Legado
Em 1997, o rapper Jay-Z utilizou um sample de "One in a Million" em "A Million and One Questions / Rhyme No More", primeira faixa de seu segundo álbum de estúdio, In My Lifetime, Vol. 1. Em 1998, "One in a Million" foi nomeada para Melhor Single Feminino de R&B/Soul na 12ª edição do Soul Train Music Awards. Em 2010, o cantor/compositor The-Dream gravou um cover da música, um ano depois, em maio de 2011, o artista de R&B Omarion fez um cover da música para sua mixtape The Awakening como um tributo a Aaliyah. Além disso, a cantora/compositora canadense Keshia Chanté, que já foi escalada para interpretar Aaliyah em seu filme biográfico, fez um cover da música para o aniversário de 10 anos da falecida cantora como um tributo. Em 25 de agosto de 2012, o artista de hip hop Blizzy Ballard e o ex-colaborador de Aaliyah, Smoke E. Digglera, vocalista do grupo de R&B Playa, lançaram um cover de tributo da canção. A rapper Iggy Azalea utlizou sample da faixa em sua canção "Backseat Trill $hit". A artista de R&B e hip hop Tink lançou a faixa intitulada "Million" que faz sample da canção, com produção de Timbaland. Em 2020, a cantora Ariana Grande interpolou o padrão de bateria de "One in a Million" na faixa "West Side", presente no álbum Positions. O single de 2021 da cantora Normani, "Wild Side", com a participação da rapper Cardi B, também interpola o padrão de bateria de "One in a Million". Em setembro de 2022, a publicação Pitchork classificou "One in a Million" na 36ª posição da lista das 250 Melhores Canções da Década de 90.

Tabelas musicais

Tabelas semanais

Tabelas de fim de ano

Certificações

Singles de 1996
Canções gravadas por Aaliyah
Aaliyah
Canções produzidas por Timbaland
Canções de R&B contemporâneo

One in a Million (canção de Aaliyah)


An Bothriochloa longipaniculata in uska species han Liliopsida nga syahan ginhulagway ni Gould, ngan ginhatag han pagkayana nga asya nga ngaran ni Kelly W. Allred och Gould. An Bothriochloa longipaniculata in nahilalakip ha genus nga Bothriochloa, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Bothriochloa

Bothriochloa longipaniculata


Jabalpur (en hindi, जबलपुर जिला) es un distrito de la India en el estado de Madhya Pradesh. Código ISO: IN.MP.JA.

Comprende una superficie de 5210 km².

El centro administrativo es la ciudad de Jabalpur.

Demografía
Según censo 2011 contaba con una población total de 2 460 714 habitantes, de los cuales 1 182 266 eran mujeres y 1 278 448 varones.

Localidades
 Bhedaghat
 Bilpura

Referencias

Jabalpur

Distrito de Jabalpur


Epitaph ist das zweite Album der Technical-Death-Metal-Band Necrophagist, das im Jahr 2004 erschien.

Geschichte
Epitaph wurde im Gegensatz zu dem Vorgängeralbum Onset of Putrefication nicht im Alleingang von Muhammed Suiçmez eingespielt. Die Band konnte erstmals eine feste Besetzung vorweisen, auch wenn weiterhin fast ausschließlich alle Lieder aus seiner Feder stammten. Christian Münzner setzte sich telefonisch mit Suiçmez in Kontakt, der, durch seine Fähigkeiten begeistert, ihn in die Gruppe aufnahm. Drei Monate vor den Aufnahmen fehlten noch immer ein passender Bassist und Schlagzeuger. Münzner erinnerte sich an einen Bekannten namens Hannes Grossmann, den er auf einem Konzert kennengelernt hatte. Grossmann, der lange Schlagzeugunterricht im Jazz-Bereich genommen hatte und ähnlich wie Suiçmez stark an Musiktheorie interessiert war, wurde als Schlagzeuger in die Band aufgenommen. Er eignete sich das Schlagzeugspiel für die Lieder innerhalb von zwei Monaten an. Die Aufnahmen begannen ohne einen Bassisten. Grossmann erinnerte sich wiederum an einen Kollegen, Stefan Fimmers, der den Platz des Bassisten füllte. Suiçmez bezog seine Ideen für Lieder dabei aus teils ungewöhnlichen Quellen. So schaute er sich die Konstruktionszeichnung für eine V6 Kurbelwelle mit 72° Kurbelwinkel an und entdeckte, dass die Zündzeitpunkte einem für ihn interessanten Rhythmus folgen. Dadurch entstand ein neuer Schlagzeugrhythmus, um den er ein Lied aufbaute. Vor den Aufnahmen hatten die Mitglieder nie zusammen geprobt, sondern jeder vereinzelt für sich seinen Teil einstudiert. Die Aufnahmen fanden in verschiedenen Studios statt. Muhammed Suicmez nahm seinen Teil in The Depth of Torment in Baden-Baden auf. Bassist Stefan Fimmers nahm seinen Teil im Aexxys-Art in Schwandorf auf. Die Aufnahmen der Schlagzeug- und Gesangsteil fanden unter der Leitung von Christoph Brandes in The Iguana Studios in March statt. Das Album wurde im selben Studio von Christoph Brandes und Muhammed Suicmez abgemischt. Gemastert wurde das Album von Bob Katz im Digital Domain in Orlando, Florida.

Rezeption
Moritz Krüger gibt in seiner Rezension an, dass sich die Band zu ihrem Vorgängeralbum, das er ebenfalls als positiv bewertet, noch gesteigert habe. Die Lieder seien eingängig, jedoch erschließe sich das volle Potenzial erst nach mehrmaligem Anhören. Er hebt vor allem das hohe technische Spielniveau der Instrumente hervor und beschreibt diese als "genial" und "virtuos". Er vergibt die vollen Punktzahl von zehn möglichen Punkten. Norman von metal.de beschreibt das Album als "Meilenstein in Sachen Death-Metal", bezeichnet es als "Meisterwerk" und hebt neben dem technisch hohen Spielniveau auch die Liedtexte hervor: Suiçmez weise "ein Höchstmaß an Songschreiberqualitäten" auf, die Texte beschreibt Norman als "sinnig". Es wurden neun von zehn möglichen Punkten vergeben. Michael Edele von laut.de gab an, dass es erstaunlich sei, dass es sich um eine deutsche Band handle, da mit hinter der Musik eher eine US-amerikanische Band vermuten würde. Er beschreibt die Lieder ebenfalls als technisch höchst anspruchsvoll und zieht Parallelen zu Bands wie Morbid Angel, Cynic und Krisiun. Edele äußert sich durchweg positiv zum Album, einzig die Spielzeit von rund 30 Minuten bemängelt er als "knapp". Er vergab vier von fünf Punkten, in der Leserwertung erreichte das Album die volle Punktzahl.

Titelliste
 Stabwound (Muhammed Suiçmez) – 2:48
 The Stillborn One (Muhammed Suiçmez) – 4:24
 Ignominious & Pale (Muhammed Suiçmez) – 4:01
 Diminished To B (Muhammed Suiçmez) – 4:59
 Epitaph (Muhammed Suiçmez) – 4:15
 Only Ash Remains (Muhammed Suiçmez) – 4:11
 Seven (Muhammed Suiçmez) – 3:41
 Symbiotic In Theory (Muhammed Suiçmez, Christian Münzner) – 4:35

Stil
Charakteristisch für die Musik des Albums ist die Verwendung von teils genrefremden Werken. Das Spiel der Gitarre am Ende von Only Ash Remains ist eine Coverversion von Sergei Sergejewitsch Prokofjews Lied Dance of the Knights aus dem Stück Romeo und Julia. Das Lied The Stillborn One enthält einen Auszug aus Ludwig van Beethovens Für Elise. Das Spiel des Basses wird mit dem von Steve DiGiorgio verglichen. Die Lieder werden fast ausschließlich schnell gespielt, wobei die Gitarrensoli besonders schnell sind.

Einzelnachweise

Album 2004
Album (Death Metal)

Epitaph (Album)


Răsună valea este un film românesc din 1950 regizat de Paul Călinescu după un scenariu de Mircea Ștefănescu. Este primul lungmetraj de ficțiune realizat de Paul Călinescu. Rolurile principale au fost interpretate de actorii Marcel Anghelescu, Geo Barton, Radu Beligan. Este inspirat dintr-un fapt real, construirea liniei de cale ferată București-Livezeni.

Răsună Valea a fost primul film realizat imediat după procesul de naționalizare a cinematografiei românești, ceea ce explică anumite lipsuri sau inconsistențe la nivel narativ sau stilistic.

Prezentare

Este anul 1948, în defileul Jiului s-au strâns mii de tineri pentru a construi o linie de cale ferată.

Distribuție
Distribuția filmului este alcătuită din:

Producție
Filmările exterioare au avut loc în perioada martie și iunie 1948 - cu imagini documentare de pe șantier; și în septembrie și octombrie 1948 - cu actori în Valea Jiului, la Lainici și Petroșani. În toamna anului 1949, au avut loc filmări exterioare la Brașov. Filmările interioare au avut loc în primăvara anului 1949 în studioul din strada Wilson, devenită Kirov. Costurile de producție s-au ridicat la 1.680.000 lei.

Filmul a suferit modificări de scenariu în timpul producției, la cererea autorităților regimului comunist. În scenariul original, personajul lui Niki, interpretat de Radu Beligan, avea parte de un arc de redempțiune atunci când se alătură muncitorilor de pe șantier, însă autoritățile au cerut modificarea narațiunii deoarece portretizarea pozitivă a unui personaj burghez nu era acceptabilă. Astfel, în varianta finală, Niki rămâne caricatura unui burghez leneș care nu se poate adapta la stilul de viață al proletariatului, fiind dat afară de pe șantier și batjocorit de muncitori.

Regizorul Paul Călinescu detaliază problemele din timpul filmărilor în autobiografia sa:  "Modificările aduse scenariului, de la o zi la alta, chiar în timpul filmărilor de pe șantier, ne-au creat o stare de neliniște continuă. (…) Bineînțeles că aceste neprevăzute și nedorite adaosuri erau cerute de directorul studioului, sfătuit de «specialiștii» săi, în dorința ca filmul să cuprindă și absolut toate schimbările revoluționare care surveneau în timpul filmării."

Primire
Filmul a fost vizionat de 1.944.255 de spectatori în cinematografele din România, după cum atestă o situație a numărului de spectatori înregistrat de filmele românești de la data premierei și până la data de 31 decembrie 2014 alcătuită de Centrul Național al Cinematografiei.

În iulie 1950, a primit o diplomă de onoare la Festivalul Internațional de Film de la Karlovy Vary.

În ciuda succesului pe care l-a întâmpinat la lansare, filmul a ajuns în scurt timp să fie considerat un demers imperfect, datorită condițiilor precare în care a fost produs (începutul propriu zis al cinematografiei române). La doi ani după lansare, Geo Bogza menționează neajunsurile filmului, din punct de vedere al construcției narative:"În cadrul conflictului, acțiunea inamicului de clasă apare uneori nejustificată, sau ca o manifestare personală, de ordin sentimental al vreunui erou. Multe din personajele filmului nu au trăsături puternice, nu au o viață proprie, interesantă, suferă serios de schematism. Eroii pozitivi sunt slab conturați (...). Eroii negativi sunt de multe ori ridiculizați, caricaturizați, par niște clovni neprimejdioși.""Îmbibată de o serie de naivități, unele scrîșnitoare, țesătura filmului respiră un anume realism care nu vine - evident - nici din subtilități psihologice, nici din ineditul vreunei întâmplări, ci din atmosferă. Cine a văzut documentarul făcut de regizor în '47, stabilește o foarte vizibilă filiație între acel film, suprins "pe viu" la Agnita-Botorca, și acest film imaginat din cadrul unui șantier care simboliza același miracol laic. (...). Felul de a vorbi al brigadierilorni se pare azi cam patetic, cam stereotip, dar să nu uităm, acesta era stilul momentului."În prezent, filmul este studiat mai degrabă din punct de vedere istoric decât artistic, reprezentând începutul propriu-zis al cinematografiei românești și un exemplu de propagandă din timpul regimului Gheorghe-Dej

Note

Legături externe

 Răsună Valea pe YouTube

Vezi și
 1950 în film

Filme românești
Filme în limba română
Filme din 1950
Filme regizate de Paul Călinescu
Filme dramatice românești
Filme bazate pe evenimente reale

Răsună valea


වසර 127 (CXXVII) යනු,  ජූලියානු දින දසුන ප්‍රකාර   අඟහරුවාදා දිනයකින් ඇරඹෙන සාමාන්‍ය අවුරුද්දකි  (බැඳිය විසින් මුළු දින දසුන දක්වනු ඇත). එකල එය හැඳින්වුනේ, රූවුෆස්ගේ සහ ස්ක්විල්ලගේ රාජ්‍යතාන්ත්‍රික  ධූර වර්ෂය (හෝ, එතරම් ප්‍රචලිත නොවන අයුරින්,  අබ් ඌර්බෙ කෝන්ඩිටා  880 වසර) ලෙසිනි.  මෙම වසර සඳහා 127 යන නාමය භාවිත වීම ඇරඹුනේ මුල් මධ්‍යතන යුගයේදී, වසර නම් කිරීම සඳහා යුරෝපයේ ප්‍රචලිත භාවයට පත් ක්‍රමය ලෙසින් ක්‍රිස්තු වර්ෂ දින දසුන් යුගය ඇරඹීම හා සමගය.

ග්‍රෙගරි දිනදසුනේ අවුරුදු

127


بلدية زايربينا  هي بلدية تقع في مقاطعة بيسكاي, التي تقع في منطقة الباسك شمالي إسبانيا.

وصلات خارجية
  (بالإسبانية)

مراجع

أماكن مأهولة في بيسكاي
بلديات بيسكاي
قرى صيد
مجتمعات صيد

زايربينا


وهو سياسي أمريكي ينتمي إلى الحزب الجمهوري ولد آرثر جيمس في 14 تموز - يوليو من سنة 1893 في ولاية بنسلفانيا درس آرثر جيمس القانون القانون في كلية ديكسون بدا آرثر جيمس حياته المهنية في سنة 1904 بصفته محاميا في ولاية بنسلفانيا وشغل جيمس منصب نائب حاكم ولاية بنسلفانيا الأمريكية ما بين الأعوام 1927 إلى عام 1931 أصبح آرثر جيمس حاكما على ولاية بنسلفانيا الأمريكية ما بين الأعوام 1939 إلى عام 1943 توفي آرثر جيمس في 27 نيسان- ابريل من سنة 1973 في ولاية بنسلفانيا.

مراجع

جمهوريون من ولاية بنسلفانيا
حكام ولايات أمريكية من الحزب الجمهوري
حكام ولاية بنسيلفانيا
سياسيون أمريكيون في القرن 20
قضاة أمريكيون في القرن 20
قضاة محكمة ولاية بنسيلفانيا
مرشحو الرئاسة الأمريكية لعام 1940
مواليد 1883
مواليد 1893
نواب حكام بنسيلفانيا
وفيات 1973

آرثر جيمس


Virusul pestei porcine africane (ASFV) este agentul cauzator al pestei porcine africane. Virusul provoacă o febră hemoragică cu rate mari de mortalitate la porci, dar persistent infectează gazdele naturale cum ar fi porcii mistreți și Argasidele din genul Ornithodoros, fără semne de boală. ASFV este un virus ADN dublu catenar care replică în citoplasma celulelor infectate. [2] ASFV infectează porci domestici, Phacochoerus și Potamochoerus larvatus, precum și căpușe moi (Ornithodoros), care este probabil să acționeze ca vector.

ASFV este singurul virus cunoscut cu un genom DNA dublu catenar transmis de artropode. Virusul provoacă o boală hemoragică letală la porcii domestici. Unele
cazuri izolate pot cauza moartea animalelor la o săptămână după infecție. La toate celelalte specii, virusul nu provoacă nici o boală evidentă. ASFV este endemică pentru Africa sub-sahariană și există în sălbăticie printr-un ciclu de infecție între căpușe și porci sălbatici, Phacochoerus și Potamochoerus larvatus. Boala a fost descrisă pentru prima dată după ce coloniștii europeni au adus porci în zone endemice cu ASFV și, ca atare, reprezintă un exemplu de "boală infecțioasă emergentă".

Referințe

Legături externe
CFIA Animal Disease Information
 African swine fever fact sheet
 Biosecurity training video
 Farm-level biosecurity practices
 European Commission
 Current Situation
World Organisation for Animal Health (OIE)
Current status of African Swine Fever worldwide at OIE. WAHID Interface—OIE World Animal Health Information Database
Disease card

Bolile porcilor
Asfarviridae

Virusul african al pestei porcine


U/19 Ligaen 2015-16 er den 13. sæson af den danske U/19 Ligaen siden oprettelsen i 2004. Den styres af DBU. Den blev indledt den 15. august 2015 og afsluttet den 4. juli 2016.

Hold
Turneringen bestod af holdene fra Superligaen 2015-16, hvor Viborg FF og Hobro IK dog var erstattet af Vejle BK og Silkeborg IF.

Stilling

Statistik

Topscorere

Referencer

Fodboldsæson 2015-16
2015-16

U/19 Ligaen 2015-16


Android Market (Google Play App Store) සහ තවත් බොහෝ යෙදුම ගබඩා ඇන්ඩ්රොයිඩ් ක්රීඩා දහස් ගණනක් සිටී. ඔබ ඔබේ රස අනුව ඇන්ඩ්රොයිඩ් ක්රීඩා සොයා ගත හැකි වනු ඇත. ඇන්ඩ්රොයිඩ් ඇප් එක ගබඩා ක්රීඩා සහ තවත් රේසිං වැනි ක්රියා දර්ශන, වීර චාරිකා වැනි විවිධ ප්රවර්ගය ඇන්ඩ්රොයිඩ් ක්රීඩා සිය ගණනක්, ක්රීඩා, ප්රහේලිකා, ඇත. බොහෝ ඇන්ඩ්රොයිඩ් ක්රීඩා කුඩා, බොහෝ විශාල වේ වේ, බොහෝ ක්රීඩා නිදහස් හා ගෙවන මෙන්ම බොහෝ ය. ඇන්ඩ්රොයිඩ් භාවිතා කරන්නන් මෙම ක්රීඩා සෙල්ලම් කිරීමට ආදරෙයි. මම වන අතර මම නිතිපතා 5 ක්රීඩා මගේ ස්මාර්ට් ෆෝන් දී ඇන්ඩ්රොයිඩ් ක්රීඩා 12 කට අධික ඇත. මෙම ක්රීඩා යෙදුම-දැන්වීම් හා යෙදුම් මිලදී ගැනුම් (එවැනි ධජය දැන්වීම්, රූපය දැන්වීම්, ෆ්ලෑෂ් දැන්වීම්, පොප්-අප් දැන්වීම් ලෙස) ක්ෂණික ලකුණු, මැණික්, කාසි, වැඩි දියුණු කිරීම්, ආදිය මෙම විකල්ප ලබා ගැනීමට ඇති උපයා ගැනීමට ඇන්ඩ්රොයිඩ් මෙතුලින් ඉඩ දෙනවා ආදායම් ගොඩක්. .

Stencyl
ඇන්ඩ්රොයිඩ් ක්රීඩා කේතය-නිදහස් නිර්මාණය කිරීමට වඩාත් ජනප්රිය මෙවලමකි. ඔබ Stencyl සමග ක්රීඩා නිර්මාණය කිරීමට කිසිදු ක්රමලේඛ භාෂාව ඉගෙන ගැනීමට අවශ්ය නොවේ. Stencyl සමග, මෙවලම් එහි සරල ඉදිරියට මෘදුකාංග සපයනු ලැබේ, ඔබ කිරීමට අවශ්ය සියලු ඔබගේ ඇන්ඩ්රොයිඩ් ක්රීඩාව හා මෙම සුපිරි පහසු ක්රීඩාව මැවුම්කරු, මෘදුකාංග ක්රියාත්මක කිරීමට මූලික නිපුණතා පිළිබඳ අදහසක් වේ

Android game macking


The Four Thirds System is a standard created by Olympus and Eastman Kodak for digital single-lens reflex camera (DSLR) and mirrorless camera design and development.

The system provides a standard that, with digital cameras and lenses available from multiple manufacturers, allows for the interchange of lenses and bodies from different manufacturers.  seems to cover the standard. Proponents describe it as an open standard, but companies may use it only under a non-disclosure agreement.

Unlike older single-lens reflex (SLR) systems, Four Thirds was designed from the start to be entirely digital.  Many lenses are extensively computerised, to the point that Olympus offers firmware updates for many of them. Lens design has been tailored to the requirements of digital sensors, most notably through telecentric designs. The size of the sensor is significantly smaller than for most DSLRs and this implies that lenses, especially telephoto lenses, can be smaller. For example, a Four Thirds lens with a 300 mm focal length would cover about the same angle of view as a 600 mm focal length lens for the 35 mm film standard, and is correspondingly more compact. Thus, the Four Thirds System has crop factor (focal length multiplier) of about 2, and while this enables longer focal length for greater magnification, it does not necessarily aid the manufacture of wide angle lenses.

The image sensor format, between those of larger SLRs and smaller point-and-shoot compact digital cameras, yields intermediate levels of cost, performance, and convenience.

Sensor size and aspect ratio

The name of the system stems from the size of the image sensor used in the cameras, which is commonly referred to as a 4/3" type or 4/3 type sensor.  The common inch-based sizing system is derived from vacuum image-sensing video camera tubes, which are now obsolete.  The imaging area of a Four Thirds sensor is equal to that of a video camera tube of 4/3 inch diameter.

The usual size of the sensor is 18 mm × 13.5 mm (22.5 mm diagonal), with an imaging area of 17.3 mm × 13.0 mm (21.63 mm diagonal). The sensor's area is about 30–40% smaller than APS-C sensors used in most other DSLRs, but still around 9 times larger than the 1/2.5" sensors typically used in compact digital cameras. Incidentally, the imaging area of a Four Thirds sensor is almost identical to that of 110 film.

The emphasis on the 4:3 image aspect ratio sets Four Thirds apart from other DSLR systems, which usually adhere to the 3:2 aspect ratio of the traditional 35mm format. However, the standard only specifies the sensor diagonal, thus Four Thirds cameras using the standard 3:2 aspect ratio would be possible; notably newer Panasonic Micro Four Thirds models even offer shooting at multiple aspect ratios while maintaining the same image diagonal.  For instance, the Panasonic GH1 uses a multi-aspect sensor designed to maximize use of the image circle at 4:3, 3:2, and 16:9; each ratio having a diagonal of 22.5 mm.

Sensor aspect ratio influences lens design.  For example, many lenses designed by Olympus for the Four Thirds System contain internal rectangular baffles or permanently mounted "petal" lens hoods that optimise their operation for the 4:3 aspect ratio.

In an interview John Knaur, a Senior Product Manager at Olympus, stated that "The FourThirds refers to both the size of the imager and the aspect ratio of the sensor".  He also pointed out the similarities between 4:3 and the standard printing size of 8×10 as well as medium format 6×4.5 and 6×7 cameras, thus helping explain Olympus' rationale on choosing 4:3 rather than 3:2.

Advantages, disadvantages and other considerations

Advantages
The smaller sensor size makes possible smaller and lighter camera bodies and lenses. In particular, the Four-Thirds system allows the development of compact, large aperture lenses. Corresponding lenses become larger, heavier and more expensive when designed for larger sensor formats.
 Telecentric optical path means that light hitting the sensor is traveling closer to perpendicular to the sensor, resulting in brighter corners, and improved off-center resolution, particularly on wide angle lenses.
 Because the flange focal distance is significantly shorter than those on Canon FD, Canon EF, Nikon F and Pentax K, lenses for many other SLR types including the old Olympus OM System must be fitted to Four Thirds cameras with simple mechanical adapter rings. Such mechanical adapter rings typically require manual setting of focus and aperture.

Disadvantages
 Compared to a larger sensor with equivalent pixel count, a Four Thirds sensor gathers disproportionately less light per pixel. Not only are the individual photosites smaller, but each loses more of its total area to support circuitry and edge shading than a larger photosite would. With less captured light to work with, each photosite requires additional amplification, with associated higher noise as well as reduced dynamic range. A telecentric lens design can mitigate this problem, but the sensor remains more sensitive to the angle of incoming light, and has more pronounced image corner light falloff.
 The resolution of a sensor is often measured as the total sensor pixel count in megapixels, and this is often a primary decision-making factor in choosing a camera. Smaller sensors are tougher to manufacture with the same pixel count as larger sensors, and place a greater demand on optics, since a lens must achieve greater absolute resolving power to produce an adequate picture on a smaller sensor, compared to a larger sensor of the same pixel resolution. A smaller pixel active area reduces the averaging effect and allows a better sampling of high spatial frequencies, mitigating this problem.
 To get the same angle of view as with a larger sensor, the focal length of the lens used with a Four Thirds sensor needs to be shorter. However, to get the same depth of field and light gathering capability as with a larger sensor, the lens aperture needs to be kept constant. In other words, the focal ratio of the lens must be smaller on the Four Thirds system to give the same depth of field and image noise. Since it is more difficult to produce faster lenses (lenses with smaller focal ratios), it can be difficult or impossible to find a lens that produces as shallow a depth of field, and gathers as much light, as an equivalent lens on larger formats. For instance, a 35mm "full-frame" DSLR can match the depth of field of a Four Thirds camera by closing down the aperture by two stops; but it may be more difficult or impossible for a Four Thirds System to match the shallow depth of field of a 35mm camera using a fast lens.

Differences
 Most Four Thirds cameras (notably those manufactured by Olympus) use an aspect ratio of 4:3 rather than 3:2; newer models offer cropping to 3:2, but this results in a reduced image diagonal (i.e., the effective crop factor is then 2.08).

Four Thirds System companies
As of the 2006 Photo Marketing Association Annual Convention and Trade Show, the Four Thirds consortium consisted of the following companies:
 Fuji
 Kodak
 Leica
 Olympus
 Panasonic
 Sanyo
 Sigma

This does not imply a commitment to end user products by each company.  Historically, only Leica, Olympus, and Panasonic have produced bodies. Olympus and Leica/Panasonic have made dedicated Four Thirds lenses, and Sigma makes adapted versions of their "DC" lenses for APS-C format DSLRs.  Kodak once sold sensors to Olympus for use in their Four Thirds bodies, but the newer Olympus Four Thirds cameras used Panasonic sensors.

Four Thirds System cameras
The majority of Four Thirds System cameras and Four Thirds lenses are made by Olympus. Many Four Thirds cameras use "sensor-shift" in-body image stabilization, making the need for image stabilization technology in its lenses unnecessary. All Four Thirds cameras also incorporate an automatic sensor cleaning device, in which a thin glass filter in front of the sensor vibrates at 30 kHz, causing dust to fall off and adhere to a piece of sticky material below. Olympus' E-system camera bodies are noted for their inclusion of a wide range of firmware-level features and customization, good JPEG engine, and compact size. Because of the smaller format of Four Thirds, the viewfinders tend to be smaller than on comparable cameras.

Manufacture of Four Thirds cameras came to an end after the introduction of the mirrorless Micro Four Thirds format. Discontinued models include:

Leica Digilux 3
Olympus E-1
Olympus E-3
Olympus E-5
Olympus E-30
Olympus E-300
Olympus E-330
Olympus E-400
Olympus E-410
Olympus E-420
Olympus E-450
Olympus E-500
Olympus E-510
Olympus E-520
Olympus E-600
Olympus E-620
Panasonic Lumix DMC-L1
Panasonic Lumix DMC-L10

Four Thirds System lenses

The Four Thirds lens mount is specified to be a bayonet type with a flange focal distance of 38.67 mm.

There are currently around three dozen lenses for the Four Thirds System standard.

Before announcing that it would stop production of Four Thirds lenses in early 2017, Olympus produced about 20 lenses for the Four Thirds System under their "Zuiko Digital" brand. They are divided into three grades — Standard, High Grade and Super High Grade.  High Grade lenses have faster maximum apertures, but are significantly more expensive and larger, and the Super High Grade zooms have constant maximum aperture over the full zoom range; all but the Standard grade are weather-sealed.  Lenses within each grade cover the range from wide-angle to super telephoto. The Zuiko Digital lenses are well regarded for their consistently good optics. The following table lists all Zuiko Digital lenses available at the time Olympus stopped Four Thirds production:

Olympus also made 1.4× and 2× teleconverters and an electronically coupled extension tube.

Sigma has adapted 13 lenses for the Four Thirds System, ranging from 10 mm to 800 mm, including several for which no equivalent exists: the fast primes (30 mm  and 50 mm ) and extreme telephoto (300–800 mm 5.6). As of 2014 all Sigma lenses for the Four Thirds System have been discontinued.

Leica has designed four lenses for the Four Thirds System: fast and slow normal zooms and a 14–150 mm super-zoom, all with Panasonic's image stabilization system, and an unstabilized  25 mm prime.  These are manufactured and sold by Panasonic.

An official list of available lenses can be found on Four-Thirds.org web site.

As for the system itself, it was silently discontinued in favor of the Micro Four Thirds System.

Micro Four Thirds System

In August 2008, Olympus and Panasonic introduced a new format, Micro Four Thirds.

The new system uses the same sensor, but removes the mirror box from the camera design. A live preview is shown on either the camera's main liquid-crystal display or via an electronic viewfinder, as in digital compact cameras. Autofocus may be accomplished via a contrast detection process using the main imager, again similar to digital compact cameras. Some Olympus manufactured camera bodies also feature phase detection auto focus built into the sensor. The goal of the new system was to allow for even smaller cameras, competing directly with higher-end point-and-shoot compact digital cameras and DSLRs.  The smaller flange focal distance allows for more compact normal and wide angle lenses. It also facilitates the use, with an adapter, of lenses based on other mounting systems, including many manual focus lenses from the seventies and eighties.

In particular, Four Thirds lenses can be used on Micro Four Thirds bodies with an adapter; however, "all of the functions of the Micro Four Thirds System may not always be available."

See also
Lenses for SLR and DSLR cameras
Lens mount — list of lens mounts
, origin of 4/3 inch sensor measurement

References

External links

Official Four Thirds System site
Four Thirds US patent 6,910,814; PDF version (1.7 MiB)
Andrzej Wrotniak's pages about the Four Thirds System — includes a complete lens list
Four Thirds User — independent site and user-community dedicated to the Four Thirds System, including Micro Four Thirds

Lens mounts
Photography equipment
Kodak
Olympus products
Japanese inventions

Four Thirds system


Hrzín () ist ein Ortsteil der Gemeinde Nový Kostel in Tschechien.

Geschichte
Der Ort befand sich im Mittelalter kurzzeitig im Besitz der Familie von Sparneck, die auch im Schönbacher Ländchen begütert waren. Durch den Ort fließt der Fleißenbach.

Eingemeindungen
Im Jahr 1960 wurde Hrzín nach Nový Kostel eingemeindet.

Einwohnerentwicklung

Weblinks

Einzelnachweise

Ortsteil in Tschechien
Nový Kostel

Hrzín (Nový Kostel)


Blairgowrie may refer to:

 Blairgowrie, Perth and Kinross, a town in Scotland now part of the burgh of Blairgowrie and Rattray
 Blairgowrie, Victoria, Australia
 Blairgowrie, Gauteng, South Africa

Blairgowrie


Nogometni klub "Drava" (NK "Drava"; NK "Drava" Novigrad Podravski; Drava Novigrad Podravski; Drava) je nogometni klub iz Novigrada Podravskog, Koprivničko-križevačka županija, Republika Hrvatska.
U sezoni 2020./21. "Drava" se natječe u "1. ŽNL Koprivničko-križevačkoj", ligi petog stupnja hrvatskog nogometnog prvenstva.

O klubu
U Novigradu Podravskom je 1917. godine je osnovan "Novigradski športski klub", koje je portom preimenovan u Hrvatski športski klub "Svačić", ali već 1918. godine prestaje s radom.
Do osnivanja kluba dolazi u srpnju 1922. godine pod imenom "Novigradski sportski klub" ("NSK"), koji je 1926. godine promijenio ime u Športski klub "Drava" (ŠK "Drava"), a 1928. godine u "Športsko društvo "Drava" (ŠD "Drava"), jer su uz nogometnu momčad djelovale i sekcije u drugim športovima poput šaha, te kulturno-umjetničke sekcije. Nogometaši ŠD "Drave" su uglavnom igrali prijateljske utakmice. ŠD "Drava" je djelovala do 1941. godine, kada zbog sve većeg utjecaja Drugog svjetskog rata prestaje s radom.
Do obnove rada ŠD "Drave" dolazi 1946. godine – obnavlja se nogometna sekcija i osnivaju sekcije u drugim športovima. Za vrijeme socijalističke Jugoslavije, do 1991. godine "Drava" se natjecala u ligama koje je organizirao nogometni savez iz Koprivnice – "Podsavezna liga", "Područna liga", "općinska liga", "Međuopćinska liga" i sl.
Od osamostaljenja Hrvatske, "Drava" je najčešće igrala u "1. ŽNL Koprivničko-križevačkoj". Najveći ligaški uspjeh je "Drava" imala u sezoni 2001./02., kad su bili članovi "3. HNL – Sjever". Kao finalisti županijskog kupa u sezoni 2013./14. su nastupili u Kupu Hrvatske, gdje su ispali u osmini završnice.

Igralište
Igralište "Drave" se naziva Stadion"Stjepan Mikor" po dugogodišnjem igraču, treneru, te kasnije i tajniku i predsjedniku kluba.

Uspjesi

nakon 1991.
 1. ŽNL Koprivničko-križevačka
 drugoplasirani: 2000./01.

 2. ŽNL Koprivničko-križevačka
 prvak: 2010./11.
 drugoplasirani: 2009./10.

 1. općinska liga Koprivnica
 prvak: 1992./93.

 Kup NS Koprivničko-križevačke županije
 finalist: 2012./13.

do 1991.

Pregled plasmana po sezonama

Poznati igrači

Povezani članci
 Novigrad Podravski

Vanjske poveznice
 NK "Drava" Novigrad Podravski, facebook stranica
 novigrad-podravski.hr, NK Drava
 epodravina.hr, nk drava novigrad podravski
  weltfussball.com, NK Drava Novigrad Podravski
  transfermarkt.com, NK Drava Novigrad Podravski

Izvori

 novigrad-podravski.hr, Nogometni klub Drava, pristupljeno 24. veljače 2021.
 novigrad-podravski.hr, Ivan Grekšić: Sportski život Novigrada, preuzeto 18. veljače 2021.
 Bratislav Stojanović, Dragiša Kovačević: Jugoslovenski fudbalski klubovi, Beograd, 1977., UDK: 061.237(497.1):796.332, str. 98.
 Franjo Frntić, Dragutin Hripko i dr: Sto godina nogometa u Hrvatskoj : 1880-1980., Zagreb, 1983., UDK: 796.332(497.13)"1880/1980", str. 95. – 97.
 ns-kckz.hr, Klubovi, pristupljeno 18. veljače 2021.
 nogomet.lzmk.hr, "Nogometni leksikon", Koprivničko-križevačka županija, nogometni savez
 poslovna.hr, Nogometni klub Drava Novigrad Podravski
 fininfo.hr, NK "DRAVA" NOVIGRAD PODRAVSKI
 bisnode.hr, Nogometni klub "Drava" Novigrad Podravski

Nogometni klubovi u Koprivničko-križevačkoj županiji

NK Drava Novigrad Podravski


In der Kernphysik liefert die Sargent Regel (auch -Regel) einen Zusammenhang zwischen der beim Beta-Zerfall maximal freiwerdenden Energie  und der Zerfallskonstanten . Für manche Nuklide gibt es aufgrund von Auswahlregeln große Abweichungen von der Sargent-Regel. Sie wurde benannt nach ihrem Entdecker, dem kanadischen Atomphysiker Bernice Weldon Sargent.

Empirische Entdeckung
In den 1930er Jahren beschäftigte sich Sargent mit dem Emissionsspektrum des Beta-Zerfalls verschiedener Stoffe. Dabei fand er heraus, dass die Zerfallskonstante  proportional zur fünften Potenz der maximalen kinetischen Energie des Elektrons ist:

Die theoretische Erklärung wurde später von Enrico Fermi gefunden.

Herleitung durch Enrico Fermi
Den Ausgangspunkt für die theoretische Herleitung liefert Fermis Goldene Regel in Kombination mit Fermis Theorie der Schwachen Wechselwirkung.

Fermis Goldene Regel

mit der reduzierten Planck-Konstante , dem Übergangsmatrixelement bzw. die Wahrscheinlichkeitsamplitude  für den schwachen Zerfall eines Neutrons in ein Proton und dem Phasenraumfaktor . Die Elektronenmasse  multipliziert mit der Vakuumlichtgeschwindigkeit stellt die untere Integrationsgrenze dar. Die obere Integrationsgrenze  gewährleistet, dass das gesamte Spektrum berücksichtigt wird.

Übergangsmatrixelement ℳN → P
Es gibt zwei mögliche Übergänge für den Beta-Zerfall, den Fermi-Übergang, der aus dem Vektoranteil der schwachen Wechselwirkung stammt und den Gamow-Teller-Übergang, der seinen Ursprung in der Axialvektorkopplung hat.

Beim Axialübergang fallen alle Spin-Freiheitsgrade ins Gewicht. Das wird durch den Faktor 3 vor der Axialkopplung  berücksichtigt.
Bei der Vektorkopplung  hingegen sind die Spin-Freiheitsgrade nicht relevant, da es sich um einen reinen Vektor ohne Axial-Anteil handelt (Drehimpulse sind Axialvektoren).
 ist das Volumen des Ortsraums, in dem der Zerfall stattfindet.

Phasenraum und Zustandsdichte
Wegen der großen Masse des Kerns, kann dieser aus den kinematischen Betrachtungen näherungsweise ausgeschlossen werden. Der Endzustand wird dann durch einen Zwei-Teilchen-Phasenraum (Elektron und Anti-Neutrino) beschrieben.
Ein Element des Phasenraumes hat das Volumen

Die Integrale über den Ortsraum können direkt ausgeführt werden und liefern zusammen einen Faktor .
Um die Integrale im Impulsraum auszuführen werden noch die Dispersionsrelationen für das Elektron und das Neutrino (wird hier als masselos angenommen) benötigt:

Durch eine Normierung auf die Ruheenergie des Elektrons kann die Phasenraumintegration auf die Form

mit   und

gebracht werden.
Berücksichtigt man noch den Zusammenhang zwischen der Zerfallskonstanten und der Lebensdauer so erhält man zusammen mit dem Matrixelement

Sargent-Regel
Für große Energie () gilt näherungsweise

und damit

Literatur
 Teilchen und Kerne, Povh, Rith, Scholz, Zetsche, 8. Auflage: Seiten 232ff., 2009

Atomphysik
Quantenphysik
Radioaktivität

Sargent-Regel


Cannings est un patronyme et toponyme pouvant désigner:

Patronyme
 (né en 1981), joueur néo-zélandais de rugby

 (né en 1981), joueur néo-zélandais de rugby

Toponyme

, site archéologique du Wiltshire
, village du Wiltshire

Voir aussi
, compagnie de Trinité-et-Tobago

Homonymie de patronyme

Cannings


Heinrich von Corvey, auch Heinrich von Boyneburg oder Heinrich von Northeim († nach 1152), war von 1143 bis 1146 Abt von Corvey.

Leben
Heinrich soll ein Sohn von Siegfried III. von Boyneburg und Halbbruder von Siegfried IV. von Boyneburg gewesen sein. Seine Schwester wäre demnach Judith von Northeim gewesen, Äbtissin in Eschwege, Kemnade und Geseke. Völlige genealogische Klarheit besteht allerdings nicht.

Noch vor dem Erreichen des nötigen kanonischen Alters setzte sein Bruder, der auch Vogt des Klosters war, 1143 die Wahl Heinrichs gegen den Willen des Konvents durch. Dies wurde von Erzbischof Heinrich von Mainz offenbar sanktioniert, war dieser doch bei dem Wahlakt anwesend. König Konrad III. belehnte Heinrich mit den Regalien. In der Folge trugen er und sein Bruder zur wirtschaftlichen Schwächung Corveys bei.

Wegen des Vorwurfs der Simonie wurde Heinrich durch Kardinal Thomas bereits 1146 abgesetzt. Nachfolger wurde der bisherige Propst, der sich Heinrich II. nannte. Dieser starb aber bald darauf. König Konrad III. schlug als Nachfolger Wibald von Stablo vor. Eugen III. sanktionierte dies 1147. Als Wibald von Stablo 1147 auf den Wendenkreuzzug ging, überfiel Heinrich das Kloster vergeblich, um sich erneut in dessen Besitz zu setzen. 1148 unternahm er mit Hilfe Judiths von Northeim weitere vergebliche Anstrengungen gegen Wibald. 1152 tauchte er zuletzt urkundlich auf.

Johannes Letzner vertrat die Meinung, dass Heinrich auch im Kloster Clus und im Kloster Amelungsborn tätig war, die wie Corvey im Einflussbereich der Grafschaft Northeim westlich des Rittigaues lagen. Auch für Hans Goetting spricht viel dafür, dass Heinrich bereits im Kindesalter von seinem Bruder zum Abt der drei Klöster gemacht worden war.

Literatur

Anmerkungen

Abt (Amelungsborn)
Abt (Clus)
Abt (Corvey)
Römisch-katholischer Geistlicher (12. Jahrhundert)
Geboren im 11. oder 12. Jahrhundert
Gestorben im 12. Jahrhundert
Mann

Heinrich von Corvey


Portret de familie este un film românesc din 2007 regizat de Marian Crișan. Rolurile principale au fost interpretate de actorii Gabriel Dihel, Tania Musina, Maria Junghietu, Petre Pletosu.

Prezentare

Distribuție
Distribuția filmului este alcătuită din:

Note

Legături externe

Vezi și
 2007 în film

Filme românești
Filme în limba română
Filme din 2007
Filme regizate de Marian Crișan

Portret de familie


Höhndorf er en by og en kommune i det nordlige Tyskland, beliggende i Amt Probstei i den nordlige del af Kreis Plön. Kreis Plön ligger i den østlige/centrale del af delstaten Slesvig-Holsten.

Geografi
Höhndorf er beliggende cirka 3 km syd for Schönberg og omkring 40 km fra Kiel. Ud over Höhndorf ligger landsbyen Gödersdorf i kommunen.

Eksterne kilder/henvisninger

 Kommunens side  på amtets websted.
 Statistikamt Nord – Bevölkerung der Gemeinden in Schleswig-Holstein 4. Quartal 2014 (XLSX-Data) (Fortschreibung auf Basis des Zensus 2011)

Kommuner i Slesvig-Holsten
Byer i Slesvig-Holsten
Byer i Kreis Plön

Höhndorf


Šumska datulja (lat. Phoenix sylvestris), jedna od desetak vrsta u rodu datula. Domoviona joj je Azija: zapadna Himalaja, Andamani, Assam, Bangladeš, Mjanmar, Nepal, Pakistan, Indija, a uvezena je u jugoistočnu Kinu, Privjetrinske otoke, Mauricijus, Portoriko i Šri Lanku.

U Indiji od cvjetova ove palme proizvode šećer i alkohol, dok se od plodova proizvodi žele.

Izvori

Vanjske poveznice

Datula
Flora Andamana
Flora Assama
Flora Bangladeša
Flora Indije
Flora Mjanmara
Flora Nepala
Flora Pakistana
Flora zapadnih Himalaja

Šumska datulja


In physical cosmology, baryogenesis (also known as baryosynthesis) is the physical process that is hypothesized to have taken place during the early universe to produce baryonic asymmetry, i.e. the imbalance of matter (baryons) and antimatter (antibaryons) in the observed universe.

One of the outstanding problems in modern physics is the predominance of matter over antimatter in the universe. The universe, as a whole, seems to have a nonzero positive baryon number density. Since it is assumed in cosmology that the particles we see were created using the same physics we measure today, it would normally be expected that the overall baryon number should be zero, as matter and antimatter should have been created in equal amounts. A number of theoretical mechanisms are proposed to account for this discrepancy, namely identifying conditions that favour symmetry breaking and the creation of normal matter (as opposed to antimatter). This imbalance has to be exceptionally small, on the order of 1 in every  (≈) particles a small fraction of a second after the Big Bang. After most of the matter and antimatter was annihilated, what remained was all the baryonic matter in the current universe, along with a much greater number of bosons. Experiments reported in 2010 at Fermilab, however, seem to show that this imbalance is much greater than previously assumed. These experiments involved a series of particle collisions and found that the amount of generated matter was approximately 1% larger than the amount of generated antimatter. The reason for this discrepancy is not yet known.

Most grand unified theories explicitly break the baryon number symmetry, which would account for this discrepancy, typically invoking reactions mediated by very massive X bosons  or massive Higgs bosons (). The rate at which these events occur is governed largely by the mass of the intermediate  or  particles, so by assuming these reactions are responsible for the majority of the baryon number seen today, a maximum mass can be calculated above which the rate would be too slow to explain the presence of matter today. These estimates predict that a large volume of material will occasionally exhibit a spontaneous proton decay, which has not been observed. Therefore, the imbalance between matter and antimatter remains a mystery.

Baryogenesis theories are based on different descriptions of the interaction between fundamental particles. Two main theories are electroweak baryogenesis (standard model), which would occur during the electroweak phase transition, and the GUT baryogenesis, which would occur during or shortly after the grand unification epoch. Quantum field theory and statistical physics are used to describe such possible mechanisms.

Baryogenesis is followed by primordial nucleosynthesis, when atomic nuclei began to form.

Background
The majority of ordinary matter in the universe is found in atomic nuclei, which are made of neutrons and protons. These nucleons are made up of smaller particles called quarks, and antimatter equivalents for each are predicted to exist by the Dirac equation in 1928. Since then, each kind of antiquark has been experimentally verified. Hypotheses investigating the first few instants of the universe predict a composition with an almost equal number of quarks and antiquarks. Once the universe expanded and cooled to a critical temperature of approximately , quarks combined into normal matter and antimatter and proceeded to annihilate up to the small initial asymmetry of about one part in five billion, leaving the matter around us. Free and separate individual quarks and antiquarks have never been observed in experiments—quarks and antiquarks are always found in groups of three (baryons), or bound in quark–antiquark pairs (mesons). Likewise, there is no experimental evidence that there are any significant concentrations of antimatter in the observable universe.

There are two main interpretations for this disparity: either the universe began with a small preference for matter (total baryonic number of the universe different from zero), or the universe was originally perfectly symmetric, but somehow a set of phenomena contributed to a small imbalance in favour of matter over time. The second point of view is preferred, although there is no clear experimental evidence indicating either of them to be the correct one.

GUT Baryogenesis under Sakharov conditions

In 1967, Andrei Sakharov proposed a set of three necessary conditions that a baryon-generating interaction must satisfy to produce matter and antimatter at different rates. These conditions were inspired by the recent discoveries of the cosmic background radiation and CP-violation in the neutral kaon system. The three necessary "Sakharov conditions" are:
 Baryon number  violation.
 C-symmetry and CP-symmetry violation.
 Interactions out of thermal equilibrium.

Baryon number violation is a necessary condition to produce an excess of baryons over anti-baryons. But C-symmetry violation is also needed so that the interactions which produce more baryons than anti-baryons will not be counterbalanced by interactions which produce more anti-baryons than baryons. CP-symmetry violation is similarly required because otherwise equal numbers of left-handed  baryons and right-handed anti-baryons would be produced, as well as equal numbers of left-handed anti-baryons and right-handed baryons. Finally, the interactions must be out of thermal equilibrium, since otherwise CPT symmetry would assure compensation between processes increasing and decreasing the baryon number.

Currently, there is no experimental evidence of particle interactions where the conservation of baryon number is broken perturbatively: this would appear to suggest that all observed particle reactions have equal baryon number before and after. Mathematically, the commutator of the baryon number quantum operator with the (perturbative) Standard Model hamiltonian is zero: . However, the Standard Model is known to violate the conservation of baryon number only non-perturbatively: a global U(1) anomaly. To account for baryon violation in baryogenesis, such events (including proton decay) can occur in Grand Unification Theories (GUTs) and supersymmetric (SUSY) models via hypothetical massive bosons such as the X boson.

The second condition – violation of CP-symmetry – was discovered in 1964 (direct CP-violation, that is violation of CP-symmetry in a decay process, was discovered later, in 1999). Due to CPT symmetry, violation of CP-symmetry demands violation of time inversion symmetry, or T-symmetry.

In the out-of-equilibrium decay scenario, the last condition states that the rate of a reaction which generates baryon-asymmetry must be less than the rate of expansion of the universe. In this situation the particles and their corresponding antiparticles do not achieve thermal equilibrium due to rapid expansion decreasing the occurrence of pair-annihilation.

Baryogenesis within the Standard Model

The Standard Model can incorporate baryogenesis, though the amount of net baryons (and leptons) thus created may not be sufficient to account for the present baryon asymmetry. There is a required one excess quark per billion quark-antiquark pairs in the early universe in order to provide all the observed matter in the universe. This insufficiency has not yet been explained, theoretically or otherwise.

Baryogenesis within the Standard Model requires the electroweak symmetry breaking to be a first-order cosmological phase transition, since otherwise sphalerons wipe off any baryon asymmetry that happened up to the phase transition. Beyond this, the remaining amount of baryon non-conserving interactions is negligible.

The phase transition domain wall breaks the P-symmetry spontaneously, allowing for CP-symmetry violating interactions to break C-symmetry on both its sides. Quarks tend to accumulate on the broken phase side of the domain wall, while anti-quarks tend to accumulate on its unbroken phase side. Due to CP-symmetry violating electroweak interactions, some amplitudes involving quarks are not equal to the corresponding amplitudes involving anti-quarks, but rather have opposite phase (see CKM matrix and Kaon); since time reversal takes an amplitude to its complex conjugate, CPT-symmetry is conserved in this entire process.

Though some of their amplitudes have opposite phases, both quarks and anti-quarks have positive energy, and hence acquire the same phase as they move in space-time. This phase also depends on their mass, which is identical but depends both on flavor and on the Higgs VEV which changes along the domain wall. Thus certain sums of amplitudes for quarks have different absolute values compared to those of anti-quarks. In all, quarks and anti-quarks may have different reflection and transmission probabilities through the domain wall, and it turns out that more quarks coming from the unbroken phase are transmitted compared to anti-quarks.

Thus there is a net baryonic flux through the domain wall. Due to sphaleron transitions, which are abundant in the unbroken phase, the net anti-baryonic content of the unbroken phase is wiped off as anti-baryons are transformed into leptons. However, sphalerons are rare enough in the broken phase as not to wipe off the excess of baryons there. In total, there is net creation of baryons (as well as leptons).

In this scenario, non-perturbative electroweak interactions (i.e. the sphaleron) are responsible for the B-violation, the perturbative electroweak Lagrangian is responsible for the CP-violation, and the domain wall is responsible for the lack of thermal equilibrium and the P-violation; together with the CP-violation it also creates a C-violation in each of its sides.

Matter content in the universe
The central question to Baryogenesis is what causes the preference for matter over antimatter in the universe, as well as the magnitude of this asymmetry. An important quantifier is the asymmetry parameter, given by

where  and  refer to the number density of baryons and antibaryons respectively and  is the number density of cosmic background radiation photons.

According to the Big Bang model, matter decoupled from the cosmic background radiation (CBR) at a temperature of roughly  kelvin, corresponding to an average kinetic energy of  / () = . After the decoupling, the total number of CBR photons remains constant. Therefore, due to space-time expansion, the photon density decreases. The photon density at equilibrium temperature  per cubic centimeter, is given by
,
with  as the Boltzmann constant,  as the Planck constant divided by 2 and  as the speed of light in vacuum, and (3) as Apéry's constant. At the current CBR photon temperature of , this corresponds to a photon density  of around 411 CBR photons per cubic centimeter.

Therefore, the asymmetry parameter , as defined above, is not the "best" parameter. Instead, the preferred asymmetry parameter uses the entropy density ,

because the entropy density of the universe remained reasonably constant throughout most of its evolution. The entropy density is

with  and  as the pressure and density from the energy density tensor , and  as the effective number of degrees of freedom for "massless" particles at temperature  (in so far as  holds),
,
for bosons and fermions with  and  degrees of freedom at temperatures  and  respectively. At the present epoch,

Ongoing research efforts

Ties to dark matter
A possible explanation for the cause of baryogenesis is the decay reaction of B-Mesogenesis. This phenomenon suggests that in the early universe, particles such as the B-meson decay into a visible Standard Model baryon as well as a dark antibaryon that is invisible to current observation techniques. The process begins by assuming a massive, long-lived, scalar particle  that exists in the early universe before Big Bang nucleosynthesis. The exact behavior of  is as yet unknown, but it is assumed to decay into b quarks and antiquarks in conditions outside of thermal equilibrium, thus satisfying one Sakharov condition. These b quarks form into B-mesons, which immediately hadronize into oscillating CP-violating  states, thus satisfying another Sakharov condition. These oscillating mesons then decay down into the baryon-dark antibaryon pair previously mentioned, , where  is the parent B-meson,  is the dark antibaryon,  is the visible baryon, and  is any extra light meson daughters required to satisfy other conservation laws in this particle decay. If this process occurs fast enough, the CP-violation effect gets carried over to the dark matter sector. However, this contradicts (or at least challenges) the last Sakharov condition, since the expected matter preference in the visible universe is balanced by a new antimatter preference in the dark matter of the universe and total baryon number is conserved.

B-Mesogenesis results in missing energy between the initial and final states of the decay process, which, if recorded, could provide experimental evidence for dark matter. Particle laboratories equipped with B-meson factories such as Belle and BaBar are extremely sensitive to B-meson decays involving missing energy and currently have the capability to detect the  channel. The LHC is also capable of searching for this interaction since it produces several orders of magnitude more B-mesons than Belle or BaBar, but there are more challenges from the decreased control over B-meson initial energy in the accelerator.

See also
 Affleck–Dine mechanism
 Anthropic principle
 Big Bang
 Chronology of the universe
 CP violation
 Leptogenesis (physics)
 Lepton

References

Articles

Textbooks

Preprints

Physical cosmology
Particle physics
Baryons
Unsolved problems in physics
Big Bang
Concepts in astronomy
Antimatter

Baryogenesis


Pour rien au monde (Never dans l'édition originale en anglais) est un roman d'espionnage écrit par l'auteur britannique Ken Follett paru en 2021.

Synopsis et personnages principaux
L'histoire met en parallèle plusieurs protagonistes évoluant dans des environnements différents : Pauline Green, la présidente des États-Unis, Chang Kai, un haut cadre du Parti communiste chinois responsable des services de renseignement, trois espions talentueux et intrépides de la Central Intelligence Agency et de la Direction générale de la Sécurité extérieure opérant au Sahel, Abdul, Tamara et Tab, et Kiah, une jeune tchadienne cherchant à émigrer clandestinement en Europe. L'action se passe simultanément ou successivement dans plusieurs pays : les États-Unis, le Tchad, la Libye, la Chine, la Corée du Nord et la Corée du Sud.

Les fils conducteurs des péripéties des différents personnages correspondent à leurs missions et objectifs respectifs :

 La présidente américaine républicaine Pauline Green, confrontée à une instabilité et une insécurité croissante dans un monde en tensions, tente de résoudre ces crises par la diplomatie.
 Chang Kai, responsable des services de renseignements chinois, multiplie les rencontres secrètes avec ses informateurs pour tenter d'anticiper et désamorcer des menaces extérieures qui pèsent sur la Chine.
 Abdul, un agent de la CIA d'origine libanaise, se fait passer pour un marchand ambulant tchadien (pays qui compte de nombreux citoyens d'origine libanaise) candidat à l'immigration clandestine vers l'Europe pour infiltrer un réseau jihadiste de trafiquants d'êtres humains et de cocaïne.
 Ses collègues espions de la CIA et de la DGSE Tamara et Tab basés à N'Djamena capitale du Tchad, analysent ses informations et celles d'autres agents de terrain et en rendent comptes aux gouvernements américain et français.
 Kiah, une jeune veuve et mère tchadienne tente de fuir avec son enfant la famine causée par la désertification au Sahel, et rencontre Abdul pendant son voyage vers l'Europe, qui s'est intégré pour sa mission d'espionnage dans son groupe d'émigrés clandestins.

Inspirations et thématiques abordées

Analyse des personnages
L'affirmation du Journal de Montréal selon laquelle  est probablement exacte pour les personnages principaux, mais pas pour certaines personnalités politiques évoquées dans le récit.

Par exemple, le Tchad, dans le roman, est dirigé par un président autocrate pro-occidental désigné comme « Le Général » clairement inspiré par Idriss Déby, tandis que la Corée du Nord est dirigée par un chef d'État ayant le titre de « Guide suprême » issu d'une « dynastie régnant par la terreur » nommé « Kang U-jung », clairement inspiré par Kim Jong-un. On peut également observer la présence d'un candidat américain à la présidentielle, réactionnaire, d'une communication agressive et populiste, et notoirement incompétent sur les thématiques géopolitiques qu'il aborde en public, très probablement inspiré par Donald Trump.

Inspirés ou non de personnes réelles, les personnages principaux sont assez vraisemblables, même s'ils se distinguent par des connaissances particulières et des capacités d'observation et d'analyse (la plupart étant espions ou hauts fonctionnaires), que l'auteur utilise régulièrement pour transmettre des informations au lecteur via leurs dialogues et leurs réflexions. À leur sujet, Ken Follett déclare : .

Analyse des thématiques abordées
Ce roman, dont le thème principal est la géopolitique contemporaine, aborde plusieurs sujet d'actualité majeurs du début du  :

 le terrorisme islamiste, notamment au travers de la lutte des armées africaines et occidentales contre l'État islamique dans le Grand Sahara
 les techniques de guerre non conventionnelle comme les drones de combat, les cyberattaques, mais aussi la dissuasion nucléaire
 les trafics internationaux d'êtres humains, de stupéfiants, d'armes, ou encore les exploitations aurifères illégales
 les investissements chinois en Afrique, ainsi que les ambitions expansionnistes de la Chine dans le Pacifique
 les crise africaines économiques, sociales, géopolitique (notamment au travers de conflits entre pays voisins comme entre le Soudan et le Tchad), mais aussi écologiques, comme l'assèchement du Lac Tchad et les réfugiés climatiques qui en sont la conséquence.

Comme la plupart des romans de Ken Follett, ce dernier est très bien documenté et décrit fidèlement l'époque qui en est la thématique.

Sur les raisons d'écrire ce livre, Ken Follett déclare avoir eu un déclic pendant ses recherches sur la Première Guerre mondiale pour l'écriture de son roman historique La chute des géants paru en 2010. Ces recherches lui ont fait prendre conscience que les circonstances ayant conduit à ce conflit de grande ampleur pouvaient se reproduire un siècle plus tard :

Ainsi, contrairement à la plupart des récits de fictions évoquant la possibilité d'une troisième guerre mondiale, celui de Ken Follett se passe dans le « présent » (de l'époque de l'écriture de ce livre) et non dans un monde futuriste, de science fiction ou uchronique. Il est assez remarquable de constater que la publication de ce récit d'anticipation mettant en garde contre le risque à court terme d'une troisième guerre mondiale entre puissances nucléaires, précède de moins de quatre mois le début de l'invasion russe en Ukraine, qui provoque les plus fortes tensions entre les États-Unis et la Russie depuis la fin de la guerre froide.

Critiques
Sur la plateforme sur le web « SensCritique », le livre de Ken Follett reçoit une note moyenne de 6,9/10.

Notes et références

Roman britannique paru en 2021
Roman de Ken Follett

Pour rien au monde


A Yandex.Games é uma plataforma online de jogos da empresa Yandex. É possível jogar na plataforma pelo navegador de computadores e dispositivos móveis.

Em janeiro de 2022, o número de jogos do catálogo superou 10 mil, o que resultou em mais de 11 milhões de usuários ativos por mês.

De acordo com Pavel Yipishin, o CEO da Yandex.Games, 70% do tempo na plataforma é gasto em jogos de dispositivos móveis. Ao mesmo tempo, 46% do tempo total é gasto em jogo eletrônico hipercasual.

A plataforma oferece suporte para dois tipos de monetização: anúncios e jogos com compras no app. Dentro dos jogos, a moeda no jogo, "Yan", pode ser usada.

Os desenvolvedores podem adicionar seus próprios jogos à plataforma do diretório e editá-los posteriormente.

Todos os jogos são moderados. Os requisitos obrigatórios incluem a integração com a SDK da Yandex.Games, suporte HTTPS e o modo offline Service Worker. Os criadores de jogos podem ficar por dentro das novidades da plataforma pelo blog. A Yandex.Games atrai desenvolvedores estrangeiros para adaptar seus jogos populares para o russo. Um exemplo disso é a colaboração entre plataformas com a empresa holandesa Azerion.

Além de um sistema de avaliações e resenhas de usuários, o serviço usa algoritmos complexos para criar seleções personalizadas de jogos que um usuário já jogou ou em que ele possa se interessar. Ao mesmo tempo, os jogos que os usuários jogam muitas vezes estão disponíveis offline.

Ligações externas

Yandex

Yandex.Games


Unter einem game with a purpose (kurz GWAP) oder einem human-based computation game versteht man ein Computerspiel, das Fähigkeiten des Menschen nutzt, um ein gewisses Ziel zu erreichen. Meist besteht dieses Ziel im Lösen von für Computer bis heute meist nicht zu bewältigenden Problemen mittels menschlichem Crowdsourcing. Die Aufgabe der Spieler können eine Beschreibung von Bildern oder das Erkennen von schwer zu entziffernder Schrift sein. Die Idee stammt ursprünglich vom Erfinder des CAPTCHAs Luis von Ahn und wurde an der Carnegie Mellon University entwickelt. Heute wird die Technologie weltweit an Universitäten erforscht und angewandt.

Beispiele
GWAPs werden derzeit besonders von Universitäten entwickelt und betrieben. Aber auch die Forschungseinrichtungen großer Unternehmen wie Google zeigen Interesse an Spielen, die die menschliche Fähigkeiten zum Zweck der maschinellen Verarbeitung ausnutzen.

ARTigo
Bei ARTigo handelt es sich um ein an der Ludwig-Maximilians-Universität entwickeltes Browserspiel, bei dem die Spieler digitale Reproduktionen von Kunstwerken verschlagworten und damit Punkte gewinnen können. Wird das gleiche Schlagwort mehrmals von unterschiedlichen Spielern eingegeben, so geht das Spiel davon aus, dass es das Bild treffend beschreibt. ARTigo verfolgt damit zwei Ziele: einerseits soll eine umfangreiche Kunst-Suchmaschine entstehen, andererseits ein didaktischer Nutzen für die Mitspieler entstehen. Diese sehen nach Beendigung jedes Durchgangs noch einmal alle Bilder mit Angaben zu Titel, Jahr, Künstler und Aufbewahrungsort. Der Bildbestand entstammt verschiedenen Quellen, u. a. der staatlichen Kunsthalle Karlsruhe und der Sammlung des Amherst Colleges.

Metropolitalia
Bei  metropolitalia handelt es sich um ein ebenfalls an der  LMU entwickeltes Browserspiel, bei dem die Spieler nicht standardkonforme Varianten der italienischen Sprache mit Hilfe einer interaktiven Sprachkarte im italienischen Sprachraum verorten sollen. Jeder Spieler wettet auf die (Un-)Bekanntheit der Formen und erhält Punkte, falls seine Meinung durch die Masse der Spieler bestätigt wird. Alle Spieler sind außerdem angehalten, den verfügbaren Formenbestand durch Eingabe neuer Beispiele kontinuierlich zu erweitern und so kollaborativ ein Online-Observatorium  der aktuellen Dynamik des Italienischen aufzubauen.

Extra Sensory Perception
Das Extra Sensory Perception Game, kurz ESP ist ein Computerspiel, das ursprünglich von Luis von Ahn an der Carnegie Mellon University entwickelt wurde und die Bilderkennungsfähigkeit der menschlichen Mitspieler nutzbar macht. Dabei spielen immer zwei Partner gegeneinander, die beide das gleiche Bild vor sich haben, welches es zu verschlagworten gilt. Zwar kann der Spieler sehen, dass sein Gegenüber Begriffe (sogenannte tags) eingibt, nicht jedoch, welche. Geben beide Mitspieler die gleichen Begriffe ein, so erhalten sie Punkte. Wird ein Begriff zu einem Bild mehrfach eingegeben, so kann man davon ausgehen, dass der Begriff korrekt war. So entsteht im Laufe der Zeit eine Bilddatenbank durch Crowdsourcing.

EteRNA
Bei EteRNA handelt es sich um ein Browserspiel das von Wissenschaftler an der Carnegie Mellon University und der Stanford University entwickelt wurde. Ziel der Spieler ist das Lösen von Puzzles, die die Faltung von RNA-Molekülen simulieren.

Apetopia
Bei Apetopia handelt es sich um ein Browserspiel, das an der HTW Berlin entwickelt wurde. Mit dem Spiel werden die von Menschen empfundenen Farbunterschiede erfasst, um hiermit verbesserte Farbmetriken zu entwickeln.

Einzelnachweise

Computerspiel-Genre
Informatik und Gesellschaft
Crowdsourcing

Game with a purpose


Momo og tidstyvene er en dansksproget opera i to akter af Svitlana Azarova. Librettoen, som er baseret på børnebogen Momo og tidstyvene af Michael Ende, er skrevet af Anna Bro.

Baggrund
Operaen blev bestilt af den Kongelige danske Opera og skrevet i 2015 og 2016. Den havde verdenspremiere 15. oktober 2017.

Opførelsen på Operaen ved premieren

Personalet
 Dirigent: Anna-Maria Helsing
 Instruktør: Elisabeth Linton
 Scenografi og kostumer: Palle Steen Christensen
 Lys: Ulrik Gad
 Koreograf: Sara Ekman
 Dramaturg: Louise Nabe
 Kormestre: Denis Segond og Ole Faurschou

Roller

Instrumentering
 Træblæsere: piccolo, 2 fløjter, 2 oboer, engelsk horn, 2 klarinetter i B-dur, basklarinet i B-dur, 2 fagotter, kontrafagot
 Messing: 4 horn i F, 3 trompeter i B-dur, 3 basuner, tuba
 Slagtøj (3 spillere) 1: Suspenderet crotales i f#, vindspil, pauker; 2: Suspenderet bækken (til højre), piccolo snare, lilletromme, 4 rototoms, Taiko/Buk (medium), stortromme; 3: vibrafon, 4 tom-toms, Taiko/Buk (lav), Stortromme Gongong, stort suspenderet thundersheet
 Strygere: førstevioliner, andenvioliner, viola, cello, kontrabasser

Modtagelse

Galleri

Referencer

Eksterne henvisninger
 Officiel trailer
 Partiturer Donemus udgiver

Operaer på dansk

Momo og tidstyvene (opera)


Gabe Gottes ist ein Weiler von Probstzella im Landkreis Saalfeld-Rudolstadt in Thüringen.

Geografie
Der Weiler Gabe Gottes liegt etwa zwei Kilometer südlich von Marktgölitz im Tal der Loquitz direkt an der Bundesstraße 85. Die Eisenbahnstrecke Saalfeld–Probstzella führt auch durch das Tal mit einem Bahnhof Marktgölitz, der in der Gemarkung von Gabe Gottes gebaut worden ist.

Geschichte
Der Ort Gabe Gottes geht auf die Gründung des Blaufarbenwerkes 1668 zurück. Der Name Gabe Gottes entstand aus einer Sage. Ewig fand man in den Bergwerken von Marktgölitz keinen Eisenstein. Nach langer Zeit fand ein Bergarbeiter einen großen Brocken Eisenstein. Er sagte: Das ist eine Gabe Gottes. Daher der Name. Von 1761 bis 1769 wurde das Blaufarbenwerk zu einem Eisenwerk umgebaut, das Gabe Gottes genannt wurde. Seither wurde dieser Name auch von der Ansiedlung übernommen.

Im Jahr 1898 erwarben die Gebrüder Grosser alle Anlagen des Dachschieferabbaus. Dazu gehörten eine Brauerei, sämtliche Schieferbrüche und auch ein landwirtschaftlicher Hof, der  1952 in die LPG Freundschaft übergeben worden ist. Der Dachschieferabbau kam nach 1945 zu den Schiefergruben Unterloquitz.

Weblinks

Einzelnachweise

Geographie (Probstzella)
Ort im Landkreis Saalfeld-Rudolstadt

Gabe Gottes (Probstzella)


Das Eishockeyturnier in Les Avants fand vom 13. bis 15. Januar 1911 in Les Avants, Schweiz statt. Die Oxford Canadians gewann das Turnier mit einer Bilanz von vier Siegen aus ebenso vielen Spielen.

Turnier

Spiele

Abschlusstabelle

Weblinks

Les Avants 1911
Eishockeyveranstaltung 1911
Sportveranstaltung in Montreux

Eishockeyturnier in Les Avants 1911


Lucas Daubermann (født 18. marts 1995) er en brasiliansk fodboldspiller, som spiller for den japanske fodboldklub Kataller Toyama.

Referencer

Eksterne henvisninger

Fodboldspillere fra Brasilien

Lucas Daubermann


John Amery (Chelsea, Londres; 14 de marzo de 1912 – Londres, Wandsworth 19 de diciembre de 1945) fue un activista político británico de ideas fascistas que durante la Segunda Guerra Mundial vivió en Francia apoyando al gobierno de Vichy y sugirió al Tercer Reich reclutar una fuerza de voluntarios británicos para luchar en auxilio de la Wehrmacht, ejecutando labores de propaganda en beneficio de la Alemania Nazi. Tras la guerra fue descubierto en Italia y entregado a las autoridades británicas, que lo juzgaron por traición y lo condenaron a muerte después de que él mismo confesara la plena responsabilidad por sus acciones.

Biografía
John Amery era hijo de Leo Amery, un distinguido alto funcionario del Imperio británico, miembro del Partido Conservador (Reino Unido) e integrante del Parlamento británico durante varios años, además de ministro en la década de 1920. Tenía además ascendencia judía pues sus abuelos maternos eran adinerados judíos húngaros que habían emigrado a Gran Bretaña y se habían convertido al protestantismo, pero ocultó ese origen familiar para que su ascenso político no fuera turbado por el antisemitismo de la clase alta británica.

John Amery fue un niño problemático y rebelde, que vivió bajo la sombra de su padre y se negó a terminar sus estudios, y que fracasó en varios negocios que intentó. Ferviente anticomunista, John Amery abrazó desde su temprana juventud las ideas del fascismo, rechazando la democracia y el liberalismo político al considerar las doctrinas fascistas como la «única defensa contra el bolchevismo». Tras una grave quiebra comercial en 1936, John abandonó Gran Bretaña con parte de su fortuna personal y emigró a Francia, tras protagonizar varios escándalos de los que pudo librarse por las influencias de su familia.

En Francia, Amery conoció al líder fascista francés Jacques Doriot y viajó a España tras al triunfo final de Francisco Franco en la Guerra Civil Española. Amery había informado a su familia que había combatido en las filas del bando nacional y que incluso había recibido una condecoración, pero estos datos resultaron falsos.

Cuando estalló la Segunda Guerra Mundial en septiembre de 1939 Amery decidió permanecer en Francia, incluso tras el triunfo alemán en la Batalla de Francia, residiendo en París. En esa época trató de prestar sus servicios al gobierno de Vichy pero no se aceptó su oferta. Intentó entonces emigrar a Alemania aprovechando las buenas relaciones de que disfrutaba con jefes del fascismo francés, pero no logró este objetivo hasta septiembre de 1942 cuando logró viajar a Berlín con apoyo de oficiales de inteligencia alemanes. Allí sugirió que el Tercer Reich se beneficiaría de formar una unidad militar de británicos dispuestos a combatir al lado de la Wehrmacht.

Colaboración con el Tercer Reich
El proyecto de Amery fue bien recibido por la jefatura de la SS y así Heinrich Himmler autorizó que Amery empezara a trabajar desde enero de 1943 en el reclutamiento de voluntarios, primero entre los civiles británicos internados por las autoridades alemanas en la Europa ocupada por los nazis. Esta tarea no dio los frutos esperados y por tanto Amery empezó a buscar reclutas entre los prisioneros de guerra británicos encerrados en diversos campos de detención, pero allí encontró apenas a dos voluntarios. La idea de Amery, no obstante, seguiría en práctica y gracias a ella los nazis constituyeron oficialmente en 1944 el Britisches Freikorps, la unidad de soldados británicos destinada a luchar a favor de Alemania durante la guerra.

Las autoridades de la Waffen SS asumieron el asunto en sus propias manos y en octubre de 1943 dieron por terminados los servicios de Amery, a quien dedicaron desde entonces a emitir propaganda nazi por radiodifusión hacia Gran Bretaña. Esos discursos de propaganda atacaban además la alianza de Gran Bretaña con la URSS y acusaban al gobierno británico de ser «dominado y comprado por los judíos», mostrando un antisemitismo inesperado en tanto Amery tenía bisabuelos judíos.

A fines de 1944 John Amery logró permiso para salir de Alemania y viajar a Italia, donde se estableció en la República de Salò para prestar su apoyo propagandístico al dictador Benito Mussolini. En Italia, Amery vivió las últimas semanas de la guerra, y allí fue capturado por partisanos italianos, que a su vez lo entregaron a las autoridades británicas para ser juzgado en su país.

Condena a muerte
Amery fue arrestado por los británicos de inmediato y enviado a Gran Bretaña. Allí quedó encarcelado en la prisión de Wadsworth, en las fueras de Londres. Su hermano, Julian Amery, había intentado fraguar documentos para alegar que John Amery había adquirido la nacionalidad española y al ser España un país neutral en la lucha no habría ocurrido legalmente un acto de traición. Este alegato no fue aceptado y sus abogados le aconsejaron declararse mentalmente enfermo.

No obstante, al empezar el juicio el 28 de noviembre de 1945 se le indicaron a Amery las ocho acusaciones de alta traición que le habían formulado pero éste, en ese mismo acto, se declaró culpable de todos los delitos que se le imputaban. El juez previno a Amery que sería castigado con la pena de muerte y se aseguró de que entendiera las consecuencias de declararse culpable. Amery reiteró su declaración y por tanto fue condenado a morir en la horca, tras apenas ocho minutos de audiencia judicial.

La sentencia fue cumplida el 19 de diciembre de 1945 (el verdugo fue el famoso Albert Pierrepoint) y John Amery fue sepultado en la prisión de Wadsworth, en una tumba sin nombre.

Referencias
 John Amery Resumen biográfico y artículo de The Times.
 Información del proceso de Amery
 British Volunteers in the German Wehrmacht in WWII por Jason Pipes
 Artículo del Daily Mail sobre John Amery

Nacidos en Londres
Propagandistas
Colaboradores británicos con la Alemania nazi
Ahorcados
Ejecutados del Reino Unido
Fallecidos en Londres
Colaboradores nazis ejecutados

John Amery


Le dème de Kalliís, en  / Dímos Kalliéon, est un ancien dème du district régional de Phocide, en Grèce-Centrale. Depuis 2010, il est fusionné au sein du dème de Delphes.

Selon le recensement de 2011, la population du dème compte .

Notes et références

Voir aussi

Liens externes

Dème en Grèce-Centrale
Ancien dème en Grèce
Phocide

Dème de Kalliís


Der Plymouth Rock wird traditionell als der Ort angesehen, an dem William Bradford und die anderen Pilgerväter, die auf der Mayflower in die neue Welt gesegelt waren, an Land gingen. Auch wenn sich der erste Hinweis auf den Felsen erst 121 Jahre nach der Landung findet, ist der Plymouth Rock ein wichtiger amerikanischer Erinnerungsort und seit 1970 im National Register of Historic Places eingetragen. Er befindet sich im Hafen von Plymouth, Massachusetts, umschlossen von einem von McKim, Mead, and White erbauten Denkmal, dem Plymouth Rock Monument. Die Landung der Pilger beim bzw. auf dem Plymouth Rock wurde von Henry A. Bacon 1877 in seinem Gemälde The Landing of the Pilgrims dargestellt. Malcolm X zitierte den Gründungsmythos in einer Rede mit den Worten: "We didn't land on Plymouth Rock. The rock was landed on us" (englisch für "Wir landeten nicht auf Plymouth Rock, Plymouth Rock landete auf uns"). Dieses Zitat wurde auch im Spielfilm Malcolm X erwähnt und stellt außerdem den Auftakt zur Szene "Anything Goes" im gleichnamigen Broadway-Musical Anything Goes dar.

Ansicht

Siehe auch
 Liste der Einträge im National Register of Historic Places im Plymouth County

Weblinks

Einzelnachweise

Geographie (Massachusetts)
Denkmal im National Register of Historic Places (Massachusetts)
Findling in den Vereinigten Staaten
Plymouth (Massachusetts)

Plymouth Rock


Crkva u Grabovici Donjoj kod Tuzle je rimokatolička crkva. Filijalna je crkva tuzlanske samostanske župe sv. Petra i Pavla.

Povijest
Građena je od 1988. do 1990. godine.

Izvori

Katoličke crkve u Bosni i Hercegovini

Katolička crkva u Grabovici Donjoj


ප්‍රත්‍යාස්ථතා මාපාංකය යනු ද්‍රව්‍යයක් හෝ වස්තුවක් මත බලයක් යෙදූ විට එය ප්‍රත්‍යාස්ථ ලෙස (එනම්, අස්ථිර ලෙස) විරූපණය වීමේ ප්‍රවණතාවෙහි ගණිතමය නිරූපණය යි.  වස්තුවක් ප්‍රත්‍යාස්ථ සීමාව තුළ තිබිය දී එහි ප්‍රත්‍යාබල-වික්‍රියා වක්‍රයේ අනුක්‍රමණය එම වස්තුවේ ප්‍රත්‍යාස්ථතා මාපාංකය ලෙස අර්ථ දැක්වේ.

ලැම්ඩා (λ) යනු ප්‍රත්‍යාස්ථතා මාපාංකය යි. ප්‍රත්‍යා බලය යනු බලය යෙදීමෙන් විරූපණය වීම නිසා ඒකක වර්ගඵලයක් මත හටගන්නා ප්‍රතිපාදන බලය යි. වික්‍රියාව යනු ප්‍රත්‍යා බලය නිසා සිදු වූ වෙනස ත්, එහි ප්‍රකෘති අවස්ථාව ත් අතර අනුපාතය යි. වික්‍රියාව යනු ඒකක රහිත රාශියක් වන නිසා, ප්‍රත්‍යා බලය පැස්කල් වලින් මනින කල, λ ගේ ඒකක ද පැස්කල් ම වේ.

වස්තුවේ දිග දෙගුණ වන අවස්ථාවක ඉහත සමීකරණයෙහි හරය එකක් වන නිසා, වස්තුවක දිග දෙගුණ කිරීමට අවශ්‍ය ප්‍රත්‍යා බලය ලෙස ද ප්‍රත්‍යාස්ථතා මාපාංකය හැඳින්විය හැක. නමුත් ප්‍රායෝගික ව බොහෝ ද්‍රව්‍යයන් මෙම අන්ත ලක්ෂ්‍යයට ළඟා වීමට අසමත් වේ. එමනිසා, වර්ග අඟලකට මිලියන 30 ක් වූ යන්ග් මාපාංකයක් සහිත වානේ සඳහා, වර්ග අඟලකට තිස් දහසක් වූ භාරයක් මගින් අඟල් 1  ක් දිග දණ්ඩක් අඟලකින් දහසෙන් පංගුවක ප්‍රමාණයකින් දිගු කිරීමට සමත් වේ.

ප්‍රත්‍යා බල සහ වික්‍රියා දිශාවන් ද සහිත ව මනින ආකාරය පැහැදිලි ව සඳහන් කිරීමෙන් ප්‍රත්‍යාස්ථතා මාපාංක වර්ග ගණනාවක් අර්ථ දැක්විය හැකි වේ.
ප්‍රධාන ප්‍රත්‍යාස්ථතා මාපාංක වර්ග තුනක් වනුයේ:

 යං මාපාංකය (E) යනු ආතන්‍ය ප්‍රත්‍යාස්ථතාවය, හෙවත් කිසියම් අක්ෂ්‍යයක් ඔස්සේ ප්‍රතිවිරුද්ධ බල ක්‍රියාත්මක වන කල්හි එම අක්ෂ්‍යය ඔස්සේ විරූපණය වීමට වස්තුවක ඇති ප්‍රවණතාව යි.; එය ආතන්‍ය ප්‍රත්‍යා බලය ට ආතන්‍ය වික්‍රියාව දරන අනුපාතය ලෙස අර්ථ දැක්වේ. සරළ ව ප්‍රත්‍යාස්ථතා මාපාංකය ලෙස හැඳින්වෙන්නේ ද මෙයම ය.

 ව්‍යාකෘති මාපාංකය-Shear Modulus හෝ ස්තබ්ධතා මාපාංකය - modulus of rigidity (G හෝ ) යනු ප්‍රතිවිරුද්ධ බල ක්‍රියා කරන කල්හි වස්තුවක් ව්‍යාකෘතියට ලක් වීමේ  ප්‍රවණතාවය යි. (නියත පරිමාවෙහි දී හැඩය විරූපණයට ලක් වීම); එය ව්‍යාකෘති වික්‍රියාව මත ව්‍යාකෘති ප්‍රත්‍යා බලය ලෙස අර්ථ දැක්විය හැක. මෙය දුස්ස්‍රාවීතාවෙහි ව්‍යුත්පන්නයේ කොටසක් වේ.

 නිකර මාපාංකය (K) යනු පරිමාමිතික ප්‍රත්‍යාස්ථතාව හෙවත් සියලු දිශාවන්ට ඒකාකාර ලෙස භාර යොදා ඇති අවස්ථාවක දී වස්තුව සියලු දිශාවන්ට විරූපණය වීමේ ප්‍රවණතාවය යි; එය ප්‍රත්‍යාබලය#පරිමාමිතික ප්‍රත්‍යා බලය සහ පරිමාමිතික වික්‍රියාව අතර අනුපාතය ලෙස අර්ථ දැක්වේ. එසේම, මෙය සම්පීඩ්‍යතාවෙහි ප්‍රතිලෝමය වේ. තවදුරටත් විස්තර කළහොත්, නිකර මාපාංකය යනු යන්ග් මාපාංකයෙහි ම ත්‍රිමාණය සඳහා වූ දිගුව යි.

තවත් ප්‍රත්‍යාස්ථතා මාපාංක වර්ග තුනක් වනුයේ පොයිසන් අනුපාතය, ලේම් ගේ පළමු පරාමිතිය, සහ P-තරංග මාපාංකය.

යම් කිසි අයකුට සමජාතීය සහ සමාවර්තනික (සියලු දිශාවන්ට සමාන වූ) ද්‍රව්‍යයක (ඝන) ප්‍රත්‍යාස්ථ ලක්ෂණ විශ්ලේෂණය කිරීමට අවශ්‍ය නම්, එහි ඕනෑම ප්‍රත්‍යාස්ථතා මාපාංක වර්ග දෙකක් පමණක් සැලකීම ප්‍රමාණවත් වේ. එනම්, ඕනෑම ප්‍රත්‍යාස්ථතා මාපාංක වර්ග දෙකක් දුන් විට මෙහි අග දැක්වෙන වගුවෙහි ඇති සමීකරණ ආධාරයෙන් අනෙක් සියලුම ප්‍රත්‍යාස්ථතා මාපාංක ගණනය කිරීමට හැක.

ව්‍යාකෘති ප්‍රත්‍යා බල දරා සිටීමට නොහැකි නිසා දුස්ස්‍රාවී නොවන තරල විශේෂ වේ. එනම්, ඒවායේ ව්‍යාකෘති ප්‍රත්‍යාස්ථතා මාපාංකය ශුන්‍ය වේ. ඒවායේ යං මාපාංකය ද ශුන්‍ය වන බව එයින් ගම්‍ය වේ.

බලන්න
 නම්‍ය ස්තබ්ධතාව
 ගතික මාපාංකය
 ප්‍රත්‍යාස්ථ සීමාව
 ප්‍රත්‍යාස්ථ තරංගය
 ආනමන මාපාංකය
 හූක් නියමය
 ආවේග සැකෙබුම් තාක්ෂණය
 සමානුපාතික සීමාව
 ස්තබ්ධතාව
 ආතන්‍ය ප්‍රබලතාව
 තීර්යක් සමවර්තතාව

පරිශීලන

වැඩිදුර කියවීමට

Elasticity (physics)
Deformation

ප්‍රත්‍යාස්ථතා මාපාංකය


Kenji Tanaka (født 13. december 1983) er en japansk professionel fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Sagan Tosu og FC Ryukyu.

Eksterne henvisninger

Fodboldspillere fra Japan

Kenji Tanaka


Arte de pájaros es un álbum de estudio del cantautor chileno Ángel Parra en conjunto con el poeta Pablo Neruda, Premio Nobel de Literatura en 1971. Fue lanzado originalmente en 1966 por el sello Demon, y corresponde al cuarto álbum oficial de Ángel Parra.

Lista de canciones

Referencias

Enlaces externos
 Sitio web oficial

Álbumes de Chile de 1966
Álbumes de Ángel Parra
Álbumes de Demon
Pablo Neruda
Álbumes en español

Arte de pájaros