Sally Mann HonFRPS (born Sally Turner Munger; May 1, 1951) is an American photographer who has made large format black and white photographs—at first of her young children, then later of landscapes suggesting decay and death.

Early life and education
Born in Lexington, Virginia, Mann was the third of three children. Her father, Robert S. Munger, was a general practitioner, and her mother, Elizabeth Evans Munger, ran the bookstore at Washington and Lee University in Lexington. Mann was raised by an atheist and compassionate father who allowed Mann to be "benignly neglected". Mann was introduced to photography by her father, who encouraged her interest in photography; his 5x7 camera became the basis of her use of large format cameras today.  Mann began to photograph when she was sixteen. Most of her photographs and writings are tied to Lexington, Virginia. Mann graduated from The Putney School in 1969, and attended Bennington College and Friends World College. She earned a BA, summa cum laude, from Hollins College (now Hollins University) in 1974 and a MA in creative writing in 1975.
She took up photography at Putney where, she claims, her motive was to be alone in the darkroom with her boyfriend. She made her photographic debut at Putney with an image of a nude classmate. Mann has never had any formal training in photography and  she "never read[s] about photography".

Early career
After graduation from Hollins College, Mann worked as a photographer at Washington and Lee University. In the mid-1970s she photographed the construction of its new law school building, the Lewis Hall (now the Sydney Lewis Hall), leading to her first solo exhibition in late 1977 at the Corcoran Gallery of Art in Washington, DC The Corcoran Gallery of Art published a catalogue of Mann's images titled "The Lewis Law Portfolio". Some of those surrealistic images were also included as part of her first book, Second Sight, published in 1984. While Mann explored a variety of genres as she was maturing in the 1970s, she truly found her trade with her book, At Twelve: Portraits of Young Women (Aperture, 1988).

In 1995, she was featured in an issue of "Aperture". On Location with: Henri Cartier-Bresson, Graciela Iturbide, Barbara Kruger, Sally Mann, Andres Serrano, Clarissa Sligh" which was illustrated with photographs.

At Twelve: Portraits of Young Women

Her second collection, At Twelve: Portraits of Young Women, published in 1988, stimulated minor controversy. The images "captured the confusing emotions and developing identities of adolescent girls [and the] expressive printing style lent a dramatic and brooding mood to all of her images". In the preface to the book, Ann Beattie says "when a girl is twelve years old, she often wants – or says she wants – less involvement with adults. […] [it is] a time in which the girls yearn for freedom and adults feel their own grip on things becoming a little tenuous, as they realize that they have to let their children go." Beattie says that Mann's photographs don't "glamorize the world, but they don't make it into something more unpleasant than it is, either". The girls photographed in this series are shown "vulnerable in their youthfulness" but Mann instead focuses on the strength that the girls possess.

In one image from the book shown here, Mann says that the young girl was extremely reluctant to stand closer to her mother's boyfriend. Mann said that she thought it was strange because "it was their peculiar familiarity that had provoked this photograph in the first place". Mann didn't want to crop out the girl's elbow but the girl refused to move in closer. According to Mann, the girl's mother shot her boyfriend in the face with a .22 several months later. In court the mother "testified that while she worked nights at a local truck stop he was 'at home partying and harassing my daughter.'" Mann said "the child put it to me somewhat more directly". Mann says that she now looks at this photograph with "a jaggy chill of realization".

Immediate Family and controversy

Mann is widely known for Immediate Family, her third collection, first exhibited in 1990 by Edwynn Houk Gallery in Chicago and published as a monograph in 1992. The New York Times Magazine used a picture of her three children on the cover of its September 27, 1992 issue with a feature article on her "disturbing work". In it Richard B. Woodward wrote that "Probably no photographer in history has enjoyed such a burst of success in the art world". Immediate Family consists of 65 black and white photographs of her three children, all under the age of 10. Many of the pictures were taken at the family's remote summer cabin along the river, where the children played and swam in the nude. Many explore typical childhood activities (skinny dipping, reading the funnies, dressing up, vamping, napping, playing board games) but others touch on darker themes such as insecurity, loneliness, injury, sexuality and death. Sarah Parsons reflects on the challenges in categorising Mann's work, arguing it is neither "portraiture, nor documentary, or snapshot". Instead, Parsons argues the power of Mann's work is in the tension between private family life and the showing of that private life in the public sphere. She argues when these private moments are placed in the public eye, they are interpreted through societal codes such as, motherhood; allowing the viewer to interpret the narrative of the work through their subjective views. Additionally, Ann Beattie argues "...a pose is only a pose..." reinforcing the opinion that the controversy stems from adult's subjective interpretation of the narrative that pose creates. The controversy on its release was intense, including accusations of child pornography (both in America and abroad) and of contrived fiction with constructed tableaux.

Immediate Family entered the field around the early 90's, during which time politicians were cracking down on even the suspicion of child pornography to appeal to their constituents. Negative accountability forced suspected artists to justify their work, leading many such as Mann to self-censor or have their work removed from public spaces. Jeff Ferrell described this as "cultural criminalisation", as the media manipulated public conceptions of cultural works, delegitimising artists like Mann, despite legal actions never being having brought against her.

This political movement impacted photography as an artform because of its links with law and evidence, Dillard S. Gardner argues the public saw photos as "the very highest type of evidence". In her work 'Models of Integrity: Art and Law in Post-Sixties America' Joan Kee argues artists such as Mann and Jacqueline Livingston, were under heighted scrutiny. The passing of child pornography regulations meant film developers could withhold material they deemed immoral; with feminists such as Andrea Dworkin and Catherine Mackinnon arguing for the censorship of pornography. However, academics such as Connie Samaras criticized complaints from feminist groups, like women against pornography (WAP), about Mann's work arguing "nakedness, even if it suggests lawlessness… has central meaning to many people's lives for a wide variety of legitimate reasons."

One of her detractors, Pat Robertson of the Christian Broadcasting Network, said that "selling photographs of children in their nakedness for profit is an exploitation of the parental role and I think it's wrong". He views such work as a violation of the responsibility of parents to do everything in their power to protect, shelter, and nurture their children. Furthermore, Mary Gordon argued Mann's work abused the power dynamic between mother and child. Gordon argued the placing of her children in sexualised positions invites the viewer to imagine the children as potential sexual partners which is unethical for a mother. She argues the sexual nature of Mann's work invites discussion of her children's sexuality; harmfully bringing part of the private sphere of the nucleus family into the public eye. More negative criticism came from Raymond Sokolov's article Critique: Censoring Virginia in the Wall Street Journal. He questioned whether children should be photographed nude and whether federal funds should be appropriated for such artworks. Accompanying his article was a modified image by Mann of her daughter Virginia (Virginia at 4), in which her eyes, nipples, and pubic region were now covered with black bars. Mann said he used the image without permission "to illustrate that this is the kind of thing that shouldn't be shown". Mann claimed that after Virginia saw the article, she started touching herself on the areas that were blacked out, saying, "what's wrong with me?" Mann responded to the criticisms saying she did not plan the photographs and that when she was young, she was often nude, so she raised her children similarly.

Many of her other photographs depicting her children caused controversy. For example, in The Perfect Tomato, the viewer sees a nude Jessie, posing on a picnic table outside, bathed in light. Mary Gordon argues "tomato" is slang to describes a desirable woman, the title, consequently, furthering the sexual themes and presenting her daughter as "sexually desirable". Jessie told Steven Cantor during the filming of one of his movies that she had just been playing around and her mother told her to freeze, and she tried to capture the image in a rush because the sun was setting. This explains why everything is blurred except for the tomato, hence the photograph's title. While Jessie was aware of this photograph, Dana Cox, in her essay, said that the Mann children were probably unaware of the other photographs being taken as Mann's children were often naked because "it came natural to them". This habit of nudity is a family thing because Mann says she used to walk around her house naked when she was growing up. Cox states that "the own artist's childhood is reflected in the way she captures moments in her children's lives".

Mann herself considered these photographs to be "natural through the eyes of a mother, since she has seen her children in every state: happy, sad, playful, sick, bloodied, angry and even naked". Deborah Chambers, in her work on family photo albums, reflects on their idyllic nature but also argues they rarely convey the actual experience of the family. Mann's work takes these idyllic photos meant for semi-private consumption and brings them to the public sphere. By working collaboratively with her children Mann uses these idealised family photos to create a narrative from her children's perspectives. Critics agreed, saying her "vision in large measure [is] accurate, and a welcome corrective to familiar notions of youth as a time of unalloyed sweetness and innocence", and that the book "created a place that looked like Eden, then cast upon it the subdued and shifting light of nostalgia, sexuality and death". When Time magazine named her "America's Best Photographer" in 2001, it wrote:

Mann recorded a combination of spontaneous and carefully arranged moments of childhood repose and revealingly — sometimes unnervingly — imaginative play. What the outraged critics of her child nudes failed to grant was the patent devotion involved throughout the project and the delighted complicity of her son and daughters in so many of the solemn or playful events. No other collection of family photographs is remotely like it, in both its naked candor and the fervor of its maternal curiosity and care.

The New Republic considered it "one of the great photograph books of our time".

Despite the controversy, Mann was never charged with the taking or selling of child pornography, even though, according to Edward de Grazia, law professor and civil liberties expert, "any federal prosecutor anywhere in the country could bring a case against [Mann] in Virginia, and not only seize her photos, her equipment, her Rolodexes, but also seize her children for psychiatric and physical examination". Before she published Immediate Family, she consulted a Virginia federal prosecutor who told her that some of the images she was exhibiting could have her arrested. In 1991, she decided to postpone the publication of the book. In an interview with New York Times reporter, Richard Woodward, she said "I thought the book could wait 10 years, when the kids won't be living in the same bodies. They'll have matured and they'll understand the implications of the pictures. I unilaterally decided."

To further protect the children from "teasing", Mann told Woodward that she wanted to keep copies of Immediate Family out of their home town of Lexington. She asked bookstores in the area not to sell it and for libraries to keep it in their rare-book rooms. Dr. Aaron Esman, a child psychiatrist at the Payne Whitney Clinic believes that Mann is serious about her work and that she has "no intention to jeopardize her children or use them for pornographic images". He says that the nude photographs don't appear to be erotically stimulating to anyone but a "case-hardened pedophile or a rather dogmatic religious fundamentalist". Mann stated, "I didn't expect the controversy over the pictures of my children. I was just a mother photographing her children as they were growing up. I was exploring different subjects with them."

Her fourth book, Still Time, published in 1994, was based on the catalogue of a traveling exhibition that included more than 20 years of her photography. The 60 images included more photographs of her children, but also earlier landscapes with color and abstract photographs.

Later career
In the mid-1990s, Mann began photographing landscapes on wet plate collodion 8x10 inch glass negatives, and used the same 100-year-old 8x10 format bellows view camera that she had used for all the previous bodies of work. These landscapes were first seen in Still Time, and later featured in two shows presented by the Edwynn Houk Gallery in NYC: Sally Mann – Mother Land: Recent Landscapes of Georgia and Virginia in 1997, and then in Deep South: Landscapes of Louisiana and Mississippi in 1999. Many of these large (40"x50") black-and-white and manipulated prints were taken using the 19th century "wet plate" process, or collodion, in which glass plates are coated with collodion, dipped in silver nitrate, and exposed while still wet. This gave the photographs what the New York Times called "a swirling, ethereal image with a center of preternatural clarity", and showed many flaws and artifacts, some from the process and some introduced by Mann.

Mann has been the subject of two film documentaries. The first, Blood Ties, directed by Steve Cantor and Peter Spirer, debuted at the 1994 Sundance Film Festival, and was nominated for an Academy Award as Best Documentary Short. The second, What Remains: The Life and Work of Sally Mann (2005) was also directed by Steve Cantor. It premiered at the 2006 Sundance Film Festival and was nominated for an Emmy for Best Documentary in 2008. In her New York Times review of the film, Ginia Bellafante wrote, "It is one of the most exquisitely intimate portraits not only of an artist's process, but also of a marriage and a life, to appear on television in recent memory."

Mann uses antique view cameras from the early 1890s. These cameras have wooden frames, accordion-like bellows and long lenses made out of brass, now held together by tape that has mold growing inside. This sort of camera, when used with vintage lenses, softens the light, which makes the pictures timeless.

A self-portrait (which also included her two daughters) was featured on the September 9, 2001 cover of The New York Times Magazine, for a theme issue on "Women Looking at Women".

Mann's fifth book, What Remains, published in 2003, is based on the show of the same name at the Corcoran Gallery in Washington, DC. The book is broken up into four sections: Matter Lent, December 8, 2000,  Antietam, and What Remains. The first section contains photographs of the remains of Eva, her greyhound, after decomposition, along with the photographs of dead and decomposing bodies at a federal forensic anthropology facility (known as the 'body farm'). Along with the photographs of her family, 'body farm' was another series that was controversial. The second part details the site on her property where an armed escaped convict was killed in a shootout with police. The third part is a study of the grounds of Antietam, the site of the bloodiest single day battle in American history during the Civil War. The fourth part is a study of close-up faces of her children. Thus, this study of mortality, decay and death ends with hope and love.

Mann's sixth book, Deep South, published in 2005, with 65 black-and-white images, includes landscapes taken from 1992 to 2004 using both conventional 8x10 film and wet plate collodion. These photographs have been described as "haunted landscapes of the south, battlefields, decaying mansion, kudzu shrouded landscapes and the site where Emmett Till was murdered". Newsweek picked it as their book choice for the holiday season, saying that Mann "walks right up to every Southern stereotype in the book and subtly demolishes each in its turn by creating indelibly disturbing images that hover somewhere between document and dream".

Mann's seventh book, Proud Flesh, published in 2009, is a study taken over six years of the effects of muscular dystrophy on her husband Larry Mann. Mann photographed her husband using the collodion wet plate process As she notes, "The results of this rare reversal of photographic roles are candid, extraordinarily wrenching and touchingly frank portraits of a man at his most vulnerable moment." The project was displayed in Gagosian Gallery in October 2009.

Mann's eighth book, The Flesh and The Spirit, published in 2010, was released in conjunction with a comprehensive show at the Virginia Museum of Fine Arts in Richmond, Virginia. Regarding this exhibition, the museum director stated, "She follows her own voice. Her pictures are imbued with an amazing degree of soul." Though not strictly a retrospective, this 200-page book included new and recent work (unpublished self-portraits, landscapes, images of her husband, her children's faces, and of the dead at a forensic institute) as well as early works (unpublished color photographs of her children in the 1990s, color Polaroids, and platinum prints from the 1970s). Its unifying theme is the body, with its vagaries of illnesses and death, and includes essays by John Ravenal, David Levi Strauss, and Anne Wilkes Tucker.

In May 2011 she delivered the three-day Massey Lecture Series at Harvard, on the topic of how her extended family influenced her work. Her memoir Hold Still arose as a companion to the lecture. In June 2011, Mann sat down with one of her contemporaries, Nan Goldin, at Look3 Charlottesville Festival of the Photograph. The two photographers discussed their respective careers, particularly the ways in which photographing personal lives became a source of professional controversy. This was followed by an appearance at the University of Michigan as part of the Penny W. Stamps lecture series.

Mann's ninth book, Hold Still: A Memoir with Photographs, released May 12, 2015, is a melding of a memoir of her youth, an examination of some major influences of her life, and reflections on how photography shapes one's view of the world. It is augmented with numerous photographs, letters, and other memorabilia. She singles out her "near-feral" childhood and her subsequent introduction to photography at Putney, her relationship to her husband of 40 years and his parents' mysterious death, and her maternal Welsh relative's nostalgia for land morphing into her love for her land in the Shenandoah Valley, as some of her important influences. Gee-Gee, a black woman who was a surrogate parent, who opened Mann's eyes to race relations and exploitation, her relationship with local artist Cy Twombly, and her father's genteel southern legacy and his eventual death are also examined. She ponders the relationship Robert S. Munger, her great-grandfather and southern industrialist, had with his  workers. The New York Times described it as "an instant classic among Southern memoirs of the last 50 years". An article by Mann adapted from this book appeared with photographs in The New York Times Magazine in April 2015. Hold Still was a finalist for the 2015 National Book Award.

Mann's tenth book, Remembered Light: Cy Twombly in Lexington was published in 2016. It is an insider's photographic view of Cy Twombly's studio in Lexington. It was published concurrently with an exhibit of color and black-and-white photographs at the Gagosian Gallery. It shows the overflow of Twombly's general modus operandi: the leftovers, smears, and stains, or, as Simon Schama said in his essay at the start of the book, "an absence turned into a presence".

Mann's eleventh book, Sally Mann: A Thousand Crossings, authored by Sarah Greenough and Sarah Kennel, is a large (320 pages) compendium of works spanning 40 years, with 230 photographs by Mann. It served as a catalog for an exhibit at the National Gallery of Art entitled Sally Mann: A Thousand Crossings which opened March 4, 2018 and was the first major survey of the artist's work to travel internationally.

In her recent projects, Mann has started exploring the issues of race and legacy of slavery that were a central theme of her memoir Hold Still. They include a series of portraits of black men, all made during one-hour sessions in the studio with models not previously known to her. Mann was inspired by Bill T. Jones' use of the Walt Whitman 1856 poem "Poem of the Body" in his art, and Mann "borrowed the idea, using the poem as a template for [her] own exploration". Several pictures from this body of work were highlighted in Aperture Foundation magazine in the summer of 2016. and they also appeared in A Thousand Crossings. This book and exhibit also introduced a series of photographs of African American historic churches photographed on expired film, and a series of tintype photographs of a swamp that served as refuge for escaped slaves. Some critics see in Mann's work a deep working through of the legacy of white violence in the South, while others have voiced concern that Mann's work at times repeats rather than critiques tropes of white domination and violence in the American southeast.

Personal life
Mann, born and raised in Virginia, is the daughter of Robert Munger and Elizabeth Munger. In Mann's introduction for her book Immediate Family, she "expresses stronger memories for the black woman, Virginia Carter, who oversaw her upbringing than for her own mother". Elizabeth Munger was not a big part of Mann's life, and Elizabeth said "Sally may look like me, but inside she's her father's child." Virginia (Gee-Gee) Carter, born in 1894, raised Mann and her two brothers and was an admirable woman. "Left with six children and a public education system for which she paid taxes but which forbade classes for black children beyond the seventh grade, Gee-Gee managed somehow to send each of them to out-of-state boarding schools and, ultimately, to college." Virginia Carter died in 1994.

In 1969 Sally met Larry Mann, and in 1970 they married. Larry Mann is an attorney and, before practicing law, he was a blacksmith. Larry was diagnosed with muscular dystrophy around 1996. They live together in their home which they built on Sally's family's farm in Lexington, Virginia.

They have three children together: Emmett (born 1979), who died by suicide in 2016, after a life-threatening car collision and a subsequent battle with schizophrenia, and who for a time served in the Peace Corps; Jessie (born 1981), who herself is an artist; and Virginia (born 1985), a lawyer.

Mann is passionate about endurance horse racing. In 2006, her Arabian horse ruptured an aneurysm while she was riding him. In the horse's death throes, Mann was thrown to the ground, the horse rolled over her, and the impact broke her back. It took her two years to recover from the accident and during this time, she made a series of ambrotype self-portraits. These self-portraits were on view for the first time in November 2010 at the Virginia Museum of Fine Arts as a part of Sally Mann: the Flesh and the Spirit.

Publications

Books

 At Twelve: Portraits of Young Women. Aperture, New York, 1988.
 Immediate Family. Aperture, New York, 1992.
 Still Time. Aperture, New York, 1994.

 Sally Mann (2005), 21st Editions, South Dennis, MA (edition of 110)
 Sally Mann: Proud Flesh. Aperture Press; Gagosian Gallery, New York, 2009.

 Southern Landscape (2013), 21st Editions, South Dennis, MA (edition of 58)

Exhibition catalogues
 The Lewis Law Portfolio, at Corcoran Gallery of Art, Washington DC, 1977
 Sweet Silent Thought, at the North Carolina Center for Creative Photography, Durham, NC, 1987
 Still Time, at the Alleghany Highland Arts and Crafts Center, Clifton Forge, VA, 1988
 Mother Land, at the Edwynn Houk Gallery, New York, 1997
 Sally Mann, at the Gagosian Gallery, New York, 2006
 Sally Mann: Deep South/Battlefields, at the Kulturhuset, Stockholm, Sweden, 2007

Collections

 Ferdinand Protzman, Landscape: Photographs of time and Place. National Geographic, 2003.
 R. H. Cravens, Photography Past/Forward: Aperture at 50. Aperture Press, 2005.

Other

Film and television
 Blood Ties: The Life and Work of Sally Mann. Directed by Steven Cantor and Peter Spirer. Moving Target Productions. 30 minutes, color, DVD.  Nomination for an Academy Award for Best Documentary: Short Subject (1992)
 "Giving Up the Ghost". Egg, The Arts Show. Produced by Mary Recine for Thirteen/WNET, New York. (2002)
 "Place". Episode One. Art 21- Directed by Catherine Tatge, Art in the Twenty-First Century for PBS Broadcasting, Virginia. 14 minutes. Color. DVD. (2002)
What Remains: The Life and Work of Sally Mann. Directed by Steven Cantor. Zeitgeist Films, New York. 80 minutes, color, DVD. (2004). Winner of Best Documentary. Jacksonville Film Festival.  Won Grand Jury Prize for Best Documentary Film. Nantucket Film Festival Won Best Storytelling in Documentary Film. Nantucket Film Festival Official Selection. Sundance Film Festival New York Loves Film Documentary Award. Tribeca Film Festival. (2006)
 "Some Things Are Private". Playwrights Deborah Salem Smith, Laura Kepley. Trinity Repertory Theatre, Dowling Theater. Providence, RI.  (2008)
 "The Genius of Photography: We Are Family". Episode 6. BBC Four Productions, Wall to Wall Media Ltd. (2008)
 "Thalia Book Club: Sally Mann Hold Still". Ann Patchett, Symphony Space (May 13, 2015)

Awards
 2001: Time magazine named Mann "America's Best Photographer"
 2006: Honorary Doctor of Fine Arts degree from the Corcoran College of Art + Design.
 2012: Honorary Fellowship of the Royal Photographic Society (UK)
 2016: Andrew Carnegie Medal for Excellence in Nonfiction for Hold Still: A Memoir in Photographs.
 2020: Centenary Medal, Royal Photographic Society, Bristol, UK
 2021: Inducted into the International Photography Hall of Fame on October 29, 2021
 2021: Prix Pictet's ninth global photography award

Collections
Mann's work is held in the following permanent collections:
 Metropolitan Museum of Art
 National Gallery of Art
 Hirshhorn Museum and Sculpture Garden
 Museum of Fine Arts, Boston
 San Francisco Museum of Modern Art
 Whitney Museum, New York City: 12 prints (as of October 2020)

References

External links

 Article about Sally Mann
 The main works of Mann
 TV interview with Charlie Rose in 2016
 Sally Mann Exhibition at Gagosian Gallery

American portrait photographers
Nude photography
1951 births
Living people
Bennington College alumni
Hollins University alumni
People from Lexington, Virginia
The Putney School alumni
20th-century American photographers
21st-century American photographers
20th-century American writers
21st-century American writers
20th-century American women writers
21st-century American women writers
Photographers from Virginia
20th-century American women photographers
21st-century American women photographers

Sally Mann


Indiana Pacers er körfuboltalið frá Indianapolis sem spilar í NBA deildinni. Liðið var stofnað árið 1967 í ABA deildinni. Árið 1976 sameinaðist ABA-deildin NBA-deildinni. Liðið vann 3 titla í ABA.

Sex Hall of Fame leikmenn hafa spilað með félaginu: Reggie Miller, Chris Mullin, Alex English, Mel Daniels, Roger Brown og George McGinnis. Aðrir þekktir leikmenn eru Rik Smits, Detlef Schrempf, Mark Jackson, Ron Artest og Paul George.

Heimild

Bandarísk körfuknattleiksfélög
NBA
Indiana

Indiana Pacers


Mbube is a form of South African vocal music, made famous by the South African group Ladysmith Black Mambazo. The word mbube means "lion" in Zulu. Traditionally performed a cappella, the members of the group are male although a few groups have a female singer. In this form, groups of voices singing homophonically in rhythmic unison are employed to create intricate harmonies and textures.

Background

In Johannesburg, Solomon Linda, a man from Natal, created one of the most famous African songs, "Mbube", which eventually became its own genre. In 1933 Linda began singing with a group of friends called the Evening Birds. In 1939 they recorded a few tacks for Gallo Records when Linda improvised the first 15 notes of a song they called "Mbube". The success of this song led to the conception of a whole new genre, characterized by a loud and powerful cappella four part harmony, accompanied by dancing. The song was later made internationally famous, by The Weavers as "Wimoweh" in 1948 and then as "The Lion Sleeps Tonight" by the Tokens in 1961. Miriam Makeba's recording of "The Lion Sleeps Tonight" in the 1960s helped popularize the genre and establish the singing tradition. But it was Robert John's rendition of "The Lion Sleeps Tonight" that is the most well-known, reaching #3 on the US charts, and selling more than one million copies for which he was awarded a gold disc by the Recording Industry Association of America.

Associated with poor migrant workers, the origins of Mbube can be traced back to the 1920s in the Natal region when the area became heavily industrialized with coalmines and factories. According to Joseph Shabalala (leader and founder of Ladysmith Black Mambazo), young South African Zulu men from nearby towns and villages began to flock to this area to find work, often in mines.  These men brought with them their own cultures and, in order to preserve a sense of community, formed choirs. These male workers were often lodging in hostels where they created a weekend social life that revolved around singing and dancing. There were competitions where the best groups would showcase their talents and a winner would be awarded not with money, but honor. As these competitions became more popular so did this new style of music. It spread to Johannesburg, one of the largest South African cities. Mbube is a precursor to the more currently popular African choral genres mbaqanga and iscathamiya. Since the formation of Ladysmith Black Mambazo, the mbube has fallen out of style in favor of isicathamiya, which is a softer, lighter genre.

Citations

General sources
 Mbube Roots, Rounder Records #5025
 AMARYONI Artist Biography African Cream Music, Johannesburg, South Africa. Retrieved 14 November 2008
 Broughton, Simon, and Kim Burton. World Music: the Rough Guide. London: Rough Guides, 1994. Print
 Malan, Rian. "In the Jungle". Rolling Stone. 25 May 2000. Web. "Africa". Def. 5. Southern Africa. Credo Reference. Harvard Dictionary of Music, 2003. Web. 31 Mar. 2011.
 Johnson, Keith. "Mbube". AllMusic. N.p., n.d. Web. 31 Mar. 2011.
 Wassel, Deborah. "From Mbube to Wimoweh: African Folk Music in Dual Systems of Law". Fordham Intellectual Property, Media & Entertainment Law Journal XX.1 (2009): 290–326. Fordham Law Blog. Web. 31 Mar. 2011.

Further reading
 Erlmann, Veit, Horses in the Race Course': The Domestication of Ingoma Dancing in South Africa, 1929–39", Popular Music, Vol. 8, No. 3, African Music (Oct. 1989), pp. 259–273. . Cambridge University Press. Collected in: Nightsong: Power, Performance, and Practice in South Africa. University of Chicago Press (1995) https://books.google.com/books?id=FcNIuMDsEV8C
 Frith, Simon, Popular music: critical concepts in media and cultural studies, Volume 4, London: Routledge, 2004. . Cf. p. 271
 Xulu, M. K., The Re-emergence of Amahubo Songs, Styles and Ideas in Modern Zulu Musical Styles. PhD dissertation, University of Natal. 1992.
 Mbube website official

Zulu music
South African styles of music

fi:Mbube

Mbube (genre)


Veronika Aigner, née le  à Neunkirchen, est une skieuse alpine handisport autrichienne concourant en B2 pour les athlètes malvoyants. Elle remporte deux titres paralympiques (slalom et slalom géant) aux Jeux de 2022.

Biographie
Veronika Aigner vient d'une famille de skieurs alpins. Son frère et sa sœur, Barbara et Johannes concourent également chez les malvoyants aux Paralympiques tandis que ses sœurs Elisabeth et Irmgard servent de guide. Comme les deux autres membres de sa fratrie, elle a une cataracte congénitale.

Elle commence le ski à l'âge de deux ans et remporte ses premières courses à six face à des enfants valides.

Carrière
Sa sœur aînée Elisabeth lui sert de guide.

En novembre 2020, elle reçoit le prix de l'athlète handisport autrichienne de l'année après avoir remporté la Coupe du monde de slalom chez les malvoyantes.

Lors des Jeux paralympiques d'hiver de 2022, elle ne participe qu'aux épreuves de slalom et de slalom géant. Sur ce dernier, elle remporte l'or paralympique devant Zhu Daqing et sa sœur Barbara Aigner. Le lendemain, elle rafle le titre sur le slalom devant sa sœur Barbara et Alexandra Rexová.

Palmarès

Jeux paralympiques

Références

Liens externes

Skieuse alpine handisport autrichienne
Sportif aveugle
Aveugle autrichien
Championne paralympique de ski alpin
Championne paralympique autrichienne
Skieuse alpine aux Jeux paralympiques d'hiver de 2022
Naissance en février 2003
Naissance à Neunkirchen (Basse-Autriche)

Veronika Aigner


වාරණ රජමහා විහාරය වළගම්බා රජ සමයේ ඉදිකරවන ලද්දක් යැයි විශ්වාස කෙරෙන විහාරයක් වෙයි. එහි කෝට්ටේ යුග‍ය ඇතුළු තවත් යුග ගණනාවක බිතු සිතුවම් දැකිය හැකි අතර දැන් ඒවා මැකී පලුදු වී ඇත. දෙවන පරාක්‍රමබාහු, නිශ්ශංකමල්ල, හයවැනි පරාක්‍රමබාහු, කීර්ති ශ්‍රී රාජසිංහ ආදී රජවරු විසින් වරින්වර මෙහි ප්‍රතිසංස්කරණය කටයුතු කර ඇති බව සඳහන් වෙයි.

පිහිටීම
වාරණ රජමහා විහාරය මෙරට බස්නාහිර පළාතේ, ගම්පහ දිස්ත්‍රික්කය තුල අත්තනගල්ල ප්‍රාදේශීය ලේකම් කොට්ඨාශයේ මංගලතිරිය ග්‍රාමයෙහි පිහිටා තිබේ.

ගමන් මාර්ග

කොළඹ-නුවර ප‍්‍රධාන මාර්ගයේ යක්කල නගරය පසුකර සැතපුම් කාලක් පමණ ඉදිරියට යනවිට හමුවන ගම්පහ-ගොරකදෙනිය බස් මාර්ගයේ ඉදිරියට ගියවිට මෙම විහාරස්ථානයට පැමිණිය හැකිය.

කොළඹ-නුවර ප‍්‍රධාන මාර්ගයේ හමුවන තිහාරිය මසංසන්ධියෙන් වෙන්වන නිට්ටඹුව-ඕගොඩපොල බස් මාර්ගයේ ගියවිටද මෙම විහාරස්ථානයට ලඟාවිය හැකිය.

ඉතිහාසය

දේවානම්පියතිස්ස රජ සමය
පුරාවිද්‍යාත්මක සාධක අනූව වාරණ රජමහා විහාරයේ ඉතිහාසය ක්‍රි. පූ. 3 - 2 පමණ සියවස් කරා ඇදී යයි. පූජා භූමියේ වූ දිග්ගලෙහි කි.පූ. 3 වැනි සියවසේ මුල් අවදියට අයත් බ්‍රාහ්මී අක්ෂර සහිත ශිලා ලිපියෙන් මේ බව තහවුරු කර ඇතැයි සඳහන් වෙයි. එම ශිලා ලේඛනයට අනූව දේවානම්පිය තිස්ස රජ සමයේ, එනම් ශ්‍රී බු. ව. 240 දී පමණ මෙම විහාරය තිස්සදත්ත නම් තෙරුණ්වහන්සේ නමකට පූජා කල බව පැවසෙයි.

වළගම්බා රජ සමය

ක්‍රි. පූ. 103 දී පමණ වළගම්බා රජ (වට්ට ගාමිණී අභය රජ) සමයේ එල්ලවූ ද්‍රවිඩ ආක්‍රමණයෙන් පසු වළගම්බා රජු වසර 14 ක් සැඟවී සේනා සංවිධානය කල අතරේ, එකල මායා රටෙහි පිහිටි මෙම පුදබිමෙහිද සැඟවී සිටි බව ඉතිහාසයේ සඳහන් වෙයි. පසුව ක්‍රි. පූ. 89දී වළගම්බා රජු නැවතත් ලංකා රාජ්‍යයෙහි රාජ්‍යත්වයට පත්වූ පසු, සේනා සංවිධානය කල සමයේ තමාට සැඟවී සිටීමට රැකවරණය දුන් මායා රටෙහි සහ රුහුණෙහි සියළුම ගල්ලෙන් විහාරාරාම බවට පත් කල බැව් පැවසේ. රජු විසින් කරවූ මායාරටෙහි විහාරාරාම අතර මෙම ඓතිහාසික වාරණ රජමහා විහාරයද ප්‍රකට වෙයි.

දෙවන පණ්ඩිත පැරකුම්බා රජ සමය
දඹදෙණි යුගයේ දෙවන පණ්ඩිත පරාක‍්‍රමබාහු රජු ගේ රාජ්‍ය සමයෙහි මෙම විහාරස්ථානය, දේවප‍්‍රතිරාජ අමාත්‍යයා ලවා දියුණු කල බැව් පැවසෙයි.

සයවැනි ශ්‍රී පැරකුම්බා රජ සමය
ශ්‍රී බු. ව. 1488 පමණ කෝට්ටේ යුගයේ සයවැනි පැරකුම්බා රජ සමයේ, මෙහි ධර්මශාලාව ඇතුළු සම්පූර්ණ වාරණ විහාරස්ථානය ප්‍රතිසංස්කරණය කෙරූ බවට සඳහන් වෙයි.

අටවන වීර පැරකුම්බා රජ සමය
කෝට්ටේ යුගයේ අටවන වීර පැරකුම්බා රජ මෙම විහාරයෙහි බණමඩුවක් සාදා පිංකමක් සිදුකල බව පුරාණ ඇල්පිටිය තඹ සන්නසෙහි සඳහන් වේ.

කීර්ති ශ්‍රී රාජසිංහ රජ සමය
මහනුවර යුගයේ කීර්ති ශ්‍රී රාජසිංහ රජ සමයේදීද මෙම විහාරස්ථානය යළි ප්‍රතිසංස්කරණය කල බව සහ ඊට කෙත්වතු පූජා කල බවට තොරතුරු සඳහන් වෙයි.

විහාරයේ සැකැස්ම

වාරණ රජමහා විහාරය ප්‍රධාන මළු තුනකින් සමන්විත වෙයි. ඒවා නම්,
පහත මළුව
මැද මළුව
උඩ මළුව

පහත මළුව
විහාරයේ පහත මළුවට, සෙල් ලිපිය සහිත දිග්ගල හා ලෙන් හතර, ආවාස ගෙය සහ ධර්ම ශාලාව සහිත ලෙන අයත් වෙයි.

මැද මළුව
විහාරයේ මැද මළුවට, ලෙන තුල පිහිටි මහා විහාරයත්, ඉපැරණි සිදුවම්, ලෙන අසල පිහිටි චෛත්‍යය, පෝය ගෙය, දේවාලය පිටිපස ඇති ලෙන සහ ලිපිය අයත් වෙයි. මීට අමතරව මැද මළුවෙහි සඳකඩපහණ් 4ක් දැකගැනීමට හැකිවේ.

උඩ මළුව

උඩ මළුව, ලෙන් විහාරය, ලෙන් ආවාසය, පොකුණ, පැරණි ගල්ලෙන සහ ගල මත පඩිපෙල යන අංගයන්ගෙන් සමන්විත වේ.

වෘක්ෂ අභය භූමිය
වාරණ රජමහා විහාරයට අයත් ස්වභාවික වනපෙත (ඔසු වනය ලෙසද හඳුන්වයි), වෘක්ෂ අභය භූමියක් ලෙස නම්කොට තිබෙයි.

මේවාද බලන්න
ශ්‍රී ලංකාවේ ගම්පහ දිස්ත්‍රික්කයේ පුරාවිද්‍යා ආරක්‍ෂිත ස්මාරක ලැයිස්තුව

රජමහා විහාර
ගම්පහ දිස්ත්‍රික්කයේ බෞද්ධ සිද්ධස්ථාන
ගම්පහ දිස්ත්‍රික්කයේ පුරාවිද්‍යා ආරක්‍ෂිත ස්මාරක

වාරණ රජ මහා විහාරය


Fiji Airways (trading as and formerly known as Air Pacific) is the flag carrier of Fiji and operates international services from its hubs in Fiji to 15 countries and 27 cities including, Australia, New Zealand, Samoa, Tonga, Tuvalu, Kiribati, Vanuatu and Solomon Islands (Oceania), Hong Kong, Japan, Singapore, Canada and the United States. It has an extended network of 108 international destinations through its codeshare partners. The Fiji Airways Group brings in 64 percent of all visitors who fly to Fiji, employs over 1000 employees, and earns revenues of over FJD$815 million (US$390m).

The first commercial flight as Fiji Airways was made in 1951 but the airline's origins date back to Katafaga Estates Ltd. formed in 1947. After being acquired by Qantas in 1958, Katafaga Estates was retooled as a regional airline and renamed Air Pacific. In May 2012, MD/CEO David Pflieger announced that as the final part of the airline's successful turnaround, the airline would be returning to its former name of Fiji Airways to reinforce its role as the national airline of Fiji. The Fiji government owns 52% of the airline and Qantas 46%, with the governments of several Pacific island nations holding the remainder.

The airline plans to replace five of its older Boeing 737s with Boeing's new 737 MAX 8s, at a list price of about US$110 million each. Two of the new aircraft arrived in 2018, and the remainder in 2019. The airline is also currently leasing two Airbus A350-900 aircraft. The 737 MAX 8s are intended for Fiji Airways' regional services to Australia, New Zealand, Hawaii, Kiribati, Samoa, Solomon Islands, Tonga and Vanuatu, while the Airbus A350-900s, A330-200s and A330-300s are intended for longer services such as the United States, Canada and Singapore.

History

Origins

The airline was founded by Australian aviator Harold Gatty who in 1931 had been the navigator on a record-breaking round-the-world flight with Wiley Post. Gatty moved to Fiji after World War II and registered the airline in 1947 as Katafaga Estates Ltd., after the coconut estate Gatty had established on Fiji's eastern island group. Gatty renamed the airline as Fiji Airways in September 1951. The New Zealander Fred Ladd was Fiji Airways' first Chief Pilot.

Air Pacific
After Gatty's death in 1958, Fiji Airways was acquired by Qantas. Initially, Qantas tried to create international support for a multinational, shared, regional airline. By 1966 Fiji Airways's shareholders included the governments of Tonga, Western Samoa, Nauru, Kiribati and the Solomon Islands. By 1968, Qantas, Air New Zealand, British Overseas Airways Corporation and the Fiji government held equal shareholdings.

After Fiji gained independence from Great Britain in 1970, the new national government began buying shares and the airline was renamed Air Pacific to reflect its regional presence.

By the early 1970s, seven Pacific island governments, some still under British rule at the time, held shares in Air Pacific, in addition to shares held by Qantas, Air New Zealand and the British Overseas Airways Corporation. However, the regional airline idea lost support as some of the shareholding Pacific island governments sold their shares and created their own national airlines.

In the 1970s, tourism became the nation's leading industry, which made the airline even more important to the Fijian economy; and the government of Fiji acquired a controlling interest in Air Pacific in 1974. In 1981, The New York Times published an article that included details on the Fiji government's plan to buy out more shareholders in order to gain more control of Air Pacific as the national airline. However, the airline received no subsidies from the government and had to buy its own aircraft.

In the 1990s the airline relocated its headquarters from the capital city of Suva to the coastal town of Nadi where the main international airport is located. The company also constructed an elaborate aircraft maintenance centre there.

In 2007, Air Pacific acquired Sun Air, a domestic airline, renamed it Pacific Sun and began operations as Air Pacific's domestic and regional subsidiary.  In May 2012, Managing Director & CEO Dave Pflieger announced that the airline, which was completing a successful turnaround that included restructuring and re-fleeting, would be re-branded as "Fiji Airways" to help enhance sales and marketing of the airline and the south pacific island nation. In June 2014, Pacific Sun was rebranded to Fiji Link.

Flight history
Fiji Airways' first flight was on 1 September 1951, when a seven-seater de Havilland Dragon Rapide biplane departed Suva's Nausori Airport for Drasa Airport near Lautoka, on the west coast of the main island. The airline's first international flight to Brisbane, Australia was on 1 June 1973.

In 1983 it started flights to the US with a route to Honolulu called "Project America."

In December 2009, Air Pacific commenced a twice-weekly service to Hong Kong, which was increased to three services in January 2014. In July 2010 Air Pacific announced a new Suva-Auckland service.

Today, the airline and its domestic/regional subsidiary, Fiji Link, operate over 400 flights a week to almost 15 cities in 10 countries around the world.

Fleet history

In the beginning, Fiji Airways used small de Havilland Dragon Rapide and de Havilland Australia DHA-3 Drover aircraft. The fleet grew to include two ATR 42 turboprops and two leased jets, a Boeing 747 and a Boeing 767. By the late 1990s, the fleet included both Boeing 737 and 767 jets, while the ATR 42 turboprops were used on flights to neighboring islands.

Air Pacific also operated 2 BAC 111 Srs 479 jet aircraft from 1973 through to 1984. These aircraft operated across the airline's network including to Australia.

The 2000 Fijian coup d'état devastated the country's tourism industry and overall economy, which led to a substantial decrease in travel to Fiji. Faced with a falloff in air traffic, Air Pacific returned one of its two leased Boeing 747s.

In 2003, Air Pacific received the first of two Boeing 747-400s it was leasing from Singapore Airlines (They had previously been leased with Ansett Australia until Ansett's downfall in 2001).

In April 2011, Air Pacific announced that it had cancelled its order of eight Boeing 787-9s due to delivery delays of almost four years by Boeing. In October 2011, Air Pacific announced that it had ordered three Airbus A330-200s. In March 2013 the company received its first "Fiji Airways" re-branded Airbus A330. It was christened The Island of Taveuni and had its first flight to Auckland on 2 April. In June, one of the Boeing 747-400s was retired. The other one, although 'withdrawn from service', was used on an ad-hoc basis when needed. It was finally retired on 20 November 2013 where it was flown to be scrapped. Today the fleet includes two Airbus A350-900, four Airbus A330-200s, one Airbus A330-300, three Boeing 737-800s, and two Boeing 737 MAXs. Fiji Link operates two ATR 72-600, an ATR 42-600 and three de Havilland Canada DHC-6 Twin Otter aircraft. In preparation of the rebranding, Air Pacific retired its Boeing 747-412s from service.

On 2 May 2019. Fiji Airways announced its intention to lease two Airbus A350-900 from Dubai Aerospace Enterprise as a part of their fleet expansion.  They operate on routes to Australia, New Zealand and the United States. These A350 frames were originally to be delivered to Hong Kong Airlines, however following the cancellation of that order, they were purchased by Dubai Aerospace Enterprise.

As a result of the COVID-19 pandemic, Fiji Airways announced 800 job losses in Fiji on 25 May 2020.

Airline partnerships
In conjunction with Qantas, Air Pacific helped pioneer the concept of codeshare agreements in the early 1980s. Today, codesharing is an accepted airline practice all over the world. In the 1990s Air Pacific signed a codeshare agreement with Canadian Airlines, allowing it to transport traffic from Toronto on to Auckland, New Zealand. Soon after it struck a codeshare deal with American Airlines.

Qantas, which owned less than 20% of Air Pacific at the time, began a ten-year management contract with the airline in 1985 to help reverse the financial losses the company was struggling with. In 1986, Air Pacific posted a profit of nearly $100,000. In 1987 Qantas paid a reported $3.5 million for a 20 percent stake in Air Pacific. Qantas raised its equity from 17.45 percent to 46 percent in 1998.

On 25 January 1995 Air Pacific and the then Royal Tongan Airlines began a joint leasing of aircraft. The concept came complete with the livery of the two airlines painted on each side of the Boeing 737-300 fuselage.

Fiji Airways has a subsidiary airline Fiji Link (formerly Pacific Sun) that offers domestic flights and flights to the nearby islands of Tonga, Samoa, Tuvalu and Vanuatu. Fiji Airways is also a partner with the frequent flyer programmes of Alaska Airlines, American Airlines, and Qantas.

Fiji Airways code shares with Air Vanuatu, Alaska Airlines, American Airlines, Cathay Pacific, Hong Kong Airlines, Jetstar, Jetstar Asia, Qantas, Samoa Airways, Singapore Airlines, and Solomon Airlines.

Finally, Fiji Airways has been a Oneworld Connect Member of Oneworld airline alliance since 5 December 2018.

Rebranding as Fiji Airways
In May 2012, the airline announced that it would be rebranding and revert to its original name of Fiji Airways, with the rebranding coinciding with the delivery of the A330 aircraft in 2013. Fiji Airways' new brandmark, a "Masi symbol that epitomises Fiji and enhances the new name of Fiji's national carrier", was announced by Managing Director & CEO Dave Pflieger on 17 August 2012. The design was created by local Fijian Masi artist, Makereta Matemosi. The airline's new brand identity and colour scheme were fully revealed by the CEO and Prime Minister of Fiji at a formal red-carpet, black-tie event in Suva on 10 October 2012, in conjunction with Fiji Day.

The rebranding to Fiji Airways officially took place on 27 June 2013. The name change aimed to associate the airline more closely with the nation and to be more visible in search results. Also during the rebranding of Air Pacific to Fiji Airways, a new line of uniforms for its cabin crew was launched, and was designed by Fiji-based French designer Alexandra Poenaru-Philp. In China, the name Air Pacific was often confused with Hong Kong airline Cathay Pacific, Philippine airline Cebu Pacific and a Chinese air conditioning company. With the rebranding came a name change for the airline's booking classes. The Pacific Voyager (economy) and Tabua Class (business) of Air Pacific became the Fiji Airways' Economy and Fiji Airways' Business Class. The airline also launched a new website with the rebranding.

Corporate affairs

Ownership and structure
Fiji Airways is part of the Air Pacific Group (which includes the national airline, its wholly owned subsidiary Fiji Link, and a 38.75% stake in the Sofitel Fiji Resort & Spa on Denarau Island). The Air Pacific Group itself is owned by the Fijian government (51%), the Australian flag-carrier Qantas (46.32%), and Air New Zealand and the governments of Kiribati, Tonga, Nauru and Samoa each hold minor stakes.

Business trends
The airline was largely profitable from 1995 to 2004, but suffered back-to-back record losses of FJ$5.2 million for fiscal year 2008/2009 and FJ$65.3 million for 2009/2010. In the following years Fiji Airways was hovering around break even financial results. Finally, Stefan Pichler was selected as the airline's new MD/CEO and assumed his role in September 2013 in order to turn around the airline to sustainable profitability. In the following financial year 2013/14, the airline posted a FJ$65.2 million record profit.

The key trends for Fiji Airways, and the overall Group (including Fiji Link operations), are shown below (as at year ending 31 March until March 2013; year ending 31 December thereafter):

Sponsorships
In October 2017, Fiji Airways announced its most comprehensive sponsorship to date, becoming the official airline of Fiji Rugby. The sponsorship saw Fiji Airways taking over the following Fiji Rugby teams with major naming and branding rights for the next five years: Fiji Airways Flying Fijians (15s team); Fiji Airways National 7s Team; Fiji Airways Fijiana 15s Team (Women's 15s team); Fiji Airways Fijiana 7s Team (Women's 7s team); Fiji Airways Drua; Fiji Link Referees (all referees in Fiji will be sponsored by and will wear Fiji Link branded apparel).

In February 2018, it announced its exclusive airline sponsorship  of Super Rugby champions, the BNZ Crusaders.

The airline is also a sponsor of the Fiji International Golf tournament.

Destinations

Fiji Airways serves 27 direct-flight destinations in the Pacific Ocean region.  Fiji Airways is a member of the Oneworld Alliance as a 'connect' partner as of 5 December 2018.

Codeshare agreements
Fiji Airways codeshares with the following airlines:

 Air India
 Air New Zealand
 Air Vanuatu
 Alaska Airlines
 American Airlines
 British Airways
 Cathay Pacific
 Finnair
 Hong Kong Airlines
 Japan Airlines
 Jetstar
 Jetstar Asia Airways
 Qantas
Samoa Airways
 Singapore Airlines
 Solomon Airlines

Fleet

Current fleet

, Fiji Airways fleet consists of the following aircraft:

Historical fleet

Fiji Airways formerly operated the following aircraft, including:

References

External links

 Air Pacific website archived at the Wayback Machine

Air New Zealand
Airlines established in 1947
Airlines of Fiji
British Overseas Airways Corporation
Government-owned airlines
Oneworld connect partners
Qantas
1947 establishments in Fiji

Fiji Airways


قد يشير المصطلح جزيرة فيكتوريا (Victoria Island) إلى:

صفحات توضيح أسماء أماكن

جزيرة فيكتوريا (توضيح)


Olaylar

Doğumlar
 Justa Grata Honoria, Batı Roma İmparatoru III. Valentinianus'ün ablası (ö. 452)

Ölümler
 I. İnnocentius, 401'den ölümüne kadar Katolik Kilisesi için papalık yapan aziz

417


Real Oviedo er en spansk fodboldklub med hjemsted i byen Oviedo i den autonome region Asturien. Klubben blev grundlagt den 26. marts 1926 ved en sammenlægning mellem byen lokalrivaler Real Stadium Club Ovetense og Real Club Deportivo Oviedo. Klubben spiller i Segunda División, den næstbedste spanske række.

Fodboldklubber i Spanien
Etableret i 1926

Real Oviedo


Marselisborg Havn eller Marselisborg Lystbådehavn er en lystbådehavn i Aarhus. Havnen har plads til 450 lystbåde.

Historie
I begyndelsen af 1980'erne blev trafikhavnen i Aarhus udbygget. I den forbindelse blev der etableret en lang mole ud i bugten til beskyttelse af trafikken, og området mellem den nye mole og Tangkrogen blev en opfyldning påbegyndt. Derved opstod en lagune yderst ved molen, og der begyndte mange bådejere at lægge deres både, idet der i det eksisterende anlæg var fyldt godt op med fritidsbåde.

Den planlagte opfyldning truede nu med at eliminere det uformelle oplægningsområde for lystfartøjer, og de bådejere, der brugte området, stiftede en forening for at kunne forhandle med kommunen. På et møde i maj 1982 blev Marselisborg Havneforening stiftet. Foreningen havde som det første held til at få stoppet den resterende opfyldning på havbunden, og dernæst gik man i samarbejde med især kommunen i gang med at planlægge en egentlig havn. Efter forskellige forhindringer barslede foreningen med et projekt for en havn med tre afsnit i april 1984. I slutningen af det følgende år forelå en lokalplan for området med plads til den nye lystbådehavn, og foreningens medlemmer havde tegnet sig for et betragteligt antal bådepladser, blandt andet var hele første afsnits 160 pladser solgt.

Byggeriet blev påbegyndt i januar 1986 med flere flydebroer samt enkelte bygninger (kiosk, toilet), og 24. maj samme år blev den første standerhejsning afholdt. I de følgende år blev havnen udvidet, og der en fuldtidshavnemester blev ansat. Der blev etableret en ny sejlsportsklub, Marselisborg Sejlklub.

Efterhånden er der opført en række større bygninger på havnen, så der nu er flere restauranter, proviantbutikker samt forskellige liberale erhvervslejemål.

I 2015 blev planer for en stor udvidelse af havnen offentliggjort. Projektet skal udvide kapaciteten med 500 bådpladser, hvilket er mere end en fordobling fra den nuværende. Efter planen skal udvidelsen stå færdig i 2020.

Referencer

Eksterne henvisninger

Havnens hjemmeside

Havne i Danmark
Aarhus

Marselisborg Havn


Patriciu Covaci (n. 10 octombrie 1876, Neagra – d. 1954, Sebiș) a fost un delegat al reuniunii învățătorilor din protopopiatul Buteni în Marea Adunare Națională de la Alba Iulia.

Biografie
Patriciu Covaci a studiat școala primară în comuna Buteni, jud. Arad, școala gimnazială la Beiuș, jud. Bihor, școala normală la Arad, după absolvirea căreia, la 1 septembrie 1896, a intrat în învățământ ca învățător în comuna sa natală, unde a funcționat până în anul 1899, când s-a mutat în comuna Sebiș, jud. Arad, unde a profesat tot în învățământ. S-a căsătorit cu Elisabeta, fiica învățătorului Ioan Filip, căsătorie în urma căreia au rezultat trei băieți și două fete: unul avocat și profesor, unul notar, care a murit pe front, și două învățătoare. Până în 1922 a fost învățător confesional, după care a devenit învățător de stat. A fost director școlar și director la școala de ucenici până în 1 septembrie 1936 când a fost pensionat la cerere. A fost notarul și președintele reuniunii învățătorilor din protopopiatul Buteni. A luat parte la Primul Război Mondial. A urmat studii militare în Budapesta, fiind înaintat la gradul de sublocotenent. A fost numit comandant al gărzilor rurale din zona Sebiș. A fost președintele Astrei, departamentul Sebiș și președintele Cercului cultural Sebiș.

Note

Bibliografie

Lectură suplimentară
 Daniela Comșa, Eugenia Glodariu, Maria M. Jude, Clujenii și Marea Unire, Muzeul Național Transilvania, Cluj-Napoca, 1998
 Florea Marin, Medicii și Marea Unire, Editura Tipomur, Târgu Mureș, 1993
 Silviu Borș, Alexiu Tatu, Bogdan Andriescu, (coord.), Participanți din localități sibiene la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918, Editura Armanis, Sibiu, 2015
 Ioan I. Șerban, Dorin Giurgiu, Ionela Mircea, Nicolae Josan, Dicționarul personalităților Unirii. Trimișii românilor transilvăneni la Marea Adunare Națională de la Alba Iulia, Muzeul Național al Unirii, Alba Iulia, 2003, ISBN 973-8141-90-7

Legături externe
 Membrii de drept ai Marii Adunării Naționale de la Alba-Iulia din 1 decembrie 1918, lista publicată în "Gazeta Oficială", Sibiu, nr. 1, 1/14 decembrie 1918

Vezi și
 Lista delegaților la Marea Adunare Națională de la Alba Iulia

Nașteri în 1876
Decese în 1954
Învățători români
Delegați la Marea Adunare Națională de la Alba Iulia

Patriciu Covaci


Krugiodendron ferreum es una especie de arbusto de la familia Rhamnaceae. Se encuentra en el Caribe. Además es una planta medicinal, ayuda a la desintegración de los cálculos renales.

Descripción
Es un arbusto inermes, que alcanza un tamaño de 3–6 m de alto o usualmente arbolitos de 5–8 m o más altos; plantas hermafroditas. Las hojas son opuestas a subopuestas, las láminas elíptico-ovadas a raramente elíptico-oblongas, de 2.5–5  cm de largo y 2–4 cm de ancho, el ápice adelgazado y mayormente emarginado, la base redondeada, el margen entero, a veces revoluto e irregularmente eroso pero no dentado cuando seco, haz glabra, envés pálido, con tricomas dispersos o agrupados en los nervios; pecíolos  2–3.5 mm de largo; estípulas subuladas, diminutas, caducas. Las inflorescencias son axilares, en cimas semejantes a umbelas con pocas flores, pedúnculos cortos, las flores amarillo-verdosas; cúpula corta, libre del ovario, cubierta con un tejido nectarífero delgado que termina arriba en un margen ondulado en la base de la inserción de los estambres; los sépalos (4–) 5 (–6); pétalos ausentes; ovario 2-locular, óvulo 1 por lóculo, estilo 1, profundamente 2-fido, cada una de las 2 ramas con un diminuto estigma capitado. El fruto ovoide a globoso-ovoide, de 1–1.5 cm de diámetro cuando maduro (raramente visto en especímenes secos), drupáceo con un mesocarpo delgado carnoso y un hueso con la pared relativamente delgada la cual tiene 2 o comúnmente, por aborto, 1 lóculo funcional.

Distribución y hábitat
Es una especie aparentemente rara que se encuentra en matorrales o bosques subhúmedos, en las zonas norcentral y atlántica; a una altura de 30–900 , desde los Estados Unidos (sur de Florida) y México hasta Costa Rica, también en las Antillas.

Taxonomía
Krugiodendron ferreum fue descrito por (Vahl) Urb. y publicado en Symbolae Antillanae seu Fundamenta Florae Indiae Occidentalis 3(2): 314, en el año 1902.
Sinonimia

Referencias

Rhamneae

Krugiodendron ferreum


Louis-Joseph de Montmorency-Laval (Bayers, 11 de dezembro de 1724 - Altona, 17 de junho de 1808) foi um cardeal do século XVIII e XIX

Nascimento
Nasceu em Bayers em 11 de dezembro de 1724, Castelo de Baillet, Bayers, Charente, diocese de Angoulême, França. Filho de Guy André de Montmorency-Laval e Marie-Anne de Turménies de Nointel. Seu sobrenome também está listado como Laval-Montmorency.

Educação
Estudou na Universidade Sorbonne, em Paris, onde obteve a licenciatura em direito canônico.

Sacerdócio
Ordenado (nenhuma informação encontrada). Vigário geral de Sens. Nomeado ao episcopado pelo rei Luís XV da França em 7 de novembro de 1753.

Episcopado
Eleito bispo de Orléans, 14 de janeiro de 1754. Consagrado, 10 de fevereiro de 1754, na catedral metropolitana de Notre-Dame, Paris, por Christophe de Beaumonts, arcebispo de Paris, auxiliado por Étienne-René Poitier des Gevres, bispo de Beauvais, e por Pierre de Rochechouart, bispo de Bayeux. Nomeado para a sé de Condom pelo rei Luís XV em 8 de outubro de 1757. Renunciou à sé de Orléans em 28 de fevereiro de 1758. Transferido para a sé de Condom em 13 de março de 1758. Nomeado pelo rei Luís XV para a sé de Metz, 21 de agosto de 1760. Transferido para a sé de Metz em 6 de abril de 1761. Grande esmola da França e comandante da Ordem de Saint-Esprit desde 1786. Abade comendatario do Mont Saint Michel desde 1788.

Cardinalado
Criado cardeal sacerdote no consistório de 30 de março de 1789; o papa enviou-lhe o barrete vermelho com um breve apostólico datado de 3 de abril de 1789 com seu sobrinho, Ablegato Anna-Pierre de Laval Monmorency, camareiro particular supernumerário de Sua Santidade; ele nunca foi a Roma para receber o chapéu vermelho e o título. Durante a Revolução Francesa foi para o exílio na Alemanha. Não participou do conclave de 1799-1800, que elegeu o Papa Pio VII. Não renunciou à diocese como solicitado para facilitar a implementação da Concordata de 1801 entre a França e a Santa Sé.

Morte
Morreu em Altona, Alemanha em 17 de junho de 1808, no exílio. Cripta enterrada da igreja de Saint-Joseph, em "Grosse Freiheit". Em 4 de julho de 1900, seus restos mortais foram trasladados e enterrados na cripta da catedral de Metz. A cripta da igreja de São José de Altona foi destruída por um bombardeio durante a Segunda Guerra Mundial.

Cardeais nomeados pelo papa Pio VI

Louis-Joseph de Montmorency-Laval


كفررمان هي قرية جنوبية لبنانية على مقربة من مدينة النبطية وقرية حبوش، تقع في محافظة النبطيه، قضاء النبطية.

يبلغ عدد سكان كفررمان حوالي 11000 نسمة. عدد الناخبين 3800 ناخب (لوائح الشطب لعام 2000م) أما عدد الوحدات السكنية فيبلغ 1100 وحدة.

تبلغ مساحة البلدة العقارية لكفررمان نحو 35 ألف دونم، أكثر من ثلثيها صالح للزراعة وأهمها سهل الميذنة، الشريان الحيوي والاقتصادي للبلدة، تربته خصبة وهو غني بالينابيع وأهمها نبع الميذنة ونبع شقحة وعين الحمى، وقد أحرقت قوات الاحتلال بساتينه واقتلعت أشجاره في فترة الاحتلال.

كفررمان مشهورة بناتج أرضها من الخضار على مختلف أنواعها، والتي تعرض في ركن خاص بأبناء البلدة خلال سوق الاثنين في مدينة النبطية، التي تلتصق بحدودها الغربية، وتبعد عن سطحها كيلومترين اثنين فقط، وهي ترتفع عن سطح البحر 450 متراً. وتبعد عن العاصمة بيروت 72 كلم.

كفررمان تحت الاحتلال

لم يرضخ أهالي كفرمان للمحتل الغاصب أرضهم، العدو الإسرائيلي. منذ العام 1985م، واستمروا يحلمون بتحرير الجزء الشرقي منها، وعصبه سهل الميذنة. والسهل هذا كان يشكل المورد الحيوي لاقتصاد البلدة منذ القديم، وعانى الأهالي الأمرين وهم يبحثون عن بديل يسد بعض الرمق ريثما تتم استعادته، لذا لم يرضخوا، بل كافحوا - وهم المعروفون بالنضال والصمود - وعاندوا العدو، وسقط منهم عشرات الشهداء في سبيل الدفاع عن بلدتهم التي لم يرضوا عنها بديلاً. وقاوموا كذلك موقعي الاحتلال في «الطهرة» و«الدبشة» الذين كانا بمثابة القابضين على أنفاس المواطنين، يحصيانها ويعبثان في الأرض فساداً ومجازر. وبرغم ذلك كله، انتصرت العين، عين كفرمان، على المخرز، فكان التحرير والنصر في الرابع والعشرين من أيار العام 2000م.

بلدة الشهداء والنضال، وبلدة الحياة الثقافية والاجتماعية والعمل الشعبي التطوعي في سبيل المصلحة العامة.

تاريخياً

كان معظم أراضي البلدة في أواخر القرن التاسع عشر ملكاً لصادق باشا وهو نافذ عند الأتراك. وفي مطلع القرن العشرين اشترى الحاج إسماعيل الزين أحد تجار صيدا تلك الأملاك، وورثه بعده ولده يوسف بك الزين، فأضاف إليها المزيد من المساحات التي انتقلت في ما بعد إلى الورثة، في وقت كانت القلة القليلة من أبناء البلدة تمتلك أراضيَ خاصة باسمها.

هجرة ابنائها

أما الهجرة فقد بدأت أواخر القرن التاسع عشر ومطلع القرن العشرين إلى البرازيل وأميركا اللاتينية حيث بلغ عدد المهاجرين الأوائل خمسة وثمانين رجلاً، لم يعد منهم سوى ثمانية أشخاص. وفي بداية الخمسينيات انطلقت هجرة جديدة إلى الكويت ودول الخليج وصلت إلى أربعمئة مواطن في العام 1965م.

وحتى يومنا هذا لا تزال الهجرة مستمرة ولكن توسعة إلى بعد الدول الأوروبية والولايات المتحدة، كما تجدر الإشارة إلى هجرة الشباب طلباً للعلم خاصة إلى الدول الأوروبية كفرنسا وألمانيا.

التسمية
كفرمان، كفر: بمعنى قرية. رمان: هذه البلدة كانت رمزاً لفاكهة الرّمان حيث كانت تكثر فيها زراعة هذا النوع من الشجر المثمر. أو اشتق الاسم من Rummana قرية الإله رمو، أو رمانا، وقد كان شجر الرمان وعلى وجه التدقيق زهره الأحمر الجميل «الجلنار»، رمز الإله السامي القديم. فاتخذت من رمزه اسماً لها تيمناً به.

آثارُها
البُرج : يوجد في جبل عامل أماكن كثيرة يطلق عليها اسم البرج ويضاف إليه. ولم يقتصر بناء الأبراج على شعب معين، فالفينيقيون والرومان والعرب والصليبيون وحتى حكام البلاد الإقطاعيون عرفوا بناء الأبراج لما تلعبه من دور في صد غارات العدو ومراقبة تحركاته. فهذا الدور للبرج كان يحتم إنشاء بعضها على المرتفعات وهي معروفة بآثارها إلى اليوم مثل:

برج الميذنة : خراج بلدة كفررمان شرقاً يقع عند أسفل جبل سجد، وبالوادي المعروف بوادي الجرمق، وهو قائم بين جبلين وعلى نبع ماء عذب) نبع الميذنة (ويقع غرب النبع إلى مسافة ثلاثين متراً آثار بناء فخم تزعم العامة أنه كان قصراً للسموأل ابن عادياء.

حبس البرج : يشبه برج الميذنة من حيث طريقة البناء والارتفاع ونوع الحجارة الضخمة المقصوبة على ما يبدو من الجبل المقابل لكل منها والمسمى بجبل الطهرة.

سهل الميذنة : يقع في خراج بلدة كفررمان شرقاً لها سهل فسيح خصب، يجري فيها نبع ماء غزير، وفيها آثار بناء قديم محكم (ورد ذكره في برج الميذنة). وبجوار نبع الميذنة ينابيع شقحة والحمى وعين أم علي وكلها ينابيع صغيرة.

قلعة دير عجلون ((((عجلون وجبالها مدينة معروفة في شمال الأردن))): هذا ما تعرف به تلك المنطقة في خراج البلدة ولم يبق منها اليوم سوى بعض الأحجار الضخمة على تلة تشرف على سهل الميذنة بأكمله... وهي تقع على هضبة بين الجرمق وكفررمان. يمتد إلى الناحية الغربية من القلعة سهل واسع صالح للزراعة. وهي بحكم موقعها المشرف كانت محط رحال جد الأسرة الصعبية الأولى بهاء الدين. من أعقاب الملك الأفضل نور الدين الأيوبي. وقد جاء الصعبيون إلى جبل عامل في عهد صلاح الدين الأيوبي.

الطُهرة : وهي قرية إلى الناحية الجنوبية الشرقية للبلدة. يوجد فيها بقايا آثار قرى من نواح متفرقة من مرتفعاتها بالإضافة إلى بعض المدافن. وسبب تسميتها طهرة بحكم موقعها قرب مزرعة علي الطاهر فكان اسمها مشتقاً من اسمه.

المغاور : وهي عديدة في خراج كفررمان. أشهرها: مغائر عريض الملة، ومغائر محلاّ. مغائر عريض الملة ومحلاّ: تقع على سفح جبل طهرة إلى الناحية المقابلة للنبطية وعددها حوالي 13 مغارة متقاربة وهي محفورة في الصخر وتنفتح مداخلها على الناحية الغربية ولا يدخل إليها نور الشمس مطلقاً. وهي على عمق يتراوح ما بين متر أو مترين تحت سطح الأرض. يتم الدخول إلى المغارة عبر ممر يبلغ طوله نحو مترين يفضي من خلال الباب إلى الداخل حيث البهو العام الذي يتوزع على عدد من الكوات التي لا تتسع الواحدة منها لأكثر من شخصين. وقد بلغ عدد هذه الكوات في إحدى المغائر سبعة، واختلف عددها ما بين مغارة وأخرى. ويعتقد أنها كانت تستخدم مدافن أو مخابئ... أما مغائر «محلاّ» فهي مشابهة لمغائر الملة وتقع إلى الناحية الغربية للبلدة يحدها من الغرب مبنى شركة الريجي الذي يبعد ثلاثين متراً عنها.

'''== المجلس البلدي ==حتى العام 1998كانت كفررمان بادارة محافظ النبطية مع وجود موظف يتابع كافة المعاملات المالية والادارية باشراف وتوجيه المحافظ وقدتتابع على هذا المنصب كل من السادة: غازي محمود ظاهر ثم يوسف علي خليل ابوزيد وأخيرا السيد خليل محمودسلامة الذي بقي حتى استلام أول مجلس بلدي لمهامه بعد انتخابه في أول انتخابات بلدي في لبنان عام 1998 وكان هذا المجلس برئاسة السيد سطام أبو زيد الذي جاء رئيسا للمجلس في الولاية الثانية في انتخابات العام 2004 وفي العام 2010 انخب مجلس ثالث برئاسة السيد كمال أحمد غبريس والذي ستنتهي ولايته عام 2015.

الوصلات الخارجية
موقع كفررمان

المراجع

أماكن مأهولة في لبنان
أماكن مأهولة في محافظة النبطية
تجمعات شيعية في لبنان
قرى جبل عامل
مدن لبنان
منطقة النبطية
أماكن مأهولة في قضاء النبطية

كفررمان


Almenn félagasamtök (Frjáls félagasamtök eða almenn félög) eru ólík skipulagsbundin félagasamtök með sjálfstæðan rekstur, frjálsa félagsaðild, sjálfboðaliða og markmið byggð á ákveðinni hugmyndafræði sem er óháð hagnaði.

Skilgreining

Almenn félög eru varanleg skipulagsbundin samtök tveggja eða fleiri aðila, sem stofnað er til af fúsum og frjálsum vilja með einkaréttarlegum löggerningi í því skyni að vinna að ófjárhagslegum tilgangi. Ef rekstur þeirra kemur út í hagnaði þrátt fyrir að vera ekki rekinn í hagnaðarskyni, rennur hann til starfseminnar en er ekki dreift til félagsmanna eða annarra.

Á Íslandi verða almenn félög lögaðilar þegar þau hafa verið stofnuð og er skráning ekki skilyrði fyrir rétthæfi þeirra. Hægt er fá slík félög skráð í fyrirtækjaskrá ríkisskattstjóra skv. lögum nr. 17/2003 um fyrirtækjaskrá en þau eru ekki skráningarskyld. Sem dæmi um almenn félög sem hafa fengið slíka skráningu eru stjórnmálaflokkar, íþróttafélög, skákfélög, fagfélög, stéttarfélög, samtök vinnuveitenda, mannúðarfélög og menningarfélög.

Ólíkar skilgreiningar eru til um almenn félagasamtök. Þau tilheyra svokölluðum "þriðja geira", það er félög og stofnanir sem starfa í almannaþágu án hagnaðarsjónarmiða og tilheyra hvorki opinberum rekstri né einkarekstri. Starfsemi þriðja geirans er þannig einkarekin en snýst um að skapa vörur eða þjónustu sem teljast til almannagæða. Með því er átt við félög og stofnanir sem starfa í almannaþágu án hagnaðarsjónarmiða og tilheyra hvorki opinberum rekstri né einkarekstri.

Flokkunarkerfi SÞ

Sameinuðu þjóðirnar hafa flokkað hagnaðarlaus félög samkvæmt svoköllum ICNPO staðli. Samkvæmt honum er starfsemi innan þriðja geirans flokkuð í menningar- og listastarfsemi, menntastofnanir, rannsókna- og þróunarstarfsemi, heilbrigðisþjónustu, félagslega þjónustu, húsnæðisfélög, og góðgerðasamtök og líknarfélög. ICNPO flokkunin er síðan greind niður og gefin ólík númerum.

Samkvæmt þessu alþjóðlega skilgreiningakerfi (ICNPO: International Classification of Nonprofit Organization) sem þróað var af John Hopkins Center for Civil Society Studies, þarf starfsemi að innihalda eftirfarandi fimm skilyrði:
 Hafa eitthvert formlegt skipulag, svo sem formlegar eða ófomlegar reglur sem skilgreina markmið, verkefni og framlag.
 Vera sjálfstæð að meginstefnu til í eigin málum.
 Hafa ekki hagnað að markmiði. Ef hagnaður myndast er honum ekki dreift til hluthafa, félaga, starfsmanna eða eigenda, heldur rennur til starfseminnar.
 Vera rekin fyrir utan hið opinbera (ríki eða sveitarfélög). Hún er til dæmis ekki hluti af einhverri opinberri stofnun.
 Starfsemin er sjálfboðin, það er byggir á frjálsri félagsaðild og er að einhverju leyti byggð á sjálfboðastarfi og fjárhagslegum framlögum einstaklinga.

Sem dæmi um þessa flokkun eftir ICNPO staðlinum voru á Íslandi árið 2006, 290 félög í flokknum "önnur heilbrigðisþjónusta" (ICNPO 3400). Undir það falla félög öryrkja, aldraðra eða sjúklinga af ýmsu tagi. Þá eru samtök á borð við AA-samtökin, félög eldri borgara, blindrafélög, Geðhjálp o.s.frv. Þannig eru yfir 90 deildir AA-samtaka og yfir 20 krabbameinsfélög. Samkvæmt ICNPO 12100, voru í landinu eru 249 kvenfélag og 233 félög á sviði þróunar- og umbótastarfssemi á sviði atvinnulífs, félagsmála og nærsamfélaga (ICNPO 6100). Í skólum landsins voru 226 nemendafélög (ICNPO 11300) og 260 hjálparsamtök og björgunarsveitir (ICNPO 8200).

Almannaheill

Á Íslandi hafa félög sem tilheyra "þriðja geiranum" með sér frjáls félagasamtök sem nefnast "Almannaheill – samtök þriðja geirans". Þau voru stofnuð sumarið 2008 til að vinna að sameiginlegum hagsmunamálum fyrir almannaheillasamtök og sjálfseignastofnanir sem starfa í almannaþágu, vinna að sem hagfelldustu starfsumhverfi fyrir þessa aðila, styrkja ímynd þeirra, efla stöðu hans í samfélaginu og koma fram fyrir hönd þriðja geirans gagnvart opinberum aðilum og fjölmiðlum. Ennfremur vinna samtökin að því að heildarlöggjöf verði sett um starfsemi frjálsra félagasamtaka, að bæta skattalega stöðu þeirra, og að auka sýnileika þriðja geirans í þjóðfélaginu.

Alþjóðleg félagasamtök

Alþjóðleg félagasamtök (e. "international non-governmental organization (NGO)") eru félagasamtök með sjálfstæðan rekstur, frjálsa félagsaðild, sjálfboðaliða og markmið byggð á ákveðinni hugmyndafræði sem er óháð hagnaði og starfa þvert á landamæri. Dæmi um slík félagasamtök" eru Alþjóðasamband landsfélaga Rauða krossins og Rauða hálfmánans.

Á Íslandi gilda sérstök lög á Íslandi um félög til almannaheilla sem stofnað er til eða starfrækt eru í þeim tilgangi að safna eða útdeila fjármunum í almannaþágu og eru með starfsemi yfir landamæri. Þau eru skráningarskyld samkvæmt lögum nr. 119/2019.

Tilvísanir

Almenn félagasamtök


Just Dance 2 Extra Songs (conocido como Just Dance Summer Party en América) es un juego que cuenta con todas las canciones descargables de Just Dance 2 (a excepción de  It's Not Unusual, Crazy Christmas, Spice Up Your Life, Come On Eileen y Should I Stay Or Should I Go). Fue lanzado en Europa el 17 de julio de 2011 y en Norteamérica el 19 de julio de 2011.

Lista de canciones

* indica que la canción es una versión, no la original.

Véase también
 Just Dance
 Just Dance 2
 Just Dance 3
 Just Dance Wii (Japón)
 Ubisoft

Referencias

Enlaces externos
 Página oficial de Just Dance 2 Extra Songs (español)

Just Dance
Videojuegos de 2011
Videojuegos de música
Videojuegos de Ubisoft
Videojuegos para Wii

Just Dance 2 Extra Songs


Le barrage de Rioumajou est un lac de barrage pyrénéen français situé administrativement dans la commune de Saint-Lary-Soulan dans le département des Hautes-Pyrénées en région Occitanie.

C'est un lac qui a une superficie de  pour une altitude de .

Toponymie
En occitan, riou signifie « cours d'eau, ruisseau » et majou de maou signifie « mauvais » donc la vallée du mauvis ruisseau.

Géographie
Le barrage est situé en vallée d'Aure au centre de la vallée du Rioumajou, dans le sud-est du département français des Hautes-Pyrénées.

Topographie

Hydrologie
Le barrage a pour émissaire le ruisseau de Bisourte affluent droit de la Neste de Rioumajou.

Climat

Protection environnementale

Le barrage fait partie d'une zone naturelle protégée, classée ZNIEFF de type 1 : Haute vallée d'Aure en rive droite, de Barroude au col d'Azet

Voies d'accès
Pour atteindre le lac  au départ de Tramezaigues, il faut passer par la  qui longe le barrage.

Notes et références

Voir aussi

Articles connexes
 Liste des lacs des Hautes-Pyrénées
 Liste des lacs des Pyrénées

Liens externes
 Barrage de Rioumajou

Rioumajou
Rioumajou
Rioumajou
Massif de Suelza

Barrage de Rioumajou


Graham Stephen Potter (fæddur 20. maí árið 1975 í Solihull á Englandi)
er enskur knattspyrnustjóri og fyrrverandi leikmaður.

Potter hefur þjálfað Östersund, Swansea, Brighton og Chelsea.

enskir knattspyrnustjórar

Graham Potter


Canal Familiar fue un canal de televisión abierta peruano, que existió de 1996 y 1997, apareció poco después del cierre de la señal de RBC Televisión más o menos por mayo de 1996 que poco después fue alquilada por la organización cristiana Club 700, subsidiaria de la Christian Broadcasting Network (CBN) y llenaron la programación con contenido familiar y cultural, muy apreciados por la prensa de espectáculos de la época.
Programas como: "Se viene la tropa" con Claudio Zola, "El Show del Super libro" con Gloria María Solari, "A las 12 en el 11" con Estrella Amprimo, "Vídeo Gospel", "La Casa Voladora", "La Estación Creativa" y "Nace una Estrella" con Lucho García, entre películas, series y documentales, eran transmitidos toda la semana, durante las 24 horas.

La Gerencia General del Canal estaba a cargo del empresario argentino Eduardo Pensotti y el productor peruano César Carazas ocupó el cargo de Gerente de Televisión.  Al pasar casi dos años el contrato terminó en octubre de 1997 y volvió como RBC Televisión con programación musical por unos meses hasta la llegada de Austral Televisión en enero de 1998.

Después Canal Familiar cesa sus transmisiones para ser reemplazado por Austral Televisión , después que RBC Televisión y las familias Palermo y Mendoza han firmado un acuerdo de emitir el canal por 10 años.

Televisión de Perú en 1996
Canales de televisión desaparecidos de Perú

Canal Familiar


رياضة الدراجات الهوائية شاركت في مسابقات الألعاب الأولمبية الصيفية 2008 من 9 اغسطس حتى 23 اغسطس 2008 في ميادين مضمار لاوشان للدراجات وفي أماكن أخرى في بكين.

لائحة الميداليات

مراجع

أحداث الألعاب الأولمبية الصيفية 2008
ركوب الدراجات في الألعاب الأولمبية الصيفية
سباق الدراجات الهوائية في سنة 2008
سباق الدراجات على الطريق في سنة 2008
سباقات دراجات دولية استضافتها الصين

سباق الدراجات الهوائية في الألعاب الأولمبية الصيفية 2008


Die polnische Unihockeynationalmannschaft repräsentiert Polen bei Länderspielen und internationalen Turnieren in der Sportart Unihockey (auch bekannt als Floorball).

Der polnische Floorballverband wurde 1995 gegründet und 1997 in die International Floorball Federation aufgenommen. Das erste Länderspiel trug die polnische Nationalmannschaft am 19. September 1998 gegen Lettland aus (1:5-Niederlage). 2000 nahm Polen auch erstmals an der Weltmeisterschaft teil. Beim Turnier in Norwegen erreichte man den zwölften Platz. Mit Platz neun bei der Weltmeisterschaft 2010 in Finnland feierte Polen das bisher beste Weltmeisterschaftsresultat.

Weltmeisterschaften

Siehe auch
 Polnische Unihockeynationalmannschaft der Frauen

Weblinks

 Team-Profil auf floorball.org

Polen

Unihockey

Polnische Unihockeynationalmannschaft


රංගනය
උද්ධික ප්‍රේමරත්න - දුටුගැමුණු රජ
ජැක්සන් ඇන්තනී - එළාර රජ
ශ්‍රියන්ත මෙන්ඩිස් - කාවන්තිස්ස රජ
සාරංග දිසාසේකර - තිස්ස කුමරු
කුසුම් රේණූ - විහාරමහා දේවිය
අර්ජුණ කමලනාත් - සුරනිමල
බුද්ධදාස විතානාරච්චි - මහාසීව තෙරුන්
අජිත් වීරසිංහ - නන්දිමිත්‍ර
අරුණි රාජපක්ෂ - කළු මැණිකා
ලකී ඩයස් - මහ ඇමැති මහානන්ද
දමිතා අබේරත්න
රෙබේකා නිර්මලී
ජගත් මනුවර්ණ
දිමුතු චින්තක - මහ ගමරාල
සඳුන් බණ්ඩාර - බට්ඨාර
තාරුකා වන්නිආරච්චි - විහාරමහා දේවිය(තරුණ)

මහරජ ගැමුණු


Tarihçe
Horn tipi hoparlörler, hoparlörler arasında en değişik ve özel tasarımlardan bir tanesi hatta belki de en egzotik olanıdır. Türkçeye boru hoparlör olarak çevirilebilir. Makelenin bundan sonrasında horn yerine boru kullanılacatır. Ortaya çıkışları ilk amplifikatörlerin bulunmasına kadar uzanır. 1923 yılında ilk triyod lambaların bulunmasının akabinde bu yükseltilmiş sinyallerin ses dönüştürülmesi amaçlanan bir teknoloji aranmaktaydı. Bulunan ilk çözümlerden bir tanesi boru şekline getirilmiş metal diyaframların, titreşimler üreterek ses vermelerine dayanıyordu. Bu ilk tip borular özellikle eski gramofonlarda kullanılmaktaydı. Bell Laboratuvarlarından iki mühendis 1927 yılında daha yenilikçi bir çözüm geliştirmeyi başardılar. Farklı şekilde yüklenmiş elektrik sayesinde anlık oluşan manyetikleşmeler ile ses üretebileceklerini buldular. Hoparlörlerin dönüm noktası budur. İlk dönemlerden bu yana birçok firma boru tipi hoparlörler üretmiştir. Hatta bir kısmı üretimlerine devam etmekte, bir kısmı da bu teknolojiyi sadece belirli frekansları kapsayan sürücülerde kullanmaktadırlar. Boru tipi hoparlörleri üreten en önemli firmalar, JBL, Altec Lansing, Klipsch, Lowther gibi firmalardır. Bugün bunlara sadece bu konuda üretim yapan özel firmalarda katılmıştır ki, en önemlisi Avantgarde Audio'dur. O yıllardan bugüne teknolojik olarak devamlı gelişerek üretilmiş, en eski hoparlör tipi boru tipi hoparlörlerdir.

Çalışma Prensipleri
En basit hali ile oldukça hızlı bir sürücü hoparlörlerden gelen titreşimlerin konik bir boru içerisinde daha fazla basınç oluşturarak büyültülmesi esasına göre çalışır. Konik yapılı şekil ilk ortaya çıktığından bugüne kadar çeşitli değişikliklere uğrasa da, ana şekli çok bozulmamıştır. Bu şekil teorik olarak akustik sinyallerin değişimini sağlamaktadır. Zaten boru tipi hoparlörlerin çalışma şekillerinin esası da budur. En önemli parça sürücü hoparlördür. Genelde bütün frekans değerlerini iletebilen tek bir sürücü özel hoparlör kullanılır. Bu da farklı ünitelerin kullanılmasından genelde daha etkin bir çözüm üretir. Tüm zamanlama hataları ortadan kalkar. Bu sürücünün oluşturduğu ses sinyalleri yani titreşimler borunu içerisinde büyüyerek hoparlörden dışarıya çıkar. Alışılagelmiş bir hoparlör tasarımında da en büyük farkı budur. Standart bir hoparlör üzerindeki sürücüler bu tarz mekanik bir büyütme yapmazlar. Bu büyütme oranın büyüklüğünden dolayı teorik olarak desibel kazançları yüksektir. Bu nedenle Single Ended Amplifikatörlerle sürülmeleri daha uygundur.

Tasarım Sorunları
 Boru tipi hoparlörler genelde ses sinyalleri büyütürken bir değişime uğratırlar. Bunun yanı sıra belirli bir orandan daha fazla gürültü oluştururlar. Bu sebeple tasarımları ciddi anlamda mühendislik çalışma gerektirmektedir. Bugün bazı hoparlör üreticileri bu sorunları yenmeyi başarmış ve çok hassas cihazlar üretmeyi başarmışlardır. Fakat ürünlerin fiyatları çok yüksek olduğundan yaygınlaşamamıştır.
 Yüksek hızlı sürücü tasarımındaki sorunlar. Tüm frekans değerlerini mükemmel olarak yansıtabilen bir tasarım neredeyse imkânsızdır. Bu nedenle özellikle alt frekans ses sinyallerinin farklı bir hoparlöre üst ve orta frekansların ise tek bir sürücü hoparlörden aktarılması ile bu sorun çözümlenmiştir. Bazı firmalar her üç grup ses frekansını ayrı hoparlörlerden vererek 3 ayrı boru ünitesi kullanmaktadırlar. Sonuçta 1 hoparlör başına 3 adet boru düşmekte ve cihazın boyutları ve ağırlığı inanılmaz hale gelebilmektedir.
 Diğer sistem bileşenlerinin maksimum kalitede olması gerekliliği. Bir boru tipi hoparlör sürücüden gelen her sinyali büyütür. Eğer bağlı olduğu sistemde örneğin bir dip gürültü var ise, bu gürültüyü de büyüterek rahatsız edici hale getirebilir. Bunu önlemek için tüm sistem bileşenlerinin, kablolama ve hatta elektrik sisteminin özel olarak tasarlanmış olması gerekliliği, parasal değeri inanılmaz yükseltmektedir.

Dış bağlantılar
 Bazı boru tipi hoparlör üreticilerinin web siteleri
 Avantgarde Audio web sitesi
 Lowther web sitesi
 Klipsch web sitesi
 Living Voice web sitesi

Ses teknolojileri

Boru hoparlör


Luristan Eyaleti (Farsça: استان لرستان, Ostān-e Lorestān), İran'ın 31 eyaletinden birisidir.

Zagros Dağları arasında yer alan eyalet tarihi açıdan ülkenin en önemli bölgelerinden birisidir. Eyaletin nüfusu 2006 yılı itibarıyla 1.716.527 kişi olarak tespit edilmiştir.

Yüzölçümü 28.392 km2 olan eyaletin yönetim merkezi Hürremabad şehridir. Eyaletin diğer önemli şehirleri şunlardır: Borucerd, Aligudarz, Dorud, Kuhdeşt, Azna, Alaştar, Nurabad ve Pulduhtar. Eyalet kuzeyden Hamedan ve Merkezi, doğudan İsfahan, güneyden Huzistan ve batıdan İlam eyaletleriyle çevrilmiştir.

Luristan


Această listă recenzează catedrale din Siria.

 Catedrala Adormirea Maicii Domnului din Damasc
 Catedrala Profetul Ilie din Alep
 Catedrala Sfinții 40 de mucenici din Homs
 Catedrala Sfântul Gheorghe din Latakia
 Catedrala Sfântul Gheorghe din Hama

Liste de catedrale

Lista catedralelor din Siria


م53أو مسييه 53 (بالإنجليزية: Messier 53 أو M53أو NGC 5024 ) هو تجمع نجمي يوجد في كوكبة الهلبة . اكتشفه يوهان بوده عام 1775. والتجمع النجمي هذا هو أبعد تجمع عن مركز المجرة حيث يبعد عنه نحو 60.000 سنة ضوئية ، كما يبعد تقريبا نفس البعد عن المجموعة الشمسية (58000 سنة ضوئية).

خصائص التجمع
 الحجم : 13 دقيقة قوسية
 سطوعه : 3و8 قدر ظاهري
 السطوع الفوتوغرافي : 0و9 قدر ظاهري
 القطر الظاهري : 6و12 دقيقة قوسية
 يتبع مجرة درب التبانة
 يبعد عن الأرض : 58.000 سنة ضوئية

اقرأ أيضا
 مجرة
 قزم أبيض
 عملاق أحمر
 نجم
 مجرة حلزونية
 مجرة إهليجية
 الانفجار العظيم
 خط زمني للانفجار العظيم
 نجم نيوتروني
 ثقب أسود

مراجع

وصلات خارجية
 موقع الكون

أجرام الفهرس العام الجديد
أجرام فلكية اكتشفت في 1775
اكتشافات يوهان إليرت بودي
بقايا مستعرات عظمى
عناقيد مغلقة
فهرس مسييه
كوكبة الهلبة

مسييه 53


الذيل يتواجد في نهاية مؤخرة الحيوانات من الثدييات والسحالي والعقارب وغيرها.

معرض صور

مراجع

تشريح الإنسان
تشريح الحيوان

ذيل


Die 30. Czech International 2001 im Badminton fanden vom 4. bis zum 7. Oktober 2001 in Liberec statt.

Sieger und Platzierte

Finalergebnisse

Weblinks

 http://www.tournamentsoftware.com/sport/tournament.aspx?id=CE8E0F2C-8210-4B89-8EB4-B29F0EDF88BC

2001
Badminton 2001
EBU Circuit 2001/02
Badmintonwettbewerb in Liberec

Czech International 2001