ප්‍රතිශෝධිත රෝමානුකෘත කොරියන් භාෂාව (කොරියානු:국어의 로마자 표기법 ගුගොඋයි රොමජා ප්යොගිබොප්; සාහිත්‍යමය "ජාතික භාෂාවේ රෝමානු අක්ෂර අංකනය") යනු දකුණු කොරියාවේ නිල කොරියානු භාෂා රෝමානුකරණ පද්ධතිය වේ. මෙය සංස්කෘතික, ක්‍රීඩා සහ සංචාරක අමාත්‍යාංශය මගින් ප්‍රකාශයට පත්කරන ලද්දේ පැරණි මැකූන්-රයිෂවර් පද්ධතිය ප්‍රතිස්ථාපනය කිරීම සඳහා ය. මෙම නව පද්ධතිය තුළ අක්ෂරයක විවිධ ශබ්ද හැඳින්වීමට යොදන ලකුණු ඉවත් කොට ඇති අතර, තනි ශබ්ද හඟවන අක්ෂර ද්විත්වයන් භාවිත කොට ති‍බේ. එය කොරියානු ශබ්දවිද්‍යාව සමීපව අනුගමනය කරමින්, ස්වදේශික-නොවන පරිශිලකයිනට භාෂාව හැසිරවීම පහසුකොට ඇත.

මෙම ප්‍රතිශෝධිත රෝමානුකරණය ISO මූලික ලතින් හෝඩියට පමණක් සීමා වී ඇති අතර, නිතරම යා-ඉර (-) භාවිත කරනු දක්නට ලැබේ. මෙය 1995 සිට කොරියානු භාෂා ජාතික ඇකඩමිය මගින් සංවර්ධනය කරන ලද අතර, 2000 ජූලි 7වන දින සංස්කෘතික, ක්‍රීඩා සහ සංචාරක අමාත්‍යාංශය මගිනමෙහජනයාට මුදාහැරි අතර, ප්‍රකාශන අංක. 2000-8 මගින් නව පද්ධතිය භාවිතයට පහත හේතූන් දක්වා ඇත:
 මෙමගින් ස්වදේශික කොරියානු පරිශීලකයිනට ස්ථාවර රෝමානුකරණයක් ලබා දෙමින්, වැදගත් භාෂා ලක්ෂණ පරිවර්තනය කරයි.
 මෙය තනි උඩුකොමාව සහ අක්ෂරයක විවිධ ශබ්ද හඟවන ලකුණු භාවිත නිසා ඇති වන පැටලිලි සහගත තත්ත්වයන් අවම කරයි.
 එය අන්තර්ජාල වසම් නාමයන්හි සරල ASCII පාඨ සමග කොරියානු භාෂාව පරිමේය කරයි.

ලක්ෂණ

ප්‍රතිශෝධිත රෝමානුකරණ පද්ධතියේ පහත වැදගත් ලක්ෂණ ඇත:
 어 සහ 으 යන අක්ෂර තනි ශබ්දයක් හඟවන අක්ෂර ද්විත්ව ලෙස ලියනු ලබන්නේ ස්වර අක්ෂර දෙකක් වන eo සහ eu පිළිවෙලින් යෙදීමෙනි. (මැකූන්-රයිෂවර් පද්ධතියේ ŏ සහ ŭ අක්ෂර වෙනුවට භාවිත වේ)
 කෙසේනමුත්, ㅝ යන්න wo (weo නොවේ) ලෙසත්, සහ ㅢ යන්න ui ලෙසත් (eui නොවේ) ලියනු ලැබේ.
 මැකූන්-රයිෂවර් මෙන් නොව, මහාප්‍රාණාක්ෂර (ㅋ, ㅌ, ㅍ, ㅊ) සතුව තනි උඩුකොමාව නොපවතී: k, t, p, ch. ඒවායේ සිථිලාක්ෂර (ㄱ, ㄷ, ㅂ, ㅈ) ලියනු ලබන්නේ ඉංග්‍රීසියෙන් ශබ්ද කරන අක්ෂර භාවිතයෙනි: g, d, b, j. කෙසේනමුත්, මුදානොහළ නැවතුම් සහිතව උච්චාරණය කෙරෙන සියලු ව්‍යඤ්ජනාක්ෂර (මූලිකව ස්වරයක් හෝ අර්ධ ස්වරයකට පෙර නෙයෙදෙන ㄴ, ㄹ, ㅁ, ㅇ හැර සියලු ව්‍යඤ්ජනාක්ෂර) ලියනු ලබන්නේ k, t, p, ලෙස වන අතර ඒවායේ පද විචාර අගයයන් නොසලකා හැරේ: 벽 → byeok, 밖 → bak, 부엌 → bueok (නමුත් 벽에 → byeoge, 밖에 → bakke, 부엌에 → bueoke).
 ㅅ යන්න ස්වර සහ අර්ධස්වරවලට පෙර s ලෙස ලියනු ලැබේ; sh යන්නක් නැත.
 ㄹ යනු ස්වරයකට හෝ අර්ධ ස්වරයකට පෙර r වන අතර, සෙසු ස්ථානවල l ලෙස ගැනේ: 리을 → rieul, 철원 → Cheorwon, 울릉도 → Ulleungdo, 발해 → Balhae. මැකූන්-රයිෂවර් මෙන්, ㄴ යන්න l ලෙස ලියැවුණු විට, එය බොහෝවිට පාර්ශ්වික ව්‍යඤ්ජනාක්ෂරයක් ලෙස ශබ්ද කෙරෙන මුත්, නාසික ව්‍යඤ්ජනාක්ෂරයක් ලෙස ශබ්ද කෙරෙනු දුලබ ය: 전라북도 → Jeollabuk-do

මීට අමතරව, පරිවර්තනයේ දී ක්‍රමානුකූල ශබ්දවිද්‍යාත්මක නීති සඳහා විශේෂ නියමයන් ඇත (බලන්න කොරියානු ශබ්දවිද්‍යාව).

වෙනත් නීති සහ නිර්දේශයන් පහත පරිදි වේ:

 යා-ඉර (-) විකල්පයක් ලෙස මාත්‍රා වෙන්කර දැක්වීමට භාවිතා වේ: 가을 → ga-eul (වැටීම; සරත් සෘතුව) සහ 개울 → gae-ul (දියපහර). කෙසේනමුත්, සැබෑ නාමයන්හි බහුඅරුත් පද විරල බැවින් මෙම නියමය ඉතා සුළු නිල ප්‍රකාශන සංඛ්‍යාවක පමණක් භාවිතයට ගැනේ.
 යා-ඉර භාෂාමය පරිවර්තනයන්හි දී, වචනයක ආරම්භයේ හැරෙන්නට සෙසු අවස්ථාවන්හි දී, ㅇ යන ආරම්භක මාත්‍රාව සඳහන් කිරීමට යා-ඉර භාවිතා වේ: 없었습니다 → eops-eoss-seumnida, 외국어 → oegug-eo, 애오개 → Ae-ogae
 පොදු භාවිතයේදී, දෙන ලද නමක, මාත්‍රා යා-ඉරි මගින් වෙන්කිරීමට අවසර ඇත. වෙනත් පාඨයන්හි සඳහන් ඇතැම් ශබ්දවිද්‍යාත්මක වෙනස්කම් නාමයන්හිදී නොසලකා හැර ඇත්තේ, නාමයන් අතර වඩා හොඳ වක්‍රෝක්තිහරණයක් ඇතිවීම සඳහා යි: 강홍립 → Gang Hongrip හෝ Gang Hong-rip (*Hongnip නොවේ), 한복남 → Han Boknam හෝ Han Bok-nam (*Bongnam නොවේ)
 පරිපාලන ඒකක (උදාහරණ ලෙස do) එහි ස්ථාන නාමයෙන් යා-ඉරි යොදා වෙන්කර පෙන්වයි: 강원도 → Gangwon-do
 යමෙක් "시, 군, 읍වැනි" යෙදුම් අත්හැරිය හැක: 평창군 → Pyeongchang-gun හෝ Pyeongchang, 평창읍 → Pyeongchang-eup හෝ Pyeongchang.
 කෙසේනමුත්, භූගෝලවිද්‍යාත්මක තොරතුරු සහ කෘත්‍රිම ව්‍යූහයන් නිරූපණය කරන නම් යා-ඉරි මගින් වෙන් නොකෙරේ: 설악산 → Seoraksan, 해인사 → Haeinsa
 සංඥා නාම කැපිටල්කරණය කරනු ලැබේ.

භාවිතය

කොරියාව තුළ
අක්ෂර වින්‍යාසය සරල කරන ලද සමහර යුරෝපීය භාෂා මෙන් (උදාහරණ ලෙස පෘතුගීසි, ජර්මන් හෝ ස්වීඩන්) ප්‍රතිශෝධිත රෝමානුකරණය කොරියානු පවුල් නාමයන් නිල රෝමානුකරණයට ලක්කිරීම අපේක්ෂා නොකෙරුණ ද, ඉතා සුළු පිරිසක් කැමැත්තෙන්ම එය අනුගමනය කොට ඇත. 2009 වර්ෂයේ කොරියානු භාෂා ජාතික ආයතනය මගින් මෙහෙයවන ලද සමීක්ෂණයක් අනුව, 2007 දකුණු කොරියානු විදේශ ගමන් බලපත්‍ර සඳහා අයදුම් කළ 63,351ක් මත පදනම්ව, වඩාත් සුලබම සෑම කොරියානු පෙළපත් නාමයන් තුනක් වන කිම් (김), ලී (이), සහ පාක් (박) සඳහාම, 2%ට වඩා අඩු අයදුම්කරුවන් පිරිසක් සිය වාසගම සිය විදේශ ගමන් බලපත්‍රයෙහි රෝමානුකරණය කිරීමට ඉල්ලා තිබිණි. ඒවායේ ප්‍රතිශෝධිත රෝමානුකරණයන් පිළිවෙලින් ගිම්, ඉ, සහ බක් වේ. දෙනලද නාමයන් සහ වෙළඳ නාමයන් රෝමානුකරණය කිරීමට දිරිගැන්වුවද, එය අත්‍යාවශ්‍ය දෙයක් නොවී ය.

2002 පෙබරවාරි 28 සිට සියලු කොරියානු පාඨ ග්‍රන්ථ නව පද්ධතිය සමග සම්පූර්ණ කිරීමට අවශ්‍ය විය. දකුණු කොරියාවේ ඉංග්‍රීසි-භාෂා පුවත්පත් මුලින් එහි දෝෂ හුවා දක්වමින් ඊට දැඩිව විරෝධය දැක්වුවද, පසුව රජයේ බලපෑම නිසා ඔවුනට එය අනුගමනය කිරීමට සිදු විය. කොරියා ටයිම්ස් යනු එසේ සිදුකිරීමට සිදු වූ අවසාන ප්‍රධාන ඉංග්‍රීසි-භාෂා පුවත්පත වූ අතර, 2006 මැයි මාසයේ පමණක් එය මාරුකරන ලදී.

උතුරු කොරියාව තවමත් භාවිත කරන්නේ මැකූන්-රයිෂවර් පද්ධතියේ ප්‍රභේදයක් වන අතර, එය 1984 සිට 2000 දක්වා දකුණු කොරියාවේ භාවිත වූ නිල පද්ධතියට වඩා තරමක් වෙනස් ප්‍රභේදයකි.

කොරියාවෙන් පිටත
කොරියානු භාෂා අධ්‍යයන සිසුනට සකස් කළ පාඨග්‍රන්ථ සහ ශබ්දකෝෂ මෙම රෝමානුකරණය ඇතුළු කිරීමට උත්සාහ ගත්හ. කෙසේනමුත් සමහර ප්‍රකාශකයින්, එමගින් මෙම රෝමානුකරණ ආරේ සම්මුතීන් නොදන්නා ස්වදේශික-නොවන කොරියානු භාවිත කරන්නන්ට ඉන් ඇති විය හැකි දුෂ්කරතාවන් හෝ පැටලිලි සහගත තත්ත්වයන් සඳහන් කොට ඇත.

පිටපත් කිරීමේ නීති

ස්වර අක්ෂර

ව්‍යඤ්ජනාක්ෂර

ㄱ, ㄷ, ㅂ, සහ ㄹ යන්න සාමාන්‍යයෙන් ස්වරයකට පෙර යෙදුණු විට පිටපත් කෙරෙන්නේ  g, d, b, සහ r ලෙස වන අතර, ව්‍යඤ්ජනාක්ෂරකට පෙර හෝ වචනයක අවසානයේ යෙදෙන විට k, t, p, සහ l ලෙස ය.

විශේෂ නියමයන්
ප්‍රතිශෝධිත රෝමානුකරණය අනුව අවසාන ව්‍යඤ්ජනාක්ෂරයේ අක්ෂරය සමග සංයුක්ත වීමෙන් සහ Hanguk → Hangugeo වැනි ඊළඟ ආරම්භක ව්‍යඤ්ජනාක්ෂරය සමග සංයුක්ත වීමෙන් සිදුවන ශබ්දවිද්‍යාත්මක වෙනස්කම් විස්තර වේ.  මෙවැනි වැදගත් වෙනස් වීම් පහත පරිදි වේ:

දෙන ලද නාමයන්හි මාත්‍රාවන්හි ශබ්දවිද්‍යාත්මක වෙනස්කම් පරියර්තනය නොකෙරේ: 정석민 → Jeong Seokmin හෝ Jeong Seok-min, 최빛나 → Choe Bitna හෝ Choe Bit-na.

ශබ්දවිද්‍යාත්මක වෙනස්කම් ㄱ, ㄷ, ㅂ, සහ ㅈයන්න, ㅎට යාබද ව යෙදේ: 좋고 → joko, 놓다 → nota, 잡혀 → japhyeo, 낳지 → nachi. කෙසේනමුත්, ㅎට පෙර ㄱ, ㄷ, සහ ㅂ යෙදෙන වචනවල මහාප්‍රාණ ශබ්ද නොසැලකේ: 묵호 → Mukho, 집현전 → Jiphyeonjeon.

මේවාත් බලන්න
 මැකූන්-රයිෂවර්
 රොමාජා

මූලාශ්‍ර

බාහිර සබැඳි
 කොරියානු රෝමානුකරණය, කොරියානු භාෂා ජාතින ආයතනය
කොරියානු රෝමානුකරණ පරිවර්තකය, පුසාන් ජාතික විශ්වවිද්‍යාලය විසිනි
මාර්ගස්ථ මෘදුකාංග: හංගුල් සිට ලතින් වර්ණමාලාව වෙතට ලෙක්සිලොගෝස් වචන පරිවර්තකය
සංස්කෘතික අමාත්‍යාංශය කොරියානු නම් රෝමානුකරණයට මාර්ගෝපදේශයක් සාදයි

කොරියානු රෝමානුකරණය
කොරියානු භාෂාව

ප්‍රතිශෝධිත රෝමානුකෘත කොරියන් භාෂාව


Giuseppe Pilotti (Bologne, 1784 – ) est un compositeur et maître de chapelle italien de l'époque romantique.

Biographie
Fils d'un organiste et facteur d'orgues, il commence jeune à se consacrer à ce métier, pour subvenir aux besoins de la famille à la mort de son père. Par la suite il étudie l'harmonie et le contrepoint. Il avait écrit pour le théâtre deux opéras quand il a été appelé en 1826 à diriger la chapelle de musique d'une église de Pistoia, et en 1826, il succède à son professeur de composition, le maître-sacerdote Stanislao Mattei, au poste de maître de chapelle de Sant Petronio de Bologne. Cette élection a déclenché une vive polémique entre l'Opera del Duomo et le gouvernement pontifical de Bologne, représenté par le cardinal légat Giuseppe Albani. Ce dernier arguait que, conformément aux lois en vigueur dans l'État de l'Église, la juridiction de l'Opera del Duomo appartenait à la légation, et que la sélection des employés figurait également parmi les prérogatives de cette dernière.

En 1829 on confie à Giuseppe Pilotti l'enseignement du contrepoint au Liceo musicale, et il occupe ce poste jusqu'à la fin de sa vie en 1838. À partir de 1805, il appartient à l'Accademia Filarmonica di Bologna. Parmi ses élèves, on trouve Michele Puccini, Francesco Cellini.

Compositions
Il est l'auteur des opéras L'ajo in imbarazzo (un dramma giocoso représenté à l'automne 1810 au Teatro del Corso, livret de Giuseppe Gaspari) et Non essere geloso (une commedia in musica représentée lors du carnaval 1815 au Nuovo teatro Contavalli). De plus, il a composé de nombreuses œuvres de caractère religieux, comme des psaumes et un Dies irae avec accompagnement d'orchestre. Il a publié un traité d'instrumentation, Breve insegnamento teorico sulla natura, estensione, proporzione armonica...per tutti strumenti, publié à Milan.

Notes et références

Liens externes

Bibliographie
 Enciclopedia Espasa Volume n°. 44, p. 923 ()

Compositeur italien du XIXe siècle
Compositeur italien d'opéra
Maître de chapelle
Naissance en 1784
Naissance à Bologne
Décès en juin 1838
Décès à Bologne

Giuseppe Pilotti


التجمع الإسلامي في ألمانيا (Islamic Society of Germany) يمثل تيار الإخوان المسلمين في ألمانيا وعضو في اتحاد المنظمات الإسلامية في أوروبا,
 ويرأسه إبراهيم الزيات المصري الأصل أحد قيادات الإخوان المصريين الذين تعرضوا للمحاكمة العسكرية الاستثنائية في مصر في ديسمبر 2006 وحكم عليه بالسجن عشر سنوات في أبريل 2008م.

انظر أيضا
 اتحاد المنظمات الإسلامية في أوروبا
 اتحاد المنظمات الإسلامية في فرنسا
 الإخوان المسلمون
 سعيد رمضان

مراجع

وصلات خارجية
 غزو الإخوان المسلمين لأوروبا، منتدي الشرق الأوسط (موقع أمريكي)، شتاء 2005
 الإخوان المسلمين في ألمانيا، إخوان ويكي
 نموذج أوروبي للتحريض ضد الإسلام: كتاب ألماني: الإخوان المسلمون خطر على أوروبا، إسلام أون لاين، 11 يونيو 2007م
 حوار مع الدكتور أحمد الخليفة رئيس المركز الإسلامي الرئيسي في ميونخ، وكالة أنباء يورو عرب برس، يناير 2009

الإخوان المسلمون
ألمانيا
تأسيسات سنة 1958 في ألمانيا
منظمات أوروبية
منظمات إسلامية أسست في 1958
منظمات إسلامية مقرها في ألمانيا

التجمع الإسلامي في ألمانيا


Big Tree (A'do-eete en kiowa) est un guerrier et chef kiowa né vers 1850 et mort le .

Le , il participe avec les chefs Satank et Satanta à l'attaque du convoi de chariots de Warren au cours de laquelle sept blancs sont tués. Il est arrêté au fort Sill le  puis transferé au fort Richardson. Avec Satanta, ils sont les premiers Amérindiens à être jugés par un tribunal civil. Condamnés à être pendus, leur sentence est commuée en prison à vie de peur de représailles des Kiowas. Ils sont finalement libérés sur parole en .

Il participe à de nouveaux raids à la fin 1873 avant d'effectuer sa reddition en  puis est  emprisonné à fort Sill jusqu'en 1875. Il se convertit au christianisme et devient alors un défenseur de la paix et de l'assimilation.

Annexes

Bibliographie
 .

Liens externes

 .
 .

Date de naissance incertaine (XIXe siècle)
Décès en novembre 1929
Personnalité kiowa
Chef amérindien des États-Unis

Big Tree


Francis Ysidro Edgeworth (8. febrúar, 1845 – 13. febrúar, 1926) var írskur hagfræðingur og var leiðandi afl í mótun nýklassísku hagfræðinar á seinni hluta 20. aldar.

Æviágrip
Edgeworth fæddist árið 1845 í Edgeworthstown í Írlandi. Hann kom frá efnaðari fjölskyldu landeigenda með sterk tengslanet í bókmenntum. Hann var yngsta barn af sex börnum Francis Beaufort Edgeworth og Rosa Florentina Eroles og árið 1911 erfði hann Edgeworthstown. Hann var ókvæntur allt sitt líf og eignaðist hann enga afkomendur.

Edgeworth gekk ekki í skóla í barnæsku og fékk hann menntun sína í gegnum einkakennara. Árið 1862 fór hann að læra tungumál og fornklassíkar bókmenntir í Trinity College í Dublin. Í framhaldinu hóf hann nám við háskólann í Oxford árið 1867, og var hann þar meðlimur í Exeter, Magdalen og Balliol College. Þaðan útskrifaðist hann með gráðu í Literae Humaniores árið 1869. Átta árum síðar fékk hann gráðu sem málafærslumaður (e. barrister) í London en starfaði þó aldrei við það. Gert er ráð fyrir að hann hafi lært tölfræði og algebru upp á eigin spýtur og að áhugi hans á stærðfræði hafi komið frá William Rowan Hamilton, Benjamin Jowett, og William Stanley Jevons.

Útgáfur hans á hagfræðilegum ritum varð honum til mikilla vinsælda á níunda áratugnum. Hann var skipaður sem prófessor í hagfræði við King's College í London árið 1888 og þremur árum síðar var hann skipaður sem prófessor í stjórnmálahagfræði við Oxford háskóla. Sama ár var hann ráðinn sem ritstjóri hjá The Economic Journal og starfaði hann sem meðritstjóri frá árinu 1919 til dauðadags. Framlag hans til hagfræðinnar var mikilvægt og þróaði hann meðal annars kenningu um nytjar, jafngildisferilinn (e. indiffrence curve) og Edgeworth kassann.

Framlög til hagfræðinnar
Edgeworth gaf út sína fyrstu bók árið 1877 sem bar heitið New and Old Methods of Ethics. Í þeirri bók lagði hann mikla áherslu á stærðfræðilega nálgun á nytjaheimspeki (e. utilitarian philosophy) og beitti sjónum sínum sérstaklega að Lagrange margfaldaranum. Hann kom fram með þá tilgátu að nákvæm nytjahyggja (e. exact utilitarianism) ráðist af getu fólks til að vera ánægt í samfélaginu. Hann hélt því einnig fram að geta fólks til að vera ánægt í samfélagi færi mikið eftir því hvaða stéttum það tilheyrði, til dæmis hélt hann því fram að karlmenn væru líklegri en kvenmenn til að vera ánægðir í samfélaginu.

Edgeworth gaf út sitt þekktasta rit árið 1881, Mathematical Physics. Í því riti gagnrýndi hann kenninguna um vöruskipti (e. Theory of barter exchange) sem breski hagfræðingurinn William Stanley Jevons hafði látið fram. Þar kom hann meðal annars fram með kenningar um jafngildisferla, samningsferla (contract curve) og nytjaföll. Hann setti einnig fram kenningu um hagkerfið og leikendur, sem segir að óákveðni í hagkerfi mun minnka þegar leikendur þess verða fleiri. Í ritinu mótaði Edgeworth fyrstu hugmyndirnar fyrir pareto hagkvæmni, nokkrum árum síðar voru þó þessar hugmyndir voru þróaðar enn frekar af ítalska hagfræðingnum Vilfredo Pareto.

Edgeworth hafði mikinn áhuga á tölfræði. Árið 1885 gaf hann út ritið Metretike, or the method of measuring probability and utility þar sem hann sýndi hvernig hægt væri að bera saman meðaltöl með notkun marktektarprófa. Það var síðan árið 1892 þegar sem gaf hann út annað rit þar sem hann sýndi fram á nokkrar aðferðir til að reikna fylgni á milli stuðla (e. coefficients).

Edgeworth kassinn
Í ritinu Mathematical Physics setti Edgeworth fram kassa (kallað í dag Edgeworth kassinn) sem sýnir fram á hagkvæmasta skiptihlutfall tveggja vara á milli tveggja einstaklinga (A og B).. Fyrir hvert mögulegt skiptihlutfall mun hver einstaklingur ákveða, án samráðs við hinn einstakling hæsta jafngildisferilinn sem hægt er að komast á sem sker í gegnum tiltekið skiptihlutfall og ákvarðar þetta stærð og hlutföll kassans. Þessir jafngildisferlar eru síðan settir saman í kassann þar sem magn x og y er snúið við fyrir annan aðilann og sýnir grafið þá að fyrir hverja vöru er aðeins til ákveðið magn og sem dæmi ef til eru einungis 10 einingar af vöru x og einstaklingur A fær 4 einingar, þá mun einstaklingur B fá afganginn, eða 6 einingar, og þetta gildir fyrir báðar vörur. Þar sem síðan jafngildisferlar A og B mynda snertil þar sem jaðarskiptahlutfall beggja einstaklinga er jafnt er að finna hagkvæmasta skiptihlutfallið hverju sinni og hámarkar því hver og einn einstaklingur þau nyt sem í boði eru við tiltekið hlutfall, og er það því Pareto hagkvæm niðurstaða. Í gegnum þessa punkta myndast síðan samningsferill og þessi ferill sýnir öll þau skiptihlutföll sem eru raunhæfir kostir. Ekki er sett þau skilyrði að fullkomin samkeppni sé forsenda fyrir líkanið. Svo lengi sem neytendum er frjálst að skipta á milli sín, og munu halda áfram að gera það þangað til að jafnvægi er náð.

Tilvísanir

Francis Ysidro Edgeworth


The Progressive Party of Manitoba, Canada, was a political party that developed from the United Farmers of Manitoba (UFM), an agrarian movement that became politically active following World War I.

See also
List of political parties in Canada
Progressive Party of Canada

References

1920 establishments in Manitoba
1932 disestablishments in Manitoba
Agrarian parties in Canada
Defunct agrarian political parties
Defunct political parties in Canada
Political parties disestablished in 1932
Political parties established in 1920
Provincial political parties in Manitoba
Progressivism in Canada
United Farmers

Progressive Party of Manitoba


Il gran Temerlano (título original en italiano; en español, El gran Tamerlán) es una ópera seria en tres actos con música de Josef Mysliveček y libreto en italiano de Agostino Piovene. Se estrenó en el Teatro Regio Ducal de Milán el 26 de diciembre de 1771, inaugurando la temporada de carnaval en la ciudad lombarda.

Il gran Tamerlano tuvo éxito, tanto que el mismo Mysliveček lo menciona en una carta que envió al Padre Martini datada el 7 de enero de 1772.

El drama del Divino Boemo fue puesto en escena en tiempos modernos solamente dos veces, ambas en idioma checo bajo el nombre de Tamerlan. La primera fue puesta en escena en versión integral en los años sesenta en el Teatro Nacional de Brno. La segunda se representó una versión reducida (sin los recitativos secos y algunas arias, incluso eliminando algunos personajes en el año 1977 en el Teatro Nacional de Praga bajo la dirección de Josef Kuchinka.

Enlaces externos

Óperas de Josef Myslivecek
Óperas de 1771
Óperas en italiano
Óperas estrenadas en Milán
Representaciones culturales de Tamerlán

Il gran Tamerlano


Urcuquí es un cantón de Ecuador, localizado en la provincia de Imbabura. Su cabecera cantonal es la ciudad de Urcuquí.  Su población en el censo de 2010 es de 15.888 habitantes. Tiene una superficie de 767 km²  y está a una altura sobre el nivel del mar de 2384 metros. Alberga a la ciudad del conocimiento Yachay, la primera ciudad planificada de Ecuador, sede de la universidad Yachay Tech, en funcionamiento desde 2014.

División política
Urcuquí tiene 6 parroquias:
 San Miguel de Urcuquí (cabecera cantonal)
 Pablo Arenas
 Cahuasqui
 La Merced de Buenos Aires
 San Blas
 Tumbabiro

Enlaces externos
 Gobierno Provincial de Imbabura
 Gobierno Autónomo Descentralizado Municipal de San Miguel de Urcuquí

Urcuqui

Cantón Urcuquí


Millichope Park est une maison de campagne du  à Munslow, dans le Shropshire, en Angleterre, à environ 8 km au sud-est de Church Stretton.

La maison est construite dans le style néo-grec entre 1835 et 1840 par l'architecte Edward Haycock Sr. de Shrewsbury pour le révérend Norgrave Pemberton, recteur de Church Stretton. Construit en pierre de taille selon un plan rectangulaire, il s'agit d'un bâtiment de deux étages avec une façade à cinq fenêtres. L'entrée est un portique à fronton soutenu par six piliers ioniques. La maison est classée Grade II * et se dresse sur 90 hectares (220 acres) de parc paysager.

Un temple commémoratif dans le parc est également classé Grade II *. Construit par George Steurt, il a un dôme en plomb soutenu par huit pilastres ioniques et est un cénotaphe commémoratif de la famille More.

Histoire

En 1544, la famille More achète le manoir de Lower Millichope. Thomas More, qui hérite du domaine en 1689, entreprend la création du parc d'agrément environnant. Sa fille et héritière Catherine laisse le domaine à son cousin Robert Pemberton, après quoi il est passe au révérend R. Norgrave Pemberton. Il remplace la maison d'origine par la maison actuelle, la laissant en 1848 à son propre cousin Charles Orlando Childe, qui a ensuite changé son nom de famille en Childe Pemberton (et est haut shérif du Shropshire en 1859). Ce dernier, après avoir apporté des améliorations au domaine d'agrément, le passe à son fils, qui vend le domaine en 1896 au capitaine HJ Beckwith, dans la famille duquel il reste par la suite.

Lindsay Bury (senior) et sa femme Diana (Moynet) élèvent leurs enfants Frank et Nancy à Millichope. Frank part combattre pendant la Seconde Guerre mondiale et est tué lors du débarquement de Normandie. Lindsay senior quitte ensuite la maison, croyant que c'est la fin de son utilisation comme une «maison familiale». Entre 1948 et 1962, la maison est utilisée par le conseil du comté de Shropshire comme internat secondaire (ou «camp») pour garçons, abritant environ 60 élèves. Lorsque le bail de l'école expire, Lindsay Bury (Jnr) décide de reprendre la maison familiale en main. En 1970, Lindsay et Sarah Bury restaurent, remodèlent et réduisent la taille de la maison : le parc est également restauré en même temps. En 1998, Lindsay Claude Neils Bury de Millichope Park est haut shérif du comté .

Les propriétaires actuels, Frank et Antonia Bury, ont entrepris un projet de restauration des rares serres curvilignes des années 1830 du domaine .

Références

Liens externes

Monument classé de Grade II* dans le Shropshire

Millichope Park


Þrestir er íslensk kvikmynd frá 2015 eftir Rúnar Rúnarsson.

Leikarar
 Atli Óskar Fjalarsson sem Ari
 Rakel Björk Björnsdóttir sem Lára
 Ingvar E. Sigurðsson sem Gunnar
 Kristbjörg Kjeld sem Amma
 Rade Šerbedžija sem Tomislav
 Valgeir Hrafn Skagfjörð sem Bassi

Tenglar

Íslenskar kvikmyndir
Kvikmyndir frumsýndar 2015

Þrestir (kvikmynd)


Miguel Ángel Burelli Rivas (8 July 1922 – 22 October 2003), was a Venezuelan lawyer, diplomat and politician, presidential candidate in 1968 and 1973. He was Director General of the Ministry of Interior Affairs; and also Minister of Justice (in 1964) and Minister of Foreign Affairs, between 1994 and 1999. He was a candidate to be Secretary of the Organization of American States (OEA) in 1994.

Biography

Burelli Rivas, was born in La Puerta, Venezuela. His father's ancestors came from the Italian island of Elba (Tuscany) in the 19th century.

He graduated as lawyer with a post-graduate degree in Political Sciences in University of Florence and a post-graduate degree in law from the University of Madrid, Spain. Miguel Angel Burelli spoke fluently Italian, English, French, Portuguese and of course Spanish.

He was forced into exile in Spain in the mid-1950s under Marcos Pérez Jiménez. There he married María Briceño Picón, daughter of writer & politician Mario Briceño Iragorry.

He served as Director of the National Electoral Council (CNE); Minister of Justice; Ambassador of Venezuela to the United States; Ambassador of Venezuela to Colombia; Ambassador of Venezuela to the United Kingdom. He successively ran for the Presidency of the Republic (1968 election and 1973 election). He was President of the Commission in charge of organizing the Third United Nations Conference on Maritime Law (1973–1974), Director of the Institute for Latin America Higher Studies of the Simón Bolívar University in Caracas) and also author of several famous books. He was a member of the Advisory Committee of the Foreign Affairs Ministry and Foreign Minister of Venezuela (1994–1999).

Miguel Angel Burelli also served as Director of the National Electoral Council (CNE); Minister of Justice; Ambassador of Venezuela to the United States and to Colombia & the United Kingdom.

He was Director General of the Ministry of Interior Affairs and -under the presidency of Rafael Caldera- was Minister of Foreign Affairs of Venezuela in 1994–1999.

Miguel Angel Burelli was author of several books:

Afirmación de Venezuela: itinerario de una inquietud (1971), La democracia en América Latina: frustraciones y perspectivas (1979), Caricatura de democracia (1990), Versiones y pasiones (1990), De la integración andina (1993), El asilo como derecho (1998).

After his death were published: Biografía del Cardenal Quintero (2005) and En Primera Persona, his autobiography edited in 2009.

He was a member of the Advisory Committee of the Foreign Affairs Ministry and worked successfully in Latin America when Foreign Minister of Venezuela (1994–1999).

Personal life and death

After retiring from politics, he died peacefully on 10/22/2003 in Washington, D.C., USA, after suffering from lung cancer and cerebral hemorrhage.

See also

List of ministers of foreign affairs of Venezuela

References

1922 births
2003 deaths
Ambassadors of Venezuela to Colombia
Ambassadors of Venezuela to the United States
Ambassadors of Venezuela to the United Kingdom
Venezuelan Ministers of Foreign Affairs
Deaths from lung cancer
Deaths from cancer in Washington, D.C.
Justice ministers of Venezuela
Candidates for President of Venezuela

Miguel Ángel Burelli Rivas


Allah (, romanize: , ), İbrahimî dinlerde geçen tek Tanrı'yı ifade eden Arapça sözcüktür. Allah ismini Müslümanlar dışında Yahudi Arapçası konuşan Yemen Yahudileri ve bazı Mizrahi Yahudileri topluluklarıyla Malta'da yaşayan Roma Katolikleri, Orta Doğulu Semitik Hristiyanlar olan Arap Hristiyanlar, Aramiler, Maruniler, Süryaniler ve Keldaniler de kullanır.

İbrahimî dinlerin kitaplarında Tanrı kişileştirilmiş bir yaratıcıdır. Birincil kişi olarak konuşur ve bazen insanların karşısına "insan görüntüsü" ile çıkar. İslam'da Allah Müntakim (intikam alan), Mütekebbir (büyüklenen)dir. Ayrıca Sabur (çok sabırlı), celil (Celalet; 1/azamet, 2/hiddetlilik, hışım), rahim (çok merhametli), halim (yumuşak huylu), vedud (sevecen) gibi insani duygular ifade eden isimlerle de anılır ve insana ait özelliklerin de aslında Allah'a ait olduğu ifade edilir. Hristiyanlıkta Tanrı baba gibi, Sufîlikte arkadaş gibidir. Tanah'ta da Yahve'nin sık sık kişileştirildiği görülür.

Tanrı hakkında teşbihi antropomorfik bir dil kullanılıp kullanılamayacağı Yahudi, Hristiyan ve İslam düşünce tarihinde oldukça yoğun tartışmaların konusu olmuştur. İbrahimî dinlerin kutsal kitaplarında Tanrı'yı teşbih eden, antropomorfik örneklere rastlanabileceği gibi O'nu yaratıklara benzemekten tenzih eden ifadelere de rastlanmaktadır. Genel bir bakışla Kur'an ve Kitâb-ı Mukaddes'te tenzihten çok teşbihin var olduğu söylenebilir.

Etimoloji ve tarihî kullanım
Allah, aslen Arapça bir kelimedir.
Bazıları İbranicedeki "İyl" veya Süryanice ve Kildancadaki "İlaha" kelimelerinden türediğini ileri sürmüşlerdir. Elbette sırf benzerlik, kelimenin Arapça olmadığına ve başka dillerden alındığına delalet etmez.

Ad hakkındaki Müslüman görüşleri
İsmail Hakkı Altuntaş "Allah kelimesinin 'ilah'dan türetilmiş olduğu bunun da Sami dinlerin ortak kullanımı olan El/İl den türetilmiş olduğu daha kabul edilebilir bir görüştür. Pagan baş Tanrısı ölümsüz El'in isminin geçirdiği linguistik değişmelerin Hem Yahudilere hem Müslümanların hem de diğer birçok dinin Tanrı isimlerinin oluşumunda katkıda bulunmuş olacağı ihtimali kesinlikle göz ardı edilmemelidir. Bütün dinler bir önceki dinlerin inanç, dil, kültür, yaşam, dünya görüşü gibi birçok ögelerinden beslenerek gelişmişlerdir. Aramca-Süryanice konuşan İsa da Tanrı'ya son nefesinde şöyle diyordu: 'Eli, Eli, lama şevaktani', 'Tanrım, Tanrım beni neden terk ettin?" demiştir.

Arapçadaki "ilah" adının, Süryanice olduğu, "Laha" veya Aramice "alâha" kelimesiyle ilgili olacağı üzerinde duranlar da olmuştur.

Diyanet İşleri Başkanlığına göre İslamda Allah'ın tek, karşıtı, benzeri ve ortağı olmayan yaratıcının "özel adı" olduğuna, ayrıca bu ismin kemal, cemal ve celal sıfatlarının ifade ettiği anlamların tamamını kapsadığına, ismin Türkçe "Tanrı", Arapça "ilah", İngilizce "god", Almanca "gott", Farsça "hüda" gibi Tanrı için ad olarak kullanılan bütün kelimelerden farklı olduğuna inanılır.

Buna göre İlah, tanrı, rab gibi kelimeler cins adı sayılır,  çoğul olarak kullanılabilirler.

Diyanet İşleri Başkanlığınca Allah isminin "el-ilah" kelimesinden türediği görüşü tercih edilmiştir.

Allah inancının gelişimi

İslam öncesi değişimler: İbrani dini metinlerindeki Tanrı ile ilgili insanbiçimci anlatımlar zaman içerisinde hafifletilir veya yok edilirler. Örneğin Kitab-ı Mukaddes'teki Yunus kitabının, Midraş türü, tarihi bir gerçekliğe dayanmayan, eğitim veya öğüt amaçlı Tevrat kıssasında Yahudi tercümanlar, antik metindeki insanbiçimci betimlemeleri kaldırmıştır.

'da Masoretik Metin'de (MT) "...Tanrı belki halimizi görür de yok olmayız..." diye yazarken Yunus Targum'unda bu pasaj "...belki Tanrı'dan üzerimize rahmet gelir..." yazmaktadır. Gemi kaptanının teklifi tanrısal geleceği değiştirmekten çok tanrısal acımayı elde etmeye yöneliktir. MT'de 'da "Belki o zaman Tanrı düşüncesini değiştirip bize acır, kızgın öfkesinden döner de yok olmayız" derken Targum'da "Her kimin anlayışında günah varsa tövbe etsin ve Tanrı tarafından bize acınacak" yazar. Tanrı düşüncesini değiştirmemektedir, acımaktadır.

Muazzez İlmiye Çığ'a göre İbrahimi dinlerde tanrı tarih içerisinde insanbiçimci tanımlamalardan arındırılarak daha soyut kavramlarla ifade edilen, değişerek gelişen bir figürdür. Başlangıçta gökte bir saray içerisinde, etrafında bir sürü yaratıkla yaşayan, göğe merdivenle inip çıkan, diğer tanrıları da  tanıyan insan biçiminde bir aile veya klan tanrısı iken, zaman içerisinde seks yaşamları ve insani özellikleri yok edilerek sadece melekler ve şeytanlar üzerinden konuşan ulusal ve son aşamada evrensel tanrı figürüne dönüşür. Bu aşamada evrenin yaratıcısı olan Tanrı; sonsuz, her şeye gücü yeten ve her şeyi bilen bir tanrıdır. Günümüzde İbrahimî dinler Tanrı'nın zamandan ve mekandan bağımsız olduğuna inanır, bu yüzden Tanrı somut evrenden bağımsızdır ancak yine de yakarışları duyar ve tepki verir.

İslam'da Allah inancının gelişimi
Tek ve benzersiz Allah inancı İslami tevhid inancının temelidir. "Allah" sözcüğü Kur'ân'da 2699 kez tekrarlanır. İhlas Suresi, İslâm'ın Allah inancını özetler: "De ki; O Allah bir tektir. Allah Samed'dir. Doğurmamıştır ve doğurulmamıştır. Ve O'na hiçbir şey denk olmamıştır."

Bunun yanında; "Allah, Âdem'i kendi biçiminde yarattı", "Resulullah buyurdular ki: "Biriniz sırtüstü uzanıp, sonra da ayak ayak üstüne atmasın.", Resulullah'ı dinledim, "O gün bacak açılır ve secdeye çağrılırlar ama güç yetiremezler" (Kalem 42) mealindeki ayetle ilgili olarak şöyle diyordu: "Rabbimiz baldırını açar, her mü'min erkek ve her mü'min kadın O'na secde eder. Dünyada iken kendisine ikiyüzlülük ve gösteriş olarak secde edenler geri kalırlar. Onlar da secde etmeye kalkarlar, ancak sırtları bükülmeyen yekpare bir tabakaya dönüşür ve benzeri anlatımlar dini kaynaklarda yer alır.

Din bilginleri yaratıklara benzemeyen ve her türlü eksik sıfatın dışında tutulduğunu, Allah anlatımıyla çelişen insan biçimci anlatımları müteşâbih (kapalı anlamlı) olarak nitelendirip gerçek anlamının bilinemeyeceğini söylerler.

Kur'an ve hadis anlatımlarında Allah kızar ve öfkelenir, "öç alma" yoluna gider, yatışır, düşünür, acır (Rahim), bağışlar; "efendi (Rabb) ve "kral" (Melik) olur, evi ve tahtı vardır. "Zorba" (Cebbar), "sevecen, "(Vedûd), öfkelidir (Celil). Kur'an'da insansı bir dil ile Muğire Oğlu Velid'e zenim (soysuz) şeklinde hakaret edilir. Kur'an'da Allah'ın 99 ismi arasında verilen intikam alan, sabırlı olan gibi isimler ile (ant içme, beddua etme, hikâyeler anlatma, kendisine dostlar ve düşmanlar edinme gibi) eylemler kişisel tanrı olarak tanımlanan ve Tanrı'ya insanî sıfatlar atfeden diğer örneklerdir.

İslamda selef devri olarak adlandırılan, başlangıçta sorgulanmayan ve inanç açısından sorun olarak görülmeyen Allah'ın zatı, sıfatları ve eylemleriyle ilgili inancın teşbih-tenzih tartışmaları üzerinden belirli değişimler geçirdiği, gökyüzünde arşta (koltuk) oturan, iki eli, yüzü, "gözler"i, karnı, bacağı gibi insani sıfatlarla tanımlanan yaratıcı inancının kelamcılar tarafından sorgulandığı, bu kapsamda farklı görüş ve mezheplerin ortaya çıktığı görülür.

 Maturidi-Eşari: Görme ve duyma gibi sınırlı bir insan-tanrı benzetmesini kabul eder. Kur'an'da geçen Allah'ın eli, yüzü vb. ifadeler müteşabih kavramı ile açıklanır.
 Şiî: Sembolik ifadelerle Allah'ın anlatılmasını onaylar.
 Sufî: Allah'ın şeklinin olmadığına, sonsuz olduğuna, şimdiki halimizin onu görmeye gücünün yetmediğine ve Allah'ın "her yerde" olduğuna inanır.
 Mutezile-Cehmiyye: Cehmiyye ve İslamda akılcı mezhep olarak bilinen Mutezile Tevhide aykırı bularak Allah'ın herhangi bir şekilde insana benzetilmesine karşı çıkar ve soyutlama yapar.
 Mücessime, Müşebbihe, Selefi, Vahhabi: Allah'ı teşbihlerle anlatır, ona gerçek anlamda el-yüz atfeder ve arşta oturduğunu kabul eder. Selefiliğin teorisyeni kabul edilen İbni Teymiyye "Allah, arş kadardır, ne ondan büyük ne de ondan küçüktür." ifadelerini kullanmıştır.

İslam din felsefesinin geleneksel adı olan Kelâmcılıkta Allah'a zaman ve mekan izafe edilmesi onun cismanileştirilmesi olarak değerlendirilir. Ayrıca Allah'ın insana benzetilmes müşebbihe olarak tanımlanır, İslâmdışı ve küfür kabul edilerek reddedilir. Tevrat'taki "Yakup ile güreşe tutuşan Tanrı" (Hoşea 12:3) ve Hristiyanlık üçlemesindeki "Baba Tanrı" figürü eleştirilir. Kelâmcılar Kur'ân ve kudsi hadisler gibi İslâmî kaynaklarda kullanılan Allah'a mekân (gök, arş (taht) izafe eden (Taha-5 ve Araf 54)) ve "Allah'ın eli" Allah'ın yüzü", "insanın Rahmân suretinde yaratılması" gibi ifadelerle Allah'ın işitmesi, görmesi gibi ifadeleri mecazi ifadeler olarak tanımlarlar.

İslam'da Arş

Allah melekler tarafından taşınan ve kendisine övgüler sunularak etrafında dönülen arş adı verilen bir tahtta oturur. Âlemin idaresi de buradan yapılmaktadır. Arş koç veya insan, arslan, öküz, kartal yüzlü meleklerce taşınır. Bazı rivayetlerde sayıları dört olan taşıyıcıların sayısının ahirette bazı peygamberlerin de katılmasıyla sekize ulaşacağı, Allah'ı tespih ederken Arapça, diğer zamanlarda ise Farsça konuştukları rivayet edilir.

Malzeme ve ebad Rivayetlere göre arş nurdan, nur suyundan veya yakuttan yaratılmış büyük sütunları bulunan bir tahttır. Arş altı, üstü, sağı, solu, ağırlığı, gölgesi, köşeleri, sütunları olan, kubbe şeklinde büyük bir nesnedir.  Yedi gök ile yer, kürsüye göre çölün ortasına atılmış bir yüzük halkası, Arşın kürsüye göre büyüklüğü ise, çölün halkaya olan büyüklüğü kadardır.

Yeri Arş yedinci göğün üzerindeki firdevs/  adn cennetinin üstünde, Allah da arşın üzerinde bulunmaktadır.  Güneşin yörüngesi arşın altındadır ve güneş ışığını arşın nurundan alır.

Kelamcılara göre Allah'ın sıfatları
Allah'ın sıfatları İslam akait mezheplerini oluşturan ve kendilerine kelamcı denilen İslâm felsefecileri tarafından tanımlanan sıfatları ifade eder. Tartışmalar İslam entelektüelizminde zamanla daha soyut (müteal, varlıküstü) bir tanrı tanımlamasını da beraberinde getirmiştir. Kelamda Allah'ın vücudu veya varlığı, şuunat olarak ifade edilen fiilleri, isimleri ve sıfatları ile ele alınmıştır.

Kelamcılara göre Allah'ın kendisi bilinmez, Allah'ı bilmek, sıfatlarını bilmekle olur. Mezheplere göre farklılık arz etmekle beraber, Allah'ın sıfatları uluhiyetin ayrılmaz gereği olarak kabul edilen zatî ve subûtî sıfatlardan oluşur;

Zatî sıfatlar Sadece Allah'ta mevcut olduğuna inanılan sıfatlardır. Varlığının vacib (zorunlu) olması (vücud, İbn-i Sînâ'ya ait tabirle (vâcibülvücûd), ezeli oluşu (kıdem), bâki oluşu (beka), tek ilah oluşu (Vahdaniyyet), varlıklarına benzememesi (Muhalefetun lil havadis), hiçbir şeye ihtiyacı olmaması, kendi nefsi ile kaim olması (Kıyam bi nefsihi).

Subûtî sıfatlar Kelamcılar tarafından Allah'ın mahiyyet-i nefsü'l emriyesinde sabit ve daimi olan, ancak diğer varlıklarda da benzerleri bulunan sıfatlar olarak tanımlanırlar. Hayat sahibi oluşu, ilim sahibi oluşu, işitmesi (Semi), görmesi (basar), irade etmesi, bir şeyi dilemesi (İrade), gücünün yetmesi (kudret), söz söylemesi (Kelam) olarak sıralanabilir. Yaratma (Tekvin) da subûtî sıfatlardan kabul edilmiştir.

Kelam anlayışında Allah'ın varlığı ve birliğinin delilleri

Kelâmcılar arasında Allah'ın varlığının ispatı ve sıfatları kelamcılar uzun tartışmalara konu olmuştur. Kelâmcılar Allah'ın mahiyetinin bilinemeyeceğini, ne olmadığının ise akılla bilinebileceğini ifade ederler. Buna göre Allah'ın benzeri olmadığı gibi, zıddı da yoktur.

İyilik ve kötülük tanrısının ayrı düşünüldüğü Manicilik ve Zerdüştçülük gibi dinlerden farklı olarak, İslam tek tanrı inancını benimsemiş ve "iyilikler gibi kötülükler de Allah'tandır" ön kabulü imanın esaslarından sayılmıştır.

Kelâmcılar Allah'ın varlığını kanıtlama amacıyla bazı önermeler saymışlardır:

 Hudus delili: "Evren'deki her şey sonradan olduğuna göre bunların öncesinde ve bunların hepsine sebep (ilk sebep) olan bir varlık olmalıdır."
 Nizam delili: "Evren'deki nizam bir nizam kurucunun varlığını kanıtlar."
 İmkan delili: "Evren'deki her şeyin olması da mümkündür, olmaması da. Bu kuralın bir istisnası olmalıdır, yani yokluğu imkânsız olan, Allah'tır."
 İlm-i evvel delili: "Evren'deki her şey ilim (ön bilgi) ile var olabilir. Bu bilgiye sahip birisi olmalıdır."
 Kabul-u amme delili: "Herkes Tanrı'nın varlığını kabul eder, öyleyse vardır."

Diğerleri: İbda delili, İhtira delili, Burhan-i Inni (Eserden muessire), Burhan-i Limmi (Muessirden esere), Burhan-i Temanu, Burhan-i Telazum.

Zatî sıfatlardan olan vahdaniyyet, İslâmi literatürde, Hristiyanlıkla ilgili en bariz farklılığı oluşturması nedeniyle, önemli yer tutar. İhlas Suresi'nde formüle edilen şekliyle, Allah birdir (sayı olarak - vahidiyyet) ve benzersizdir. (mahiyyet-i nefs-ül emriyesi itibarıyla - ehadiyyet).

Sufî görüşleri

Sufîlere göre Allah her şeyde ayandır (görünen) ve aslında her şeydir. Onun dışındaki varlık alemi, varlığı ve yokluğu eşit olan bir hayaldir. Allah insanların şekline ve vücuduna girer (hulul) ve kendisiyle konuşulur, arkadaşlık kurulur.

Hallâc-ı Mansûr'a göre ise Müşebbihe itikadî mezhebindeki görüşlere benzer fikirlere inanmak büyük günahlardan sayılmakta ve neticede kişiyi "tevhîd" inancının dışına iterek, onun varlığının inkârına kadar sürüklemekteydi.

Allah'ın isimleri

"Allah'ın isimleri" (Ar. "el-Esmâü'l-Hüsnâ", Tr. "En Güzel İsimler"), Kur'an ve hadislerde Allah'a izafe edilen fiil veya sıfatlardan türetilmiş veya doğrudan Allah'ı ifade amacıyla kullanılmış olan isimlerdir. İslâmî mistisizmde 99 tanesi şifacılık, ritüel ve dualarda kullanılır. İslâm toplumunda bunların dışında Rab, "Hüda", Yezdan, Çalab gibi isimler de Allah için kullanılırlar.

Bu isimlerin bir kısmı, yeni söyleyiş ve anlamsal yüklemeler yapılarak Araplaştırılmış kelime köklerinden türeyen isimlerden oluşur; Allah, Halik, Malik, Hakem, Hannan, Sultan, Kebir, Fatır, Fettah, Rab, Hadi, Tevvab, Musavvir, Kuddüs vb.

Kur'an'da isimleri anılan peygamberler ve bunların kitapları kendilerini sıklıkla Yahve'ye bağlamalarına rağmen İslam'da Yahve/Yehova ismi kullanılmaz ve bilinmez. Kur'an'da Cebrail, Mikail gibi melek isimleri diğer İbrahimi dinlerde olduğu gibi El (ya da İl) ile bağlantılıdırlar. Kur'an'da da geçen ve İslam'da geleneksel olarak dualara başlarken kullanılan Allahumme, İbranice (olasılıkla) Elohim kelimesinin Arapça telaffuzundan ibaret bir kelimeydi. Elohim İbranicede "majesteleri!" ifadesinde olduğu gibi yüceltme amaçlı çoğul ("Tanrılar!" gibi) olarak kullanılmaktaydı.
 Yahudilikte Yahve yerine kullanılan isimlerden olan Rab (efendi, ağa, İng. Lord) kelimesi de Kur'an'da sıklıkla Allah için kullanılır. Yahve yerine kullanılan kelimelerin 10 emir arasında bulunan "Tanrın Yahve'nin adını boş yere ağzına almayacaksın, Yoksa Yahve bunu cezasız bırakmayacak" ifadesi ile bağlantılı olarak Yahudiler arasında yerleştiği düşünülüyor. Kuran'da Allah için en sık kullanılan isim/sıfatlardan bir diğeri de (Arap kökenli olmayan) Rahman'dır. Bu sıfat teriminin (Rahmanan/Rahman) bilinen en eski kullanımı Akadca ve Aramice'de Hadad'a adanmış bir yazıtta bulunur.

Ayrıca Esmâü'l-Hüsnâ'da geçen Celil (büyük, ulu, hışımlı, öfkeli), Mütekebbir (büyüklenen), Sabur (Sabreden), Müntakim (intikam alan) gibi bazı isimleri ise antropomorfik çağrışımları olan isimlerdir.

Bu isimlerden Ahad, Samed kelimeleriyle Azîz, Rahmân, Malik, Vedud gibi isimler Arap mitolojisi'nde tapınılmakta olan yerel tanrı isimlerine benzerlikleriyle dikkat çekerler. Muazzez İlmiye Çığ bir örnekle bunun tek tanrıcılığa giden yolda gerçekleştirilen değişimlerden birisi olduğunu kaydeder. İslam öncesi Arap toplumunda var olan tanrı isimlerinden Allah adının Al-lat, Mennan'ın Menat, Aziz'in Uzza ile olan fonetik-etimolojik bağlantısı dini çevrelerin de dikkatini çekmiş, konuya antropolojik yaklaşımdan farklı, Allah'ı ve İslamı merkeze alan açıklamalar getirilmiştir.

Notlar

 Arş, kelamcılar tarafından mahiyeti bilinemeyen taht olarak ifade edilir. Ayrıca Baal Tapınağı'nda Baal'ın oturduğu tahtın adı ve Palmira'da bir tanrının adı Arş (Arşu, Arsu) olarak geçer.

Ayrıca bakınız
 Hulul
 Tanrı
 YHVH
 İslam'da Tanrı

Kaynakça

Özel

Genel
 İsmet Zeki Eyüboğlu, Türk Dilinin Etimoloji Sözlüğü, Sosyal Yayınlar, 1998, İstanbul

Arap tanrıları
İslam terimleri
Orta Doğu tanrıları
Tanrı'nın isimleri

Allah


An Hordeum brachyatherum in uska species han Liliopsida nga ginhulagway ni Rodolfo Amando Philippi. An Hordeum brachyatherum in nahilalakip ha genus nga Hordeum, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Hordeum

Hordeum brachyatherum


CSI Hrvatska, hrvatska dokumentarna serija u deset nastavaka iz 2016. godine. Nastala je u proizvodnji produkcijske tvrtke Interfilm. Djelo je redatelja Hrvoja Mabića i Darija Lonjaka, scenarista Jadranke Cicvarić Šiftar, Predraga Šiftara i Velimira Grgića, komentira voditelj Velimir Grgić, direktor fotografije je Senad Zemunović, montažu i postprodukciju slike i zvuka potpisuje Damir Cimperšak Cimpy, a producent je Ivan Maloča. Snimanju je mnogo pomogao MUP RH, Ravnateljstvo policije i PU o Hrvatskoj, a posebnu zahvalu zaslužuje savjetnik Gojko Marković. Serija je pripremana punih pet godina. Prvo prikazivanje bilo je 10. listopada 2016. na Prvome programu Hrvatske televizije u 21.35.

Serja je snimana je na autentičnim mjestima na kojima su se u Hrvatskoj zbili jedni od medijski najpoznatijih i za policiju najsloženijih zločina. Obuhvaća zločine od brutalnih ubojstava, silovanja i razbojništava do pljačka, krijumčarenja, ucjena i podmetnutih požara. Osim kriminalističke policije, mjesto u seriji našla je i prometna policija čiji je posao jedan od najstresnijih policijskih poslova, suprotno stereotipima, te granična policija. Policajci u seriji govore gledateljima jednostavnim jezikom, opisujući slučaje koji su im obilježili karijeru, ali i otkrivajući kako se nose sa strašnim prizorima nasilja, krvi i smrti. Prikazane su istrage na mjestu ubojstava i načini djelovanja kriminalaca. Gledateljima je rekonstruirano kako su riješili slučaj i omogućili da počinitelj bude kažnjen, a žrtve i njihove obitelji osjete pravdu. Uz emotivne opisivanje slučaja, autentične policijske videosnimke i fotografije. Ne spominje se identitete žrtava i počinitelja, čime se slučaje izdiže na razinu univerzalnoga, a isto tako izbjegava senzacionalizam i žutilo. Prikazano je tridesetak slučaja: trostruko ubojstvo u Petrinji, nestanak dviju djevojaka u Sinju i Trilju, nestanak studentice Policijske akademije iz Velike Gorice, ubojstvo beskućnika u riječkome željezničkom tunelu, ubojstvo policajca nakon pljačke banke u Nedelišću, ubojstvo žene na Učkoj prikazano kao prometna nezgoda, ubojstvo imućnoga umirovljenika iz Zagreba, monstruozno ubojstvo tročlane obitelj slovenskih državljana u Rovinju, ubojstvo talijanskoga direktora u kamperu na Krku, prikazano je kako su operirali zagrebački serijski silovatelj iz devedesetih, serijski palikuća iz Virja, nepredvidivi autor ucjenjivačkih pisama iz Koprivnice te rumunjska banda kradljivaca zlata koju je tražila cijela Europa, a koja je pala u Istri.

Izvori

Hrvatski dokumentarni filmovi
Hrvatski filmovi 2010-ih

CSI Hrvatska (2016.)


Tintin in the Land of the Soviets () is the first volume of The Adventures of Tintin, the comics series by Belgian cartoonist Hergé. Commissioned by the conservative Belgian newspaper  as anti-communist satire for its children's supplement , it was serialised weekly from January 1929 to May 1930 before being published in a collected volume by Éditions du Petit Vingtième in 1930. The story tells of young Belgian reporter Tintin and his dog Snowy, who are sent to the Soviet Union to report on the policies of Joseph Stalin's Bolshevik government. Tintin's intent to expose the regime's secrets prompts agents from the Soviet secret police, the OGPU, to hunt him down with the intent to kill.

Bolstered by publicity stunts, Land of the Soviets was a commercial success in Belgium, and also witnessed serialisation in France and Switzerland. Hergé continued The Adventures of Tintin with Tintin in the Congo, and the series became a defining part of the Franco-Belgian comics tradition. Damage to the original plates prevented republication of the book for several decades, while Hergé later expressed embarrassment at the crudeness of the work. As he began to redraw his earlier Adventures in second, colour versions from 1942 onward, he decided against doing so for Land of the Soviets; it was the only completed Tintin story that Hergé did not reproduce in colour. Growing demand among fans of the series resulted in the production of unauthorised copies of the book in the 1960s, with the first officially sanctioned republication appearing in 1969, after which it was translated into several other languages, including English. Critical reception of the work has been largely negative, and several commentators on The Adventures of Tintin have described Land of the Soviets as one of Hergé's weakest works.

Synopsis
Tintin, a reporter for , is sent with his dog Snowy on an assignment to the Soviet Union, departing from Brussels. On the route to Moscow, an agent of the OGPU—the Soviet secret police—sabotages the train and declares the reporter to be a "dirty little bourgeois". The Berlin Police indirectly blame Tintin for the bombing but he escapes to the border of the Soviet Union. Following closely, the OGPU agent finds Tintin and brings him before the local Commissar's office, instructing the Commissar to make the reporter "disappear ... accidentally". Escaping again, Tintin finds "how the Soviets fool the poor idiots who still believe in a Red Paradise" by burning bundles of straw and clanging metal in order to trick visiting English Marxists into believing that non-operational Soviet factories are productive.

Tintin witnesses a local election, where the Bolsheviks threaten the voters to ensure their own victory; when they try to arrest him, he dresses as a ghost to scare them away. Tintin attempts to make his way out of the Soviet Union, but the Bolsheviks pursue and arrest him, then threaten him with torture. Escaping his captors, Tintin reaches Moscow, remarking that the Bolsheviks have turned it into "a stinking slum". He and Snowy observe a government official handing out bread to homeless Marxists but denying it to their opponents; Snowy steals a loaf and gives it to a starving boy. Spying on a secret Bolshevik meeting, Tintin learns that all the Soviet grain is being exported abroad for propaganda purposes, leaving the people starving, and that the government plans to "organise an expedition against the kulaks, the rich peasants, and force them at gunpoint to give us their corn".

Tintin infiltrates the Red Army and warns some of the kulaks to hide their grain, but the army catches him and sentences him to death by firing squad. By planting blanks in the soldiers' rifles, Tintin fakes his death and is able to make his way into the snowy wilderness, where he discovers an underground Bolshevik hideaway in a haunted house. A Bolshevik then captures him and informs him, "You're in the hideout where Lenin, Trotsky and Stalin have collected together wealth stolen from the people!" With Snowy's help, Tintin escapes, commandeers a plane, and flies into the night. The plane crashes, but Tintin fashions a new propeller from a tree using a penknife, and continues to Berlin. The OGPU agents appear and lock Tintin in a dungeon, but he escapes with the aid of Snowy, who has dressed himself in a tiger costume. The last OGPU agent attempts to kidnap Tintin, but this attempt is foiled, leaving the agent threatening, "We'll blow up all the capitals of Europe with dynamite!" Tintin returns to Brussels amidst a huge popular reception.

History

Background

Georges Remi—best known under the pen name Hergé—had been employed as an illustrator at  ("The Twentieth Century"), a staunchly Roman Catholic and conservative Belgian newspaper based in Hergé's native Brussels. Run by the Abbé Norbert Wallez, the paper described itself as a "Catholic Newspaper for Doctrine and Information" and disseminated a far-right and fascist viewpoint; Wallez was an admirer of Italian fascist leader Benito Mussolini and kept a signed picture of him on his desktop, while Léon Degrelle, who later became the leader of the fascist Rexists, worked as a foreign correspondent for the paper. According to Harry Thompson, such political ideas were common in Belgium at the time, and Hergé's milieu was permeated with conservative ideas revolving around "patriotism, Catholicism, strict morality, discipline, and naivety". Anti-communist sentiment was strong, and a Soviet exhibition held in Brussels in January 1928 was vandalised amid demonstrations by the fascist National Youth Movement (Jeunesses nationales) in which Degrelle took part.

Wallez appointed Hergé editor of a children's supplement for the Thursday issues of , titled  ("The Little Twentieth"). Propagating Wallez's socio-political views to its young readership, it contained explicitly pro-fascist and anti-Semitic sentiment. In addition to editing the supplement, Hergé illustrated  ("The Extraordinary Adventures of Flup, Nénesse, Poussette and Cochonnet"), a comic strip authored by a member of the newspaper's sport staff, which told the adventures of two boys, one of their little sisters, and her inflatable rubber pig. Hergé became dissatisfied with mere illustration work, and wanted to write and draw his own cartoon strip.

Hergé already had experience creating comic strips. From July 1926 he had written a strip about a boy scout patrol leader titled Les Aventures de Totor C.P. des Hannetons ("The Adventures of Totor, Scout Leader of the Cockchafers") for the Scouting newspaper  ("The Belgian Boy Scout"). The character of Totor was a strong influence on Tintin; Hergé described the latter as being like Totor's younger brother. Jean-Marc and Randy Lofficier stated that graphically, Totor and Tintin were "virtually identical" except for the scout uniform, also noting many similarities between their respective adventures, particularly in the illustration style, the fast pace of the story, and the use of humour. Hergé also had experience creating anti-communist propaganda, having produced a number of satirical sketches for Le Sifflet in October 1928 titled "70 per cent of Communist chefs are odd ducks".

Influences
Hergé wanted to set Tintin's first adventure in the United States in order to involve Native Americans—a people who had fascinated him since boyhood—in the story. Wallez rejected this idea, which later saw realisation as the series' third instalment, Tintin in America (1932). Instead, Wallez wanted Hergé to send Tintin to the Soviet Union, founded in 1922 by the Marxist–Leninist Bolshevik Party after seizing power from the Russian Empire during the 1917 October Revolution. The Bolsheviks greatly changed the country's feudal society by nationalising industry and replacing a capitalist economy with a socialist one. By the early 1920s, the Soviet Union's first leader, Vladimir Lenin, had died and been succeeded by Joseph Stalin. Being both Roman Catholic and politically right-wing, Wallez was opposed to the atheist, anti-sectarian, anti-theocratic and left-wing Soviet policies, and wanted Tintin's first adventure to reflect this, to persuade its young readers with anti-Marxist and anti-communist ideas. Later commenting on why he produced a work of propaganda, Hergé said that he had been "inspired by the atmosphere of the paper", which taught him that being a Catholic meant being anti-Marxist, and since childhood he had been horrified by the Bolshevik shooting of the Romanov family in July 1918.

Hergé did not have the time to visit the Soviet Union or to analyse any available published information about it. Instead, he obtained an overview from a single book,  ("Moscow Unmasked: A Record of Nine Years Work in Soviet Russia") by Joseph Douillet (1878–1954), a former Belgian consul to Rostov-on-Don who had spent nine years in Russia following the 1917 revolution. Published in both Belgium and France in 1928,  sold well to a public eager to believe Douillet's anti-Bolshevik claims, many of which were of doubtful accuracy. As Michael Farr noted, "Hergé freely, though selectively, lifted whole scenes from Douillet's account", including "the chilling election episode", which was "almost identical" to Douillet's description in . Hergé's lack of knowledge about the Soviet Union led to many factual errors; the story contains references to bananas, Shell petrol and Huntley & Palmers biscuits, none of which existed in the Soviet Union at the time. He also made errors in Russian names, typically adding the Polish ending "-" to them, rather than the Russian equivalent "-".

In creating Land of the Soviets, Hergé was influenced by innovations within the comic strip medium. He claimed a strong influence from French cartoonist Alain Saint-Ogan, producer of the Zig et Puce series. The two met the following year, becoming lifelong friends. He was also influenced by the contemporary American comics that reporter Léon Degrelle had sent back to Belgium from Mexico, where he was stationed to report on the Cristero War. These American comics included George McManus's Bringing Up Father, George Herriman's Krazy Kat and Rudolph Dirks's Katzenjammer Kids. Farr believed that contemporary cinema influenced Tintin in the Land of the Soviets, indicating similarities between scenes in the book with the police chases of the Keystone Cops films, the train chase in Buster Keaton's The General and with the expressionist images found in the works of directors such as Fritz Lang. Farr summarised this influence by commenting: "As a pioneer of the strip cartoon, Hergé was not afraid to draw on one modern medium to develop another".

Publication
Prior to serialisation, an announcement ran in the 4 January 1929 edition of , proclaiming: "e are always eager to satisfy our readers and keep them up to date on foreign affairs. We have therefore sent Tintin, one of our top reporters, to Soviet Russia". The illusion of Tintin as a real reporter for the paper, and not a fictional character, was emphasised by the claim that the comic strip was not a series of drawings, but composed of photographs taken of Tintin's adventure. Biographer Benoît Peeters thought this a private joke between staff at ; alluding to the fact that Hergé had originally been employed as a reporter-photographer, a job that he never fulfilled. Literary critic Tom McCarthy later compared this approach to that of 18th-century European literature, which often presented fictional narratives as non-fiction.

The first instalment of Tintin in the Land of the Soviets appeared in the 10 January 1929 edition of , and ran weekly until 8 May 1930. Hergé did not plot out the storyline in advance; he improvised new situations on a weekly basis, leaving Jean-Marc and Randy Lofficier to observe that both "Story-wise and graphically, Hergé was learning his craft before our eyes." Hergé admitted that the work was rushed, saying: "The  came out on Wednesday evening, and I often didn't have a clue on Wednesday morning how I was going to get Tintin out of the predicament I had put him in the previous week". Michael Farr considered this evident, remarking that many drawings were "crude, rudimentary,  rushed", lacking the "polish and refinement" that Hergé would later develop. Contrastingly, he thought that certain plates were of the "highest quality" and exhibited Hergé's "outstanding ability as a draughtsman".

The story was an immediate success among its young readers. As Harry Thompson remarked, the plotline would have been popular with the average Belgian parent, exploiting their anti-communist sentiment and feeding their fears regarding the Russians. The series' popularity led Wallez to organise publicity stunts to boost interest. The first of these was the April Fools' Day publication of a faked letter purporting to be from the OGPU (Soviet secret police) confirming Tintin's existence, and warning that if the paper did not cease publication of "these attacks against the Soviets and the revolutionary proletariat of Russia, you will meet death very shortly".

The second was a staged publicity event, suggested by the reporter Charles Lesne, which took place on Thursday 8 May 1930. During the stunt, the 15-year-old Lucien Pepermans, a friend of Hergé's who had Tintin's features, arrived at Brussels' Gare du Nord railway station aboard the incoming Liège express from Moscow, dressed in Russian garb as Tintin and accompanied by a white dog; in later life Hergé erroneously claimed that he had accompanied Pepermans, whereas it had been Julien De Proft. A crowd of fans greeted Pepermans and De Proft and pulled the Tintin impersonator into their midst. Proceeding by limousine to the offices of , they were greeted by further crowds, largely of Catholic Boy Scouts; Pepermans gave a speech on the building's balcony, before gifts were distributed to fans.

From 26 October 1930, Tintin in the Land of the Soviets was syndicated to French Catholic magazine  ("Brave Hearts"), recently founded by the Abbé Gaston Courtois. Courtois had travelled to Brussels to meet Wallez and Hergé, but upon publication thought that his readers would not understand the speech bubble system, adding explanatory sentences below each image. This angered Hergé, who unsuccessfully "intervened passionately" to stop the additions. The publication was highly significant for initiating Hergé's international career. The story was also reprinted in its original form in L'écho illustré, a Swiss weekly magazine, from 1932 onward. Recognising the continued commercial viability of the story, Wallez published it in book form in September 1930 through the Brussels-based  at a print run of 10,000, each sold at twenty francs. The first 500 copies were numbered and signed by Hergé using Tintin's signature, with Snowy's paw print drawn on by Wallez's secretary, Germaine Kieckens, who later became Hergé's first wife. For reasons unknown, the original book version omitted the page originally published in the 26 December 1929 edition of ; since the story's republication in Archives Hergé, it has appeared in modern editions as page 97A.

In April 2012 an original copy of the first album was sold for a record price of €37,820 by specialised auctioneers Banque Dessinée of Elsene, with another copy being sold for €9,515. In October the same year a copy was sold at the same auction house for €17,690.

Later publications
By 1936 there was already a demand for reprints of Tintin in the Land of the Soviets, with Lesne sending a letter to Hergé enquiring if this was possible. The cartoonist was reluctant, stating that the original plates for the story were now in a poor condition and that as a result he would have to redraw the entire story were it to be re-published. Several years later, amid the German occupation of Belgium during World War II, a German-run publishing company asked Hergé for permission to republish Tintin in the Land of the Soviets, with the intent of using it as anti-Soviet propaganda, but again Hergé declined the offer.

From 1942 onwards, Hergé began redrawing and colouring his earlier Tintin adventures for Casterman, but chose not to do so for Tintin in the Land of the Soviets, considering its story too crude. Embarrassed by it, he labeled it a "transgression of [his] youth". Jean-Marc and Randy Lofficier believed that another factor in his decision might have been the story's virulently anti-Marxist theme, which would have been unpopular amidst growing West European sympathies for Marxism following the Second World War. In an article discussing Hergé's work which was published in the magazine Jeune Afrique ("Young Africa") in 1962, it was noted that despite the fact that fans of his work visited the Bibliothèque Nationale to read the copy of Land of the Soviets that was held there, it "will never (and with good cause) be republished". In 1961, Hergé wrote a letter to Casterman suggesting that the original version of the story be republished in a volume containing a publisher's warning about its content. Louis-Robert Casterman replied with a letter in which he stated that while the subject had been discussed within the company: "There are more hesitant or decidedly negative opinions than there are enthusiastic ones. Whatever the case, you can rest assured that the matter is being actively considered".

As The Adventures of Tintin became more popular in Western Europe, and some of the rarer books became collectors' items, the original printed edition of Tintin in the Land of the Soviets became highly valued and unauthorized editions began to be produced. As a result, Studios Hergé published 500 numbered copies to mark the series' 40th birthday in 1969. This encouraged further demand, leading to the production of further "mediocre-quality" unlicensed editions, which were sold at "very high prices". To stem this illegal trade, Hergé agreed to a 1973 republication as part of the  collection, where it appeared in a collected volume alongside Tintin in the Congo and Tintin in America. With unofficial copies continuing to be sold, Casterman produced a facsimile edition of the original in 1981. Over the next decade, it was translated into nine languages, with an English-language edition translated by Leslie Lonsdale-Cooper and Michael Turner published by Sundancer in 1989. This edition was republished in 1999 for the 70th anniversary of Tintin in the Land of the Soviets.

Sociologist John Theobald noted that by the 1980s, the book's plot had become "socially and politically acceptable" in the western world as part of the Reaganite intensification of the Cold War and increased hostility towards Marxism and socialism. This cultural climate allowed it to appear "on hypermarket shelves as suitable children's literature for the new millennium". That same theme prevented its publication in Communist Party-governed China, where it was the only completed adventure not translated by Wang Bingdong and officially published in the early 21st century.

In 2017, two French colour versions were created by Casterman and Moulinsart.

Critical reception
In his study of the cultural and literary legacy of Brussels, André De Vries remarked that Tintin in the Land of the Soviets was "crude by Hergé's later standards, in every sense of the word". Simon Kuper of the Financial Times criticised both Land of the Soviets and Tintin in the Congo as the "worst" of the Adventures, being "poorly drawn" and "largely plot-free". Sociologist John Theobald of the Southampton Institute argued that Hergé had no interest in providing factual information about the Soviet Union, but only wanted to inculcate his readers against Marxism, hence depicting the Bolsheviks rigging elections, killing opponents and stealing the grain from the people. According to literary critic Jean-Marie Apostolidès of Stanford University, Hergé cast the Bolsheviks as "absolute evil" but was unable to understand how they had risen to power, or what their political views were. This meant that Tintin did not know this either, thereby observing the Soviet "world of misery" and fighting Bolsheviks without being able to foment an effective counter-revolution. Literary critic Tom McCarthy described the plot as "fairly straightforward" and criticised the depiction of Bolsheviks as "pantomime cut-outs".

Hergé biographer Benoît Peeters was critical of the opening pages to the story, believing that the illustrations in it were among Hergé's worst and stating: "One couldn't have imagined a less remarkable debut for a work destined for such greatness". He believed that Tintin was an existentialist "Sartre-esque character" who existed only through his actions, operating simply as a narrative vehicle throughout the book. Where Hergé showed his talent, Peeters thought, was in conveying movement, and in utilising language in a "constantly imaginative" way. He considered the story's "absurdity" to be its best feature, rejecting plausible scenarios in favour of the "joyously bizarre", such as Tintin being frozen solid and then thawing, or Snowy dressing in a tiger skin to scare away a real tiger. Hergé biographer Pierre Assouline described the comic writer's image of the Soviet Union as being "a Dantesque vision of poverty, famine, terror, and repression".

Marking the release of Steven Spielberg's The Adventures of Tintin: The Secret of the Unicorn film in 2011, the British Broadcasting Corporation (BBC) commissioned a documentary devoted to Tintin in the Land of the Soviets in which journalist Frank Gardner—who considered Tintin to be his boyhood hero—visited Russia, investigating and defending the accuracy of Hergé's account of Soviet human rights abuses. First airing on Sunday 30 October on BBC Two, the documentary was produced by Graham Strong, with Luned Tonderai as producer and Tim Green as executive producer. David Butcher reviewed the documentary for the Radio Times, opining that Gardner's trip was dull compared to the comic's adventure, but praising a few "great moments", such as the scene in which Gardner tested an open-topped 1929 Amilcar, just as Tintin did in the adventure.

References

Footnotes

Bibliography

External links
 Tintin in the Land of the Soviets at the Official Tintin Website
 Tintin in the Land of the Soviets at Tintinologist.org

1930 debut novels
1930 graphic novels
Anti-communism in Belgium
Books about the Soviet Union
Comics controversies
Comics set in Russia
Comics set in the Soviet Union
Literature first published in serial form
Land of the Soviets
Works originally published in Le Petit Vingtième

Tintin in the Land of the Soviets


بريست مدينة تقع في جنوب شرق بيلاروسيا.

 بريست مدينة في شمال غرب فرنسا.

صفحات توضيح أسماء أماكن

بريست (توضيح)


Grøndal har flere betydninger:

 Grøndal
 Grøndal Station
 Grøndals Sogn
 Grøndalskirken
 Grøndal (Ove Sogn) ved Hadsund
 Grøndal (Funder Sogn) ved Silkeborg
 Grøndal (Hvidbjerg Sogn) ved Struer

 Grøndal (Slesvig), gods ved Dørphof i Slesvig

 Gröndal, bydel i Stockholm

Grøndal (flertydig)


"Sacrifice" é uma canção do cantor canadense The Weeknd, gravada para seu quinto álbum de estúdio, Dawn FM (2022). Foi escrita e produzida pelo The Weeknd, Max Martin, Oscar Holter, Carl Nordström, Kevin Duane Mccord, e o trio Swedish House Mafia. Foi lançada em 7 de janeiro de 2022 como segundo single do álbum. A canção será enviada para rádios mainstream dos Estados Unidos em 11 de janeiro de 2022, através da XO e Republic Records.

Antecedentes e lançamento
The Weeknd incluiu um trecho da faixa no final do videoclipe do primeiro single de Dawn FM, "Take My Breath", que foi lançado em 6 de agosto de 2021. O nome da canção foi então revelado em 5 de janeiro de 2022, quando Tesfaye postou a lista de faixas do álbum. Outro trecho da faixa foi divulgado em 6 de janeiro de 2022 através de um teaser publicado nas redes sociais pelo artista. "Sacrifice" foi lançada simultaneamente com o álbum em 7 de janeiro de 2022 como o segundo single. Foi a música-tema do evento de luta livre WrestleMania 38 da WWE.

Videoclipe
O videoclipe de "Sacrifice", dirigido por Cliqua, foi lançado em 7 de janeiro de 2022.

Histórico de lançamento

Canções de 2022
Singles de 2022
Canções gravadas por The Weeknd
Singles lançados pela Republic Records

Sacrifice (canção de The Weeknd)


{
  "type": "FeatureCollection",
  "features": [
    {
      "type": "Feature",
      "properties": {},
      "geometry": {
        "type": "LineString",
        "coordinates": [
          [
            -81.035156,
            26.885058
          ]
        ]
      }
    },
    {
      "type": "Feature",
      "properties": {},
      "geometry": {
        "type": "LineString",
        "coordinates": [
          [
            -80.859375,
            26.856914
          ]
        ]
      }
    }
  ]
}බර්මියුඩා ත්‍රිකෝණය යනු අත්ලාන්තික් සාගරයේ පිහිටි ප්‍රෙද්ශයකි.

මෙම යානා වෙනත් පිටසක්වල ලොවක් කරා ගමන් කරන බවට හා මෙම යානාවල මගීන් පිටසක්වල පර්යේෂකයන් සඳහා යොදා ගැනෙන බවට මතයක් ඇත.නමුත් බොහෝ විද්වතුන් අදහස් දක්වා ඇත්තේ මෙම කලාපය තූළ ව්ව්ධ පාරිසරික වෙනස්කම් සිදුවන බවය.මෙහි ප්‍රබල චුම්බක ක්ෂේත්‍රයක් පවතින නිසා සියලු සන්නිවේදන අංගයන් දුර්වල වෙම්න් ඇතිවන කුණාටු තත්වයන් මැද යානා විනාශ වන බවට මතයක් පවතී."Into the Bermuda Triangle" නම් කෘතියේ නව මුද්‍රණයේදී අදාල  කතුවරයා වූ ජයන් ක්වාසර් ව්සින් පවසන කරුණු අතර මීතේන් හයිඩ්‍රේටවල බලපෑම පධානය.
මෙමගින් පෘතුවි අභ්‍යන්තර උශ්නත්වය පිට කරයි.

බ'මියුඩා ත්‍රිකෝණය


Rogotinski most cestovni je most koji premošćuje rijeku Neretvu u mjestu Rogotin kod Ploča. Izgrađen je od prednapregnutog betona, a gradnja je dovršena 1966. Dio je Jadranske magistrale.

Nešto više od godine dana prije početka izgradnje, u svibnju 1965. preko Neretve izgrađen je privremeni pontonski most duljine oko 160 metara koji je služio prijelazu preko rijeke. Središnji luk širine 36 metara otvarao se prema potrebi kako se ne bi prekinuo riječni promet između Ploča i Metkovića.

Gradnja mosta ukupno je trajala 26 mjeseci. Most duljine 413,80 metara ima 7 otvora: središnji otvor nad Neretvom širine je 110 metara, dva srednja (vezana za središnji) po 55 metara, a četiri otvora nad obalom široka su po 45 metara. Širina kolnika je 7 metara pored kojih su pješačke staze širine po 1,5 metar. U gradnju mosta potrošeno je 433 tone betonskog i 139 tona visokovrijednog čelika. Zbog velikih nanosa rijeke Neretve mjestimično je trebalo bušiti i do 40 metara dubine do tvrdog tla, pa je tako iskopano 4300 m3 nanosa. Most je pušten u promet 27. srpnja 1966.

Puštanjem u promet ovog mosta bitno je rasterećen promet starom prometnicom između Komina i Metkovića, a pogotovo tadašnjeg mosta u Metkoviću (prethodnika današnjeg Lučkog mosta).

Izvori

Vanjske poveznice
 Gradnja Rogotinskoga mosta u fotografiji i riječi prije 55 godina (likemetkovic.hr, objavljeno 14. listopada 2021.)

Cestovni mostovi u Hrvatskoj
Građevine u Pločama
Mostovi na Neretvi

Rogotinski most


An Juncus texanus in uska species han Liliopsida nga syahan ginhulagway ni Georg George Engelmann, ngan ginhatag han pagkayana nga asya nga ngaran ni Frederick Vernon Coville. An Juncus texanus in nahilalakip ha genus nga Juncus, ngan familia nga Juncaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Juncus

Juncus texanus


La segunda batalla de Tucson fue una batalla ocurrida en Tucson, presidio que pertenecía a la provincia novohispana de Sonora y se encuentra actualmente en el territorio de Arizona (Estados Unidos). Fue un hecho que ocurrió durante las guerras apaches en Nueva España el 1 de mayo de 1782, entre el pequeño destacamento español y cientos de guerreros Apache.

Historia
El Presidio Real de San Agustín del Tucsón era una fortificación española ubica en el actual Tucson, fundado por el español Hugo O'Conor. La construcción de la estructura ocurrió entre 1775 a 1783 y se utilizó para proteger las comunicaciones y rutas comerciales del norte de Sonora y el sur de la Alta California. Las tropas consistían de una caballería de entre cuarenta a sesenta unidades, la mayoría originaria de Sonora. El presidio de Tucson fue construida de adobe y madera.

La batalla
A las  del domingo 1 de mayo de 1782, los apaches iniciaron un ataque sorpresa. Los apaches se dividieron en dos grupos y atacaron simultáneamente al pueblo indio y al presidio de Tucsón, con la clara intención de capturar el presidio. Desafortunadamente, para los españoles, la mayor parte de la caballería no estaba en el presidio en ese momento. La mayoría se encontraba en diferentes partes del pueblo preparándose para los oficios religiosos del domingo. Entre los jesuitas que se encontraban en Tucson, reconocerían que se trataba de unos 200 apaches que pelearon a pie y no podían determinar el número que iba a caballo. La batalla se llevó a cabo principalmente en tres campos, la primera en el puente que unía al pueblo indio con Tucson, el segundo en la entrada occidental del presidio y la tercera cerca de la entrada occidental donde se encontraba la casa del capitán Miguel de Urrea.

Referencias

Apache
Batallas de España del siglo XVIII
Estados Unidos en 1782
Historia de Arizona
Historia de los amerindios
Tucson
Conflictos en 1782

Segunda batalla de Tucson


El término botocudos es la denominación dada por los portugueses a los indígenas pertenecientes a grupos de diversas filiaciones lingüísticas y regiones geográficas, debido al uso de discos ("botoques") labiales y auriculares. También llamados aimorés, pertenecían al grupo Macro-Gê y vivían desde el sur del actual estado brasileño de Bahía hasta el norte de Espírito Santo y la región del valle del e río Doce, e el oriente de Minas Gerais. Todavía existen botocudos en las cuencas de los ríos Mucuri y Pardo.

Historia y costumbres

Los botocudos se caracterizaban por su violencia. Varios testimonios aseguran que eran antropófagos y atacaban a los pueblos de goitacases y puris, sus adversarios tradicionales, o caravanas de viajeros e incluso fincas de colonos, incendiando lo que encontraban a su paso.

Las primeras noticias sobre ellos datan del . Gabriel Soares de Sousa, en su relación de las costas de Brasil, ofrece una descripción de los aimoré (nombre dado a botocudos), su vida y sus costumbres, considerándolos descendientes de los tapuias, algo que más tarde los estudios no han confirmado. Los botocudos (algunos se daban a sí mismos el nombre de engerakmung) habitaban la costa brasileña entre las latitudes de 13º a 23º sur. En el , ya habían quedado confinados entre los ríos Dulce y Pardo (15º a 20º de latitud sur).

Diversos estudiosos del  los describen en general como fuertes, bien conformados, de estatura baja o media, caja torácica larga y achatada en la parte anterior, tronco alargado, manos y pies pequeños, piernas finas y cuello corto. Se deformaban las orejas y los labios inferiores por medio de botoques, discos blancos hechos, generalmente, de madera de barriguda (Bombax ventricosa), secados al fuego y de tamaño variable, llegando a los 12 cm. Por lo general andaban desnudos, y algunos hombres usaban fundas para el pene realizadas con hojas trenzadas de Issara.

Sus viviendas, debido a los desplazamientos constantes de los miembros de la tribu, eran de fácil y rápida construcción, en general hojas de palma y ramas apoyadas sobre estacas, donde los pocos utensilios domésticos estaban en el suelo, donde también dormía.

La familia era polígama. El matrimonio resultaba de la voluntad de los esposos y padres, independientemente de la ceremonia, y se disolvía fácilmente. Las mujeres y los niños trabajaron duro y obedecían a su marido y padre. Además de la recolección y la pesca, correspondía a las mujeres construir las cabañas y transportar la carga, incluidos los niños pequeños. En cuanto a la religión, no hay muchos registros sobre sus creencias. Entre ellas había un exorcismo para ahuyentar a los demonios de las tumbas de los muertos, realizando hogueras cerca de estas, por lo general por parte de los familiares.

Hasta mediados del , sólo fueron cazadores y recolectores, siendo la de pesca y la recolección tarea de las mujeres y los niños. La caza la realizaban los hombres individualmente o, a veces, en grupos, pero cada grupo tenía un área especial. El arco y la flecha eran los instrumentos utilizados.

No usaban embarcaciones, lo cual es raro en la región, y tal vez aprendieron a nadar de los blancos o de otros indios, ya que Gabriel Soares de Souza afirma que no sabían hacerlo, mientras que el príncipe Maximiliano de Wied ya los califica como hábiles nadadores y trepadores de árboles. El contacto con los blancos no siempre les fue ventajoso. Aprenderán, por ejemplo, a labrar la tierra, mas también aprenderán a fumar y se volverán bebedores habituales de aguardiente.

Grandes corredores y guerreros temibles, fueron los responsables del fracaso de las capitanías de Ilhéus, Porto Seguro y Espírito Santo. Siempre fueron vecinos temidos. Antes del descubrimiento de Brasil por parte de los europeos, habían desalojado a los tupinaquis de sus tierras al sur de Bahía.

Ya desde el  fueron famosos como «salteadores» de las haciendas de los colonos blancos, lo que motivó las represalias de estos. Se dice que en Espírito Santo el conde de Linhares, cuya hacienda en el río Doce era muy atacada por los botocudos, en una célebre proclama instó à la guerra contra ellos, orden que, de acuerdo con el testimonio de Maximiliano de Wied, era fielmente seguida por lo oficial subalterno de Riacho e probablemente por los cuarteles a lo largo de la costa norte do Espírito Santo.

Los registros de las expediciones anteriores al  muestran que estas no atravesaban los bosques donde vivían botocudos: ni Espinosa, ni Tourinho, Adorno, Martim Carvalho, el coronel Bento Lourenço Vaz de Abreu Lima y Francisco Teixeira Guedes. Nadie salía ileso de los enfrentamientos con ellos. Solo con la ocupación masiva en el  los colonos conocerán la victoria sobre los botocudos. Las propuestas de paz posteriormente hechas se traducirán en tolerancia para entrar en su territorio. Los que trataron a los indios de manera amistosa lograron tal propósito, como Teófilo Ottoni, João Felipe Calmon, los frailes Serafim Gorízio y Angelo Sassoferrato, que aprovecharon las enseñanzas humanitarias del comandante francés Guido Marlière, que trabajó con los nativos de la región do vale del acero, en los actuales municipios de Ipatinga, Timóteo, Coronel Fabriciano, Marlíeria y Jaguaraçu (Estado de Minas Gerais) a inicios del .

Algunos grupos de botocudos sobrevivirán hasta el  en los bosques situados entre el río Jequitinhonha y el valle del río Doce, en los Estados de Bahía, de Minas Gerais y Espírito Santo. Luego, los restos de los grupos que vivían en los ríos Mucuri y Jequitinhonha fueron reunidos en la misión de Itambacuri, en Minas Gerais, donde desaparecerán. Los grupos del río Doce, pacificados en 1911, fueron reunidos en reservas situadas en Espírito Santo y Minas Gerais.

Grupos

Muchos fueron los grupos indígenas denominados botocudos, debido al uso de ornamentos labiales y auriculares ("botoques"), independientemente del grupo etnolingüístico al que pertenecieran:

 aranãs (todavía considerados botocudos);
 bacuéns;
 caingangues;
 cracmuns;
 crenaques (todavía considerados botocudos);
 eteuetes;
 guticraques;
 jiporoques;
 maconis;
 malalis;
 minhajiruns;
 mokuriñs (todavía considerados botocudos);
 nacnenuques;
 nacrerrés;
 naques-nhapemãs;
 nepes-nepes;
 panhames;
 pejaeruns;
 pojixás;
 tacruques-craques;
 xetás;
 xoclengues (del estado de Santa Catarina).

Referencias

Enlaces externos

Pueblos indígenas de Brasil
Historia de Brasil
Historia de Minas Gerais

Botocudos


Guldberg Skole (tidligere Stevnsgade Skole og Sjællandsgades skole) er en dansk folkeskole på Nørrebro i København. Skolen er kendt for at være udgangspunktet for basketballklubben Stevnsgade Basketball.

Guldberg skole blev oprettet i 2006 ved en sammenlægning af Stevnsgades skole og Sjællandsgades skole. Stevnsgade Skole er opført i 1914 og hed dengang Nørre Fælled Friskole, den er tegnet af arkitekt Hans Wright. Sjællandsgades Skoles hovedbygning og gymnastiksal er opført i 1887 og tegnet af arkitekten Hans J. Holm, mens den nyere tilbygning er opført i 1921 og tegnet af Hans Wright.

Referencer

Folkeskoler i Københavns Kommune

Guldberg Skole


En náutica, arribada (del latín ad, á, y ripa, ribera) por definición es la bordada que da un buque dejándose ir con el viento.

De arribada: denota la acción de dirigirse o llegar la nave por algún motivo a puerto que no es en el que ha de terminar su viaje.
llegar la arribada a tal rumbo: se dice estando a la capa, para denotar la magnitud de dicho movimiento giratorio y formar juicio de lo que se cae a sotavento.
partir de arribada: girar repentinamente el buque hacia sotavento, y también empezar el movimiento de arribar, cuando se le impele a ello.
tenerlo en la arribada, tenerle al arribada, reparar la arribada: contener con el timón el movimiento giratorio de la proa hacia sotavento.
navegar arribado: navegar en dirección que forme con la del viento un ángulo mayor que las de seis cuartas de bolina.

Otro nombre de arribada es arribaje.

Arribar
Arribar es el sitio donde se puede atracar o llegar a la playa. Es llegar la nave al puerto en que termina su viaje, o a que tenga que dirigirse para evitar algún peligro o remediar alguna necesidad. También es dejarse ir con el viento; o caer la proa a sotavento, aumentando el ángulo que su dirección forma con el viento.

Compuestos
arribar a un tiempo: en táctica naval, indica que varios buques formado una línea o columna, efectúan en el mismo momento el movimiento de arribada.
arribada en popa: denota que un buque iniciado el movimiento de arribada no cesa hasta recibir el viento por la popa.
arribada gobernando: indica llevar el timón a sotavento cuanto sea necesario para mantener el buque al rumbo que debe seguir, evitando así que por cualquier causa se barloventee demasiado.
arribar por palmos: frase por la que se señala que una nave arriba muy poco a poco con suma precaución y cautela para no sotaventarse demasiado, cuando por cualquier causa precisa que no suceda.

Véase también
Apéndice:Términos marineros

Referencias

Terminología naval
Navegación

Arribada


L'opéra ukrainien en tant qu'opéra national indépendant est apparu dans le dernier tiers du XIXe siècle, basé sur les traditions du théâtre musical européen et folklorique. Mykola Lyssenko, qui a systématiquement travaillé dans ce genre, est considéré comme le fondateur du genre.

Le premier opéra d'un compositeur ukrainien fut Demofonte, de Maxime Berezovsky, sur un livret en italien, créé en 1773.

Le développement de l'opéra ukrainien s'est intensifié après la création des premières maisons d'opéra professionnelles dans les années 1920, mais de 1930 jusqu'à l'effondrement de l'URSS, il s'est déroulé sous le règne du réalisme socialiste en tant que discours soviétique officiel.

Aujourd'hui, les scènes d'opéra de l'Ukraine sont les théâtre national académique d'opéra et de ballet d'Ukraine du nom de Taras Chevtchenko à Kiev, théâtre national académique d'opéra et de ballet d'Odessa, théâtre national académique d'opéra et de ballet de Kharkiv du nom de Mykola Lyssenko, théâtre national académique d'opéra et de ballet de Lviv du nom de Solomiya Krushelnytska, théâtre national académique d'opéra et de ballet de Donetsk du nom de Anatoli Solovianenko et le théâtre académique d'opéra et de ballet de Dnipropetrovsk. Les opéras sont mis en scène dans les studios d'opéra des conservatoires de ces villes et peuvent également être mis en scène dans des théâtres musicaux et musico-dramatiques d'autres grandes villes d'Ukraine.

Opéra ukrainien jusqu'en 1917

L'apparition de l'opéra en Ukraine
L'opéra est apparu relativement tard sur le territoire de l'Ukraine actuelle, car ce pays se situait plutôt à la périphérie des États modernes (la Russie et la Pologne, respectivement la monarchie des Habsbourg). Depuis l'époque de Grande Catherine, lorsque les opéras italiens et français se sont développés à Saint-Pétersbourg, des représentations d'opéra des mêmes genres ont commencé à avoir lieu dans les domaines ruraux de la noblesse russe et sur le territoire ukrainien. Le premier opéra célèbre d'un auteur ukrainien fut Demofonte de Maxime Berezovsky, un cycle d'opéra typiquement italien sur un livret de Pietro Metastasio, créé en 1773 à Livourne.

L'un des plus grands compositeurs d'opéras nationaux de la cour de Saint-Pétersbourg et l'auteur de plusieurs opéras sur des livrets italiens et français, Dmitri Bortniansky, était également originaire d'Ukraine.

Opéras en Ukraine
Il existe actuellement sept opéras en Ukraine :

Le théâtre national académique d'opéra et de ballet d'Ukraine du nom de Taras Chevtchenko à Kiev. C'est le premier théâtre de la ville qui a été construit en 1804-1806. Le bâtiment a été remplacé par un nouveau bâtiment en 1856 et le bâtiment actuel (après l'incendie de 1896) en 1898-1900.

Le théâtre national académique d'opéra et de ballet de Kharkiv du nom de Mykola Lyssenko. Bâtiment postmoderne 1991-1992 dans le bâtiment historique (1884-1885), qui abrite la Philharmonie de Kharkiv.

Le théâtre national académique d'opéra et de ballet d'Odessa. Le premier théâtre municipal a été construit en 1810. Le bâtiment moderne a été érigé entre 1884 et 1887 après que le premier ait brûlé en 1873.

Le théâtre national académique d'opéra et de ballet de Lviv du nom de Solomiya Krushelnytska à Lviv opère dans le bâtiment de l'ancien opéra polonais, construit en 1897-1900. Le bâtiment de l'ancien théâtre de la ville, construit en 1842 par le comte Stanislav Skarbek, fonctionne désormais sous le nom de théâtre national académique dramatique ukrainien du nom de Maria Zankovetska.

Le théâtre national académique d'opéra et de ballet de Donetsk du nom de Anatoli Solovianenko, situé dans un bâtiment construit en 1941. Depuis 2014, en raison de l'invasion de l'Ukraine par la Russie, il se trouve dans les territoires temporairement occupés.

Le théâtre académique d'opéra et de ballet de Dnipropetrovsk. Ouvert en 1974 et installé dans un bâtiment moderne. Le théâtre, installé dans un bâtiment moderne, a ouvert ses portes en 1974.

Le théâtre municipal académique d'opéra et de ballet de Kiev pour les enfants et les jeunes. Fondé en 1982.

Notes et références

Opéra par pays
Musique ukrainienne
Histoire de l'opéra

Opéra ukrainien


Tarzana  is a suburban neighborhood in the San Fernando Valley region of Los Angeles, California. Tarzana is on the site of a former ranch owned by author Edgar Rice Burroughs. It is named after Burroughs' fictional jungle hero, Tarzan.

History
The area now known as Tarzana was occupied in 1797 by Spanish settlers and missionaries who established the San Fernando Mission. Later absorbed by Mexico, the land was surrendered to the United States in 1848 by the Treaty of Guadalupe Hidalgo following the Mexican–American War. Under U.S. rule, it evolved into a series of large cattle ranches. Investors took over in the 1870s, turning grazing into large-scale wheat farm operation.

The area was purchased in 1909 by the Los Angeles Suburban Homes Company. Los Angeles Times founder and publisher General Harrison Gray Otis  invested in the company and also personally acquired  in the center of modern-day Tarzana.

In February 1919, Edgar Rice Burroughs, author of the popular Tarzan novels, relocated to California from Oak Park, Illinois. He and his family had wintered in Southern California twice before, and he found the climate ideal. On March 1, 1919, Burroughs purchased Otis's tract and established Tarzana Ranch. Burroughs subdivided and sold the land for residential development, some of which were utilized as small farms.

Geography

Boundaries
Tarzana, which measures , is bounded on the south by Topanga State Park, on the east by Encino, on the north by Reseda and on the west by Woodland Hills.

Victory Boulevard marks the northern edge of the neighborhood, Lindley Avenue the eastern, Corbin Avenue, with a jog to Oakdale Avenue, the western, and Topanga State Park the southern.

Climate
Tarzana experiences a hot-summer Mediterranean climate. Due to its inland location, there is a higher degree of diurnal temperature variation than more coastal areas of Los Angeles.

Population
The U.S. census counted 35,502 people living in Tarzana in 2000, and Los Angeles estimated the neighborhood's population at 37,778 in 2008. There were 4,038 people per square mile, among the lowest population densities in the city.

According to the 2000 U.S. Census, the racial composition was predominantly white (70.7%), followed by Asian (5%), and black or African American (3.6%). The Los Angeles Times considered the area as "moderately diverse". 35.1% of the population was foreign-born, with Iranian (10.3%) and Russian (9.1%) as the most common ancestries. Iran (24.2%) and Mexico (12.1%) were the most common foreign places of birth.

The percentage of divorced men and women was among the county's highest. Some 9% of the residents were military veterans, considered high for the city of Los Angeles. The percentages of residents aged 50 and older were among the county's highest. The median age, 38, was old when compared to the rest of the city and the county. The median household income in 2008 dollars was considered high, at $73,195.

Notable people

Paul Abrahamian, reality television participant
 Paul Thomas Anderson, filmmaker
 Marc Anthony, singer
 Ed Asner, actor
 Banks, singer
Judy Blumberg, competitive ice dancer
 Edgar Rice Burroughs, author
 Cindy Bortz, 1987 World Junior Champion figure skater
 Chris Brown, singer
Doja Cat, rapper, singer, songwriter, and record producer
Shavahn Church, American-British gymnast
Jordan Cohen (born 1997), American-Israeli basketball player
Mike Connors, actor
Kaley Cuoco, actress and producer
Jason Derulo, singer
Jordan Farmar (born 1986), American-Israeli basketball player
Amanda Fink, tennis player
Selena Gomez, actress, singer
David Gregory, television journalist
Chubby Johnson, actor; served as honorary mayor of Tarzana
 Gabe Kapler (born 1975), Major League Baseball outfielder, and manager (San Francisco Giants)
Khloé Kardashian, television personality
Luke Kennard, NBA player with the LA Clippers, lives in Tarzana
Lisa Kudrow, actress, grew up in Tarzana
 Blake Lively, actress, born in Tarzana
 Jon Lovitz, comedian and actor, born in Tarzana
 Heather McDonald, comedian
 David Oyelowo, actor, lives in Tarzana
Rosanna Pansino, YouTube personality
Lyndsey Parker, entertainment journalist
 Paul Rodriguez, skateboarder, born in Tarzana
 Jim Rome, radio personality, born in Tarzana
JoJo Siwa, YouTube personality and reality television star
Hailee Steinfeld, actress and singer
Brody Stevens, comedian
Benny Urquidez, kickboxer, martial arts choreographer, and actor
Wilmer Valderrama, actor
Bobby Womack, soul singer-songwriter
Anton Yelchin, actor

Education

A total of 40.3% of Tarzana residents aged 25 and older have earned a four-year degree. Percentages of those residents with a bachelor's degree or with a master's degree are also high for the county.

Elementary and secondary schools
Schools within Tarzana are:

 Gaspar de Portola Middle School, LAUSD, 18720 Linnet Street
 Sherman Oaks Center for Enriched Studies (4–12), LAUSD alternative, 18605 Erwin Street
 Vanalden Avenue Elementary School, LAUSD, 19019 Delano Street
 Tarzana Elementary School, LAUSD, 5726 Topeka Drive
 CHIME Institute's Schwarzenegger Community School, LAUSD charter, 19722 Collier Street
 Wilbur Charter for Enriched Academics, LAUSD K–5, 5213 Crebs Avenue
 Nestle Avenue Elementary School, LAUSD, 5060 Nestle Avenue

Zoned high schools serving Tarzana include:
 Birmingham High School in (Lake Balboa area)
 Reseda High School (in Reseda area)
 Taft High School (in Woodland Hills area)

Private schools include:
 Lycée International de Los Angeles West Valley Campus

Postsecondary schools
 Columbia College Hollywood, a private nonprofit film school on Oxnard Street.

Public libraries

The Los Angeles Public Library operates the Encino-Tarzana Branch on Ventura Boulevard in Tarzana.

Recreation and parks
The Tarzana Recreation Center has a gymnasium that also is used as an auditorium; the building's capacity is 600. The park also has barbecue pits, a lighted baseball diamond, lighted outdoor basketball courts, a children's play area, a community room, an indoor gymnasium without weights, picnic tables, and lighted volleyball courts.

Caballero Canyon, located on the north side of the Santa Monica mountains in Tarzana offers multiple trails for hiking, mountain biking and unobstructed views of the San Fernando Valley. There is a 3.6 mile loop trail located here that is moderately trafficked and allows dogs on a leash. At the top of the trail hikers and mountain bikers will see signs leading the entrance of Topanga State Park. There are no fees or permits required to hike Caballero Canyon.

References

External links

 Elementary schools: , ,

Communities in the San Fernando Valley
Edgar Rice Burroughs
Neighborhoods in Los Angeles
Populated places in the Santa Monica Mountains
Populated places established in 1927
Tarzan
1927 establishments in California

Tarzana, Los Angeles


L'anticristo este un film de groază italian din 1974 regizat de Alberto De Martino. Rolurile principale sunt interpretate de actorii Carla Gravina, Mel Ferrer, Arthur Kennedy, Umberto Orsini, Alida Valli, Remo Girone, Anita Strindberg și George Coulouris.

Este considerat în general ca un Mockbuster al filmului Exorcistul, un film american cu tematică similară și cu mult succes, lansat anul precedent. L'anticristo este un film idol.

Prezentare

O tânără paralizată devine posedată de Diavol după ce o ședință de hipnoză - menită să-i vindece dizabilitatea - trezește accidental amintiri din viața ei anterioară de vrăjitoare.

Distribuție
Carla Gravina - Ippolita Oderisi
Mel Ferrer - Massimo Oderisi
Arthur Kennedy - Cardinalul Ascanio Oderisi
Remo Girone - Filippo Oderisi
Umberto Orsini - Dr. Marcello Sinibaldi
Alida Valli - Irene
George Coulouris - Father Mittner
Anita Strindberg - Greta
Mario Scaccia -  mistic
Lea Lander - Mariangela
Ernesto Colli - om posedat

Note

Legături externe

Filme din 1974
Filme de groază din anii 1970
Filme italiene
Filme în limba italiană
Filme regizate de Alberto De Martino
filme idol
filme cu demonifilme cu vrăjitoare

L'anticristo


École Centrale de Nantes er et fransk ingeniør-institut tilknyttet France AEROTECH.

Instituttet blev oprettet i 1919 (Institut polytechnique de l'Ouest) i 1947 (École nationale supérieure de mécanique de Nantes) og har i dag omkring 2000 studerende.

Internationalt samarbejde
École Centrale de Nantes-samarbejdsuniversiteter:

 Top Industrial Managers for Europe (TIME): Danmarks Tekniske Universitet (DTU), École Centrale de Nantes

Noter

Uddannelsesinstitutioner i Frankrig
Tekniske universiteter

École Centrale de Nantes


El carrusel es una obra de teatro de Víctor Ruiz Iriarte, estrenada en 1964.

Argumento
Daniel y Rita forman un matrimonio de mediana edad, el cual ha ido dejando de tomar conciencia de sus hijos en aras de una frívola y placentera vida. Sus hijos, cansados de esta situación deciden darles una lección. Lolín, la hija mayor decide ponerse a enseñar al servicio idiomas para así superar su soledad. Tony, que parece el más serio y formal de los hermanos, es amante de Mónica, la sirvienta de la casa a la que deja embarazada. Maribel, encuentra el amor en un ingeniero industrial, amor al que se opone su madre. Y finalmente Ramonín, el mayor de todos, es homosexual y se mete en graves y serios problemas con un comisario, que no duda en detenerlo. La lección para recuperar la atención de sus padres, consistía precisamente en presentar cada uno unas situaciones, en un principio imaginarias, pero que no tardarán en volverse muy reales, como se ha visto. El juego se ha vuelto muy peligroso y terrible para todos.

Estreno
 Teatro Lara, Madrid, 4 de diciembre de 1964.
 Dirección: Enrique Diosdado.
 Escenografía: Eduardo Torre De la Fuente.
 Intérpretes: Amelia de la Torre (Rita), Enrique Diosdado (Daniel), Ana Maria Vidal (Maribel), Manuel Galiana (Tomy), María Jesús Lara (Mónica), Mari Carmen Yepes (Lolín), Rafael Guerrero (Ramonín), Vicente Ariño (Comisario).

Notas y referencias

Enlaces externos

 RUIZ IRIARTE, Víctor: El carrusel.
 Texto de la obra, con el título El carrusell; en PDF.
 Adaptación de Pedro Amalio López ofrecida por TVE en una emisión de 1967, con el título El carrusell, con música original de Manuel Parada, con dirección y realización del adaptador, y con actuación de Luisa Sala, Luis Peña, Tina Sainz, María José Goyanes, Manuel Galiana, José Orjas, María Dolores Díaz y Pedro Valentín; la relación del reparto, desde los 50 seg.; la función, a partir de los 2 min.

Obras de teatro de Víctor Ruiz Iriarte
Obras de teatro de 1964
Obras de teatro adaptadas a la televisión

El carrusel