Mother 3 é um jogo eletrônico de RPG de 2006 desenvolvido pela Brownie Brown e HAL Laboratory e publicado pela Nintendo para o Game Boy Advance. É o terceiro e último título da série Mother. O jogo segue Lucas, um garoto com habilidades psíquicas, junto de outros personagens enquanto tentam impedir que um misterioso exército invasor corrompa e destrua o mundo.

Tal qual nos jogos anteriores da série, Mother 3 é focado numa exploração de mundo baseada em uma perspectiva top-down e em batalhas baseadas em turnos. Seu desenvolvimento durou doze anos, passando por quatro consoles, começando em 1994 no Super Famicom, passando para o Nintendo 64, e então seu periférico 64DD. Foi inicialmente cancelado em 2000, mas o desenvolvimento foi reiniciado em 2003 para o Game Boy Advance.

Mother 3 nunca foi localizado ou lançado fora do Japão, devido ao seu lançamento próximo ao fim da vida útil do Game Boy Advance e ao foco da empresa no Nintendo DS. No entanto, foi um sucesso comercial e de crítica e recebeu elogios por seu desenvolvimento de personagens, gráficos estilizados, música, história e tom mais maduro e dramático do que os dois jogos anteriores — mas foi criticado pela falta de inovação na jogabilidade — e eventualmente recebeu um status cult entre os fãs.

Uma tradução não oficial de fãs em inglês foi lançada pela comunidade da internet Starmen.net em 2008 e foi baixada mais de 100 mil vezes durante sua primeira semana. Mother 3 foi relançado para o Virtual Console do Wii U no Japão em 2015.

Jogabilidade
Mother 3 é um jogo de RPG eletrônico semelhante aos videojogos anteriores da série Mother. O jogador controla um grupo de personagens jogáveis que exploram um mundo fictício bidimensional. Enquanto navega pelo overworld, o jogador pode conversar com personagens não jogáveis, obter itens ou encontrar inimigos. Vencer batalhas contra inimigos concede pontos de experiência ao grupo, necessários para subir de nível . Aumentar o nível de um personagem aumenta permanentemente seus atributos individuais, como pontos de vida máximos (HP), pontos de poder (PP), ataque e defesa. Armas, armaduras ou acessórios podem ser equipados em um personagem para aumentar certos atributos. O jogador pode restaurar o HP e PP de seus personagens ou curar vários status negativos visitando fontes termais que são abundantes no mundo do jogo, e o jogador pode salvar seu progresso conversando com sapos espalhados pelo jogo. A moeda é introduzida na segunda metade do jogo, chamada de Dragon Points (DP), ganhos ao vencer batalhas e usados para comprar itens. O jogador pode depositar ou retirar DP falando com os sapos.

Mother 3 mantém o sistema de batalha baseado em turnos apresentado em EarthBound (1994). Quando o jogador entra em contato com um inimigo no overworld, o jogo muda para uma tela de batalha. As batalhas são vistas de uma perspectiva presumida em primeira pessoa, mostrando os inimigos contra um fundo animado e distorcido. O jogador pode atribuir a cada personagem do seu grupo uma ação, como atacar um inimigo ou usar itens para restaurar HP ou PP. Alguns personagens podem utilizar habilidades psíquicas conhecidas como PSI, que incluem ataques mais fortes e habilidades de cura, e exigem PP para serem executados. Assim como EarthBound, o combate usa um sistema de "rolagem de vida": quando um dos personagens do jogador é ferido, seu HP gradualmente "rola" para baixo, semelhante a um hodômetro, em vez de ser imediatamente diminuído. Isso permite que um personagem mortalmente ferido realize ações como atacar ou curar a si mesmo, desde que o jogador aja com rapidez suficiente. Se um personagem perder todo o HP, ele ficará inconsciente e não poderá participar a menos que seja revivido por outro personagem. O jogador perde uma batalha se todos os personagens ficarem inconscientes; o jogador terá então a opção de continuar jogando do ponto de salvamento mais próximo.

O combate em Mother 3 inclui um sistema de combo musical único, não visto nos jogos anteriores da franquia. Quando um dos personagens do jogador ataca diretamente um inimigo, ele pode atacar repetidamente o inimigo pressionando o botão no ritmo da música de fundo, com cada inimigo possuindo um tema musical com ritmos diferentes. Usando este sistema, o jogador pode atacar o inimigo até dezesseis vezes seguidas. Quando a batida correta for difícil de ser reconhecida, o jogador pode colocar o inimigo para dormir para isolar a batida da música.

Enredo
Se passando na ficcional Nowhere Islands ("Ilhas de Lugar Nenhum", em português) após os eventos de Earthbound, a história é contada em oito capítulos, incluindo um curto prólogo. O jogo começa com os gêmeos Lucas e Claus e sua mãe Hinawa visitando seu pai, que mora no extremo norte das ilhas. Logo no primeiro capítulo, sua terra natal, Vila Tazmily, é invadida por forças misteriosas conhecidas como o Exército Pigmask. O marido de Hinawa, Flint, é acordado por um incêndio florestal causado pelos Pigmasks; ao saber que sua família não voltou, ele procura por eles e descobre que Hinawa foi morta por um Drago hostil, uma criatura normalmente dócil, enquanto protegia Lucas e Claus. Após o enterro de Hinawa, Claus deixa a aldeia para se vingar do Drago; Flint tenta segui-lo e derrota o Drago, que foi transformado em um ciborgue, mas não consegue encontrar Claus.

Em resposta à invasão do Exército Pigmask, o ladrão Duster é enviado por seu pai e mestre Wess ao abandonado Castelo de Osohe para recuperar o misterioso Ovo da Luz. Lá, Duster conhece a jovem princesa de Osohe, Kumatora, mas tanto ele quanto o Ovo são pegos em uma armadilha e desaparecem. Ao mesmo tempo, um mascate misterioso conhecido como Yokuba, que trabalha com os Pigmasks, vende aparelhos parecidos com televisões conhecidos como Happy Boxes ("caixas felizes" em português) para os habitantes da vila, com a ajuda relutante de um macaco chamado Salsa, de quem ele tortura. Yokuba apresenta aos aldeões o conceito de moeda, dando algum dinheiro a um deles e, em seguida, incriminando o desaparecido Duster pelo roubo. Salsa escapa do controle de Yokuba com a ajuda de Kumatora, Lucas e Wess.

Três anos depois, Tazmily Village foi assumida pelo Exército Pigmask, que a modernizou com ferrovias, Happy Boxes e outras modernidades. Lucas ouve rumores de que Duster, que está desaparecido desde que partiu para o Castelo de Osohe, está trabalhando como baixista em um clube e sai com seu cachorro Boney. No caminho, Lucas aprende poderes psíquicos de uma criatura superpoderosa, benevolente e andrógena conhecida como Magypsy, e parte em uma missão para investigar mais o Exército Pigmask, acompanhado por seu cachorro Boney. No clube, ele encontra Kumatora trabalhando como garçonete, assim como Duster, que perdeu sua memória. Eles se juntam, recuperam o Ovo e restauram a memória de Duster, mas enquanto tentam subir em uma aeronave dos Pigmasks, um misterioso Homem Mascarado os derruba para o chão, separando-os.

Após ser derrubado, Lucas tem visões de sua mãe em um campo de girassóis e, em seguida, salta para ela de um penhasco, caindo inconsciente em uma pilha de feno abaixo, em Tazmily. Lucas e Boney aprendem com as Magypsies que sob as ilhas dorme um enorme dragão. O propósito das Magypsies é guardar sete agulhas que foram colocadas para controlar o poder do dragão e aquele que puxar a maior parte das agulhas poderá usar o incrível poder do dragão para remodelar o mundo. Por causa disso, o Homem Mascarado está tentando encontrá-las e puxá-las. Lucas e Boney se reencontram com Duster e Kumatora e correm para puxar as Agulhas antes do Homem Mascarado, mas só conseguem puxar três antes dele, com o inimigo puxando outras três.

A sétima e última agulha está localizada abaixo de New Pork City, a capital dos Pigmasks. Lucas e companhia se dirigem para lá e reencontram Leder, outro aldeão de Tazmily, que revela que os habitantes da vila são os últimos sobreviventes de um apocalipse global, que viajaram para as Ilhas de Lugar Nenhum porque estavam sendo protegidas pelo poder do dragão. Para evitar que um segundo apocalipse ocorresse novamente, os sobreviventes selaram suas antigas memórias no Ovo da Luz; Leder recebeu o papel de revelar a verdade se a situação assim o exigisse. Ele também revela que o líder do Exército Pigmasks é Porky Minch, o antagonista secundário do jogo anterior, que após os eventos de EarthBound viajou no tempo para as Ilhas de Lugar Nenhum e começou a construir um império lá, sequestrando habitantes de outros períodos de tempo (incluindo Dr. Andonuts de EarthBound) para preenchê-lo, bem como transformando a vida selvagem local em novos seres distorcidos (incluindo o Drago que matou Hinawa).

Lucas e companhia derrotam Porky, que se fecha permanentemente em uma "Cápsula Absolutamente Segura", tornando-se  incapaz de continuar a batalha. Disputando a última agulha, o Homem Mascarado é revelado ser Claus, mas sofrido de lavagem cerebral. Durante a batalha entre Claus e Lucas, a memória de Claus de sua mãe restaura sua humanidade e ele comete suicídio. Lucas, a partir das palavras de seu pai Flint que apareceu durante a batalha, relutantemente puxa a agulha final, despertando o dragão e destruindo as Ilhas de Lugar Nenhum. Em um epílogo ambientado em uma tela escura, os personagens do jogo revela que eles sobreviveram, e depois agradecem e desejam adeus ao jogador, quebrando a quarta parede. Na tela final, o logotipo de Mother 3 é agora feito completamente de madeira.

Desenvolvimento

O desenvolvimento de Mother 3 começou em 1994 para o Super Famicom, com Shigeru Miyamoto e Satoru Iwata como produtores. A equipe consistia principalmente de membros envolvidos no desenvolvimento de EarthBound. Inspirada por Super Mario 64, a equipe fez a transição para o Nintendo 64, acreditando que também poderia florescer criativamente fazendo um mundo 3D. No entanto, suas especificações iniciais excederam os recursos e limites de memória do Nintendo 64. No meio do desenvolvimento, a equipe mudou a plataforma para o 64DD, um periférico de expansão do Nintendo 64 que mais tarde foi lançado apenas no Japão em 1999. Esperava-se que Mother 3 fosse um jogo de lançamento do 64DD, mas o desenvolvimento voltou para o Nintendo 64 após o fracasso comercial do acessório.

A Nintendo apresentou uma demo do jogo na feira comercial Nintendo Space World de 1999. Era esperado para ser lançado na América do Norte com o nome EarthBound 64, em um cartucho de 256 megabits, similar a The Legend of Zelda: Ocarina of Time (1998). A IGN reagiu positivamente à demo e a comparou com o jogo de Super Famicom lançado exclusivamente no Japão Live A Live (1994), devido à estrutura de suas narrativas: ambas se assemelhavam por se dividirem em capítulos, onde em cada um o jogador controla um personagem diferente; leitores da Famitsu ranquearam o jogo como um dos dez jogos mais aguardados no final de 1999.

, criador da série Mother, anunciou em agosto de 2000 que Mother 3 havia sido cancelado após vários atrasos. Iwata e Miyamoto esclareceram em entrevista que os recursos foram movidos para o desenvolvimento do GameCube, o próximo console da Nintendo. Itoi afirmou que seriam necessários mais dois anos para terminar o jogo, que estava 30% completo no momento do cancelamento. Iwata afirmou retrospectivamente que o foco em gráficos 3D tornou o projeto muito complexo. Miyamoto também afirmou que a franquia Mother não havia sido abandonada e que ele ainda estava interessado em um futuro lançamento do jogo. Três anos depois, em 2003, Yasuyuki Honne, artista e desenvolvedor da Monolith Soft, à época subsidiária da Namco, apresentou para Iwata e Itoi artes conceituais feitas de feltro e pano do que seria Mother 3 para GameCube.

Em 2003 a Nintendo anunciou que havia reiniciado o desenvolvimento de Mother 3 para o Game Boy Advance. Itoi acreditava que reiniciar o projeto era impossível, mas mudou de ideia seguindo o incentivo da base de fãs de Mother. A subsidiária da Nintendo, Brownie Brown, desenvolveu o jogo, com a colaboração de Itoi. Enquanto os gráficos foram alterados de 3D para 2D, a história não foi alterada. Mother 3 estava cerca de 60% concluído em julho de 2004 e foi lançado em 20 de abril de 2006, no Japão.

Design

Shigesato Itoi pensou no conceito por trás de Mother 3 ao fim da produção de EarthBound, que seria uma "história de detetive onde a cidade era a personagem principal". Ele pensou em um investigador particular mulherengo que se envolveria em um grande caso de assassinato, e a história se desenrolaria a partir de uma jovem funcionária de uma loja de flores que lentamente se lembraria de partes de uma história consequente à trama. Assim, a cidade pareceria crescer. A ideia de um "lugar único mudando ao longo do tempo" era central para o enredo de Mother 3. Ao contrário de RPG's anteriores, que ele via como "filmes de estrada", com poucas razões para revisitar lugares anteriores da trama, ele queria que o jogador visse a cidade crescer dinamicamente. Itoi pretendia que a obra tivesse 12 capítulos com várias mecânicas e personagens jogáveis que seriam rotacionados ao decorrer do jogo. À medida que o desenvolvimento avançava, Itoi reduziu o escopo dos capítulos até restar sete ou nove.

A "beleza desconfortável" das quimeras - várias criaturas fundidas em uma - era central para o jogo e era a ideia por trás do logotipo metálico e de madeira de Mother 3. Itoi atuou bem menos como gerente e mais como um membro da equipe e roteirista do que nos outros títulos da franquia. Ele se via simultaneamente fazendo o jogo que queria jogar, armando armadilhas para o jogador e fazendo um jogo que a Nintendo não poderia.

Itoi optou pelos gráficos pixelizados remanescentes de EarthBound porque não era interessado nas últimas tendências dos gráficos de computador. Os três videojogos da série foram escritos em hiragana ao invés de kanji em prol de serem mais acessíveis para pequenas crianças. O antagonista, Porky, foi concebido como um "símbolo da humanidade", complementando a visão do mal de Itoi em um espectro de moralidade fungível com "travessuras" e "crimes" em seus extremos. O mesmo comparou a forma como os personagens desenvolvem seus poderes psíquicos com a menstruação e ainda acrescentou que a fisiologia humana era "um de seus temas". Os personagens suam ao aprender uma habilidade psíquica, baseado na crença de Itoi de como o esforço físico é necessário para o crescimento. Ele também incluiu personagens como Magypsies (personagens com características não-binárias) e Duster (que tem uma perna manca) para mostrar o valor de ter amigos com qualidades diferentes.

Outro dos temas abordados foi a dualidade de seriedade e leveza nos jogos, razão pela qual ele adicionou uma cena séria de morte ao primeiro capítulo. A versão planejada para Nintendo 64 era mais sombria, "mais suja" e mais perturbadora, embora a versão final tenha mudado pouco em conceito. Itoi sentiu que o tema de renovação do final do jogo refletia sua visão de mundo de apreciar nosso tempo na Terra à luz do fim inevitável do planeta.

Música
Shogo Sakai, um compositor da HAL Laboratory cujos trabalhos anteriores incluem músicas para Kirby Air Ride (2003) e Super Smash Bros. Melee (2001), compôs a trilha sonora de Mother 3. Shigesato Itoi afirmou que Sakai foi escolhido para o papel devido ao seu conhecimento profundo da história do jogo e da série EarthBound em geral, além do fato de que os compositores dos dois primeiros jogos, Keiichi Suzuki e Hirokazu Tanaka, não estavam disponíveis. Sakai trabalhou para fazer a música parecer semelhante aos jogos anteriores da série. A trilha sonora de Mother 3 foi lançada em CD em 2 de novembro de 2006. Kyle Miller da RPGFan escreveu que o jogo manteve a estranheza das trilhas sonoras anteriores da série, apesar da mudança nos compositores. Ele achou a segunda metade do álbum, que incluía "clássicos" reinterpretados da série, a mais forte.

"Love Theme", a música-tema de Mother 3, foi composta no final do desenvolvimento do jogo; no início do desenvolvimento Shigesato Itoi pretendia usar a música "Pigmask Army" como o tema principal. Durante a criação de uma cena importante no jogo, no entanto, Sakai foi convidado a criar uma música que tivesse um maior impacto; na sua criação, foi escolhida para ser usada como tema principal em vez de "Pigmask Army". Itoi afirmou que, dada a rapidez com que Sakai compôs a música, ele estava "esperando a ordem" para fazer uma música como "Love Theme". Itoi pediu que "Love Theme" fosse tocada num piano com apenas um dedo, tal qual "Eight Melodies" de EarthBound Beginnings (1989), que ganhou popularidade e que era usada em livros didáticos de escolas primárias no Japão, devido à sua simplicidade.

Lançamento

Mother 3 foi lançado no Japão em 20 de abril de 2006, onde se tornou um best-seller. Antes do lançamento, o jogo estava entre "os cinco jogos mais procurados" e no topo da lista de jogos mais comprados durante a pré-venda no Japão. Em algum momento anterior ao lançamento do título, a música tema do mesmo, "Love Theme", passou a ser usada como música de espera em ligações para o Japan Post. Uma edição especial limitada foi produzida com uma edição especial do Game Boy Micro e um broche. O jogo foi comercializado no Japão com um comercial de televisão onde mostrava a atriz japonesa Kou Shibasaki à beira das lágrimas ao explicar seus sentimentos sobre Mother 3. Itoi declarou que sua performance foi improvisada.

Em 17 de dezembro de 2015, o jogo foi relançado para o Virtual Console do Wii U, exclusivamente no Japão.

Lançamento internacional
O terceiro título da série EarthBound nunca foi lançado fora do Japão. De acordo com o editor do Game Informer, Imran Khan, a Nintendo planejou uma localização em inglês, mas supostamente a cancelou devido aos possíveis temas controversos do enredo.

Em uma entrevista em 2022, o produtor do jogo, Shinichi Kameoka, alegou que seria muito difícil traduzir para outras línguas o estilo único de escrita de Shigesato Itoi; por causa disso, Mother 3 jamais teve um lançamento fora do Japão. Em contrapartida, em uma entrevista de Reggie Fils-Aimé, ex-presidente da Nintendo of America, para Geoff Keighley, foi dito que a decisão foi tomada à época principalmente devido ao fracasso comercial de EarthBound nos Estados Unidos — além de a própria Nintendo já ter feito a transição para seu próximo console portátil, o Nintendo DS — e que se o então presidente da Nintendo, Satoru Iwata, não houvesse falecido e se o Wii U, console lançado seis anos depois do lançamento original de Mother 3, houvesse tido melhores vendas, possivelmente o jogo teria sido eventualmente lançado para o mercado ocidental no console da oitava geração, mesmo que fosse sem uma tradução em inglês.

Tradução de fãs

Em 17 de outubro de 2008, usuários do site Starmen.net lançaram um patch de tradução que, quando aplicado em uma cópia da ROM de Mother 3, traduz todo o texto do jogo para o inglês. Reid Young, co-fundador do site, afirmou que quando perceberam que a Nintendo não iria localizar Mother 3, decidiram realizar a tarefa, para si e para os fãs do jogo. A equipe de tradução consistia de cerca de uma dúzia de pessoas, incluindo o líder do projeto, Clyde "Tomato" Mandelin, um tradutor profissional de japonês para inglês. O projeto levou dois anos e milhares de horas para ser concluído; estimou-se que o custo teórico freelance da tradução seria de 30 mil dólares.

A equipe de tradução afirmou que a Nintendo of America tinha conhecimento sobre o projeto, mas que mesmo assim não interviu. O time de tradução planejava em interromper o projeto caso a Nintendo fizesse um anúncio sobre o futuro do jogo, ou se fosse solicitado a cessar o desenvolvimento da tradução, e afirmou que a legalidade da localização era incerta, já que a tradução final exigia o uso de um emulador ou um cartucho pirata. O patch de tradução foi baixado mais de 100 mil vezes na primeira semana depois do seu lançamento. Andrew Webster do The Verge citou a tradução de Mother 3 como prova da dedicação dos fãs e Jenni Lada da TechnologyTell a chamou de "sem dúvida uma das traduções de fãs mais conhecidas que existem", com diversas traduções desenvolvidas para outras línguas.

Recepção
{{Análises de jogo
| título      = Recepção
| EuroG       = 7/10
| Fam         = 35/40| RPG         = 4/5
| RPGFan      = 93/100
}}Mother 3 recebeu grande aclamação crítica, vendendo cerca de 200 mil cópias em sua primeira semana de vendas. Foi um dos vinte jogos mais vendidos no Japão no primeiro semestre de 2006, e recebeu uma pontuação de 35/40 da revista Weekly Famitsu. Críticos parabenizaram a história e gráficos, e lamentaram suas mecânicas de RPG remanescentes dos anos 90. Críticos também elogiaram sua música.

Os críticos da Famitsu notaram o nível de detalhe da direção, acessibilidade e sagacidade da história, estilo de arte não convencional e mecânica de jogabilidade convencional. Eles consideraram as batalhas rítmicas úteis e difíceis. Simon Parkin, da Eurogamer, detalhou o desenvolvimento de 12 anos, o legado da série como "uma das mais amadas do Japão" e a resistência da sua comunidade de fãs. Ele ficou impressionado com a qualidade da tradução dos fãs e descreveu Itoi como um "contador de histórias" que escolheu o meio de RPG japonês para contar sua história. Parkin observou como o roteiro "excelente" saiu de um "conto direto ao ponto" para uma "amplitude e profundidade de qualidade que poucos títulos com muitas vezes seu orçamento alcançam". Ele comparou a abordagem por capítulos com o método utilizado em Dragon Quest IV (1990). A NGC Magazine escreveu que a obra parecia um Mother 2.5 na aparência, o que não foi levantado como um aspecto negativo, embora um pouco antiquado; o visual também foi comparado com o remake do videojogo Final Fantasy Adventure (1991) de Game Boy, lançado para o Game Boy Advance, chamado  (2003). Lada da TechnologyTell disse que Mother 3 era surpreendentemente "mais sombrio" do que seus antecessores.

Jordan Jackson da RPGamer escreveu que os visuais são típicos da série e se encaixam no clima do jogo. Alana Hagues da RPGFan apontou "alguns elementos arcaicos", criticando o inventário de itens limitado, similar aos dois primeiros jogos da trilogia. Parkin da Eurogamer sentiu que os elementos do jogo de RPG eram menos interessantes e acrescentou que Mother 3 tinha poucos pontos de venda de destaque além de sua atenção aos detalhes e destacou como "única inovação sistêmica" o sistema de batalha baseado em ritmo. Richard Eisenbeis da Kotaku elogiou o sistema, e Greg Kasavin da GameSpot comparou-o com o da série Mario & Luigi. Parkin escreveu que o jogo estava repleto de "momentos memoráveis", incluindo um personagem que critica o jogador "por não rir de trocadilhos", sapos com trajes progressivamente bobos que salvam o jogo, uma batalha contra um "mecha caribu reconstruído" e a "cena da fogueira" e que enquanto a simplicidade do jogo poderia ter se inclinado para "estupidez bruta", em vez disso, era "elegante em sua simplicidade". Remy Korea da Nintendo Blast manifestou que Shigesato Itoi "escreveu um videogame que, se não é necessariamente literatura ou arte, certamente é excelente ficção".

 Legado
Vários críticos avaliaram Mother 3 como um dos melhores jogos de RPG para o Game Boy Advance. Jeremy Signor da GamePro listou entre seus "melhores jogos de RPG japoneses não lançados" por seu roteiro e atenção aos detalhes. Tim Rogers postulou Mother 3 como "um dos jogos mais próximos de chegar à literatura".

A Nintendo tem sido fortemente criticado por falta de um lançamento internacional de Mother 3. A IGN referiu à série Mother como "negligenciada" em relação à EarthBound ser o único jogo a ser lançado fora do Japão até 2015. Bob Mackey, do sitío 1UP.com, escreveu que "nenhum outro jogo na história obteve uma demanda tão raivosa por tradução", e Chris Plante, da UGO Networks, escreveu que a falta de uma localização oficial em inglês era um dos "piores desgostos" de 2008. Frank Caron, da Ars Technica, disse que o "empreendimento maciço da tradução dos fãs ... representa um enorme sucesso" e que "não se pode nem começar a entender por que a Nintendo não acharia adequado lançar o jogo no Ocidente".

Embora fortemente aclamada, o criador e escritor da série Mother, Shigesato Itoi, afirmou que não tem planos de criar um quarto jogo da série. A série de jogos de luta Super Smash Bros. apresenta Lucas junto de Ness, protagonista de EarthBound, como lutadores jogáveis, bem como personagens menores como colecionáveis, itens e etc. Durante o evento digital da Nintendo na E3 2014, a Nintendo fez uma referência humorística à falta de uma localização de Mother 3, apresentando uma animação em stop-motion criado pela Robot Chicken. O curta apresenta um fã conversando com o então presidente da Nintendo of America, Reggie Fils-Aimé. Após o fã dizer "Vamos, Reggie, nôs dê Mother 3!", Fils-Aimé responde dizendo "Que tal isso?" e então come uma Flor de Fogo da série Super Mario para jogar uma bola de fogo no fã.

O ex-presidente da Nintendo of America, Reggie Fils-Aimé, publicou em 2021 via rede social sobre possuir uma suposta versão em inglês de Mother 3'', a qual nunca jogou, sem esclarecer se tratava-se de uma piada, se era uma alusão à tradução feita pelos fãs, ou se se tratava de uma versão localizada nunca lançada pela empresa. No mesmo ano, através da mesma rede social, o ator Terry Crews escreveu uma curta mensagem pedindo a localização do jogo para o Ocidente. A postagem gerou milhares de interações de vários fãs concordando com o pedido do ator norte-americano.

Jogos para Virtual Console (Wii U)
Jogos eletrônicos desenvolvidos no Japão
Sequências de jogos eletrônicos
Jogos eletrônicos para um jogador
Jogos eletrônicos de fantasia científica
Jogos eletrônicos da Nintendo
Mother
Jogos eletrônicos exclusivos do Japão
Jogos para Game Boy Advance
Dinossauros nos jogos eletrônicos
Jogos cancelados para Super Nintendo
Jogos cancelados para Nintendo 64
Jogos cancelados de 64DD
Jogos eletrônicos de 2006

Mother 3


Cavanșir Izzat oglu Rahimov (în ; ) a fost un militar azer și Erou Național al Azerbaidjanului.

Biografie
Cavanșir Rahimov s-a născut la  5 iunie 1973 în Qașqaçay, Qakh. La vârsta de un an, familia sa s-a mutat în Baku, Qaraçuxur. Cavanșir Rahimov a fost singurul copil al părinților săi. A terminat liceul nr. 104 din raionul Suraxani.

Serviciu militar
În aprilie 1992, Cavanșir Rahimov a intrat în serviciul militar activ al Azerbaidjanului. A devenit un trăgător la bordul elicopterelor militare. El și-a exprimat dorința de a merge la război ca voluntar și a fost repartizat pe un elicopter MI-24.

Războiul din Nagorno Karabah
La 6 august 1992, în Qasapet, Karabahul de Munte, în timpul celui de-al doilea zbor al zilei, a fost rănit. Rahimov a insistat că era pregătit pentru zbor și a zburat din nou. De data aceasta, elicopterul în care se afla a fost doborât de focurile de rachete ale forțele armate armene.

În acel moment, Cavanșir a căzut pe un câmp cu cereale din apropiere. O lună mai târziu, un cioban a găsit corpul lui Cavanșir și a informat despre acest lucru unitatea militară din apropiere. La 9 septembrie 1992, a fost îngropat de membri ai ministerului apărării și de tatăl său.

La 14 septembrie 1992 i-a fost acordat postum titlul de Erou Național al Azerbaidjanului, prin Decretul nr. 204 al Președintelui Republicii Azerbaidjan. Este cel mai tânăr erou național al Azerbaidjanului.

Cavanșir Rahimov a fost îngropat în Aleea Martirilor din Baku.

Vezi și
 Războiul din Nagorno-Karabah
 Lista eroilor naționali din Azerbaidjan
 Ruslan Polovinko
 Zakir Majidov

Referințe

Surse
 Vugar Asgarov. Azərbaycanın Milli Qəhrəmanları (Yenidən ișlənmiș II nəșr). ro.: "Eroii naționali din Azerbaidjan" (ediția a II-a revizuită). Baku: "Dərələyəz-M", 2010, pag. 241.

Legături externe
 Cavanșir Rahimov
 Cavanșir Rahimov
 Cel mai tânăr erou național din Azerbaidjan - Foto / Video

Decese în 1992
Nașteri în 1973
Militari azeri

Cavanșir Rahimov


Superstrat (af latinsk super- og stratum ≈ overlag) er et sprogvidenskabelig betegnelse for et sprog, der i større udstrækning har vundet indpas på et andet sprogs geografiske område uden dog at fortrænge eller udskifte dette. Det franske sprog er for eksempel påvirket af et germansk superstrat. Germanske dialekter har altså efterladt sproglige træk i det franske. Superstrat står i modsætning til substrat.

Eksterne henvisninger
 Kim Michael Skovgaard-Hansen og Lene Schøsler: Ordforrådets kulturhistorie i Sprogforum nummer 47, 2009

Historisk sprogforskning

Superstrat


Grupa C de la Cupa Mondială de Baschet Masculin din 2019 a fost o grupă preliminară din cadrul Cupei Mondiale de Baschet Masculin din 2019 care și-a desfășurat meciurile la Guangzhou Gymnasium, Guangzhou. Echipele care au făcut parte din această grupă au fost: Iran, Puerto Rico, Spania și Tunisia. Fiecare echipă a jucat cu fiecare echipă, primele două s-au calificat pentru a doua rundă, iar ultimele două pentru grupele pentru stabilirea părții inferioare a clasamentului final.

Clasament

Meciuri

Iran vs. Puerto Rico

Spania vs. Tunisia
This was the first competitive game between Spain and Tunisia.

Tunisia vs. Iran

Puerto Rico vs. Spania

Puerto Rico vs. Tunisia

Spania vs. Iran

Referințe

Cupa Mondială de Baschet Masculin din 2019
Baschet în China
2019 în sport

Cupa Mondială de Baschet Masculin din 2019 - Grupa C


59. breddegrad kan henvise til:

 59. nordlige breddekreds
 59. sydlige breddekreds

59. breddegrad


Industrial metal is the fusion of heavy metal and industrial music, typically employing repeating metal guitar riffs, sampling, synthesizer or sequencer lines, and distorted vocals. Prominent industrial metal acts include Ministry, Nine Inch Nails, Marilyn Manson, Rammstein, Godflesh, and Fear Factory.

Industrial metal developed in the late 1980s, as industrial and metal began to fuse into a common genre.  Industrial metal did well in the early 1990s, particularly in North America, with the success of groups such as Nine Inch Nails, but its popularity began to fade in the latter half of the 1990s.

History

Early innovators
Though electric guitars had been used by industrial artists since the early days of the genre, archetypal industrial groups such as Throbbing Gristle displayed a strong anti-rock stance. British post-punk band Killing Joke pioneered the crossing over between styles and was an influence on major acts associated with industrial metal such as Ministry, Godflesh, and Nine Inch Nails. Another pioneer industrial rock group, Big Black, also impacted some later groups.

By the late 1980s industrial and heavy metal began to fuse into a common genre, with Godflesh's self-titled EP and Ministry's The Land of Rape and Honey at the forefront. Godflesh was founded by former Napalm Death guitarist Justin Broadrick. Drawing from a wide array of influences—power electronics forefathers Whitehouse, noise rock band Swans, ambient music creator Brian Eno and fellow Birmingham hard rockers Black Sabbath—the Godflesh sound was once described as "Pornography-era The Cure on Quaaludes". Though not a top seller, Godflesh nonetheless became an influential act, their name mentioned by Korn, Metallica, Danzig, Faith No More, and Fear Factory.

Ministry emerged from the scene surrounding Wax Trax! Records, a Chicago indie label dedicated to industrial music. Ministry's initial foray into guitar rock happened during a recording session of The Land of Rape and Honey on Southern Studios, in London. The band's frontman, the Cuban-born Al Jourgensen, explained this transition:

Jourgensen seemed particularly fond of thrash metal. After the release of Land, he recruited guitarist Mike Scaccia from Texas thrashers Rigor Mortis. On one occasion, Jourgensen told the press that Sepultura was his favorite band. He also expressed the desire to produce a Metallica album. Jourgensen's interest in dance-oriented electronic music did not entirely fade, however; he also formed the side-project Revolting Cocks, a more electronic body music-inflected collaboration with Richard23 of Front 242.

German band KMFDM was another seminal industrial metal group. Although not a metal fan, KMFDM leader Sascha Konietzko's "infatuation with ripping off metal licks" stemmed from his experiments with E-mu's Emax sampler in late 1986. He told Guitar World that,

A Swiss trio, The Young Gods, brushed with the style on their second album, L'Eau Rouge (1989). Prior to its release, singer Franz Treichler declared:

Canadian thrash metal band Malhavoc became one of the earlier acts of the genre when they began to mix extreme metal with industrial music in the late 1980s.

Pigface, formed by Martin Atkins and including Ministry drummer Bill Rieflin, emerged as an industrial metal collective of sorts, participating with many figures from the noise rock and industrial worlds. Nine Inch Nails, the "one-man-band" formed by Trent Reznor, brought the genre to mainstream audiences with albums such as the Grammy-winning Broken and the best-selling The Downward Spiral, accompanied by their groundbreaking performance at Woodstock '94. The rivethead subculture also developed at this time, along with the so-called "coldwave" subgenre, which encompassed Chemlab, 16 Volt, and Acumen Nation. Some electro-industrial groups adopted industrial metal techniques in this period, including Skinny Puppy (on their Rabies, co-produced by Jourgensen), and Front Line Assembly.

British band Pitchshifter, formed in 1989 by brothers Jon and Mark Clayden, also started as an industrial metal band. The band later included elements of drum and bass. Frontman JS mentions:

Industrial thrash and death metal
Industrial metal's popularity led a number of successful thrash metal groups, including Megadeth, Sepultura, and Anthrax, to request remixes by "industrial" artists. Some musicians emerging from the death metal scene, such as Fear Factory, Nailbomb, Autokrator and Meathook Seed, also began to experiment with industrial. Fear Factory, from Los Angeles, were initially influenced by the Earache roster (namely Godflesh, Napalm Death and Bolt Thrower). The German band Oomph! after their second album Sperm started to play industrial metal combined with elements of death metal and groove metal until the album Plastik. Sepultura singer Max Cavalera's Nailbomb, a collaboration with Alex Newport, also practiced a combination of extreme metal and industrial production techniques. A lesser-known example of industrial death metal is Meathook Seed, made up of members of Napalm Death and the Florida death metal group Obituary. An industrial music fan, Obituary guitarist Trevor Peres suggested drum machines for The End Complete, Obituary's most successful album. The other band members' refusal led him to form Meathook Seed.

Industrial black metal

In the early years of the 21st century, groups from the black metal scene began to incorporate elements of industrial music. Mysticum, formed in 1991, was the first of these groups. DHG (Dødheimsgard), Thorns from Norway and Blut Aus Nord, N.K.V.D. and Blacklodge from France, have been acclaimed for their incorporation of industrial elements. Other industrial black metal musicians include Samael, The Axis of Perdition, Aborym, and ...And Oceans. In addition, The Kovenant, Mortiis and Ulver emerged from the Norwegian black metal scene, but later chose to experiment with industrial music.

Progressive industrial metal
Several artists with their roots in progressive music, though not often associated with industrial metal scene, also incorporated industrial textures into their music. Later-era King Crimson, whose 2000s albums were referred as "industrial art metal", and OSI can be named as examples of progressive industrial metal. Several acts associated with extreme metal subgenres also mix progressive and avant-garde metal with industrial, those include the Hungarian experimental metal act Thy Catafalque, Blut aus Nord and Norwegian band Shining with their critically acclaimed Blackjazz album, which blended progressive rock, black metal, free jazz and industrial. Canadian artist Devin Townsend, the founder of industrial thrash metal band Strapping Young Lad, later fused industrial with progressive metal during his prolific solo career.

Coldwave

Coldwave is a sub-genre of industrial metal originating in the 1990s. It has its roots in acts like Nine Inch Nails and Ministry. The style focuses on heavier, punk-based guitars, sampled hard rock-like guitars, synthesizer accompaniment, and acid house elements. Lyrical content is typically cyberpunk-oriented with pop music sensibilities, although it can vary.

Chemlab's 1993 album Burn Out at the Hydrogen Bar is often considered the album that defined the coldwave style.

Artists like the aforementioned Chemlab, 16 Volt and Acumen Nation exemplified this genre.

The coldwave style began to wane rapidly when industrial music in general started to lose popularity in the latter half of the 1990s-early 2000's. Many artists within the genre moved on to different styles that included; Hard rock, heavy metal, nu metal, synth-metal, synth-rock, and synth-pop among other genres.

Coldwave today is a small, niche scene within industrial music. Very few bands today describe themselves or are described as coldwave. Bands like Cyanotic and Medicant Downline are perhaps the exception.

Despite the same name as the French genre, it is otherwise unrelated.

Commercial rise

Industrial metal blossomed in the early 1990s, particularly in North America, where it would eventually sell close to 35 million units. It first became a commercial force in 1992 when Nine Inch Nails' Broken and Ministry's Psalm 69 went platinum in America, though the latter took three years to reach that status. Both groups were nominated for the Best Metal Performance in the 1992 Grammy Awards, with Nine Inch Nails winning. Two years later, Nine Inch Nails released The Downward Spiral, which debuted at No. 2, and would eventually go quadruple-platinum. This record is considered by AllMusic as "one of the bleakest multi-platinum albums ever".

Following Nine Inch Nails' success, Marilyn Manson, led by a protégé of Reznor's, came to prominence. The group's live performance and its transgressive appeal was often more commented on than their music.

Industrial metal reached its commercial zenith in the latter half of the 1990s – according to the RIAA databases, its top-selling artists sold around 17.5 million units combined. Records by major industrial metal artists routinely debuted on the top spots of the Billboard 200 chart: Rob Zombie's Hellbilly Deluxe (No. 5), Marilyn Manson's Antichrist Superstar (No. 3), and Nine Inch Nails' The Fragile (No. 1). A number of industrial metal albums performed well on Billboard's Heatseekers chart: Filter's Short Bus (No. 3), Stabbing Westward's Wither Blister Burn + Peel (No. 1), Rammstein's Sehnsucht (No. 2), Orgy's Candyass (No. 1), and Static-X's Wisconsin Death Trip (No. 1).

During this era, Trent Reznor was chosen by Time as one of the most influential Americans of 1997. The genre's popularity was such that established glam metal groups, including Guns N' Roses and Mötley Crüe, began to dabble in the style. Figures from the hip hop scene also began to seek out collaborations with and remixes from industrial metal musicians.

When industrial metal climbed the charts of the late 1990s, its sudden popularity was met with negative reactions from the early innovators of industrial music. Peter Christopherson told The Wire that he no longer felt any kinship with the industrial scene: "this is not me, this is not what I'm about". Lustmord, a prominent early industrial musician, declared that "Ministry just doesn't interest [him]" and "[he has] no time for all this rock and roll shit they're doing now." Skinny Puppy frontman Nivek Ogre dismissed Nine Inch Nails as "cock rock" but have since patched things up and have even performed on stage together.

Industrial metal suffered a critical backlash at the turn of the millennium. In an April 2000 review for the Chicago Sun Times, Jim DeRogatis dismissed Nine Inch Nails' new music as a "generic brand of industrial thrash" and accused Ministry of repeating an act that "was old by 1992". Although The Fragile reached the top spot of the Billboard 200 and went on to earn double platinum status, DeRogatis considered it a "flop" nonetheless.
Around this time, veteran industrial metal artists (Ministry, Godflesh, and White Zombie) began to repudiate the industrial label. Sales remained high throughout 2000–2005; at least 10 million records were sold during that time frame. Many groups began to take influence from hip hop and electronic music, in addition to industrial metal. As a result, acts like Powerman 5000 are often described as industrial metal as well as nu metal.

Film and video
Several industrial metal groups have produced eye-catching videos. These include Godflesh's collaboration with Andres Serrano, Aidan Hughes's graphics for KMFDM, Nine Inch Nails' work with Mark Romanek, Rob Zombie's visual work for White Zombie (for which he received the MTV Video Music Award for Best Hard Rock Video), and Marilyn Manson's output with Richard Kern and Floria Sigismondi. NIN later collaborated with Bill Viola for live accompaniment. Trent Reznor also produced the soundtracks for the films Natural Born Killers and Lost Highway, and served as "musical consultant" for Man on Fire. Rob Zombie has directed three films. In 2009, Marilyn Manson was in the process of directing Phantasmagoria: The Visions of Lewis Carroll. The movie has since languished in development hell. Other films that have included prominent contributions from industrial metal artists include The Crow, Johnny Mnemonic, Mortal Kombat, The Matrix, Blair Witch, and A.I. Artificial Intelligence.

Controversy
Its emphasis on transgressive themes has made a few industrial metal groups vulnerable to attack from American social conservatives. For example, Sen. Bob Dole, then head of the Republican Party, sharply criticized Time Warner after a meeting between Michael J. Fuchs (head of the Warner Music Group), William Bennett, and C. Delores Tucker, at which Tucker and Bennett demanded that Fuchs read lyrics from NIN's "Big Man with a Gun". A year later, Bennett, Tucker, and Joseph Lieberman launched a similar campaign against MCA Records for their distribution of Marilyn Manson's music. Many of his concerts were cancelled by authorities after this uproar. In addition, Dennis Cooper cited Ministry's video for "Just One Fix", which featured footage of William S. Burroughs, as an early example of heroin chic. Some initial reports claimed that Columbine High School shooters Eric Harris and Dylan Klebold were Marilyn Manson fans. In fact, they preferred KMFDM and Rammstein. Asa Coon, another school shooter, was a Manson fan.
Manson, a former journalist, published a detailed response to the controversy following the Columbine shootings in an article published in Rolling Stone. It concluded:

Sascha Konietzko reported that KMFDM was "sick and appalled" by the shootings, issuing a statement the following day saying:

Rammstein stated that they "have no lyrical content or political beliefs that could have possibly influenced such behavior". Rammstein have also been controversial for their use of Nazi imagery, including footage shot by Leni Riefenstahl for Olympia in their video for "Stripped". Alec Empire, a German digital hardcore musician, declared that "[Rammstein is] successful for all the wrong reasons. I think they're not a fascist band at all, but I think in Germany there's a lot of misunderstanding and that's why they sell records and I think that's dangerous." In response to the controversy, Rammstein stated that "We are not Nazis, Neo-Nazis, or any other kind of Nazi. We are against racism, bigotry or any other type of discrimination." The band went on to create the song "Links 2-3-4", released in 2001, which responded to the Nazi allegations by insinuating that they reside left on the political spectrum.

See also

 List of industrial metal bands
 Heavy metal music
 List of industrial music festivals
 List of heavy metal festivals

References

Notes

Bibliography

Heavy metal genres
Electronic music genres
Industrial music
Fusion music genres

Industrial metal


Fornelli ist eine italienische Gemeinde (comune) mit  Einwohnern (Stand ) in der Provinz Isernia in Molise und ist Mitglied der Vereinigung I borghi più belli d'Italia (Die schönsten Orte Italiens). Die Gemeinde liegt etwa 7,5 Kilometer westnordwestlich von Isernia. Die östliche Gemeindegrenze ist die Vandra.

Geschichte
Die Ortschaft Fornelli wird erstmals im Oktober 981 urkundlich erwähnt. Neben der Pest 1656 suchten die Gemeinde im Laufe der Geschichte zahlreiche Erdbeben heim.

Weblinks

Einzelnachweise

Ort in Molise
Weinbauort in Italien
Ersterwähnung 981

Fornelli


A National Institute for Higher Education (NIHE) () was a category of higher education institution established in Ireland to provide higher level technical education above the standard of the then established Regional Technical College system, at university level. Higher level technical education in Ireland was seen to be an area that was poorly served until the advent of these institutions.

The plan was to see degree level education mainly. The first institution was set up in Limerick, where there had been long-standing demand for a university, in fact a "University of Limerick" was proposed inter alia in the late 1960s by the Lichfield Report. The institution at  Dublin was to be the unified campus of what later became Dublin Institute of Technology, but instead a new institution was developed similar to Limerick.

In the 1970s it was expected that the institutions would be recognised colleges of the National University of Ireland, in time this status been raised to constituent college status. Initially this did occur for a short time (1976–1977), however the institutions had all degrees conferred by the National Council for Educational Awards after 1977, this continued until university status was achieved.
{| class="wikitable" align="center"
|-
! Former Institute
! Current University'! Announced
! Opened
! University Status
|-
| National Institute for Higher Education, Limerick
| University of Limerick
| 1969
| 1972
| 1989
|-
| National Institute for Higher Education, Dublin
| Dublin City University
| 1971
| 1980
| 1989
|}

International Study Group on Technological Education

In November 1986 the International Study Group on Technological Education was established by the Minister for Education.

The chair was T.P. Hardiman, chairman of the Investment Bank of Ireland, whilst the deputy chair was Emeritus Professor of Business Administration at University College Dublin. The other three members were:
Vice-Chancellor of Brunel University and Vice President of the Royal Society
President of the University of Waterloo
Vice-President of the German Research Foundation at Hamburg University of Technology

The institutions were de facto universities from the start, and were elevated to the level of university in 1989 after the International Study Group on Technological Education presented its recommendations to the Irish Government on their status. The original brief of this report was to investigate the creation of a single National Technological University:...to examine third-level technological education outside the universities and to consider the case of a new Technological University...However the study group found that this title would not be appropriate considering that non-technical disciplines were offered and that one university might limit the innovation which had become the trademark of the two separate institutions:...the NIHE Limerick having the title University of Limerick and the NIHE Dublin having the title Dublin City University or the University of Leinster.The title 'technological university" should not be used.''

References

See also

 List of higher education institutions in the Republic of Ireland

Dublin City University
Education in the Republic of Ireland
University of Limerick

National Institute for Higher Education


الرئيس التنفيذي (اختصارًا CEO؛ اختصار كلمة Chief Executive Officer) هو أعلى سلطة في الإدارة العليا والمسؤول الأول والأخير عن إدارة الشركة أو المؤسسة أو الوكالة الحكومية أمام مجلس الإدارة.

ال ((CEO) ((Chief Executive Officer) هو المسؤول التنفيذي الأعلى هو المسؤول عن نشاط المؤسسة بصفة عامة والتنسيق بين أعضاء مجلس الإدارة والتنسيق بين الإدارات المختلفة والمستويات الإدارية المختلفة وفروع الشركة المختلفة وهو يعد المسؤول الوحيد عن نجاح المؤسسة أو فشلها.
وأحد المسؤليات الأساسية له هي المحافظة على سياسة الشركة وتنفيذها كما تم تقريرها من قبل أعضاء مجلس الإدارة.
وقد يطلق عليه أيضا (الرئيس) (president) أو (المدير العام) (Managing director) وقد يتولى رئاسة مجلس الإدارة (Chairman person) أو قد لا يتولى ذلك المنصب أي قد يكون منصب رئيس مجلس الإدارة منصبا مستقلا بذاته.

الاستخدام العالمي
المماثل للمنصب في العالم العربي هو المدير العام.

التوزيع الهرمي
يحتاج كل كبير إداريين تنفيذيين إلى مساعدين لكل منهم مهام ومسؤوليات محددة:
 كبير المسؤولين الماليين
 كبير المسؤولين التشغييلين
 كبير المسؤولين التقنيين
 كبير المسؤولين التسويقيين
 كبير المسؤولين المعلوماتيين
 نائب الرئيس للموارد البشرية

انظر أيضًا
 مدير تنفيذي
 رئيس مدير عام

المراجع

ألقاب في الشركات
إدارة المهن
قيادة
مديرون تنفيذيون
مناصب السلطة

الرئيس التنفيذي


Eugenes es un género de aves apodiformes perteneciente a la familia Trochilidae. Anteriormente se consideaba un género monotípico, con el colibrí magnífico (E. fulgens) como único miembro, hasta que la especie fue escindida.

Especies
Actualmente el género contiene dos especies:

 Eugenes fulgens - colibrí magnífico;
 Eugenes spectabilis - colibrí de la Talamanca.

Referencias

Enlaces externos

Géneros de aves

Eugenes


Escobaria lloydii ist eine Pflanzenart in der Gattung Escobaria aus der Familie der Kakteengewächse (Cactaceae). Das Artepitheton lloydii ehrt den aus Großbritannien stammenden Zytologen Francis Ernest Lloyd (1868–1947).

Beschreibung
Escobaria lloydii wächst mit mehreren Trieben und bildet häufig Polster. An den Trieben befinden sich verkorkte kahle Warzen. Die mehreren kräftigen Mitteldornen sind bis zu 2 Zentimeter lang. Ihre etwa 20 schlanken und ausstrahlenden Randdornen sind weiß.

Die grünlichen Blüten sind bis zu 2,5 Zentimeter lang. Die roten, kugelförmigen Früchte weisen Längen von 6 bis 12 Millimeter auf.

Verbreitung, Systematik und Gefährdung
Escobaria lloydii ist im mexikanischen Bundesstaat Zacatecas verbreitet.

Die Erstbeschreibung durch Nathaniel Lord Britton und Joseph Nelson Rose wurde 1923 veröffentlicht. Nomenklatorische Synonyme sind Coryphantha lloydii  (1931) und Neobesseya lloydii  (2013).

Escobaria lloydii ist nur unzureichend bekannt.

In der Roten Liste gefährdeter Arten der IUCN wird die Art mit "", d. h. mit keinen ausreichenden Daten geführt.

Nachweise

Literatur

Einzelnachweise

Escobaria (Kakteen)
Lloydii

Escobaria lloydii


L'aponévrose palatine est une fine lamelle fibreuse attachées au bord postérieur du palais osseux.

Elle soutient les muscles et renforce le voile du palais.

Il est plus épais au-dessus et se rétrécit en descendant où il devient très fin et difficile à définir.

Latéralement, elle est en continuité avec le fascia pharyngobasilaire.

Il sert de terminaison pour le muscle tenseur du voile du palais et le muscle élévateur du voile du palais, et d'origine pour le muscle uvulaire, le muscle palatopharyngien et le muscle palatoglosse.

Voir aussi

 Aponévrose

Notes et références

Liens externes

Tête et cou humains

Aponévrose palatine


An Isolepis reticularis in uska species han Liliopsida nga ginhulagway ni John William Colenso. An Isolepis reticularis in nahilalakip ha genus nga Isolepis, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Isolepis

Isolepis reticularis


පාෂාණික පරිසර විද්‍යාවේදි උප පොසිල පිළිබඳ දත්ත යොදා ගෙන අතීත පරිසර පද්ධති යළි ගොඩ නැගීම සිදු කරයි. මෙයට අදාළ වන්නේ පොසිල වු ජිවී සංවිධාන පිළිබඳ අධ්‍යයනය, සතුන්ගේ ආහාර මාර්ග පද්ධතියේ තිබි පොසිල වු ද්‍රව්‍ය පිළිබඳ අධ්‍යනය සහ අනෙකුත් අංශු මාත්‍ර පොසිල පිළිබඳ අධ්‍යයනයන්ය. එමගින් සත්ව ජීවන වක්‍ර, විවෘත අන්තර් ක්‍රියා, ඔවුන්ගේ ස්වාභාවික පරිසරය, ඔවුන් මියගිය හා වැළලුණු ආකාරය පිළිබඳ සොයා බැලිමයි.

මේ අනුව පාෂාණික පරිසර විද්‍යාවේ අභිමතාර්ථය අද පොසිල සේ හමුවන ජිවින්ගේ ජෛව පරිසරය සවිස්තරාත්මක ඉදිරිපත් කිරිමයි. මෙම ප්‍රතිනිර්මාණකරණ පාරිසරික සාධක එනම් උෂ්ණත්වය, ආහාර සැපයුම, සුර්ය තාපය ආදිය සමග කරන සංකිර්ණ අන්තර් ක්‍රියාවකි. මෙහිදි බොහෝ සංකිර්ණ දත්ත පශ්චාත් පොසිලකරණයේදි විසිරීම හා විනාශවිම නිසා මෙම අධ්‍යයනය තවත් සංකිර්ණ වි ඇත.

පරිසරික සංකිර්ණත්වය නිසා පවතින දත්ත සංඛ්‍යාව සංඛ්‍යාත්මක වශයෙන් අධ්‍යයන දුෂ්කර වී ඇත. පශ්චාත් මරණ පරික්ෂණ මගින් තොරතුරු සොයාගන්නා විෂය ක්ෂේත්‍ර Taphony ලෙස හදුන්වයි.
 බොහෝමයක් පාෂාණික පරිසර විද්‍යාත්මක පරික්ෂණ කෙන්ද්‍රගත වී ඇත්තේ පසුගිය අවුරුදු මිලියන 2 පිළිබඳවය. මක්නිසාදයත් ඊටත් වඩා අතීත තොරතුරු පොසිලවලින්ද පැහැදිලි නොවන නිසාය. බොහොමයක් අධ්‍යයනයන්ගෙන් සනාථ වී ඇත්තේ පොසිල අවධිය එනම් පසුගිය වසර 110000 කාලය සහ ප්ලෙයෙස්ටෝසීන අවධියේ අවධීන් සහ glacial සමයේ එනම් අදින් වසර 50000 ක් 10000 ක් අතර අයිස් යුගයේ Wisconsin/weichsel/ devensian/ wurm glaciation අවධින්ටයි.

මෙම අධ්‍යයන මගින් පරිසර පද්ධති වෙනස්විම සහ පරිසර පද්ධති ප්‍රාග් කාර්මිකරණය යළි ගොඩ නැගිමට හා තේරුම් ගැනිමට ඉවහල් වි ඇත. මේ නිසා එව ප්‍රතිපත්ති හා තිරණ පාෂාණිය පරිසර විද්‍යාව කෙරෙහිද යොමු කිරිම මගින් සංරක්ෂණ පරිසර විද්‍යාව දියුණු කළ හැකිය.

සටහන්

පාෂාණික පරිසර විද්‍යාව


Gabriel Léon Jean Baptiste Lamé, (Tours, 22. srpnja 1795. — Pariz, 1. svibnja 1870.), bio je francuski matematičar i inženjer.

Lamé je postao profesor na École polytechnique 1832. a kasnije i profesor vjerojatnosti na Sveučilištu u Parizu 1851. O osnovama elastičnosti napisao je poznato djelo: Leçons sur la théorie mathématique de l'élasticité des corps solides (1852). Super elipsa poznata i kao Lamé-krivulja nazvana je po Gabrielu Laméu. Sudjelovao je u izgradnji prve francuske željeznice. Njegovo ime nalazi se na popisu 72 znanstvenika ugraviranih na Eifellovom tornju.

Francuski znanstvenici
Francuski matematičari

Gabriel Lamé


Carl eller Karl Braun henviser til flere personer, blandt andre:

 Carl Braun (komponist)
 Karl Braun (politiker)
 Karl Braun von Braunthal
 Karl Ferdinand Braun

Carl Braun


Armand Delessert, né à Bougy-Saint-Martin (Aubonne) le  et mort à Bursinel le , est un financier et grand négociant enrichi en France puis établi à Bursinel, sur la rive du lac Léman, dans le canton de Vaud.

Biographie

Fils de Paul-Benjamin Delessert, banquier, propriétaire du château de Bougy-Saint-Martin, dans la commune d'Aubonne, Armand Delessert étudie à Mannheim et à Stuttgart avant d'entrer à 16 ans dans la banque de son oncle Étienne Delessert, à Paris. En 1802, à 22 ans, il devient négociant-armateur au Havre. Dès 1804, durant les guerres napoléoniennes, sa maison de commerce se déplace à Nantes puis, de 1805 à 1808, Armand Delessert passe, pour affaires, trois ans aux États-Unis.

À son retour, il épouse en 1810 Maria Archer, d'origine anglaise, dont les parents possèdent le domaine de l'Oujonnet à Bursinel. Le couple vit longtemps à Nantes, puis au Havre et revient définitivement s'installer en Suisse en 1825, faisant bâtir à Bursinel la villa Choisi, une remarquable demeure néoclassique due à l'architecte Luigi Bagutti.

Collectionneur de marbres antiques, Amand Delessert est également intéressé dans les progrès techniques de son temps. Ainsi, il projette en 1833 d'établir des courses régulières d'une automobile à vapeur entre Lausanne et Genève. Le gouvernement, toutefois, en refuse l'autorisation « afin d'éviter les dangers de la circulation sur la grande route ».

Références

Banquier suisse
Personnalité vaudoise
Naissance en février 1780
Décès en août 1859
Décès à 79 ans

Armand Delessert


Carlo Francesco Pollarolo, fälschlich auch Pol(l)aroli (um 1653 in Brescia (?); † 7. Februar 1723 in Venedig) war ein italienischer Organist und Komponist. Er komponierte 85 Opern, sieben Oratorien, mehrere Orgelsonaten, Fugen sowie geistliche Arien und Kantaten. Die Opern wurden zu seiner Zeit mit großem Erfolg in Italien, Deutschland und Österreich aufgeführt.

Leben
Über Pollarolos Jugend und seine musikalische Ausbildung ist wenig bekannt. Studium bei Legrenzi, 1665 Kapellsänger. Wahrscheinlich wurde er von seinem Vater Orazio Pollarolo († 1676), der Organist am Dom von Brescia war und auch möglicherweise vom Domkapellmeister Pietro Pelli unterrichtet. Ab 1676 ist er als Domorganist und als Organist an weiteren Kirchen Brescias nachgewiesen. Am 26. November 1674 heiratete er Angela Maria Alliati in der Kirche SS. Nazaro e Celso. Er war Vater von drei Kindern, von denen der jüngste Sohn, Antonio Pollarolo, ebenfalls Organist und Opernkomponist wurde.

Um 1689 zog er mit seiner Familie nach Venedig, wo er ein Jahr später zum Organist des Markusdoms ernannt wurde und zwei Jahre später das Amt eines Vizekapellmeisters übernahm. Ab 1691 wurden seine Opern an den bedeutendsten Opernhäusern der Stadt, wie San Giovanni Crisostomo, Sant'Angelo, San Cassiano und San Fantin uraufgeführt. 1694 bewarb er sich um die Stelle eines Maestro di cappella am Markusdom, unterlag aber mit nur einer Stimme seinem Mitbewerber Antonino Biffi. Wenig später übernahm sein Sohn Antonio seinen Posten als Vizekapellmeister, und Pollarolo widmete sich vor allem dem Komponieren von Opern. Von 1696 bis zu seinem Tod im Jahre 1722 war er Maestro di coro des Ospedale degl'Incurabili, eine der vier renommierten Musikschulen Venedigs. Für das Incurabili komponierte er 12 Oratorien.

Pollarolo wurde in der Kirche Santa Maria di Nazareth beigesetzt.

Werke
 Roderico (1684)
 La Forsa della Virtu (1693)
 Ottone (1694)
 Gl inniganni Felici (1665)
 Faramondo (1699)
 Le Pazzie degli Amanti (1701)
 Ariodante (1716)

Einzelnachweise

Weblinks

 Kurzbiografie von Carlo Francesco Pollarolo (italienisch) auf handelforever.com
 Werkverzeichnis Carlo Francesco Pollarolos (französisch) auf operabaroque.fr
 Bühnenwerke Pollarolos auf Basis der MGG bei Operone
 Digitalisierte Werke von Carlo Francesco Pollarolo

Domkapellmeister
Klassischer Organist
Komponist (Italien)
Komponist (Barock)
Komponist (Oper)
Komponist (Kirchenmusik)
Musiker (Venedig)
Person (Republik Venedig)
Geboren im 17. Jahrhundert
Gestorben 1723
Mann

Carlo Francesco Pollarolo


Alfonso Rueda Valenzuela (), né le  à Pontevedra, est un homme politique espagnol, membre du Parti populaire (PP). Il est président de la Junte de Galice depuis 2022.

Il est secrétaire général du Parti populaire de Galice (PPdeG) entre  et . Il devient en  député de Pontevedra au Parlement de Galice et membre du gouvernement autonome galicien comme conseiller à la Présidence. Il prend à partir de  le titre de vice-président de la Junte de Galice, puis premier vice-président à compter de .

Il est élu en  président de la Junte en remplacement d'Alberto Núñez Feijóo, entré sur la scène politique nationale comme président du Parti populaire.

Jeunesse et formation
Alfonso Rueda Valenzuela naît à Pontevedra le .

Il dispose d'une licence en droit à l'université de Saint-Jacques-de-Compostelle. Fonctionnaire territorial, il est secrétaire de mairie au sein des administrations communales de Cervantes, A Cañiza et Cambados, puis secrétaire-vérificateur de la comarque de Paradanta.

Il devient en  directeur général de l'Administration locale de la Junte de Galice, sous la présidence de Manuel Fraga.

Parcours politique

Ascension
En , Alfonso Rueda est élu secrétaire général des Nouvelles générations du Parti populaire (NNGG) de la province de Pontevedra. Il est nommé treize ans plus tard secrétaire général du Parti populaire de Galice (PPdeG), présidé par Alberto Núñez Feijóo.

Lors des élections parlementaires du  2009, il devient député de la province de Pontevedra.

Conseiller de la Junte de Galice
Alfonso Rueda est désigné le  suivant conseiller à la Présidence, aux Administrations publiques et à la Justice par le nouveau chef du gouvernement territorial, Alberto Núñez Feijóo.

À la suite des élections de 2012, il est conforté dans ses responsabilités et prend le titre de vice-président de la Junte. Le , il est porté à la présidence du PP provincial de Pontevedra avec plus de 97 % des suffrages exprimés, étant remplacé six semaines plus tard par Miguel Tellado au secrétariat général du PPdeG.

Lors de la formation du quatrième gouvernement Feijóo en , il prend le poste de conseiller à la Présidence, à la Justice et au Tourisme et devient premier vice-président de l'exécutif, le conseiller aux Finances Francisco Conde bénéficiant de la création d'une seconde vice-présidence. Avec , ils sont les deux seuls conseillers à siéger au gouvernement galicien depuis l'accession de Feijóo au pouvoir, en .

Après qu'Alberto Núñez Feijóo a été élu président national du Parti populaire en , Alfonso Rueda est perçu comme le principal candidat à sa succession en Galice.

Président de la Junte

Investiture et exercice du pouvoir
Le , trois jours après la démission d'Alberto Núñez Feijóo, le président du Parlement de Galice Miguel Ángel Santalices indique qu'il propose la candidature d'Alfonso Rueda à la présidence de la Junte, ayant constaté qu'il dispose du plus grand nombre de soutiens parmi les parlementaires, et qu'il convoque le débat pour son investiture les  et . Il obtient le  la confiance des députés par 41 voix pour et 33 contre.

Il prête serment deux jours après son investiture devant environ 500 personnes, dont la ministre du Travail Yolanda Díaz, qui représente le gouvernement espagnol, l'ancien président du gouvernement Mariano Rajoy, ses prédécesseurs Alberto Núñez Feijoo et Fernando González Laxe et les présidents de la communauté de Madrid Isabel Díaz Ayuso, de la région de Murcie Fernando López Miras et de Castille-et-León Alfonso Fernández Mañueco. Le , il forme son gouvernement, qui compte plusieurs changements de dénomination des portefeuilles, la nomination de  aux fonctions précédemment que lui-même exerçait, la promotion de  comme premier vice-président, et la reconduction de la totalité des conseillers sortants.

En raison de la candidature de Francisco Conde et  aux élections générales anticipées du 23 juillet 2023, Rueda procède à un remaniement gouvernemental, qu'il dévoile . Il promeut Diego Calvo premier vice-président et  seconde vice-présidente, nomme , précédemment conseillère à l'Emploi, comme conseillère à l'Économie à la suite de Francisco Conde. Celle-ci est donc remplacée par Elena Rivo, universitaire, tandis que l'ancien maire de Cervo, , prend la succession de Rosa Quintana comme conseiller à la Mer. Les membres mutés ou nommés au sein de l'exécutif sont assermentés et entrent en fonction deux jours plus tard.

Président du PP de Galice
Alfonso Rueda présente le  sa candidature à la présidence Parti populaire de Galice de Galice, dans la perspective du congrès extraordinaire convoqué les  et  suivants, après s'être assuré du soutien des trois autres présidents provinciaux du parti. Après avoir recueilli les parrainages de plus de , il est proclamé le  seul candidat en lice pour la direction galicienne du PP, et le comité d'organisation annule la tenue des primaires, qu'il juge inutiles compte tenu des circonstances. Lors du congrès, il est élu le  président du PPdeG avec 97,2 % des voix, succédant là encore à Alberto Núñez Feijóo.

Selon le journal El Confidencial, la séquence des élections municipales du 28 mai 2023 permet à Alfonso Rueda de consolider son pouvoir en interne du PPdeG, accumulant plus d'influence qu'Alberto Núñez Feijóo ou même Manuel Fraga. Il parvient, par un concours de circonstances, à éjecter José Manuel Baltar de la présidence de la députation provinciale d'Ourense, mettant un terme à trois décennies de pouvoir des Baltar, père et fils, dans la province. Il impose comme successeur un de ses très proches, Luis Menor, et évite ainsi que Baltar ne continue à gouverner à distance, en qualité de président provincial du PP. Dans la province de Pontevedra, avec le gain inattendu de la députation provinciale, les élus locaux poussent la candidature de Luis López à la direction de l'institution. Celui-ci se trouve être le président provincial du parti, choisi comme successeur par Rueda, qui le considère comme un homme de confiance.

Notes et références

Notes

Références

Voir aussi

Articles connexes
 Gouvernement Feijóo , ,  et

Lien externe
 .

Conseiller de la Junte de Galice
Député du Parlement de Galice
Personnalité du Parti populaire (Espagne)
Naissance à Pontevedra
Naissance en 1968

Alfonso Rueda


Trey Hendrickson, né le  à Orlando (Floride), est un joueur américain de football américain. Il joue Defensive end en National Football League (NFL).

Liens externes

Naissance en décembre 1994
Naissance à Orlando (Floride)
Joueur américain de football américain
Defensive end
Joueur sélectionné au Pro Bowl
Joueur de football américain des Owls de Florida Atlantic
Choix de draft des Saints de La Nouvelle-Orléans
Joueur des Saints de La Nouvelle-Orléans
Joueur des Bengals de Cincinnati

Trey Hendrickson


Maud Cunitz (* 3. April 1911 in London; † 22. Juli 1987 in Baldham bei München) war eine deutsche Opern-, Operetten-, Lied- und Konzertsängerin (Sopran).

Leben
Maud Cunitz übersiedelte mit ihren deutschstämmigen Eltern im Alter von drei Jahren von London nach Nürnberg. Nach ihrer Gesangs- und Tanzausbildung ging die junge Sopranistin an das Nürnberger Opernhaus. Dort sang sie im Chor und übernahm kleine Solopartien. Im Jahre 1934 debütierte sie als Agathe in Der Freischütz am Gothaer Stadttheater. Es folgten Engagements an den Musikbühnen von Coburg, Lübeck und Stuttgart, wo sie auch in vielen Operetten brillierte. Trotz ihrer erfolgreich verlaufenden Karriere nahm sie weiterhin Gesangsunterricht bei Stoja von Millinkovic.

Im Jahr 1943 sang Cunitz bei den Salzburger Festspielen die Erste Dame in Die Zauberflöte und die Zdenka in Arabella. Sie stand 1944 in der Gottbegnadeten-Liste. Im Jahre 1945 wurde sie Ensemblemitglied an der Wiener Staatsoper. Ab 1950 gehörte sie zum festen Ensemble der Bayerischen Staatsoper. An genannten Theatern sang sie die großen Partien ihres Faches.

1953 brillierte sie als Gräfin in Capriccio an der Oper von London. Weitere Gastspiele gab die Sängerin u. a. in Paris, Nizza, Düsseldorf und Rom. Zu ihren Glanzrollen zählten die Donna Elvira in Don Giovanni sowie die des Octavian in Der Rosenkavalier.

Neben ihrer Bühnenpräsenz war Cunitz noch rege als Lied- und Konzertsängerin tätig. 1965 beendete sie ihre Bühnenlaufbahn, gab jedoch noch viele Jahre privaten Gesangsunterricht. Die Künstlerin war mit dem Bariton KS Albrecht Peter (1914–2005) verheiratet.

Auszeichnung
 1959: Bayerischer Verdienstorden

Diskografie (Auswahl)
 Die sizilianische Vesper. Myto Records, 1993.
 Lohengrin. EMI, 1995.
 Feuersnot. Orfeo d'Or, 1996.
 Fedora. Walhall, 2001.
 Der Freischütz. Naxos, 2003.
 Dapnhe. Gala, 2003.
 Die tote Stadt. Walhall, 2003.
 Fidelio. Walhall, 2008.
 Die große Sünderin. Line, 2009.
 Dokumente einer Sängerkarriere. Preiser, 2011.

Literatur
 Karl-Josef Kutsch, Leo Riemens: Großes Sängerlexikon. Ergänzungsband. Francke, Bern 1991.= CD-ROM-Lexikon. Directmedia Publishing, Berlin 2000, ISBN 3-89853-133-3 (Digitale Bibliothek, 33).

Weblinks

Opernsänger
Operettensänger
Sopran
Ensemblemitglied der Wiener Staatsoper
Musiker (Nationalsozialismus)
Träger des Bayerischen Verdienstordens
Deutscher
Geboren 1911
Gestorben 1987
Frau

Maud Cunitz


Općina je bila upravna jedinica u Banovini Hrvatskoj. Bila je niže razine od kotara, a u razini grada. Broj općina teško je utvrditi jer se tijekom postojanja Banovine Hrvatske stalno mijenjao, ovisno o prirastu ili padu stanovništva na nekom području. Stoga se taj broj može zaokruži na približno 700 općina.

Lokalni izbori u Banovini Hrvatskoj 1940. godine održani su u 625 općina 19. svibnja 1940. godine, a u 33 općine 26. svibnja i 2. lipnja.

Izvori

Upravna podjela Banovine Hrvatske

Općine u Banovini Hrvatskoj


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Gölköy (anlam ayrımı)


Dino () was a marque best known for mid-engined, rear-drive sports cars produced by Ferrari from 1957 to 1976. The marque came into existence in late 1956 with a front-engined Formula Two racer powered by a brand new Dino V6 engine. The name Dino was used for some models with engines smaller than 12 cylinders, it was an attempt by the company to offer a relatively low-cost sports car. The Ferrari name remained reserved for its premium V12 and flat-12 models until 1976, when "Dino" was retired in favour of full Ferrari branding.

History

The name Dino honors Ferrari founder Enzo Ferrari's late son, Alfredo "Dino" Ferrari, credited with designing the V6 engine used in the car. Along with engineer Vittorio Jano, Alfredo persuaded his father to produce a line of racing cars in the 1950s with V6 and V8 engines. The Dino script that adorns the badge and cylinder head covers was based on Alfredo's own signature. The Dino models used Ferrari naming convention of displacement and cylinder count with two digits for the size of the engine in decilitres and the third digit to represent the number of cylinders, i.e. 246 being a 2.4-litre, 6-cylinder and 308 being a 3.0-litre, 8-cylinder.

Single seaters

Dino 156 F2

The first race car to ever bear the Dino marque badge was the 1957 Dino 156 F2 single seater intended for the Formula 2 series. It was powered by an all-new, front-mounted, 65° Dino V6 co-designed by Vittorio Jano and named in memory of Enzo Ferrari's late son, Alfredo "Dino" Ferrari.
The new V6 engine, first built and tested in 1956, had to adhere to 1.5 litre, Formula 2 regulations.

Total capacity was  (bore of 70 mm and stroke pf 64.5 mm) and power output was  at 9000 rpm with a 10:1 compression ratio. The fuel system consisted of three Weber 38DCN carburettors and used regular fuel. The valvetrain was of a twin overhead camshafts per bank type with two valves per cylinder and single spark plugs.

As per the naming convention, the 1.5-litre, 6-cylinder car was named 156 and made its debut at the Naples Grand Prix in 1957. The chassis was made of steel tubes with independent front suspension, a de Dion rear axle along with Houdaille shock absorbers. Only one example was produced: s/n 0011. Its drivers included Luigi Musso, Maurice Trintignant and Peter Collins.

Luigi Musso managed to score third place at the time of its debut at the Naples GP and Maurice Trintignant won the Coupe de Vitesse. After two second places at the Modena GP (in both heats) by Musso.

The engine was upgraded to 1860 cc in 1957 (later 2195 cc), to  85 x 71 mm  at 8500 rpm in 1958  for Formula One specification and renamed Ferrari 246 F1 and   in 1959.
In 1960 the engine was updated with a lower V-degree (65º>60º), a shorter stroke: 73 x 58.8 mm, 1476.6 cc and a single overhead camshaft.

This racer gave birth to a whole generation of V6-powered, Ferrari-built cars.

Dino 166 F2

A change in Formula One rules for the 1966 season brought changes to Formula 2 as well. New homologation requirements meant that at least 500 production units of the same engine block were to be produced. Ferrari turned to Fiat to produce a more affordable sports car for this purpose. Fiat produced two models with the Dino engine in coupé and spider form under the name Fiat Dino. And so for the 1967 European Championship season Ferrari was able to field a new car, the Dino 166 F2 with a rear-mounted, longitudinal 65° Dino V6 engine. The car made its debut at the Racing Car Show in Turin in February 1967.

Specifications
The new powerplant had  of total capacity with a bore of 86 mm and a very short stroke at only 45.8 mm with a Heron type 3 valves head. A single 'split' overhead camshafts per bank actuated the valves per cylinder: two inlet directly by the camshaft and one exhaust through a rocker. In 1968, the cylinder measures changed to 79.5 x 53.5 mm () with an 11:1 compression ratio.
In 1969, the power grew from  at 10,000 rpm to  at 11,000 rpm. Fuel feed was by Lucas indirect injection and ignition by Magneti Marelli transistorized twin-plugs, later changed to a single ignition.
The chassis was a semi-monocoque with all-independent suspension and disc brakes. Seven cars were built, of which three were later converted for the Tasman race series with engines enlarged to 2.4 litres.

Racing
The cars were raced by Ernesto Brambilla, Chris Amon, Andrea de Adamich and Derek Bell. Their first F2 wins were the 1968 Hockenheim race and later the GP Roma at Vallelunga.

Dino 246 Tasmania

For the 1968 season of Formula One, Ferrari had returned to the V12-engined cars. This created a need to pursue other racing venues for their already existing projects. The Tasman Series for cars up to 2500 cc was just that venue and the Dino 246 Tasmania was just such a car. Converted from the Dino 166 Formula 2 basis with the engine enlarged to 2.4 L to meet the requirements without overstretching the engine.

Specifications
The new displacement of  was achieved thanks to  of bore and stroke. Internal dimensions were identical to that of the 246 F1-66. At an 11.5:1 compression ratio, power output was a healthy  at 8900 rpm. Already standard on 65° Dino V6 twin overhead camshafts per bank, and a novelty: four valves per cylinder. The same as its predecessor, the chassis was a semi-monocoque with all-independent suspension and disc brakes.

Racing
Only three cars were made and raced with success between 1968 and 1971, mainly in hands of Chris Amon and Graeme Lawrence. The Tasman Series was particularly suited for the Dino Tasmania. Chris Amon won two races in the 1968 Tasman Series and dominated the 1969 edition by scoring four wins in New Zealand and Australian Grands Prix and won the Drivers' Championship. In 1969, Amon was aided by Derek Bell in the other Scuderia Veloce car with enough points for fourth place. For the 1970 Tasman Series the winning car was handed over to Graeme Lawrence who won only one race but with four other podium finishes still won the championship.

Sports racing cars

Dino 196 S

The first sports racing car under Dino marque was 2.0 L Dino V6-engined Dino 196 S. The first example, s/n 0740 made in 1958, had a 65° DOHC configuration, as found in its Formula Two predecessor and is sometimes referred to as 206 S. The other, s/n 0776 from 1959, had its engine redesigned as a 60° SOHC version. A possible third car was immediately upgraded to 3.0 L specification and never raced it its two-litre form. All early Dino sports cars actually had Ferrari badges on the front.

Specifications
Both cars' engines had  of total capacity from  of bore and stroke. Both used the same carburettor setup with three 42DCN Webers, resulting in the same  power output. The differing factors were the rpm range: 7200 for the DOHC, 7800 for the SOHC engine and a twin spark plug arrangement for the DOHC-variant. Both cars were created on a tubular chassis with independent front suspension and live rear axle. The first car received Scaglietti coachwork, but was soon rebodied by Fantuzzi, who also bodied the second car. Their style was reminiscent of a Ferrari 250 TR and was often referred to as a 'smaller Testa Rossa'.

Racing
The first Dino 196 S made its debut at the Goodwood Sussex Trophy driven to second place by Peter Collins. After being converted to SOHC form, it scored silver for the 1959 Le Mans Test and a single victory at Coppa Sant Ambroeus. The last race for this car was the 1959 Pontedecimo-Giovi hillclimb in which another second place was achieved before the car was dismantled at the factory. The other Dino had a much longer career. In 1959, driven by Ricardo Rodriguez it finished fourth and second in a couple of races at the Governor's Trophy, Nassau. The following year the car was entered in the Targa Florio and finished seventh overall.

Replicas
Numerous replicas had been made of this model. Approximately twelve examples based on a tubular chassis with handcrafted aluminium bodywork in Fantuzzi spider style. Cars were created either by anonymous builders or by Vincenzo Marciano, an Italian private constructor. Power came from 2.4 L four-cam V6 Fiat Dino road car engine mated to a 5-speed ZF transmission.

Dino 296 S

The second Dino-badged sports racing model was the 1958 Dino 296 S. Only a single example, s/n 0746, was made with a near 3-litre V6 engine. It had a 65° configuration with twin overhead camshafts per bank and two spark plugs per cylinder. Total capacity was  thanks to internal measurements of 85 x 87 mm. With three Weber 45DCN carburettors, power was an impressive  at 7600 rpm.

A tubular steel chassis with independent front suspension, de Dion rear axle and drum brakes was clothed with a spider Fantuzzi bodywork as seen on its siblings from the same period. The fuel tank had 177 litres capacity.

Its first outing was in England at Silverstone Circuit in May 1958, where Mike Hawthorn scored third place. After just a single race the car was converted into an experimental 250 Testa Rossa model and raced in June, the same year, at the 1000km Nürburgring, where Wolfgang von Trips and Olivier Gendebien finished third overall. The model was further raced by Ricardo Rodriguez in the Bahamas and United States.

Dino 246 S

For the 1960 season, Ferrari presented a new derivative of their V6-engined sports racing car, the Dino 246 S. Its engine was closely related to that found in the Ferrari 246 F1 but designed as a 60°, chain-driven, single overhead camshaft per bank variant. Only two examples were ever created, s/n 0778 and 0784, the latter known as the 'high tail' spider.

Specifications
Internal measurements of 85 x 71 mm and resulting capacity of 2.4 L () were identical to the Formula One sibling. At a 9.8:1 compression ratio with three Weber 42DCN carburettors, rated power output was  at 7500 rpm. The engine used a single spark plug per cylinder served by a single coil. This would be the last Dino sports racing car with a front-mounted engine.

The chassis was constructed out of steel tubes with independent front suspension and a live axle at the rear. The wheelbase was . Bodies were designed and executed by Fantuzzi, both in the style previously seen on the Dino cars, but s/n 0784 was rebodied as a 'high tail' spider before 1961 12 Hours of Sebring race. Brakes were of a disc type all-round.

Racing
The Dino 246 S debuted in January 1960 at the 1000km Buenos Aires but failed to finish due to ignition problems. Its first success came when both cars were entered in the 1960 Targa Florio, finishing second and fourth overall and first and second in the 'Sports 3.0' class. Phil Hill and Wolfgang von Trips drove the car that finished second. Ludovico Scarfiotti, Willy Mairesse and Giulio Cabianca were in the other car. In 1960, s/n 0778 was recreated at the factory after a pit stop fire damage at the 1000km Nürburgring. Both cars continued their later careers in the United States. The 'high tail' spider driven by Jim Hall and George Constantine scored sixth place and won its 'Sports 2.5' class at the 1961 12 Hours of Sebring.

Sports prototypes

Ferrari SP series

The Ferrari Dino SP was a series of Italian sports prototype racing cars produced by Ferrari from 1961 through 1962. This first series of Dino-engined sports prototypes included the 246 SP, 196 SP, 286 SP, 248 SP, and 268 SP; distinguished from each other by use of V6 and V8 engines in different displacements. All shared a similar body and chassis with a rear mid-engine layout, a first for a Ferrari sports car. Major racing accolades include the 1962 European Hill Climb Championship, two overall Targa Florio victories, in 1961 and 1962, and "1962 Coupe des Sports" title.

At first the SP-series used Vittorio Jano-designed, V6 Dino engines in both SOHC 60° and DOHC 65° forms. Later, Ferrari introduced a new SOHC 90° V8 engine designed by Carlo Chiti. All used dry sump lubrication and were mated to a 5-speed manual transmission.

After 1963, these Ferrari SP models were no longer used by Scuderia Ferrari and passed into the ownership of private individuals or independent racing teams. They were succeeded by the Dino 166 P in 1965.

Dino 166 P

The 1965 Dino 166 P was created by Ferrari to compete in endurance racing with categories up to 1600 cc or even 2000 cc. One chassis that raced, s/n 0834, sported brand new all-aluminium berlinetta bodywork inspired by the Ferrari P-series of cars but with smaller dimensions. It was designed and built by Piero Drogo's Carrozzeria Sports Cars in Modena. This new style would be carried over to the rest of the Dino race car family. This was the first Ferrari-made sports prototype to bear the rectangular 'Dino' badge on the front of the car and also the first to be bodied with a closed body. A second car, s/n 0842, never raced and was converted into the works prototype of the Dino 206 S.

Specifications
The engine, mounted in the rear, displaced 1.6 L () from  of bore and stroke. The compression ratio was 11.5:1 and with three Weber 40DCN/2 carburettors and twin spark plugs per cylinder, resulting power was  at 9000 rpm. From this moment on, every Dino race and road car would have a 65°, twin overhead camshafts per bank with two valves per cylinder engine. As a race engine it also used dry sump lubrication.

A tubular steel chassis now received full independent suspension, front and rear. The wheelbase was  long. Disc brakes all-round were standard at the time. The whole car weighed only  dry.

Racing
After a failed attempt at the 1000km Monza in May 1965, the following month the 166 P was entered into the GP Roma on the Vallelunga track. Giancarlo Baghetti won it outright, two laps ahead of a Porsche. The same month Lorenzo Bandini with Nino Vaccarella scored a respectable fourth place overall and second in 'Prototype 2.0' class at the 1000km Nürburgring, ahead of cars with much bigger engine capacity. Just after failing to finish the 1965 24 Hours of Le Mans race due to engine problems, the 166 P was developed into the Dino 206 SP with completely open bodywork and a bigger 2.0 L engine.

Dino 206 SP

The Dino sports prototype model that followed the 166 P was the Dino 206 SP. The first example was an exact conversion from is predecessor, still with the same s/n 0834, but with new barchetta body and a bigger 2.0 L engine. Designed specifically for the European hillclimb events, the car is also referred to simply as the Dino 206 P. A second car, s/n 0840, was the basis for the concept car, Dino Berlinetta Speciale by Pininfarina.

Specifications
The biggest change was the engine enlargement to 2.0 L () so that car could make full use of the 2000 cc category limit. The engine was redesigned by Ferrari engineer Franco Rocchi for Formula Two use. This displacement would be carried over not only to the 206 S, the succeeding model, but also to the Fiat and Dino road cars as well. The larger displacement was due to bigger bore, now at , and stroke was the same as before. Power rose to  at 9000 rpm, with all of the remaining specifications the same apart for all-new Lucas fuel injection.

All of the chassis and suspension configuration was carried over without change. The 206 SP received new low-slung barchetta bodywork that was a whole  lower, now at . Only a small, wrap-around windscreen and a single roll bar protruded above the bodywork. Due to this mass reduction the overall dry weight of the car measured up to , that is more than a  saving. All this was with twisty hillclimb competition in mind. Later the car was rebodied in style with the 206 S and received similar roll bar-roof treatment.

Racing
The new car debuted at its first hillclimb in Trento-Bondone in 1965, winning it outright in the hands of Ludovico Scarfiotti, despite being described as "an absurdly dramatic climb". He also won three more races in a row: the Cesana-Sestriere hillclimb, the Freiburg-Schauinsland hillclimb and Ollon-Villars. At the Gaisberg hilllclimb in August 1965 Scarfiotti finished fifth but still won the European Hill Climb Championship. This was his second championship for Ferrari, the first he won back in 1962 in a Ferrari 196 SP. In 1967 the 206 SP was lent to Scuderia Nettuno that entered the car in the Targa Florio, placing fourth overall and third in the 'Prototype 2.0' class, driven by Vittorio Venturi and Jonathan Williams. Venturi then placed third in yet another hillclimb event at Monte Erice. Leandro "Cinno" Terra entered the 206 SP for the 1969 Targa Florio, but finished in a distant 25th place. Its last period race was the Coppa Collina, where it finished in second place.

Dino 206 S

The last of the Dino prototype sports car models was produced in 1966–1967. 18 examples were made with Group 4 category homologation in mind. Still powered by 2.0 L () engine based on the 206 SP powerplant. Some received experimental 3-valve heads and Lucas fuel injection.

Concept cars
Ferrari built and presented numerous design concepts and prototypes to overcame styling and engineering challenges derived from a new engine layout of a road-car. As many as six different Dino prototypes were built between 1965 and 1967. The new and revolutionary design would spawn whole generations of Dino and Ferrari mid-engine road cars.

Dino Berlinetta Speciale
The first Dino-badged concept car was presented by Ferrari and Pininfarina in 1965. It was a mid-engined, two-seater called Dino Berlinetta Speciale. The work started in March 1965. The car was designed by Aldo Brovarone who created the conceptual plans that would in the future form a basic characteristics of the  production Dino cars. The project was managed by Leonardo Fioravanti, and its directors included Sergio Pininfarina.  They were all involved in creating and packaging this concept car and ultimately the production version, Dino 206 GT, that would also be partially credited to Fioravanti as its co-designer along Brovarone. Also in 1965, Brovarone designed the Alfa Romeo Giulia 1600 Sport concept car using the similar stylistic cues but realised on a front-engined car.

The Berlinetta Speciale was built on a competition Type 585 tubular chassis, derived from the Dino 206 SP sports prototype, with its engine mounted longitudinally. This first Dino concept car was finished in record time by October 1965, just before the 52nd Paris Motor Show. It was built on a spare chassis s/n 0840, from Scuderia Ferrari. In November of the same year, it was  exhibited at the Turin Motor Show and at the New York Motor Show in April 1966.

The short-wheelbase car had a very streamlined body with prominent wheel arches. The front of the car was very low and incorporated headlights covered with plexiglass. The elongated side air-intakes that channelled air for rear brakes cooling became a signature element of the marque range. The rear window was curved round the inclined rear pillars and were also part of the quarter-light windows. Whole rear section of the car could be opened to reveal an engine bay and spare wheel. The car and the cockpit were finished in Ferrari red and the non-adjustable seats in cream colour. The pedal box could be moved to conform to the driver. Same as on a competition car, the steering wheel was mounted on the right.

The Dino Berlinetta Speciale was sold on Artcurial auction in 2017 for €4,390,400.

Ferrari 365 P Berlinetta Speciale

The Ferrari 365 P Berlinetta Speciale is both seen as a scaled up version of the original Dino and its predecessor, presented at the same time as the other Dino prototypes, in 1966. The Ferrari Berlinetta Speciale was also known as "Tre-Posti" for its unique seating design. Aldo Brovarone of Pininfarina was also credited with this design, but the car featured a triple seating with the driver situated in the center. Also the overall size was larger to accommodate bigger V12 powerplant.

Dino Berlinetta GT
In 1966, Pininfarina designed an evolution over the previous concept car, the Dino Berlinetta GT prototype. It was presented in November 1966, at the 48th Turin Motor Show and previewed the production Dino road car that would be presented a year later at the same venue.

The prototype had three round taillights mounted on a chrome background and turn signals below the front grille. The entire body was longer than the production car as was its wheelbase at . The reason was that the 2.0-liter V6 was mounted longitudinally in the middle of the car. The engine however was no longer a competition unit, rather a road-car sourced Type 135B. The same as before, the engine was accessed by a large lid hinged on the roof of the car that incorporated the buttresses and rear convex window. The side air intakes were elongated, featuring chrome bars that also functioned as door handles. The chassis was also different from the previous concept, now a Type 599. The chassis number 00106 was assigned in 1967 from the road car sequence.

The yellow-painted Dino Berlinetta GT prototype was sold in 2018 at Gooding & Company auction for US$3,080,000.

Dino Berlinetta Competizione

At the 1967 Frankfurt Motor Show, Pininfarina and Ferrari unveiled the Dino Berlinetta Competizione. It was a concept car designed by a young designer, Paolo Martin. It was an exclusive design study as well as a working prototype but was never intended to enter production. The concept was based on a Dino 206 S racing chassis s/n 034, one of the last of the series. The engine was a Type 231/B with an improved 3-valve heads.

Some of the design cues were influenced by the existing Dino competition cars. The whole creative process took no longer than four months. The overall rounded shape was later modified with addition of the front and rear spoilers. The gullwing doors featured a curved glass that would slide into the door structure.

Road cars

The Dino road cars marque was created to market a lower priced, more affordable sports car capable of taking on the Porsche 911. Ferrari's expensive V12s well exceeded the 911 in both performance and price. Enzo Ferrari did not want to diminish his exclusive brand with a cheaper car, so the Dino was created.

Although a mid-engine layout was common in the world of sports car racing at the time, adapting it to a production car was quite daring. Such a design placed more of the car's weight over the driven wheels, and allowed for a streamlined nose, but led to a cramped passenger compartment and more challenging handling. Lamborghini created a stir in 1966 with its mid-engined Miura, but Enzo Ferrari felt a mid-engine Ferrari would be unsafe in the hands of his customers. Eventually he partially relented and a mid-engined Dino concept car was built for the 1965 Paris Motor Show. Response to the radically styled car was positive, so Ferrari allowed it to go into production, rationalizing the lower power of the V6 engine would result in a more manageable car.

Dino 206 GT

The first road-going Dino was the 1967 Dino 206 GT, designed by Aldo Brovarone at Pininfarina.

The 206 GT used a transverse-mounted 2.0 L all-aluminium 65-degree V6 engine, with  at 8,000 rpm, the same used in the Fiat Dino.
The 206 GT frame featured an aluminium body, full independent suspension, and all round disc brakes.
152 were built in total between 1967 and 1969, in left hand drive only.

Dino 246 GT and GTS

In 1969 the 206 GT was superseded by the more powerful Dino 246 GT. The 246 GT was powered by an enlarged  V6 engine, producing  at 7,600 rpm in European specification. Initially available as a fixed-top GT coupé, a targa topped GTS was also offered after 1971.

Other notable changes from the 206 were the body, now made of steel instead of aluminium, and a  longer wheelbase than the 206. Three series of the Dino 246 GT were built, with differences in wheels, windshield wiper coverage, and engine ventilation. Dino 246 production numbered 2,295 GTs and 1,274 GTSs, for a total production run of 3,569.

Dino 308/208 GT4

The 308 GT4 was produced from 1973 to April 1980. Initially branded "Dino", the 308 GT4 was Ferrari's first V-8 production automobile.

The 308 was a 2+2 with a wheelbase of . The 308 was designed by Bertone; with its angular wedge shape, it looked quite different from the 206/246 from which it was derived.

The 308 GT4 had a , 90-degree V-8 with twin overhead camshafts per bank and two valves per cylinder. Fuel was fed by four Weber 40DCNF carburettors which produced  at 7700 rpm. The V-8 block and heads were made of an aluminium alloy. The compression ratio was 8.8:1. The American version had a timing change and catalytic converters; it produced a modest . For the  208 GT4, an Italian market model, manufacturer claimed . The GT4 weighed  dry.

The 308 GT4 wore the Dino badge until May 1976, when it finally got the Ferrari "Prancing Horse" badge on the hood, wheels, and the steering wheel.

References

Bibliography

External links

Dino Register
Club Dino Italia Ferrari, Fiat, Lancia Stratos
Dino UK Ferrari, Fiat, Lancia Stratos
Dino 156 F2: Ferrari History
Dino 196 S: Ferrari History
Dino 246 S: Ferrari History
Dino 206 SP: Ferrari History
Dino 166 F2: Ferrari History
Dino 246 Tasmania: Ferrari History

Ferrari
24 Hours of Le Mans race cars

Dino (automobile)


Kongresno priopćenje, jedna od kategorija u koju se svrstavaju tekstovi u znanstvenim časopisima. Kao što naziv kazuje, priopćenje je prenesena informacija s kongresa. Za svako kongresno priopćenje poželjno je da sadrži autorovi ime, naslov priopćenja, naziv skupa, mjesto i nadnevak održavanja. U Hrvatskoj je kongresno priopćenje oblik znanstvenog rada te ga se boduje drukčije, ovisno je li u časopisu s međunarodnom recenzijom, je li usmena prezentacija na međunarodnom skupu ili u zborniku radova.

Izvori

Znanost

Kongresno priopćenje


පෘථිවයට අදාලව සම්මත ප්‍රධාන දිශා හතරෙන් එකකි. දකුණට විරුද්ධ දිශාව වේ.

චුම්භක ධ්‍රැව වලදී හැර පෘථිවය මත අනෙක් ස්ථානවලදී මාලිමාවන් උතුර වෙත යොමුවේ.

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සම්මත සංකල්ප

da:Kompasretning#Nord

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