Emmanuel Roblès (* 4. Mai 1914 in Oran, Algerien; † 22. Februar 1995 in Boulogne-Billancourt, Frankreich) war ein französischer Schriftsteller spanischer Herkunft, der als so genannter Pied-noir lange in Algerien lebte. Seine rund vierzig Romane und Dramen "schöpfen aus der existentialistischen Philosophie, die den Menschen vor eine ausweglose Wahl stellt".

Leben
Roblès Vater, dessen Familie aus Spanien stammt, war einfacher Maurer. Er starb kurz vor Roblès' Geburt. Diese Vaterlosigkeit war prägend für den Lebensweg des Sohnes. Dank eines Stipendiums konnte Emmanuel die höhere Schule besuchen. Er wurde Lehrer, später Schuldirektor. In den 1930er Jahren bereiste er die Sowjetunion und Asien. Ab 1937 unterhielt er eine Freundschaft mit Camus. Im selben Jahr trat er seinen Militärdienst an. Er wurde der Luftwaffe zugeteilt, wo er sechs Jahre blieb, weil der Krieg ausbrach.

Ab 1943 arbeitete Roblès als Kriegsberichterstatter und Journalist. 1947 nach Algier zurückgekehrt, gründet er die Literaturzeitschrift Forge. Für die Éditions du Seuil gab er die Reihe Méditerranée heraus. Er arbeitete auch für Radio Algier. 1955 verfilmte Luis Buñuel Roblès' Roman Cela s'appelle l'aurore (1952). Ab 1956 gehörte der Schriftsteller einem Komitee an, das sich für den Waffenstillstand im Algerienkrieg einsetzte.

Rezeption
Roblès hatte 1938 mit dem Roman L'Action debütiert. 1948 erhielt er für seinen Roman Les Hauteurs de la ville (Auf den Höhen der Stadt) den Prix Femina. 1950 veröffentlichte er eine Abhandlung über den spanischen Dramatiker Federico García Lorca, den er auch übersetzte. 1973 wurde er in die renommierte Académie Goncourt berufen.

Roblès starb 1995 mit 80 Jahren an seinem Wohnort bei Paris. Wenn man tot ist, ist man eben tot. Man muß sich beeilen zu leben, hatte er schon vor Jahrzehnten als Begründung dafür geäußert, warum er aller Metaphysik stets "strikt das Irdische" vorzog.

Seit 1991 verleiht die Stadt Blois den Prix Emmanuel-Roblès.

Werke (Auswahl)
Novellen
 La mort en face.
 deutsch: Den Tod vor Augen. Drei Novellen. Europäische VA, Frankfurt/M. 1958 (übersetzt von N. O. Scarpi)
 Die Festung. Aufbau-Verlag, Berlin 1968 (übersetzt von Ernst August Nicklas)

Romane
 Cela s'Appelle l'Aurore. 1952.
 deutsch: Es nennt sich Morgenröte. Europäische VA, Frankfurt/M. 1955 (übersetzt von N. O. Scarpi)
 Fédérica. 1954.
 deutsch: Federica. Europäische VA, Frankfurt/M. 1955 (übersetzt von Nino Erné).
 Le vésuve.
 deutsch: Der Vesus. Aufbau Taschenbuchverlag, Berlin 1992, ISBN 3-7466-0151-7 (EA München 1963, übersetzt von Paul Baudisch)
 Les couteaux.
 deutsch: Die Messer. Desch, München 1968 (übersetzt von N. O. Scarpi)
 Les hauteurs de la ville.
 deutsch: Auf den Höhen der Stadt. Aufbau-Verlag, Berlin 1967 (übersetzt von Clement de Wroblewsky)
 La croisière.
 deutsch: Die Kreuzfahrt. Bastei-Verlag, Bergisch Gladbach 1976, ISBN 3-404-05183-1 (EA München 1974, übersetzt von Widukind Clerc-Erlé)
 Saison violente.
 deutsch: Ungestümer Sommer. Reclam, Leipzig 1977 (EA München 1975, übersetzt von Evelyne Kolnberger)

Literatur
 Fanny Landi-Bénos: Roblès ou les raisons de vivre. Oswald Éditions, Paris 1969.
 Josette Frigiotti: Roblès dramaturge. Scène de France, Paris 1972.
 Micheline Alice Rozier: Roblès ou la rupture du cercle (Études; 1). Editorial Naaman, Sherbrooke 1973.
 Marie-Helene Chèze: Roblès, témoin de l'homme. Editorial Naaman, Sherbrooke 1979, ISBN 2-89040-024-7.
 C. Pascal: La femme dans l'œuvre de Roblès. In: Le Cerf-volant. Cahier littéraire, Bd. 110 (1980), Seite 32–34.
 Revue Celefan, Mai 1982, Sondernummer über Roblès
 Georges-Albert Astre: Roblès ou le risque de vivre. Grasset, Paris 1986, ISBN 2-246-33701-1.
 Claire Pascal-Brocardi: Un grand voyage. Cahiers de l'Aube, Montpellier 1986, ISBN 2-9501730-1-2
 Guy Dugas (Hrsg.): Emmanuel Roblès et ses amis. Actes du colloque de Montpellier, 10 et 11 avril 1997. PULM, Montpellier 2000, ISBN 2-84269-368-X.
 Guy Dugas: Emmanuel Roblès. Une action, une œuvre. éditions du Tell, Algier 2007, ISBN 9961-773-31-4.
 Guy Dugas (Hrsg.): Emmanuel Roblès et l'Hispanité en Oranie. Actes du colloque d'Oran, 4 et 5 novembre 2008. L'Harmattan, Paris 2012, ISBN 978-2-296-56853-2.

Einzelnachweise

Weblinks

 Parc Emmanuel Roblès in Montpellier

Mitglied der Académie Goncourt
Autor
Literatur (Französisch)
Literatur (20. Jahrhundert)
Roman, Epik
Franzose
Geboren 1914
Gestorben 1995
Mann

Emmanuel Roblès


D. Afonso de Noronha (c.1542 - Alcácer Quibir, 4 de Agosto de 1578) foi o 5º conde de Odemira e senhor de Odemira, Mortágua e Penacova, e alcaide-mor de Estremoz. Era filho de D. Sancho de Noronha, 4º conde de Odemira, e de D. Margarida de Vilhena.

Morreu na Batalha de Alcácer Quibir (1578).

Casou três vezes :

A primeira (c.1569) com D. Joana de Vilhena (?-c.1571), filha de Manuel Telles de Meneses, 6º senhor de Unhão, e de D. Margarida de Vilhena, sem geração.

A segunda (c.1572) com D. Joana de Gusmão (?-c.1572), filha de D. Pedro de Meneses, governador de Ceuta, e de D. Constança de Gusmão, sem geração.

A terceira (c. 1573) com D. Violante de Castro (? - 18.06.1646), filha de D. Álvaro de Castro, senhor de Fonte Arcada e Penedono, conselheiro de estado e Vedor da Fazenda e de D. Ana de Ataíde, de quem teve:

 Sancho de Noronha (1579-1641), 6º conde de Odemira.

Senhores do Reino de Portugal
Fidalgos de Portugal
Nobres de Portugal do século XVI

Afonso de Noronha (c.1542-1578), 5º conde de Odemira


Fraxinus chiisanensis er tegund af eskitré sem vex á Kóreuskaga.

Tilvísanir

Smjörviðarætt

Fraxinus chiisanensis


تويوتا للخدمات المالية هي إحدى أقسام شركة تويوتا للسيارات وهي عبارة عن مجموعة من الأعمال تُدار في أكثر من ثلاثين دولة، وهي مملوكة بالكامل لشركة تويوتا للسيارات ومقرها الرئيسي بناجويا باليابان.

بدأت أعمالها بمدينة سيدني بأستراليا كشركة تويوتا أستراليا المالية المحدودة ثم باشرت أعمالها بالولايات المتحدة وكندا وأوروبا وآسيا.

مراجع

وصلات خارجية
 شركة تويوتا أستراليا المالية المحدودة
 بوابة خدمة العملاء بالولايات المتحدة

شركات خدمات مالية أسست في 1982
شركات خدمات مالية في اليابان
مجموعة تويوتا

تويوتا للخدمات المالية


دانييلي كونتي  (مواليد 9 يناير 1979 في نيتونو - إيطاليا) لاعب كرة قدم إيطالي يلعب حاليا لصالح نادي الدرجة الأولى كالياري الإيطالي منذ 1999 في مركز الوسط المحوري .

هوامش
 دانييلي هو ابن اللاعب برونو كونتي وشقيق اللاعب أندريا كونتي .

روابط خارجية

مراجع

لاعبو وسط كرة قدم رجالية
أشخاص على قيد الحياة
أشخاص من نيتونو
لاعبو الدوري الإيطالي
لاعبو الدوري الإيطالي الدرجة الثانية
لاعبو روما
لاعبو كالياري
لاعبو كرة قدم إيطاليون
لاعبو كرة قدم من لاتسيو
لاعبو منتخب إيطاليا تحت 21 سنة لكرة القدم
مواليد 1979
مواليد في نيتونو

دانييلي كونتي


Bellona (în ) este o editură poloneză cu sediul la Varșovia, specializată în publicarea cărților de istorie militară, care a fost înființată în 1990 în locul Wydawnictwo Ministerstwa Obrony Narodowej (Editura Ministerului Apărării Naționale) din Republica Populară Polonă.

Editura Bellona publică mai mult de 300 de titluri anual, inclusiv cărți din seria "Historyczne Bitwy" ("Bătălii istorice"). Ea editează, de asemenea, publicația Mówią Wieki, o revistă istorică lunară înființată în 1958. Oferta sa editorială include, de asemenea, romane polițiste, romane istorice și fantastice, precum și albume, calendare, literatură pentru copii și tot felul de ghiduri utile în viața de zi cu zi. Printre colaboratorii ei se numără profesorii Henryk Samsonowicz, Lech Wyszczelski și Tadeusz Panecki, dar și alți autori precum Leszek Moczulski, Krzysztof Daukszewicz, Grzegorz Miecugow, Magdalena Kozak etc.

În fiecare an editura Bellona organizează, în colaborare cu alte edituri, Târgul de carte istorică, în cadrul căruia este acordat Premiul KLIO pentru cea mai bună carte istorică.

În 1997 a avut loc fuziunea editurilor de stat "Wydawnictwo Bellona" și "Czasopisma Wojskowe", fiind înființată editura de stat "Dom Wydawniczy Bellona". În 2007 compania a fost transformată în societate comercială sub numele de Bellona Spółka Akcyjna, deținută de Trezoreria de Stat. În 2018, după separarea sucursalelor ca societăți separate, Bellona SA a fost transformată în Bellona Sp. z o.o., deținută integral de Dressler Dublin.

Wydawnictwo Ministerstwa Obrony Narodowej
În 1976 Wydawnictwo Ministerstwa Obrony Narodowej (Editura Ministerului Apărării Naționale) a fost distinsă Crucea de Comandor cu stea a Ordinului Polonia Restituta

Note

Legături externe
  bellona.pl

Edituri din Polonia

Bellona (editură)


El síndrome del emperador, síndrome del niño tirano o síndrome del niño rey es un trastorno de conducta que afecta a los niños. Principalmente se inicia en el hogar, cuando el niño comienza por desafiar al padre y a la madre, y más adelante lo hace con cualquier persona. Este trastorno se caracteriza por el sentimiento de autoridad que puede llegar a tener un menor de edad hacia los demás; por lo regular esto ocurre por darle privilegios desmesurados al niño que la padece, dándole todo lo que quiere sin ningún tipo de condición. En definitiva, se propicia que entre en una dinámica de comportamiento en la que los caprichos son satisfechos en el momento, por lo que se convierten en necesidades. De esta manera, cuando el niño no obtiene lo que quiere, tiende a enojos extremos que pueden terminar en agresiones verbales y físicas junto con aires de autoridad.

Véase también

 Trastorno negativista desafiante
 Síndrome del pequeño emperador

Referencias

Enlaces externos

 Garrido, V. (2006). Los hijos tiranos: el síndrome del emperador. Barcelona: Ariel.

Síndromes
Psicopatología infantil

Síndrome del emperador


Anthony "Tony" Mark Daley (* 18. Oktober 1967 in Birmingham) ist ein ehemaliger englischer Fußballspieler. Zwischen 1991 und 1992 bestritt er sieben Länderspiele für England und stand im englischen Kader der Fußball-Europameisterschaft 1992 in Dänemark.

Karriere

Aston Villa (1985–1994)
Tony Daley debütierte am 20. April 1985 im Alter von 17 Jahren für seinen Heimatverein Aston Villa in der Football League First Division 1984/85. Der schnelle Flügelspieler erspielte sich in den folgenden beiden Spielzeiten einen Stammplatz beim Europapokalsieger von 1982. 1986/87 stieg Daley (33 Spiele/3 Tore) mit Villa als Tabellenletzter in die zweite Liga ab. Dafür erreichte der Verein in der Second Division den direkten Wiederaufstieg als Vizemeister hinter dem FC Millwall. Nach einem knapp erreichten Klassenerhalt in der Saison 1988/89 gewann das Team um David Platt und Tony Daley (29 Spiele/5 Treffer) 1989/90 die Vizemeisterschaft hinter dem FC Liverpool und qualifizierte sich so für den Europapokal. Im UEFA-Pokal 1990/91 scheiterte Villa in der zweiten Runde mit 2:0 und 0:3 am späteren Titelträger Inter Mailand. Eine erneute Vizemeisterschaft erreichte der Verein in der neu eingeführten Premier League 1992/93 hinter Manchester United. Nach einem Zweitrundenaus im UEFA-Pokal 1993/94 (1:1 und 0:1 gegen Deportivo La Coruña) zog Villa in das Finale des englischen Ligapokal 1993/94 ein. Im Finale vor 77.231 Zuschauern in Wembley bezwang die Mannschaft von Trainer Ron Atkinson Manchester United nach Toren von Dalian Atkinson und Dean Saunders (zweifach) mit 3:1. Tony Daley kam über 90. Minuten zum Einsatz und feierte den ersten Titelgewinn seiner Karriere.

Weitere Stationen (1994–2002)
Am 6. Juni 1994 wechselte der 26-jährige Tony Daley für £1.250.000 zu den vom Ex-Nationaltrainer Graham Taylor trainierten Wolverhampton Wanderers. Für den Zweitligisten bestritt er bis 1998 jedoch lediglich einundzwanzig Ligaspiele, da ihn Verletzungen immer wieder vom Spielbetrieb fernhielten. In der Saison 1998/99 erzielte er ein Tor in zwölf Einsätzen für den FC Watford und stieg mit seiner Mannschaft durch ein 2:0 im Play-off-Finale gegen die Bolton Wanderers in die Premier League auf. Daley hatte verletzungsbedingt jedoch erneut die Endphase der Saison verpasst. Nach weiteren Stationen beim FC Walsall und den unterklassigen Forest Green Rovers beendete er im Sommer 2002 seine Karriere.

Englische Nationalmannschaft (1991–1992)
Tony Daley debütierte am 13. November 1991 in der Qualifikation zur EM 1992 gegen Polen in der englischen Nationalmannschaft. Nach vier Einsätzen in Vorbereitungsspielen wurde er vom Nationaltrainer Graham Taylor in den englischen EM-Kader berufen. Daley bestritt während der Fußball-Europameisterschaft 1992 in Schweden zwei Spiele gegen Dänemark (0:0) und Schweden (1:2) und schied mit England bereits nach der Vorrunde aus. In der Folgezeit bestritt er kein weiteres Länderspiel.

Titel und Erfolge
 Englischer Vizemeister: 1990
 Englischer Vizemeister: 1993
 Ligapokalsieger: 1994 (3:1 gegen Manchester United)

Weblinks

 Profil auf englandfootballonline.com

Einzelnachweise

Fußballnationalspieler (England)
Fußballspieler (Aston Villa)
Fußballspieler (Wolverhampton Wanderers)
Fußballspieler (FC Watford)
Fußballspieler (FC Walsall)
Fußballspieler (Forest Green Rovers)
Teilnehmer an einer Fußball-Europameisterschaft (England)
Engländer
Brite
Geboren 1967
Mann
Absolvent der Coventry University

Tony Daley


Werner Levi (* 23. März 1912 in Halberstadt; † 6. Februar 2005 auf Hawaii) war ein US-amerikanischer Politikwissenschaftler deutscher Herkunft.

Leben
Levi wurde 1934 an der Universität Freiburg in der Schweiz von der juristischen Fakultät promoviert. Er flüchtete mit seiner Ehefrau aus dem nationalsozialistischen Deutschland nach Großbritannien und 1940 dann weiter in die USA, wo er als Stipendiat noch zwei weitere Doktortitel erwarb. Von 1944 bis 1963 lehrte er als Professor Politikwissenschaft und Völkerrecht an der University of Minnesota und von 1963 bis zu seiner Emeritierung 1977 an der University of Hawaii.

Schriften
 Entstehung, Erfüllung und Nichterfüllung des Gesellschaftsvertrages nach den allgemeinen Bestimmungen des schweizerischen Obligationenrechts, Borna-Leipzig 1934 (Dissertationsschrift)
 International Law and International Politics, 1971
 The Coming End of War, 1981
 From Alms to Liberation: The Catholic Church, the Theologians, Poverty, and Politics, 1989.

Weblinks
 Levi-Nachruf, honoluluadvertiser (englisch)
 Levi-Nachruf, Honolulu Star-Bulletin (englisch)

Politikwissenschaftler
Hochschullehrer (University of Minnesota)
Hochschullehrer (Hawaii)
Deutscher
Emigrant aus dem Deutschen Reich zur Zeit des Nationalsozialismus
US-Amerikaner
Geboren 1912
Gestorben 2005
Mann

Werner Levi


The following is a list of the 24 communes of the Réunion (an overseas department of France), along with the arrondissement (district) in which they are located, and the intercommunality of which they are a member.

Intercommunalities:
 CASUD: Communauté d'agglomération du Sud, created in 2010.
 CINOR: Communauté intercommunale du Nord de La Réunion, created in 2001.
 CIREST: Communauté intercommunale Réunion Est, created in 2002.
 CIVIS: Communauté intercommunale des Villes solidaires, created in 2003.
 TCO: Territoire de la Côte Ouest, created in 2002.

See also
 List of cities in East Africa

References

External links
 Administrative map of Réunion

Reunion

Reunion 3

Communes of the Réunion department


Voznica este o comună slovacă, aflată în districtul Žarnovica din regiunea Banská Bystrica. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 653 de locuitori.

Istoric
Localitatea Voznica este atestată documentar din 1075.

Note

Legături externe

Localități din Slovacia

Voznica


Redstone Township ist der Name folgender Townships in den Vereinigten Staaten:

 Redstone Township (Pennsylvania)
 Redstone Township (South Dakota)

Redstone Township


Arturo Armando Cordón Aguirre (Buenos Aires, 20 de julio de 1920 - id. 22 de diciembre de 2004), fue un militar argentino, ministro del Interior de la Nación, entre 1970 y 1971, durante el gobierno de facto del general Roberto Marcelo Levingston.

Biografía
Tras culminar con sus estudios de educación secundaria, Jorge Sixto Fernández ingresó como cadete de la Escuela de Aviación Militar el 1 de marzo de 1941. El 30 de noviembre de 1944 egresó como alférez del escalafón aire, con orden de mérito 45 sobre un total de 67 cadetes egresados de la promoción 10° de la mencionada institución aeronáutica militar. Entre sus compañeros de promoción se destacan los alféreces Carlos Alberto Rey, Ezequiel Alfredo Martínez y Arturo Armando Cordón Aguirre y Jorge Sixto Fernández.

En diciembre de 1966, alcanzó el grado de brigadier. Entre el 27 de diciembre de 1967 y el 28 de diciembre de 1969 prestó servicio como director de la Escuela de Aviación Militar.

Su último puesto en servicio activo fue el de comandante de Personal de la Fuerza Aérea. El 3 de noviembre de 1970 pidió el pase a retiro mientras aún estaba a cargo del Ministerio del Interior.

Gobernador de San Juan
Fue designado por el presidente de facto Juan Carlos Onganía como gobernador de la provincia de San Juan . Ejerció tales funciones hasta el 21 de julio de 1967.

Ministro del Interior
En su función de ministro tuvo un rol importante en las primeras fases de la confección del cronograma electoral que se había fijado la autodenominada Revolución Argentina para la reinstauración de la democracia en el país. En marzo de 1971 se produce la renuncia del presidente Levingston y Cordón Aguirre deja el ministerio, siendo sucedido por Arturo Mor Roig.

Deceso
Falleció a los 84 años el 22 de diciembre de 2004.

Referencias

Porteños
Egresados de la Escuela de Aviación Militar
Brigadieres de la Fuerza Aérea Argentina
Ministros del Interior de Argentina
Gabinete de Roberto Marcelo Levingston

Arturo Cordón Aguirre


Riddley Walker is a science fiction novel by American writer Russell Hoban, first published in 1980. It won the John W. Campbell Memorial Award for best science fiction novel in 1982, as well as an Australian Science Fiction Achievement Award in 1983. It was nominated for the Nebula Award for Best Novel in 1981.

It is Hoban's best-known adult novel and a drastic departure from his other work, although he continued to explore some of the same themes in other settings.

Production
Hoban began work on the novel in 1974, inspired by the medieval wall painting of the legend of Saint Eustace at Canterbury Cathedral.

The novel is written in a stylistic, imaginary dialect based on and inspired by the dialect of Kent.

Plot
Roughly two thousand years after a nuclear war has devastated civilization, Riddley, the young narrator, stumbles upon efforts to recreate a weapon of the ancient world.

The novel's characters live a harsh life in a small area which is presently the English county of Kent, and know little of the world outside of "Inland" (England). Their level of civilization is similar to England's prehistoric Iron Age, although they do not produce their own iron but salvage it from ancient machinery. Church and state have combined into one secretive institution, whose mythology, based on misinterpreted stories of the war and an old Catholic saint (Eustace), is enacted in puppet shows.

Characters
Riddley Walker, the 12-year old protagonist
Brooder Walker, Riddley's father who is known for "connexions" (prophetic stories) and dies early in the story
Lorna, the seer / priest in their village
Abel Goodparley and Erny Orfing, agents of the political-religious government
Eusa, a religious figure portrayed in puppet form

Critical reception

Peter Ruppert noted that Hoban's novel draws on "such well-known dystopias as A Clockwork Orange, Lord of the Flies, and A Canticle for Leibowitz", and "what is unique in Hoban's haunting vision of the future is his language" which is described as being similar to the Nadsat slang spoken in Anthony Burgess' A Clockwork Orange. The Bulletin of the Atomic Scientists stated that, "The force and beauty and awfulness of Hoban's creation is shattering," and praised the author's use of a crude "Chaucerian English". John Mullan of The Guardian also praised Hoban's decision to narrate the novel in a devolved form of English: "The struggle with Riddley's language is what makes reading the book so absorbing, so completely possessing."

Library Journal wrote that the book holds "a unique and beloved place among the few after-Armageddon classics". It was included in David Pringle's book Science Fiction: The 100 Best Novels. In 1994, American literary critic Harold Bloom included Riddley Walker in his list of works comprising the Western Canon.

Adaptations

Film and theatre
 Robert C. Cumbow wrote in Slant Magazine that the post-apocalyptic film Mad Max Beyond Thunderdome borrowed "whole ideas, themes and characterizations" from the novel.
 Hoban's own theatrical adaptation premiered at the Royal Exchange Theatre, Manchester, in February 1986. It was directed by Braham Murray and starred David Threlfall. Its U.S. premiere was at the Chocolate Bayou Theatre, in April 1987, directed by Greg Roach.
 In 1989, Russell Hoban gave permission for theatre students at Sir Percival Whitley/Calderdale College, Halifax, West Yorkshire, to transcribe the book into a theatrical script, which was then staged in a new production at The Square Chapel, Halifax.
 In November 2007, the play was produced by Red Kettle in Waterford, Ireland, to positive reviews.
 In 2011, the play was also adapted for Trouble Puppet Theater Co. by artistic director Connor Hopkins at Salvage Vanguard Theater in Austin, Texas. This production employed tabletop puppetry inspired by the Bunraku tradition and was supported by an original score by Justin Sherburn.
 In March 2015, a group of Aberystwyth drama students performed the play in Theatre y Castell over the course of two days. The production was directed by David Ian Rabey.

Popular music
 "The Rapture of Riddley Walker" is the eighth song on the Clutch album From Beale Street to Oblivion (2007).
 "Widder's Dump", named after a location in the book and notes on the credits as being inspired by the novel, is the fifth song on the 1989  King Swamp album.
 "In the Heart of the Wood and What I Found There" from the album Thunder Perfect Mind by Current 93 features references to Riddley Walker. Another Current 93 song, "The Blue Gates of Death" from the album Earth Covers Earth incorporates a rhyme from the book. Also, their album Of Ruine or Some Blazing Starre cites the Saint Eustace story.
 "Ode to Riddley Walker" is the title track of the second solo album by The Owl Service vocalist Diana Collier (2020). The song refers directly to Hoban's novel.

See also

 Cloud Atlas
 The Book of Dave
 Engine Summer
 Pilgermann

References

Sources

External links
 Riddley Walker Annotations
 The Riddley Walker Concordance
 Russell Hoban on Riddley Walker (The Guardian, 26 November 2010)
 Gallery: Quentin Blake illustrations for Russell Hoban's Riddley Walker
 Photographs of Trouble Puppet Theater Co's production

1980 British novels
1980 science fiction novels
British novels adapted into plays
British science fiction novels
British post-apocalyptic novels
John W. Campbell Award for Best Science Fiction Novel-winning works
Books written in fictional dialects
Novels set in Kent
Novels by Russell Hoban
Jonathan Cape books
Future dialects

Riddley Walker


William John McAdams, né le  à Belfast en Irlande du Nord et mort le  à Barrow-in-Furness en Angleterre, est un footballeur international nord-irlandais qui jouait au poste d'attaquant.

Carrière en club
À sa sortie de l'école, à 15 ans, il suit un apprentissage de chauffagiste et joue en amateur. À 17 ans, il part à Burnley pour un essai réussi de trois mois, mais ne donne pas suite. Il retourna donc en Irlande où il signa des formulaires professionnels pour Distillery (Charles Buchan's Football Monthly, janvier 1967). Il joue ensuite pour Manchester City entre 1953 et 1959, faisant 134 apparitions et marquant 66 buts.

Il rejoint les Bolton Wanderers.

Il totalisera 15 sélections avec l'Irlande du Nord pour sept buts marqués.

Références

Liens externes

Footballeur international nord-irlandais
Footballeur nord-irlandais
Entraîneur nord-irlandais de football
Entraîneur du Barrow AFC
Joueur du Barrow AFC
Joueur du Queens Park Rangers FC
Joueur du Brentford FC
Joueur du Leeds United FC
Joueur du Bolton Wanderers FC
Joueur du Manchester City FC
Naissance en janvier 1934
Naissance à Belfast
Décès en octobre 2002
Décès en Cumbria
Décès à 68 ans

Billy McAdams


Impressive Instant est une chanson du  studio de Madonna, Music, dont elle est la deuxième piste.

Initialement prévu pour être le quatrième single de l'album, la sortie a été annulée en raison d'un désaccord entre Madonna et sa maison de disques. Finalement, Warner Bros. l'a sorti aux États-Unis en tant que single promotionnel le .

Écrit et produit par Madonna et Mirwais Ahmadzaï, le titre est brillant et édifiant dans son contenu et sa composition. C'est la première chanson sur laquelle Madonna et Ahmadzaï ont travaillé et enregistré.

Ahmadzaï a dû travailler séparément sur son ordinateur portable pour générer les éléments sonores que Madonna voulait dans la chanson, car il était difficile de générer la musique dans le studio d'enregistrement. « Impressive Instant » a été décrit comme un stomper acid techno, pop-trance, électropop et électro house de club contenant des lignes de clavier futuristes, avec la voix de Madonna étant déformée et robotique. Soutenues par des bruits laser et des synthés, les paroles de la chanson traitent du coup de foudre et contiennent des paroles quelque peu absurdes et absurdes.

« Impressive Instant » a reçu un accueil critique positif. De nombreux critiques l'ont qualifié de point culminant de l'album et ont salué la production du morceau par Ahmadzaï. Sorti uniquement aux États-Unis, il a été un succès de danse populaire, atteignant le sommet du classement Billboard Hot Dance Music / Club Play, et restant au sommet pendant deux semaines consécutives.

La chanson est devenue la  numéro un de Madonna dans ce classement, la plus grande pour un artiste. C'était sa  dans le top dix du classement Hot Dance Music/Club Play et sa septième meilleure chanson consécutive. Pendant les tournées promotionnelles de Music, Madonna interprète la chanson dans un cadre néo-occidental à New York et à Londres. Il a ensuite été joué au Drowned World Tour en 2001, dans le cadre de la section punk, avec Madonna accompagnée de danseurs portant des masques à gaz. La performance a généralement été reçue comme un point culminant du concert.

Contexte et publication
En 2000, Madonna sortait avec le réalisateur Guy Ritchie et était enceinte de leur enfant. Voulant se distraire de la frénésie médiatique entourant cette nouvelle, elle s'est concentrée sur le développement de son huitième album studio, Music. Enthousiasmée par le succès commercial de son album Ray of Light, sorti en 1998, elle était impatiente de retourner en studio pour enregistrer de nouveaux morceaux. Elle est ensuite présentée au DJ et producteur français Mirwais Ahmadzaï par son manager Guy Oseary. Madonna a immédiatement aimé ses rythmes changeants, pulvérisants et son utilisation de la basse acide dans ses chansons. L'une de leurs collaborations était « Impressive Instant » qui a été décrit par Madonna comme « carrément stupide ». Elle a expliqué qu'ils « travaillaient sur cette chanson et je me suis dit : 'Oh, fuck it, let's get fun', la vie serait un tel frein si nous étions profonds et sondant tout le temps. »  [3]

La chanson devait sortir en tant que quatrième single de Music, mais Warner Bros., la maison d'enregistrement de Madonna, voulait que « Amazing » soit le prochain single. La chanteuse a estimé que « Amazing » était similaire à son précédent single« Beautiful Stranger » (sorti en 1999), et voulait le futuriste « Impressive Instant ».

Dans une interview accordée à la chaîne russe Radio Monte Carlo 102.1 FM, le remixeur Peter Rauhofer a expliqué que Warner Bros. prévoyait d'aller de l'avant avec la sortie de « Amazing » sans l'aide de Madonna car elle était occupée à préparer le Drowned World Tour. Ils ont prévu de promouvoir le single avec un clip vidéo créé à partir de la performance live de « Amazing » sur la tournée, alors Madonna a retiré la chanson de la set list.

Enregistrement et mixage
Les sessions d'enregistrement pour Music ont commencé en  aux Sarm West Studios, Notting Hill, Londres. La première chanson sur laquelle Madonna et Ahmadzaï ont travaillé était « Impressive Instant », puisqu'elle était presque terminée sur la démo qu'il avait envoyée au chanteur.

Sentant que les idées de Madonna pour le morceau et la composition seraient difficiles à créer à Sarm West, Ahmadzaï voulait retourner à Paris et y travailler sur son propre ordinateur. « Il y a beaucoup de pistes vocales hachées sur 'Impressive Instant'... C'était impossible à faire en studio. Cela n'a pas de sens de louer un endroit comme Sarm juste pour me faire travailler sur dix secondes de musique toute la journée, en utilisant un seul ordinateur », a-t-il ajouté. Au cours des dix premiers jours, ils avaient enregistré les chœurs et les guitares acoustiques sur un 48 pistes Sony et l'avaient transféré sur une station de travail Logic Audio, en utilisant les convertisseurs de TC Electronic Finalizer.

À Paris, Ahmadzaï a travaillé de manière obsessionnelle pour terminer l'enregistrement de « Impressive Instant », en appliquant son mangling sonore caractéristique. Il a utilisé le plug-in Antares Auto-Tune pour la correction de hauteur. Le processeur audio a gardé la caractéristique de la voix de Madonna, et elle a chanté un peu désaccordé et vibrato.

Un synthétiseur Nord Lead a créé les balayages LFO au début, en faisant un panoramique à partir de sa gauche et de sa droite, ce qui a créé la toile de fond de la piste. La basse était tamisée et ne contenait aucune musique en haut ou en milieu de gamme. Au lieu d'utiliser un synthétiseur Minimoog, Ahmadzaï a utilisé un synthétiseur à modélisation analogique Korg Prophecy qui a ajouté une texture différente à la chanson.

La voix de Madonna a été traitée via un harmonisateur Eventide 3000, ajoutant finalement des effets de filtres audio et d'émulateur E6400. En outre, Ahmadzaï a ajouté ses sons de bégaiement caractéristiques à la chanson, expliquant: « J'ai fait tout ce bégaiement dans Logic. C'est très, très compliqué, tranche par tranche. Il faut beaucoup expérimenter pour que ça marche. J'ai mis Auto-Tune sur des syllabes individuelles. Parfois, j'utilise 40 pistes audio sur une seule piste vocale. Chacun a un niveau et un traitement différents, puis je fais un composite. Je ne pouvais pas le faire avec une configuration de studio analogique normale. Le truc de départ et d'arrêt, c'est une idée que j'ai depuis un moment [sic]. ».

La tâche finale consistait à créer une panne à l'aide d'Auto-Tune et du synthétiseur Nord Lead, en appliquant sa fonction d'écho. Au total, Ahmadzaï a travaillé pendant 15 jours sur le morceau, le remettant finalement à l'ingénieur du son Mark « Spike » Stent. Avec le magazine Keyboard, Ahmadzaï a expliqué que la version enregistrée était presque la même que la dernière piste mixte présente pour Music.

Pour « Impressive Instant », Stent et Ahmadzaï ont essayé de le mixer d'abord à partir des pistes numériques de Sony mais n'ont pas réussi à obtenir le son original de la démo en raison de la compression qui était présente. Stent a donc inclus la musique de la table de mixage Yamaha 02R d'Ahmadzaï, y compris la basse, les boucles et le kick. [5] En plus du mixage de la piste aux Olympic Studiosde Londres, le mastering a été réalisé par Tim Young au Metropolis Studio. En plus de mixer le morceau aux Olympic Studios de Londres, le mastering a été réalisé par Tim Young au Metropolis Studio. Parmi les autres ingénieurs travaillant sur la piste figuraient Mark Endert, Sean Spuehler, Tom Hannen et Tim Lambert.

Musique et paroles
Larry Flick de Billboard a décrit « Impressive Instant » comme un « stomper de club » contenant des lignes de clavier futuristes, la voix de Madonna passant de « lignes déformées et robotiques » à « chants ludiques et enfantins ». La chanson est un mélange d'acid techno, de pop-trance, d'électropop et d'électro house.

Selon la partition publiée à Musicnotes.com, « Impressive Instant » est défini dans la signature temporelle du temps commun avec un tempo modérément rapide de 123 battements par minute. Il est composé dans la tonalité de do majeur avec les voix de Madonna allant de A3 à A4. La chanson suit une séquence de base de Am-G-Am-G-Am comme progression d'accords.

Rikky Rooksby, auteur de « The Complete Guide to the Music of Madonna », a expliqué que « Impressive Instant » a commencé avec l'égaliseur baissé, de sorte que la quantité d'aigus est très faible au départ. Les voix de Madonna sont fortement traitées et sont accompagnées d'un son crépitant, qui a une « rugosité tactile », ce qui fait que le mélange sonne « comme un papier de verre musical », a écrit Rooksby. Les voix sont souvent isolées et sont soutenues par des bruits laser et une octave basse. Un synthé « burbling » arrive à la marque de 2:30, puis le refrain de « I'm in a trance » est répété, terminant la chanson par une phrase vocale solo.

La chanson a des paroles comme « I like to singy, singy, singy, Like a bird on a wingy, wingy, wingy », alors que les riffs de clavier électroniques et les rythmes de danse font tourbillonner toute la composition. Lyriquement, « Impressive Instant » traite du coup de foudre (« Tu es celui que j'attendais / Je ne connais même pas ton nom ») et selon O'Brien, est « un monde abstrait de paroles absurdes, de boules disco et de paillettes ». Il parle aussi d'être en transe et de comparaison avec divers phénomènes cosmiques dans des lignes comme « Systèmes cosmiques dans une ficelle, les corps astraux coulent comme du vin », mais revient finalement au sujet de la danse. Le DJ Peter Rauhofer a été chargé de remixer le morceau par Warner Bros. Records en , il a transformé la chanson de techno en house progressive.

Réception critique

 Stephen Thomas Erlewine d'AllMusic a classé « Impressive Instant » comme une piste de l'album.
 Dans une critique de l'album, Sal Cinquemani de Slant Magazine l'a salué comme « une composition joyeuse ».
 Michael Hubbard de MusicOMH a qualifié la chanson de « pur génie pop », affirmant que la chanson « vole la vedette ».
 Gary Crossing de Dotmusic a décrit le morceau comme un « monstre sexy et lourd de basse d'un remplisseur de sol avec des synthés ringards, des voix robotiques et des chuchotements abondants » tout en complétant la ligne « I like to singy singy singy singy ». Ce point de vue a été partagé par Victoria Segal de NME qui a complimenté la technique de production d'Ahmadzaï et le mélange de sons disco avec des effets de vocodeur.
 Barry Walters de Rolling Stone a qualifié la chanson d'« improvitionnelle », et l'a décrite comme « [rugissante] comme un vaisseau fusée rock, puis [ronronnant] tandis qu'une [Madonna] modifiée numériquement grince ».
 David Browne d'Entertainment Weekly a estimé que les couplets de « Impressive Instant » ont les « paroles les plus trempées de Madonna depuis des lustres », et a également complimenté la fusion d'Ahmadzaï de rythmes disco durs et de voix contorsionnantes.
 Greg Kot du Chicago Tribune a crédité Madonna pour avoir rendu hommage à la musique de danse avec « Impressive Instant » et a expliqué que : « Bien que Madonna soit souvent éclipsée par ses producteurs, elle a ses moments, et elle n'est jamais plus inspirée que sur le si stupide et génial « Impressive Instant », un autre hommage à la musique qui la laisse, elle et des légions d'adeptes, «tourner, bébé, hors de contrôle ». Elle mérite d'être créditée d'avoir permis à sa dernière interprétation de cette musique d'être pliée, pliée et si amoureusement mutilée par ses collaborateurs, et quand elle gazouille: « J'aime chanter singy singy / Like a bird on a wingy wingy wingy », je peux imaginer des discothèques de Stockholm à Sacramento devenir folles avec elle. »

 Gary Mullholland de The Guardian a estimé que le personnage indomptable de Madonna était principalement caché sous les couches d'effets électroniques et vocodeurs, sauf dans des chansons comme « Impressive Instant » avec des lignes comme « I like to singy singy singy », ce qui rend la première moitié de Music intéressante.
 John Hand de la BBC a remarqué l'influence « excentrique » d'Ahmadzaï dans la production du morceau ; il l'appelait aussi une chanson de club et de danse.
 Michael Paoletta de Billboard a trouvé « Impressive Instant » comme « vibrant et édifiant dans le ton ».
 Alex Pappademas de Spin a noté la différence entre les efforts de Madonna avec Ray of Light et son ambiance introspective et la nature amusante et joyeuse de chansons comme « Impressive Instant » en musique.
 Ben Dellio de The Village Voice a complimenté l'allitération et la ligne de basse élastique de la chanson, disant que cela aurait été une meilleure ouverture d'album que la chanson-titre, et que cela aurait été une meilleure ouverture d'album que la chanson-titre.
 Ben Greenbank de Sputnikmusic a donné une critique mitigée, disant que bien que « Impressive Instant » et « Runaway Lover » de Music étaient des chansons décentes, elles n'avaient rien de spécial à leur sujet.
 En 2019, Queerty a classé « Impressive Instant » comme l'une des « 14 chansons les plus bizarres, les plus folles jamais enregistrées » par la chanteuse.
 Samuel R. Murrian de Parade l'a classé au numéro 99 sur sa liste des 100 plus grandes chansons de Madonna, la qualifiant de « symphonie électronique bizarre et induisant la transe ».

Performances du graphique
« Impressive Instant » n'a pas été commercialisé et n'a pas été promu à la radio; par conséquent, il n'est apparu sur aucun classement des ventes ou des diffusions de Billboard. Il est sorti dans les clubs de danse en tant que single promotionnel avec des remixes de Peter Rauhofer le . La chanson a fait ses débuts dans le classement Hot Dance Music/Club Play à la  du numéro daté du , devenant le « Hot Shot Debut » de la semaine. La semaine suivante, il a gagné 13 places à la  du classement.

La semaine suivante, il est entré dans le top dix à la quatrième place. Sur le numéro Billboard daté du , « Impressive Instant » a atteint le sommet du classement, devenant la  numéro un de Madonna sur ce classement, le plus grand nombre pour un artiste. C'était la  de l'artiste dans le top dix du classement Hot Dance Music/Club Play et sa septième meilleure chanson consécutive, datant de Nothing Really Matters en 1999, suivie de Beautiful Stranger (1999), American Pie et Music en 2000, ainsi que Don't Tell Me et What It Feels Like for a Girl en 2001.

Performances en direct

Madonna a interprété pour la première fois « Impressive Instant » lors des tournées promotionnelles de Music. Le premier d'entre eux, c'était le , au Roseland Ballroom à New York, et l'autre le , à la Brixton Academy de Londres. Parmi les musiciens accompagnateurs avec Madonna figuraient Ahmadzaï à la guitare et les choristes de longue date Niki Haris et Donna De Lory.

La scène secondaire de Roseland a été utilisée pour la représentation et a été ornée d'un pays des merveilles néo-occidental, avec des balles de foin, des fers à cheval éclairés en jaune et des cactus argentés dans tout le hall et l'entrée. La scène était drapée d'un drapeau américain. Alors que la musique commençait, le drapeau s'est levé pour révéler une camionnette Ford blanche d'où Madonna a émergé, chantant « Impressive Instant ».

Des danseurs torse nu l'encerclaient, alors qu'elle posait sur le capot du camion et dansait. Les effets de vocodeur sur la voix de Madonna ont été supprimés pour la performance live, ce qui, selon Jennifer Vineyard de Rolling Stone, a rendu la voix de la chanteuse « moins ridicule ». Une performance similaire a été jouée à la Brixton Academy.

Lorsque Madonna s'est lancée dans sa tournée Drowned World Tour en 2001, « Impressive Instant » a été ajoutée comme deuxième chanson dans la set list. Les costumes ont été conçus par Jean-Paul Gaultier, et avaient des accessoires variés comme des colliers de chien à pointes, des bracelets incrustés de cristal Swarovski et des hauts en lambeaux.

Madonna ouvre le spectacle avec la section punk, portant des vêtements noirs en lambeaux et un kilt en tartan et en chantant la première chanson, Drowned World / Substitute for Love. À la fin de la chanson, elle a commencé avec « Impressive Instant », accompagnée de ses danseurs portant des masques à gaz et enfermés dans des rouleaux de maille noire, poursuivant la chanteuse autour de la scène.

Selon Stuart Lenig, auteur du livre « The Twisted Tale of Glam Rock », Madonna a fusionné la chorégraphie avec la narration dans la performance, alors qu'elle et ses danseurs traversaient la scène. Les mouvements robotiques de style 1984 désignaient le fascisme avec les danseurs traquant puis essayant de tâtonner Madonna. À la fin, un danseur déguisé en robot a attrapé un gros tuyau d'arrosage et l'a poussé entre les jambes du chanteur, alors qu'il émettait du brouillard vers le public. Lenig en a déduit qu'il s'agissait d'un acte d'atteindre l'orgasme ou de miction vers la foule.

Santiago Fouz-Hernández, l'un des auteurs du livre « Madonna's Drowned Worlds », a trouvé des similitudes avec l'exploration de la culture lesbienne par Madonna à partir de son travail antérieur, dans la performance de « Impressive Instant ». Le placement de la machine à brumiser entre ses jambes était considéré comme un symbolisme du phallus et de l'éjaculation, et un exemple de l'insistance de la chanteuse à représenter la masculinité.

Le biographe J. Randy Taraborrelli, auteur de « Madonna: An Intimate Biography », a donné une critique positive de la performance en disant que « le défi étant une attitude rock, et une attitude adoptée par Madonna, elle n'a pas hésité à vouloir que son public sache qu'elle ne s'est pas adoucie au fil des ans ».

Casper Llewellyn Smith du Daily Telegraph a estimé qu'avec la performance de la chanson, la tournée Drowned World « a accéléré le rythme ».

Dans une critique pour le Los Angeles Times, le critique Greg Kot a déclaré que la réponse « balistique » du public à la performance de « Impressive Instant » et d'une autre chanson « Candy Perfume Girl » confirmait la satisfaction de la foule concernant le spectacle. Une critique similaire a été donnée par Sal Cinquemani de Slant Magazine, qui a décrit la performance comme une « routine de danse virulente et possessive », qui a donné le ton à l'ensemble du spectacle.

Alex Needham de NME a comparé la performance avec celles du Royal Ballet.

Todd Ramlow de PopMatters a critiqué la voix de Madonna sur scène, estimant qu'elle sonnait à plat pendant les notes basses de la  chanson.  Les effets électroniques utilisés ont été reçus négativement par Ramlow, qui a estimé que la chanteuse aurait dû opter pour l'ajout de choristes.

La performance de la chanson le  au Palace of Auburn Hills, à l'extérieur de la ville natale de Madonna, Détroit, a été enregistrée et publiée dans l'album vidéo-live Drowned World Tour, le .

Crédits et personnel

Gestion

 Enregistré aux Sarm West Studios, Notting Hill, Londres
 Mixé aux Olympic Studios, Londres
 Masterisé aux Metropolis Studios, Londres
 Webo Girl Publishing, Inc., Warner Bros. Music Corp (ASCAP), 1000 Lights Music Ltd, Warner-Tamerlane Publishing Corp. (BMI)

Personnel

 Madonna – auteur-compositeur, chanteur, producteur
 Mirwais Ahmadzaï – auteur-compositeur, producteur, programmation, claviers
 Mark « Spike » Stent – enregistrement, mixage
 Tim Young – mastering
 Jake Davis – Outils professionnels
 Mark Endert – ingénieur du son
 Sean Spuehler – ingénieur du son
 Tom Hannen – assistant ingénieur du son
 Tim Lambert – assistant ingénieur du son

Crédits et personnel adaptés des notes de pochette de l'album Music.

Notes et références

Liens externes

Chanson interprétée par Madonna
Single publié par Warner Bros. Records
Chanson écrite par Madonna
Chanson écrite par Mirwais Ahmadzaï

Impressive Instant


OpenCV (Vedere computerizată cu sursa deschisă) este o bibliotecă de funcții informatice specializată pe vedere computerizată în timp-real. Elaborată inițial de Intel, a fost dezvoltată ulterior de Willow Garage, apoi de Itseez (care a fost achiziționată mai târziu de Intel). Biblioteca este de tip multiplatformă și este gratuită pentru utilizare sub licența BSD pentru sursă deschisă.

OpenCV suportă ansamblurile software de învățare profundă TensorFlow, Torch/ PyTorch și Caffe.

Istorie
Lansat oficial în anul 1999, proiectul OpenCV a fost inițial o inițiativă a departamentului Intel Cercetare pentru dezvoltarea aplicațiilor intensive-numeric, făcând parte dintr-o serie de proiecte printre care și urmărirea razelor în timp-real și pereții cu ecran 3D. Printre principalii contribuitori ai proiectului au fost și câțiva experți în optimizare de la Intel Rusia, precum și echipa Intel Performance Library. La începuturile OpenCV, scopurile proiectului erau descrise  astfel:
 Cercetarea avansată a vederii prin asigurarea nu doar de cod sursă deschis ci și optimizat pentru infrastructura de bază a vederii. Fără a reinventa roata.
 Promovarea cunoștințelor despre vedere prin asigurarea unei infrastructuri comune pentru programatori, astfel ca codul sursă să fie mai inteligibil și transferabil.
 Avansarea de aplicații comerciale bazate pe vedere prin furnizarea gratuită de cod sursă portabil și optimizat – cu o licență care nu solicită ca codul în sine să fie deschis sau gratuit.

Prima versiune alfa a OpenCV a fost lansată public la Conferința IEEE despre Vederea Computerizată și Recunoașterea Modelului din anul 2000, iar cinci versiuni beta au fost lansate între anii 2001 și 2005. Prima versiune 1.0 a fost lansată în anul 2006. O versiune 1.1 "pre-lansare" a fost lansată în luna octombrie 2008.

A doua lansare majoră a OpenCV a avut loc în octombrie 2009. OpenCV 2 include modificări majore ale interfeței C++, țintind modele mai ușoare, cu tipuri mai stabile, funcții noi, și implementări mai bune ale celor existente, în sensul performanței (în special pentru sistemele multi-nucleu). Acum au loc lansări oficiale chiar și la perioade de șase luni iar dezvoltarea este realizată de o echipă rusă independentă sprijinită de corporații comerciale.

În luna mai 2016, Intel a semnat un acord de preluare a Itseez, un dezvoltator OpenCV avansat.

Aplicații

OpenCV este aplicat în:

 Instrumente pentru detalii 2D și 3D
 Estimarea ego-mișcării
 Sisteme de recunoaștere facială
 Recunoașterea gesturilor
 Interacțiune om-calculator (abr. en. HCI)
 Roboți mobili
 Înțelegerea mișcării
 Identificarea obiectelor
 Segmentarea și recunoașterea imaginilor
 Vederea stereoscopică: percepția adâncimii cu 2 camere video
 Structură din mișcare (abr. en. SFM)
 Urmărirea mișcării
 Realitate augmentată

Pentru a sprijini cele de mai sus, OpenCV include o bibliotecă statistică de învățare automată care conține:

 Accelerare (boosting)
 Învățare cu arbore de decizii
 Arbori accelerator gradient
 Algoritm de maximizare a așteptării
 Algoritmul vecinilor cei mai apropiați-de-k
 Clasificator Bayes naiv
 Rețele neurale artificiale
 Pădure de arbori decizionali
 Mașini cu vector-suport (abr. en. SVM)
 Rețele neurale profunde (abr. en. DNN)

Limbaje de programare
OpenCV este scris în limbajul C++ și are interfața principală în C++, dar păstrează și o interfață C veche mai puțin dezvoltată, deși extinsă. Există translații în Python, Java și MATLAB/ OCTAVE. Interfețele de programare (abr. en. API) pentru acestea se pot găsi în documentația din internet. Pentru a încuraja adoptarea de o mai mare audiență au fost dezvoltate și anvelope în C#, Perl, Ch, Haskell, și Ruby.

Noile dezvoltări și algoritmii în OpenCV se realizează acum pentru interfața C++.

Accelerare hardware

Dacă biblioteca găsește Primitivele Integrate de Performanță (abr. en. IPP) ale Intel în sistem, va utiliza aceste rutine specifice optimizate pentru a se accelera.

O interfață GPU bazată pe CUDA este dezvoltată începând din septembrie 2010.

O interfață GPU bazată pe OpenCL este în dezvoltare din octombrie 2012, iar documentația pentru versiunea 18.104.22.168 se poate găsi la docs.opencv.org.

Suport pentru sisteme de operare
OpenCV rulează pe următoarele sisteme de operare desktop: Windows, Linux, macOS, FreeBSD, NetBSD, OpenBSD.

OpenCV rulează pe următoarele sisteme de operare mobile: Android, iOS, Maemo, BlackBerry 10. Utilizatorii pot prelua versiunea oficială din SourceForge sau ultimele coduri sursă din GitHub. OpenCV utilizează CMake.

Vezi și

 AForge.NET, o bibliotecă de vedere computerizată pentru CLR (Ansamblul .NET și Mono).
 ROS (Sistem de operare roboți). OpenCV este utilizat pentru vedere în ROS.
 VXL, o bibliotecă alternativă scrisă în C++.
 Integrating Vision Toolkit (IVT), o bibliotecă C++ rapidă și ușor de folosit cu intefață OpenCV opțională.
 CVIPtools, un mediu de programare complet pentru vedere computerizată și procesare de imagine, cu biblioteci de funcții C și o bibliotecă dinamică DLL pe baza modelului de componente COM.
 OpenNN, o bibliotecă cu sursa deschisă pentru rețele neurale scrisă în C++.

Bibliografie

Referințe

Biblioteci C++
Informatică

OpenCV


ذراع القايد بلدية بولاية بجاية بالجزائر.

مواضيع ذات صلة
 بلديات ولاية بجاية
 دوائر ولاية بجاية

مراجع

بلديات ولاية بجاية

ذراع القايد


Die Gmina Jerzmanowice-Przeginia ist eine Landgemeinde (gmina wiejska) im Powiat Krakowski in der Woiwodschaft Kleinpolen, Polen. Der Sitz der Gemeindeverwaltung befindet sich im Dorf Jerzmanowice.

Geographie
Die Gemeinde Jerzmanowice-Przeginia liegt ca. 22 km nordwestlich von Krakau und sie hat eine Flächenausdehnung von 68,39 km². 85 % des Gemeindegebiets werden landwirtschaftlich genutzt, 9 % sind mit Wald bedeckt. Nördlich befindet sich das Krakau-Częstochowa-Hochland und es befinden sich 41 eingetragene Naturdenkmäler auf dem Gebiet der Gemeinde.

Durch die Gemeinde verläuft die Droga krajowa 94.

Gemeindegliederung
Zur Landgemeinde Jerzmanowice-Przeginia gehören die 8 Sołectwos Czubrowice, Gotkowice, Jerzmanowice, Łazy, Przeginia, Racławice, Sąspów und Szklary.

Geschichte
Die Gmina Jerzmanowice-Przeginia entstand 1976 aus der Zusammenlegung der Gmina Jerzmanowice und der Gmina Przeginia.
Wie die beiden Vorgängergemeinden gehört die neugeschaffene Gemeinde Jerzmanowice-Przeginia der von 1975 bis 1998 existierenden  Woiwodschaft Krakau an.

Weblinks
 Webseite der Gemeinde (polnisch)

Einzelnachweise

Jerzmanowice-Przeginia

Gmina Jerzmanowice-Przeginia


You Rang, M'Lord? is a BBC television sitcom written by Jimmy Perry and David Croft, the creators of Dad's Army. It was broadcast between 1990 and 1993 on the BBC (although there had earlier been a pilot episode in 1988). The show was set in the house of an aristocratic family in the 1920s, contrasting the upper-class family and their servants in a house in London, along the same lines as the drama Upstairs, Downstairs.

The series featured many actors who had previously appeared in earlier works by Perry and Croft, notably Paul Shane, Jeffrey Holland and Su Pollard, all of whom had starred in Hi-de-Hi!; also featured were Donald Hewlett and Michael Knowles from It Ain't Half Hot Mum, and Bill Pertwee and—occasionally—Frank Williams from Dad's Army. Numerous small parts were played by other alumni of David Croft and/or Jimmy Perry shows. The memorable 1920s-style theme tune was sung by comedian Bob Monkhouse.

Episodes of You Rang, M'Lord? were fifty minutes long, rather than the usual thirty (for BBC sitcoms), and attempted to introduce a more reflective approach and more complex plotting than other Croft and Perry series. There was also less reliance on filmed location sequences.

Production
The series, like other situation comedies of its time, was filmed in front of a live studio audience. Mark Lewisohn said the writers were careful to ensure the sets, lighting and camerawork were of a quality associated with drama productions such as Upstairs, Downstairs. For a situation comedy, the episodes are an unconventional length (50 minutes). Croft felt this would let them develop characters and situations more thoroughly. This was supported by Gareth Gwenlan, head of BBC comedy. Also unconventional for a Perry/Croft series was the fact that plots directly continued from episode to episode like a soap opera as opposed to being largely standalone episodes such as in Dad's Army and It Ain't Half Hot Mum.

This, coupled with high production values and attention to period detail, was designed to give the series the feel of a comedy drama. In writing the series, the two writers drew on research and personal accounts from the period; Jimmy Perry's grandfather had been in service as a butler and David Croft's mother, Anne Croft, had been a musical comedy star in the 1920s, giving them some ideas of life both above and below stairs.

The pilot episode was meant to be recorded at the BBC Television Centre in London, but due to a strike the sets were sparsely dressed and production was moved to the BBC Elstree Studios instead. The sets were improved for the first series. After the pilot was aired and the BBC agreed to a full series, the production team decided to remain at BBC Elstree Studios, and all four series of the show were recorded there. Exterior shots were mostly filmed in and around Diss, Norfolk, for example a disused brush factory which was used as the Union Jack Rubber Company. Other locations included the seafront at Cromer, Lynford Hall and Oxburgh Hall as the bishop's palace. The First World War battle scene at the beginning of the pilot episode was built in Long Valley, the British Army's tank training ground in Aldershot. The exterior of the Meldrum house is rarely seen, although the pilot featured exterior shots of an actual building, probably No. 15, Holland Villas Road, London W14, but later shootings took place at a mock-up built on the car park at BBC Elstree Studios or in Norfolk.

The first two series were directed by David Croft who then handed over directing duties to Roy Gould, his production manager for many years, for series three and four.

The series' opening and closing music was written by Jimmy Perry and Roy Moore and performed by a 1920s-style orchestra. The vocals were performed by Bob Monkhouse and Paul Shane.

Plot
In the pilot episode, two World War I soldiers stumble across the body of an officer while crossing no-man's land under heavy gunfire during the Battle of Amiens in 1918. Assuming the officer is dead, one soldier, Alf Stokes (Paul Shane), attempts to rob the officer, much to the disgust of his comrade, James Twelvetrees (Jeffrey Holland). After it becomes apparent that the unconscious officer is not dead, the two men see their chance to escape the battle by carrying the officer to a field hospital. The two soldiers are later called to see the officer, The Honourable Teddy Meldrum (Michael Knowles), who says he is eternally grateful for their services, and tells them he will always be in their debt.

The action then moves to London in 1927, where James Twelvetrees has become the footman in the house of Teddy's brother Lord Meldrum (Donald Hewlett), at 12 Park Lane, Mayfair, and wants to further his position following the death of the butler.

Meanwhile, Alf and his daughter, Ivy (Su Pollard), have just been sacked from their jobs in a music hall (Alf took the music hall job after being dismissed for dishonesty as a butler). Alf sees his chance to apply for a job at the Meldrum's house, and after blackmailing his previous employer for references, becomes the new butler, much to the annoyance of James. Following the dismissal of a maid, after a backstairs relationship with the Honourable Teddy, Ivy is brought in by her father as the new maid (to hide the fact that she is Alf's daughter, the two decide that Ivy should use her mother's maiden name, Teasdale).

The programme follows the various relationships between the upper-class and their servants, as well as Alf's scheming and James's attempts to stop him. The events depicted in the 26 episodes are time-lined though not directly following each other and are based mainly around the following threads:

 Moral combat between Alf, James and Ivy, as Alf keeps developing schemes in order to achieve some fortune (and usually fails) and James and Ivy try to stop his actions
Clashes about politics between James and Alf (James is a Conservative voter whilst Alf often talks of class struggle and revolution)
 Adultery triangle between Lord Meldrum, Lady Agatha (Angela Scoular) and Sir Ralph (John Horsley)
 James arousing romantic interest in Poppy (Susie Brann), Lady Agatha, and Ivy
 Developing love affair between Alf and Mrs Lipton (Brenda Cowling), and between Mrs Lipton and Police Constable Wilson (Bill Pertwee)
 Efforts of Teddy to dodge the marriage with Madge Cartwright (Yvonne Marsh)
 Teddy's pursuit of servant girls
 Lord Meldrum's threats to deport Teddy to his rubber plantation in British Malaya;
 Ivy's growing affections for James
 Business rise, fall and recovery of the House of Meldrum and its most important asset, the Union Jack Rubber Company;
 The unpredictable actions of Lady Lavender (Mavis Pugh).

Characters

The Meldrum Family
George, Lord Meldrum MC (Donald Hewlett) – The master of the house, Lord Meldrum is a respected member of the aristocracy, in charge of the Union Jack Rubber Company and various other interests. Old-fashioned, with Victorian values, his reputation is nevertheless threatened by his affair with Lady Agatha, the wife of Sir Ralph Shawcross, and it is usually left to Stokes to help him cover this up. He claims to deeply love Agatha, and is left heartbroken after she breaks off their affair. Despite his considerable wealth, he pays his workers poorly, and it is hinted that he once employed slave labour in Africa.
The Honourable Edward "Teddy" Meldrum (Michael Knowles) – Lord Meldrum's younger brother, he had been conscripted as a Captain into the British Army in 1915 and had served in the Infantry on the Western Front, where he was badly injured by a shell and carried back to the field hospital by Stokes and Twelvetrees. By 1927 the Honourable Teddy is still unmarried and living in his brother's house. The stereotypical upper-class twit, he has had relationships with five previous housemaids and has fathered children by them all: he cannot resist their "shiny, scrubbed faces" and scent of carbolic soap. He is being forced by his brother to marry Madge Cartwright, the heiress to a soap dynasty, although he is more interested in her maid, Rose.
Cecily "Cissy" Meldrum (Catherine Rabett) – Cissy is Lord Meldrum's elder daughter. Although attractive, she dresses in a masculine style, takes part in men's sports and activities, such as flying (she is a qualified pilot), and her feminine "chum" Penelope (Sorel Johnson) is a frequent house guest. Thus, although never explicitly stated, there are many suggestions that Cissy is a lesbian, the many clues to which are not entirely obvious to her father. Cissy is a pleasant character, who shows genuine concern for the family and servants alike, often giving away feminine items such as dresses and make-up to Ivy (whom she shows an attraction to in early episodes, frequently winking at her). She often socialises with her younger sister Poppy, but the two regularly bicker because of their differing attitudes. She proclaims herself a socialist and stands as a candidate for the United Workers Party, winning a seat on the council through Stokes's machinations.
Poppy Meldrum (Susie Brann) – Poppy is Lord Meldrum's younger daughter and is a spoiled and unpleasant character who attends 'wild' parties with her friend, Jerry (John D. Collins). She is quite a snob about her position in society, often ready to remind those lower of her position, although at other times she confesses to feeling trapped by her class. Throughout the series, she is attracted to the footman, James Twelvetrees, whom she delights in leading on, despite being aware of the problems it could cause for him. She has an on-off relationship with Jerry, who she abandons when she meets Dickie Metcalf, who is in fact a confidence trickster and is after her money.
Lady Lavender Southwick (Mavis Pugh) – Lady Lavender is Lord Meldrum's mother-in-law and she resides with her parrot, Captain, in the second bedroom of the house. She is very wealthy and has interests in many businesses including a large number of shares in the Union Jack Rubber Company. Lavender was born into an aristocratic family in the early 1850s. We are given to understand that she led a somewhat promiscuous youth, having many affairs, including with Boris the Crown Prince (later King) of Dalmatia (Davy Kaye). She then became involved with a young army officer called Captain Cedric Dolby (Maurice Denham); the two later became engaged, but separated shortly before he was sent off to fight in the Zulu War. After the death of her husband, Lord Southwick, Lady Lavender moved in with her daughter and son-in-law, becoming increasingly reclusive and senile, and enjoyed throwing plates of food at Ivy, the maid. She calls the servants by alternative names of her choosing (calling Ivy 'Ethel', Henry 'Steven' and Stokes 'Capes'). She has no idea who Teddy is (when he explains he is "George's brother" she comments she has a son-in-law with that name).

Servants
Alf Stokes (Paul Shane) Butler – Alf Stokes is the scheming Butler. He is Ivy's father and is still married to Ivy's mother, despite their separation. Alf was a Private in the British Army on the Western Front, along with James Twelvetrees. After coming across the Honourable Teddy unconscious in a shell hole, Alf, believing him to be dead, attempted to mug him, much to James' disgust. After realising Teddy was alive, Alf decided to carry the injured Teddy back to the field hospital as a way of saving his own life. This act secures him the job as Butler nine years later at Lord Meldrum's house, after he is forced to return to service following a failed career in showbiz after the war. Throughout the series, Alf devises a number of schemes to scam Lord Meldrum of his money and possessions, although these usually fail. This dishonest aspect of his character was often an asset to Lord Meldrum; on a number of occasions Alf was required to create diversions for Sir Ralph. Alf despises the Meldrum family due to their wealth and high position, although he has genuine respect for Cissy due to her empathy for the working class. Alf also has a relationship with Mrs Lipton through the series, although it is revealed he did this just to borrow money from her.
James Twelvetrees (Jeffrey Holland) Footman – James Twelvetrees is the pompous Footman; the complete opposite of Alf Stokes – stern, upright and honest. His act of helping Alf carry the injured Honourable Teddy to the field hospital during the war also secured him his job in the Meldrum household, although he would never admit this to the other servants. He is not always a likeable character, usually siding with his masters instead of his own class and was often quite unpleasant to the other servants and those he considered lower than him, particularly Mabel and Henry. He is also shown to have his own foibles, such as his infatuation with Miss Poppy, a relationship which left him contemplating resignation at times. He is desired by many of the upper class ladies he served and downstairs by Ivy; this was not reciprocated, although he did show a platonic fondness for her. He aspires to replace Stokes as butler.
Ivy Stokes/Teasdale (Su Pollard) Maid – Ivy is the well-meaning but rather naive maid, the daughter of Alf. Her father secured her the job as maid after he was appointed as Butler by forging her references. Her familial relationship with Alf is largely a secret, but she is forced to tell Henry when he spots the two alone in her bedroom, and later tells James when she needs his help to get Alf out of trouble. Despite her honesty, she is often persuaded to take part in her father's schemes. Earlier in the series, she has to avoid the advances of the Honourable Teddy, although this ceases after series 1. (By season 2 Teddy has started pursuing a relationship with a servant girl called Rose and apologises to Ivy). She is passionately in love with James Twelvetrees, who does not reciprocate her affection.
Mrs Blanche Lipton (Brenda Cowling) Cook – Blanche Lipton had joined the Meldrum household as a young housemaid in her teens and had gradually risen through the ranks to become cook. Her culinary skills are legendary on the street; she is rarely seen out of the kitchen. While usually a kindly woman who shows sympathy for her betters and equals, at other times she is particularly scathing towards those she considers lower, such as Henry and Mabel. Throughout the series she has a relationship with Alf; at one point the two are engaged. When she discovers that Alf was faking the relationship just to borrow money from her, she snaps and throws all the dinner plates and crockery at him. After this incident, Blanche then shifts her affections to Constable Wilson.
Henry Livingstone (Perry Benson) Bootboy – Henry was abandoned as a child in a basket on the steps of the Livingston Road Orphanage, in which institution he remained until the age of 14, when he was taken into the Meldrum house as bootboy. Although the second-lowest ranking servant in the house, Henry is often the most insightful character, something which usually gets him into trouble; for not conforming to the expected etiquette and making inappropriate comments, he is usually soundly clipped about the ear. He is a good friend of Ivy, and it is often suggested that he would like a relationship with her.
Mabel Wheeler (Barbara New) Charwoman – Mabel is the lowest-ranking servant in the Meldrum household. She does not live at the Meldrum house and resides with her unemployed husband in a poor part of London. She is regarded by some of the others as an outsider, James and Mrs Lipton in particular. Because of her low rank and social status, she is not allowed to have meals with the other servants, and is usually given some scraps to take home, which gave rise to her catchphrases "That'll be nice(!)" and "I can't remember the last time I had a...".

Other Characters - Regular
Constable Wilson (Bill Pertwee) – Police Constable Wilson is the local Bobby, although he rarely appears to be doing his duty. Instead he dines nightly with the servants, as was apparently the custom because the police would then overlook any indiscretion made by the family. He is generally ineffective as a policeman, although he becomes something of a wine connoisseur, due to his nightly selection from Lord Meldrum's cellar.

Other Characters - Recurring
Sir Ralph Shawcross (John Horsley) – Sir Ralph is another wealthy member of London society, with two residences; a London house and a country residence. He is married to Lady Agatha (her third husband) and is initially suspicious of Lord Meldrum's relationship with his wife, but eventually comes to regard him as a friend after he is led to believe that Meldrum is impotent and therefore not a threat. When the truth is revealed, he seeks revenge on Meldrum.
Lady Agatha Shawcross (Angela Scoular) – Lady Agatha is the wife of Sir Ralph and is also Lord Meldrum's mistress. She conducts her affair with Lord Meldrum even when her husband is present in the house by secretly giving him sleeping pills. She had previously been assistant matron at Eton but had been sacked following an incident with a number of students. She had two previous husbands before she married Sir Ralph, but also had plenty of lovers, whom she entertains at her mews apartment.
Madge Cartwright (Yvonne Marsh) – The sole heiress to the Cartwright Soap business empire, she resides in a luxury flat in Mayfair and is a regular visitor to the house. She is a longtime admirer of Teddy, and the two become engaged. She does not realise that Teddy secretly despises her and is instead infatuated with her maid, Rose (Amanda Bellamy).
Charles, the Lord Bishop (Frank Williams) – Charles is the Lord Bishop, and a close friend of the family. He is a frequent visitor at the Meldrum house, often accompanied by his young chaplain, Robin (Robbie Barnett).

Other characters
As with the main cast, a number of other characters were played by actors who have appeared in Perry/Croft series, including Felix Bowness, Kenneth Connor, Stuart McGugan, John D. Collins and Ivor Roberts.

Episodes

Reception and release

The series was not initially well received by the critics, and is less well-known than other Croft sitcoms, such as Dad's Army, It Ain't Half Hot Mum, Hi-de-Hi!, 'Allo 'Allo! and Are You Being Served? (the latter two of these were co-written by Croft with Jeremy Lloyd).

Reviewing the series ten years later, Mark Lewisohn notes that unlike previous Croft/Perry series, the lead characters were not "loveable", stating:

...in fact, Alf was quite menacing and James was just too snobbish and unbending a character to generate a response from the audience. This combination of production values and darker characterisation seemed to work against the series, and the normally loud and broad humour of such ensemble romps was uncomfortable in the surroundings. While far from a ratings disaster, it nonetheless failed to attract the level of audiences normally reached by Perry and Croft.

Simon Morgan-Russell, Professor of English at Bowling Green State University is more complimentary, noting that "Unlike other Perry and Croft sitcoms, You Rang, M'Lord? has a distinct serial structure, though it is also the most stable example of their work in terms of maintaining the original situational concept and the cast". He goes on to compliment the series' examination of class, sexuality and gender issues, as well as the heritage cinema-inspired period detail of the piece, particularly in its location filming.

The series was the first British sitcom to feature a recurring lesbian character, in Cissy Meldrum. The character has generated mixed reactions. Anthony Joseph Paul Cortese's Opposing Hate Speech suggests that Cissy is "the archetypal stereotype for a lesbian...[using]...non-flattering stereotypes". Alison Darren's Lesbian Film Guide is much more positive, stating "You Rang, M'Lord? gave us the wonderful Cissy (...replete with monacle and a series of beautifully tailored suits)." She goes on to note the character's "championing of the workers" suggesting that throughout her character "behaved with integrity and style."
The BBC Comedy Guide criticises the show: "for most of their career Perry and Croft had turned clichés on their heads and created characters that went beyond normal. The research and interest they showed in the 20s setting and 'getting it right' in You Rang... seems to have made them forget to put many laughs in."
You Rang, M'Lord? has rarely been repeated on television, which Croft believed was probably due to its unusual length, which does not suit current broadcasting slots (his other series such as Dad's Army and Allo, 'Allo are 30 minutes in duration). However, all four series have been released on DVD, both individually and as a box set.

The show acquired a following in Hungary where a version dubbed into Hungarian was broadcast following the fall of Communism in the country. A fan club has nearly 23,000 followers and in 2018, a celebratory banquet was held in Budapest attended by actors Jeffrey Holland, Michael Knowles, Catherine Rabett, Susie Brann and Amanda Bellamy to celebrate the 30th anniversary of the pilot episode.

The show started a complete re-run on 3 April 2018 on UKTV's Drama channel in the afternoon Comedy Slot, and also shortly thereafter on GOLD.

In addition, all four series are available individually along with a box set of the complete collection as digital downloads from the iTunes Store.

References

External links

BBC television sitcoms
Television series created by Jimmy Perry
David Croft sitcoms
Television series set in the 1920s
Fiction set in 1927
1988 British television series debuts
1993 British television series endings
1980s British sitcoms
1990s British sitcoms
English-language television shows
Television shows set in London
Television shows shot at BBC Elstree Centre

You Rang, M'Lord?


Vaterpolsko prvenstvo Kraljevine Jugoslavije za 1929. godinu je peti put zaredom osvojio Jug iz Dubrovnika.

Prvenstvo
Prvenstvo je održano u Ljubljani od 9. do 11. kolovoza. U završnicu prvenstva su se plasirala šest prvaka (predstavnika) plivačkih podsaveza:
 Bob Beograd - prvak Beogradskog plivačkog podsaveza
 Jug Dubrovnik - prvak Dubrovačkog plivačkog podsaveza
 Jadran Split - prvak Splitskog plivačkog podsaveza
 Viktorija Sušak - prvak Zagrebačkog plivačkog podsaveza
 Somborsko sportsko udruženje (SSU) - prvak Somborskog plivačkog podsaveza
 Primorje Ljubljana - prvak Ljubljanskog plivačkog podsaveza

Ljestvica

Rezultati

Poveznice
 Jugoslavenska vaterpolska prvenstva

Izvori
 list Sportista, Beograd, 1929. godina
 list Jutro, Ljubljana, 1929. godina

1929.

Prvenstvo Kraljevine Jugoslavije u vaterpolu 1929.


Cinépanoramic war eine im Jahre 1955 in Frankreich eingeführte Bezeichnung für ein anamorphotisches Verfahren für 35-mm-Breitwandfilme.

Hintergrund
Während sich CinemaScope schnell bei mehreren großen amerikanischen Filmgesellschaften durchsetzte, zögerten die europäischen Produzenten. Zwar rüsteten die Kinobetreiber ihre Filmtheater nach und nach auf das neue System um, aber die von der 20th Century Fox als Rechteinhaberin verlangten Lizenzgebühren verhinderten bei einer größeren Anzahl europäischer Filmproduktionen die Nutzung der Marke CinemaScope und deren Kameratechnik.

Bereits 1953 stellte Ernst Abbe mit Cinépanoramic ein Konkurrenzsystem vor, mit dem sich die Markenrechte umgehen ließen. Das anamorphotische Linsensystem von Cinépanoramic war eine direkte Weiterentwicklung von CinemaScope. Das Filmbild wurde bei der Aufnahme um den Faktor 2 gestaucht und bei der Vorführung um den gleichen Faktor entzerrt, um das gewünschte Seitenverhältnis von 2,35:1 zu erhalten (siehe auch anamorphotisches Verfahren). Der dafür nötige Anamorphot an der Kamera besaß eine zusätzliche Korrekturlinse, um verzerrungsärmere Nahaufnahmen als bei der CinemaScope-Optik der 20th Century Fox zu ermöglichen.

Die französische DIC verkaufte das Verfahren auch ins Ausland. In den USA war Cinépanoramic als Naturama und in Großbritannien als Camerascope bekannt. Nur wenige Filme wurden mit dem ursprünglichen Namen Cinépanoramic verliehen. Unter dem späteren Namen Franscope war es eine der erfolgreichsten Marken für anamorphotische Breitbildfilme in Frankreich.

Filme in Cinépanoramic
 1955: Mademoiselle de Paris
 1955: Straße der Verdammten (Le couteau sous la gorge)
 1955: Der goldene Falke (Il falco d'oro)
 1956: Guardia, guardia scelta, brigadiere e maresciallo
 1957: Schrei des Gewissens (Les assassins du dimanche)
 1957: Ruf der Götter
 1960: Toro bravo
 1961: Gli scontenti
 1961: Das Schwert der Rache (Capitaine tempête)
 1965: Die grössten Abenteuer der Wikinger (Erik, il vichingo)

Weblinks
 CinemaScope auf dvdlog.de
 Cinépanoramic auf cinematographers.nl (englisch)
 Cinépanoramic auf filmoscopefr.blogspot.com (französisch)
 Scope-Filmliste auf widescreenmuseum.com (englisch)

Filmtechnik

Cinépanoramic


وهي مؤسسة علمية للبحوث والنشر للكتب الإسلامية، في بغداد، أسست من قبل وزارة الأوقاف والشؤون الدينية في العراق سابقاً، وهي الآن تابعة إلى ديوان الوقف السني في العراق الذي استحدث بعد غزو العراق عام 2003م، ولها الكثير من المنشورات والكتب الإسلامية.

ويعتبر هذا المركز من أكبر المراكز العلمية التي تهتم بالدراسات الإسلامية في الشرق الأوسط، وساهم في نشر الكثير من المخطوطات والمطبوعات الإسلامية الأثرية وتم الاعتراف بهِ دولياً في عام 2008م.

مطبوعات المركز
طبع المركز العديد من الكتب في سلسلات متعددة:
 سلسلة الدراسات الإسلامية المعاصرة.
 سلسلة الموسوعة الإسلامية.
 سلسلة المعجمات.
 مجلة المركز - وهي مجلة علمية محكمة تعني بنشر البحوث الرصينة بعد أرسالها إلى الخبراء لبيان مدى صلاحيتها للنشر، وقد ساعدت المجلة في نشر الكثير من البحوث والمخطوطات التي كانت مركونة في زوايا النسيان.

مكتبة المخطوطات
تحتوي مكتبة المخطوطات على عدد كبير من المخطوطات التي تم تصويرها من داخل القطر وخارجه وتم استخدام أحدث التقنيات الحديثة في تصويرها.

مكتبة الدوريات
جمع المركز عددا كبيرا من الدوريات القديمة والتي تمثل تراثاً ثقافياً كبيراً مثل مجلة الرسالة للشيخ الزيات، ومجلات بعض المجامع العلمية وغيرها كثير.

مكتبة المطبوعات
تحتوي مكتبة المطبوعات على أمهات المصادر والكتب العلمية ومنها كتب الإعجاز العلمي في القرآن، وكتب الفقه والشريعة الإسلامية، وكتب خاصة للأطفال وهي تفتح أذرعها لكل الباحثين من كل الأختصاصات.

أستوديو المركز
تم أفتتاح أستوديو للتسجيل الأذاعي والتلفازي في المركز لكي يتولى المشاريع التالية:
 مشروع اذاعة القرآن الكريم.
 مشروع القرآن المرتل التعليمي.
 مشروع الكتاب المسموع.
 مشروع الخطب والمواعظ.
 مشروع أفلام الكارتون التربوي.

المصادر

بغداد
مبان ومنشآت في العراق
مؤسسات دينية
مؤسسات عراقية

مركز البحوث والدراسات الإسلامية


Magdalena Álvarez de Seminario foi uma política argentina. Ela foi eleita para a Câmara dos Deputados em 1951 como uma das primeiras mulheres parlamentares na Argentina.

Biografia
Nas eleições legislativas de 1951 foi candidata pelo Partido Peronista em Buenos Aires e foi uma das 26 mulheres eleitas para a Câmara dos Deputados. Ela permaneceu no cargo até que a Câmara foi dissolvida como resultado da eclosão da Revolução Libertadora em setembro de 1955.

Mulheres da Argentina na política
Membros do Partido Justicialista
!Mais Teoria da História na Wiki (Mulheres)
Membros da Câmara de Deputados da Nação Argentina

Magdalena Álvarez de Seminario


"Stone Cold" este un cântec al cântăreței Americane Demi Lovato de pe al cincilia sau album de studio Confident (2015). Piesa a fost scrisă de către Lovato cu Lelah Pourkarim și Gustaf Thörn, cu Pourkarim care de asemenea a produs piesa. Acesta a fost lansat pentru vânzarile digitale pe data de 9 octombrie 2015 prin intermediul caselor de discuri Hollywood Records și Island Records ca primul single promoțional de pe album, o saptamană înăinte de lansarea albumului.

Videoclipul
Un videoclip împreună cu o versiune "live în studio" a piesei a fost încarcat pe contul lui Demi de vevo pe data de 7 octombrie 2015 în promovarea lansării ale albumului.

Lista pieselor
Descărcare digitală
"Stone Cold" – 3:11

Clasamente

Referințe

Legături externe

Cântece din 2015
Single-uri promoționale

Stone Cold (cântec de Demi Lovato)


John McGinn (Glasgow, 18 de outubro de 1994), é um futebolista escocês que atua como meio-campo. Atualmente, joga pelo .

Títulos
Fonte:
St. Mirren
 Copa da Liga Escocesa: 2012–13

Hibernian
 Copa da Escócia: 2015–16
 Scottish Championship: 2016–17

Ligações externas

Naturais de Glasgow
Futebolistas da Escócia
Futebolistas do St. Mirren Football Club
Futebolistas do Hibernian Football Club
Futebolistas do Aston Villa F.C.
Jogadores da Seleção Escocesa de Futebol
Jogadores da Eurocopa de 2020

John McGinn


U sezoni 2019./20. NK Osijek II natjecao se Drugoj HNL. Bila je to četvrta natjecateljska sezona za drugu momčad NK Osijek i druga u Drugoj HNL. Zbog pandemije koronavirusa, umjesto predviđenih 30 kola u Drugoj HNL, odigrano je njih tek 19. U trenutku prekida prvenstva, Osijek II zauzimao je sedmo mjesto na ljestvici.

Natjecanja

Utakmice

Druga HNL

Statistika igrača
ažurirano: 7. ožujka 2020.

Strijelci

Vratari po broju utakmica bez primljenog pogotka

Kartoni

Nastupi i pogodci

Transferi

Dolasci

Odlasci

Dolasci na posudbu

Odlasci na posudbu

Povezani članci
 NK Osijek 2019./20.

Izvori i bilješke

2019-20

NK Osijek II 2019./20.


Mersiye (Arapça: رثاء), şiirin temel konularından biridir. Ölülerin ardından, onların kaybı nedeniyle duyulan derin üzüntüyü ifade etmek için nazmedilen ağıt şiirlerini adlandırmak için kullanılan edebî bir terimdir.

Etimoloji
TDK sözlüğüne göre, mersiye terimi,Türkçeye Arapçadaki mers̱iye sözcüğünden geçmiştir. Arapçada mersiye terimine karşılık gelen ıstılah ise, yine aynı kökten türetilmiş olan risâ''' (Arapça: رثاء) sözcüğüdür. Arapçada ağıt yakma işini meslek haline getirmiş kadınlar için, nevvâha, ressâ'e, ressâye, hâliḳa ve şâkka gibi muhtelif sözcükler kullanılmaktadır. Türkçede törenlerde mersiye okuyan kişiye mersiyehan'' denilmektedir. Bu sözcük ise Farsça kökenlidir.

Arap Edebiyatında Mersiye
Eski Arap geleneklerine göre, kadınlar ölen akrabalarının ardından mersiye şiirleri söylemelidir. Bu nedenle mersiye sanatı, kadınların yoğun şekilde faaliyet gösterdiği bir alan olmuştur. el-Hansâ', Arap edebiyatının en meşhur kadın mersiye şairidir.

Divan Edebiyatında Mersiye
Divan edebiyatında ölen bir kimsenin yiğitliğini, cömertliğini iyiliğini, yaptıklarını övmek ve ölümünden duyulan acıyı dile getirmek için yazılan şiir türüne mersiye adı verilir. Mersiyeler genellikle mesnevi ve terkib-i bent nazım biçimlerinde yazılmıştır. Ünlü divan şairi Baki'nin Kanuni Sultan Süleyman'ın ölümü üstüne yazdığı Kanuni Mersiyesi, bu türün en güzel örneklerindendir. Divan Edebiyatı klasik çağında orta uzunlukta ve tamamı beyitlerden oluşan bir şiir iken; son evrede 8 beyitten ve bunu tamamlayan bendlerden oluşan bir yapıya dönüşmüştür. Arapça ve Farsça kelimeler çok olduğundan dili ağırdır.

Şiilik ve Alevilikte Mersiye

Şiili ve Alevilikte mersiye türü Kerbela Olayı ile özdeşleşmiştir. Mersiye, Kerbela vakasını işleyen, Ehlibeyte ve On İki İmamlara bağlılığı, sevgiyi dile getiren bir şiir türüdür. Özelikle Muharrem Ay'ı boyunca söylenen ve Ehlibeyt taraftarlarının olduğu her coğrafyada ve her dilde söylenen ağıtlar bütünüdür mersiyeler. Mersiyelerde zalim olana, haksız olana bir öfke vardır. Yine mazlum olana, haklı olana bir sevgi ve sempati vardır. Mersiyeleri salt ağıt boyutuyla algılamak eksiklik olur. Mersiyeler bu noktada bilinç taşımasıdır. Aynı zamanda ne kadar da zaman geçmiş olursa olsun iyinin unutulmayacağının ve kötünün, zalimin her daim lanetleneceğinin göstergeleridir. Edebi açıdan, Ehlibeyte bağlı olanlar için bir edebi zenginliktir.

Konuyla ilgili yayınlar
Esat Ayyıldız. "El-Hansâ' Bint 'Amr: Eski Arap Şiirinde Öncü Bir Mersiye Şairi Hanım" . Mütefekkir 7 / 13 (Haziran 2020): 201-224 . https://doi.org/10.30523/mutefekkir.757993

Kaynaklar

Türlerine göre Divan nazımı
Şiir
Edebî türler
Arap şiiri
Arap edebiyatı

Mersiye


Jesse Shatkin, de asemenea cunoscut sub numele de Belief, este un textier, producător muzical, inginer american asociat cu Kelly Clarkson, P!nk, Sia Furler, Greg Kurstin, Leona Lewis, One Direction, și mulți alții. Shatkin a fost nominalizat în 2014 pentru Premiile Grammy atât ca producător (Înregistrarea anului) cât și ca un compozitor (Cântecul anului). Ambele nominalizări s-au bazat pe activitatea sa pe piesa lui Sia "Chandelier", care a fost co-scris și co-produs. El a fost nominalizat la categoria Înregistrarea anului în 2013 ca inginer pe de single-ul lui Clarkson "Stronger (What Doesn't Kill You)".

Referințe

Legături externe
 Site oficial

Nașteri în 1979
Textieri americani
Americani în viață

Jesse Shatkin


Fundación Pies Descalzos, Kolombiya'da faaliyet gösteren bir sivil toplum örgütüdür.

İsminin Türkçe karşılığı "çıplak ayaklar" olan Pies Descalzos, 2001 yılında ünlü müzisyen Shakira (Shakira Mebarak Ripoll) tarafından kuruldu. Örgütün amacı, Kolombiya'daki iç çatışmalar sonucu sürgün yaşamış çocukların eğitim ve beslenme gibi temel ihtiyaçlarını karşılamak ve hayat standartlarını yükseltmektir.

Pies Descalzos Shakira'nın, tüm dünyadan gönüllülerin ve uluslararası şirketlerin desteğiyle Kolombiyalı çocuklar için çeşitli yardım programları düzenledi ve ülke genelinde yardıma ihtiyaç duyulan bölgelerde şimdiye kadar beş okul açtı; altıncı okul için yürütülen kampanya halen devam etmektedir.

Pies Descalzos okulları
 Escuela Pies Descalzos

2003'te halkın %35'inin evsiz olduğu Quibdó'da açıldı. Okul 630 çocuğa eğitim ve 26 öğretmene güvenilir bir iş imkânı sağlıyor.

 Escuela Las Americas
 Escuela Siete de Abril

2004'te Shakira'nın doğduğu yer olan Barranquilla'da açıldılar. Sürgün, evsizlik ve yoksulluk yüzünden büyük darbe almış bu bölgedeki iki okulda 990 öğrenci eğitim ve sosyal yardım alıyor.

 Gabriel Garcia Marquez Eğitim Enstitüsü
 El Minuto

2004'te Bogotá - Soacha'da açıldılar. Soacha Kolombiya'nın en kötü koşullar altında kalan bölgelerinden biri olarak gösteriliyor. 980 çocuk bu iki okulun sunduğu fırsatlardan faydalanıyor.

 Barrio Las Américas

Barranquilla'da açılması planlanan bu okul için yürütülen kampanya sürüyor.

Dış bağlantılar
 Pies Descalzos resmi internet sitesi  (İspanyolca ve İngilizce)
 Shakira resmi internet sitesi

1997'de kurulan kuruluşlar
Kolombiya merkezli vakıflar
Shakira
2001'de kurulan dernekler ve vakıflar

Fundación Pies Descalzos


Imlay Township ist der Name folgender Townships in den Vereinigten Staaten:

 Imlay Township (Michigan)
 Imlay Township (South Dakota)

Imlay Township


TCO may refer to:

Organisations
Tallinn Chamber Orchestra, an Estonian orchestra
Swedish Confederation of Professional Employees (Tjänstemännens Centralorganisation), a Swedish confederation of trade unions
Tengizchevroil
Topcoder Open, an event by Topcoder
The Cinematic Orchestra, a British-based jazz and electronic music group

Science and technology
Tail call optimization, a computer programming concept
TCO watchdog, a hardware watchdog timer nearly all desktop and server computers have
Transparent conducting oxide, a type of transparent conducting film in electronics
Thermal cutoff, a type of electronic protection component
Temporarily captured orbiter, a temporary natural satellite
TCO Certified, a specification for safety and sustainability of electronical products

Other
 TCO, the IATA code for La Florida Airport (Colombia)
 Total cost of ownership, a method of cost analysis
 Temporary certificate of occupancy
 Tactical Control Officer, see MIM-104 Patriot
 Native Community Lands (Tierras Comunitarias de Origen), Bolivian collectively titled indigenous territories
 Transnational Criminal Organization, see Transnational crime
 Taipei Chinese Orchestra, an orchestra in Taiwan

See also
 TOC (disambiguation)

TCO


The national flag of Uzbekistan (, ) consists of a horizontal triband of azure, white and green, separated by two thin red fimbriations, with a white crescent moon and twelve white stars at the canton.  Adopted in 1991 to replace the flag of the Uzbek Soviet Socialist Republic (SSR), it has been the flag of the Republic of Uzbekistan since the country gained independence in that same year. The design of the present flag was partly inspired by the former one.

Design

Symbolism

The azure colour on the flag is a symbol of blue sky and clear water. Azure is also the colour of the Turkic peoples. White is the traditional Uzbek symbol of peace and good luck. Green is a symbol of nature, new life, and good harvest. The red fimbriation represent the power of life.

The image of the crescent moon is connected with Uzbek historical imagery as well as being a symbol of the birth of a new nation. The stars represent spirituality and divinity, as well as an allusion to Uzbek historical tradition and calendar. The stars are also a symbol of the pursuit of perfection and happiness of Uzbek people in their homeland.

Legal protection
On 27 December 2010, President Islam Karimov signed an amendment to the law that strengthened the protection of the country's symbols, including its flag and emblem.  It banned the utilization of the flag of Uzbekistan for promotional and commercial purposes, including its usage in advertisements and documents.  It also forbade any organizations that are not affiliated with the Uzbek government from adopting logos that resemble the national symbols.

Construction sheet

History

Under Soviet rule, the Union Republic – situated in what is now modern-day Uzbekistan – utilised a flag derived from the flag of the Soviet Union and representing Communism, that was approved in 1952.  The flag is similar to the Soviet design but with the blue stripe in 1/5 width and the two 1/100 white edges in between.

Uzbekistan declared itself independent on 1 September 1991, approximately three months before the dissolution of the Soviet Union.  A search for a national flag began soon after, with a contest being held to determine the new design.  More than 200 submissions were made, and a commission was formed in order to evaluate these suggestions coming from a variety of stakeholders.  The winning design was adopted on 18 November 1991, after being selected at an extraordinary session of the Uzbek Supreme Soviet.  In doing so, Uzbekistan became the first of the newly independent republics in Central Asia to choose a new flag. Pertaining to its tricolour combination of horizontal stripes of blue, white and green colour, it is similar to the flags of Lesotho, an enclaved country within the border of South Africa, and Puntland, a Somali federal state at the tip of the Horn.

Other flags

References

External links

 Uzbekistan – Vexillographia

Uzbekistan
Flag

Flags with star and crescent
Flags introduced in 1991

Flag of Uzbekistan