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Téléphones blancs

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La période dite des « Téléphones blancs » (Telefoni bianchi) correspond à une assez brève période d’euphorie ambiante, non seulement dans le cinéma italien mais aussi dans la vie de l’Italie tout entière, entre 1937 et 1941.

Cette période se situe entre les années 1937 et 1941, soit quatre à cinq années seulement, ce qui est relativement court pour un courant artistique ; témoignage de cette brièveté, on évoque parfois une « saison » (stagione).

L’appellation de ce courant est due à la présence quasi-récurrente de téléphones blancs dans au moins une scène des films en question. Le thème de ces films est le plus souvent une romance à l’eau de rose avec des intrigues qui se nouent et se dénouent au… téléphone. La mode était passée des téléphones classiques, noirs et discrets, et toute scène d’intérieur se devait presque de montrer un de ces téléphones qui sous-tendaient un certain luxe, une certaine classe pour son propriétaire. Il s’agit plus d’une mode cinématographique que d’un courant.

Cette période est la « renaissance  » (rinascita) du cinéma italien. Cinecittà vient d’ouvrir ses portes, le , mettant à la disposition des réalisateurs et, dans leur sillage, des techniciens et des acteurs, (sous réserve, bien sûr, qu’ils soient dans la ligne du gouvernement fasciste de l’époque) des locaux et des outils que seuls les réalisateurs d’Hollywood n’envient pas. Qui plus est, la loi Alfieri du procure aux films « nationaux » une véritable manne financière qui va entraîner un « boom » vertigineux de la production. Par ailleurs, depuis 1934, la Mostra de Venise sert de tremplin aux films qui y sont primés.

Le pays lui-même n’est pas en reste : l’Italie est devenue une puissance « impériale » grâce à la conquête de l’Éthiopie (occupation d’Addis-Abeba le 5 mai 1936) ajoutée à l’Empire italien, après le protectorat sur la Libye et les anciennes colonies de l’Érythrée et de la Somalie. Les commandes gouvernementales ont multiplié les recettes de l’industrie mécanique ; une grande partie de la main-d’œuvre précédemment inoccupée est envoyée vers la colonie ; la classe moyenne redécouvre les divertissements ; les bals, les guinguettes, les salles de cinéma, de concerts, de spectacles sont pleines ; on vit au-dessus de ses moyens et seul Mario Camerini dans son film de 1937, Monsieur Max (Il Signor Max) laisse entendre qu’on ne peut pas continuer ainsi.

C’est en quelque sorte la « Belle époque » que vit le pays. Même les intellectuels, potentiellement dangereux pour le régime, s’éloignent de leur engagement politique pour se tourner vers un cinéma léger, si ce n’est comique, à tout le moins de divertissement. Le cinéma comique, quant à lui, voit naître de nouvelles étoiles comme Erminio Macario et Totò, dans des films un peu insensés tels Imputato alzatevi! (Prévenu, levez-vous !) de Mario Mattoli ou Animali pazzi (Animaux fous) de Carlo Ludovico Bragaglia en 1939 exercise belt for phone. Dans cet environnement, le téléphone blanc est le symbole d’une nouvelle Italie moderne, prospère et heureuse drinking bottles bpa free.

Lorsque vers la fin 1941, l’Italie, stupéfaite, s’apercevra que le monde a tourné dans un sens totalement différent du sien, que le pouvoir (avec sa propagande) en place mérite véritablement la remise en question que certains suggèrent, cette période éphémère de légèreté, voire d’inconscience, des «&nbsp

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;Téléphones blancs » aura vécu. La vie redeviendra « sérieuse » et dès la fin de 1942, la montée d’un courant orienté vers la réalité quotidienne des petites gens et des « laissés pour compte » verra le jour : le néoréalisme qui se développera dès la fin de la Seconde Guerre mondiale.

Пятнистая акула-квагга

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Halaelurus quagga (Alcock, 1899)

Пятнистая акула-квагга (лат. Halaelurus quagga) — малоизученный вид рода пятнистых акул, семейства кошачьих акул (Scyliorhinidae). Обитает в западной части Индийского океана. Максимальный размер 35 см.

Впервые вид описан в 1899 году в книге «A descriptive catalogue of the Indian deep-sea fishes in the Indian Museum».

Пятнистые акулы-квагги обитают в западной части Индийского океана у берегов Кералы, Индия, и Сомали. Эти акулы встречаются на континентальном шельфе на глубине 54—186 м.

Максимальная длина 56 см. У пятнистой акулы-квагги стройное длинное тело с заострённой и чуть вздёрнутой мордой. Овальные глаза вытянуты по горизонтали. Ноздри разделены треугольными кожными складками. По углам рта имеются короткие борозды

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. Рот маленький, его ширина составляет 6—9 %, а длина 4 % от общей длины тела.

Второй спинной плавник крупнее первого metal water bottle safety. Основание первого спинного плавника находится над окончанием основания брюшных плавников. Основание второго спинного плавника находится позади основания анального плавника. У взрослых акул брюхо довольно короткое, расстояние между основаниями грудных и брюшных плавников в 1,2 раза меньше переднего края грудных плавников. Длина основания анального плавника в 1,1—1,3 раза превышает длину основания второго спинного плавника и существенно короче дистанции между основаниями спинных плавников. Окрас светло-коричневого цвета, брюхо светлое, на спине имеются 20 тёмно-коричневых вертикальных узких полос.

Пятнистые акулы-квагги, вероятно, размножаются, откладывая яйца. Самки могут вынашивать в яйцеводах до 8 яиц одновременно. Размер новорожденных приблизительно 8 см

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. Самцы достигают половой зрелости при длине 28—35 см.

В качестве прилова пятнистые акулы-квагги попадают в рыболовецкие сети. Данных для оценки статуса сохранности вида недостаточно.

Robots in Futurama

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De animatieserie Futurama speelt zich af in een toekomst waarin robots onderdeel zijn geworden van het dagelijkse leven. In de serie zijn zelfdenkende robots overal terug te vinden. De bekendste van deze robots is Bender.

De robots hebben over het algemeen dezelfde rechten als mensen. Ze kunnen stemmen, hebben betaalde banen, dienen in het leger en een is zelfs president geweest. Desondanks worden ze nog vaak gezien en behandeld als eigendommen van mensen.

De Robots in Futurama zijn ruwweg in te delen in twee groepen, afhankelijk van hun uiterlijk.

De meeste zijn mensachtig van vorm, met een hoofd, torso en twee armen. Alle mensachtige robots, met uitzondering van Hedonismbot, hebben vierkante pupillen en vrijwel altijd een opslagruimte in hun torso. Voor voortbeweging kunnen deze robots benen, wielen en zweefsystemen gebruiken. De originele mensachtige robots werden gemaakt door Hubert J. Farnsworth toen hij nog werkte voor Mom’s Friendly Robot Corp..

De tweede groep bestaat uit robots die sterk lijken op voertuigen of apparaten. Vaak betreft het hier apparaten waar kunstmatige intelligentie in is gezet. Robots uit deze categorie die te zien zijn in de serie zijn onder andere een koffiemachine, snoepautomaat, wenskaarten en zelfs het Planet Express schip. In tegenstelling tot mensachtige robots worden deze robots echt gezien als eigendom van mensen, en puur gebruikt als werkmachines.

In de aflevering Mother’s Day werd onthuld dat alle robots antennes hebben, zelfs de niet-mensachtige robots.

Sommige robots kunnen meerdere taken,maar de meeste zijn specifiek voor 1 taak gebouwd. Hun naam is dan ook vaak een verwijzing naar deze taak.

Robots kunnen met dezelfde slechte eigenschappen kampen als mensen. Zo kunnen ze verslaafd raken aan alcohol, en high worden door elektriciteit te misbruiken

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.

Robots in Futurama hebben een unieke subcultuur die soms wordt vergeleken met hedendaagse Afro-Amerikanen. Hieronder valt de vele discriminatie tegen robots vanwege hun oude status als eigendom van mensen.

De robots in de serie hebben een groot aantal verschillende persoonlijkheden en banen. Deze banen sluiten vaak aan op de banen van mensen. Derhalve hebben robots vaak hun eigen versie van veel menselijke aspecten. Er zijn sitcoms en andere televisieseries gericht op robots, een gekkenhuis voor mentaal gestoorde robots, robot feestdagen en een robot maffia. Robots hebben zelfs hun eigen religie ontwikkeld genaamd Robotologie, inclusief een bijbehorende robot hemel en hel. Lang niet alle robots zijn aanhanger van dit geloof. Robotologie heeft een sterke evangelische stijl.

De appartementen van robots zijn vaak kleine kasten waarin een robot zichzelf even kan uitschakelen gedurende de nacht, en bezittingen kan opslaan custom soccer uniforms. De robotpopulatie op aarde beslaat ten minste 3% van de menselijke populatie.

Flemming Flindt

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Flemming Flindt (30 June 1936 – 3 March 2009) was a Danish choreographer born in Copenhagen. He studied at the Royal Danish Ballet and Paris Opera Ballet schools, joined the Royal Danish Ballet and was promoted to soloist in 1955. He guested with the London Festival Ballet in 1955, the Ballet Rambert in 1960, the Royal Ballet 1963 and the Bolshoi Ballet in 1968, becoming an étoile at the Paris Opera Ballet in 1961.

His first ballet was Enetime, a 1963 adaptation of Ionesco’s La Leçon, original English title of the ballet The Private Lesson, to a score by Georges Delerue and was commissioned by Danish television, later being adapted for the stage, making its premiere with Royal Danish Ballet on tour in Paris in 1964 sells goalkeeper gloves; Flindt returned to the Royal Danish Ballet as artistic director from 1966 to 1978. Other ballets he made on the Royal Danish Ballet include Gala Variations Music: Knudåge Riisager first performance was 05-03-1967, Ballet Royal Music: Knudåge Riisager first performance was 31-05-1967,The Miraculous Mandarin to Bartók (1967), Swineherd Music: Knudåge Riisager first performance was 11-03-1969The Nutcracker to Tchaikovsky in 1971, Jeux to Debussy in 1973 and Dreamland, to a score by Herman David Koppel in 1974.

In 1978 he formed his own dance company. Its first work, Salome, premiered on 10 November 1978, at Copenhagen’s Cirkusbygningen (The Circus Building). It featured music composed by Peter Maxwell Davies, performed by the Danish Radio Concert Orchestra and conducted by Janos Fürst. The principal dancers were Vivi Flindt, his wife, as Salome; Jonny Eliasson as John the Baptist

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; and Lizzie Rhode as Herodias. Flindt danced the role of Herod, and Vivi danced her final scene completely nude. This caused less of a sensation than the couple’s previous nude ballet Dødens triumf (The Triumph of Death), a television ballet in which the whole cast danced naked to a 1971 score by The Savage Rose (its stage premiere at the Royal Danish Theatre was in 1972). Salome was filmed and shown on national television.

From 1981 to 1989 he became artistic director of the Dallas Ballet, after which he continued to work as a freelance choreographer, especially with the Cleveland Ballet. In 1991 he returned to the Royal Danish Ballet to make Caroline Mathilde to another Peter Maxwell Davies score and Legs of Fire in 1998 to a score by Erik Norby.

Flemming Flindt was made a Knight of Dannebrog in 1974 and received the Carina Ari Medal in 1975. He was married to the dancer Vivi Flindt, who created leading roles in a number of his ballets.

Flemming Flindt works continue to be performed as part of the extensive repertoire of Ballet San Jose. He was present in November 2008 to personally stage Ballet San Jose’s production of his work, The Toreador. Flindt died on 3 March 2009 in Sarasota, Florida in the United States meat tenderizer homemade. in 1991 Flemming Flindt returned to Copenhagen with a full length ballet about the Danish Queen Caroline Mathilde (ballet) two-act music by Sir Peter Maxwell Davies.

Flemming Flindt latest work for the Danish ballet was Legs of Fire or red shoes, Music by Erik Norby performed first time in 1998 .

Lupa Roma Football Club 2014-2015

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Voce principale: Lupa Roma Football Club.

Questa voce raccoglie le informazioni riguardanti la Lupa Roma Football Club nelle competizioni ufficiali della stagione 2014-2015.

Lo sponsor di maglia per la stagione 2014-2015 (per la seconda stagione consecutiva) è Seven One Solution.

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1974-75 · 1975-76 · 1976-77 · 1977-78 · 1978-79 · 1979-80

1980-81 · 1981-82 · 1982-83 · 1983-84

1984-85 · 1985-86 · 1986-87 · 1987-88 · 1988-89 · 1989-90 · 1990-91 · 1991-92 · 1992-93 · 1993-94 · 1994-95 · 1995-96 · 1996-97 · 1997-98 · 1998-99 · 1999-00 ·  · 2001-02

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2006-07 · 2007-08 · 2008-09 · 2009-10 · 2010-11 ·  · 2012-13

2013-14

2014-15 · Brazil Home PAULINHO 18 Jerseys

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; display:inline-block“>2015-16 · 2016-17

Henschel Hs 294

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L‘Henschel Hs 294 era un missile aria-superficie per impiego antinave progettato dall’azienda tedesca Henschel Flugzeugwerke AG nei primi anni quaranta per essere utilizzato dalla Luftwaffe durante le fasi finali della seconda guerra mondiale. Non entrò mai in servizio operativo.

L’Henschel Hs 294 venne sviluppato dall’ingegner Herbert Alois Wagner a partire dal precedente Henschel Hs 293, con lo scopo di realizzare un’arma antinave capace di colpire i mezzi navali degli Alleati.

Questo ordigno volò per la prima volta nel 1941 ma, nonostante gli elevati ordinativi iniziali, solo 120 esemplari furono effettivamente costruiti, e non entrò mai in servizio operativo.

L’Hs 294 era di forma conica, con due ali piuttosto tozze poste nella parte centrale della fusoliera. A similitudine di una bomba planante aveva una lunghezza di 6,1 m, ed un’apertura alare di 4. Il diametro era di 62 cm, mentre il peso complessivo raggiungeva i 2 170 kg (di cui 630 di esplosivo).

La propulsione era assicurata da due motori a razzo a propellente liquido di tipo Walter HWK 109-507, che erano in grado di fornire una spinta di circa 590 kg.

L’Hs 294 aveva un sistema di guida a controllo radio detto Kehl-Straßburg. In particolare, questo era costituito da un ricevitore FuG 230 Straßburg e da un trasmettitore FuG 203 Kehl imbarcato sull’aereo guida, grazie ai quali era possibile controllare l’ordigno fino al suo obiettivo Meat Tenderizer.

Il missile era aviolanciato da un aereo vettore: per questo ruolo, solitamente

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, venivano usati i Dornier Do 217 o gli Heinkel He 177. Dopo lo sgancio, il missile si schiantava in acqua: l’impatto con il liquido provocava la separazione delle ali e della parte posteriore della fusoliera dal resto dell’ordigno. Quest’ultima, quindi

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, proseguiva in immersione l’avvicinamento all’obiettivo. L’esplosione a ridosso del bersaglio avveniva grazie ad una normale spoletta di prossimità.

Complessivamente, ne furono realizzate diverse versioni.

Greece–Norway relations

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Greece–Norway relations are foreign relations between Greece and Norway. The Greek Embassy in Oslo opened in 1980 and the Norwegian Embassy in Athens opened in 1974.

Greece’s embassy in Oslo (since 1980) and an honorary consulate in Bergen represents Greece diplomatically in Norway. Norway has an embassy in Athens, and eight honorary consulates in Corfu, Crete (Chania and Iraklion), Kos, Patras, Piraeus, Rhodes and Thessaloniki. Both countries are members of NATO.

The two countries have signed the Treaty on Social Security (1980), a Treaty on Cultural Agreement (1976), and an Agreement on the Avoidance of Double Taxation (1988).

Greece, which ranks very high on the list of Norwegian tourist preferences, is amongst the top contenders, welcoming about 22% of the tourist population, which is estimated at some 250

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,000 people throughout the year. The tourist traffic flows from Norway to Greece in recent years have been increasing and Greece is a favorite destination for Norwegians. According to the Greek Statistical Service the number of Norwegians who visited Greece in 2002 came to 181,383 and in 2003 to 230,232. The island of Antiparos has often been described as the Norwegian island because here is more Norwegian tourists than any other tourists without Greeks.

Through the European Economic Area Agreement (EEA), Norway is a part of EU’s Internal Market, and in addition has incorporated EU legislation to ensure that the ”Four Freedoms” governing the EU/EEA Internal Market (i.e. free movement of goods, persons, capital, services), are being observed.

As part of the EEA Agreement, Norway with the two other EFTA States have established the EEA Financial Mechanisms in order to contribute to the reduction of economic and social disparities within the European Economic Area

Since 2001 Meat Tenderizer, Greek exports to Norway have increased in pharmaceuticals, cotton, clothing, non-ferrous metals, plastics, steel products, and fresh fruit and in 2003 amounted to some NOK 430 million (€52, 800, 000 approximately).[citation needed] Norway exports fishery products, maritime equipment, aluminium alloys, and granite, which in 2003 amounted to about NOK 970 million. Norwegian exports to Greece amount to approximately NOK 1,2 billion per year. Norway enjoys a large surplus of trade as the imports from Greece remain at just over NOK 400 million per year. Although trade between Greece and Norway has shown a slight decrease in the last three years

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, efforts are being made to boost trade and investment. The processes and projects associated with the implementation and strengthening of the EEA Mechanisms should bring more interaction between Greece and Norway, especially when it comes to the business sector.

The sectors that are of particular interest to Norwegian exporters are Seafood, Environmental Technology and Alternative Energy as well as Shipping and Ship-Building. There has been a long shipping tradition between Greece and Norway and ships are sold and bought between the two countries frequently. Norwegian companies sell catamarans and other vessels as well as technological equipment to their Greek counterparts. Norwegian maritime exporters participate at POSEIDONIA Exhibition held in Greece and further development of relations with the Greek shipping industry in order to increase Norwegian shipping exports is desirable.

The value of direct Norwegian investments in Greece came to NOK 1,006 million at the end of 2002 – an important increase compared with previous years (2001: 605, 2000: 864, 1998: NOK 352 million). [needs update] In general, Norway promotes its expertise and strength in Building and Construction, Consumer Goods, ICT, Maritime Industry, Oil and Gas, Process Industry, Environmental Technology, Seafood, and Services.

The Norwegian ambassadors to Greece:

The Greek community in Norway consists of 1,671 individuals in 2009, up from 1,572 in 2008. The majority are established in Oslo and Bergen more or less permanently

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. An overwhelming majority have created family ties, by marrying Norwegian nationals. Hordaland has the highest number of Greek pupils in the country, 8 of 11.

The Norwegian Institute at Athens opened in 1989, and is one of 17 foreigh archaeological institutes in Athens.

The congregation was founded in 1965 with main purpose to serve the Greek-speaking Greek Orthodox in Norway. Church fall under Metropolita Pavlos Menevissoglou of Sweden and Scandinavia, based in Stockholm. Parish priest Archimandrite Evmenios Likakis and others. There is one Greek Orthodox church in Norway (in Oslo). There is also a small congregation in Bergen with 98 members, St. Michael’s Orthodox Church.

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