Crysis 3

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Crysis 3 est un jeu vidéo du genre FPS développé par Crytek sorti le 21 février 2013. Présenté au cours de la conférence Electronic Arts de l’E3 2012, le jeu est disponible sur Windows, PlayStation 3 et Xbox 360. C’est le troisième opus de la franchise Crysis.

Le jeu se déroule toujours à New York en 2047 water in bottle, mais cette fois la ville est placée en quarantaine sous un dôme, et s’est retrouvée envahie par la jungle. Le joueur incarne Prophet, face aux forces armées du C.E.L.L. et aux extraterrestres Cephs.

Vingt-quatre ans après les événements de Crysis 2, Psycho et Prophète parcourent le monde à la recherche de l’Alpha Ceph, le leader ultime des Cephs. Cependant, l’organisation CELL Corporation, est maintenant à la recherche pour la domination mondiale des terres et de la technologie. Elle désactive Prophète et capture tous les soldats ayant une Nanosuit pour récupérer les codes génétiques des Ceph contenus dans celle-ci.

Manquant de Nanosuit, Prophète est transféré dans un complexe pour obtenir ses codes. Enfermé dans un dispositif de stockage, Prophète est transporté à New York, maintenant enfermé à l’intérieur d’un “Nanodome”. Il est sauvé par la résistance, dirigée par Claire Fontanelli, comme il est le seul détenteur d’une Nanosuit et le seul à pouvoir arrêter l’organisation. Psycho, faisant partie de la résistance et ex-titulaire d’une Nanosuit, explique à Prophète que durant son absence, l’organisation a utilisé la technologie Ceph pour générer une énergie illimitée et à gagné un monopole sur l’alimentation dans le monde. Ceux qui ne pouvaient pas payer pour l’énergie sont réduits en esclavages. La source de la production, nommée le système X, est située dans une partie abandonnée de New York et la résistance souhaite la détruire pour libérer le monde de la tyrannie de l’organisation.

Comme pour les jeux précédents de la série Crysis, Crysis 3 est un jeu de tir à la première personne futuriste. Le joueur prend le contrôle de Prophète où il devra progresser dans la ville de New York, envahi par la végétation phone belt holder, pour vaincre le Ceph Alpha, une race extraterrestre. Tout au long du jeu, le joueur peut courir, glisser, sauter et s’accroupir. En rencontrant des ennemis, le joueur peut se servir d’un arc, de fusils, d’explosifs de type C4 ou grenades ou même, d’utiliser des attaques de mêlées pour en venir à bout.

Il peut s’aider des capacités de la Nanosuit, l’armure portée par Prophète. Toutefois, certaines capacités nécessitent de l’énergie et peuvent être indisponible tant que l’énergie n’a pas été restaurée. L’intelligence artificielle du jeu a été mise à jour, avec des ennemis en mesure de réagir plus rapidement aux attaques de l’utilisateur. Ils peuvent également se mettre à couvert derrière un obstacle, et lorsqu’ils sont attaqués, déployer une stratégie visant à aider les uns les autres des attaques.

La conception des missions sont construites autour de trois piliers : accéder go glass bottle, s’adapter et attaquer. La Nanosuit permet au joueur d’identifier le niveau de menace ainsi que les armes détenues par les ennemis. Le joueur peut, également, marquer les ennemis et les objets, et de repérer les ennemis en utilisant la Nano-Vision, qui en plus de repérer les ennemis, de détecter la chaleur des ennemis et des alliés. Les niveaux sont plus ouverts que Crysis 2. Le joueur a plus de liberté et peut choisir différents styles de jeu. Il peut privilégier une confrontation directe, ou une approche plus discrète afin d’éliminer les ennemis et d’accomplir les objectifs. De même, le jeu offre plusieurs itinéraires au joueur pour atteindre ses objectifs. Le joueur peut lutter contre les ennemis en utilisant un large éventail de gadgets et d’armes, en plus des capacités de la Nanosuit. La plupart des capacités de Crysis 2 sont également présentes dans Crysis 3 : le joueur peut utiliser la capacité d’invisibilité pour se rendre invisible aux yeux de l’ennemis et l’éliminer discrètement best rated water bottles. De nouvelles armes sont introduites dans Crysis 3, comme un arc. Le joueur peut l’utiliser tout en utilisant la capacité d’invisibilité. Lors de l’utilisation des armes à feu, la capacité est perturbée et n’est plus utilisable tant que l’arme n’est pas refroidie.

L’accueil critique du jeu fut très partagé, bien que globalement positif. Les sites spécialisés français Gamekult et Jeuxvideo.com reprochent tous deux au jeu la médiocrité du scénario et de l’IA, le non-équilibrage dans le gameplay ainsi que sa très faible durée de vie.

Self-evaluation maintenance theory

Self-evaluation maintenance (SEM) theory refers to discrepancies between two people in a relationship. Two people in a relationship each aim to keep themselves feeling good psychologically throughout a comparison process to the other person. Self-evaluation is defined as the way a person views him/herself. It is the continuous process of determining personal growth and progress, which can be raised or lowered by the behavior of a close other (a person that is psychologically close). People are more threatened by friends than strangers. Abraham Tesser created the self-evaluation maintenance theory in 1988. The self-evaluation maintenance model assumes two things: that a person will try to maintain or increase their own self-evaluation, and self-evaluation is influenced by relationships with others.

A person’s self-evaluation (which is similar to self-esteem) may be raised when a close other performs well. For example, a sibling scores the winning goal in an important game. Self-evaluation will increase because that person is sharing his/her success. The closer the psychological relationship and the greater the success, the more a person will share in the success. This is considered the reflection process. When closeness and performance are high, self-evaluation is raised in the reflection process. If someone who is psychologically close performs well on a task that is irrelevant to a person’s self-definition, that person is able to benefit by sharing in the success of the achievement.

At the same time, the success of a close other can decrease someone’s self-evaluation in the comparison process. This is because the success of a close other invites comparison on one’s own capabilities, thereby directly affecting one’s own self-evaluation. This is also strengthened with the closeness of the psychological relationship with the successful other. Using the same example: a sibling scores the winning goal in an important game; the person is now comparing him/herself to the sibling’s success and through comparison, his/her self-evaluation is lowered. When closeness (sibling) and performance (scored the winning goal) are high, self-evaluation is decreased in the comparison process.

In both the reflection and comparison processes, closeness and performance level are significant. If the closeness of another decreases, then a person is less likely to share the success and/or compare him/herself, which lessens the likelihood of decreasing self-evaluation. A person is more likely to compare him/herself to someone close to him/her, like a sibling or a best friend, than a stranger. There are different factors in which a person can assume closeness: family, friends, people with similar characteristics, etc. If an individual is not close to a particular person, then it makes sense that he/she will not share in their success or be threatened by their success. At the same time, if the person’s performance is low, there is no reason to share the success and increase self-evaluation; there is also no reason to compare him/herself to the other person, decreasing self-evaluation. Because their performance is low, there is no reason it should raise or lower his/her self-evaluation. According to Tesser’s (1988) theory, if a sibling did not do well in his/her game, then there is no reason the individual’s self-evaluation will be affected.

Closeness and performance can either raise self-evaluation through reflection or lower self-evaluation through comparison. Relevance determines whether reflection or comparison will occur. There are many different dimensions that can be important to an individual’s self-definition. A self-defining factor is any factor that is important to who a person is. For example, an ability or success in music may be important to one’s self-definition, but at the same time, being good in math may not be as important. Relevance assumes that a particular factor that is important to an individual is also important to another person. Relevance can be as simple as a shared dimension which he/she considers important to who he/she is. If relevance is high, then one will engage in comparison, but if relevance is low, one will engage in reflection. For example, if athletics is important to a person and that person considers athletics to be an important dimension of his/her self-definition, then when a sibling does well in athletics, the comparison process will take place and his/her self-evaluation will decrease. On the other hand, if athletics is not a dimension he/she uses for self-definition, the reflection process will take place and he/she will celebrate the sibling’s success with the sibling; his/her self-evaluation will increase along with the sibling’s because he/she is not threatened or challenged by the sibling’s athletic capability.

Tesser (1988) suggests that people may do things to reduce the decrease in self-evaluation from comparison. One can spend less time with that particular individual, thereby reducing closeness or one can change their important self-definition and take up a new hobby or focus on a different self-defining activity, which reduces relevance. The third way of avoiding a decrease in self-evaluation through the comparison process is to affect another’s performance (e.g. by hiding a sibling’s favorite shoes, or believe that his/her performance was based on luck) or one can improve their own skills by practicing more. This theory poses the question: under what conditions will someone get in the way of another’s performance? The answer is that it depends on closeness of the individuals and the relevance of the activity. When the relevance is high polyester socks wholesale, the comparison process is more important than the reflection process. When the relevance is high and the activity is high in self-defining importance, the other person poses a larger threat than when the relevance is low.

Tesser & Smith (1980) experimented with this theory. Men were recruited and asked to bring a friend with them. They were then put into groups of four, Man A and Man A’s friend along with Man B and Man B’s friend. Half the subjects were told that this activity was measuring important verbal skills and leadership. This was the high relevance group. The other two subjects were told that the task had nothing to do with verbal skills, leadership or anything important. This was considered the low relevance group. The activity was based on the game Password, where persons have to guess a word based on clues. Each man was given an opportunity to guess the word while the other three gave clues from a list. The other three can give clues that are easy or difficult based on their own judgment and basically whether or not they would like to help the other person guess the word. The clues given to the person were necessary to guess the word latest football shirts. The first pair of partners performed poorly (as instructed in the experimental design). The experiment was looking at the behavior of the second group of men. The next pairing was designed to partner a stranger with a friend. Researchers were trying to see when a friend was helped more than a stranger and when a stranger was helped more than a friend. The research was supported. In 10 out of 13 sessions, when relevance was high (told that this activity measures important verbal and leadership skills) the stranger was helped more than a friend. Also, in 10 out of 13 sessions, when relevance was low (subjects were told that this activity determined nothing of importance) the friend was helped more than the stranger. The prediction of the self-evaluation maintenance theory was strongly supported.

Zuckerman & Jost (2001) compares the self-evaluation maintenance theory to the work of Feld (1991). As the self-evaluatory maintenance theory would lead one to judge a stranger higher than their friends (based on popularity) in order to prevent a drop in self-evaluation, Feld’s (1991) research demonstrated that people must have fewer friends than their friends do in order to remain popular. This is based on a mathematical equation that explains why popular people are involved in more social circles than unpopular people. These are not the only two research examples. For more examples see the references buy football shirts cheap.

This graph illustrates the basic principles of Tesser’s (1988) self-evaluatory maintenance model of behavior. Relevance determines whether reflection or comparison will occur. When relevance is low (the factor does not affect self-definition) as the other’s performance increases, so does self-evaluation, allowing that person to share in the celebration of the other person (reflection). When relevance is high (the factor is important to self-definition also) as the other’s performance increases, self-evaluation decreases because that person is being compared to the other person (comparison). If relevance is high, then one will engage in comparison, but if relevance is low, one will engage in reflection.

Charter Court Financial Services

Charter Court Financial Services is a financial services company operating in the United Kingdom which provides retail savings products, specialist lending products and credit analysis.

It operates three separate specialist brands: Charter Savings Bank for retail savings, Precise Mortgages for mortgage and loan originations, and Exact Mortgage Experts for credit analysis and servicing of existing mortgage portfolios.

Charter Court Financial Services Limited is authorised by the Prudential Regulation Authority and regulated by the Financial Conduct Authority and the Prudential Regulation Authority Pendant Necklace.

It also holds Interim Permissions from the Financial Conduct Authority in relation to consumer credit lending

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Established in 2008 with long term investment provided by Elliott Associates LP and Elliott International LP, Charter Court Financial Services Limited is headed by Ian Lonergan, CEO.

Notable authorisations since launch include:

Charles Rennie Mackintosh

Charles Rennie Mackintosh (7 June 1868 – 10 December 1928) was a Scottish architect, designer, water colourist and artist. His artistic approach had much in common with European Symbolism. His work, alongside that of his wife Margaret Macdonald, was influential on European design movements such as Art Nouveau and Secessionism. He was born in Glasgow and died in London.

Charles Rennie Mackintosh was born at 70 Parson Street, Townhead, Glasgow, on 7 June 1868, the fourth of 11 children and second son of William McIntosh, the superintendent and chief clerk of the City of Glasgow Police, and his wife, Margaret Rennie. Mackintosh grew up in the Townhead and Dennistoun (Firpark Terrace) areas of Glasgow, and he attended Reid’s Public School and the Allan Glen’s Institution.

In 1890 Mackintosh was the second winner of the Alexander Thomson Travelling Studentship, set up for the “furtherance of the study of ancient classic architecture, with special reference to the principles illustrated in Mr. Thomson’s works.”

He changed the spelling of his name from ‘McIntosh’ to ‘Mackintosh’ for unknown reasons, as his father did before him, around 1893. Confusion continues to surround the use of his name with ‘Rennie’ sometimes incorrectly substituted for his first name of ‘Charles’. The modern use of ‘Rennie Mackintosh’ as a surname is also incorrect and he was never known as such in his lifetime; ‘Rennie’ being a middle name which he used often in writing his name. Signatures took various forms including ‘C.R. Mackintosh’ and ‘Chas. R. Mackintosh.’ His surname was thus ‘Mackintosh’.

Upon his return, he resumed work with the Honeyman & Keppie architectural practice where he started his first major architectural project, the Glasgow Herald Building (now known as The Lighthouse), in 1899. He was engaged to marry his employer’s sister, Jessie Keppie.

Around 1892, Mackintosh met fellow artist Margaret Macdonald at the Glasgow School of Art. He and fellow student Herbert MacNair, also an apprentice at Honeyman and Keppie, were introduced to Margaret and her sister Frances MacDonald by the head of the Glasgow School of Art, Francis Henry Newbery, who saw similarities in their work. Margaret and Charles married on 22 August 1900. The couple had no children. MacNair and Frances also married the previous year. The group worked collaboratively and came to be known as “The Four”, and were prominent figures in Glasgow Style art and design.

In 1904, after he had completed several successful building designs, Mackintosh became a partner in Honeyman & Keppie, and the company became Honeyman, Keppie & Mackintosh. When economic hardships were causing many architectural practices to close, in 1913, he resigned from the partnership and attempted to open his own practice.

Mackintosh lived most of his life in the city of Glasgow. Located on the banks of the River Clyde, during the Industrial Revolution, the city had one of the greatest production centres of heavy engineering and shipbuilding in the world. As the city grew and prospered, a faster response to the high demand for consumer goods and arts was necessary. Industrialized, mass-produced items started to gain popularity. Along with the Industrial Revolution, Asian style and emerging modernist ideas also influenced Mackintosh’s designs. When the Japanese isolationist regime softened, they opened themselves to globalisation resulting in notable Japanese influence around the world. Glasgow’s link with the eastern country became particularly close with shipyards building at the River Clyde being exposed to Japanese navy and training engineers. Japanese design became more accessible and gained great popularity. In fact, it became so popular and so incessantly appropriated and reproduced by Western artists, that the Western World’s fascination and preoccupation with Japanese art gave rise to the new term, Japonism or Japonisme.

This style was admired by Mackintosh because of: its restraint and economy of means rather than ostentatious accumulation; its simple forms and natural materials rather than elaboration and artifice; the use of texture and light and shadow rather than pattern and ornament. In the old western style, furniture was seen as ornament that displayed the wealth of its owner and the value of the piece was established according to the length of time spent creating it. In the Japanese arts furniture and design focused on the quality of the space, which was meant to evoke a calming and organic feeling to the interior.

At the same time a new philosophy concerned with creating functional and practical design was emerging throughout Europe: the so-called “modernist ideas”. The main concept of the Modernist movement was to develop innovative ideas and new technology: design concerned with the present and the future, rather than with history and tradition. Heavy ornamentation and inherited styles were discarded. Even though Mackintosh became known as the ‘pioneer’ of the movement, his designs were far removed from the bleak utilitarianism of Modernism. His concern was to build around the needs of people: people seen, not as masses, but as individuals who needed not a machine for living in but a work of art. Mackintosh took his inspiration from his Scottish upbringing and blended them with the flourish of Art Nouveau and the simplicity of Japanese forms.

While working in architecture, Charles Rennie Mackintosh developed his own style: a contrast between strong right angles and floral-inspired decorative motifs with subtle curves, e.g. the Mackintosh Rose motif, along with some references to traditional Scottish architecture. The project that helped make his international reputation was the Glasgow School of Art (1897–1909). During the early stages of the Glasgow School of Art Mackintosh also completed the Queen’s Cross Church project in Maryhill, Glasgow. This is considered to be one of Charles Rennie Mackintosh most mysterious projects. It is the only church by the Glasgow born artist to be built and is now the Charles Rennie Mackintosh Society headquarters. Like his contemporary Frank Lloyd Wright, Mackintosh’s architectural designs often included extensive specifications for the detailing, decoration, and furnishing of his buildings. The majority if not all of this detailing and significant contributions to his architectural drawings were designed and detailed by his wife Margaret Macdonald whom Charles had met when they both attended the Glasgow School of Art. His work was shown at the Vienna Secession Exhibition in 1900. Mackintosh’s architectural career was a relatively short one, but of significant quality and impact. All his major commissions were between 1895 and 1906, including designs for private homes, commercial buildings, interior renovations and churches.

Although moderately popular (for a period) in his native Scotland

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, most of Mackintosh’s more ambitious designs were not built. Designs for various buildings for the 1901 Glasgow International Exhibition were not constructed, neither was his “Haus eines Kunstfreundes” (Art Lover’s House) of the same year. He competed in the 1903 design competition for Liverpool Cathedral, but failed to gain a place on the shortlist (the winner was Giles Gilbert Scott).

Other unbuilt Mackintosh designs include:

The House for An Art Lover (1901) was built after his death in Bellahouston Park, Glasgow (1989–1996).

An Artist’s Cottage and Studio (1901), known as The Artist’s Cottage, was completed at Farr by Inverness in 1992. The architect was Robert Hamilton Macintyre acting for Dr and Mrs Peter Tovell. Illustrations can be found on the RCAHMS Canmore site.

The first of the unexecuted Gate Lodge, Auchinbothie (1901) sketches was realised as a mirrored pair of gatehouses to either side of the Achnabechan and The Artist’s Cottage drives, also at Farr by Inverness. Known as North House and South House, these were completed 1995-7.

Mackintosh’s architectural output was small, but he did influence European design. Popular in Austria and Germany, his work received acclaim when it was shown at the Vienna Secession Exhibition in 1900. It was also exhibited in Budapest, Munich, Dresden, Venice and Moscow.

Mackintosh, his future wife Margaret MacDonald, her sister Frances MacDonald, and Herbert MacNair met at evening classes at the Glasgow School of Art (see above). They became known as a collaborative group, “The Four”, or “The Glasgow Four”, and were prominent members of the “Glasgow School” movement. The group exhibited in Glasgow, London and Vienna, and these exhibitions helped establish Mackintosh’s reputation. The so-called “Glasgow” style was exhibited in Europe and influenced the Viennese Art Nouveau movement known as Sezessionstil (in English, the Vienna Secession) around 1900. Mackintosh also worked in interior design, furniture, textiles and metalwork. Much of this work combines Mackintosh’s own designs with those of his wife, whose flowing, floral style complemented his more formal, rectilinear work sports waist pouch.

Later in life, disillusioned with architecture, Mackintosh worked largely as a watercolourist, painting numerous landscapes and flower studies (often in collaboration with Margaret, with whose style Mackintosh’s own gradually converged). They moved to the Suffolk village of Walberswick in 1914. There Mackintosh was accused of being a German spy and briefly arrested in 1915.

By 1923, the Mackintoshes had moved to Port-Vendres, a Mediterranean coastal town in southern France with a warm climate that was a comparably cheaper location in which to live. Mackintosh had entirely abandoned architecture and design and concentrated on watercolour painting. He was interested in the relationships between man-made and naturally occurring landscapes, and created a large portfolio of architecture and landscape watercolour paintings. Many of his paintings depict Port Vendres, a small port near the Spanish border, and the landscapes of Roussillon. The local Charles Rennie Mackintosh Trail details his time in Port Vendres and shows the paintings and their locations. The couple remained in France for two years, before being forced to return to London in 1927 due to illness.

That year, Charles Rennie Mackintosh was diagnosed with throat and tongue cancer. A brief recovery prompted him to leave the hospital and convalesce at home for a few months. Mackintosh was admitted to a nursing home where he died on 10 December 1928 at the age of 60. He was cremated at Golders Green Crematorium in London, his ashes are buried in the grounds (with a marker).

Mackintosh’s designs gained in popularity in the decades following his death. His House for an Art Lover was built in Glasgow’s Bellahouston Park in 1996, and the University of Glasgow (which owns most of his watercolour work) rebuilt the interior of a terraced house Mackintosh had designed, and furnished it with his and Margaret’s work (it is part of the university’s Hunterian Museum). The Glasgow School of Art building (now “The Mackintosh Building”) is cited by architectural critics as among the finest buildings in the UK. On 23 May 2014 the building was ravaged by fire. The library was destroyed, but firefighters managed to save the rest of the building.

The Charles Rennie Mackintosh Society encourages greater awareness of the work of Mackintosh as an architect, artist and designer. The rediscovery of Mackintosh as a significant figure in design has been attributed to the designation of Glasgow as European City of Culture in 1990, and exhibition of his work which accompanied the year-long festival. His enduring popularity since has been fuelled by further exhibitions and books and memorabilia which have illustrated aspects of his life and work. The revival of public interest has led to the refurbishment and opening of more buildings to the public, such as the Willow Tea Rooms in Glasgow and 78 Derngate in Northampton. From the 1990s onwards the Scottish artist Stewart Bowman Johnson, who studied in the Mackintosh building at Glasgow School of Art, produced a series of interpretations of the architect’s work including works depicting the doors and windows of the Willow tearooms.

The Metropolitan Museum of Art in New York City held a major retrospective exhibition of Charles Rennie Mackintosh’s works from 21 November 1996 to 16 February 1997. In conjunction with the exhibit were lectures and a symposium by scholars, including Pamela Robertson of the Hunterian Art Gallery, Glasgow art gallery owner Roger Billcliffe, and architect J. Stewart Johnson, and screening of documentary films about Mackintosh.

Charles Rennie Mackintosh was commemorated on a series of banknotes issued by the Clydesdale Bank in 2009; his image appeared on an issue of £100 notes.

In 2012, one of the largest collections of art by Charles Rennie Mackintosh and the Glasgow Four Glasgow School was sold at auction in Edinburgh for £1.3m. The sale included work by Mackintosh’s sister-in-law Frances Macdonald and her husband Herbert MacNair.

In July 2015 it was announced that Mackintosh’s designs for a tearoom would be reconstructed to form a display in Dundee’s new V&A museum. Although the original building which housed the tearoom on Glasgow’s Ingram Street was demolished in 1971 the interiors had all been dismantled and put into storage.

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Панцвайлер (нем. Panzweiler) — коммуна в Германии, в земле Рейнланд-Пфальц.

Входит в состав района Кохем-Целль. Подчиняется управлению Целль (Мозель). Население составляет 260 человек (на 31 декабря 2010 года). Занимает площадь 3,85 км². Официальный код — 07 1 35 070.

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Nautical Chart Department (Sweden)

The Nautical Chart Department (Swedish: Sjökarteverket) is a building located on the islet Skeppsholmen in central Stockholm, Sweden.

Built in 1871-1872 to the plans of Victor Ringheim, head of the Engineering Department and successor of Fredrik Blom, this building was originally a well-proportioned two-storey structure

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, in 1910 heightened with one floor, and in 1937-1938 lengthened with three window rows. The building replaced a small log house on the site

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, for long, 1747–1861, known all over town as the tavern Tuppen (“The Rooster”) and praised by Carl Michael Bellman in his 67th epistle

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. The Department, originally located on Riddarholmen, used the building to store the partly secret nautical charts before a various shipping departments were gathered under one body, the Swedish Maritime Administration in 1956, and the scattered institutions physically united under a single roof on Gärdet in 1965. The building then housed the Museum of Architecture during the period 1966-1993, to served the architecture department of the school of fine arts, before accommodating Designforum Svensk Form, an exposition space promoting Swedish design from 2005.

Coordinates:

Centenarium

A centenarium is a type of Ancient Roman fortified farmhouse in the Limes Tripolitanus. It is called even in the plural Centenaria, because in the Limes Tripolitanus there were more than 2000 of these “fortifications”

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, connected to create a defensive system against desert tribe raids.

The first Centenaria were built during the reign of Trajan and during Septimius Severus expansions of Roman Libya and Africa Proconsularis, when the Limes Tripolitanus was established.

From around the time of disbandment of the Legio III Augusta in 238 AD

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, legionaries built around two thousand centenaria in the areas around Leptis Magna and Sabratha. Examples remain at Gherait esh-Shergia and Gasr Banat. Some were characterized by the presence of paleochristian churches

Indeed Leptis Magna, the main city in Roman Tripolitania, prospered mainly because Rome stopped bandits from plundering the countryside. But even because the Roman Empire – mainly under Trajan and Septimius Severus – curbed unrest among local tribal groups with the creation of the Limes Tripolitanus and with the creation and development of cities (like Gaerisa) and forts (like Garbia) with Centenaria farms around the southern periphery of Leptis area. The centenaria system of production, based on autochthonous Berbers who were partially Latinized and often even Christians, was successful and worked very well until Byzantine times.

Centenaria remained in use for several centuries after the Arab conquest of North Africa in the second half of the seventh century, until the system collapsed in the eleventh century CE. Some have been turned into lavish villas

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, such as Suq al-Awty.

There is much conjecture about the origin of the word “centenarium” and whether it is etymologically tied to the locally built fortified farmhouses called Gasr (plural Gsur)

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. Probably their Latin name was due to the fact that one hundred men (one hundred is said in Latin “centum“) worked each fortified farm, under the orders of a former centurion.

Jonnie Efraimsson

Jonnie Efraimsson (1982)

(Bitte Urheberrechte beachten)

Jonnie Efraimsson (* 15

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. August 1958) ist ein ehemaliger schwedischer Fußballspieler. 1981 kam der Stürmer zu einem Länderspieleinsatz für die schwedische Nationalmannschaft.

Efraimsson spielte in der Jugend bei IFK Motala und rückte Ende der 1970er Jahre in den Kader der Männermannschaft auf. Vor Beginn der Erstliga-Spielzeit 1980 wechselte er zum Stockholmer Klub Hammarby IF in die Allsvenskan. An der Seite von Sten-Ove Ramberg

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, Peter Gerhardsson und Kenneth Ohlsson entwickelte er sich schnell zur Stammkraft in der Offensive. Mit sechs Saisontoren war er gleich in seinem ersten Jahr gemeinsam mit Ulf Eriksson hinter dem zwölffachen Torschützen Billy Ohlsson zweitbester vereinsinterner Torschütze. Damit spielte er sich in die Nationalmannschaft, beim Auftaktländerspiel im Februar 1981 debütierte er beim 4:2-Erfolg über Norwegen im Auswahltrikot.

Auch in den folgenden Jahren gehörte Efraimsson weitestgehend zu den Stammspielern, er konnte sich jedoch nicht erneut für die Nationalelf empfehlen

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. In der Spielzeit 1982 zog er mit der Mannschaft ins Endspiel um den schwedischen Meistertitel ein. Zum Finaleinzug trug er mit insgesamt vier Toren in den Viertel- und Halbfinalspielen entscheidend bei. Auch im Hinspiel beim IFK Göteborg glänzte er beim 2:1-Auswärtserfolg neben Peter Gerhardsson als Torschütze, aufgrund einer 1:3-Heimniederlage im Rückspiel verpasste er jedoch den Titelgewinn. Im Sommer des folgenden Jahres führte Trainer Bengt Persson die Mannschaft in ein weiteres Endspiel, als sie im Landespokal erneut auf den IFK Göteborg traf. Ein Tor von Dan Corneliusson in der Verlängerung verhalf dem Göteborger Klub auch zu diesem Titel.

Mittlerweile ins zweite Glied gerückt, verließ Efraimsson 1984 Hammarby IF und wechselte innerhalb der Allsvenskan zum IFK Norrköping. Mit dem Aufsteiger erreichte er an der Seite von Jan Hellström, Brian McDermott und Peter Lönn das Meisterschaftsendspiel

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, abermals setzte sich der IFK Göteborg durch. In der folgenden Spielzeit konnte die Mannschaft den Erfolg nicht bestätigen und spielte gegen den Wiederabstieg. Mit fünf Saisontoren trug Efraimsson zum Klassenerhalt als Tabellenzehnter bei. Dennoch verließ er anschließend den Klub.

Später arbeitete Efraimsson im Trainerstab von Motala AIF.

Six Japanese Gardens

Vous pouvez partager vos connaissances en l’améliorant (comment ?) selon les recommandations des projets correspondants.

Six Japanese Gardens est une œuvre pour percussions et électronique de la compositrice finlandaise Kaija Saariaho, composée en 1993-1995. Elle est créée le par Shiniti Ueno à Tokyo.

Six Japanese Gardens est une commande du Kunitachi College of Music (en).

Six Japanese Gardens est inspiré par un séjour à Kyoto de la compositrice à l’été 1993. L’œuvre est en six parties, qui correspondent à six jardins différents. L’instrumentation est très dépouillée, dans le but de favoriser « la perception des évolutions rythmiques »

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.

Six Japanese Gardens est dédié au compositeur japonais Toru Takemitsu.

La durée d’exécution est d’environ 19 minutes.

Le premier enregistrement de l’œuvre est réalisé par le percussionniste Florent Jodelet en 1997, la partie électronique étant réalisée à l’IRCAM

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.

Waldemar Wilhelm

Waldemar Wilhelm fue un notable odontólogo

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, cirujano oral y maxilofacial colombo-alemán. Nació el 7 de noviembre de 1913 en la ciudad alemana de Karlsruhe Baden y llegó a Colombia huyendo de la Alemania de Adolf Hitler.

Waldemar Wilhelm se graduó como odontólogo de la Universidad Johann Wolfgang Goethe en 1936 y emigró a Colombia en 1937. Posteriormente regresó a Alemania, donde se especializó en cirugía oral y maxilofacial en la Nordwestdeutsche Kieferklinic bajo la tutela del profesor Karl Schuchardt en Hamburgo. En 1950 regresó una vez más a Colombia, ingresando como profesor de cirugía en la Facultad de Odontología de la Universidad Nacional de Colombia.

En 1950 Wilhelm ingresó como docente en la Universidad Nacional de Colombia para abrir y regentar la cátedra de cirugía oral y maxilofacial. Fue enviado por la universidad a su país de origen donde hizo cursos en cirugía bucal y patologías de ATM en las universidades de Friburgo y Stuttgart. En la Universidad Nacional diseñó un quirófano para la facultad e hizo intervenciones tipo osteomielitis, resección de tumores, cirugía preprotésica basado en la técnica de Hugo Obwegeser y algunos procedimientos de cirugía plástica. En 1958 la Universidad Nacional y la Sociedad de Cirugía de Bogotá, a través del hospital San José que estaba dirigido por Guillermo Fergusson, firmaron un acuerdo para abrir el servicio de cirugía oral y maxilofacial. Los primeros residentes fueron Mildardo Sepúlveda, Gabriel Anchique y Alfredo Villamarín Eslava. Otros discípulos fueron: Jairo Duque, Mercedes Herrera, Carlos Díaz, Yolanda Bernal, Juan Manuel Chiriví, Enrique Amador, Enrique Llanos y Julio Gutiérrez Heart Dangle Bracelet.

En la década del sesenta invitó a los profesores Eduard Hinds y a su compatriota Hessler, quienes dictaron conferencias sobre el manejo invasivo y no invasivo de la disfunción de la ATM. También vinieron por su iniciativa Schuchardt, Eschler, Korkhaus y Sir Harold Gillies. Fue miembro fundador de la Asociación Latinoamericana de Cirugía Bucal en 1962, de la cual llegó a ser presidente dos años más tarde. En 1964 fue certificado por la Asociación Colombiana de Facultades de Odontología, (Comité General de Especialidades) como especialista en cirugía oral. En 1969 se hizo cargo del servicio de cirugía oral y maxilofacial del Hospital Militar

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, ante la vacante dejada por Tomás García Angulo, quien asumió la decanatura académica de la Facultad de Odontología de la Universidad Javeriana. En 1976 ascendió a profesor titular de la Facultad de Odontología de la Universidad Nacional y nombrado honorario de la Universidad de Cartagena desde 1960.

Después de una larga vida dedicada al engrandecimiento de la cirugía maxilofacial colombiana, Waldemar Wilhelm regresó a su patria donde falleció el 17 de noviembre de 1994 en Herremalb. Waldemar Wilhelm es considerado el Padre de la Cirugía Oral y Maxilofacial en Colombia.