Józef Maria Bocheński

Józef Maria Bocheński, né à Czuszów (en) en Pologne, le et décédé à Fribourg en Suisse, le , est un dominicain polonais, philosophe et logicien.

Après avoir pris part aux combats de 1920 contre la Russie bolchevique dans la guerre soviéto-polonaise, il commence des études de droit à Lwów (1920-1922), puis d’économie politique à Poznań (1922-1926). Il est membre de l’ordre des Dominicains depuis 1927. En 1932, il obtient un doctorat en philosophie à Fribourg, et trois ans plus tard, un doctorat de théologie à Rome. Il devient professeur de logique au Collegium Angelicum de Rome jusqu’en 1940.

Pendant la Seconde Guerre mondiale, il sert comme aumônier dans les troupes polonaises ; il est fait prisonnier au cours de l’invasion de la Pologne par l’Allemagne, mais il parvient à s’évader et à rejoindre Rome. Il entre dans l’armée du gouvernement polonais en exil, dont il est l’aumônier en France, puis en Angleterre. Il participe à la campagne d’Italie de 1943-1944, notamment à la bataille du Monte Cassino.

En 1945, il se voit offrir la chaire d’histoire de la philosophie du XXe siècle à l’université de Fribourg, dont il devient le recteur de 1964 à 1966. Il fonde et dirige l’Institut d’Europe de l’Est à Fribourg (1958 -1972), fait paraître la revue Études sur la pensée soviétique, et une série d’ouvrages sur les fondements de la philosophie marxiste (Sovietica).

Par la suite, il est consultant auprès de différents gouvernements, notamment ceux d’Allemagne de l’Ouest, d’Afrique du Sud, des États-Unis, d’Argentine et de Suisse. Fait bourgeois d’honneur de la ville de Fribourg en 1960, il a été médiateur lors de l’occupation de l’ambassade de Pologne à Berne en 1982

Ses ouvrages n’ont été publiés en Pologne qu’après 1989.

Asferg Runestone

The Asferg Runestone, listed as DR 121 in the Rundata catalog, is a Viking Age memorial runestone found at Asferg, which is about ten kilometers north-east of Randers, Aarhus County, Region Midtjylland, Denmark.

The inscription on DR 121, which is about 1.5 meters in height and made of granite, consists of runic text in the younger futhark within a band that loops to form three rows of text. The inscription is classified as being carved in runestone style RAK, which is the classification for the oldest style where the text bands have straight ends without any attached beast or serpent heads. The runestone was discovered in 1795 at a barrow in Asferg, but was still reused as a paving stone near a local mill. Before the historic significance of runestones was understood, they were often reused as materials in the construction of churches, bridges, and roads. The stone was purchased by the Danish Antiquities Commission in 1810 and shipped to Copenhagen in 1825. Today it is displayed at the National Museum of Denmark.

The runic text, which is read boustrophedonically from the lower left, states that the stone was raised by a man named Þorgeirr in memory of his brother Múli. The text describes the deceased man Múli as being „a very good thegn“ or „þegn.“ The term thegn was used in the late Viking Age in Sweden and Denmark to describe a class of retainer. About fifty memorial runestones described the deceased as being a thegn. Of these, the runic text on other sixteen runestones use the same Old Norse phrase harða goðan þegn or „a very good Þegn,“ including Vg 59 in Norra Härene, Vg 62 in Ballstorp, Vg 102 in Håle gamla, Vg 113 in Lärkegape, Vg 115 in Stora Västölet, Vg 151 in Eggvena, Vg NOR1997;27 in Hols, DR 86 in Langå, DR 106 in Ørum, DR 115 in Randers, DR 123 in Glenstrup, DR 130 in Giver, DR 213 in Skovlænge, DR 278 in Västra Nöbbelöv, DR 294 in Baldringe, and DR 343 in Östra Herrestads. In addition, four inscriptions use a different word order, þegn harða goðan, include Vg 74 in Skolgården, Vg 152 in Håkansgården, Vg 157 in Storegården, and Vg 158 in Fänneslunda. The runemaster used a punctuation mark consisting of two dots („:„) to separate each word of the text.

The stone is known locally as the Asferg-sten.


Atlas Comics (1950s)

Atlas Comics is the 1950s comic book publishing company that evolved into Marvel Comics. Magazine and paperback novel publisher Martin Goodman, whose business strategy involved having a multitude of corporate entities, used Atlas as the umbrella name for his comic book division during this time. Atlas evolved out of Goodman’s 1940s comic book division, Timely Comics, and was located on the 14th floor of the Empire State Building.

This company is distinct from the 1970s comic book company, also founded by Goodman, that is known as Atlas/Seaboard Comics.

Atlas Comics grew out of Timely Comics, the company that magazine and paperback novel publisher Martin Goodman founded in 1939, and which had reached the peak of its popularity during the war years with its star characters the Human Torch, the Sub-Mariner, and Captain America. The early to mid-1950s found comic books falling out of fashion due to competition from television and other media.

Timely largely stopped producing superhero comics with the cancellation of Captain America Comics at issue #75 (cover-dated Feb. 1950), by which time the series had already been titled Captain America’s Weird Tales for two issues, with the finale featuring only anthological suspense stories and no superheroes. The company’s flagship title, Marvel Mystery Comics, starring the Human Torch, had already ended its run with #92 in June 1949, as had Sub-Mariner Comics with #32 the same month, and The Human Torch with #35 in March 1949. Timely made one more attempt at superheroes with the publication of Marvel Boy #1-2 (Dec. 1950 – Feb. 1951), which was retitled Astonishing with issue #3 (April 1951) and continued the Marvel Boy feature through #6 (Oct. 1951). The early to mid-1950s found comic books falling out of fashion due to competition from television and other media.

In the absence of superheroes, Goodman’s comic book line expanded into a wide variety of genres, producing horror, Westerns, humor, funny animal, drama, crime, war, jungle, romance, espionage, medieval adventure, Bible stories, and sports comics. As did other publishers, Atlas also offered comics about models and career women.

Goodman began using the logo of the Atlas News Company, the newsstand-distribution company he owned, on comics cover-dated November 1951, even though another company, Kable News, continued to distribute his comics through the August 1952 issues, with its „K“ logo and the logo of the independent distributors‘ union appearing alongside the Atlas globe. The Atlas logo united a line put out by the same publisher, staff and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications.

Atlas attempted to revive superheroes in Young Men #24-28 (Dec. 1953 – June 1954) with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). The short-lived revival also included restarts of Sub-Mariner Comics (issues #33-42, April 1954 – Oct. 1955) and Captain America (#76-78, May-Sept. 1954). All three superheroes also appeared in the final two issues of Men’s Adventures (#27-28, May–July 1954).

Goodman’s publishing strategy for Atlas involved what he saw as the proven route of following popular trends in TV and movies — Westerns and war dramas prevailing for a time, drive-in movie monsters another time — and even other comic books, particularly the EC horror line. As Marvel/Atlas editor-in-chief Stan Lee told comic book historian Les Daniels, Goodman „would notice what was selling, and we’d put out a lot of books of that type.“ Commented Daniels, „The short-term results were lucrative; but while other publishers took the long view and kept their stables of heroes solid, Goodman let his slide.“ While Atlas had some horror titles, such as Marvel Tales, as far back as 1949, the company increased its output dramatically in the wake of EC’s success. Lee recalled, „[I]t was usually based on how the competition was doing. When we found that EC’s horror books were doing well, for instance, we published a lot of horror books.“ Until the early 1960s, when Lee would help revolutionize comic books with the advent of the Fantastic Four and Spider-Man, Atlas was content to flood newsstands with profitable, cheaply produced product — often, despite itself, beautifully rendered by talented if low-paid artists.

The Atlas „bullpen“ had at least five staff writers (officially called editors) besides Lee: Hank Chapman, Paul S. Newman, Don Rico, Carl Wessler, and, in the teen humor division, future Mad magazine cartoonist Al Jaffee. Daniel Keyes, future author of Flowers for Algernon, was an editor beginning 1952. Other writers, generally freelance, included Robert Bernstein.

The artists — some freelance, some on staff — included such veterans as Human Torch creator Carl Burgos and Sub-Mariner creator Bill Everett. The next generation included the prolific and much-admired Joe Maneely, who before his death just prior to Marvel’s 1960s breakthrough was the company’s leading artist, providing many covers and doing work in all genres, most notably on Westerns and on the medieval adventure The Black Knight. Others included Russ Heath, Gene Colan, and the fledgling, highly individualistic Steve Ditko.

Atlas‘ most prominent Western titles,[citation needed] many reprinted in the 1970s, were Ringo Kid, with art by Maneely, Fred Kida and John Severin; artist Doug Wildey’s The Outlaw Kid; artist Jack Keller’s Kid Colt, Outlaw; the anthology Gunsmoke Western, starring Kid Colt; and Black Rider, drawn by Maneely, Syd Shores and others. (The Atlas versions of two prominent 1960s Marvel Western characters, the Rawhide Kid and the Two-Gun Kid, were different and historically undistinguished iterations).[citation needed]

Atlas also published various children’s and teen humor titles, including Dan DeCarlo’s Homer, the Happy Ghost (a la Casper the Friendly Ghost), Homer Hooper (a la Archie Andrews) and the Joe Maneely-drawn Melvin the Monster (a la Dennis the Menace). Sergeant Barney Barker, drawn by John Severin, was Atlas‘ answer to Sgt. Bilko.

One of the most long-running titles was Millie the Model, which began as a Timely Comics humor book in 1945 and ran into the 1970s, lasting for 207 issues and launching spinoffs along the way. Created by writer-artist Ruth Atkinson, it later became the training ground for cartoonist DeCarlo — the future creator of Josie and the Pussycats, Sabrina, the Teenage Witch and other Archie Comics characters, and the artist who established Archie’s modern look. DeCarlo wrote and drew Millie for 10 years.

The high-school series Patsy Walker, co-created by Atkinson and writer Otto Binder in 1944, featured art by Al Hartley, Al Jaffee, Morris Weiss and others, ran until 1967 and spun off three titles. Patsy herself would be integrated into Marvel Universe continuity years later as the supernatural superheroine Hellcat.

Atlas‘ funny animal books featured cartoonist Ed Winiarski’s trouble-prone Buck Duck, Maneely’s mentally suspect Dippy Duck, and Howie Post’s The Monkey and the Bear. Buck and the other funny animal characters briefly returned in the early 1970s when Marvel published the five-issue reprint title Li’l Pals („Fun-Filled Animal Antics!“).

Miscellaneous titles included the espionage series Yellow Claw, with Maneely, Severin, and Jack Kirby art; the Native American hero Red Warrior, with art by Tom Gill; the Tom Corbett, Space Cadet-like Space Squadron, written and drawn by future Marvel production executive Sol Brodsky; and Sports Action, initially featuring true-life stories about the likes of George Gipp and Jackie Robinson, and later on fictional features of, as one cover headline put it, „Rugged Tales of Danger and Red-Hot Action!“.

Staff artist Stan Goldberg recalled in 2005, „I was in the Bullpen with a lot of well-known artists who worked up there at that time. … The guys … who actually worked nine-to-five and put in a regular day, and not the freelance guys who’d come in a drop off their work … were almost a hall of fame group of people. There was John Severin. Bill Everett. Carl Burgos. There was the all-time great Joe Maneely…. We all worked together, all the colorists and correction guys, the letterers and artists. … We had a great time“.

From 1952 to late 1956, Goodman distributed Atlas‘ comics to newsstands through his self-owned distributor, the Atlas News Company. He shut down Atlas News Company in 1956 and began newsstand distribution through American News Company, the nation’s largest distributor and a virtual monopoly, which shortly afterward lost a Justice Department lawsuit and discontinued its business. As comic book historian Gerard Jones explains, the company in 1956

…had been found guilty of restraint of trade and ordered to divest itself of the newsstands it owned. Its biggest client, George Delacorte, announced he would seek a new distributor for his Dell Comics and paperbacks. The owners of American News estimated the effect that would have on their income. Then they looked at the value of the New Jersey real estate where their headquarters sat. They liquidated the company and sold the land. The company … vanished without a trace in the suburban growth of the 1950s.[page needed]

The Atlas globe remained on the covers, however, until American News went out of business in June 1957. With no other options, Goodman turned to the distributor Independent News, owned by rival National Periodical Publications, the future DC Comics, which agreed to distribute him on constrained terms that allowed only eight titles per month. The last comic to bear the Atlas globe on the cover was the funny-animal comic Dippy Duck #1, and the first to bear the new „Ind.“ distributors‘ mark was Patsy Walker #73, both cover-dated October 1957.

Stan Lee, in a 1988 interview, recalled that Goodman:

…had gone with the American News Company. I remember saying to him, ‚Gee, why did you do that? I thought that we had a good distribution company.‘ His answer was like, ‚Oh, Stan, you wouldn’t understand. It has to do with finance.‘ I didn’t really give a damn, and I went back to doing the comics. [Later,] we were left without a distributor and we couldn’t go back to distributing our own books because the fact that Martin quit doing it and went with American News had gotten the wholesalers very angry … and it would have been impossible for Martin to just say, ‚Okay, we’ll go back to where we were and distribute our books.‘ [We had been] turning out 40, 50, 60 books a month, maybe more, and [now] the only company we could get to distribute our books was our closest rival, National [DC] Comics. Suddenly we went … to either eight or 12 books a month, which was all Independent News Distributors would accept from us.

During this retrenchment, according to a fabled industry story, Goodman discovered a closet-full of unused, but paid-for, art, leading him to have virtually the entire staff fired while he used up the inventory. In the interview noted above, Lee, one of the few able to give a firsthand account, told a seemingly self-contradictory version of the downsizing:

It would never have happened just because he opened a closet door. But I think that I may have been in a little trouble when that happened. We had bought a lot of strips that I didn’t think were really all that good, but I paid the artists and writers for them anyway, and I kinda hid them in the closet! And Martin found them and I think he wasn’t too happy. If I wasn’t satisfied with the work, I wasn’t supposed to have paid, but I was never sure it was really the artist’s or the writer’s fault. But when the job was finished I didn’t think that it was anything that I wanted to use. I felt that we could use it in inventory — put it out in other books. Martin, probably rightly so, was a little annoyed because it was his money I was spending.

In a 2003 interview, Joe Sinnott, one of the company’s top artists for more than 50 years, recalled Lee citing the inventory issue as a primary cause. „Stan called me and said, ‚Joe, Martin Goodman told me to suspend operations because I have all this artwork in house and have to use it up before I can hire you again.‘ It turned out to be six months, in my case. He may have called back some of the other artists later, but that’s what happened with me.

The two fantasy titles (Strange Tales and World of Fantasy) clung on printing stored inventory material from late 1957 through late 1958.[citation needed]

Goodman’s men’s magazines and paperback books were still successful — the comics, except in the early Golden Age, were a relatively small part of the business — and Goodman considered shutting the division down. The details of his decision not to do so are murky. Artist Jack Kirby — who after his amicable split with creative partner Joe Simon a few years earlier and after losing a lawsuit to a DC Comics editor was having difficulty finding sufficient work — recalled that in late 1958,

I came in [to the Marvel offices] and they were moving out the furniture, they were taking desks out — and I needed the work! … Stan Lee is sitting on a chair crying. He didn’t know what to do, he’s sitting on a chair crying — he was still just out of his adolescence [Note: Lee, born Dec. 28, 1922, would actually have been about 36.] I told him to stop crying. I says, ‚Go in to Martin and tell him to stop moving the furniture out, and I’ll see that the books make money‘.

The interviewer, The Comics Journal publisher Gary Groth, later wrote of this interview in general, „Some of Kirby’s more extreme statements … should be taken with a grain of salt….“ Lee, specifically asked about the office-closing anecdote, said,

I never remember being there when people were moving out the furniture. If they ever moved the furniture, they did it during the weekend when everybody was home. Jack tended toward hyperbole, just like the time he was quoted as saying that he came in and I was crying and I said, ‚Please save the company!‘ I’m not a crier and I would never have said that. I was very happy that Jack was there and I loved working with him, but I never cried to him. (laughs)

Kirby had previously returned, in late 1956, to freelance on five issues cover-dated December 1956 and February 1957, but did not stay. Now, beginning with the cover and the seven-page story „I Discovered the Secret of the Flying Saucers“ for Strange Worlds #1 (Dec. 1958), Kirby returned for a 12-year run that would soon help revolutionize comics. While career necessity led Kirby back to publisher Goodman, whom he had left acrimoniously in 1941, Kirby nonetheless helped elevate simple science fiction and giant-monster stories with what comics historian Charles Hatfield called „a vital jab in the ribs by [his] outlandish artistry. Soon his dynamic work began gracing countless covers and lead stories in the extant Strange Tales and the newly launched Amazing Adventures, Strange Worlds, Tales of Suspense, Tales to Astonish and World of Fantasy. „Offsetting the formulaic nature of the stories was a dash of invigorating absurdity,“ wrote Hatfield. „The tales had Kirby’s energy and, courtesy of Lee, confessional, first-person titles typical of sensation-mongering tabloids and comics, such as, ‚I Created Sporr, the Thing That Could Not Die!'“

A Kirby science fiction/monster story, usually inked by Christopher Rule initially, then by Dick Ayers following Rule’s retirement, would generally open each book. This was followed by one or two twist-ending thrillers or sci-fi tales drawn by Don Heck, Paul Reinman, or Joe Sinnott, all capped by an often-surreal, sometimes self-reflexive Lee-Ditko short. Lee in 2009 described these „short, five-page filler strips that Steve and I did together“, originally „placed in any of our comics that had a few extra pages to fill“, as „odd fantasy tales that I’d dream up with O. Henry-type endings.“ Giving an early example of what would later be known as the „Marvel Method“ of writer-artist collaboration, Lee said, „All I had to do was give Steve a one-line description of the plot and he’d be off and running. He’d take those skeleton outlines I had given him and turn them into classic little works of art that ended up being far cooler than I had any right to expect.“

Don Heck, who worked as an Atlas staff artist from 1954 until the company’s retrenchment in 1957 before returning the following year, recalled that the 1958 page rate „was around $20 per page to pencil and ink, I think [rival comic book publisher] DC’s average was $38. It didn’t pick up until 1964-65, and even then it didn’t go up all that much — a couple of bucks a page.“

Although for several months in 1949 and 1950 Timely’s titles bore a circular logo labeled „Marvel Comic“, the first modern comic books so labeled were the science fiction anthology Journey into Mystery #69 and the teen humor title Patsy Walker #95 (both June 1961), which each showed an „MC“ box on its cover. However, collectors routinely refer to the companies‘ comics from the April 1959 cover-dates onward (when they began featuring Jack Kirby artwork on his return to Goodman’s company), as pre-superhero Marvel. Goodman would reuse the name Atlas for the next comics company he founded, in the 1970s.

Sources: Some titles may be arguably Timely at the earlier end, or Marvel at the later end. Note: In titles numbered from or into the various All Winners Comics, additional clarifying information is supplied.

Note: The romance title Linda Carter, Student Nurse #1-9 (Sept. 1961 – Jan. 1963), sometimes grouped together with Atlas Comics, chronologically falls within Marvel, and all covers have the „MC“ box.

In the fifth and twelfth episodes of Daredevil season 1, a door with the Atlas logo on it is seen across the hall from Nelson and Murdock’s office.[citation needed]

Sky Full of Holes

Sky Full of Holes is the fifth studio album by the American rock band Fountains of Wayne. It was released on July 20, 2011 in Japan, on August 1, 2011 in Europe, and on August 2, 2011 in North America. It debuted at number 37 on the US Billboard 200, giving Fountains of Wayne their first Top 40 album on that chart, and debuted at number 16 on the UK independent chart.

Jody Rosen, writing in Rolling Stone, had high praise for the album, and said the storytelling was „sharp“ and the guitar hooks „crunchy,“ with the overall direction of the album darker than previous outings. Jill Menze of Billboard called the album „excellent“, describing it as „a new minimal sound with a poppy, folk-leaning flair.“

Spin gave the album a score of 7/10. Critic Stacey Anderson writes, „‚Sky‘ eschews the occasional decade-hopscotching of 2007’s Traffic and Weather, reaching a new, raw sincerity and cohesiveness: ‚Hate to See You Like This‘ is an anxious entreaty to a depressed girlfriend exquisitely framed by a dramatic backdrop of electric and acoustic guitars.“

Chris Willman of Reuters also strongly recommended the album, but cautioned listeners: „It may be a moot point that the new effort is FOW’s least airplay-friendly, since neither radio nor MTV would likely play this kind of stuff anymore even if the group did manage to come up with a ‚Stacy’s Mom II.‘ But fans who prefer an abundance of power in their power-pop may worry about what the lopsided spunk-to-sadness ratio portends for the beloved band.“ He called „Action Hero“ the best track on the album. Matt Diehl of the Los Angeles Times lauded the album. „Sky teems with immaculate power pop, spanning jangling Beatlesque rockers like “The Summer Place” through the bittersweet balladry of “I Hate to See You Like This”… It’s a remarkably consistent album, full of snappy arrangements, surprising chord changes and tasteful instrumentation, but Collingwood’s voice embodies its true appeal,“ he wrote. „That storytelling depth raises Fountains of Wayne to the apex of their genre, imparting a wry, cynical worldview that lingers well after the snap, crackle and fizz subsides.“

Allison Stewart, reviewing the album for The Washington Post, was more mixed in her assessment. She said, „Sky, with its carefully detailed stories of suburban schlubs, feuding bar owners and luckless Acela riders, hits all the right notes, but something feels off. Slow and sentimental, more wistful than droll, Sky is as interested in loping, acoustic country-folk songs as it is in vigorous pop. If the band’s last album, 2007’s Traffic and Weather, was a Cars homage, Sky is an unofficial tribute to the Jayhawks. It’s not a misfire — one of its gentlest songs, “A Road Song,” is also one of the band’s all-time finest — but those who expect the usual gimlet-eyed power pop (that is to say, most everyone) will be left wondering where it went.“

In the United Kingdom, The Guardian critic Michael Hann described the album’s music as „a more sedate sound, the dominant texture being acoustic guitar overlaid with muted electrics.“ But the sound was a good one for the band, he said, and named the final track, „Cemetery Guns,“ the album’s best for being „beautifully arranged and written with calm understatement“.

All songs written by Chris Collingwood and Adam Schlesinger, except where noted.

Шипилов, Владимир Викторович

* Количество игр и голов за профессиональный клуб считается только для различных лиг национальных чемпионатов.

Влади́мир Ви́кторович Шипи́лов (5 декабря 1972, Тихорецк, Краснодарский край) — советский и российский футболист, играл на позиции полузащитника.

Профессиональную карьеру начал в 1990 году в майкопской «Дружбе», которая выступала во Второй союзной лиге в дебютный сезон за клуб провёл 2 матча. После распада СССР «Дружба» стартовала в Первом дивизионе, а уже в первом Кубке России он вместе с одноклубниками дошёл до полуфинала, где майкопчане уступили будущим обладателям кубка московским торпедовцам, а сам Шипилов вышел в основном составе на полуфинальный матч, однако на 61-й минуте был заменён Артуром Вардумяном. С 1997 по 1998 год выступал за ставропольском «Динамо» в Первой лиге. Его звали несколько клубов Высшего дивизиона в частности элистинский «Уралан», но в 1999 году он откликнулся на приглашение Евгения Кучеревского и перешёл в тульский «Арсенал». Далее играл в «Кристалле» из Смоленска и «Кубани» из Краснодара. С 2002 по 2005 год попеременно играл в грозненском «Тереке» и «Соколе» из Саратова. В 2006 году играл за «Волгарь-Газпром» из Астрахани. В 2007 году перешёл в новороссийский «Черноморец», в первом же своём сезоне он по итогам интернет-голосования, проведённого клубом болельщиков «Синий туман», а также по мнению читателей газеты «Наш Новороссийск» был признан лучшим игроком команды. В 2009 году перебрался в казахстанский «Кайсар» из Кызылорды, за который дебютировал в первом же матче национального чемпионата против «Ордабасы» из Шымкента .

Полуфиналист Кубка России: (1)

Обладатель Кубка России: (1)



Lagekarte der Gemeinde Südbrookmerland

Die Mühle in Münkeboe ist ein Galerieholländer

Münkeboe [mʏnkəˈboː] ist seit der Gemeindegebietsreform vom 1. Juli 1972 ein Ortsteil der Gemeinde Südbrookmerland im Landkreis Aurich in Ostfriesland. Münkeboe hatte im Jahre 2005 etwa 1800 Einwohner. Ortsvorsteher ist Alfred Wienekamp (SPD).

Im Münkeboer Dörpmuseum werden seit 1990 alte Handwerkskunst und Arbeitsgeräte der ländlichen Bevölkerung dargestellt. Das Museum beinhaltet unter anderem eine funktionsfähige Windmühle, eine komplett eingerichtete Stellmacherei, Schmiede, Tischlerei, Töpferei, Bäckerei, Schulzimmer und Kolonialwarenladen. Zu bestimmten Vorführzeiten sind diese Einrichtungen belebt. Das Museum gibt es auch in einer mobilen Ausführung, die überall zum Einsatz kommen kann.

Einmal im Jahr anlässlich der Münkeboer Festtage rollt ein Korso mit mehreren Wagen durch das alte Moorkolonistendorf. Dazu gehört auch ein Oldtimertreffen mit 600 alten Pkws, Motorrädern und Traktoren. Diese Veranstaltung ist auch touristisch von Bedeutung.

In Münkeboe existiert eine Evangelisch-lutherische Kirchengemeinde um die Kirche Zum guten Hirten. Die Kirchengemeinde wurde 1896 aus den Kolonien Münkeboe und Moorhusen gebildet und aus unter Errichtung einer eigenen Pfarrstelle ihrer bisherigen Verbindung mit der Kirchengemeinde Engerhafe gelöst.

Angehörige der Evangelisch-Freikirchlichen Gemeinde werden von Gemeinde im benachbarten Moorhusen betreut. Die für die wenigen Katholiken zuständige Kirche befindet sich in Aurich.

Bedekaspel | Forlitz-Blaukirchen | Moordorf | Moorhusen | Münkeboe | Oldeborg | Theene | Uthwerdum | Victorbur | Wiegboldsbur


Halazhaisuchus is an extinct genus of archosauriform from the Early Triassic of China. It is known from a single species, Halazhaisuchus qiaoensis, which was named in 1982 from the lower Ermaying Formation in Shaanxi. It was assigned to the family Euparkeriidae as a close relative of the genus Euparkeria from South Africa. Halazhaisuchus is known from a single holotype specimen called V6027, which was discovered in 1977 and includes a portion of the vertebral column, some ribs, two scapulae and two humeri, the right radius and ulna, and a left coracoid. Two rows of plate-like bones called osteoderms run along the length of the vertebrae. When it was first described in 1982, Halazhaisuchus was considered a close relative of Euparkeria because it has primitive features like small intercentra bones between the vertebrae and a large coracoid, not seen in later archosaurs. However, these features are common to many early archosauriforms and are not unique to Euparkeriidae.

The fauna of the lower Ermaying Formation closely resemble those of the Cynognathus Assemblage Zone in South Africa. Halazhaisuchus is similar to Euparkeria, while the Chinese Parakannemeyeria and Guchengosuchus resemble the South African Kannemeyeria and Erythrosuchus, respectively.

Chronik eines angekündigten Todes

Chronik eines angekündigten Todes (im Original Crónica de una muerte anunciada) ist ein Roman des kolumbianischen Schriftstellers Gabriel García Márquez. Er erschien erstmals 1981 in spanischer Sprache und wurde im selben Jahr ins Deutsche übersetzt. Der Roman spielt in verwandtem Umfeld zu demjenigen aus Hundert Jahre Einsamkeit; einige Personen finden in beiden Romanen zumindest intertextuelle Erwähnung.

Die Handlung des Romans spielt innerhalb einer Nacht beziehungsweise eines Morgens. Sie wird aus der Sicht eines nach 27 Jahren in das Dorf Zurückkehrenden erzählt.

In einem karibischen Dorf, dem Hauptspielort des Romans, wird ein junger Mann, Santiago Nasar, ermordet, wahrscheinlich ohne, dass er weiß, wieso. Außer ihm scheint es aber jeder andere zu wissen, machen seine Mörder keinen Hehl daraus, sodass es allen unmöglich scheint, dass Santiago Nasar noch nicht gewarnt worden sei. Der omnipräsente Ich-Erzähler betreibt lange danach Recherchen, und stellt diesen Bericht, diese „Chronik“ zusammen.

Der Tag bricht mit der Gewissheit an, dass die Brüder Vicario den jungen Santiago Nasar ermorden werden, um die Verletzung der Ehre ihrer Schwester Ángela und der Familie zu rächen. Ángela wurde am Abend zuvor von ihrem designierten Bräutigam Bayardo San Román zurückgewiesen, da ihr die Jungfräulichkeit fehlte. Nasar wird als der Verursacher dieses Umstandes angesehen (ohne dass seine Verantwortlichkeit dafür im Buch letztlich aufgelöst würde; der Erzähler jedenfalls scheint sie zu bezweifeln).

Der Roman erzählt in dokumentarischer, fast journalistischer Genauigkeit die Umstände, in denen ein ganzes Dorf von der bevorstehenden Gewalttat weiß, aber niemand sie zu verhindern vermag, obwohl selbst die zukünftigen Täter mehr aus Pflichtbewusstsein als aus Überzeugung handeln, ja sogar regelrecht hoffen, dass jemand sie an der Tat hindern möge.

Bis zu seinem Tod 2014 war Márquez gesellschaftspolitisch engagiert, und zur Zeit der Veröffentlichung des Romans Chronik eines angekündigten Todes 1981 besonders durch seinen langjähren Freund Camillo Torres der Befreiungstheologie nahe. Dies drückt sich auch in der Chronik eines angekündigten Todes aus. Im Roman finden sich eine Vielzahl von Allusionen zum Lukasevangelium, besonders eine Charakterparallele zwischen Santiago Nasar und Jesus Christus – was nicht nur Santiago zum Opferlamm und die Chronik zur Gesellschaftskritik macht, sondern auch neues Licht auf Jesu Tod als strukturelles Opfer wirft.

Márquez benutzt also Santiago figürlich in der Chronik als Jesus, um damit in einem befreiungstheologischen Ansatz Kritik an der eigenen kolumbianischen Gesellschaft zu üben durch Santiago als Opferlamm der reformbedürftigen Gesellschaft. Wichtig ist auch zu bemerken, dass Márquez den Charakter des Santiago Nasar auch bewusst unterschiedlich gestaltet, also nicht nur Lukas’ Jesus kopiert oder adaptiert. Er öffnet so das Feld für eine Bandbreite von Interpretationen, eben durch diese deutliche Undeutlichkeit. Insofern bildet das noch eine Parallele zum Lukasevangelium, das auch vor allem durch seinen historischen statt theologischen Anspruch in alle Richtungen interpretiert und ausgelegt werden kann.

Dragan Marković

Dragan Marković « Palma » (en serbe cyrillique : Драган Марковић Палма ; né le à Končarevo) est un homme politique serbe. Il est président du parti Serbie unie (JS) et député à l’Assemblée nationale de la République de Serbie. Ancien maire de Jagodina, il est aujourd’hui président de l’assemblée de la ville.

En tant que chef d’entreprise, Dragan Marković fonde une compagnie qui emploie près de 100 personnes et qui, en plus de la chaîne de télévision Palma plus créée en 1997, gère une société de transport et de commerce.

En 1993, il commence sa carrière politique en entrant au Parti de l’unité serbe (SSJ), un parti nationaliste que viennent de fonder Željko Ražnatović (Arkan) et Borislav Pelević. Il y reste jusqu’en 2003.

En 2004, Dragan Marković fonde le parti Serbie unie (JS), qui se développe principalement autour de la ville de Jagodina et dans la région de Pomoravlje. Aux élections locales de 2004, il est élu président (predsednik) de la municipalité de Jagodina.

Aux élections législatives serbes de 2007, Marković noue des liens avec la coalition formée par le Parti démocratique de Serbie (DSS) de Vojislav Kostunica et par Nouvelle Serbie (NS), ce qui vaut à son parti d’être représenté à l’Assemblée nationale de la République de Serbie.

Au premier tour de l’élection présidentielle de janvier 2008, Dragan Marković apporte son soutien à Velimir Ilić, le président du parti Nouvelle Serbie. Aux élections législatives anticipées du mois de mai, il forme une coalition avec le Parti socialiste de Serbie (SPS) et le Parti des retraités unis de Serbie (PUPS) ; la liste obtient 313 896 voix, soit 7,58 % des suffrages, et envoie 20 députés à l’Assemblée nationale de la République de Serbie, dont 3 pour le JS ; Marković est député du au . Sur le plan local, Jagodina a reçu le statut de « ville » en 2007 ; à la suite des élections locales de 2008, Marković en devient le premier « maire » (gradonačelnik).

Lors des élections législatives serbes de 2012, Dragan Marković « Palma » est une nouvelle fois allié avec le SPS et le PUPS au sein de la coalition politique conduite par Ivica Dačić, le président du SPS ; la liste commune obtient 14,51 % des suffrages et 44 députés ; avec 7 députés, le parti forme un groupe parlementaire, présidé par Marković. Sur le plan local, il laisse la mairie de Jagodina à Ratko Stevanović, lui aussi membre de Serbie unie, et devient président de l’assemblée municipale.

Dragan Marković « Palma » est marié, père de deux enfants et cinq fois grand-père.

En 2011, à cause de ses prises de position contre la communauté gay, Dragan Marković est condamné par la justice pour discrimination et incitation à la haine et à l’intolérance contre les minorités sexuelles.

Sur les autres projets Wikimedia :

Club Deportivo Vicálvaro

El Club Deportivo Vicálvaro es un club de fútbol de España de la ciudad de Madrid. Fue fundado en 1928 y se desempeña en Tercera División de España – Grupo VII.

Entre los hechos más destacables de la historia de éste club de barrio está el haber disputado la Copa del Rey en la temporada 1991/1992, donde se enfrentó al U.E. Figueres, equipo de Segunda División que entrenaba Jorge D’Alessandro y que contaba en sus filas con gente como Toni Jiménez, que unos meses después conseguiría el oro olímpico en Barcelona 92, y que posteriormente desarrollaría su carrera en Atlético de Madrid y Espanyol, entre otros.

Su mejor clasificación en la liga española fue en la temporada 1990/1991 donde consiguió un 8º puesto en la Tercera División de España, en el grupo de la Comunidad de Madrid, donde ha militado 11 temporadas a lo largo de su historia. En la preferente madrileña ha llegado a ser el equipo campeón.

1993-¿? Vicente Manuel Tirado

Estadio de Vicálvaro

El es un campo de fútbol estrenado por el Club Deportivo Vicálvaro en la temporada 2007/2008 que se encuentra en la Avenida Aurora Boreal, s/n, del distrito de Vicálvaro. Posee una grada con capacidad para unos 3.000 espectadores, cabina de prensa, 6 vestuarios, oficina, bar y césped artificial de última generación.

Plantilla 2013/2014

José María Rodríguez „May“

Actualmente la sección del fútbol base cuenta con más de 300 chavales repartidos por los diferentes equipos, desde Iniciación hasta Juveniles.