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Bridal Hair Specialist in Chennai – Yaksheetasri.com
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Wedding Hair Designs
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Bridal Hair Trial
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Wedding Hair Specialist
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Freelance Hairdresser
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PS- Dear Partner, I am secretly wishing for a cool sewing machine cover.
Józef Ignacy Kraszewski (28 July 1812 – 19 March 1887) was a Polish writer, publisher, historian, journalist, scholar, painter, and author who produced more than 200 novels and 150 novellas, short stories, and art reviews, which makes him the most prolific writer in the history of Polish literature and the seventh most prolific in the world.[citation needed] He is best known for his epic series on the history of Poland, comprising twenty-nine novels in seventy-nine parts.
The son of a nobleman, Kraszewski studied at the University of Vilna between 1829 and 1830. He was imprisoned from 1830 to 1832 for participating in a secret patriotic organization. Banished from Congress Poland in 1863, he settled in Dresden, where he remained until 1884. Throughout his life he was active in publishing and journalism. He began publishing in 1830, gradually evolving from a romantic to a realist writer. His literary legacy consists of about 600 volumes of prose, poetry, drama, literary criticism and works on history and philosophy. A major Polish novelist, Kraszewski is known for his cycle of novels on the history of Poland (29 novels in 78 volumes), written between 1876 and 1887, of which the best from an artistic standpoint are The Countess Cosel (1874), Brühl (1875), and An Ancient Tale (1876). Kraszewski's "peasant" novels, including Ulana (1843) and Ostap Bondarczuk (1847), deal with the painful problems of the serf society and community. Outstanding among his social novels on contemporary themes are The Magic Lantern (1843–44) and Morituri (1874–75). The classic Polish realist writers regarded Kraszewski as their forerunner and mentor, however as a novelist writing about the history of Poland, Kraszewski is generally regarded as second only to the Nobel Prize winner Henryk Sienkiewicz.[1]
Kraszewski was considered a real cultural institution uplifting the Polish spirit during the country's partition.[2]
Contents
1 Biography
1.1 Early life and studies
1.2 Adulthood and literary career
1.3 Exile, later life and death
2 Character and style
3 Adaptation
4 Works
5 See also
6 References
7 External links
Biography
Early life and studies
Childhood home in Romanów
Kraszewski was born on 28 July 1812 as the oldest son of Jan Kraszewski and Zofia Kraszewska née Malska. He was born to a noble family whose manor was located in Dołhe near the town of Pruzhany, however, he was born in Warsaw because of his mother who came there in 1812 in fear of the military activities of Napoleon's army heading for Moscow. He spent his childhood in his grandmother's mansion in Romanów in the Podlasie region, where he would come back eagerly when he was young (nowadays the J. I. Kraszewski Museum is located there). From 1822 he went to schools in Biała Podlaska, Lublin and Świsłocz, and in 1829 he commenced studies in Wilno: first he studied medicine, then – despite his father's disapproval – literature. After the outbreak of the Warsaw Uprising in November 1830, he and a group of his friends were arrested and he was kept in a Russian prison for more than a year, and, once released, he stayed in Vilna under strict police surveillance. When he was finally allowed to come back to Dołhe, Kraszewski continued the literary work he had started in Vilna and completed his education (as the Russian authorities had closed down the local University). The habit of avid but careful reading of literature and reviews from all around Europe would not leave him till his death.
Adulthood and literary career
Photograph of Kraszewski taken before 1886
In 1838 he married Zofia Woroniczówna, related to the late primate and poet J. P. Woronicz. He did this against the will of his father, who thought his son wanted to reach too high. Once married, the couple settled in Wołyń. In 1853 – already parents to four children – they moved to Żytomierz. From now on Kraszewski concentrated on his literary work, though he did not avoid other activities (he became the superintendent of a high school, the director of a theatre and the Charity Association). As a result of his dispute with conservative public opinion on his critical assessment of the gentry's attitude towards peasants, in 1859 he accepted the proposal of Leopold Stanisław Kronenberg, a wealthy Polish banker of Polish-Jewish origin from Warsaw, to become the editor of the "Gazeta Warszawska" and he moved with his family to Warsaw. Owing to his editorial skills, the number of the "Gazeta" subscribers within half a year rose from 500 to 8000, but at the same time he had to stand the vicious remarks of anti-Semites. Just before the outbreak of the January Uprising, he was politically active and thus, when the military activities began, he was announced persona non grata in Warsaw by the Petersburg-submissive local authorities and was forced to emigrate, leaving his family in Warsaw. He went to Dresden, where he lived till 1884.[3]
Exile, later life and death
In Dresden he became a one-person Polish institution helping the political refugees, and organising literary life and information about Poland. With the death of many great poets of Romanticism, he became the unquestionable literary authority and the favourite of the public. In 1870 as the editor of "Tydzień" he expressed his skepticism about the dogma, approved at the First Vatican Council, that the pope is infallible as far as questions regarding the faith are concerned. That made him unpopular among the national orthodox church authorities, but he did not lose popularity among his readers. In 1879 in Kraków week-long celebrations on the 50th anniversary of the beginning of his literary career were held. In 1883 he was arrested in Berlin and charged with collaboration with French military intelligence, and a year later he was sentenced by the tribunal in Leipzig to three and a half years of imprisonment in a fortress. He served the sentence in the Magdeburg Fortress. As a result of his illness he was temporarily released on bail and went to Italy to improve his health, and after the earthquake there he sought refuge in Geneva in 1886. There, already suffering from cancer, he contracted pneumonia, which was the direct cause of his death on 19 March 1887. His body was brought to Kraków and placed in the vault where the meritorious were buried in the Church of St. Michael the Archangel and St Stanislaus Bishop and Martyr and Pauline Fathers Monastery.[4]
Character and style
An Ancient Tale by Kraszewski, 1876
In German and Polish: "Józef Ignacy Kraszewski-in this Dresden building, in 1879–1885, lived and wrote the great Polish writer, a man of great industry and a great contributor to Polish culture."
Kraszewski was one of the most prolific Polish writers of all times. His works comprise more than 220 novels (in the nineteenth century published in about 400 volumes), around 150 novellas, short stories and literary pictures, some 20 theatre plays, more than 20 volumes of historical studies (including the 3-volume Historia Wilna ["History of Vilnius"] and the 3-volume Polska w czasie trzech rozbiorów 1772–1799 ["Poland during the Three Partitions 1772–1799]), a few volumes on his travels, more than 10 volumes of social, political and literary journalism [including 5 volumes of Rachunki (1866–69)], more than 6 volumes of poetry, including a 3-volume epos on the history of Lithuania, more than 20 volumes of his translations from 5 languages (English, French, German, Latin and Italian), several thousand columns, press articles and reviews, which, when printed as books, would have to be collected in more than 100 volumes. He wrote many letters – their number is estimated to reach tens of thousands; just a little part of them have been published so far. He was an editor and a publisher. He prepared for publication and published over 40 volumes of historic documents and works of other writers. In the years 1841–51 he edited in Wołyń, and published in Wilno the bimonthly "Athenaeum" (66 volumes), in the years 1859–63 after he moved, Kraszewski was the editor of the daily "Gazeta Warszawska" (from 1861 "Gazeta Polska"), and in 1870–71 in Dresden he edited "Tydzień".
Despite all that, he was not a man who would be interested just in covering paper with print or writing. He was deeply interested in drawing landscapes and architecture (he illustrated his reports from his travels himself; more than 1600 of his pictures have survived until the present day), took up amateur oil painting, collected old prints (there were more than 6000 works in his collection). Kraszewski loved music. He considered playing the piano for one hour every day to be an extraordinary pleasure for him, and his reviews of concerts or opera performances are characterised by solid professionalism. He travelled widely: he visited the whole of pre-partition Poland and almost the whole of Europe. Throughout his adult life he took an active part in political activities, which resulted in him being sent to prison twice. He participated in dozens of social events, and more than once he had to stand up against public opinion.
Page from Kraszewski's 1875 novel Brühl
In his novels he would emphasise loyalty to the real world, thus he would use mimesis, but combined it with his fascination with romanticism. Very well-educated in the field of European literature and aesthetics, he regarded highly not only Balzac, Dickens, Gogol, and later Zola, but also Stendhal, even before he came to be appreciated in his own country, but his heart was always with Adam Mickiewicz. His first works would be influenced by English sentimentalism, especially that of L. Sterne and the French frenetic romantics in the style of the young Victor Hugo or German fantasy in the style of E.T.A. Hoffmann. The group of works closest to the ideals of Romanticism were his novels on the conflict of an artist with reality and on the life of folk people. In some of his works he would concentrate on women's matters (Całe życie biedna 1840, Szalona 1880, Sama jedna 1881), and in dozens – the issues regarding the gentry or the magnates (Latarnia czarnoksięska 1843-4, Interesa familijne 1852, Dwa światy 1854, Morituri 1873). He refers to the 1863 Uprising in a series of political novels written under the name of B. Bolesławita (Dziecię Starego Miasta 1863, Moskal 1865, Żyd 1866 and others). Kraszewski would extend the subject matter of his works, diversify the plot conventions (biography, travel, romance, sensation, etc.) and stylistic forms (realistic way of expression, purpose narration, parable, diary, tale, journal).He also appreciated small literary prose forms, such as, for example, pictures, philosophical sketches and novellas. His works would discuss all the major social and moral issues of his times and would include all the literary motifs favoured by the readers.[5]
Until 1863 he would concentrate on topical issues, during his stay in Dresden – on historical ones. Before he left the country he had written 20 historical novels, while in exile – more than 80. Unlike W. Scott he would give priority to the historical truth over fiction, and opted for criticism against the past. In this spirit he wrote Zygmuntowskie czasy (1846) and Diabła (1855), and in Dresden the so-called Saxon series (Hrabina Cosel 1873, Brühl 1874 and others) as well as a group of over 20 other novels on the eighteenth century (including Bezimienna 1869, Sto diabłów 1870 and Bratankowie 1871). He was successful in using tale narration in many of his works. His most famous enterprise within the genre of historical novels, was the series of 29 novels on the history of Poland. He started it with Stara baśń (1876) – which referred to the legendary epoch. From the very beginning the novel enjoyed great popularity, and was later his most often republished work (up to 2000 it was published more than 60 times). Next he wrote about the Piast dynasty (among others Boleszczyce 1877, Król chłopów 1881), the Jagiellonians (Semko 1882, Matka królów 1883 and others) and the oriental rulers (i.e. Boży gniew 1886). The series was completed with the posthumously published Saskie ostatki (1889).
Kraszewski's literary activities were characterised by patriotic intentions, tinged with antipathy toward the aristocracy, affinity with the gentry (whose vices he would castigate, but whom he considered to be the mainstay of national awareness) and a tendency to idealise the peasants. The realist writers of Poland's "Positivist" period, notably including Bolesław Prus, regarded him as their teacher. Single-handedly he created a whole library of novels, which in the second half of the 19th century were appreciated not only in Poland—where he was popular even in the twentieth century—but in the majority of European countries. Over a hundred of his novels have been translated into foreign languages. Before Henryk Sienkiewicz, he was the most often translated Polish author.
Adaptation
In 2003 the first book in the series, Stara Baśń (An Ancient Tale, 1876), was made into a successful feature film directed by Jerzy Hoffman starring Bohdan Stupka, Michał Żebrowski and Daniel Olbrychski.
Works
Józef Ignacy Kraszewski
Sceny i charaktery z życia powszedniego (1878)
Barani Kożuszek (1881)
Biografia Sokalskiego organisty Kotlety
Boża czekoladka (1858)
Boża opieka. Powieść osnuta na opowiadaniach XVIII wieku
Bracia rywale
Bratanki
Brühl (1874)
Budnik (1847)
Całe życie biedna
Caprea i Roma (1859)
Cet czy licho?
Chata za wsią (The Cottage outside the Village, 1842)
Czarna Perełka (1871)
Czasy kościuszkowskie
Czercza mogiła
Cześnikówny
Cztery wesela
Diabeł (1855)
Dola i niedola. Powieść z ostatnich lat XVIII wieku (1864)
Dwa światy (1856)
Dziad i baba
Dziadunio (1868)
Dzieci wieku (1857)
Dziecię Starego Miasta (1863)
Dziennik Serafiny (1876)
Dziwadła
Emisariusz
Ewunia
Głupi Maciuś
Grzechy hetmańskie. Obrazy z końca XVIII wieku
Herod baba
Historia kołka w płocie (1860)
Historia o bladej dziewczynie spod Ostrej Bramy
Historia o Janaszu Korczaku i o pięknej miecznikównie: powieść z czasów Jana Sobieskiego (1874)
Historia Sawki (1842)
Hołota
Hrabina Cosel (1873, e-book)
Interesa familijne
Jak się pan Paweł żenił i jak się ożenił
Jaryna (1850)
Jermoła (Iermola, 1857)
Jesienią
Kamienica w Długim Rynku
Kartki z podróży
Kawał literata (1875)
Klasztor
Klin klinem
Komedianci
Kopciuszek
Kordecki
Kościół Świętomichalski w Wilnie
Król i Bondarywna. Powieść historyczna
Krzyż na rozstajnych drogach
Krzyżacy 1410
Kunigas (1881)
Kwiat paproci
Lalki: sceny przedślubne
Latarnia czarnoksięska (1843–1844)
Listy do rodziny
Lublana
Ładny chłopiec
Ładowa Pieczara (1852)
Macocha
Maleparta
Męczennicy. Marynka
Męczennicy. Na wysokościach
Milion posagu
Mistrz Twardowski (1840)
Mogilna. Obrazek współczesny
Morituri (1874–1875)
Moskal: obrazek współczesny narysowany z natury (1865)
Na bialskim zamku
Na cmentarzu – na wulkanie
Na tułactwie
Na wschodzie. Obrazek współczesny (1866)
Nad modrym Dunajem
Nad Sprewą
Nera
Niebieskie migdały
Noc majowa
Ongi
Orbeka
Ostap Bondarczuk (1847)
Ostatni z Siekierzyńskich (1851)
Ostrożnie z ogniem
Pałac i folwark
Pamiętnik Mroczka (1870)
Pamiętnik panicza
Pamiętniki
Pan i szewc
Pan Karol
Pan Major
Pan na czterech chłopach (1879)
Pan Walery
Panie kochanku: anegdota dramatyczna w trzech aktach
Papiery po Glince
Pod Blachą: powieść z końca XVIII wieku (1881)
Poeta i świat (1839)
Polska w czasie trzech rozbiorów 1772–1799
Pomywaczka: obrazek z końca XVIII wieku
Powieść bez tytułu (1854)
Powrót do gniazda (1875)
Półdiablę weneckie
Profesor Milczek
Przed burzą
Przygody pana Marka Hinczy. Rzecz z podań życia staroszlacheckiego
Pułkownikówna
Ramułtowie
Raptularz pana Mateusza Jasienickeigo. Z oryginału przepisany mutatis mutandis
Resurrecturi
Resztki życia
Roboty i prace: sceny i charaktery współczesne
Rzym za Nerona (1865)
Sąsiedzi
Sceny sejmowe. Grodno 1793 (1873)
Sekret pana Czuryły. Historia jednego rezydenta wedle podań współczesnych opowiedziana
Serce i ręka (1875)
Sfinks (1847)
Sieroce dole
Skrypt Fleminga
Sprawa kryminalna
Stara baśń (An Ancient Tale)
Stańczykowa kronika od roku 1503 do 1508 (1841)
Stara Panna
Staropolska miłość
Starosta warszawski: obrazy historyczne z XVIII wieku
Starościna Bełska: opowiadanie historyczne 1770–1774
Stary sługa
Sto Diabłów
Syn marnotrawny (1879)
Szalona (1880)
Szaławiła
Szpieg (1864)
Śniehotowie
Tomko Prawdzic
Trapezologion
Tryumf wiary. Obrazek historyczny z czasów Mieczysława I-go
Tułacze (1868)
U babuni
Ulana (1842)
W baśń oblekły się dzieje
W pocie czoła. Z dziennika dorobkiewicza (1884)
W starym piecu
Warszawa 1794 (1873)
Wielki nieznajomy
Wielki świat małego miasteczka
Wilczek i wilczkowa
Wspomnienia Odessy, Jedysanu i Budżaku: dziennik przejażki w roku 1843 od 22 czerwca do 11 września
Wspomnienia Wołynia, Polesia i Litwy
Z chłopa król
Z siedmioletniej wojny (1875)
Z życia awanturnika
Zadora
Zaklęta księżniczka
Zemsta Czokołdowa
Złote jabłko
Złoty Jasieńko
Zygmuntowskie czasy. Powieść z roku 1572 (1846)
Zygzaki
Żacy krakowscy w roku 1549 (Kraków Students in 1549)
Żeliga
Żyd: obrazy współczesne (The Jew: Contemporary Pictures, 1866)
Żywot i przygody hrabi Gozdzkiego. Pan starosta Kaniowski
Żywot i sprawy Imć pana Medarda z Gołczwi Pełki z notat familijnych spisane (1876)
Series "Dzieje Polski" ("The History of Poland") — 29 novels about Poland's history, in chronological order (1876–90)
Adama Polanowskiego dworzanina króla Jegomości Jana III notatki
Bajbuza: czasy Zygmunta III
Banita: czasy Stefana Batorego
Biały książę: czasy Ludwika Węgierskiego
Boleszczyce: powieść z czasów Bolesława Szczodrego
Boży gniew: czasy Jana Kazimierza
Bracia Zmartwychwstańcy: powieść z czasów Chrobrego
Dwie królowe
Historia prawdziwa o Petrku Właście palatynie, którego zwano Duninem: opowiadanie historyczne z XII wieku
Infantka
Jaszka Orfanem zwanego żywota i spraw pamiętnik: Jagiełłowie do Zygmunta
Jelita: powieść herbowa z r. 1331
Kraków za Łokietka: powieść historyczna
Król Chłopów: powieść historyczna z czasów Kazimierza Wielkiego
Król Piast: (Michał książę Wiśniowiecki)
Królewscy synowie: powieść z czasów Władysława Hermana i Krzywoustego
Lubonie: powieść z X wieku
Masław
Matka królów: czasy Jagiełłowe
Na królewskim dworze: czasy Władysława IV
Pogrobek: powieść z czasów przemysławowskich
Saskie ostatki: August III
Semko: czasy bezkrólewia po Ludwiku
Jagiełło i Jadwiga
Stach z Konar: powieść historyczna z czasów Kazimierza Sprawiedliwego
Stara baśń (An Ancient Tale, 1876)
Strzemieńczyk: czasy Władysława Warneńczyka
Syn Jazdona: powieść historyczna z czasów Bolesława Wstydliwego i Leszka Czarnego
Waligóra: powieść historyczna z czasów Leszka Białego
Za Sasów
The An-2 is used as a light utility transport, parachute drop aircraft, agricultural work and many other tasks suited to this large slow-flying biplane. Its slow flight and good short field performance make it suited for short, unimproved fields, and some specialized variants have also been built for cold weather and other extreme environments. The Guinness Book of World Records states that the 45-year production run for the An-2 was for a time the longest ever, for any aircraft, but it was recently exceeded by the Lockheed C-130 Hercules.[1]
The Antonov An-2 was designed to meet a 1947 Soviet Ministry of Forestry requirement for a replacement for the Polikarpov Po-2, which was used in large numbers in both agricultural and utility roles. Antonov designed a large single bay biplane of all-metal construction, with an enclosed cockpit and a cabin with room for seats accommodating twelve passengers. The first prototype, designated SKh-1 and powered by a Shvetsov ASh-21 radial engine, flew on 31 August 1947. The second prototype was fitted with a more powerful Shvetsov ASh-62 engine, which allowed the aircraft's payload to be significantly increased from 1,300 kg (2,870 lb) to 2,140 kg (4,720 lb), and in this form it was ordered into production.[7]
Initial Soviet production was at State Factory 473 in Kiev, Ukrainian SSR where the bulk of up to 5,000 units had been produced by 1960. Later Soviet production (after 1965, of model An-2M especially) was at State Factory 464 at Dolgoprudniy, Russian SFSR. After 1960, however, most An-2s were been built at Poland's WSK factory in Mielec, with over 13,000 made there before full production ended in 1991. Limited production from parts stocks, as well as spares and maintenance coverage continued until 2001, when four aircraft were produced for Vietnam.[8] China also builds the An-2 under licence as the Shijiazhuang Y-5.[1] It has been occasionally and erroneously reported that there was East German production of the An-2. While An-2s were extensively refurbished in East Germany, there were no new aircraft built there.
The An-2 was designed as a utility aircraft for use in forestry and agriculture. However, the basic airframe is highly adaptable and numerous variants have been developed. These include hopper-equipped versions for crop-dusting, scientific versions for atmospheric sampling, water-bombers for fighting forest-fires, flying ambulances, float-equipped seaplane versions and lightly armed combat versions for dropping paratroops.[9] The most common version is the An-2T 12-seater passenger aircraft. All versions (other than the An-3) are powered by a 750 kW (1,000 hp) nine-cylinder Shvetsov ASh-62 radial engine, which was developed from the Wright R-1820.[1] It uses 43 gallons of avgas per hour.[9]
An-2 on skis at Volosovo air field, Moscow region
An-2 at Grand Junction aviation show.
The An-2 has design features which make it suitable for operation in remote areas with unsurfaced airstrips:
It has a pneumatic brake system (similar to those used on heavy road vehicles) to stop on short runways.[1]
It has an air line fitted to the compressor, so the pressure in the tires and shock absorbers can be adjusted without the need for special equipment.[1]
The batteries are large and easy to remove, so the aircraft does not need a ground power unit to supply power.[1]
There is no need for an external fuel pump to refuel the aircraft, as it has an onboard pump that allows the tanks to be filled from simple fuel drums.[1]
It has a minimum of complex systems. The crucial wing leading edge slats that give the aircraft its slow flight ability are fully automatic, being held closed by the airflow over the wings. Once the airspeed drops below 64 km/h (40 mph), the slats will extend because they are on elastic rubber springs.[1]
Take-off run: 170 m, landing run: 215 m (these numbers will of course vary depending on take-off/landing weight, outside air temperature, surface roughness, and headwind).[1]
Antonov An-2 (An2-TP)
A note from the pilot's handbook reads: "If the engine quits in instrument conditions or at night, the pilot should pull the control column full aft and keep the wings level. The leading-edge slats will snap out at about 64 km/h (40 mph) and when the airplane slows to a forward speed of about 40 km/h (25 mph), the airplane will sink at about a parachute descent rate until the aircraft hits the ground." [1]
The An-2 indeed has no stall speed quoted in the operating handbook. Pilots of the An-2 say one can fly the aircraft in full control at 30 mph (as a contrast, a modern Cessna four-seater light aircraft has a stall speed of around 50 mph). This slow stall speed makes it possible for the aircraft to fly backwards (if the aircraft is pointed into a headwind of, say, 35 mph (56 km/h), it will travel backwards at 5 mph (8.0 km/h) whilst under full control). (This is also possible with almost any other true Short Take Off and Landing (STOL) aircraft, but the Antonov has the distinction of being able to do the trick in the mildest headwind.)[1]
Closeup on a private An-2TP
Since the collapse of the Soviet Union and the Eastern European communist states, most airlines in these areas have been withdrawing their An-2s from service, as some of these aircraft are now over 40 years old and the production of avgas had decreased.[9] Private operators are still using the planes, as their stability, capacity and slow-flying ability make them very popular, for instance for skydiving.[1][9]
In the early 1980s Antonov experimented with a development of the An-2 powered by a modern turboprop engine. The unit used was a 1,450 horsepower (1,080 kW) Glushenkov engine and aircraft fitted with this engine were fitted with a longer, more streamlined nose to accommodate it. See Antonov An-3 article for more information.[1]
In 2013 Antonov announced that it had successfully flown for the first time a new version of the An-2 dubbed the An-2-100 fitted with a 3-blade reversible propeller and a 1500 shp Motor Sich MS-14 turboprop running on kerosene rather than Avgas which is no longer produced in CIS countries.[10]
Whilst their high noise levels, increasing maintenance costs, high fuel consumption[9] and unsophisticated nature (the pre-flight checks alone take between 30 and 40 minutes) make them obsolete for commercial service in Europe, the large number of aircraft available means that prices are low (from as little as US$30,000 for a serviceable example). This makes them ideal for the developing world, where their ability to carry large loads into short airstrips makes them assets to airlines on a budget. Many ex-Aeroflot An-2s work as regional airliners in Africa, Central and South America, Cuba and southeast Asia.[1]
Ukrainian Hryvna depicting the An-2 airplane
North Korea has a number of the aircraft with[11] wooden propellers and canvas wings on their variants (the Y-5 version licence-built in China) giving them a low radar cross-section and therefore a limited degree of "stealth".[12] In a war they could possibly be used to parachute or deliver special forces troops behind enemy lines for sabotage operations.[1]
The An-2's ability, looks and flying characteristics, and its status as one of the world's biggest single-engined production biplanes, mean that demand for the An-2 is increasing in Western Europe and the United States, where they are prized by collectors of classic aircraft, making it an increasingly common sight at airshows. However, many western countries prohibit the use of the An-2 commercially because the aircraft has not been certified by the relevant national aviation authorities. These restrictions vary by country, but all prevent the An-2 being used for any 'for profit' purpose, with the exception of the United States, where An-2s imported since 1993 are limited to experimental certification & Title 14 Code of Federal Regulations, Part 21.191,21.193,21.195,91.313,91.319,[9] but PZL-built An-2s are exempt from this restriction due to a bilateral agreement with Poland.[1]
Modernization and refitting projects[edit]
In 2013, Antonov received orders for upgrading "hundreds" of the An-2 planes still in operation in Azerbaijan, Cuba and Russia to the An-2-100 upgrade version.[4]
The Siberian Research Institute of Aviation (SIBNIA) has test flown a highly modified Antonov An-2 with carbonfibre winglet-like braces and carbonfibre wing structures. This is to demonstrate the aerodynamic and structural changes planned for an An-2 replacement, Sukhoi has announced on 10 June 2015. The aircraft was equipped with a five-bladed turboprop engine, most probably the Honeywell TPE331 already installed on a modernized version of the An-2 that entered service in 2014. The autoclave-cured carbonfibre composite materials – including wing panels, spars and ribs – were produced by the Novosibirsk Aviation Plant. Sukhoi says the design change improved the speed of the An-2 by 50%, and testing also has shown the minimum flying speed of the aircraft is “close to zero”.
Shot in Las Ramblas, Barcelona.
Press L and F11 to view large on black - recommended
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Make-Up: Merce Moreno Monsalve
Model: Irene Lopez Ros
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We go through
joys and laughters and highs
you make me shine
We go through
sorrows and tears and lows
you make me shine
We go through
thunders and rains and storms
you make me shine
We go through
bright morns and sunny days and golden sunsets
you make me shine
You, my love
my sunrays
my beloved
my sunshine
You make me shine...
Just posting a little something for my dearest...
My Bilal...
My sunshine...
I love you! :)
Make-up: Valentina Gretsova
Hair: Kenni Ford
Clothing: Marina Asta
strobist info: sb800 +28" apollo softbox high camera left, sb800 in tunnel pointed at closer wall to bounce, sb800 on cam commander mode only to trigger. cls.
Two of my good buddies like to make small comedy sketches, and this shot is for their YouTube channel "Cake Hustlers."
No real cake was used in the making of these photos.
Brazil and Chile played a football (soccer) game in Gothenburg on March 24th 2007. I'm not interested in sports but I took my camera out and went to the stadium before the game to shoot supporters. Happy friendly people everywhere and there was a jolly good atmosphere. There are many Chileans living in Sweden so the Chilean fans totally outnumbered the Brazilian ones. However Brazil won, 4-0.
It was a lot of fun and it was a wonderful spring afternoon, sunshine and 16 degrees (61F).
This boy makes up 1/2 of my best friends. He has been in my life since I was 4 years old and for that I love him to pieces.
LT 2, the second new 'Borismaster' makes it's way out of Shaftesbury Avenue into the traffic at Piccadilly Circus with Centre Point towering in the background. The new 'Borismaster' has it's own timetable on the 38 route but if this days 'hunting' was anything to go by it's very 'flexible' (30 mins late on this particular occasion!) . And as far as I'm aware, as their is only 1 of them running at the moment it can be a long wait to see it! And I can confirm the rear platform was open and the conductor even gave me a happy smile as he went past!
Make A Mark Tween Empowerment Event
October 10, 2009 | Pasadena Civic Center
Photo courtesy of Triple Cord Photography
I've not much going on at the moment photography wise so I thought it'd be a good opportunity to put some colour into my stream! And these images make for a great antidote to the truly grim, awful weather we've had today (with more to come apparently :-( ).
Dotted around my garden, in amongst all the other plants, are wild poppies (these are Welsh poppies – thanks for reminding me, Alan!). I let them self-seed each year and for some reason this year is turning out to be one of the best displays they've given me since I introduced them. I love Welsh wild poppies and let them grow wherever they will, and to see their tissue paper blossoms atop their tall stems, fluttering gently in the breeze like Tibetan prayer flags, is a real joy to behold and always brings a smile to my face whatever my mood. Without exception they're all vivid sulphur yellow, bar this little rebel wonder who chose to be orange instead, which I'm very grateful for because it looks stunning set against the sky blue of Forget-me-nots (another fantastic self-seeder).
to-thebeach.com
A nice job by the Beach Village BIA to clean up the street scape by adding photos of The Beaches in vacant store-front windows.
Queen Street East
The Beaches - Toronto
Vienna Baroque
Doris Binder
The center of Baroque art was undisputable Vienna, as a special promoter appeared the Emperor Charles VI., under whose reign not only the Karlskirche was built, but also numerous buildings have been newly planned or built. The passion for building of the High Baroque is not only founded by the destructions of the Turks, but also has its causes in the backward economic structure and its lack of production plants. Whether nobleman, cleric or commoner, all those with sufficient capital put it rather in construction funds into practice than not make use of it. Responsible for this was a deep distrust to the imperial fiscal policy and concern about the currency and a possible bankruptcy.
The Baroque emerged within the civil peace (*) Burgfrieden) of the city of Vienna, had at the beginning of the High Baroque era still dominated religious buildings, so the cityscape changed in just four decades. Vienna was transformed into a "palace city", by the year 1740, the number of pleasure palaces, gardens and belvederes had doubled. The Baroque style, which by crown, church and nobility was forced upon the citizens, is considered of Felix Czeike as "authority art". The existing social gap should be camouflaged by the rubberneck culture in festivities, receptions and parades.
*) Burgfrieden (The term truce or Castle peace referred to a jurisdiction in the Middle Ages around a castle, in which feuds, so hostilities of private individuals among themselves, under penalty of ostracism were banned. Today the term is mainly used in a figurative sense.
Due to the return of Fischer von Erlach to Vienna in 1686 and a decade later, Lukas von Hildebrandt, the primacy of the Italians in architecture was broken and the victory parade of Austrian Baroque began. The connection between the spiritual and secular powers found its mode of expression in the Baroque, which the appearance of the city of Vienna should characterize in a decisive manner.
Construction of Charles Church
The Karlskirche was built by Emperor Charles VI. commemorating the plague saint, Charles Borromeo. In 1713 the plague raged in Vienna and claimed about 8,000 human lives, in February 1714 the plague disappeared and as a sign of gratitude was began with the construction of the church, this should become the most important religious building of Vienna in the 18th century.
In a contest was decided on the builder - participants were Johann Bernhard Fischer von Erlach, Johann Lukas von Hildebrandt and Ferdinando Galli-Bibienas. As winner emerged the famous architect Johann Bernhard Fischer von Erlach, he died in 1723 and did not live to the achievement of the Church. The supervision was transferred to the imperial court architect Anton Erhard Martinelli, as Fischer von Erlach died, his son, Joseph Emmanuel, finished his work. On 28 October 1737 St. Charles Church was solemnly by the Archbishop of Vienna, Cardinal Sigismund Count Kollowitz, inaugurated. The spiritual care ceded Emperor Karl VI. to the chivalric Order of the Cross with the Red Star, since 1783 is the Karlskirche imperial patronage parish.
The church at that time lay still behind the regulated river Wien (Wienfluss) and in the open field. The directed towards the city face side of the Charles Church, which stood on the edge of the suburb of Wieden, was target point of a line of sight the Hofburg and St. Charles Church in the sense of a "via triumphalis" connecting. On the temple-like front building of the Karlskirche the dedication inscription is clearly visible "Vota mea Reddam in conspectu timentium Deum" - "I will fulfill my vow before those who fear God."
Already during the construction by Fischer von Erlach (senior), there were several project phases, three of which have been preserved:
1. Medaillon by Daniel Warou for the groundbreaking ceremony
2. Fore stitches in Fischer's draft of a historical architecture 1721
3. Viennese view of work by Klein and Pfeffel 1722 (1724)
Due to the death of Fischer von Erlach, occured recent changes made by his son, Joseph Emmanuel most of all being concerned the dome (much higher and steeper), the priest choir (omitted) and the interior (simpler). The entire project took a total of 21 years and the costs amounted to 304 045 guilders and 22 ¼ cruisers. The construction costs were shouldered by all crown lands of the Empire, but also Spain, Milan and the Netherlands had to make a contribution.
The Karlskirche is the most important Baroque building of the city and represents the most convincing the so-called Empire style in which for the last time an empire awareness in the architecture of the capital of the Holy Roman Empire after the victorious ended wars against the Turks and the French was expressed.
Symbolism of the Karlskirche
The Karlskirche consists of a central rotunda with a dome, preceded by a column structure like a Greek temple, of two high pillars illustrated on the model of Trajan's Column in Rome and of two lateral gate pavilions. The illustrated columns represent Charles VI. as a wise and strong secular ruler, the two great pillars were created by Marder and Matielli. The columns are crowned by golden eagles, symbolizing the two virtues of the Emperor - fortitudo (bravery) and constantia (resistance). The two pillars are evocative of the two pillars before the temple in Jerusalem - Jachin and Boaz. However, the illustration of the two columns does not match the model of the Trajan columns in Rome, portraying war deeds, but these tell the life story of St. Borromeo. In the front view of the Karlskirche a wide range of different symbols become one whole - the Roman emperors Trajan and Augustus, the Temple of Solomon, St. Peter's Church in Rome, Hagia Sophia, Charlemagne and the Empire of Charles V. - through the skillfully used symbols should be shown the claim of the house of Habsburg to the European domination.
The plan view of the church is, as in baroque typical, ellipsoid. In the interior of the Karlskirche the great Baroque sculpture is immediately noticeable, representing St. Borromeo. At the base the four Latin Fathers of the Church are depicted. The interior of the Karlskirche is dominated by the tremendous fresco in the oval dome room, it was created by the eminent Baroque painter Johann Michael Rottmayr between 1725-1730. The fresco shows the Mother of God representing the intercession of the patron Saint of the Church to help head off the plague, surrounded is the scene by the cardinal virtues (faith, hope and love). In the left entrance wing is situated the tomb for the Austrian poet Heinrich Joseph von Collin (17771-1811).
Inside the St. Charles Church, there is a museum where the most valuable pieces are exhibited.
These include: the vestments of St. Borromeo, a reliquary of gold and silver - a donation of Emperor Charles VI. and a rococo monstrance (1760) containing a drop of blood of the saint. Thomas Aquinas.
Even the image of the architect Fischer von Erlach, painted by Jacob von Schuppen, is one of the church treasures.
The iconographic program of the Charles Church was written by Carl Gustav Haerus, by this the Saint Charles Borromeo should be connected to the imperial founder.
www.univie.ac.at/hypertextcreator/ferstel/site/browse.php...
Time to stop sitting on our collective asses and save time once again! My name's Russell, otherwise known as StrongerStrange, You'll find all different kinds of videos on my channel, that will hopefully not only entertain you, but put a smile on your face and make your day a little better! All I have to offer is my personality, and witty shenanigans, hopefully that's enough. Stay up to-date with my shenanigans by subscribing: www.youtube.com/channel/UCg3jfLW3a6eD7HWGHKNejUg?sub_conf... Dragon Ball Xenoverse 2 Playlist: www.youtube.com/playlist?list=PLRE7HMbyx7mtP2yA4g1vZ2DtrT... Check out Luna Lass's original adventure here: www.youtube.com/playlist?list=PLRE7HMbyx7ms0c0ih9afpdViZ9... There's a fun colour system for my videos as well. ACTION - Blue ADVENTURE - Pink SHOOTER - Purple MMO - Orange PLATFORMERS - Teal ROUGELIKE - Red RPG - Yellow RTS - Green HORROR - Grey I make these videos on my day off when I'm not working as a Support Worker. It takes up majority of my time and is hard to keep up so all the support, comments, likes, and subscribers I get are more motivation to keep going. If you enjoy what I do please let me know as it's a great encouragement and it's always nice to hear from you. I upload videos every WEDNESDAY! (MONDAY and FRIDAY if I get time!) Thank you all for watching! Please Feel free to make a suggestion. All the Playthroughs, Walkthrough and Gameplay Videos I make are for fun, but I'd like to make videos in a wider range and slowly become more professional, or unprofessional which ever is better. MAKE WAY, ROOKIE TIME PATROLLER HERE! - Dragon Ball Xenoverse 2 - PART 2 #dragonball #xenoverse2 #dbxv2 #dragonballsuper #dbs #videogame
I recovered this chair with linen that I hand printed with my own design. blogged at mayamade.blogspot.com/2008/09/old-chair-made-new.html
Come make your own gadget, robot or wearable art at Tam Makers!
We started a new ‘open shop’ program called ‘You Can Make It’, to help you create your own maker project with our community. This workshop for adults and teens takes place on Wednesday evenings in our makerspace at Tam High School in Mill Valley. Our first series was held on three Wednesdays in a row: June 29th, July 6th and 13th, between 6 and 9pm.
On the first night, we helped eight participants plan their projects, prepare their materials and develop new skills. They then built their projects the following weeks, with guidance from instructors and other participants.
Here are examples of projects they worked on: a garage door opener, an animated owl, an engraving, solar-powered lights, a theremin, a wooden frame, an illuminated art piece and more. They used a wide range of tools to build them, from Arduino boards to our laser cutter, oscilloscope, and radio transmitters and solar-power technology.
One of the great benefits of this open shop program is that you get a lot more than just access to tools: you join a community of makers who like to make things together and help each other. On that first night, we had three mentors on hand to coach participants: Geo Monley, Fabrice Florin and Donald Day, who also teach at Tam Makers.
Participants seemed to enjoy this ‘You Can Make It’ open shop and told us they got a lot from it. This is one of our first maker workshops at Tam Makers, and we’re really happy that it is going well; we look forward to offering more open shop sessions in the fall.
Learn more about You Can Make It:
www.tammakers.org/you-can-make-it/
View more photos of You Can Make It:
www.flickr.com/photos/fabola/albums/72157670867561896
View more photos of Tam Makers:
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Learn more about Tam Makers:
This isn't an exchange, but more of a "gift it forward" kind of thing. The people you make something for will not be making anything for you unless you happen to get on their list.
The first five (5) people to respond to this post will get something made by me - something REAL that you could actually stub your toe on if you left it lying around on the floor.
This offer does have some restrictions and limitations so please read carefully.
1. There is no guarantee that you will like what I make, although I really hope you do. And, remember, sometimes it's okay to tell a little white lie to spare a person's feelings. *sniff*
2. What I create will be just for you.
3. It will be done 3 months from the day I make my offer.
4. I will not give you any clue what it's to be, so don't bother begging. ;-)
5. I reserve the right to do something extremely Me.....
6. If you sign up to receive something from me, all you need to do is offer your own "Make 5".
7. It might be one of my favorite creations: Vegemite on toast :)
8. I'm willing to ship anywhere in the world, but if you have geographical limits, please say so in your own post.
9. Since you're offering to Make 5 gifts, it's probably okay to sign up for 5 other people's "Make 5". Just follow your own heart on that. :)
10. Even though you sign up for others' Make 5, you might not actually get anything. It's probaby best to plan to give with no expectation of a return gift. You just never know. :-
I used the starter picture for the skirt, using various sections layered one over the other. The image is from E-Vint.com (altered) and the background is by Creativewing Designs.
Make It Interesting ~ Challenge #1
Starter image with thanks to Being There
Cienega Bridge, Pima County (far from any populated area), Arizona.
Now, don't get me wrong; this is almost certainly a fine bridge. It has done its job for nearly 100 years. What more could be expected of it?
However, I have to ask... Why is it listed in the National Register of Historic Places? (Is a bridge even a place?)
It rates exactly two sentences in its Wikipedia article, which, although mentioning the National Register, doesn't say why it was so recognized.
As far as I can tell, it's not especially notable in terms of length, height, innovation or design. It didn't connect two places that were previously isolated, or even important. (While we may have visited at a "slow" time, it's hard to believe that this bridge carries much more than eight or ten vehicles a day; it's pretty remote here.) It spans a CREEK, which is often dry, not the mighty Mississippi.
Was it honored because of its age at the time? Is 67 years a remarkably long time for a bridge to be useful? (By coincidence, that's my count at present. Should I expect some sort of longevity award?)
Let's face it; it's not remindful of the Golden Gate or Brooklyn. It's a bridge, not an icon.
The scenic Rincon Mountains (which are not, as far as I'm aware, listed in the National Register of Historic Places even though they are probably more than 67 years old) are in the distance.