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Peninsula, Ohio

Peninsula is a village in Summit County, Ohio, United States. The population was 565 at the 2010 census. It is part of the Akron Metropolitan Statistical Area.

It is located in the middle of the Cuyahoga Valley National Park, which provides a source of tourism to the village. Blossom Music Center is located on its outskirts. The Ohio and Erie Canal Towpath Trail runs through just west of downtown, and many bikers and hikers stop for refreshments as it is one of the only towns between Akron and Cleveland.

Peninsula is bordered on its east side by Boston Heights. It is a part of Boston Township.

Over 20 places in Peninsula are listed on the National Register of Historic Places.

Settled in 1818, Peninsula, on the Cuyahoga River halfway between Cleveland and Akron, is a well-preserved mid-19th-century town, that grew and prospered with the establishment of the Ohio and Erie Canal and the Valley Railroad. The village was plotted in 1837 by Herman Bronson. Peninsula was a bustling canal boat stop—home to several mills, stone quarries and boat yards, five hotels and 14 bars until 1887. The Gothic Revival Bronson Memorial Church, originally constructed in 1835 as the Bethel Church, according to William Perrin’s History of Summit County (1881) was an attempt to “introduce moral and religious tactics among the vicious and unlawful practices of the canal boatmen.” In 1889 the church was remodeled in the Gothic Revival style. The historic district extends along Main Street and contains many fine examples of early 19th-century architecture. The dominant Greek Revival style reflects popular architectural tastes at the time the area was settled by New Englanders. A notable high style example of the village’s Greek Revival architecture is the 1824 Bronson House, built of locally quarried sandstone blocks. Several canal-era houses are typical of the popular Western Reserve New England building type called the Upright-and-Wing, particularly suitable for the early 19th-century Ohio frontier. The main gable-front two-story section contained a parlor and bedchambers, while the kitchen was located in a perpendicular one-story eave oriented section. Other architectural styles include Gothic Revival, Italianate, Queen Anne, Stick and Colonial Revival. The 1886 Stick style Boston Township Hall originally functioned as the village high school. The three-story hip roofed building contains a pyramidal roof tower with an open belfry. The Township Hall is now the Cuyahoga Valley Historical Museum.

Peninsula is located at (41.240755, -81.556363).

According to the United States Census Bureau, the village has a total area of 4.68 square miles (12.12 km2), of which 4.67 square miles (12.10 km2) is land and 0.01 square miles (0.03 km2) is water.

Boston Mills/Brandywine Ski Resort just north of Peninsula is one of the few skiing locations in Ohio.

As of the census of 2010, there were 565 people, 237 households, and 164 families residing in the village. The population density was 121.0 inhabitants per square mile (46.7/km2). There were 261 housing units at an average density of 55.9 per square mile (21.6/km2). The racial makeup of the village was 98.4% White, 0.4% African American, 0.4% Asian, and 0.9% from two or more races. Hispanic or Latino of any race were 0.4% of the population.

There were 237 households of which 26.2% had children under the age of 18 living with them, 55.3% were married couples living together, 11.0% had a female householder with no husband present, 3.0% had a male householder with no wife present, and 30.8% were non-families. 25.3% of all households were made up of individuals and 6.7% had someone living alone who was 65 years of age or older. The average household size was 2.38 and the average family size was 2.84.

The median age in the village was 47.3 years. 20.5% of residents were under the age of 18; 5.7% were between the ages of 18 and 24; 19.4% were from 25 to 44; 40.9% were from 45 to 64; and 13.5% were 65 years of age or older. The gender makeup of the village was 49.4% male and 50.6% female.

As of the census of 2000, there were 602 people, 240 households, and 160 families residing in the village. The population density was 128.8 people per square mile (49.8/km²). There were 254 housing units at an average density of 54.3 per square mile (21.0/km²). The racial makeup of the village was 97.84% White, 0.66% African American, 0.33% Asian, 0.17% from other races, and 1.00% from two or more races. Hispanic or Latino of any race were 0.17% of the population.

There were 240 households out of which 25.0% had children under the age of 18 living with them, 56.3% were married couples living together, 8.3% had a female householder with no husband present, and 33.3% were non-families

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. 25.0% of all households were made up of individuals and 7.5% had someone living alone who was 65 years of age or older. The average household size was 2.40 and the average family size was 2

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.91.

In the village, the population was spread out with 20.9% under the age of 18, 4.5% from 18 to 24, 29.1% from 25 to 44, 30.7% from 45 to 64, and 14.8% who were 65 years of age or older. The median age was 43 years. For every 100 females there were 98.7 males. For every 100 females age 18 and over, there were 93.5 males.

The median income for a household in the village was $64,205, and the median income for a family was $73,125. Males had a median income of $48,125 versus $27,188 for females. The per capita income for the village was $29,031. None of the families and 1.2% of the population were living below the poverty line, including no under eighteens and 2.2% of those over 64.

Public schooling is provided by the Woodridge Local School District. However the new development Hidden Lakes located in Peninsula are registered by the Hudson City School District (Ohio).

The Woodridge Local Schools offer a wide variety of athletic programs. The school’s official mascot is a Bulldog.

H-hour (D-day)

H-hour was the name given to the airborne assault during the Normandy landings of World War II. The units involved included the U.S. 101st Airborne Division and U.S

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. 82nd Airborne Division, along with the British 6th Airborne Division. This took place about three hours before the main beach landings on the Normandy. The airborne invasion consisted of over 20,000 men and around 1,200 planes and gliders. The combined assault of the three Allied airborne divisions would surprise the German defenders and cause enough havoc behind the German lines, enabling the beach landings to go more smoothly. .

The divisions of paratroopers that landed each had an objective:

When the airborne divisions were dropped, there were many mis-drops. Some were dropped as far away from their designated DZ (drop zone) as 20 miles. Some were even dropped in the English Channel. Often

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, the C-47’s and modified B-23’s that were used in the drops came under heavy fire and were forced to drop their Airborne members prematurely. Pilots were often heavily criticized for this. Another reason why many mis-drops occurred is because, while crossing the English Channel the transport aircraft’s formations (“flying V’s”) flew through low lying clouds. The lack of visibility caused pilots to often drift away from the lead plane to avoid a crash. This caused many pilots to have their bearings off and flying just a few degrees off course, which added up when this was done for several miles.

Hans Henny Jahnn

Hans Henny Jahnn (Stellingen, 17 dicembre 1894 – Amburgo, 29 novembre 1959) è stato uno scrittore tedesco, innovatore nella costruzione di organi ed editore di testi musicali (Ugrino Verlag).

L’opera letteraria di Hans Henny Jahnn ruota intorno al tema dell’angoscia esistenziale, ininterrotta ed indissolubilmente legata all’essere umano, che può essere superata solo grazie all’amore e alla compassione verso gli altri e verso il creato. La perdita di amore e attenzioni risulta quindi sempre in un crollo tragico nella sofferenza primaria dovuta al lutto. In Jahnn questa visione del mondo si coniuga con un’estetica pitagorica idealizzata basata sulle leggi dell’armonia, che si manifesta in una profonda venerazione per la dignità umana e va in senso contrario alle evoluzioni sociali e culturali. Nei suoi romanzi Jahnn appare nelle vesti di ateo.

Con le sue opere Hans Henny Jahnn costituisce un fenomeno unico nella letteratura tedesca e non può essere annoverato in nessun movimento. Presto abbandona gli elementi tardo espressionistici dei primi lavori a favore di uno stile originale sulla scia di un “realismo magico”.

Figlio di un costruttore di navi, frequentò la Realschule a St.Pauli, dove conobbe Gottlieb Harms (1893-1931, che sarebbe diventato autore di musica), quindi la Oberrealschule “Kaiser Friedrich Ufer” nel quartiere Eimsbüttel di Amburgo; vi conseguì la maturità nel 1914. Nel 1915 emigrò in Norvegia con Harms per sfuggire alla Prima Guerra Mondiale. Alla fine del 1918 tornò ad Amburgo, per poi trasferirsi per poco tempo in campagna presso Eckel. Qui visse con Gottlieb Harms e Franz Buse (1900-1971, allora scultore). Vi abitavano anche altri, tra cui Ellinor Philips (1893-1970), sua futura moglie. Sebbene Jahnn non si sia mai dichiarato omofilo e si sia sposato, senza ombra di dubbio da giovane ebbe dei rapporti omosessuali

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, fra cui con Harms, suo grande amore, accanto al quale è sepolto.

Nel 1919 Jahnn, Harms e Buse fondarono la comunità di artisti Ugrino. Nacque – similmente ad altri gruppi della Repubblica di Weimar – dall’esigenza di nuove interpretazioni e come alternativa alla situazione del primo dopoguerra, per molti deludente. La comunità Ugrino intendeva accogliere opere d’arte di tutti i tipi e crearne di nuove. In particolare, su un terreno di proprietà, che venne anche comprato in parte, si sarebbero dovuti erigere edifici religiosi (architetto: Jahnn). Ma alla fine la maggior parte dei progetti della Ugrino non trovò realizzazione. Jahnn e Harms fondarono con successo la casa editrice Ugrino Verlag (1921), che diede alle stampe opere di compositori barocchi e prebarocchi apprezzati dagli esperti.

Sempre nel 1919 Jahnn pubblicò il dramma Pastor Ephraim Magnus, per il quale venne insignito dell’illustre premio Kleist nel 1923. Seguirono altri drammi. Alcuni organi di stampa ebbero delle difficoltà coi lavori di Jahnn, che spesso presentavano trame e registri sentimentali estremi (incesto, omosessualità, mutilazione…): le pièce andarono incontro a dure critiche, ma vennero anche sommamente decantate da fonti autorevoli (Thomas Mann).

Sebbene all’inizio degli anni 30 Jahnn fosse stato messo in guardia dal NSDAP e avesse aderito alla scissione dei liberali di sinistra dal DDP, che portò alla costituzione del partito dei radicaldemocratici (RDP), Jahnn non intendeva emigrare definitivamente e perdere i contatti con la Germania. Era convinto di potersi assicurare il sostentamento economico come scrittore solo nel paese natale

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. Per questo rimase ad esempio membro della “Camera della Letteratura del Reich” (Reichsschriftsstumskammer). I nazionalsocialisti gli erano ostili (a causa dei suoi drammi venne definito dalla stampa “comunista e pornografo”) e perquisirono più volte il suo alloggio ad Amburgo. Cosa che, nella primavera del 1933, lo convinse a lasciare la Germania; durante la dittatura nazista soggiornò per lo più all’estero, pur con qualche breve visita in patria. Nel 1934 andò ad abitare in Danimarca, sull’isola di Bornholm, dove aveva comprato una fattoria per Eduard, figlio di Harms, affidatogli dopo la morte dell’amico, che Jahnn stesso gestì fino al 1950. Qui scrisse anche gran parte della sua opera principale, Fluss ohne Ufer, una trilogia immensa di oltre 2000 pagine, il cui ultimo volume, Epilog, non fu portato a termine.

I suoi drammi Spur des dunklen Engels e Neuer Lübecker Totentanz furono musicati dal figlioccio Yngve Jan Trede, il cui notevole talento musicale era stato scoperto e sostenuto da Jahnn

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Nel 1950 fece ritorno ad Amburgo e si adoperò soprattutto contro lo sviluppo di bombe atomiche e al riarmo della repubblica federale. Jahnn fu uno dei fondatori e primo presidente della “Libera Accademia delle Arti di Amburgo” (Freie Akademie der Künste). Nel 1956 andò a Mosca. Il 29 novembre del 1959 morì di una malattia di cuore nell’ospedale Tabea nel quartiere Blankenese di Amburgo. L’amico e medico Prof. Dr. Gotthold Möckel gli fu accanto nelle ultime ore di vita

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La tomba si trova al cimitero di Nienstedten. Jahnn ne progettò la struttura secondo le direttive dello statuto della Ugrino. Il suo ultimo romanzo, ancora una volta incompleto, Jeden ereilt es, uscì postumo nel 1968, mentre il racconto Die Nacht aus Blei, che ne costituisce un estratto, era apparso già nel 1956.

Già da giovane Jahnn si occupò della costruzione di organi. Si impegnò al restauro di pregiati organi barocchi nella Germania del nord (ad es. l’organo Arp Schnitger nella chiesa di St.Jakobi, Amburgo), esigendo un nuovo orientamento nella fabbricazione di questi strumenti che tenesse in considerazione le regolarità armoniche già note a Schnitger. Sebbene, per citare un esempio, Albert Schweitzer, con cui Jahnn era in corrispondenza, avanzasse pretese simili, Jahnn ebbe scarsa risonanza; inoltre la fama dei suoi pezzi teatrali controversi gli rese difficile trovare committenti. Ma lavorò a quasi cento progetti di organi come consulente, progettista e costruttore: ne sono la prova più di mille fogli con appunti di notazione mensurale e disegni.

L’organo Hans Henny Jahnn della Heinrich Hertz Schule (già Lichtwark Schule), fabbricato nel 1931 dal costruttore di organi Karl Kemper e restaurato nel 1991 da G. Christian Lobback, risuona ancora oggi nei concerti. Tuttavia la maggior parte degli organi di Jahnn non è più in condizione di essere suonata. Quello della chiesa Ansgar nel quartiere Langenhorn di Amburgo, risalente al 1931, costruito dalla ditta P. Furtwängler & Hammer in modo non conforme ai progetti di Jahnn, sarà nuovamente utilizzabile nel 2009. La già citata visione del mondo basata sulle leggi dell’armonia è da collocarsi accanto all’interesse di Jahnn per gli organi e per la loro costruzione. Non solo il Jahnn costruttore e riformatore di organi, ma anche il Jahnn scrittore deve impulsi decisivi all’insigne erudito tedesco Hans Kayser, fondatore, nel ventesimo secolo, di un istituto di ricerca sulla teoria dell’armonia: Perrudja, il romanzo più noto composto alla fine degli anni 20, mostra chiaramente l’influsso profondo di Kayser.

Altri progetti

Louis Sylvain Goma

Louis Sylvain Goma (* 28. Juli 1941) war von 1975 bis 1984 und 1991 Premierminister der Republik Kongo

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Er gehörte zum Militärkomitee der 1969 gebildeten Einheitspartei Parti Congolais du Travail (PCT). Am 18. Dezember 1975 wurde er erstmals Premierminister unter dem seit einem Putsch im Sommer 1968 regierenden Präsidenten Marien Ngouabi. Nach dessen Ermordung am 18. März 1977 agierte das PCT als kollektive Führung bis am 3. April der Vetter des Verstorbenen

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, Joachim Yhombi-Opango, neuer Staatschef wurde. Dieser wurde am 5. Februar 1979 von seinen Kollegen aus dem Amt gedrängt und wenige Tage danach durch Denis Sassou-Nguesso ersetzt. Goma blieb bis zum 7. August 1984 Regierungschef.

In der Endphase von Sassou-Nguessos Regierungszeit war er vom 8. Januar bis zum 8. Juni 1991 ein zweites Mal Regierungschef. Abgelöst wurde er von einer Übergangsregierung, die den bisherigen Einparteienstaat in eine Demokratie umformte.

Später wurde er Generalsekretär der zentralafrikanischen Wirtschaftsgemeinschaft Communauté Economique des Etats de l’Afrique Centrale (CEEAC) mit Sitz in Libreville in Gabun.

Alphonse Massemba-Débat | Pascal Lissouba | Edouard Ambroise Noumazalaye | Alfred Raoul | Henri Lopès | Louis Sylvain Goma | Ange Édouard Poungui | Alphonse Poaty-Souchlaty | Pierre Moussa | Louis Sylvain Goma | André Milongo | Stéphane Maurice Bongho-Nouarra | Claude Antoine Dacosta | Joachim Yhombi-Opango | Charles David Ganao&nbsp

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;| Bernard Kolélas | Isidore Mvouba | Clément Mouamba

Staffage

Si vous disposez d’ouvrages ou d’articles de référence ou si vous connaissez des sites web de qualité traitant du thème abordé ici, merci de compléter l’article en donnant les références utiles à sa vérifiabilité et en les liant à la section « Notes et références » (, comment ajouter mes sources ?).

En peinture, le mot staffage, terme hybride provenant de l’allemand, désigne les figures humaines et animales d’une scène, en particulier dans les paysages, qui ne sont pas le sujet principal de l’œuvre.

Avant l’adoption de ce mot United States Home DISKERUD 10 Jerseys

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; cursor:help;” title=”Ce passage devrait préciser au minimum la décennie ou l’année.”>[Quand ?] dans les arts visuels entre la fin du XVIIIe siècle et le début du XIXe siècle, Staffage était utilisé dans la langue allemande pour désigner les accessoires ou les objets décoratifs : il vient du mot allemand stafferen (décorer) et du suffixe français « -age ». August Demmin le définit ainsi :

« Staffage vient du mot allemand staffel (degré), staffeley (chevalet), et staffieren (garnir) ; il désigne en peinture ce que l’on appelle en français peuplé, c’est-à-dire la partie d’un tableau formée par les figures d’hommes et de femmes qui « animent » un paysage. »

Le mot peut avoir deux acceptions[réf. nécessaire] :

Les figures de staffage de ce second sens sont toujours anonymes et doivent être distinguées des autres figures identifiées

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, également utilisées dans des paysages, pourtant le plus souvent exécutées avec les mêmes techniques et proportions. Cependant, quand des figures mythologiques ou bibliques sont utilisées au lieu de bergers et de soldats anonymes, par exemple, le staffage a l’effet, selon la contemporaine théorie de la hiérarchie des genres, de transformer une peinture de paysage en une peinture plus prestigieuse, et souvent de plus grande valeur : la peinture d’histoire — et ceci même quand les figures sont petites au milieu de larges paysages. Ces peintures sont souvent intitulées sous la forme Paysage avec

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ou Paysage classique avec… en détaillant le staffage ou en mettant tout simplement le mot « staffage »[réf. nécessaire].

Le staffage doit être distingué des figures de personnage dans la peinture de genre, qui sont également anonymes et représentent typiquement des personnes communes, mais sont invariablement le sujet principal de la peinture.

Pendant la période baroque, des peintres tels que Nicolas Poussin et Le Lorrain utilisaient régulièrement le staffage. Des spécialistes du paysage collaboraient avec d’autres peintres plus à même de peindre des figures humaines afin qu’ils réalisent le staffage de leurs toiles.

Certains artistes avaient dessiné leurs propres modèles afin de les réutiliser à plusieurs reprises, et on peut voir des personnages identiques d’une peinture à l’autre d’un même artiste ; parfois même, ces modèles étaient prêtés entre artistes. Au XIXe siècle, des livres circulaient avec des modèles de centaines de différentes figures de staffage destinées aux peintres afin qu’ils les « coupent et les collent » dans leurs compositions.