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Sarkheh (; also known as Sarkheh-ye Sārū Khalīl and Sārū Khalīl) is a village in Abbas-e Gharbi Rural District, Tekmeh Dash District, Bostanabad County, East Azerbaijan Province, Iran. At the 2006 census, its population was 246, in 41 families. | Sarkheh (tun mọ si Sarkheh-ye Sārū Khalīl ati Sārū Khalīl) jẹ agbegbe kan ni Abbas-e Gharbi Rural District, Tekmeh Dash District, Bostanabad County, East Azerbaijan Province, Iran. Ni ọdun 2006, olugbe re jẹ 246, ni 41 ile. |
Tolpia mons is a moth of the family Erebidae first described by Michael Fibiger in 2010. It is known from central Java. | Tolpia mons jẹ́ ọ̀rọ̀ kan ti ẹ̀bí Erebidae ti Michael Fibiger kọkọ́ sọ̀rọ̀ rẹ̀ ní ọdún 2010. A mọ̀ọ́ sí láti ọ̀rùn Java. |
The wingspan is about 13 mm. The forewing is light brown. All transverse lines are brown, indistinct and all with a black costal spot. The terminal line is indicated by black interneural dots. The hindwing is greyish brown and the underside is unicolorous brown. | Ipo oju-ọja jẹ 13 mm. Oju-ọja akọkọ jẹ awo funfun. Awọn lẹẹsẹsẹ aṣẹ ni awo, aṣẹkọya ati gbogbo wọn ni aṣẹkọya awo. Oju-ọja ikẹhin jẹ awo awo ati aṣẹkọya ni awo awo. |
The Ryoji Noyori Prize was established by the Society of Synthetic Organic Chemistry, Japan in 2002 to commemorate Ryōji Noyori winning the 101st Nobel Prize in Chemistry as well as the 60th anniversary of the Society of Synthetic Organic Chemistry. The prize is given "to recognize and encourage outstanding contributions to research in asymmetric synthetic chemistry defined in its broadest sense." The prize is sponsored by Takasago International Corporation. | Èbùn Ryoji Noyori jẹ́ èbùn tí Society of Synthetic Organic Chemistry, Japan dá sílẹ̀ ní ọdún 2002 láti ṣe afẹyinti Ryōji Noyori tí ó gba èbùn Nobel kejìlá-lá-dín-lọ́gbọ̀n nínú Kemistri àti ọgbọ̀n ọdún Society of Synthetic Organic Chemistry. A fún èbùn yìí "láti yàn àti ṣe ìrànlọ́wọ́ fún àwọn iṣẹ́ àgbàgbọ́ nínú ìwádìí kemistri àwọn èròjà tí ó ṣe pẹ̀lú àṣẹ àti àwọn èròjà míràn". Takasago International Corporation ni ó ń ṣe ìṣọ̀wọ́ èbùn yìí. |
Zdislavice is a market town in Benešov District in the Central Bohemian Region of the Czech Republic. It has about 500 inhabitants. | Zdislavice jẹ ilu agbẹjọro ni Benešov District ni Central Bohemian Region ti Czech Republic. O ni iye awọn eniyan to 500. |
Zdislavice is located about southeast of Benešov and southeast of Prague. It lies in the Vlašim Uplands. The highest point is at above sea level. The Štěpánovský Stream flows through the market town. | Zdislavice wa ni akoko southeast ti Benešov ati southeast ti Prague. O wa ni Vlašim Uplands. Odi to ga ni lori oju omi. Štěpánovský Stream gberu lori ilu oja. |
The first written mention of Zdislavice is from 1352. Until 1547, the village was part of the Vlašim estate and shared its owners. Knigh Petr of Újezd bought Zdislavice in 1547 and ruled the village for several years. After his rule, Zdislavice was bought by Václav Čejka of Olbramovice and became part of the Kácov estate. In this period, Zdislavice was promoted to a market town. | Atilẹyin akọkọ ti a kọ ni paṣipaarọ ni lati ọdun 1352. Tití di ọdun 1547, abúlé náà jẹ́ ọ̀kan pàtàkì ti ilé Vlašim àti pé yóò pín àwọn olórí rẹ̀. Knight Petr ti Újezd ra Zdislavice ni ọdun 1547 àti ṣe aṣẹ ní abúlé náà fún ọdún púpọ̀. Lẹ́yìn aṣẹ rẹ̀, Václav Čejka ti Olbramovice ra Zdislavice àti di ọ̀kan pàtàkì ti ilé Kácov. Ní àsìkò yìí, Zdislavice jẹ́ ilú ìjọba. |
The landmark of Zdislavice is the Church of Saints Peter and Paul. The original church, first documented in 1355, was replaced by a new wooden church in 1645. However, this church was burned down in 1699. The current Baroque church was built in 1701–1702. | Aami aye ti Zdislavice ni Ilu ti Aposteli Peter ati Paul. Ilu aladani, ti a koja si asewo fun akokọ lẹhin ni 1355, jẹ ifipamọ si ilu oju-ọba tuntun ni 1645. Sugbon, ilu yii jẹ ifọwọsi ni 1699. Ilu Baroque ti o wa lọwọlọwọ jẹ ifowopamọ ni 1701–1702. |
Pierre-Hugues Herbert and Adil Shamasdin were the defending champions but only Shamasdin chose to defend his title, partnering Sander Arends. Shamasdin lost in the quarterfinals to Dennis Novak and Tristan-Samuel Weissborn. | Pierre-Hugues Herbert ati Adil Shamasdin ni awon akowe to gba ipo, sugbon Shamasdin ni kan lo yan lati gba ipo re, o si se ise pelu Sander Arends. Shamasdin ti jade ni awon idije quarterfinals lati Dennis Novak ati Tristan-Samuel Weissborn. |
Denys Molchanov and Igor Zelenay won the title after defeating Jonathan Eysseric and Joe Salisbury 7–6(7–4), 6–2 in the final. | Denys Molchanov ati Igor Zelenay gba ife yi leyin ti won bori Jonathan Eysseric ati Joe Salisbury 7–6(7–4), 6–2 ni ipari. |
Thomas Francis McNulty (1906 – February 1, 1995) was an American radio broadcasting executive, author, and politician. He was the owner of Belvedere Broadcasting Corporation from the 1950s to 1987 and served as president in the 1960s. He served as a member of the Maryland House of Delegates, representing the 3rd District of Baltimore, from 1942 to 1946. | Thomas Francis McNulty (1906 – Oṣù Kejì 1, 1995) jẹ́ olùdarí ètò redio Amẹ́ríkà, olùkọ̀wé, àti olóṣèlú. Ó jẹ́ olùṣọ́wọ́ ilé-iṣẹ́ Belvedere Broadcasting Corporation láti ọdún 1950 sí 1987 àti ṣe ipò àṣẹ láti ọdún 1960. Ó ṣe àṣẹ láti ọdún 1942 sí 1946 gẹ́gẹ́ bíi ọmọ ẹgbẹ́ ilé ìgbìmọ̀ aṣojú Maryland, láti ọdọọdún 3rd ti Baltimore. |
McNulty was born in East Baltimore in 1906. He attended parochial schools and was a 1926 graduate at the Baltimore City College. He also attended the Peabody Conservatory of Music. | McNulty jẹ́ ọmọ bíbí East Baltimore ni ọdun 1906. O lọ si ile-iwe parochial ati pe o jẹ́ ẹni ti kẹkẹọọjọ ọdun 1926 ni Baltimore City College. O tun lọ si ile-iwe Peabody Conservatory of Music. |
After working as a typesetter, newspaper reporter and bank runner, he became an insurance broker in the late 1920s. In 1953, he founded Charg-It of Baltimore, the first non-store credit card available to Baltimore residents and served as chairman of the board until 1957. In the mid-1950s, he bought Belvedere Broadcasting Corp., the owner of WWIN Radio, selling it in 1987 when he retired. He was president of the Belvedere Broadcasting Company (WWIN-FM Baltimore) in the 1960s. | Lẹ́yìn ti o ti ṣiṣẹ́ bi typesetter, oniroyin iwe irohin ati bank runner, o di broker insurance ni ọdun 1920s. Ni ọdun 1953, o da Charg-It ti Baltimore, kaadi krediti akọkọ ti ko si ni apa ọja ti aṣẹ lati awọn olugbe Baltimore ati ṣiṣẹ bi adari fun ọdun 1957. Ni ọdun 1950s, o ra Belvedere Broadcasting Corp., eni ti o ni WWIN Radio, ti o tu si ni ọdun 1987 nigba ti o fe po. O jẹ adiṣere fun Belvedere Broadcasting Company (WWIN-FM Baltimore) ni ọdun 1960s. |
In 1949, the McNultys and parents of eight other intellectually disabled children founded the Maryland Society for Mentally Retarded Children, today known as The Arc Baltimore. In the 1950s, the McNultys helped establish the St. Francis School for Special Education, which was previously located on Maryland Avenue in Baltimore. Their experiences led the McNultys to write a booklet titled "Happily Raising a Retarded Child" to help parents in similar circumstances. | Ni ọdun 1949, awọn McNultys ati awọn ọbi ọmọ mẹjọ ti o ni ẹ̀kọ́ ọkàn, da ile-ẹ̀kọ́ Maryland Society for Mentally Retarded Children, ti a mọ̀ si The Arc Baltimore lọ́wọ́lọ́wọ́. Ni ọdun 1950, awọn McNultys jọwọ da ile-ẹ̀kọ́ St. Francis School for Special Education, ti a ti wa ni Maryland Avenue ni Baltimore. Awọn ẹ̀kọ́ wọn mu awọn McNultys si kọ iwe kan ti a pe ni "Happily Raising a Retarded Child" lati ran awọn ọbi lọwọ lati gba ẹ̀kọ́. |
He was a member of numerous organizations, including the Hibernian Society, the Friendly Sons of St. Patrick, the Baltimore Country Club and Boumi Temple. | Oun lo si ẹgbẹ́ ọpọlọpọ̀, pẹlu Hibernian Society, awọn Ọmọ ọlọlọfẹ St. Patrick, Baltimore Country Club ati Boumi Temple. |
McNulty was a Democratic member of the Maryland House of Delegates representing its Baltimore City 3rd District from 1942 to 1946. | McNulty jẹ ọmọ ẹgbẹ Democratic ti Ilé Aṣojú ti Maryland ti ń ṣe aṣojú Agbegbe Ọdọ Baltimore City 3rd lati ọdun 1942 si 1946. |
The McNultys owned a winter home in Fort Lauderdale, Florida. McNulty died from cancer at the Blakehurst Life Care Community (now known as Blakehurst Senior Living) in Towson, Maryland, on February 1, 1995. | Awọn McNultys ni ile oko owuro ni Fort Lauderdale, Florida. McNulty ku lati arun cancer ni Blakehurst Life Care Community (ti a mọ bi Blakehurst Senior Living loni) ni Towson, Maryland, ni ojo keji osu keji, 1995. |
Lama Hewage Don Martin Wickramasinghe, (commonly known as Martin Wickramasinghe) () (29 May 1890 – 23 July 1976) was a Sri Lankan journalist and author. His books have been translated into several different languages. Martin Wickramasinghe is often acclaimed as the father of modern Sinhala literature. | Lama Hewage Don Martin Wickramasinghe, (ti a mo si Martin Wickramasinghe) (29 May 1890 – 23 July 1976) jẹ aṣẹṣẹyẹ ati olùkọ̀wé ọmọ orílẹ̀-èdè Sri Lanka. Awọn iwe re ti a tọ si ede pọ̀. Martin Wickramasinghe jẹ ọkan ninu awọn ti a pe ni baba litireso Sinhala tuntun. |
Born Lama Hewage Don Martin Wickramasinghe, on 29 May 1890, in the town of Koggala (Galle District), as the only son of Lamahewage Don Bastian Wickramasinghe (father) and Magalle Balapitiya Liyanage Thochchohamy (mother). | Je ni ọjọ 29 Oṣu Kẹrin 1890, ni ilu Koggala (Galle District), bi ọmọ ọkunrin kan ni Lamahewage Don Bastian Wickramasinghe (baba) ati Magalle Balapitiya Liyanage Thochchohamy (iya). |
At the age of five Wickramasinghe was taught the Sinhala alphabet, at home and in the village temple, by a monk, Andiris Gurunnanse. He also learned the Devanagari script and could recite by memory long sections of the Hitopadesa. After two years he was taken to a vernacular school where he prospered until 1897 when he was sent to an English school in Galle called Buona Vista . In the two years spent at the school Wickramasinghe became fluent in English as well as Latin. When his father died in 1901, he returned to a vernacular school in Ahangama and subsequently lost interest in schooling. | Ni ọmọ ọdun marun, Wickramasinghe ni a kọwe si iṣẹ ẹkọ abẹẹda ti Sinhala, ni ile ati ni ibi ibadah agbelebu, nibi ọkọrin kan, Andiris Gurunnanse. O si kọwe si iṣẹ ẹkọ Devanagari ati pe o le ṣe afọwọṣe awọn ẹkun ọpọlọpọ ti Hitopadesa. Lẹhin ọdun meji, a gbe e lo si ile-iwe ti ede agbegbe nibi ti o ṣe rẹ ṣe iṣẹ titi di 1897 nigba ti a gbe e lo si ile-iwe Gẹẹsi ni Galle ti a pe Buona Vista. Ni ọdun meji ti a gbe e lo si ile-iwe, Wickramasinghe ṣe alaṣẹ ni Gẹẹsi ati Latin. Nigba ti baba rẹ ku ni ọdun 1901, o padasi si ile-iwe ede agbegbe ni Ahangama ati pe o ti gba ẹkọ ṣe ohun rere. |
Having left school, at the age of 16 years Wickramasinghe found work as a book-keeper in a shop in Colombo owned by Carolis Silva in 1906. Following year he left the shop to join a commissions agency run by John Silva. In 1910, his mother dies. Following the 1915 Sinhalese-Muslim riots, John Silva's agency was closed and he returned to Koggala. He then became a book-keeper at Cornelis Silva's shop in Batticaloa. | Lẹyin ti o ti pari ile-iwe, ni ọmọ ọdun mẹwa mẹfa, Wickramasinghe ṣe iranlọwọ bi akọwe-ọfiisi ni ile itaja ni Colombo ti Carolis Silva ni ọdun 1906. Ni ọdun to ṣe aṣẹyọri, o fi ile itaja si ṣe iranlọwọ ni ile-iṣẹ ọfiisi ti John Silva. Ni ọdun 1910, iya re ku. Lẹyin ogun 1915 ti awọn ẹniti o nṣe Islamu, ile-iṣẹ ọfiisi ti John Silva ti pari, o si tẹle si Koggala. O ṣe akọwe-ọfiisi ni ile itaja Cornelis Silva ni Batticaloa. |
In 1916, Martin Wickramasinghe starts to write to the Sinhala daily Dinamina under the penname Hethu Vaadi (Rationalist) and pens a controversial series called "Plants and Animals". He then joins the editorial staff of Dinamina, owned by the press baron D. R. Wijewardena's Associated Newspapers of Ceylon Limited (ANCL). In 1927, he leaves Dinamina to join Lakmina. In 1931, he returns to ANCL as the editor of Sinhala weekend paper Silumina. In 1932, he was appointed editor of Dinamina, serving until his resignation in 1946. | Ni ọdun 1916, Martin Wickramasinghe bẹrẹ si kọ si akede ile-iwe Dinamina labẹ oruko penname Hethu Vaadi (Rationalist) ati kọ iwe iroyin ti o fa aisan kan to n pe "Awọn ohun ti o gbẹ ati Awọn ẹranko". O si darapo ninu ẹgbẹ akede Dinamina, ti o jẹ ti ọmọ ẹgbẹ iwe iroyin D. R. Wijewardena's Associated Newspapers of Ceylon Limited (ANCL). Ni ọdun 1927, o fọ si Lakmina. Ni ọdun 1931, o padasi si ANCL gẹgẹ bi oludasile akede ile-iwe Silumina. Ni ọdun 1932, a yan si oludasile Dinamina, o si n ṣiṣẹ titi di ọjọ ti o fi silẹ ni ọdun 1946. |
His literary career began with the novel Leela (1914) and an anthology of essays on literary criticism, Shastriya Lekhana (1919). Shortly thereafter he began a campaign to raise literary standards for the Sinhalese reading public with work such as Sahityodaya Katha (1932), Vichara Lipi (1941), Guttila Geetaya (1943) and Sinhala Sahityaye Nageema (1946) in which he evaluated the traditional literally heritage according to set rules of critical criteria formed by synthesising the best in Indian and western traditions of literary criticism. | Ipo iwe re bere ni pẹlu iwe itan Leela (1914) ati iwe itan ti o ni awọn ese lati kọ itọnisọna iwe, Shastriya Lekhana (1919). Lẹhinna o bere ise ifọwọsowọpo lati gbe ipo iwe fun awọn olugbe ede Sinhalese pẹlu awọn iṣẹ bi Sahityodaya Katha (1932), Vichara Lipi (1941), Guttila Geetaya (1943) ati Sinhala Sahityaye Nageema (1946) nibi ti o ṣe atunṣe awọn iṣẹ itan ti oloogbe lati ṣe pẹlu awọn ofin ti o ṣe pẹlu awọn iṣẹ itan ti India ati ilẹ gẹẹsi ti itọnisọna iwe. |
Through the 1940s Wickramasinghe dabbled with the double role of literary critic and creative writer. Gamperaliya (1944) is widely held as the first Sinhalese novel with a serious intent that compares, in content and technique, with the great novels of modern world literature. The novel depicts the crumbling of traditional village life under the pressure of modernisation. The story of a successful family in a Southern village is used to portray the gradual replacement of traditional economic and social structure of the village by commercial city influence. | Ni akoko 1940s Wickramasinghe gbe oro oko re lo si ipo meji ti o je onikowe ati olukowe ere. Gamperaliya (1944) jẹ eyi ti a gba gbagbo pe o jẹ iwe itan Sinhalese akọkọ ti o ni itumo to ga, ni akọsilẹ ati ni imọran, pẹlu awọn iwe itan ti oga ti aye ayọ ti ojo oni. Iwe itan na awọn aye ilu abinibi ti o jo siwaju ni ibamu si aṣẹ modernisation. Iṣẹ ti ile ẹbi alafia ni abule ilaorun ti a lo lati fi han awọn ipinya ti awọn eto ọrọ-ajẹ ati imọran ti abule nipasẹ aṣẹ ilu ẹja. |
Wickramasinghe followed Gamperaliya with Yuganthaya (1948) and Kaliyugaya (1957) forming a trilogy. After the decay of the traditional life, the story details the rise of the bourgeoisie, with its urban base and entrepreneurial drive, ending with the formation of the labour movement and socialist theology and rise of hopes for a new social order. The trilogy was made into film by the renowned Sri Lankan director Lester James Peries. | Wickramasinghe tẹ Gamperaliya si Yuganthaya (1948) ati Kaliyugaya (1957) ti o jẹ ọ̀kan ninu trilogy. Lẹ́yìn ti aye ọlọ́dọ̀dún ti parẹ, ọrọ̀ naa fá ọ̀rọ̀ nipa iṣẹgun ti awọn ọlọ́dọ̀dún, pẹ̀lú ilu ati iṣẹ́ ọ̀dọ̀dún, o si pari pẹ̀lú iṣẹgun ti ọ̀dọ̀dún ati ẹ̀sìn ọ̀dọ̀dún ati iṣẹgun ti ọ̀dọ̀dún. Trilogy yii jẹ film nipasẹ oludari ilẹ̀ Sri Lanka ti o gbajumo Lester James Peries. |
With the development of a literary criticism movement in the early-'50s, Wickramasinghe presented the works Sahitya Kalava ('The Art of Literature' 1950) and Kawya Vicharaya ('The Criticism of Poetry' 1954). Wickramasinghe was appointed a member of the Radio Broadcasting Commission in 1953 and in 1954 was appointed to the National Languages Commission, from which he resigned three months later. He was appointed a Member of the Order of the British Empire (MBE) in the 1953 Coronation Honours with the ensign awarded by Her Majesty Queen Elizabeth II in person during her Royal Visit to Ceylon in 1954. | Pẹ̀lú ìdàgbàsókè ìgbésẹ̀ ìwádìí ìtumọ̀ òrò èdè ní àwọn ọdún 1950, Wickramasinghe gbé èrò Sahitya Kalava ('The Art of Literature' 1950) àti Kawya Vicharaya ('The Criticism of Poetry' 1954) jáde. Wickramasinghe jẹ́ ọmọ ẹgbẹ́ ti Radio Broadcasting Commission ní ọdún 1953 àti ní ọdún 1954, ó sì jẹ́ ọmọ ẹgbẹ́ ti National Languages Commission, ó sì fi ipò náà sílẹ̀ mẹ́ta oṣù dé. Wọ́n yan án gẹ́gẹ́ bíi Member of the Order of the British Empire (MBE) ní 1953 Coronation Honours pẹ̀lú ensign tí Her Majesty Queen Elizabeth II fi ọwọ́ rẹ̀ fún un nígbà ti ó wọlé sí Ceylon ní ọdún 1954. |
Wickramasinghe's most heralded work came in 1956 with Viragaya. Due to the significance of its theme and the sophistication of its technique, the novel has come to be hailed as the greatest work of Sinhalese fiction. It follows the spiritual problems of a fragile Sinhalese youth raised in a traditional Buddhist home after being confronted with the spectre of adulthood and the responsibilities that come with it all made more complex with the modernisation of society. First-person narrative is used to put forth the autobiographical story of the anti-hero in impressionistic vignettes rather than in chronological order. It is a seminal work and spawned a spew of imitators, some good on their own right. | Iṣẹ́ ti o ṣeṣẹ jùlọ ni ọdún 1956 pẹ̀lú Viragaya. Nípa àyè àti ìṣe àṣẹ ti ìwé, ìwé náà ti di ìwé tí ó ṣe pàtàkì jùlọ nínú ìwé ìtàn-àkọọ́lẹ̀ ti Sinhalese. Ó sọ̀rọ̀ nípa àwọn ìṣoro ẹ̀mí ti ọ̀dọ́mọdé ọmọ ilẹ̀ Sínihàlè tí a kọ́ ní ilé tí ó jẹ́ Búddhà lẹ́yìn tí ó ti rí àwọn ìṣoro tí ó ń ṣẹlẹ̀ nígbà èwe àti àwọn ìṣẹ̀lẹ̀ tí ó ń ṣẹlẹ̀ pẹ̀lú rẹ̀, gbogbo èyí tí ó mú kí ó di ìṣoro púpọ̀ pẹ̀lú ìṣe àṣẹ ti àgbáyé. Ìtàn àkọọ́lẹ̀ ni a lò láti ṣe àkọọ́lẹ̀ ìtàn àkọọ́lẹ̀ ti anti-hero ní àwọn àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ à |
Wickramasinghe was an early practitioner of the genre of poetry called nisandas, which ignored the restrictions placed on poetry by the traditional prosodic patterns. It drew inspiration from the work of Eliot, Pound, Whitman and other western poets and was part of a movement called Peradeniya School. Wickramasinghe's work was Teri Gi (1952). | Wickramasinghe jẹ ọmọ ẹgbẹ́ akọkọ ti ẹ̀ka kọrin ti a n pe ni nisandas, ti o pa awọn apejuwe ti a fi silẹ lori kọrin nipasẹ awọn aṣẹ prosodic ti aṣẹ. O gba ayọ lati ọrọ Eliot, Pound, Whitman ati awọn akọrin ọrọ-aje miiran ati o jẹ akọle ti ẹgbẹ kan ti a n pe ni Peradeniya School. Iṣẹ Wickramasinghe ni Teri Gi (1952). |
The movement dissolved in the 1960s prompted by Wickramasinghe's contention that other writers of the Peradeniya School were not sensitive to cultural traditions and the Buddhist background of Sinhalese society. He accused Ediriweera Sarachchandra, Gunadasa Amarasekara and others of imitating "decadent" western and post-war Japanese literature and of supporting a nihilistic look on life with cynical disregard for national tradition. | Iṣẹṣe naa parun pẹlu awọn ọdun 1960 ni aṣẹ Wickramasinghe ti o ṣe afihan pe awọn olukowe miiran ti ile-ẹkọ giga Peradeniya kii ṣe olutọju si ọna asa ati ipilẹṣẹ Buddha ti ilẹ̀-iṣẹṣe Sinhalese. O bu Ediriweera Sarachchandra, Gunadasa Amarasekara ati awọn miiran ni aṣẹ pe wọn n ṣe atunṣe "decadent" litireso ilẹ̀-oju-ọrun ati litireso Japan lẹyin ogun ati pe wọn niran awọn iṣẹṣe ti o ṣe ayẹwo ayẹwo ti aye pẹlu ayẹwo ayẹwo fun ọna asa orilẹ-ede. |
Wickramasinghe visited Cuba on the invitation of the Cuban Government in 1968. In 1973, Wickramasinghe wrote a new biography of Buddha titled Bava Taranaya. In it the great teacher's change from royal heir in-waiting to philosopher-mendicant is portrayed as being a result of his sympathy to the poor and the downtrodden of society. Wickramasinghe died on 23 July 1976 and his home is now a folk museum. | Wickramasinghe gbe ile Kuba lo ni 1968, eyi ti o je idanwo ile-igbimọ Cuban Government. Ni 1973, Wickramasinghe ko itan tuntun ti Buddha ti a pe Bava Taranaya. Ninu re, ariyanjiyan olukoni naa lati omoba ti o n gbe ilekun si olukoni-olofin ni ariyanjiyan bi ojo ti o fẹ awọn alaini ati awọn ti a ti pa ni ilu. Wickramasinghe ku ni 23 July 1976 ati ile re ni yẹn ni ile ijọba awọn ọmọ ile yii. |
Wickramasinghe married Kataluwe Balage Prema de Silva on 30 November 1925. They move to Mount-Lavinia, where their first child Susantha Manuwarna died three months after birth. They would have six more children, three sons and three daughters. Their eldest surviving son Sarath Kusum Wickramasinghe, served as Sri Lankan High Commissioner to the United Kingdom from 1995 to 1999. Wickramasinghe built himself a house Samudrasanna Road, Mount-Lavinia in 1939. In 1941, his family home in Koggala was taken over by the British military when RAF Koggala was established during world war 2. In 1950, he sold his house in Mount-Lavinia and moved to Thimbirigasyaya to allowed his children to attend university. In 1956, he moved to Bandarawela, where he took up residence. | Wickramasinghe fẹ Kataluwe Balage Prema de Silva ni 30 November 1925. Won ti gbe si Mount-Lavinia, nibi ti omo akọkọ wọn Susantha Manuwarna ku ojo mẹta lẹhin ti a bi. Won yoo bi omo mẹfa mẹrin, ọmọkunrin mẹta ati ọmọbìnrin mẹta. Ọmọkunrin wọn to kere julo Sarath Kusum Wickramasinghe, ti ṣiṣẹ bi Sri Lankan High Commissioner si United Kingdom lati 1995 de 1999. Wickramasinghe kọ ile fun ara rẹ ni Samudrasanna Road, Mount-Lavinia ni 1939. Ni 1941, ile adugbo rẹ ni Koggala jẹ aṣẹgun fun awọn ologun British nigbati RAF Koggala ti da lori ayẹyẹ world war 2. Ni 1950, o gbe ile rẹ ni Mount-Lavinia ati gbe si Thimbirigasyaya lati ṣe iranlọwọ fun awọn ọmọ rẹ lati lọ si Yunifasiti. Ni 1956, o gbe si Bandarawela, nibi ti o ti gbe. |
Sinhala Navakathawa Ha Japan Kama Katha Sevanella (The Sinhala Novel in the Shadow of the Japanese Erotic Novel) (1969) | Sinhala Navakathawa Ha Japan Kama Katha Sevanella |
Ape Viyath Parapura Ha Bhasha Samaja Parinamaya (The role of Our Leaders in the Evolution of Our Language and Society) (?) | Ipo Ijọba Wa ni Ipa ti Won Nfun ni Ikorẹ ati Iṣẹlẹ Awọn Ede ati Ilu Wa |
Martin Wickramasinghe Trust is an approved by the Government of Sri Lanka as a charitable organization. The Martin Wickramasinghe Trust has been established with the objectives of preservation of manuscripts, first editions of all his books, tape recording and photographs related to his life and work. Martin Wickramasinghe House & Folk Museum in Koggala also operated by Martin Wickramasinghe Trust Fund. | Martin Wickramasinghe Trust jẹ́ ẹgbẹ́ alabapin fun unje ti Ijoba orile-ede Sri Lanka. Martin Wickramasinghe Trust ti dasilẹ ni ipo ti idahun awọn akọsẹ, awọn iberejẹ gbogbo awọn iwe rẹ, awọn tape recording ati awọn foto ti o ni ipa pẹlu ayẹ ati ise rẹ. Martin Wickramasinghe House & Folk Museum ni Koggala tun ti aṣẹ rẹ ni ọwọ Martin Wickramasinghe Trust Fund. |
Egon Milder (22 April 1942 – 18 October 1975) was a German footballer who played as a Defender or midfielder. He spent four seasons in the Bundesliga with Borussia Mönchengladbach. | Egon Milder (22 April 1942 – 18 October 1975) jẹ agbábọọlu ọmọ orílẹ̀-èdè Jẹ́mánì tó ṣeré gẹ́gẹ́ bíi Defender tàbí midfielder. Ó ṣeré fún ọdún mẹ́rin nínú Bundesliga pẹ̀lú Borussia Mönchengladbach. |
Fierzë is a village and a former municipality in the Elbasan County, central Albania. At the 2015 local government reform it became a subdivision of the municipality Belsh. The population at the 2011 census was 2,065. The municipal unit consists of the villages Hardhi, Fierzë, Cerrage and Kosovë. | Fierzë jẹ agbegbe ati abẹ ilu tiyẹ to wa ni Elbasan County, Albania ti o wa ni eti-odo. Ni igba isinku ajeji ibẹrẹ ti ọdun 2015, o di apakan ti abẹ ilu Belsh. Iye eniyan ni ọdun 2011 jẹ 2,065. Ibi ise agbegbe naa ni agbegbe Hardhi, Fierzë, Cerrage ati Kosovë. |
Aderpas griseotinctus is a species of beetle in the family Cerambycidae. It was described by Hunt and Breuning in 1955. | Aderpas griseotinctus jẹ́ ẹ̀yà àwọn beetle nínú ẹbí Cerambycidae. Wọ́n fi sọ́ọ̀rọ̀ rẹ̀ sílẹ̀ ní ọdún 1955 nípasẹ̀ Hunt àti Breuning. |
Gran Premio dell'Insubria-Lugano was a single day race in the historic region of Insubria, Switzerland. The race was established in 2009 as a 1.1 event on the UCI Europe Tour. The race replaced the former Gran Premio di Chiasso, but was not held after 2011. | Gran Premio dell'Insubria-Lugano jẹ́ ọjọ́ kan ẹ̀ṣọ́ ní agbègbè ìtàn Insubria, Switzerland. Àwọn ṣeto ẹ̀ṣọ́ naa ni ọdun 2009 gẹ́gẹ́ bí 1.1 ẹ̀ṣọ́ lórí UCI Europe Tour. ẹ̀ṣọ́ naa yí gbé e lọ́wọ́ Gran Premio di Chiasso tẹ́lẹ̀, ṣùgbọ́n kò ṣe ẹ̀ṣọ́ lẹ́yìn ọdun 2011. |
The great scapular notch (or spinoglenoid notch) is a notch which serves to connect the supraspinous fossa and infraspinous fossa. It lies immediately medial to the attachment of the acromion to the lateral angle of the scapular spine. | Ipo agbadoke ti oga (tabi ipo agbadoke spinoglenoid) je ipo agbadoke ti o nira lati pa supraspinous fossa ati infraspinous fossa. O wa niwaju meji si ipo ti acromion ti n pa si apakanle ti oga agbadoke. |
The suprascapular artery and suprascapular nerve pass around the great scapular notch anteroposteriorly. | Ọmọ-ara suprascapular ati ọmọ-ara suprascapular lo laarin awọn ile-ọwọ ọpẹ ọlọgbọn anteroposteriorly. |
Supraspinatus and infraspinatus are both supplied by the suprascapular nerve, which originates from the superior trunk of the brachial plexus (roots C5-C6). | Supraspinatus ati infraspinatus jẹ́ ẹ̀yà tí ọ̀nà ọ̀fun orí ẹ̀yà (suprascapular nerve) máa ń gbé kalẹ̀, tí ó ti n ṣẹlẹ̀ láti ọ̀nà ẹ̀yà orí (superior trunk) ti brachial plexus (roots C5-C6). |
Haunting of the Mary Celeste is a 2020 American horror thriller film directed by Shana Betz with a script from David Ross and Jerome Oliver. The film stars Emily Swallow, Richard Roundtree, Ava Acres, Pierre Adele, Dominic DeVore, and Alice Hunter. | Iwọn ti Mary Celeste jẹ́ fiimu ará Amerika ti odun 2020 ti a ṣe ni ẹ̀ka horror thriller ti Shana Betz ṣe atunṣe pẹlu aṣẹ lati David Ross ati Jerome Oliver. Fiimu naa ṣe aṣẹ pẹlu Emily Swallow, Richard Roundtree, Ava Acres, Pierre Adele, Dominic DeVore, ati Alice Hunter. |
Rachel, a concerned researcher, and her team have set out to sea to prove that the disappearance of a family and crew from a merchant ship was for reasons having to do with the supernatural. Her theory that those on the Mary Celeste vanished into a "rift" between dimensions proves true as the boat breaks down and her crew begins to vanish one by one. | Rachel, onimọran ti o nifẹsi, ati ẹgbẹ rẹ ti jade si okun lati fi han pe iparun ẹbi ati awọn ọkọ oju omi lori ọkọ oju omi ti oja jẹ fun awọn ọna ti o ni ipa pẹlu aaye ajẹji. Imọran rẹ pe awọn eniyan lori Mary Celeste ti pari si "rift" laarin awọn ipinle mu dandan bi ọkọ oju omi na si gbigbe ati awọn ọkọ rẹ ti bẹrẹ si pari kan kan. |
Si Xinliang (; born January 1950) is a former Chinese politician. From 2010 to 2013, Si served as the Vice Chairman of the Zhejiang Provincial People's Political Consultative Conference, a mostly ceremonial legislative consultation body. Prior to that, Si served as the chief of the Organization Department of the Zhejiang provincial Communist party Committee. He worked for several years under Xi Jinping, who was serving as the party chief of Zhejiang. | Si Xinliang (amọ̀ ọjọ́ kẹjọ, oṣù kọkànlá ọdún 1950) jẹ́ olóṣèlú ará Ṣáínà tẹ́lẹ̀. Láti ọdún 2010 títí di ọdún 2013, Si jẹ́ Igbákejì Ààrẹ ti Ìgbìmọ̀ Ìṣèlú Àwọn Ará ilẹ̀ Zhejiang, ẹ̀ka ìgbìmọ̀ ìṣèlú àti ìfọwọ́sowọ́pọ̀ tó ń ṣe ìfọwọ́sowọ́pọ̀. Kí ó tó di èyí, Si jẹ́ olórí ẹ̀ka ìṣèlú ti Ẹgbẹ́ Ọmọṣẹ́ Ọmọ ilẹ̀ Zhejiang. Ó ṣiṣẹ́ fún ọdún àìpẹ́ tó ń ṣiṣẹ́ pẹ̀lú Xi Jinping, tó jẹ́ olórí ẹgbẹ́ Ọmọṣẹ́ Ọmọ ilẹ̀ Zhejiang. |
Si was born and raised in Dongyang, Zhejiang province in January 1950. Si joined the Communist Party in 1981. He has a degree from Zhejiang Agricultural University (later merged into Zhejiang University) in animal husbandry. | Si je a bi ati gbe ni Dongyang, ipinle Zhejiang ni Oṣu Kọkànlá ọdun 1950. Si darapo ninu Egbe Oselu Komunisti ni ọdun 1981. O ni oye lati Ile-ẹkọ giga Ọlọja ti ipinle Zhejiang (ti a yapa si Ile-ẹkọ giga ti ipinle Zhejiang) ni ẹkọ ọja awọn ẹran. |
Si spent his entire career in Zhejiang province. He worked at a food processing company in his home county as a manager before entering politics, first as deputy county governor. He rose through the ranks and successively served as the Communist Party Secretary of Pujiang County, the head of the Organization Department for the party organization in the city of Huzhou and later deputy party chief. He was then promoted to party chief, then the provincial propaganda department head. | Si fi gbogbo iṣẹ rẹ ni ipinle Zhejiang. O ṣiṣẹ ni ile-iṣẹ ti o nṣe ati awọn ẹja ni agbegbe ile rẹ gẹgẹ bi olori rẹ ṣaaju ki o to jade si ipolitics, akọkọ bi adari agbegbe. O ṣe aṣẹ ni ọna ati ṣe adehun ni ipo mẹta bi Alaga Egbe Osisele ti Pujiang County, olori ile-iṣẹ ti Organization Department fun egbe osisele ni ilu Huzhou ati lẹhinna adari egbe osisele. O ṣe aṣẹ si olori egbe osisele, ṣaaju ki o to jade si olori ile-iṣẹ ti aṣẹ ti ipinle. |
Si served as chief of the provincial party Organization Department for nearly a decade, between 2001 and 2010, serving under three party secretaries, Zhang Dejiang, Xi Jinping, and Zhao Hongzhu. | Si ti se olori ile-igbimọ aṣẹ ti ẹgbẹ kan ni ọfiisi ọlọkan ti ẹgbẹ kan fun ọdun mẹdogun, laarin 2001 ati 2010, o si ti ṣiṣẹ labẹ awọn oludari ẹgbẹ mẹta, Zhang Dejiang, Xi Jinping, ati Zhao Hongzhu. |
In 2010, Si, having reached the mandatory retirement age of 60, was transferred from his Organization Department leadership position to take on the largely ceremonial role of Vice Chairman of the Zhejiang Provincial People's Political Consultative Conference. Si was detained for investigation in February 2015 by the Central Commission for Discipline Inspection. Si was notable for being the first provincial-ministerial level official to be detained from Zhejiang province since the 18th Party Congress, and also being the first official of his rank who once worked directly under Xi Jinping to be investigated. | Ni ọdun 2010, Si, ti o ti de ọmọ ọdun 60 ti o ni lati yi jade, ti a gbe lọ si ipo igbega ti Vice Chairman ti Zhejiang Provincial People's Political Consultative Conference lati gba ipo igbega ti Organization Department. Si ni a gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe lọ si ibi ti a n gbe l |
On June 19, 2015, after investigation by the CCDI, Si was expelled from the Communist Party. He was accused of violating the Eight-point Regulation, "playing golf rounds paid for by others", aiding the promotion and business activities of associates and taking "massive bribes", and "committed adultery." He was also said to have conspired with his wife to hide "ill-gotten gains" after gaining knowledge of his investigation, and "interfered and obstructed" the investigation. Si was sentenced 13 years in prison for accepting bribes amounting to nearly 20 million yuan (around $2.9 million) by a court in Jiangxi province on December 13, 2016. | Ní ọjọ́ kẹrìndínlógún oṣù kẹfà ọdún 2015, lẹ́yìn ìdánilẹ́kọ̀ọ́ láti ọwọ́ CCDI, a gbé Si jáde kúrò nínú Ẹgbẹ́ Kọ́múnístì. A fi sí i kí ó ṣẹ̀ṣẹ̀ṣẹ̀ ìṣẹ̀ṣẹ̀ Ọ̀rọ̀-ẹ̀jọ̀-mẹ́ẹ̀dọ́gbọ̀n, "ṣe àṣẹ àwọn golf tí àwọn mìíràn gbé", ṣe ìrànlọ́wọ́ sí ìṣe àti iṣẹ́ àwọn ọlọ́pọ̀ rẹ̀, àti gbígbẹ̀ "owó ẹ̀ṣẹ̀", àti "ṣe àṣẹ àwọn obìnrin". A sì tún sọ pé ó ti ṣe àṣẹ pẹ̀lú aya rẹ̀ láti fi "owó ẹ̀ṣẹ̀" rẹ̀ diẹ̀ sílẹ̀ lẹ́yìn tí ó ti gbọ́ pé wọ́n ń ṣe ìdánilẹ́kọ̀ọ́ rẹ̀, àti "ṣe àṣẹ àti dìbò" sí ìdánilẹ́kọ̀ọ́. Si gbé ọdún mẹ́tàlá sí ilé ẹjọ́ fún ìgbẹ̀wọ́ owó ẹ̀ṣẹ̀ tí ó tó mílíọ̀nù méjìlá (dólu mẹ́rin mílíọ̀nù) ní ọjọ́ kẹtàlá oṣù kejìlá ọdún 2016 ní ẹkùn Jiangxi. |
The Home Army Museum in Kraków () was created in Kraków, Poland in 2000, to commemorate the struggle for independence by the underground Polish Secret State and its military arm Armia Krajowa (The Home Army), the largest resistance movement in occupied Europe during World War II. The museum is named after general Emil August Fieldorf "Nil". It is the only such institution in Poland promoting knowledge about the Polish Underground State and its armed forces during World War II. The idea behind the Home Army Museum is to provide a holistic picture of the Polish underground, its spiritual origins and the shape of patriotic heritage to the present day. | Ile-ẹkọ ti Home Army ni Kraków ( ) jẹ́ ile-ẹkọ ti a da ni Kraków, Poland ni ọdun 2000, lati fa ipa fun ogun fun ominira ti ile-ẹkọ ti Poland Secret State ati ogun rẹ Armia Krajowa (The Home Army), ẹgbẹ́ agbogun ti o tobi julọ ni Europe ti a gbe ni akoko ogun agbaye II. Ile-ẹkọ yii ni a pe ni orukọ general Emil August Fieldorf "Nil". O jẹ́ ile-ẹkọ kan ni Poland ti o n fa ipa fun imọ̀ ni ile-ẹkọ ti Polish Underground State ati ogun rẹ ni akoko ogun agbaye II. Oju-iwe ti ile-ẹkọ Home Army jẹ́ lati fa apẹẹrẹ ti ile-ẹkọ ti Poland, ibẹrẹ ti aṣẹ ati awọn ipa ti omo orile-ede titi di oni. |
The museum was established in 2000 as a local self-government unit but the formal establishment was preceded by a ten-year effort of collecting the historical items of the Home Army Veterans. So far, the museum has collected more than 8,000 exhibits and more than 12,000 archives – mostly gifts of Army Soldiers and their families around the world – historical memorabilia, often with the tenor of relics. The library resources reach about 11,500 volumes. | Ile-ẹkọ yii ti dasilẹ ni ọdun 2000 bi ẹkun awọn ile-ibẹ, ṣugbọn ti dasilẹ yii ti dasilẹ ni ọjọ mẹwa ti n ṣe atunṣe awọn ọna itan ti awọn oṣoṣo Home Army. Tití di oni, ile-ẹkọ yii ti gba awọn iṣẹ 8,000 ati awọn iwe-akọọlẹ 12,000 – pataki jẹ kẹta ti awọn oṣoṣo Army ati awọn ẹbi wọn ni agbaye – awọn ọna itan, pẹlu awọn ọna itan ti o jẹ ọna itan. Awọn iṣẹ ile-ẹkọ jẹ 11,500. |
The permanent exhibition presents the history of Polish Underground State and Home Army in their complexity. The main section of the exhibition begins with the so-called September Campaign (Invasion of Poland, 1939). The division of Poland into two occupied zones, German and Soviet, consists of several sections (pe. Society, Terror, concentration camps, Holocaust and attitude of the Underground State towards persecuted Jews, etc.) and are well documented with photographic displays. Day-by-day life, both civilian and military, and the policy of both occupants is shown in the rich narrative scenography of the exhibition, based on documents and artefacts such as uniforms, munitions, many documents and decorations. | Iṣẹgun ti o ma n ṣe ayelujara mu iṣẹgun ile Poland Underground ati Home Army ni ipinle wọn. Ibi ti o ṣe pataki ninu ayelujara bere ni September Campaign (Invasion of Poland, 1939). Ipinle Poland si meji, German ati Soviet, ni aṣẹjuṣẹ (gẹgẹbi Society, Terror, concentration camps, Holocaust ati ipo ti Underground State si awọn Jew ti a ṣẹgun, bẹbẹ lọ) ati aṣẹjuṣẹ wọn ni aṣẹjuṣẹ pẹlu awọn iṣẹgun photographic. Aye ti o ma n ṣe, gẹgẹbi civilian ati military, ati ipolowo ti awọn occupants meji ni aṣẹjuṣẹ ninu ayelujara, ti o ṣe pataki ninu awọn iṣẹgun ati awọn iṣẹgun, gẹgẹbi awọn uniform, awọn munitions, awọn iṣẹgun ati awọn decorations. |
The main part of the exhibition is situated in the basement. Visitors are confronted with hundreds of photos and memorabilia telling stories of selected Home Army members. One of the most precious exhibits is the diary of a famous major "Hubal" – Henryk Dobrzański, the first guerilla commander of the World War II in Europe. Among other artefacts there is a replica of a fuselage section of Halifax (British heavy bomber) and a reconstructed inner structure of a V-2 rocket. The reconstruction of a detention cell in which after 1944 Polish Urząd Bezpieczeństwa (Department of Security) held members of the Home Army and postwar Freedom and Independence organisation gives the opportunity to experience the communist terror. The museum has an extensive weapon collection, including homemade projectiles. | Ipo kan ti iṣẹṣe wa ni ipo ni isale. Awọn oniṣẹṣe ni ipa pẹlu ọgọrun awọn foto ati awọn ohun ọrọ ti n sọ ọrọ awọn ọmọ egbe Home Army. Ọkan ninu awọn iṣẹṣe ti o ṣe pataki jù ni iwe-itan ti ọgagun "Hubal" – Henryk Dobrzański, ọgagun ẹgbẹ guerilla akọkọ ti Ogun Agbaye II ni Europe. Nipa awọn ohun ọrọ miiran wọnyi wọnyi ni aṣẹṣẹ ti fuselage section ti Halifax (British heavy bomber) ati aṣẹṣẹ ti inner structure ti V-2 rocket. Aṣẹṣẹ ti ẹka ẹgbẹ ti awọn Urząd Bezpieczeństwa (Department of Security) ti Poland ti gbe awọn ọmọ egbe Home Army ati ẹgbẹ Freedom and Independence lẹhin 1944 ti fun awọn oniṣẹṣe ni ipa lati ṣe aṣẹṣẹ ti ẹgbẹ oselu. Ile-ẹkọ yẹn ni iṣẹṣe ọja pataki, pẹlu awọn projectiles ti a ṣẹ lati inu ile. |
The Château de la Canière is a château in Thuret, Puy-de-Dôme, France. It was built in 1889 on the site of a previous château by the Bérard de Chazelles family to house the collections of their relative the chemist Antoine Lavoisier. | Château de la Canière jẹ́ château kan ní Thuret, Puy-de-Dôme, Faranse. A ṣe ibi na ni ọdun 1889 lori ibi château tẹlẹ̀rí rẹ̀ nipa ẹbi Bérard de Chazelles lati fi gbe awọn ipinlẹ ẹ̀gbọ́n wọn onímọ̀ sáyẹ́nsì Antoine Lavoisier. |
Sant Ponç is a locality located in the municipality of Clariana de Cardener, in Province of Lleida province, Catalonia, Spain. As of 2020, it has a population of 13. | Sant Ponç jẹ agbegbe kan ti o wa ni agbegbe Clariana de Cardener, ni Province of Lleida, Catalonia, Spain. Lati ọdun 2020, o ni olugbe 13. |
Axin-2, also known as axin-like protein (Axil), axis inhibition protein 2 (AXIN2), or conductin, is a protein that in humans is encoded by the AXIN2 gene. | Axin-2, ti a tun mọ si axin-like protein (Axil), axis inhibition protein 2 (AXIN2), tabi conductin, jẹ protein kan ti ni awọn ẹya ará ọmọnìya, aṣẹ AXIN2 gene. |
The Axin-related protein, Axin2, presumably plays an important role in the regulation of the stability of beta-catenin in the Wnt signaling pathway, like its rodent homologs, mouse conductin/rat axil. In mouse, conductin organizes a multiprotein complex of APC (adenomatous polyposis of the colon), beta-catenin, glycogen synthase kinase 3-beta, and conductin, which leads to the degradation of beta-catenin. | Oju opo Axin, Axin2, gbolohun pe o ni ipa to ga ju lo si itosiwaju itoju itoju beta-catenin ninu ounje Wnt, bi awon homologs re to wa ni ẹdọforo, mouse conductin/rat axil. Ninu ẹdọforo, conductin na agbekalẹ aaye awọn protein pupọ APC (adenomatous polyposis of the colon), beta-catenin, glycogen synthase kinase 3-beta, ati conductin, ti o si mu ki beta-catenin jade. |
The AXIN proteins attract substantial interest in cancer research as AXIN1 and AXIN2 work synergistically to control pro-oncogenic β-catenin signaling. Importantly, activity in the β-catenin destruction complex can be increased by tankyrase inhibitors and are a potential therapeutic option to reduce the growth of β-catenin-dependent cancers. | Ogun AXIN n fa idaniloju pipe ni ibi iroyin itoju cancer gidi gidi bi AXIN1 ati AXIN2 n sise ni ipa pataki lati sise bi asepo-oncogenic β-catenin. Bi o tile je, iṣẹ ni β-catenin iparun complex le ṣe afikun nipasẹ tankyrase inhibitors ati wọn ni aṣẹ itọju lati paṣẹ agbara ti β-catenin-dependent cancers. |
The deregulation of beta-catenin is an important event in the genesis of a number of malignancies. The AXIN2 gene has been mapped to 17q23-q24, a region that shows frequent loss of heterozygosity in breast cancer, neuroblastoma, and other tumors. Mutations in this gene have been associated with colorectal cancer with defective mismatch repair. | Ipoju beta-catenin je okunrin ode oni lati se aise bi ohun ti o nse ni itanu awon aro. Gene AXIN2 ti a se aaye si 17q23-q24, agbegbe ti o nmu ibaje ti o nmu ibaje ni kankara ara, neuroblastoma, ati awon tumor miran. Awon ifojusi ninu gene yi ti a se aaye ni kankara ara colorectal pẹlu awọn ifojusi ti o nmu ibaje. |
The most critical events of teeth, lip and palate formation occur almost concurrently. Hypodontia, defined as the congenital lack of one or more permanent teeth, is the most common dental abnormality found in humans and affects approximately 20% of the population worldwide. AXIS inhibition protein 2 (AXIN2) gene polymorphic variants may be associated with both hypodontia and oligodontia (characterized by the lack of six or more permanent teeth). Mutations of this gene have been found in individuals with colorectal carcinomas and liver tumors. | Ọ̀rọ̀ tí ó ṣe pàtàkì jùlọ nínú kíkọ́ ẹyin, ẹnu àti àgbọ̀n ẹyin máa ń ṣẹlẹ̀ bí ó tilẹ̀ jẹ́. Hypodontia, tí a ṣe àpèjúwe gẹ́gẹ́ bí àìsí ẹyin tó wà lára àwọn ẹyin tó wà fún igba pẹ̀pẹ̀, jẹ́ àìṣe ẹyin tí ó wọ́pọ̀ jùlọ tí a rí nínú ènìyàn àti ó ń pa ọ̀rọ̀ 20% lágbàáyé. AXIS inhibition protein 2 (AXIN2) jẹ́ gene polymorphic variants tí ó lè jẹ́ àpẹẹrẹ fún hypodontia àti oligodontia (tí ó jẹ́ àìsí ẹyin mẹ́fà tàbí ju bẹ́ẹ̀ lọ). Àwọn mutations yìí ti a rí nínú àwọn ènìyàn tí ó ní colorectal carcinomas àti liver tumors. |
An AXIN2 mutation (1966C>T) detected in a Finnish family was associated with both tooth agenesis and colon neoplasia. A second family is described from Michigan in 2011, with members describing severe oligodontia, sparse hair, and hundreds of colons polyps. Another family was found by the Mayo Clinic in 2019. In essence, the mutation seems to disrupt tooth development early in life and later contributes to the emergence of polyps and eventually colon cancer, an observation that suggests that the lack of permanent teeth may be an indicator of colon cancer susceptibility. Dentists may at the very least need to remain aware of the possible association, to be able to detect such cases of tooth agenesis and forward the patient to more complete genetic diagnostic examinations. This is a simple example of how molecular genetic discoveries today interact with traditional disciplines (Longtin, 2004). | Ipo AXIN2 (1966C>T) ti a ri ni ile eyan Finlandi je okunrin pelu tooth agenesis ati colon neoplasia. Eka keji ni a se apejuwe lati Michigan ni 2011, pẹlu awọn ẹgbẹ ti n sọ pe wọn ni oligodontia ti o to, irun ti o ku, ati ọgọrun ọgọrun polyps colon. Eka keji a ri ni Mayo Clinic ni 2019. Ni ipo rẹ, ipo na bẹrẹ si ma a duroto ẹkun odun ati pe o si ma a duroto ẹkun polyps ati colon cancer, ti o fa a mu ki o duro wipe kopa ti ẹkun odun ko le jẹ aṣẹju ẹkun colon cancer. Dentists yoo ni lati ma a mu ki o duro wipe ipo na bẹrẹ si ma a duroto ẹkun odun ati pe o si ma a duroto ẹkun polyps ati colon cancer, lati le mu ki o duro wipe ipo na bẹrẹ si ma a duroto ẹkun odun ati pe o si ma a duroto ẹkun polyps ati colon cancer. Eyi ni aṣẹju kekere ti o fa a mu ki o duro wipe ipo na bẹrẹ si ma a duroto ẹkun odun ati pe o si ma a duroto ẹkun polyps ati colon cancer, ti o fa a mu ki o duro wipe ipo na bẹrẹ si ma a duroto ẹkun odun ati pe o si ma a duroto ẹkun polyps ati colon cancer (Longtin, 2004). |
Shiavax Dhanjibhoy Chavda (11 December 191418 August 1990) was an Indian painter, illustrator and muralist. Known for his dynamic line drawings and paintings, Chavda's work mainly showcased the dancers and musicians from India and Southeast Asia. | Shiavax Dhanjibhoy Chavda (11 Oṣù Kejìlá 1914 - 18 Oṣù Awẹ́wẹ̀ 1990) jẹ́ oníṣẹ́ àwòrán, oníṣẹ́ àwòrán àti oníṣẹ́ àwòrán ọ̀fẹ́ ọmọ India. A mọ̀ọ́ fún àwòrán líne dínámíkì rẹ̀ àti àwòrán, iṣẹ́ Chavda ló sọ̀rọ̀ láti mú oríṣiríṣi olórin àti olórin láti India àti Àsíà Gúúsù. |
Chavda was born in a middle class Parsi family on 11 December 1914 in Navsari, Gujarat. His father Dhanjibhoy was a trader and his mother's name was Hillamai. He completed his school education in Navsari and joined the Sir J. J. School of Art in Mumbai. | Chavda je bi ni ile eyin osere Parsi ni 11 Osu Kejila 1914 ni Navsari, Gujarat. Baba re Dhanjibhoy jẹ onisowo ati oruko iya re ni Hillamai. O parí ẹ̀kọ́ alakọbẹ̀rẹ̀ rẹ̀ ni Navsari ati pe o bẹrẹ si ilé-ẹ̀kọ́ giga Sir J. J. School of Art ni Mumbai. |
After passing the art diploma examination in 1935, he was awarded the Sir Ratan Tata Scholarship in 1936 for further studies and secured admission in Slade School of Fine Art in London. Under the guidance of eminent teachers such as Randolph Schwabe combined with self-study, he completed the three-year course in two years itself, graduating with a fine arts diploma in 1938. A few months later, he also trained at the Académie de la Grande Chaumière in Paris. | Lẹ́yìn ti o ti gba diploma ninu ere ijọba ni ọdun 1935, a fun ni bursary Sir Ratan Tata ni ọdun 1936 fun iwe ẹkọ ati gba adun ni Slade School of Fine Art ni London. Labẹ agbala akọni agba bi Randolph Schwabe pẹlu iwe ẹkọ ara ẹni, o pari ọdun mẹta ẹkọ ni ọdun mẹẹwa, o si gba diploma ninu ere ijọba ni ọdun 1938. Ọsẹ mẹta lẹhin naa, o si gba ẹkọ ni Académie de la Grande Chaumière ni Paris. |
During his stay in Europe, Chavda mastered the techniques of murals, lithography, painting restoration, as well as theater stage design with the Russian artist Vladimir Polunin. After his return to India in 1939, he studied Indian classical music and took elementary lessons in Indian classical dance. He was also briefly associated with the Bombay Progressive Artists' Group and worked as an art director with a well-known film unit. | Nigba ti o wa ni Europe, Chavda gba asepo aworan egungun, lithography, ifowosowopo aworan, ati apejuwe ipese itage ni ẹgbẹ pẹlu olorin Russian Vladimir Polunin. Lẹyin ti o padasi si India ni 1939, o kọ orin ilu India ati gba ẹkọ alakọbẹrẹ ni orin ilu India. O si tun jẹ ẹgbẹ kan pẹlu Bombay Progressive Artists' Group ati ṣiṣẹ bi oludari aworan ni ẹgbẹ film ti a mọ. |
Initially, Chavda painted in Victorian realistic style. During his travels across India, he studied the rural and tribal life, animals, as well as the architecture of Ajanta & Ellora, Khajuraho, Sanchi etc., and drew numerous sketches and pen-ink drawings. He used to visit the zoo and sketch various animals, their movements and postures. He also made many sketches and colorful pictures of cock as a subject. Additionally, he studied the folk art, folk dance and architecture of Indonesian islands like Java, Sumatra and Bali through sketches and subsequently developed his own style. | Ni ibere, Chavda ti pe awo orisirisi ni awo Victorian. Nigba ti o n soro ni India, o si gbe awo orisirisi ile alade ati agbegbe, ounje, ati awo ile Ajanta & Ellora, Khajuraho, Sanchi ati bebe lo, o si gbe awo orisirisi ati awo ink. O ma n lo si zoo, o si gbe awo ounje, irin ati ipo wọn. O tun gbe awo orisirisi ati awo alaala fun adie gẹgẹ bi akọsilẹ. O tun gbe awo orisirisi ile alade, awo orisirisi ati awo ile awọn ẹya Indonesian bi Java, Sumatra ati Bali, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisirisi, o si gbe awo orisir |
Chavda was fascinated by the dynamic movements of individuals and groups of people engaged in their chores, dancers in various forms, and musicians showcasing their style and rhythm. He usually painted on canvas in impasto style, applying the paint with a painting knife. The characteristic of Chavda's artworks were the rhythmic lines, which he used to capture the motion and movements in the picture by sketching them quickly. In his paintings, he brought life to the image by using vivid colors while maintaining the predominance of sketched lines. Describing his approach to art, Chavda said:Correctness of colour does not matter. I even distort the figures to give them character and create designs with them. I find no pleasure in actually reproducing life as I see and paint realistically; where is creative imagination otherwise?Gradually, Chavda started to portray his subjects in an abstract style using the same colours and textures that were applied in his early artworks. | Chavda gbayi ni ipa ajeji ti awon eniyan ati egbe awon eniyan ti n se ise wọn, awọn olorin ni awọn ọna ati awọn olorin ti n fi ọna ati irin wọn. O ma n pe lori kanvas ni ọna impasto, o si n lo ọna painting knife. Ipo ti awọn iṣẹ Chavda ni awọn ọna irin, ti o n lo lati gba ipa ati ipa ni aworan naa ni iyara wọn ni iyara. Ni aworan rẹ, o ti gba ayọ ni aworan naa ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni iyara ni |
The subject matter was expressed by Chavda by systematically laying out the basic elements of a drawing like lines, shapes, rhythm etc. He created colorful drawings and sketches based on Indian dance forms such as Bharatanatyam and Odissi as well as ballet dance forms of Europe. He also used yantra from Tantric art as images or symbols in his artworks. In 1949, Henry Heras had requested Chavda to create paintings on Christ-theme. The latter painted Biblical pictures such as Cross Maidan and Death of Pope Pius XII in Expressionist style which were exhibited in Rome during the Jubilaeum maximum. | Iṣẹ-ọnà rẹ jẹ́ ti Chavda ṣe pẹ̀lú ìfihàn àwọn ẹ̀ka aláwọ̀dùdù bí lílọ, àwòrán, ìrìn, àti bẹ̀bẹ̀ lọ. Ó ṣe àwòrán àwọ̀fà àti àwòrán ẹlẹ́yàmẹ̀yàmẹ̀ lórí ẹ̀ka oríṣiríṣi ti ìjó India bí Bharatanatyam àti Odissi gẹ́gẹ́ bí ẹ̀ka oríṣiríṣi ti ìjó ballet ti Europe. Ó tún lo yantra láti inú ìṣẹ̀ṣe Tantric gẹ́gẹ́ bí àwòrán tàbí ààmì nínú àwọn iṣẹ́-ọnà rẹ̀. Ní ọdún 1949, Henry Heras ti béèrè Chavda láti ṣe àwòrán lórí ìṣẹ̀ṣe Kristi. Òhun tí ó tọ́ ṣe àwòrán Bíbélì bí Cross Maidan àti Ikú Pope Pius XII ní àṣẹ́ṣẹ́ Expressionist tí wọ́n fi ṣe àṣẹ́lẹ̀ ní Rome ní àkókò Jubilaeum maximum. |
In an article for The Modern Review, Prof. O. C. Gangoly wrote that Chavda successfully extracted the lessons from modern European art. He did not confine himself to Western modernistic techniques but also drew valuable lessons from the traditions of old Indian sculptures, which was demonstrated in his studies of the sculptures of Ambarnath. Another article for The Contemporary Review by A. S. Raman described Chavda as the master of mood and movement. Raman writes that he could capture a given moment with uncanny accuracy and spontaneity. Further, the writer mentions that the studied casualness of his line was deceptive, for there was a good deal of concentration and preparation behind it. "He painted the Indian scene with the sardonic precision and detachment of an observer, rather than with the passion and abandon of one involved in it", quotes Raman. He also suspected that Chavda secretly prayed at the shrine of Henri de Toulouse-Lautrec. | Ninu atunse fun The Modern Review, Prof. O. C. Gangoly soro wipe Chavda ti gba aro nipa awon oro isinmi ojoji Europe. O ngbe ni awon irin modernistic ti Iwoorun, sugbon o tun gba aro pipon nipa awon iseagbele agba ti India, ti o fi han ni iseagbele Ambarnath. Atunse miiran fun The Contemporary Review ni A. S. Raman soro wipe Chavda ni olori ninu awon olorin. Raman ko wipe o le gba awon wakati pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki pataki |
Notable paintings of Chavda include Calico Printers, Mother's love, Worship in Kulu, Rangoli, Toddy Sellers, Daily Work, Booking Office and In the Balcony among others. He had created murals for the Mumbai offices of Air India, Burmah Oil, Reliance Group and the buildings of People's Insurance Company, National Centre for the Performing Arts (NCPA). He also painted commissioned portraits for various government and private organizations. Chavda was invited by the Assam government to portray the diversity of tribal life in Assam. Additionally, he had provided line drawings for Balwant Gargi's book titled Folk Theater of India. Furthermore, he was associated with K. K. Hebbar for some time at the Bombay Art Society, and sought to change the old way of thinking in the society and to bring a modern approach to it. | Aworan ti o ye Chavda ni Calico Printers, Mother's love, Worship in Kulu, Rangoli, Toddy Sellers, Daily Work, Booking Office ati In the Balcony lopolopo. O ti se mural fun ile-iṣẹ Air India ni Mumbai, Burmah Oil, Reliance Group ati ile People's Insurance Company, National Centre for the Performing Arts (NCPA). O si ti pe aworan fun iṣẹlẹ fun awọn iṣẹlẹ ijọba ati awọn ile-iṣẹ. Ijoba Assam pe Chavda lati ṣe aworan ayika ti igbelebu igbelebu ni Assam. O tun fun ni aworan lẹẹkọ fun iwe Balwant Gargi ti a pe akole re ni Folk Theater of India. O si tun jẹ ẹgbẹ pẹlu K. K. Hebbar fun igba diẹ ni Bombay Art Society, o si nreti lati yọ awọn ọna ti o kọja ni ile-iṣẹ naa ati lati mu awọn ọna tuntun wọle. |
Chavda's first solo exhibition was held in 1945 at the Princes' Room of the Taj Mahal Palace Hotel in Mumbai. This was followed by a one-man exhibition in 1946 at the Silverfish Club and another in 1947 at the Princes' Room of the Taj Hotel which was inaugurated on 15 January 1947. The latter show included a series of paintings made during his visit to Kullu Valley in 1943 and other set of artworks created during his stay in the remote villages of Gujarat in 1946. In May 1951, India had participated in Salon de Mai for the first time. Chavda was among the thirteen artists from India who had exhibited in the Indian section of this event. Chavda was also a part the Bombay Group which included artists like Hebbar, Laxman Pai, D. G. Kulkarni, Mohan Samant, and Baburao Sadwelkar to name a few. This group organized six major exhibitions from 1957 to 1962 which was well received by the art community. | Ère àjọ̀dún Chavda àkọ́kọ́ wàá gbé kalẹ̀ ní ọdún 1945 ní ilé ìjọsìn Princes' Room ti ilé ọ̀tẹ̀lẹ̀ Taj Mahal Palace ní Mumbai. Èyí sì tẹ̀lé àjọ̀dún kan àti ọkùnrin kan ní ọdún 1946 ní ilé ìjọsìn Silverfish Club àti ọ̀rẹ̀ẹ̀kan ní ọdún 1947 ní ilé ìjọsìn Princes' Room ti ilé ọ̀tẹ̀lẹ̀ Taj Hotel tí wọ́n gbé kalẹ̀ ní ọjọ́ kẹrìndínlógún oṣù Kínní ọdún 1947. Àjọ̀dún tí ó tẹ̀lé náà tún ṣe àfihàn àwọn àpèjọ àwòrán tí ó ṣe nígbà tí ó wọlé sí Kullu Valley ní ọdún 1943 àti àwọn àpèjọ àwòrán míràn tí ó ṣe nígbà tí ó wà ní àwọn abúlé alágbède ti Gujarat ní ọdún 1946. Ní oṣù Mẹ̀rin ọdún 1951, India ti kópa ní Salon de Mai fún àkọ́kọ́ lọ́jọ̀. Chavda jẹ́ ọ̀kan lára àwọn ọmọ orílẹ̀ èdè India mẹ́wàá tí ó ṣe àfihàn ní àgbègbè India ti àjọ̀dún yẹn. Chavda sì jẹ́ ọ̀kan lára ẹgbẹ́ Bombay Group tí ó ní àwọn ọmọ orílẹ̀ èdè bí Hebbar, Laxman Pai, D. G. Kulkarni, Mohan Samant, àti Baburao Sadwelkar lára àwọn míràn. Ẹgbẹ́ yẹn gbé àjọ̀dún mẹ́fà kalẹ̀ láti ọdún 1957 sí 1962 tí ó gbajúmọ̀ lára àwọn ọmọ orílẹ̀ èdè. |
The artworks of Chavda are housed in the collections of several local and foreign collectors, museums and art galleries such as Baroda Museum & Picture Gallery, National Gallery of Modern Art, Tata Institute of Fundamental Research, Jehangir Nicholson Art Foundation, Tate and Victoria and Albert Museum to name a few. | Awọn iṣẹ ọwọ Chavda wà nínú àpèjọ àwọn oníṣẹ́ àti àwọn ọmọ orílẹ̀ èdè, ẹ̀ka ọ̀fẹ́ àti àwọn ilé ọ̀fẹ́ bíi Baroda Museum & Picture Gallery, National Gallery of Modern Art, Tata Institute of Fundamental Research, Jehangir Nicholson Art Foundation, Tate àti Victoria and Albert Museum láti orúkọ àwọn. |
Chavda was elected as the Fellow of Lalit Kala Akademi in 1986. He was also adjudged as the 'Artist of the Year' by the Government of Maharashtra in 1990. | Chavda ni a yan gege bi Fellow ti Lalit Kala Akademi ni 1986. O tun peregede bi 'Olora Ona Odun' ni 1990 ni owo Gomina ti Ipinle Maharashtra. |
In 1947, Shiavax married Khurshid Vajifdar, an expert in Indian classical dance and sister of Shirin Vajifdar. They had two childrena daughter named Jeroo who is an Odissi dancer and a son named Pervez who is an architect. | Ni ọdun 1947, Shiavax fẹ Khurshid Vajifdar, oniṣẹ́ agboju aṣẹ India ati aburo Shirin Vajifdar. Won bi ọmọ meji, ọmọbini kan ti oruko re je Jeroo ti o je Odissi dancer ati ọmọkunrin kan ti oruko re je Pervez ti o je oniṣẹ́ ilẹ. |
Chavda died on 18 August 1990 in Mumbai at the age of 75. A retrospective of his works was held at Jehangir Art Gallery in 1993 and 2017. Another retrospective was organized at the Nehru Centre Art Gallery in 2018. | Chavda ku ni 18 Oṣu Agusta 1990 ni Mumbai ni ọmọ ọdun 75. A ṣe atunṣe awọn iṣẹ rẹ ni Jehangir Art Gallery ni 1993 ati 2017. Atunṣe miiran ti a ṣe ni Nehru Centre Art Gallery ni 2018. |
"The Name of the Game" is the first episode of the first season and series premiere of the American superhero television series The Boys, based on the comic book series of the same name by Garth Ennis. It is set in a universe where most of the superpowered individuals are portrayed as corrupt individuals instead of being the heroes that the general public believe they are. The episode was written by the series showrunner Eric Kripke and directed by Dan Trachtenberg. | "Oruko Ere Idije" ni eyi akoko ninu ojo akoko ati ere idije ti orisirisi ere Amerika superhero The Boys, to je lori iwe arosoke ti oruko to tobi ni Garth Ennis. O je lori aye tobi tobi ninu re ni awon eniyan to ni agbara tobi je lori awon eniyan buruku ki o to je awon ero to awon eniyan gbooro gbooro gbagbo wọn ni. Ere naa je ti a kọ ni oludari ere Eric Kripke ati Dan Trachtenberg ni oludari rẹ. |
Originally Cinemax announced that an adaptation of the comic book series The Boys was in development with Kripke set to develop it in April 2016. However, the rights for the adaptation were passed to Amazon who greenlighted the series in November 2017. The episode follows Hughie Campbell (Jack Quaid) being recruited by Billy Butcher (Karl Urban) to the titular Boys, after her girlfriend Robin Ward (Jess Salgueiro) is accidentally killed by A-Train (Jessie T. Usher). Meanwhile Annie January is forced to realize the truth about the heroes she admired after joining the supehero group The Seven. | Ni ibere, Cinemax ti kede pe a n se atunse iwe aroso The Boys ni isoro pẹlu Kripke ti n se atunse rẹ ni April 2016. Sugbon, ikede fun atunse naa ti lo si Amazon ti n fun ni ase ni November 2017. Akoko naa n soro Hughie Campbell (Jack Quaid) ti n se ayanfẹ rẹ fun Billy Butcher (Karl Urban) si awọn ọkunrin akọkọ, lẹyin ti arabinrin rẹ Robin Ward (Jess Salgueiro) ti ku ni aisan lọwọ A-Train (Jessie T. Usher). Ni akoko naa, Annie January ti n se ayanfẹ rẹ lati ri otito nipa awọn akọrin ti o n fi ara rẹ han lẹyin ti o darapọ mọ ẹgbẹ akọrin The Seven. |
"The Name of the Game" was released on the streaming service Amazon Prime Video on July 26, 2019. The episode received positive reviews from critics with praise for the visual style, direction, performances, black humor, and its faithfulness to the comics. It received a Primetime Creative Arts Emmy Award nomination for Outstanding Sound Editing for a Comedy or Drama Series (One-Hour). | "Oruko Ere" je ifilọlẹ si ẹ̀rọ ọ̀fẹ̀ Amazon Prime Video ni ọjọ́ 26, Oṣu 7, 2019. Akoko naa gba ayọọ ni ọ̀rọ̀ lati awọn ọlọ̀tọ̀ pẹlu ayọọ fun ifọwọsi, ọ̀nà, ipa, ọ̀rọ̀ ọ̀kọ̀, ati ifẹ́ si awọn komiki. O gba ẹ̀bun Primetime Creative Arts Emmy Award fun Outstanding Sound Editing fun Comedy or Drama Series (One-Hour). |
The episode starts with Queen Maeve stopping a kidnapped bank van from killing two kids who were discussing who would win in a fight between the Deep and Translucent. The bank robbers are overpowered by Homelander, revealing that the series takes place in a universe where the superpowered individuals are called Supes and are very common and recognized as heroes by the general public. | Ipo episo yi bere pẹlu Olori Maeve ti o dọgba oko banku ti a gbe lọwọ lati pa ọmọde meji ti n sọrọ nipa eyi ti yoo gbaja ninu ogun laarin the Deep ati Translucent. Awọn olorisa banku ni wọn ti o gbe lọwọ Homelander, ti o mu wa pe ipo yi wa ni aye ti awọn eniyan ti o ni agbara ti a n pe ni Supes ati pe wọn wọpọ ati a ti ri wọn bi wọn olori nipasẹ awọn eniyan. |
Hughie Campbell is a salesman working for the Bryman Audio, struggling to convince his boss to get him a raise. While discussing his uncertain future with his girlfriend Robin Ward, the latter is accidentally torn apart by A-Train with his speed and runs away, while Hughie starts to suffer from post-traumatic stress disorder due to the events. Hughie attempts to file a lawsuit against Vought International, but his father Hughie Campbell Sr., attempts to convince him to accept the company's offer, a $45,000 settlement, fearing that the corporation is too powerful to defeat, much to the former's dismay. | Hughie Campbell jẹ́ olutaja ti n ṣiṣẹ́ fun Bryman Audio, o si n ṣe iranlọwọ lati mu bosi rẹ gba ogun, nigba ti o n ṣe ẹsẹ fun ayika rẹ pẹlu arabinrin rẹ Robin Ward, eyi to ku ni A-Train pa pẹlu ọna rẹ, o si ya jade, nigba ti Hughie bẹrẹ si ni ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọrọ aisan ọna ọ |
Meanwhile, an aspiring superhero Annie January is accepted to join the superhero group the Seven, as a replacement to Lamplighter's, following the latter's retirement. At the Seven's headquarters, after leaning Annie tells the Deep that she had a crush on him as a kid, the latter masturbates in front to her much to the former's horror. The Deep proceeds to blackmail Annie into performing oral sex on him or he will tell Homelander that she attacked him, which would lead her to be thrown out of the Seven. | Nigba to, Annie January ti feyinti superhero ti won yan si ile-ise superhero the Seven, gege bi apoti Lamplighter, leyin ti o ti feyinti. Ni ile-ise the Seven, leyin ti Annie ti gbo, o si wi pe o fe The Deep nigba to o n feyinti, eyi ti o fa The Deep lo si iboju re, ti o si fa Annie ri iboju. The Deep bere Annie lati se ifunyin fun ni, nigba ti o n beere pe o ma soro Homelander pe o ti gbe e, eyi ti yoo fa a gbe e jade ni the Seven. |
Hughie is approached by Billy Butcher, apparently a FBI agent who is aware of the truth behind Robin's death. He proceeds to show Hughie that the Supes are really corrupt and selfish when they are outside their heroic personas and that they lose hundreds of people a year, but Vought keep this as a secret to hide the truth from the people and ensure that the Seven continue to be loved by the public. Butcher takes Hughie to a secret "Supes Club" to show him security footage of A-Train laughing about Robin's death and offers Hughie the chance to expose the Supes by accepting Vought's settlement so he can enter the tower of the Seven and hide a microphone, but Hughie initially refuses. The next day he meets Annie at Central Park where both have a conversation and reflect over how their lives have changed over the course of the previous day. The two of them motivate each other with Hughie changing his mind and deciding to accept Butcher's deal, while Annie decides to remain in the Seven and stand up against his colleagues. | Hughie jẹ́ alabẹ̀ẹ̀jẹ̀ Billy Butcher, ti o jẹ́ oludije FBI ti mọ̀ otito nipa ikú Robin. O tẹ̀le Hughie wọle pe awọn Supes jẹ́ olè ati olègbègbè nigba ti wọn wà laarin awọn orisirisi wọn, ati pe wọn pa ọ̀pọ̀ eniyan lọdọọdun, ṣugbọn Vought fi iṣẹ yii silẹ̀ lati fi otito yii sọdọ awọn eniyan ati lati ṣe afikun pe awọn Seven yoo jẹ didun si awọn eniyan. Butcher mu Hughie lo si "Supes Club" mimọ̀ lati fi awọn fọto sẹ́kirìtì wa A-Train gbagbe nipa ikú Robin ati fi Hughie lọwọ lati fi awọn Supes jade ni otito nipa gba ọwọ́-ọwọ́ Vought, ki o to le de inu igbale awọn Seven ati fi microphone sori ẹrọ, ṣugbọn Hughie ko gba yii lọwọ. Lailai, o pinnu Annie ni Central Park nibi ti wọn ti gbe jade ati ṣe aṣẹjuwe nipa bi ayé wọn ti yipada lẹhin ọjọ́ kan. Awọn meji wọn ṣe aṣẹjuwe fun ara wọn, Hughie yọ̀ si ẹgbẹ Butcher, nigba ti Annie pinnu lati duro ni awọn Seven ati dide si awọn ọlọ̀gbọ̀n rẹ. |
Hughie calls a lawyer from Vought to accept the deal in exchange of receiving an apology from A-Train in person. Hughie arrives at the Seven Tower where he reluctantly accepts the apology from A-Train. Billy successfully hides the microphone though he is unaware that Translucent watched him. After Butcher drops Hughie back at his work, the latter is attacked by Translucent who followed him and removed the bug, though Butcher arrives to fight him. Though initially Translucent has the advantage, Hughie proceeds to electrocute him and apparently kill him where Butcher confesses that he is not in the FBI. | Hughie pe awon agbẹjọro lati Vought lati gba ọfiisi naa, nigbati o gba afihanra lati A-Train ni ara rẹ. Hughie de Seven Tower nibiti o gba afihanra lati A-Train. Billy sise microphone naa, sugbon ko mo pe Translucent ti ri. Lẹyin ti Butcher ti pari Hughie si ile-iṣẹ rẹ, eyi ti Translucent ba, ti o si ya microphone naa, sugbon Butcher de lati naa jade. Bi o ti bẹrẹ, Translucent ni olori, sugbon Hughie ti o fi agbara electrocute, ati pe o pa, nibiti Butcher ti gba pe ko si ni FBI. |
Elsewhere, Vought International vice president Madelyn Stillwell, offers the Mayor of Baltimore one of Vought's Supes the Nubian Prince for a $300 million/year deal, but the Mayor refuses and proceeds to blackmail Stilwell by exposing the truth of the existence of something known as the "Compound V". In response, Homelander destroys the Mayor of Baltimore's plane while in flight, killing every passenger including the Mayor and his son, much to Homelander's joy. | Ní ibẹ̀, adípò Vought International, Madelyn Stillwell, fi ọkan lára àwọn Supes Vought, Nubian Prince, fún olúìlù Baltimore fún ọ̀rọ̀ $300 million/ní ọdún, ṣùgbọ́n olúìlù náà kọ̀ ẹ̀, ó sì ń ṣe àjẹsára Stillwell láti fi òótọ̀ ìwàsíwájú "Compound V" múlẹ̀. Lẹ́yìn èyí, Homelander pa ọkọ̀ olúìlù Baltimore nígbà tí ó ń lo, ó pa gbogbo àwọn aláṣẹ lára, pẹ̀lú olúìlù àti ọmọ rẹ̀, gẹ́gẹ́ bí Homelander ti rí yín. |
An adaptation of the comic book series The Boys was initially developed as a feature-length film in 2008. However, after several failed attempts to produce the film causing it to be in development hell for several years, the plans for a film were scrapped in favor of a television series. In 2016, it was announced that the show would be developed by Cinemax, with Erick Kripke being hired to serve as the series showrunner and writer, alongside Evan Goldberg, and Seth Rogen who would direct the pilot episode. In November 2017, Amazon acquired the rights to develop the show, announcing that they would be producing over eight episodes for the first season, while confirming that the previously announced creative team would still be attached to the series. On 2018, Dan Trachtenberg was hired to direct the pilot episode for the series replacing Goldberg and Rogen due to scheduling conflicts, though the duo would remain as the series executive producers. The episode which was written by Kripke and directed by Trachtenberg, is titled "The Name of the Game" which takes the same title of the Vol. 1 of the comic book series of the same name that covers the issues #1–6, while using its cover to reassemble the series teaser poster. | Atiloju iwe aroso orin ti The Boys jẹ aṣẹṣe akọkọ ti a pinnu gẹgẹbi fiimu ti awọn akoko mẹta ni ọdun 2008. Ṣugbọn, lẹyin awọn aṣẹṣe ti o ṣẹlẹ ṣe pẹlu fiimu naa, ti o fa fiimu naa jẹ ki o wa ni ipo ti a ko le ṣe, awọn ẹgbẹ naa ṣe ifarakanṣẹ fun fiimu naa lati ṣe aṣẹṣe orin ti television. Ni ọdun 2016, a ṣe ifarahan pe aṣẹṣe orin naa yoo jẹ aṣẹṣe nipasẹ Cinemax, pẹlu Erick Kripke ti a yan lati ṣe oludari aṣẹṣe orin na olukọ, pẹlu Evan Goldberg, ati Seth Rogen ti yoo ṣe oludari akoko orin. Ni Oṣu Kọkànlá ọdun 2017, Amazon gbe eto lati ṣe aṣẹṣe orin, ṣe ifarahan pe wọn yoo ṣe aṣẹṣe orin mẹrin fun akoko akọkọ, nigbati wọn ṣe ifarahan pe ẹgbẹ oludari ti a ṣe ifarahan ṣaṣẹ yoo ṣe pataki ninu aṣẹṣe orin. Ni ọdun 2018, Dan Trachtenberg jẹ oludari akoko orin fun aṣẹṣe orin, Goldberg ati Rogen ṣe ifarakanṣẹ ni ipo wọn ni ṣe oludari akoko orin, ṣugbọn awọn meji yoo ṣe oludari aṣẹṣe orin. Akoko orin ti Kripke kọ ati Trachtenberg ṣe oludari, ni "Orukọ ti Awọn Ere" ti jẹ orukọ Vol. 1 ti iwe aroso orin ti orukọ to to, ti o ṣe awọn isu #1–6, nigbati wọn ṣe aṣẹṣe orin naa lati ṣe aṣẹṣe orin teaser poster. |
Kripke made major changes from the comics for the series, intending to achieve more realism to the series. To achieve that, Kripke decided to make what would be one of the major changes of the show which would be replace Jack from Jupiter with a more human character known as Translucent. This is because he considered Jack's alien form to be too fantastical for the world he wanted to create, though he kept the same powers which similarly to the comics is the indestructible skin. One of the biggest changes from the comics made to the television series is Starlight's being sexually assaulted, as unlike in the comics where she is assaulted by Black Noir, Homelander and A-Train, for the series she is only assaulted by The Deep. Kripke deemed this very hard to adapt due to the Me Too movement, leading to several discussions of how to adapt it. | Kripke ṣe atunṣe pataki lati inu komiksi fun awọn ere, n ṣe afikun ominira si awọn ere. Lati ṣe e, Kripke ṣe idaniloju lati ṣe eyi ti yoo jẹ ọkan ninu awọn atunṣe pataki ti awọn ere ti yoo jẹ ṣe bori Jack lati Jupiter pẹlu ọmọ eniyan kan ti a mọ si Translucent. Eyi ni otitọ pe o ṣe apejuwe ọrọ alien Jack gẹgẹ bi ti o ṣe pataki ju fun agbaye ti o fẹ ṣe da, ṣugbọn o ṣe igbẹhin si awọn agbara ti o ṣe afikun ominira si komiksi ni skin ti ko le ṣe ṣe. Ọkan ninu awọn atunṣe pataki lati komiksi ti a ṣe si awọn ere tẹlifisiyọn ni Starlight ti a ṣe ibaje, gẹgẹ bi ti a ṣe ibaje ni komiksi ti o ṣe ibaje ni Black Noir, Homelander ati A-Train, fun awọn ere o ṣe ibaje ni The Deep. Kripke ṣe apejuwe pe e ṣe idaniloju lati ṣe atunṣe, ṣe afikun ominira si Me Too movement, ṣe afikun ominira si ọpọlọpọ awọn ọrọ ṣe afikun ominira si bawo ni a ṣe atunṣe. |
Also a major change that was done from the comics, was the way they adapted the character of Hughie Campbell. Originally the character is interpreted as a Scottish man with little to no hair which reassembles the appearance of English actor Simon Pegg. Originally it was planned to have Pegg to portray Hughie when the comic was being adapted as a film, but as the films suffered several delays until the project was abandoned, he grew too old to portray the character. Instead, Pegg was given a recurring role to portray Hughie's father in the show for a few episodes, while American actor Jack Quaid took over the role of Hughie, being the reason why the character was portrayed as an American in the show instead of Scottish, though the same story elements from the character's in the comics remain intact in the show. Another of the major characters that went through a change was the character of James Stillwell who for the series is gender-swapped and named Madelyn. Unlike her counterpart of the comics, she it is not interpreted as a sociopath like her comic counterpart but instead making her a more human and sympathetic character. | Bẹẹ ni ọ̀pọ̀lọpọ̀ àtunṣe tí wọ́n ṣe lọ́wọ́ kíkọ àwọn kọ́míkì, ni ọ̀nà tí wọ́n ṣe àtunṣe ọmọ ènìyàn Hughie Campbell. Lọ́wọ́lọ́wọ́, ọmọ ènìyàn náà jẹ́ ọmọkùnrin Scotland tí kìí ṣe àgọ́ àti kìí ṣe àgọ́, èyí tí ó ṣe àfihàn àwòrán òṣèré England Simon Pegg. Lọ́wọ́lọ́wọ́, wọ́n ti ṣe àtunṣe rẹ̀ láti fi Pegg ṣe Hughie nígbà tí wọ́n ń ṣe àtunṣe kọ́míkì yìí sí eré, ṣùgbọ́n bí wọ́n ti ń ṣe àtunṣe eré náà, wọ́n ti ṣe àtunṣe rẹ̀ títí wọ́n fi àtunṣe rẹ̀ sílẹ̀, ó sì di àgbà láti ṣe ọmọ ènìyàn náà. Nígbà náà, wọ́n fi Pegg ṣe ọ̀kan lára àwọn ọmọ ènìyàn tí ó ń ṣe baba Hughie fún àwọn epísọ̀di díẹ̀, nígbà tí òṣèré America Jack Quaid gbé ipò Hughie, èyí ló fa àtunṣe ọmọ ènìyàn náà láti jẹ́ ọmọ America ní eré náà kọ̀ọ̀kan láti jẹ́ ọmọ Scotland, ṣùgbọ́n àwọn ẹ̀sẹ̀ ọmọ ènìyàn náà lọ́wọ́ kọ́míkì wà nínú eré náà. Àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí Madelyn fún eré náà. Bẹ̀ẹ̀ ni àwọn ọmọ ènìyàn míràn tí wọ́n ṣe àtunṣe ni ọmọ ènìyàn James Stillwell tí wọ́n ṣe àtunṣe sí |
The episode main cast includes Karl Urban as Billy Butcher, Jack Quaid as Hughie Campell, Anthony Starr as Homelander, Erin Moriarty as Annie January, Dominique McElligott as Queen Maeve, Jessie T. Usher as A-Train, Chance Crawford as The Deep, Nathan Mitchell as Black Noir, and Elisabeth Shue as Madelyn Stillwell. Also starring are Simon Pegg as Hugh Campbell Sr., Alex Hasell as Transucent, Shaun Benson as Ezekiel, Ann Cusack as Donna January, Colby Minifie as Ahsley Barrett, Jaden Martin as Jamie, Jess Salguiero as Robin Ward, Bruce Novakowski as Doug Friedman, and Paulino Nunes as the Mayor of Baltimore. Laz Alonso, Tomer Capon and Karen Fukuhara are credited for their respective characters as Mother's Milk, Frenchie and Kimiko, though none of them make an appearance at the episode. Jimmy Fallon makes a cameo appearance as an alternate version of himself for the episode. | Ọrọ aṣẹ yi ni awọn olorin pataki ni Karl Urban bi Billy Butcher, Jack Quaid bi Hughie Campell, Anthony Starr bi Homelander, Erin Moriarty bi Annie January, Dominique McElligott bi Queen Maeve, Jessie T. Usher bi A-Train, Chance Crawford bi The Deep, Nathan Mitchell bi Black Noir, ati Elisabeth Shue bi Madelyn Stillwell. Awọn ti o si wa ni Simon Pegg bi Hugh Campbell Sr., Alex Hasell bi Transucent, Shaun Benson bi Ezekiel, Ann Cusack bi Donna January, Colby Minifie bi Ahsley Barrett, Jaden Martin bi Jamie, Jess Salguiero bi Robin Ward, Bruce Novakowski bi Doug Friedman, ati Paulino Nunes bi Mayor ti Baltimore. Laz Alonso, Tomer Capon ati Karen Fukuhara ni aṣẹ fun awọn ọrọ wọn bi Mother's Milk, Frenchie ati Kimiko, ṣugbọn kọọkan wọn ko si fi ẹ̀rọ wọn han ni ọrọ yi. Jimmy Fallon ṣe aṣẹ ipari bi ẹ̀ka miiran ti ara rẹ fun ọrọ yi. |
It was revealed that the filming of the first season would be taking place in the city of Toronto, though the series took place at New York City. Filming began in May 2018, with the crew choosing several locations across the city of Toronto, to recreate the New York City where the series took place. One of the filming locations took place at the Roy Thomson Hall, in order to recreate the exterior of the Vought International company headquarters better known as the Seven Tower. While the show was mostly filmed in Toronto, it was confirmed that the series was also filmed partially in other two cities which are Mississauga and Hamilton. Jeff Cutter was the director of photography for the first episode of the season, having already previously worked with long-time collaborator Dan Trechtenberg in the film 10 Cloverfield Lane. | A ti gbo pe ifilmi awon episoosi akoko yoo je oko ni ilu Toronto, sugbon ise re je lori New York City. Ifilmi bere ni osu May 2018, pẹlu ẹgbẹ ifilmi ti n yan awọn ipo pataki ni ilu Toronto, lati ṣe atunṣe New York City ti o je ibi ti ise re ṣe. Okan ninu awọn ipo ifilmi je lori Roy Thomson Hall, lati ṣe atunṣe okele Vought International company headquarters ti a mo si Seven Tower. Nigbati o ti je pe ifilmi je lori Toronto, a ti gbo pe ise re je lori awọn ilu meji miiran ti a n pe ni Mississauga ati Hamilton. Jeff Cutter je oludari ifilmi fun episoosi akoko fun osu, lẹyin ti o ti ṣe ise pẹlu oludari rẹ ti o n ṣe ise pẹlu rẹ, Dan Trechtenberg ni ifilmi 10 Cloverfield Lane. |
Visual effects for the episode were created by DNEG TV, Framestore, Folks VFX, Mavericks VFX, Method Studios, Monsters Aliens Robots Zombies VFX, Mr. X, Pixomondo, Rocket Science VFX, Rodeo FX, and Soho VFX. It was announced that visual effects supervisor Stephan Fleet would be in charge of overseeing the development for the visual effects. The scene where A-Train accidentally kills Robin was originally intended to use practical effects, but eventually it was decided that it would be made of CGI instead due to the complexity of the shooting and the time it would have taken to film the scene if they used practical blood, while the canvas for Robins' dead body floating in the air took several months to finish. Due to its complexity to shoot and achieve it, the visual effects team took over eight months to complete the scene with Fleet stating "It took us the better part of eight months to nail down the look and tone and storytelling of that shot," he says. "It was just an incredibly challenging piece and big, big props to DNEG for pulling that off." The scene was filmed with a Phantom camera at around 500 frames per second, while using a Bolt High-Speed Cinebot rig in a robotic positioned arm in order to get the camera fast moved as possible. The scene wasn't entirely made by CGI, as it is revealed that the blood splattered in Jack Quaid was practical. | Awọn afẹyinti ifarahan fun episo yi je DNEG TV, Framestore, Folks VFX, Mavericks VFX, Method Studios, Monsters Aliens Robots Zombies VFX, Mr. X, Pixomondo, Rocket Science VFX, Rodeo FX, ati Soho VFX. O ti a dani pe oludari awọn afẹyinti ifarahan Stephan Fleet yoo je oludari awọn afẹyinti. Awọn agbo ile-iṣẹ ti A-Train pa Robin lọṣẹlọṣẹ jẹ ki a lo awọn afẹyinti ayọ, ṣugbọn ni akoko ti a gbe e lo si CGI ni ibatan si itọju awọn agbo ile-iṣẹ ati akoko ti yoo fi mu awọn agbo ile-iṣẹ ti a lo awọn eje ayọ, nigbati awọn agbo ile-iṣẹ ti Robins' oju oru ti o n mu awọn osu diẹ diẹ lati pari. Nigba ti a gbe e lo si CGI, awọn ọmọ ẹgbẹ afẹyinti ifarahan gbe awọn osu mejo lati pari awọn agbo ile-iṣẹ naa pẹlu Fleet ti n sọ "O gbe wa awọn osu mejo lati gbe awọn agbo ile-iṣẹ naa jade," o sọ. "O jẹ ki a gbe awọn agbo ile-iṣẹ naa jade, o si jẹ ki a gbe awọn agbo ile-iṣẹ naa jade." Awọn agbo ile-iṣẹ naa ti a gbe jade pẹlu kamera Phantom ni ibamu si 500 frames per second, nigbati a lo Bolt High-Speed Cinebot rig ni robotic positioned arm lati gbe kamera jade bi a ti se. Awọn agbo ile-iṣẹ naa ko jade ni CGI, nigbati a ti gbe jade pe awọn eje ti a gbe jade ni Jack Quaid jẹ ayọ. |
It was revealed that the last scene of the season of the series to be filmed would be the pilot episode's opening scene, where Homelander and Queen Maeve foil a truck robbery. The motive of doing this was because Kripke considered that it was important to keep most of the effects grounded and considered that the scene would be teasing the kind of world that would be eventually presented in the series. The crew revealed that for the scene they decided to crash a real truck in the street, while the scene of Queen Maeve's appearance was filmed apart and then added through CGI. The VFX company behind the scene, Framestore created a CGI double for McElligott's for the part where she leaps over a car crash of several digitally-replaced police vehicles and stops a hi-jacked bank truck with her body, while the VFX team had to add detailed debris from the crash in slow motion. Mr. X was in charge for creating the visual effects for the fight between Butcher and Translucent, where the latter's double actor used a gray tracking suit to be erased in order to capture the animation reference track a digi-double of the Translucent character and simulate blood on him and add effects of him turning on and off, for which Urban was forced to practice regularly the fight sequence. For the ending scene where Homelander destroyed a plane, Starr was attached to a wire in order to capture the essence of his character flying, while his cap was created through CGI by visual effects company DNEG. For Homelander's heat vision, the visual effects team managed to get refined the right kind of anamorphic lens flare intending to make them unique for to play into the character. | E daju pe aworan ikẹhin ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi 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mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aworan ti o yẹ ki a fi mu aw |
The episode features the following songs which are "Barracuda" by Heart, "Baby Did a Bad Bad Thing" by Chris Isaak, "London Calling" by The Clash, and "The Passenger" by Iggy Pop. The episode also featured a track from The Man from U.N.C.L.E. soundtrack which was "Take You Down" by Daniel Pemberton. | Episodes yii gba awọn orin to ni "Barracuda" ti Heart, "Baby Did a Bad Bad Thing" ti Chris Isaak, "London Calling" ti The Clash, ati "The Passenger" ti Iggy Pop. Episodes yii gba awọn orin to ni "Take You Down" ti Daniel Pemberton lati orin The Man from U.N.C.L.E. soundtrack. |
"The Name of the Game" premiered on Prime Video in the United States on July 26, 2019. It was released alongside all the episodes from the season which were released the same date the episode was released. | "Oruko Ere" gbe jade lori Prime Video ni Orile-ede Amerika ni Ojo 26, 2019. A gbe jade pelu awon episoiki gbogbo lati ojo na to gbe jade ni ojo kan na. |
"The Name of the Game" received positive reviews from critics. Brian Tallerico from Vulture rated the episode with 3 stars out of 5, praising it for introducing the grim world for the series and the themes it seeks to portray like breaking the typical old superhero myth "It's a tough balance for a comic book to maintain, but the source material had the freedom of time between trips into this grimy world, whereas Amazon is asking us to wallow in the muck for eight episodes in a row. Keeping a world in which superheroes sexually assault and murder with a twinkle in their eye from becoming too brutal to take is going to be this show's greatest challenge." While writing a review for the episode at TVLine, Kimberly Roots had a positive reaction to the episode for the series by stating that "Superheroes are preening sacks of something-or-other in Amazon's The Boys, the comic-book adaptation helmed by Supernatural'''s Eric Kripke. Though seemingly upright and good-hearted, the "superabled" men and women of a league known as The Seven actually are degenerates who overindulge in every vice and even kill the innocent." Samantha Nelson from The Escapist praised the performances and its faithfulness to the source material to which he commented "As a nice nod to the comics, Simon Pegg makes an appearance as Hughie's father, urging him to move on with his life and accept the things he can't control. Instead it looks like Hughie's willing to burn his old life to the ground and have fun doing it." | "Oruko Ere" gba ayewo dada lati awon oniroyin. Brian Tallerico lati Vulture fi 3 wò out of 5, o si yin fun un pe fun ifihan agbaye alaini fun seri na awon ohun to n seka fi han bi kosi ohun alaini superhero tuntun "O se ajele fun comic book lati gbero, sugbon iwe ajele na o ni oju owo lati gbero ninu agbaye yii alaini, nigbati Amazon n reti wa lati gbero ninu agbaye yii alaini fun epo epo. Gbero agbaye to n seka fi han superheroes to n se ise ibaje ati pa ni oju wọn lati o to di alaini ju lati gba ni ojo yi yoo jẹ iṣẹ to n se pataki fun yiṣẹ yii." Nigbati o n kọ review fun epo yii ni TVLine, Kimberly Roots ni ayewo dada si epo yii fun seri yii, o si wi pe "Superheroes jẹ ajele to n se ise ibaje ninu Amazon's The Boys, comic-book adaptation to n se Eric Kripke ti Supernatural. Bi o ba ti duro, awon "superabled" okunrin ati obinrin ti a mọ si The Seven jẹ ajele to n se ise ibaje to n se ise ibaje ati pa awon alaiṣẹ. Samantha Nelson lati The Escapist yin adun fun awọn ipa ati ifẹ to n se si iwe ajele, o si wi pe "Bi aṣẹ yi fun comic, Simon Pegg ṣe ajele bi baba Hughie, o si n reti o lati gbero ninu aye rẹ ati gba ohun to n se. Sugbon o jẹ ajele ti Hughie n reti lati gbero aye rẹ tuntun ati gbero ninu rẹ." |
Randy Dankievitch from Tilt Magazine considered that the episode manage to breaks the old myths from other superheroes projects "If this is just another story of men fighting other men over who is right until the end of time, The Boys is never going to be able to entrench itself as a fundamentally different take on the superhero ethos, no matter how effective this first hour is at stripping away the inherent emotional, sexual, and moral sterility of the iconic stories it's satirizing." Greg Wheeler from The Review Geek rated the episode with 4 stars out of 5 by stating that "As an opening episode, The Boys does well to set the tone and mood for the series to follow. Butcher is certainly an endearing character and Starlight's talk with Hughie on the bench near the end of the episode is a nice inclusion, doing well to foreshadow future events for them both to undertake in the future." Darryl Jasper from ScienceFiction.com'' praised the episode for the departure of the particular themes and the frequent portrayal of superheroes and commenting that the show is wildly entertaining and somewhat cynical representation of the superhero genre that embraces this and the often quoted aphorism of how power corrupts. | Randy Dankievitch ti Tilt Magazine ro pe ojo na se pataki lati ya awon itan ajogunba lati awon ise ajogunba miran "Ti eyi o jẹ itan miran ti awon okunrin n gba ogun pelu awon okunrin miran lati mọ bi o ti dara titi de opin aye, The Boys ko ni agbara lati gbe ipa re gege bi itan ajogunba ti o ni ibeere, ko si ibi ti awọn wakati akọkọ yii se pataki lati ya awọn itan ajogunba ikoni ti o n satirize ni agbara emooti, ero, ati ero. Greg Wheeler ti The Review Geek fi 4 ọkọ ayọkẹlẹ nínú 5 lati fi iwe fun ojo na wi pe "Bi ojo akọkọ, The Boys se pataki lati se akiyesi ati akiyesi fun ise ti o ni lati tẹle. Butcher jẹ akọni ti o ni ife, ati igbadun Starlight pelu Hughie lori ibe ni ipin fun ayẹyẹ, o se pataki lati foṣẹẹ fun awọn ayẹyẹ ti o ni lati se ni orun. Darryl Jasper ti ScienceFiction.com'' yin ojo fun ifowosowopo awọn itan pataki ati awọn iṣẹlẹ ti awọn ajogunba ati wi pe iṣẹlẹ yii jẹ aṣẹṣẹ ati aṣẹṣẹ ti awọn ajogunba ti o gba awọn ero yii ati awọn aforismu ti o ni lati wi pe agbara n gba. |
The Opel 2 Liter, also known as the Opel »6«, is an executive car that was manufactured by Opel. Produced from January 1934, the 2 Liter replaced the Opel 1.8 litre which had ceased production in November 1933. Production continued till June 1937, but the replacement model, the Opel Super 6, was already in production in November 1936, after which production volumes for the 2 Liter were very much diminished. | Opel 2 Liter, ti a tun mo si Opel »6«, je mota agbara to Opel se asisun. Won se asisun re lati January 1934, 2 Liter yi Opel 1.8 litre ti won ti pari ise asisun re ni November 1933. Ise asisun bere si ni June 1937, sugbon model ti o yi re, Opel Super 6, ti won ti se asisun re ni November 1936, leyin to ti ise asisun re Opel 2 Liter ti di alagbara. |
The Opel 2 Liter was noteworthy for the appearance in August 1934 of a long wheelbase version, available with several different six seater bodies. This was a rapid response to the appearance the previous year of a longer version of the Mercedes-Benz Typ 200 which had managed in a very short time to capture practically the entire German taxi business. | Opel 2 Liter jẹ́ ọ̀kan pàtàkì fún àwọ̀ àjọṣepọ̀ nínú oṣù kẹjọ ọdún 1934 ti awọn ẹya ti wheelbase ti o ga, ti a ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa. Eyi jẹ́ idasilẹ̀ ti o ṣe alabẹnu si àwọ̀ ọdún sẹyin ti awọn ẹya ti o ga ti Mercedes-Benz Typ 200 ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹlu awọn ẹya ti o po si ọ̀kan ti o ni ọmọ mẹfa, ti o ṣe atunṣe pẹ |
Like other Opels of the period the 2 Liter was designed and developed for Opel by the manufacturer's parent company, General Motors, in North America. | Bi awọn Opel miiran ti ojo naa, 2 Liter je didesingi ati ifowosowopo fun Opel nipasẹ oludasile ile-iṣẹ, General Motors, ni North America. |
The 2 Liter, like the smaller 1,3 Liter which appeared at the same time, came with a newly developed "Torsion resistant" box frame chassis with lateral reinforcement. The brakes were now controlled using a hydraulic mechanism. The suspension involved the new synchronous springing, a suspension based on the Dubonnet system for which General Motors in France had recently acquired the license. The General Motors version, which had been further developed by Opel's North American parent, provided a soft ride, but the suspension generated criticism of its impact on handing and control, especially in the early applications of the system such as that on the Opel 2 Liter. | 2 Liter, bí 1.3 Liter tí ó jáde nígbà kan náà, wá pẹ̀lú chassis box frame "Torsion resistant" tí a sè àdáradá pẹ̀lú àwọn ohun èlò ìrìnàjò. Àwọn brake ló wá pẹ̀lú ọ̀nà hydraulic. Ìrìnàjò náà jẹ́ synchronous springing, ìrìnàjò tí a ṣe pẹ̀lú ọ̀nà Dubonnet, èyí tí General Motors ní France ti gbà ètò láti ṣe. Àwọn General Motors, tí Opel's North American parent ti sè àdáradá, mú ìrìnàjò díẹ̀, ṣùgbọ́n ìrìnàjò náà mú àwọn ènìyàn sọ pé ó mú àṣẹ àti ìrìnàjò báṣe, bí ó tilẹ̀ jẹ́ ní àwọn ìbẹ̀rẹ̀ tí a fi ọ̀nà náà sílẹ̀ bí Opel 2 Liter. |
Transmission of power to the rear wheels was achieved using a four-speed manual gear-box. There was no synchromesh. The car was fitted with conventional steel disc wheels, with perforated wheel discs (featuring a ring of holes between the hub and the tyre) replacing the plain discs in 1937. | Ifowosowopo agbara si awọn ẹyin ẹrọ ọkọ ayọkẹlẹ jẹ ifowosowopo nipasẹ ẹgbẹ ọna ọkọ ayọkẹlẹ ti o ni ọna mẹrin. Ko si synchromesh. Ọkọ ayọkẹlẹ naa jẹ ifitile pẹlu awọn ẹyin ẹrọ aja ti o ni ẹyin ẹrọ aja ti o ni awọn ọju (pẹlu ọrọ ọju ti o wa laarin ẹyin ẹrọ aja ati ẹyin ẹrọ aja) ti o rọpo awọn ẹyin ẹrọ aja ti o dara ni ọdun 1937. |