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"We are between the wild thoat of certainty and the mad zitidar of fact; we can escape neither."
Tars Tarkas in The Gods of Mars, Ch.3,
by Edgar Rice Burroughs
Home Culture The Three Godzillas: Size Matters
The Three Godzillas: Size Matters
© November 16, 2014 © November 27, 2017 Culture / Film & Reviews / Personal Reminiscences
This year another remake of Godzilla was released, and of course I had to get a copy. I have many of the other Godzilla films made over the past 60 years, sadly not all of them. There were so many monster movies made in Japan through the 1950s and 60s that it's hard to keep track of them all, let alone collect them. B-films, all of them, and still entertaining if you can find them.
(If I recall it properly, I first watched the original Godzilla in the late 1950s at a drive-in theatre, sitting with my parents in the front seat of the car, with the speaker hanging inside on the driver's side window; but I also saw it on TV in the late 50s-early 60s and several times on TV and DVD since)
Even the eight-disc Godzilla Collection only has eight of the films: Gojira, Godzilla Raids Again, Mothra vs. Godzilla (aka Godzilla vs. the Thing), Ghidorah, the Three-Headed Monster, Invasion of Astro-Monster (aka Godzilla Vs. Monster Zero), All Monsters Attack (aka Godzilla's Revenge) and Terror of Mechagodzilla.
Why I say it's hard to know if you own or have seen them all is twofold. First, there were so many it's hard to keep track of them all (and I don't even know if they have all been released in North America on DVD). Second, several titles were renamed (and sometimes more than once) for their NAm release, so you can't be sure what you've got until you watch them. Some are sold as single titles, others only in multi-film collections.
After the first film in 1954, there followed a slew of monster movies in which Godzilla took on a whole collection of monsters like Mothra and Ghidorah. Here are some of the film titles: Godzilla Vs Biollante, Godzilla Vs King Ghidorah, Godzilla 2000, Godzilla Vs Mechagodzilla II, Godzilla vs. SpaceGodzilla, Godzilla Vs. Megalon, Godzilla Vs Destoroyah, Godzilla Vs Megaguirus, Godzilla Against Mechagodzilla, King Kong Vs. Godzilla, Godzilla and Mothra: The Battle for Earth, Destroy All Monsters, Godzilla Vs. Hedorah, Godzilla Vs. Gigan, Godzilla on Monster Island, The Return of Godzilla, Godzilla Vs. the Sea Monster, All Monsters Attack (aka Godzilla's Revenge), Godzilla, Mothra, King Ghidorah: Giant Monsters All-Out Attack, Godzilla 2000 (aka Godzilla Millennium), Ebirah, Horror Of The Deep (aka Godzilla vs The Seat Monster) and Godzilla vs the Smog Monster.
Plus there were spinoff series for the Gamera, Mothra and Rodan monsters in which Godzilla usually did not appear. I don't know about you, but I want them all.
Godzilla moved between villain and hero at various times, too, defending the world and attacking it in different films, fighting other monsters and allying with them. The Godzilla franchise is huge (31 films according to this list) and that doesn't even include the animated series. The list at the bottom of the Godzilla Wiki site includes video game appearances, books and comics.
This year's version is the second major Hollywood remake and retelling of the original black & white film that was first released in Japan as Gojira in 1954 (released much later, with English subtitles and now available digitally restored and remastered in the Criterion Collection). The first Japanese monster movie shot in colour was actually Rodan, in 1956. All subsequent Japanese monster films would be filmed in colour after that, but the quintessential Gojira was B&W.
Gojira first arrived on the heels of two successful American monster films – the 1952 re-release of King Kong (itself a 1933 film) and the 1953 classic, Beast from 20,000 Fathoms. Clearly the latter was an inspiration for the plot of Godzilla ("…a hibernating dinosaur, the fictional Rhedosaurus, is released from its frozen state by an atomic bomb test in the Arctic Circle."). Both showed the public's fascination with monster films (as would the more modern franchise that started with Alien) and with the effects of nuclear radiation (another American film, Them, also released in 1954, featured giant ants made huge by radiation).
The original Gojira was edited and re-released in 1956 as Godzilla, with scenes featuring actor Canadian Raymond Burr spliced in, and a dubbed voice-overs so it could be shown in North American theatres. About 40 minutes of the original film were removed for the '56 version, and the nuclear theme minimized (it would resurface in Return of Godzilla, aka Godzilla 1985).
A colourized version of the 56 version came out in 1977. The heavily edited version released in 1984 as Godzilla 1985 used both old and new footage shot for the release. It really set itself up as a sequel to the original, bypassing the series of Godzilla-vs-monster flicks that had preceded it, and eschewing any co-starring monsters.
The big Hollywood remake was in 1998 when the full muscle of Hollywood and all its CGI glory was pumped up to do an American version (starring Matthew Broderick). It revised the monster with great effects, suspense, humour and lots of action.
Fans of the original sarcastically labelled it GINO – Godzilla in Name Only – because is veered from the original plot and theme (not least in moving the main action from Tokyo to New York). Its plot and setting owed more to the Beast from 20,000 Fathoms than Godzilla. But despite the purists' dismay, it remains a fun film well worth watching.
Perhaps the biggest thing about the 1998 version was the re-envisioning of Godzilla. Looking more like a mutated iguana than a man in a clumsy T-Rex rubber suit, the American Godzilla was a sleek, fast and powerful predator. A metaphor, no doubt, for American military might. Except that the Army was pretty much incapable of stopping the beast throughout most of the film (the Air Force finally does the dirty deed at the end). Maybe it was a metaphor for capitalism.
That angry iguana look was stolen for the 2004 film, Godzilla: Final Wars (the 28th film, not released in NAm theatres but available here on DVD), but not for Godzilla (who looks like the old G we know and love), but for Zilla, one of the monsters he has to battle (note the crafty pseudonym). The film is chock full of other monsters, including Rhodan, Gigan and Mothra and a lot more; sort of the WWF of monster movies.
A Japanese remake, Godzilla 2000, was released in 1999. It's main claim to fame is that it ignored the subsequent Japanese monster films and went back to the original 1954 film for its inspiration. The edited North American version fared somewhat better in popularity and reviews than the Japanese one. It was also the last theatrical release of any Godzilla film in North America until this year.
The 2014 American version tips its hat to the original, too, but again moves the action to the USA (San Francisco is the main target this time, although Hawaii and Nevada get some monster lovin' too). And of course it puts the muscle of CGI effects to work to make it the most spectacular version yet (however, keep in mind that CGI and special effects didn't make the story behind Peter Jackson's King Kong one whit better than the original, just added more glitz and tedious chase scenes). But at least the filmmakers returned the old look to the monster. Well, a bigger monster, of course. That's been the trend ever since the first G made the stage.
Godzilla began life as a 50-meter high monster (although, as Yummymath points out, it really appears to be larger: 65-70 meters if one considers the buildings it destroys). By 2014, it shows up as 120-150 meters, yet in at least one photo, Godzilla towers about a 260-meter building. The evolving trend towards bigger Gs was explained on Fact Fiend:
Godzilla's own popularity became his undoing, because with every sequel that was released, the buildings in Tokyo got bigger and taller until eventually it got to the point that a 164 foot tall Godzilla just looked silly stood next to them. To compensate for this, Godzilla's height was increased to around 260 feet in the 1975 movie, Terror of MechaGodzilla which allowed the Big G to throw his weight around in a bigger city. In 1991 for the movie Godzilla vs. King Ghidora, Godzilla's height was increased yet again, this time making him over 330 feet tall.
However, even this increase didn't make Godzilla tall enough to peer over building like the Tokyo Government Building, which stands at over 700 foot tall so the creators just had Godzilla level it, a feat we don't think the first Godzilla could have managed, even with his mighty atomic breath and love of smashing.
And now, with the release of the 2014 Legendary movie, Godzilla's height has been increased again so that he doesn't look tiny in comparison to all of the huge buildings we've grown so fond of building.
Godzilla was really sexless, but has generally been referred to as a male (he was the King of the Monsters in the 1956 film). He looked like a spiny Homer Simpson, pot-belly and all. In Son of Godzilla, he was made a foster-dad to Minilla, a sort of chubby, comical but peaceful kid (the size of a tall building; in later films he was called Little Godzilla) who is friendly to humans. The first American Godzilla, however, was definitely a female who laid eggs (asexual reproduction, however). She was a mean mother at that, very protective of her young. The latest American film makes G androgynous again.
Godzilla is your basic Frankenstein theme that I talked about in my earlier post about The Theology of The Fly. The message is that messing with Mother Nature (aka God) brings trouble (in this story it's the evil of messing with nuclear stuff: radiation = bad). But there's more to it than that. The film was released less than a decade after WWII and Japanese were culturally scarred by nuclear weapons after the attacks on their cities, and were understandably nervous about the proliferation of them during the Cold War. This fear played a big role in their psychological and political view of the world. Godzilla – both victim and effector – was a metaphor for nuclear devastation.*
As the Godzilla Wiki site notes, the role and metaphoric character of G has changed through the film series:
Godzilla is one of the defining aspects and most recognizable features of Japanese pop culture for many people worldwide, embodying the kaiju subset of the tokusatsu genre. Though his popularity has waned slightly over the years, he is still one of the most renowned monster characters in the world. To this day, Godzilla remains an important facet of Japanese films…
Godzilla has been called a filmographic metaphor for the United States, starting out as a terrifying enemy and later a strong ally and defender in times of need. The earliest Godzilla films, especially the original Gojira, attempted to portray Godzilla as a frightening, nuclear monster. Godzilla represented the fears of many Japanese of a repeat of the nuclear attacks on Hiroshima and Nagasaki. As the series progressed, so did Godzilla himself, changing into a less destructive and more heroic character as the films became increasingly geared towards children. Today, the character has fallen somewhere in the middle, sometimes portrayed as a protector of the Earth (notably Tokyo) from external threats and other times as a bringer of destruction…
The first Gojira is semi-sapient; a wily, angry beast. As the series progressed, he became more intelligent, even to the point of conversing (albeit only with Ghidorah in the 1991 film). He developed a personality, too, and sometimes mugged for the cameras (in the mid-later films, G often doesn't take his role seriously and seems to enjoy campy gestures and actions). The two American films return G to the 'clever creature' mode, with more malevolence in it than in the Japanese series.
While the subsequent monster films after the original often tend towards the silly, they're still oodles of fun to watch (I actually prefer the dubbed to the subtitled versions because I get a laugh watching the actors' lips move as different sounds come out). The films involved a lot of Japanese mythology, which of course is lost on Western audiences. And as the films continued, they wove a new internal Godzilla mythology – G as a sacred beast – which simply doesn't come through in the American films which tend to portray Godzilla as a one-off monster.
Scary? Nah. Most are actually funny. It's hard not to snicker at seeing a guy wading about clumsily in a big rubber suit knocking over cardboard buildings or fighting not to get tangled in the wires guiding a papier-mâché moth that looks like some giant, winged piñata.** The American films are scarier because of the more realistic CGI, but not terrifying in the vein of a slasher film (which genre I heartily dislike) or the Alien series. More suspenseful than scary.
And the plots? Oy. Here's a summary:
Everything's fine. Suddenly…
Someone notices something's wrong. No one listens until it's Too Late.
Oops. Monster(s) arrives.
Havoc occurs.
Humanity is in chaos. Monster(s) destroys stuff.
Hero(es) tries to organize a defence (or find a solution or both).
The military fails to save humanity. More things get blown up in the process.
Love interest/triangle.
A scientist (pick one or more) develops a new weapon; attracts another monster; unlocks the secret to sending the monster(s) back to the deep.
Monster(s) retreats or is vanquished.
Rejoicing.
Whew. The end. For now (hints are given of a sequel…)
Okay, not all of the plots are so simple. The plot for the 1991 Godzilla vs Ghidorah includes spaceships, WWII, time travel, dinosaurs, androids, genetic engineering, corrupt superpowers, politics, high-tech weapons, cryogenics, hostile aliens, and alternate futures. Check the Godzilla Wiki for plot summaries of all the films.
I for one am happy to see Godzilla return, even if it's not the G of the classic films. I look forward to the sequel, too. As for the older movies: I love these monster movies for their sheer exuberance, for their entertaining nuttiness and their zany special effects. I've enjoyed the later films for how they have re-envisioned the creatures and stories, and for the generally more polished acting and production. But there's nothing quite as much fun in them as there is in a mano-a-mano battle between Godzilla and Rhodan or Mothra. Or maybe both. Will the sequel have more classic monsters like these? One can only hope…
* King Kong is not cut whole from the Frankenstein cloth, in that it isn't about humans trying to alter or fool with Nature, thus bonking heads with God. But rather it's rather about the man-vs-nature theme; humans trying to master nature> It leaves us with the moral that while nature can be defeated by technology, it cannot be tamed by it. It can, however, be seduced by beauty (aka art, culture, etc.). Like Godzilla, Kong is seen as semi-sapient, a cunning animal: having a brain the size of a bus apparently doesn't make a monster a lot smarter, or at least as smart as a person.
** The G suit itself has a fascinating history. It started out at 100kg of wire, bamboo, cloth and rubber, but was cut back to 60 kg for the filming. From Wikipedia:
The Godzilla suit had actually been a last resort. Tsuburaya had been deeply impressed with the stop-motion animation method used in King Kong. However, that method was far too costly and time-consuming (even though stop-motion would be used briefly, in one scene where Godzilla destroys the Nichigeki Theatre with his tail). It was decided that the easiest way to go was a stuntman in a monster suit, and a scale-model of Tokyo. This also proved difficult. Stunt actor Haruo Nakajima volunteered to play (the full suit) Godzilla. Nakajima would play Godzilla in later sequels until his retirement from the character in 1972. The first attempt at a Godzilla suit was far too stiff and heavy, nearly impossible to use. They finally hit on a design that worked; but even that was grueling. The stuntman would suffer numerous bouts of heat exhaustion and dehydration. The suit had to have a valve to drain the sweat from it. Also, in order to avoid suffocation, the suit could have only been worn for three minutes. It has also been said that, at one point, Nakajima passed out in the suit due to heat exhaustion.
Ian Chadwick
Semi-retired writer, editor, reviewer, media relations & communications consultant. Former municipal politician. Ukulele player. Aficionado of Shakespeare, Horace, Machiavelli, Chaucer, Cicero, and tequila. Curmudgeon and cynic. Lay historian. Godzilla and ERB fan. PC gamer. Avid reader. Skeptic. WordPress/website tinkerer. Companion to one dog and three cats. Loving husband. Passionate about my small town. Perennially curious about everything. My writing is copyright © protected.
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Pingback: The Three Godzillas | Scripturient: Blog & Commentary
© November 16, 2014 at 5:50 PM 8 years ago
Here's a good place to explore the 60 years of Godzilla:
http://graphics.wsj.com/godzilla-60-years/?mod=e2fb#chapter=intro
And another:
http://www5.uwm.edu/news/2014/05/21/will-the-real-godzilla-please-show-up/#.VGkpgvnF-So
© November 27, 2017 at 12:22 PM 5 years ago
https://www.youtube.com/watch?v=mO0zkzaE748
A history of Godzilla – 55 minutes of fun!
https://www.youtube.com/watch?v=p0d0CxjgQ6E
A review of the 2016 film, Shin Godzilla. Warning: spoilers.I haven't seen this one yet, but have it in my basket to order this month.
Just FYI, I have 15 Godzilla films and 6 Gamera films in my collection, including the original Gojira and the two American-made Godzilla versions.
Here's a great review of the 2014 Godzilla film:
https://www.rogerebert.com/reviews/godzilla-2014
"The sheer filmmaking craft on display here shames almost any comparably budgeted superhero picture you can name. The movie borrows from Steven Spielberg's "Jaws," "Close Encounters of the Third Kind" and "War of the Worlds," as well as from earlier popcorn classics that shaped Spielberg…"Godzilla" doesn't just show, it unveils. It builds sequences gradually, withholding important information until the end of a scene or sequence. It's so confident that it tosses off shots that lesser films would save for their climaxes or showcase on their posters."
Pingback: Gojira, the original kaiju – Scripturient
© December 7, 2017 at 9:16 AM 5 years ago
The 2014 Godzilla may have been shorter. I recently read this thread where fans argue for a height of 108.2 metres (355 feet):
http://godzilla.wikia.com/wiki/Thread:48337
I can't verify the actual height based on production notes (yet).
Also, the 2016 kaiju from Shin Godzilla was 118.5 metres or 389 feet tall:
https://en.wikipedia.org/wiki/Shin_Godzilla
And see this video for a visual comparison of the original and the 2014 monsters:
https://www.youtube.com/watch?v=2EQh0JlREGk
And never let it be said we didn't consider Godzilla's bodily functions:
http://www.deepseanews.com/2014/05/godzilla/
Pingback: Shin Godzilla: the reboot – Scripturient
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Ian's bookshelf: currently-reading
The Biology of Lichens
by Mason E. Hale
tagged: currently-reading, botany, and science
Good Poems for Hard Times
by Garrison Keillor
tagged: currently-reading and poetry
Understanding The Lord of the Rings: The Best of Tolkien Criticism
by Rose A. Zimbardo
tagged: currently-reading and literature
Bugialli on Pasta
by Giulliano Bugialli
tagged: currently-reading, cooking-drinking, and pasta
Structure of the World Compared to a Bubble
tagged: currently-reading, buddhism, philosophy, and poetry
Poisoning the Press: Richard Nixon, Jack Anderson, and the Rise of Washington's Scandal Culture
by Mark Feldstein
tagged: currently-reading, biography-autobiography, and politics
Darjeeling: The Colorful History and Precarious Fate of the World's Greatest Tea
by Jeff Koehler
tagged: currently-reading, cooking-drinking, and food-cooking
by Robert Penn Warren
A Conspiracy So Immense: The World of Joe McCarthy
by David M. Oshinsky
tagged: currently-reading, biography-autobiography, biography, history, and...
Smarter Than You Think: How Technology is Changing Our Minds for the Better
by Clive Thompson
Share book reviews and ratings with Ian, and even join a book club on Goodreads.
Ian's bookshelf: read
Lichens of the North Woods
by Joe Walewski
tagged: botany, science, and environment
Taking Back Our Cities
by Gord Hume
tagged: municipal-issues and politics
More Weird and Wonderful Words
by Erin McKean
tagged: english, languages, words, and etymology
Sceptical Essays
by Bertrand Russell
tagged: philosophy and politics
I Always Look Up the Word 'Egregious'
by Maxwell Nurnberg
tagged: english, languages, usage-style, writing, and words
How's the Squid?: A Book of Food Cartoons
by Jack Ziegler
tagged: food-cooking and humour
American Usage and Style, the Consensus
by Roy H. Copperud
tagged: english, languages, usage-style, and writing
Dos, Don'ts and Maybes of English Usage
by Theodore M. Bernstein
tagged: english, grammar, usage-style, and writing
Why I Hate Canadians
by Will Ferguson
tagged: canadian, humour, culture, and politics
Build, Discover, Survive! Mastering Minecraft Revised and Expanded
by Michael Lummis
tagged: computers-coding-and-technology and gaming
Remember: Godzilla is watching you!
When I'm not reading or writing, I also play these and other PC Games:
World of Warcraft, Borderlands 3, Hokko Life, Borderlands: The Pre-Sequel, Polyville Canyon, Townscaper, Kingdoms & Castles, Pillars of Eternity, PanzerCorps, Streets of Rogue, Tiny Tina's Assault on Dragon Keep, Fable, Diablo III, No Man's Sky, Galactic Civilizations III, Portal Knights, Abzu, Surviving the Aftermath, Rome: Imperator, Witcher III, Project Highrise, Sniper Elite 3 & 4, Battle Academy 2, Endless Space 2, Surviving Mars, Divinity: Crusader Kings II, Victoria II, Rimworld, Neverwinter, Cities Skylines, Lux Delux, Order of Battle, Grim Fandango, Minecraft, Banished, Unity of Command, Borderlands 1 & 2, Left 4 Dead 1 & 2, Civilization IV & V, SimCity, The Sims 4, Operational Art of War III, XCOM, Tropico 4 & 5, Imperium Romanum…
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Empowering Volunteers and Increasing Impact: Lessons from SMART's Refreshed Volunteer Training Program
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A few weeks ago, just after the tragedies in Baton Rouge and Dallas, I met informally with some colleagues. Each of us felt a confusing array of pain and numbness. I remember feeling especially unmoored by seemingly endless and totally senseless violence. I told my colleagues about a vulnerable...
Improving Educational Outcomes for Oregon's Incarcerated Youth
What educational barriers do youth face when they enter and exit the juvenile justice system, and how can schools and detention facilities help incarcerated youth keep their education on track?
High School Graduation: Q and A With Oregon Deputy Superintendent of Public Instruction Salam Noor
With raising Oregon high school graduation rate a top priority, we asked Deputy Superintendent of Public Instruction Salam Noor a few questions on the direction that the state is taking to make progress in this area.
Putting the Pieces Together to Improve Oregon's High School Graduation Rates
Mike Siebersma writes about the urgency around boosting Oregon's high school graduation rate and a few of ways Education Northwest is helping form the solution.
Increasing Teacher Collaboration to Better Serve Students Learning English
What strategies promote teacher collaboration across a school and provide English learners more opportunities for academic success?
Student Perspectives on the Support They Receive at School
How well do students feel they get along with their teachers? Three students from Portland YouthBuilders share experiences on the role that teacher-student relationships have played in their high school education.
150,000 Reasons
Oregon's Education Innovation Officer writes about the necessity to improve the state's graduation rate and a few of the promising practices that could help Oregon reach its goal.
Key Questions to Help Districts Build Data Literacy
With experience working to improve data use in two southern Oregon school districts, Guest Blogger Todd Bloomquist shares the questions that informed the process and takeaways for districts looking to improve the ways they use data to support student success.
Language in the Air: How a District has Elevated English Learner Student Interaction
English learners benefit when they have opportunities for language practice throughout the day. What does it take for schools to make this happen?
Reading and Writing (3) Apply Reading and Writing filter

redpajama_set_name: RedPajamaCommonCrawl


text:
#!/bin/sh
# $Id: distclean.sh,v 1.4.2.6 2007/12/18 09:03:12 ertai Exp $
cd `dirname $0`/..
set -ex
(cd byterun && make clean) || :
(cd asmrun && make clean)  || :
(cd yacc && make clean)    || :
rm -rf _build
rm -f boot/ocamlrun boot/ocamlrun.exe boot/camlheader \
      boot/myocamlbuild boot/myocamlbuild.native boot/myocamlbuild.native.exe \
      myocamlbuild_config.ml config/config.sh config/Makefile \
      boot/ocamlyacc tools/cvt_emit.bak tools/*.bak \
      config/s.h config/m.h boot/*.cm* _log _*_log*

# from partial boot
rm -f driver/main.byte driver/optmain.byte lex/main.byte \
      tools/ocamlmklib.byte camlp4/build/location.ml \
      camlp4/build/location.mli \
      tools/myocamlbuild_config.ml camlp4/build/linenum.mli \
      camlp4/build/linenum.mll \
      camlp4/build/terminfo.mli camlp4/build/terminfo.ml

# from ocamlbuild bootstrap
rm -f  ocamlbuild/_log ocamlbuild/,ocamlbuild.byte.start \
       ocamlbuild/boot/ocamlbuild ocamlbuild/myocamlbuild_config.ml \
       ocamlbuild/myocamlbuild_config.mli
rm -rf ocamlbuild/_build ocamlbuild/_start

# from the old build system
rm -f camlp4/build/camlp4_config.ml camlp4/**/*.cm*

redpajama_set_name: RedPajamaGithub


text:
Ecosystem Catalyzer Events
Funded Sub-Projects
Open Call Webinars
IPR Documents
News: Check out what partners have to say about their involvement in the project on the the partner stories page
The Power of Federation
EFPF is a digital platform, part of a federated ecosystem that connects multiple systems and platforms with their integrated toolsets and services. The EFPF platform enables users to harness the wealth of Industry4.0, Internet of Things (IoT), Artificial Intelligence, Big Data Analytics and Digital Manufactuirng solutions exposed in the EFPF ecosystem.
The EFPF platform is bootstrapped early-on by interlinking 4 base platforms (COMPOSITION, DIGICOR, NIMBLE and vf-OS) funded by the European Commission's Horizon2020 program on Factories of Future (FoF-11-2016).
In order to foster the growth of a Pan-European platform ecosystem that enables the transition from "analogue-first" mass production to "digital twins" and lot-size-one manufacturing, the federated EFPF ecosystem is enhanced through the interlinking of industrial platforms and open-sources tools e.g. SMECluster, iQluster, MindSphere, and Fortiss' Future Factory
At the core of EFPF ecosystem is the 'Data Spine', an interoperability mechanism that provide support for secure and interoperable data exchange, service calls, API integrations across multiple systems and platforms.
To help users create their own software applications and services, EFPF develops an open Software Development Kit (SDK) and a development environment (Studio). The SDK uses Data Spine as an integration layer and allows users to compose applications or integrate services based on their specific needs.
Access to the EFPF platform is offered through a web-based portal, allowing users to make use of innovative tools and services through graphical interfaces (where relevant). The EFPF Portal allows users to find business and collaboration opportunities, make use of digital tools and services as well as trade through a Marketplace Framework
The EFPF Marketplace Framework uses the Data Spine to interlink the marketplaces of multiple platforms in the EFPF ecosystem. It provides a unified graphical user interface in the EFPF platform that allows users to make use of multiple marketplaces for their disparate business and technology needs.
The federated EFPF platform offers diversity and demand-led development in a wide range of industry sectors where the interlinked systems and platform comply with a common architecture, standards and core technologies to facilitate interoperability and economies of scale.
Checkout the tools and services offered in the EFPF federation >
© 2021 website setup and maintained by ICE
Co-funded by the Horizon2020 Program of the European Commission. Grant Agreement


Returns - Elysium Vapor Co.
Customer service is a top priority at Elysiumvaporco.com. You may return defective items within 21 days of received by date as indicated by your tracking information. Our policy covers any manufacture defective items, dead on arrival items and items that do not appear as listed on the website.
Items damaged by miss-use or improper care are not covered by our policy! If you received items that you do not know how to use, please feel free to contact us for proper care instructions and more in depth information on your items. We are happy to help.
Our returns policy excludes cartomizers, tanks, and atomizers. Please note that return shipping is not pre-paid, therefore, you will be responsible for the return shipping cost. In addition, return shipping is non-refundable; unless you received wrong item(s). Should you receive the wrong item(s), please return the merchandise within 21 days from the shipped date to our Returns address after contacting us, in most cases a return label will be provided to you. .
Upon receipt of your return, our Returns Department will inspect your merchandise. We will gladly send out a replacement of the original item(s) purchased, at no cost, as long as the merchandise is available. If the merchandise is not available, you will receive a refund to the original form of payment used to make your online purchase. Returns must include all items that come with your item, this goes for starter kits and items that come as sets. If still available please include the packaging that your item came in.


Relaxing in your favorite chair is a pleasure you look forward to. A crate can provide just the same haven of comfort to your dog. It's natural for a dog to use a den as a refuge, and a crate can serve as an excellent substitute, becoming a warm, safe, quiet hideaway.
Good crate training can make both your life and your dog's much easier. If you introduce him to the crate in a positive manner, it can become a valuable tool for you as well as a source of security for him. Keep in mind, though, that crates can be abused: if the dog feels he is being punished or abandoned to the crate, he may never be comfortable in it. You must also balance his time in the crate with quality time spent with you.
Plastic 'Airline' crates with solid sides create a true den-like environment. They provide adequate ventilation, good shade, and are easy to clean. Some dogs prefer a more closed environment, while others may chew through the plastic walls. Look for strong, easy-to- operate doors and latches.
Metal grates are well ventilated, but heavy. They can be broken down for storage or transportation. Some dogs do not like them because they are too open, while others prefer them because they can easily see all around them. Dogs who panic can really damage themselves if they paw or chew on the hard rails.
Mesh kennels are fairly new on the market and are lightweight, breathable, attractive and highly portable, and usually break down easily for storage. They're only good for older dogs who have proven themselves trustworthy not to chew or claw their way through the mesh.
Whether you're training a young puppy or an older dog to use a crate, time and patience are crucial. Every dog is different, and each is going to react in his own unique way. Pups can be easier to train, while some older dogs might have past memories of crates and will either love them or hate them. Crate training usually takes one to three days if you are consistent, persistent, patient and kind.
The crate should be big enough for the dog to stand up, turn around and lie down in.
Never leave a collar on a crated dog - he can hang himself too easily.
All interactions with the crate should be positive.
Always praise your dog when he enters the crate - all steps in the right direction should be rewarded.
Keep the crate available to your dog so he can choose to go in whenever he wants.
Whining and barking can be ignored, or stopped with a 'startle' noise and a firm "quiet."
Do not "coo" or look at the dog when he is complaining - this rewards bad behavior.
Do not shove him in the crate and abandon him, thinking he'll just get over it.
Do not put your dog in the crate and leave the house until he has proven that he accepts it. Even then, leave for only short periods, and gradually increase the time you're away.
If your dog soils the crate, it could mean the crate is too large, or he was in it too long. It could also mean he wasn't eased into the training and is stressing out.
The crate should be on the floor with the door open or off, and in an area commonly used by the family (in the bedroom at night). Begin by throwing toys beside and inside the crate while playing with your dog, and feed him in front of or inside the crate, placing the bowl as far in as he will tolerate.
When your dog is sleepy, put him inside the crate and lie down on your stomach with your head blocking the doorway. Pretend you're napping, too; block your dog's attempts to escape. Stay calm, and don't make eye contact. Within a few minutes, he should lie down and sleep, especially if a nap is what he needs. As soon as he falls asleep, go about your business, but leave the crate door open. Be aware that when he wakes up, he will need a potty break.
Keep throwing toys and occasional treats into and beside the crate, and feed him as far inside as he will tolerate, but don't shut the door unless he's comfortable.
All naps should be taken inside the crate. As a cue, say "kennel up," or whatever other word or phrase you prefer. Reward him with a treat and a warm voice after he obeys the command and gets into the crate.
Repeat the above steps. While watching TV, reading, or at the computer, put the crate beside you, ask your dog to "kennel up," and give him a few toys. Shut the door. If he barks you can either ignore him or stop it with a "startle," a short sharp noise like a clap, an intense (but not loud) "hey," or a light smack to the side of the crate. Dogs will typically only challenge you three to five times and then submit, so be patient. When he has been quiet for a little while, let him out and praise his efforts. Lots of short periods in the crate will help him understand that it doesn't mean you are leaving him for hours, and he will be more cooperative about going in. Vary the time by confining him two minutes one time and 15 the next. Try to increase the periods your dog stays in the crate, and the distance you are away from it. This will ready him for the longer times you have to be gone. Do not expect young puppies to be good in a crate for much longer than the length of a nap - they just don't have that much bladder control.
Remember that all dogs are different - some won't flinch at crates while others can easily be frightened. If the initial introduction is fun and comforting, your dog will come to enjoy his den as much as you enjoy your favorite armchair.
Keeps your puppy safe and out of trouble when you can't watch him.
Keeps him safe and contained in the car, and when traveling in general.
Wonderful for potty training, since pups will not naturally soil their den.
Gives you a break when you are overwhelmed by puppy energy.
Helpful when visiting or at the vet's as it gives the pup a place to feel safe.
Helps calm insecure or nervous dogs, and those frightened of thunder.
Fends off separation anxiety by teaching your dog to be alone and to entertain himself.
The crate becomes a familiar home that travels with him everywhere.
The crate is not a replacement for responsible training - avoiding problems does not teach.
Never use the crate for punishment, as this creates anxiety.
A dog can panic and hurt himself if not properly trained to a crate.
A dog left too long in a crate, day after day, can become bored, sensory-deprived, destructive, anxious and/or depressed, and may exhibit compulsive disorders.
If the crate doesn't offer adequate ventilation, the dog can become overheated.
Crate suppliers Pet Gear ( www.petgearinc.com ) - nice soft-sided crate with liner and removable bottom for accidents Pet Mate ( www.petmate.com ) - strong, good quality crates Precision ( www.precisionpet.com ) - has puppy panels so crate can grow with the dog Ruff Wear ( www.ruffwear.com ) - has dog tents called Mutt Huts.


text:
COUNTY NEWS: Hundreds attend 'UK's biggest beach clean'
James Butler
The organiser of what claims to be the UK's biggest beach clean is celebrating a successful event after hundreds turned out to make a Sussex beach spotless.
Georgina Stevens, 43, dreamt up the event to tie in with the launch of her children's book Finn the Fortunate Tiger Shark and his Fantastic Friends, which she wrote to educate children about the dangers of plastics on our marine wildlife.
The 'world's biggest beach clean' took place on Shoreham Beach this afternoon. Picture: Sussex By Air
But little did she know that 900 people would register for the event, and more than 650 people, including many young families and children, descended on the beach today for the event. More than 180 bin bags of recycling and 100 bags of rubbish were collected, and among the more usual finds of bottles and polystyrene a fire extinguishers and a huge steel pole were discovered.
The organiser, from Old Fort Road, Shoreham, said she was 'astonished' by how it turned out. She said: "It was absolutely wonderful. We were astonished by the numbers at first, but then we realised how many people care about the issue."
The group was split in two, with half the party starting at Widewater Lagoon at 9.45am, cleaning eastwards, and the second group of volunteers meeting at 10.15am at Shoreham Fort,
cleaning westwards.
Jeremy Irons with Georgina Stevens, organiser of the 'world's biggest beach clean' held in Shoreham. The actor recorded the audiobook for her children's story
Splitting into teams of 20 or 30, they scoured the beach in 200m strips for bottles and other large plastic waste, as well as microplastic - broken-down pieces of plastic worn away over time, which end up in our food chain when they are eaten by fish. Plastic bags were important to collect, as they can be mistaken in the water for jellyfish by predators such as small sharks who then die of starvation because their stomachs are clogged with plastic.
Once they were done, the group met in the middle at Beach Green in Shoreham to celebrate their achievements. The pie company Higgidy supplied free sausage and vegetarian rolls for the cleaners, with Infinity Foods and Cawston Press also on hand to supply food and drink for free.
Children also built a large shark out of plastic toys to get them thinking about how they impact the environment. Georgina was inspired to write her book, which tells the tale of a tiger shark who gets sick after swallowing plastic, as a way to educate her son Rafael, two, who was also on-hand today with a grabber to pick up recycling. Actor Jeremy Irons endorsed the tale by recording the audiobook. Click here to read more.
At the end of the event, those involved formed the words 'act now' with their bodies which was photographed from the sky to send a message to the government about how many people care about the issue.
The organiser credited Blue Planet II and its powerful message about ocean plastics with galvanising people to act. She said: "It made the connection so clear between the single-use plastics we throw away and the large sharks, whales and turtles ingesting this plastic. People love these creatures and know they are in turmoil, and it really struck a chord - instead of feeling guilty, people wanted to do something, and a beach clean was a great way to do it."
Before becoming a children's author, the mother-of-one worked as a sustainability consultant for 20 years with companies such as Marks and Spencer and the Virgin group.
But she said she got 'fed up' with waiting for companies to change their policies, and felt it was time to take matters into her own hands. She said: "I believe the power lies with people, not just the companies. I think we are led to believe they are the powerful ones, but I believe we hold the power."
Police investigating alleged £4 million betting investment fraud
She added: "If we all look with new eyes at what we buy each day, and start to look for those bits of single use plastic that we don't need, and start to buy products with less plastic, from retailers who are trying hard on this issue, then it sends a very strong message to the retailers to try harder on this issue. And if nothing else, you can always just leave the packaging at the till point.
"These small acts make a big impact if everyone does them when they can. And it sends a message to Government too, to let them know that we want them to act now and not delay the action until 2042"
Georgina believed today's event was the biggest single beach clean in the UK – but it came short of the 7,000 schoolchildren who cleaned a beach in Los Angeles, which she said holds the world record.
The profits from Georgina's book sales will go to Greenpeace and the Social Plastic Foundation. Click here to buy it.


You can now purchase tickets for the 2007 MLK Scholarship Gala On-line! We are using PayPal accounts to collect and secure funds for ticket purchases, but you don't need a PayPal account to pay online. Just click on the "If you do not currently have a Paypal account" option.
PayPal provides a secure, reliable way to make purchases over the Internet. For more information about their services you can visit www.PayPal.com.
Tickets cost $40 plus a $1.50 online transaction fee, and proceeds help to fund the Luke H. Chatman Scholarships.Tickets are also available from each any GGL chapter member.
If you purchase online, tickets will NOT be sent to you directly (even if our page does ask for your address), but your name and number of tickets you purchased will be listed at our Will Call table at the Gala. You will need a picture ID to claim your tickets. Sorry, no refunds are available after January 7, 2007.
Questions, comments can be sent to contact@gglapa.org. Thank you for your support for our scholarship efforts.
You can add one ticket to a cart and specify any number you wish.


The Prime Minister of India, Narendra Modi, inaugurated Friday India's longest bridge – the 9.15 km long Dhola-Sadiya bridge, over the River Brahmaputra, in Assam.
This was his first engagement on the third anniversary of his swearing-in as Prime Minister. The bridge will enhance connectivity and greatly reduce travel time between Assam and Arunachal Pradesh.
After unveiling a plaque to mark the inauguration, Modi travelled, and walked on the bridge for a few minutes. Later, addressing a public meeting at Dhola, he said that the inauguration of the bridge marks the end of a long wait for the people of this area.
Meanwhile, in an ongoing RMN Poll, only 24% of people are satisfied with the work of Modi. You can also participate in the poll and see the results.
Modi said infrastructure is extremely important for development, and the effort of the Union Government is to fulfill the dreams and wishes of the people.
He said this bridge enhances connectivity between Assam and Arunachal Pradesh, and opens the door for economic development, on a big scale.
Further, Modi said the eastern and north-eastern parts of the country have the greatest potential for economic development, and this bridge is just one element of the Union Government's vision in this regard.
He also spoke of the immense tourism potential of the North-East, adding that the Union Government has decided to name the Dhola-Sadiya bridge after the great musician, lyricist and poet, Bhupen Hazarika.


These holiday homes sleep a maximum of 6. The villa consists of a living/dining area and separate kitchen depending on villa type some have a downstairs bathroom with Jacuzzi bath, a downstairs bedroom and patio/picnic area. In our two storey villas , upstairs there is a spacious master bedroom complete with en-suite with a private balcony, a twin bedroom complete. All beds are ready for sleeping in and a full set of towels are also provided per person. There is a small charge if additional towels are required. If you require a specific bed combination just let us know at the time of booking.
Each Villa comes fully equipped with TV, DVD Player and Stereo, dishwasher, washing machine, dryer and microwave. Guests also have their own patio/picnic area at the rear of the villa complete with a picnic bench for those lazy lunches and relaxed dinners (Please note that these areas are not enclosed) For guests who book direct with Carleton Village there is no charge for electricity.
Carleton Village Holiday Homes – Where Standards Matter.
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This lease form is for a drug manufacturing tenant that will also use a portion of the space for laboratory purposes. The form contains extensive environmental protection for the landlord.
It also contains customary pro-landlord provisions concerning operating costs, use, alterations, and construction of tenant improvements for the premises.
This lease form is designed for a biomedical manufacturing facility located in a multi-tenant office building. The lease grants the tenant renewal options for the premises at fair market rentals.
The landlord provides a construction allowance for the premises for improvements in excess of building standard items. Exhibits include Work Letter, Building Standards, Letter of Credit Specifications, and Rules and Regulations.


text:
Az Abu Szimbel-i templomok a Nasszer-tó nyugati partján, Núbia Egyiptomhoz tartozó részén állnak Abu Szimbel helység délkeleti szegélyén. Az i. e. 13. században épültek II. Ramszesz, az óegyiptomi Újbirodalom XIX. dinasztiájába tartozó fáraó parancsára. A Nagy Templomot Ré-Harahtinak, Ptahnak és Ámonnak szentelték – akik Ramszesz korában Egyiptom hivatalosan elfogadott főistenei voltak –, de valójában Ramszesz nagyságát volt hivatott jelképezni; neve az ókorban Hut-Ramszesz-Meriamon, azaz Ramszesz-Meriamon temploma volt, a Kis Templomot Hathor istennőnek szentelték, aki itt Ramszesz imádott főfelesége, Nofertari alakjában jelenik meg.

Az Abu Szimbel-i templomok 1979 óta szerepelnek az UNESCO kulturális világörökségek listáján. Egyikük sincs eredeti helyén. Az Asszuáni-gát építése során, hogy a Nílusnak a Nasszer-tóvá duzzadó vize ne lepje el őket, 1963 és 1968 között szétbontották, és 64 méterrel magasabban az Abu Szimbel-i fennsíkon ismét felépítették a templomokat. Itt a Nasszer-tó egy szigetén állnak, amit Abu Szimbellel egy gát és az azon épült út köt össze.

Az Abu Szimbel név az arab Abu Sunbul európaizált változata, az antik Ipsambul helységnévből ered. Az Újbirodalom fáraóinak idejében a régió valószínűleg a Meha nevet viselte. Ennek megerősítése azonban mind a mai napig nem sikerült. Az Abu Szimbeltől mintegy 20 kilométerre délnyugatra lévő Ibsekben is volt egy Hathor tiszteletére emelt templom, az ibseki Hathor-templom. Ezt a területet a mai Szudánban a Nasszer-tó vize befedi. Az Asszuáni-gát építéséig kissé északra volt található  a Nílus második kataraktájától.

Elhelyezkedése

Abu Szimbel (arabul أبو سمبل) Egyiptom déli részén, az Asszuáni kormányzóságban fekszik, nem messze a szudáni határtól. Abu Szimbeltől csak körülbelül 20 kilométernyi távolságban van délnyugatra a határ a Vádi Halfa-i kiszögellés és Farasz (ókori Ibsek, majd Pakhórasz) településektől. A tőle 240 kilométer távolságban északkeletre fekvő Asszuánnal út köti össze, mely a Nasszer-tótól nyugatra halad át a Líbiai-sivatagon. Ezt az utat főként a két templomot meglátogató turistákat szállító buszok használják. A Nasszer-tó hajózható, így rajta is érkeznek látogatók. Abu Szimbel repülőtere szolgál a hely leggyorsabb elérésére.

A múltban Abu Szimbel a Nílus nyugati partján feküdt, az első és második katarakta között. A katarakták blokkok, vagy sziklák által közbezárt zuhogók, melyek a nílusi hajózást megnehezítették. E két katarakta ma (Asszuánnál és a 65 kilométernyire délnyugatra lévő Vádi Halfa mellett Szudánban) annak a tónak a tükre alatt fekszik, melynek Egyiptomhoz tartozó részét Gamal Abden-Nasszer elnök után neveztek el. II. Ramszesz idejében a fáraó birodalmának déli határa közelében volt Abu Szimbel. A templomegyüttesnek Egyiptom Núbia feletti örökös hatalmát volt feladata demonstrálni.

Kutatástörténet és a templomok áthelyezése

A templomok felfedezése

1813-ban a svájci Johann Ludwig Burckhardt (1784–1817), aki Jean Luis Burckhardt és Ibrahim ibn Abdallah sejk néven is ismert, Kasr Ibrîmtől délre kutatta a területet. A visszaúton a helybéliektől hallott egy Nílus-parti igen szép templomról Ebsambalnál, ahogy a helyet később is jelöli Burchhardt. 1813. március 22-én ő látta első európaiként Nofertari Hathor-templomát Abu Szimbelben. Burckhardt a területet átkutatva megtalálta II. Ramszesz nagy templomát, amit egy dűne csaknem befedett. A templom belsejébe a nagy tömegű homok miatt nem tudott bejutni.

Burckhardt így írja le naplójában megérkezését a nagy templomhoz: "Pillantásom négy kolosszusra esett, azok még látható részére … Ezek a dombba beásott nyiladékban voltak, csak az volt a kár, hogy csaknem teljesen befedte őket a homok, amit a szél hordott ide, s amely úgy hatott, mint a hegyről lerohanó patak vize. Az egyik szobornak csak a fejét és mellkasa egy részét lehetett látni, ez állt ki a homokból. A mellette lévőből alig valami látható, mivel a feje hiányzott, és testét még a váll felett is homok fedte. A további két másiknak csak a nemesz-kendője emelkedett ki a homokból."

Miután Burckhardt visszatért Kairóba, leírta Belzoni (1778–1823) olasz kalandornak az általa felfedezett templomot, és bemutatta Belzonit Henry Saltnak, az akkori brit főkonzulnak. Salt megbízta Belzonit, utazzék el Abu Szimbelbe. Belzoni a megbízásának eleget téve 1817. augusztus 1-jén megszabadította a nagy templom bejáratának felső részét a homoktól, és így bejutott a templom belsejébe. A templomba bejutva minden mozdíthatót és értékeset magával vitt. A templomról ezt írta: "Első benyomásaink alapján itt egy meglehetősen nagy építményt találtunk. Csodálkozásunk tovább nőtt, mikor felfedeztük: ez egy rendkívül gazdag szentély, igen szép domborművekkel, festményekkel és kolosszális szobrokkal."

1828-ban kezdődött meg a templom tudományos vizsgálata egy francia-toszkán expedíció útján, melyet Jean-François Champollion és Ippolito Rosellini vezettek. Elkészült a templom állapotának dokumentációja. További expedíciókat 1830-ban Robert Hay és 1844-ben Karl Richard Lepsius vezettek Abu Szimbelbe. Robert Hay volt az első, aki a Nagy Templomot technikai úton védte az állandóan támadó homoktól. Mivel a templomok szerte Európában ismertté váltak, már a 19. században sok Egyiptomba utazó felkereste a sziklákba vájt szentélyeket. Néhányan megörökítették nevüket úgy, hogy bevésték azokat a templomok homlokzatába. Az évszázad végén egyre több homokot hordtak le II. Ramszesz hatalmas ülőszobrairól, de 1909-ig kellett várni arra, hogy a Nagy Templom teljes homlokzata megszabaduljon a homoktól.

A templomegyüttes áthelyezése
A második Asszuáni-gát építésének tervei az 1950-es években mindkét templom létét fenyegették. A Kalabsa és más helyek mellett ők is eltűntek volna a Nasszer-tó jelenlegi szintje alatt. Már 1955-ben megalapítottak egy nemzetközi dokumentációs centrumot, hogy az Asszuántól délre lévő, a határig terjedő területet dokumentálja. 1960. március 8-án az UNESCO nemzetközi összefogást kért a templomok védelmére. Számos javaslat és terv született az építmények megmentésére. Ezek közül 1963-ban elfogadtak egy svéd tervet, mely szerint a templomokat szétvágják az egész sziklatömeggel együtt, és egy magasabb fekvésű helyen újra felépítik.

1963 novembere és 1968 szeptembere között nemzetközi összefogásban megvalósult a két templom együttesének áthelyezése. A munkákban egyiptomi, német, francia, olasz és svéd építőipari vállalkozások vettek részt. 1968. szeptember 22-én hivatalos keretek között megünnepelték a sikeres áthelyezést. Az Asszuáni-gátat 1971. január 15-én avatták fel. Az ünnepségen az akkori elnök, Anvar Szadat így méltatta az összesen 23 núbiai műemlék áthelyezését: "A népek csodákra képesek, ha egy jó cél érdekében együttműködnek."

Az elszállítás és az újjáépítés érdekében előbb  lyukat fúrtak a sziklába, hogy a kőzetet 33 tonna epoxi-gyantával megszilárdítsák. A stabilitás érdekében vaspántokat használtak. Ezután 1036 tömbbé vágták szét a templomegyüttest. Az egyes blokkok súlya hét és harminc tonna között volt, a vágások helyei ma is láthatók. Az új telepítési helynek mintegy 180 méterrel távolabb kellett lennie északnyugat felé, az eredeti szintnél 64 méterrel magasabban. Eközben igen fontos volt, hogy a templomok pontosan ugyanabba az irányba nézzenek homlokzataikkal. Az első blokkot (száma GA 1A01) 1965. május 12-én helyezték át. 1112 szikladarabot helyeztek át a templomok mellett, hogy az eredetihez hű maradjon a templomok látképe.

Mindkét templom belseje részint egy-egy föléje épített vasbeton kupolán függ, részint azok támasztják őket. A Nagy Templom esetén ennek átmérője 140 méter, így ma már nem igazi barlangtemplomok. Mégis megmaradt a barlangtemplom benyomása a nézőben, mert a betonkupolákat kívül nagy tömegű homokkal, törmelékkel és az eredeti sziklákkal (köztük az eredeti szikla-homlokzattal) borították be. Az akkori időkben ez olyan komoly építéstechnikai teljesítmény volt, hogy egyesek ezt II. Ramszesz eredeti temploma felépítésének teljesítményéhez hasonlítják. Az építési költségek mintegy 80 millió dollárt tettek ki, ezt több mint ötven ország adta össze. Abu Szimbel keltette fel az érdeklődést a műemlékek megőrzése iránt, ami 1972-ben a kulturális világörökségek listájának létrehozásához vezetett.

Négy, a mentési munkálatokban nagy szerepet vállaló országnak Egyiptom viszonzásképpen egy-egy kisebb templomot ajándékozott: a debodi templomot Spanyolországnak, a denduri templomot az Egyesült Államoknak, a lesszijai templomot Olaszországnak és a taffai templomot Hollandiának. Ezeket a templomokat elszállították és a megajándékozott ország egy-egy múzeumában állíották fel újra.

A templomok építése

A templomok – mint a királyi palota alegységei – célja az "isteni tartózkodási hely" reprezentatív megtestesítése, innen hívja a fáraó, mint földi istenség a többi istent, hogy kapcsolatba lépjen velük. Így a templomok kozmológiai kötőelemek az ég és a föld között.

Az Abu Szimbel-i templomokat – a Nagy Templomot és a Kis Templomot – délen, Núbiában emeltette Ramszesz, minden lakott helytől távol. A hely, ahol a templom épült, már korábban is szent helynek számított, már Horemheb is emelt itt egy szentélyt. Bár pontos adatokkal az Abu Szimbel-i templomok tervezéséről és építéséről nem rendelkezünk, mégis elfogadhatónak tűnik, hogy a munkálatok Iuni núbiai fáraó-helytartó idejében zajlottak le: egy bevésés a Kis Templom közelében arra utal, hogy a fáraó legbizalmasabb embereinek egyikét bízta meg a kezdeti munkák felügyeletével. Általánosan elfogadott, hogy feltehetőleg i. e. 1260 és 1250 között zajlott az építkezés. Nofertari Meritenmut nagy királyi hitves ebben az időszakban hunyt el, i. e. 1255 táján. Őt utoljára II. Ramszesz uralkodásának 24. évében, a templomegyüttes felszentelésével kapcsolatban említik meg.

Elsősorban a templomok belsejében található színes domborművek adnak útmutatást a templomok keletkezési idejéről. A Nagy Templomban például II. Ramszesz hadjáratának ábrázolása van abból az időből, mikor apja, I. Széthi mellett uralkodott, s ez más forrásokból már datálható. További kiindulási alapokat nyújt az építés idejének megállapítására az a mód, ahogyan az egyes személyeket beállítják, illetve ábrázolják. II. Ramszesz harmadszülött fia, Paréherwenemef, akivel felesége, Nofertari ajándékozta meg, már a fáraó 26. uralkodási éve előtt meghalt, neve után a Nagy Templomban azonban nem áll a halottak neve után szereplő maa heru ("igaz hangú") kifejezés, amiből arra következtethetünk, hogy a belső díszítések kezdete i. e. 1253-nál korábbra datálható.

Bintanath, II. Ramszesz és Iszetnofret lányának szobrán, mely a fáraó déli hatalmas ülőszobra mellett áll, a felirat: "a király lánya". Ellenben a nagy oszlopcsarnokban, a pronaoszban lévő dombormű alsó szélén már őt mint nagy királyi hitvest jelöli meg a felirat, azaz azzal a címmel, amit ő már anyja halála előtt (i. e. 1246) kapott. A Nagy Templom belseje építési munkáinak már II. Ramszesz uralkodásának 34. évében be kellett fejeződniük, ugyanis a Ramszesz és Maathórnofruré hetitta hercegnő házasságát megörökítő úgynevezett "házasság-sztélé" már nem kaphatott helyet a templom belsejében, hanem csak a déli homlokzat végén lévő sziklafalon.

Mindkét templomot a tradicionális sziklasírok és földalatti kőhidak módján alakították ki, a sziklatömbbe vésték be őket. Dieter Arnold ezeket "az építőművészet remekeinek" nevezi, "melyek jelentőségüket tekintve hasonlíthatóak az indiai Ellora sziklatemplomához" (a Kailaszanátha-templomhoz). Nofertari Hathor-temploma mintegy feleakkora, mint II. Ramszesz főtemploma, amely 63 méteres mélységig hatol be a kőzetbe (az alap elülső szélétől mérve). A Nagy Templom építői – "nagy számú munkás, kik a fáraó kardja által jutottak hadifogságba" – Piai főszobrász felügyelete alatt dolgoztak, mint azt a templom belsejében egy bevésés megörökítette.

A Nagy Templom

A templom leírása

Az építészeti elemeket tekintve az Abu Szimbel-i Nagy Templom az egyiptomi halotti templomok jellemzőit vitte át sziklára. A sziklafalat itt is (ahogy a Kis Templomnál is) lefaragták, hogy enyhén lejtős legyen és egy pülónra emlékeztessen. A szikla széle szolgál portikuszként, de az építész lemondott a szélső tornyokról. A templom belsejében több sorban feliratokkal és domborművekkel díszített hajók vannak egészen a szentélyig, melyben a templomban tisztelt istenségek szobrai vannak. II. Ramszesz Nagy Templomát a XVIII–XX. dinasztia isteni triászának, azaz a memphiszi Ptah, a thébai Ámon és a héliopoliszi Ré istennek – akik Ramszesz korában Egyiptom hivatalosan elfogadott főistenei voltak –, valamint magának Ramszesznek szentelték fel. Valójában Ramszesz nagyságát volt hivatott jelképezni; neve az ókorban Hut-Ramszesz-Meriamon, azaz Ramszesz-Meriamon temploma volt (lásd a Nagy Templom tervrajza alatti hieroglifákat.)

A mehai Hóruszt is tisztelik a templom belsejének domborművein; Hórusz az ő Harahti formájában összeolvad Rével Ré-Harahtivá. Hóruszban és Ré-Harahtiban közös az, hogy fejeik sólyom-fejek, a különbség köztük az, hogy Ré-harahtit napkoronggal és ureuszkígyóval ábrázolják. A héliopoliszi Ré-harahtit és Hóruszt volt, hogy azonos lénynek tekintették, például a felső-egyiptomi Behdetben (Edfuban). A mehai Hórusz kultusza III. Szenuszert fáraó idejében kezdődött, aki Núbia négy szent helyét létesítette, melyekhez számított Meha mellett még Baki (Kontra Pszelkisz, Kúbán), Mi'am (Aniba) és Buhen (Vádi Halfa) is. A XII. dinasztia idejében felavatott Hórusz szentélyek Alsó-Núbia Egyiptomba való integrálódását voltak hivatva szolgálni.

II. Ramszesznél a Nagy Templom helyszíne megválasztásában a mehai Hórusz imádata csak másodrendű szerepet játszott, mert a mehai Hórusz helyi istenség volt. Az egyiptomi fáraók filozófiájában sokkal fontosabb volt a határokhoz közeli régiók felé egyértelmű jelzéseket adni. II. Ramszesz az építménnyel kívánta a rangját hangsúlyozni, mint "az isten megtestesült fia", isteni legitimációját kívánta vele aláhúzni. E vallási kapcsolat jelenik meg a fáraó ún. Hórusz-nevében is.

Utalások vannak II. Ramszesznek, mint mehai Hórusznak egy megjelenési formájára a Nagy Templom domborművein. Így a nagycsarnok első déli oszlopán, az ibseki Hathor – Hórusz felesége – ábrázolása felett a sólyomfejű, emberfülű és szirti kecske szarvait viselő istenség – akinek maga Ramszesz hoz ajándékot – Ramszesz előnevét viseli: Uszermaatré Szetepenré. E csarnok egy oldalsó termében a nyugati falon II. Ramszesz sólyomfejjel foglalja el az ott hiányzó Hórusz helyét, Ramszesz-Meriamon néven, "nagy istenként". Mellette a falon lévő jelenetek Ámonnak, Rének, a buheni Hórusznak, a mi'ami Hórusznak és a baki Hórusznak hódolnak.

A II. Ramszesz Nagy Temploma előtti kolosszális szobrok

A Nagy Templom Abu Szimbelben különös erővel szolgálta Ramszesz új felfogását a fáraók filozófiájáról, amennyiben ő maga a többi istenséggel egyenrangúként lesz elismert a nép előtt. Ez már megmutatkozik a fentebb látható négy, mintegy 21 méter magas, a bejárat felett őrködő kolosszális szobron (fején a kettős koronával). Az egyes figurák két fülének távolsága már maga több mint négy méter, az ajkak több mint egy méter szélesek. A két északi ülő szobor felirata: "Ramszesz, Ámon kegyeltje" és "Ramszesz, Atum kegyeltje", míg a délieké "Ramszesz, az uralkodók Napja" és "Ramszesz, mindkét ország uralkodója".

A templom bejáratától délre fekvő királyszobor sérült, a fej és a torzó részei a homlokzat előtt a földön hevernek. Már Ramszesz uralkodásának 34. évében, röviddel az épületek befejezése után megsérült, egy földrengés során. A fáraó négy kolosszális ülőszobra a 38 méter széles és 32 méter magas homlokzati struktúrára vonja a néző tekintetét. A szobrok párosával ülnek egy teraszon, jobbra és balra a bejárattól. Kilenc lépcsőfok vezet arra a szintre, amelyen beléphetünk a templomajtón.
A szent vagy Nap-majmok fríze
A templom homlokzatán, felül, van egy fríz, rajta az eredetileg 21-ből legalább részben megmaradt 16 pávián (Thot szent állata) ül, az ún. Nap-majmok, vagy másként szent majmok. Ezek egyenként 2,5 méter magasak. Erre a frízre figyelt fel a svájci Burckhardt 1813-ban a templom újra-felfedezésekor, a majmokat ugyanis még nem temette be a homok. E szakasz felett van a fríz 2009-ből származó fényképe. A fríz az első, ami a felkelő nap fényében felragyog. A fríz alatt egy ureuszkígyó és feliratok díszítik a templom felső szélét. A kígyófríz az építmény szimbolikus védelmét szolgálja. Közvetlenül az ureuszkígyó alatt, már a tulajdonképpeni templomhomlokzat részeként, bevéstek egy hieroglifákból álló feliratot, ami leírja, kinek szentelték a templomot.

A bejárat felett, a homlokzat közepén, egy nyiladékból Ré lép ki. Attribútumai a napkorong, jobb kezében az uszer-jelet tartva (egy állat feje és stilizált nyaka; az uszer hieroglifa jelentése "erős"), bal kezében a Maat-figura, az igazságnak és a világ rendjének egyiptomi ábrázolása. Ezek a szimbólumok II. Ramszesz uralkodási neveként olvashatók: "Uszer-Maat-Ré", vagyis "hatalmas Ré igazsága". Ez egyben hangsúlyozza a templom szoláris jellegét. Így a fáraó Ré inkarnációjává, "Ré nagy lelkévé" lesz. Ré sólyomfejes ábrázolása egyben szimbolizálja a Vörös Hóruszt, vagy más néven Hóremakhetet (a horizonton lévő Hóruszt), a napfelkelte megszemélyesítőjét is, ami megfelel a bejárat keleti tájolásának. Az istenszobrot mindkét oldalon domborművek veszik közre, melyeken II. Ramszesz Ré-Harachténak Maat istennő egy-egy képét ajánlja fel.

II. Ramszesznek a templom bejáratánál lévő négy kolosszális ülő alakja mellé a fáraó családtagjainak kisebb szobrait állították. Tőle oldalt és a lábai közt van nagy királyi feleségének, Nofertarinak a szobra, anyjának, I. Széthi feleségének, Tujának (akit itt Mut-Tuja névvel illetnek) két szobra, valamint a fáraó két elsőszülött fiának és hat legidősebb leányának szobra is. Az alakok sorrendje (balról jobbra):
 Nebettaui, Iszetnofret és Bintanath hercegnők (Ramszesz lányai);
 Tuja anyakirályné, Amonherkhopsef herceg és Nofertari királyné;
 Nofertari királyné, Ramszesz herceg és Baketmut hercegnő;
 Meritamon és Nofertari hercegnők, Tuja anyakirályné.

Valamennyi szobor egy szinten van a négy kolosszussal a terasz síkja fölött. Ez utóbbit elöl és oldalt núbiai és ázsiai hadifoglyok domborművei díszítik. A templom elé ezenkívül épült két víztartály a papok rituális mosakodásához, északra pedig Thot kis kápolnája állt.)

A templom 63 méter mélyen hatol be a sziklába a homlokzatnál lévő szélétől a szentélyig, azaz az istenségek szobrát tartalmazó leghátsó kamráig. A helyiségek befelé egyre kisebbednek, a padló pedig emelkedik. Előbb a három hajóból álló nagy oszlopcsarnokba, a pronaoszba lépünk be. Kétszer négy, domborművekkel díszített oszlop és egyben szobor osztja három részre a 18 méter hosszú és 16,7 méter széles teret. A tíz méter magas oszlopok elé applikált szobrok a középső folyosón sorfalat képeznek a következő hajó irányában. Ezek II. Ramszeszt ábrázolják Ozirisz testtartásával és attribútumaival, jobboldalt az óegyiptomi kettős koronával, a psenttel (ez Lepsius rajzán jobboldalt jól látható), baloldalt pedig Felső-Egyiptom koronájával. A feliratok azonban a fáraót és Oziriszt nem tekintik egylényegűnek, ehelyett a fáraót három istenséggel Ámonnal, Atonnal és Rével állítják komplex kapcsolatba.

A nagy oszlopcsarnok a fáraó szobraival csaknem kétszer oly széles, mint a négy-négy oszlop mögötti hajók. Az oszlopokat architrávok kötik össze. A középső hajó mennyezetén Nehbet istennő látható koronás keselyű formájában, szárnyait kitárva védi a fáraó kártusát, amit karmai közt tart, rajta Ramszesz nevével hieroglifákban. A csarnok belső díszítésének témáját Ramszesz hadi győzelmei adják. Egy 17 méter hosszú és 9 méter széles dombormű van a Rének szentelt északi falon a II. Muvatallisz hettita király seregei elleni, híres kádesi csata ábrázolása felett (i. e. 1274). A csatából ugyan egyik fél sem került ki győztesként, II. Ramszesznek az életét mentve kellett menekülnie a harcmezőről, mégis a csatát mindkét fél mint győzelmet dicsőítette. A hieroglifákban írt szöveg Pentaur (p3-n-t3-wr.t) udvari költő tollából való. Ugyan a győzedelmesség ábrázolása nem felel meg a valós eseményeknek, mégis bepillantást enged az egyiptomiak korabeli harcmodorába. I. e. 1259-ben további kisebb csetepaték után II. Ramszesz végül megkötötte az egyiptomi–hettita békeszerződést az akkor nagy kiterjedésű Hettita Birodalommal.

Az Ámonnak szentelt déli falon jelenetek láthatók a II. Ramszesz által legyőzött Líbia, Kus és Retjenu (utóbbi a mai Szíria és a történelmi Palesztina területének óegyiptomi neve) elleni harcokból. A csarnok díszei a fáraó harci tetteit dicsőítik, őt győztesként ünneplik. A nagy csarnok hátsó részében, az oldalhajókban mindkét oldalon négy ajtónyílás található, ezek összesen nyolc oldalkamrába vezetnek. Közülük kettő előkamra, melyek feltehetően tartalékanyagok vagy a templomi kultikus cselekmények tárgyainak tárolására szolgáltak.

A templom tengelyét követve a nagy oszlopcsarnok mögötti kisebb négyoszlopos csarnok következik, ide egy eredetileg kétszárnyú ajtón át lehet belépni. Két-két oszlop – megint architrávok alatt – a teret három részre osztja fel, ahogyan ez a nagy csarnok esetében is látható. A díszítés témáját itt már Ramszesz isteni mivolta adja, a király saját istenné vált önmaga előtt mutat be áldozatot. A közösség és a kegyeltség jeleként istenek fogadják és ölelik magukhoz a fáraót. Ezeken az oszlopokon ennek képeit látjuk. Liturgikus jelenetek díszítik a csarnok falait: áldozati rituálék és az imádás rituáléi, valamint körmenet a szent napbárkával. Az ábrázolásokból látható, hogy már a templom építése közben állhatott be az a változás a tervben, hogy nemcsak istenek, hanem az istenített király tiszteletére is épült a templom.

Egy további ajtónyíláson keresztül a szentély előtti, arra keresztirányban épített előtérbe lehet bejutni. Innen a sancta sanctorumba, a legbelső szentélybe pillanthatunk be. Ennek hátfala előtt balról jobbra sorban Ptah, Ámon-Ré, II. Ramszesz és Ré-Harahti életnagyságú, egy alacsony kőpadon ülő szobrait látjuk. Itt a fáraó egyenlő az istenekkel. Az istenek, akiknek szobruk áll a szentélyben, Egyiptom leghatalmasabb fővárosait képviselik: Ptah kultuszközpontja Memphisz, Ámoné Théba, Ré-Harahtié Héliopolisz. Ramszesz az általa építtetett új fővárost, Per-Ramszeszt képviseli.

Feltűnő, hogy a domborművek kidolgozottsága, már ami a technikát és a minőséget illeti, a hátsó rész felé haladva egyre elnagyoltabb. A kiegészítésképpen betoldott védfalak ezen kívül azt bizonyítják, hogy a nagy templom még II. Ramszesz uralkodása alatt megsérült egy földrengés során. Lehetséges, hogy ugyanez a földrengés tette tönkre a bejárattól balra lévő kolosszális szobrát is a fáraónak.

A nagy templom falán lévő domborművekből

A "Nap csodája" a szentélyben
A "Nap csodája" egy évenként kétszer előforduló esemény, amikor egy bizonyos ideig a templom bejáratán bevilágító napsugarak elérnek és megvilágítanak a mélyen a templom belsejében, a szentélyben ülő négy istenszoborból hármat: Ámon-Ré, az istenné lett Ramszesz és Ré-Harahti szobrát. A bal szélen ülő Ptah-szobornak – ő egy földisten, akit összekapcsoltak a holtak birodalmával – kizárólag a bal vállát világítja meg a nap, egyébként árnyékban marad.

II. Ramszesz uralkodása alatt ez mindig az egyes évszakok negyedik hónapjában történt meg peretkor ("sarjadáskor"), (február  21-én) és ahetkor ("áradáskor") (október  21-én). A Nap azimutja minden évben eltolódik, ami a "Nap-csoda" dátumát befolyásolja. Oka: az egyes napévek hossza eltér a naptári évétől. Ezen kívül a minden negyedik évben belépő szökőnap is befolyásolja a "Nap-csoda" dátumát. Így egy-egy nappal előbbre, vagy későbbre is eltolódhat a jelenség. Ez az oka annak, hogy az irodalomban és a publikációkban részben különböző adatok jelennek meg a Nap-csoda napjáról. Azok a gyanúk, melyek szerint az eltérések oka a templom áthelyezésében is kereshető, csillagászati szempontból kizárhatóak.

Mivel a "Nap-csodák" mindig október 21. és február 21. körül vannak, elterjedt, hogy ezek a tavaszi és téli napéjegyenlőségkor láthatók. Ez azonban nem helyes. A napéjegyenlőségek március 19. és 21. között és szeptember 22. és 23. között kijelölik a csillagászati tavasz és ősz kezdetét. Ezek a Föld minden helyén azonosak, és éppoly kevéssé tolódnak el, mint a naptári év napéjegyenlőségei, így a "Nap-csoda" ezekkel nem hozható összefüggésbe. Semmi nem bizonyítja azt a vélekedést sem, hogy a két dátum Ramszesz születésének, illetve koronázásának évfordulója lenne.

A Kis Templom

Mintegy 150 méterre, a Nagy Templomtól északkeleti irányban áll az ún. Kis Templom, amit az ibseki Hathornak szenteltek, akit itt Nofertari személyesít meg. Hathor az egyiptomi vallás szerint Hórusz felesége volt, egyik kultuszhelye Ibsek, ami a templomegyüttes közelében terült el. II. Ramszesz megjelenési formája királyi létének megfelelően a sólyomfejű Hórusz. A templom belsejében egy oszlopon lévő felirat így szól: "Ramszesz, aki erős a valóságban, Ámon kegyeltje, alkotta eme égi lakhelyet szeretett királyi feleségének, Nofertarinak".

A Kis Templom homlokzatát is bemélyítették a sziklába. A talajjal egy síkban áll hat, egyenesen álló szobor, melyek közül négy Ramszeszt, kettő Nofertarit ábrázolja, ezeket oszlopok választják el, mélyen beléjük vésett hieroglifákkal. A szobrok mindegyike a bal lábát kissé előrébb helyezi. Mindegyikük egyformán magas, több mint tízméteres; mindez mutatja Nofertari kitüntetett voltát, mivel a fáraók hitvesei többnyire kisebb szobrokat kaptak, mint ők maguk, mint ahogyan ezt a nagy templom homlokzatán is láttuk. Lábaiknál gyermekeik kisebb szobrai állnak, Ramszesz lába mellett egy-egy herceg, Nofertariénál egy-egy hercegnő; balról jobbra Meriré, Henuttaui, Paréherwenemef, Amonherkhopsef, Meritamon és Meriatum.

 A Nofertarinak szentelt Kis Templom előtti szobrok

obrok

A királyné két szobra a fején a napkorongot viseli, Hathor tehénszarvai között két nagy tollal, bal kezükben a Hathor szertartásaiban is fontos szerepet játszó hangszerrel, a szisztrummal. Nofertari szobrait a fáraó különböző szobrai fogják közre. A homlokzat bal oldalán a király alakjai Felső-Egyiptom koronáját viselik, míg a bejárattól jobbra lévő szobrait Alsó- és Felső-Egyiptom kettős koronája díszíti. Ramszesz fején vadkecskeszarvak is láthatóak, ezek fölé nyúlik a napkorong a két nagy strucctollal. Ez egy Henu-korona, másképp "strucctollas korona" vagy "a reggel-ház Henu-koronája" (újegyiptomi nyelven: henu en per-duat aa kheperu), ami többek között a koronázások során viselt inszignum volt, és a királyi újjászületésnek egy lehetséges jele. A fáraó képmásai a tipikus egyiptomi kötényt és a ceremoniális királyi szakállt viselik.

A Kis Templom 21 méter mélyen vezet a sziklába, egy szentéllyel a végében, ugyanúgy, mint a Nagy Templomban, de alaprajza egyszerűbb. Egy lapos fríz felett ureuszkígyós fríz koronázza a kaput. A kígyók felett kartusok láthatók II. Ramszesz nevével. A bejárat mindkét oldalán domborművek vannak, balra a fáraó hódol Hathornak, áldozati ajándékot nyújtva felé, a jobbra lévő jeleneten Nofertari Íziszt imádja. Ezután belépünk egy háromhajós csarnokba, ahol a hajókat három-három oszlop hozza létre, architrávokkal összekötve. A középső hajó felé néznek az oszlopokon lévő stilizált Hathor-fejek. Ezek alatt hieroglifák írják le Nofertari és Ramszesz életének egyes eseményeit.

Itt, a Kis Templomban is hatoszlopos csarnok az előszentély, amit túlnyomórészt vallási jelenetek díszítenek. A hat oszlopot Hathor istennő feje díszíti, melyek a helyiség belseje felé néznek. Az oszlopok oldalán az egyiptomi vallás különféle isteneinek képei vannak. II. Ramszesz a falon lévő ábrázolásokon núbiai és líbiai ellenségeit öli meg rituális módon, Ré és Ámon istenek színe előtt. Nofertari áll mögötte a Hathor-fejdísszel. Más képeken a fáraó különböző istenségeknek nyújt át áldozati adományt.

A Hathor-oszlopok által három részre osztott hajó mindegyikéből egy-egy ajtó vezet a szentély előtt keresztirányban elhelyezett előtérbe. Ennek északi és déli szárnyán egy-egy dísztelen terem van. Az előtér közepén, a templom főtengelyében egy további ajtónyílás vezet a kis templom szentélyébe. A hátsó falon két oszlop között, a közepétől kicsit jobbra van a szentélyfülke, melyben Hathor istennő ábrázolása látható. A szentély hátsó falának féldomborműve a nyugati hegyek mögül tehénformában kiemelkedő Hathort ábrázolja, baloldalt Nofertari hódol Hathor és Mut előtt, jobboldalt pedig Ramszesz saját maga és Nofertari istenített képmása előtt. Nofertari itt mint Hathor istennő egy megjelenési formája látható, ami összehasonlítható Hatsepszut Dejr el-Bahariban lévő ábrázolásával. A domborműveken koronázási jelenetek vannak, más jeleneteken a királyi hitvest a szerelem és a termékenység istennői védik.

A szentély oldalfalain ajtók láthatók, melyek talán oldalsó helyiségekbe vezettek volna, ezeket azonban nem alakították ki.

Irodalom
 Dieter Arnold: Die Tempel Ägyptens. Götterwohnungen – Baudenkmäler – Kultstätten. Bechtermünz, Augsburg 1996, .
 Dieter Arnold: Lexikon der ägyptischen Baukunst. Artemis & Winkler, Zürich 1997, .
 Hans Bonnet: Abu Simbel. In: Lexikon der ägyptischen Religionsgeschichte. 3. unveränderte Auflage. Nikol, Hamburg 2000, , S. 1f.
 Johannes Dümichen: Der Felsentempel von Abu Simbel und seine Bildwerke und Inschriften. Gustav Hempel, Berlin 1869.
 Rainer Hannig: Großes Handwörterbuch Ägyptisch-Deutsch. (2800-950 v. Chr.). von Zabern, Mainz 2006, .
 Zahi Hawass: The Mysteries of Abu Simbel. Ramesses II and the Temples of the Rising Sun. The American University in Cairo Press, Kairo 2001, .
 Rüdiger Heimlich: Abu Simbel. Wettlauf am Nil. Horlemann, Bad Honnef 2006, .
 Giovanna Magi: Assuan. Philae, Abu Simbel. Übersetzt von Christine Hock. Casa Editrice Bonechi, Florenz 1992, , (Originalausgabe: Assuan, File, Abu Simbel. ebenda, 1992, ; zuletzt: 2000).
 Hans J. Martini: Geologische Probleme bei der Rettung der Felsentempel von Abu Simbel. Vandenhoeck & Ruprecht, Göttingen 1970, (Vortragsreihe der Niedersächsischen Landesregierung zur Förderung der wissenschaftlichen Forschung in Niedersachsen 42, ).
 Christiane Desroches Noblecourt / Georg Gerster: Die Welt rettet Abu Simbel; Koska, Wien u. a. 1968.
 Piotr O. Scholz: Abu Simbel. In Stein verewigte Herrschaftsidee. DuMont, Köln 1994, , (DuMont-Taschenbücher. Außereuropäische Kunst und Kultur 303).
 Marco Zecchi: Abu Simbel, Assuan und die Nubischen Tempel. Übersetzt von Susanne Tauch. White Star Publishers, Vercelli 2004, , (Originalausgabe: Abu Simbel. Assuan e i templi nubiani. ebenda, 2004, ).

Megjegyzések

Jegyzetek

Fordítás

Forrásjegyzék

További információk

 Dieter Arnold: Lexikon der ägyptischen Baukunst. Artemis & Winkler, Zürich 1997, .
 Hans Bonnet: Abu Simbel. In: Lexikon der ägyptischen Religionsgeschichte. 3. unveränderte Auflage. Nikol, Hamburg 2000,

 Johannes Dümichen: Der Felsentempel von Abu Simbel und seine Bildwerke und Inschriften. Gustav Hempel, Berlin 1869.

 Zahi Hawass: The Mysteries of Abu Simbel. Ramesses II and the Temples of the Rising Sun. The American University in Cairo Press, Kairo 2001, .
 Rüdiger Heimlich: Abu Simbel. Wettlauf am Nil. Horlemann, Bad Honnef 2006, .
 Hans J. Martini: Geologische Probleme bei der Rettung der Felsentempel von Abu Simbel. Vandenhoeck & Ruprecht, Göttingen 1970, (Vortragsreihe der Niedersächsischen Landesregierung zur Förderung der wissenschaftlichen Forschung in Niedersachsen 42,
 Christiane Desroches Noblecourt / Georg Gerster: Die Welt rettet Abu Simbel; Koska, Wien u. a. 1968.
 Piotr O. Scholz: Abu Simbel. In Stein verewigte Herrschaftsidee. DuMont, Köln 1994, , (DuMont-Taschenbücher. Außereuropäische Kunst und Kultur 303).

Kulturális világörökségi helyszínek
Ókori egyiptomi templomok
XIX. dinasztia
Núbia
Egyiptom világörökségi helyszínei
Kiemelt cikkek
Az év szócikke 2011 verseny jelöltjei
Áthelyezett ókori egyiptomi műemlékek

redpajama_set_name: RedPajamaWikipedia


What parks and trails are near my home?
Can I plan a hike (or ride or run or...) with my friends?
What if I don't have a car... can I still go outdoors?
Transit and Trails connects you to parks and open spaces by helping you Find, Plan and Share your outdoor adventures. You can locate trailheads near you (or any location) and we help you get there on public transportation or get the directions you need to walk, bike, or drive there. You might try one of the many existing trips on the site or make a new one. You can then share your plans with a link for an email, an Evite or post the trip to Facebook and Twitter. After your hike, share pictures and your experience on Transit and Trails and join the community of people who care about and love exploring parks, trails and open spaces.
Transit and Trails was incubated within the Bay Area Open Space Council, a coalition that collaborates with land trusts, public agencies and conservation organizations to set and execute a conservation vision for the San Francisco Bay Area. Since 1990, the Council has been working regionally to protect the land, connect people to land, and convene efforts to steward parks, trails, and agricultural lands. The Council believes in projects like Transit & Trails that bring nature within reach of all Bay Area residents.
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Great blog on hikes in the Bay Area, same folks that bring you Bay Area Hiker!
The best map of Mount Diablo, it extends from Mt. Diablo State Park east to Black Diamond Mines and Morgan Territory.
Includes Montara Mountain and San Bruno Mountain.
East Bay Regional Park District has excellent trail maps that are downloadable as PDFs.
Santa Clara County Parks has maps at its trailheads and PDF maps on its Web site or by mail.
Midpeninsula Regional Open Space District maps are available at its trailheads, by mail, and as PDFs from its Web site.
Maps for San Mateo County Parks are also available at entrance stations, by mail, and from its website.


text:
Мельничук Сергій Вікторович
01.07.2016 CandidateTechnical Sciences,speciality:Mathematical Modeling and Computational Methods;
Career in NAS of Ukraine
Senior Researcher, Department № 21 "Managing Dynamic Systems", Space Research Institute under NAS of Ukraine and State Space Agency of Ukraine;
from 11.03.2014 till 01.12.2015
Junior Researcher, Department № 21 "Managing Dynamic Systems", Space Research Institute under NAS of Ukraine and State Space Agency of Ukraine;
Senior Engineer And Other Senior Professionals, Department № 21 "Managing Dynamic Systems", Space Research Institute under NAS of Ukraine and State Space Agency of Ukraine;


If you are like me, you have heard Dutch spoken by your relatives. You were maybe taught some Dutch songs or phrases in school. You know that goededag is "good day" along with many other words in the English language that are of Dutch origin. But you really wish you could understand or even hold a conversation the way our ancestors once could. I have reached a time in my life when a Dutch greeting or a Dutch prayer sounds like poetry for my soul. I have reconnected with my Dutch roots by working with HPT and I have the pleasure now to hear an occasional Dutch conversation which disappeared with my parents passing. Even though I am first generation American, Dutch language was just a word guessing game my mom and I would play or a secret code my parents and grandparents used on the phone when they wanted a private conversation. I never learned how to hold a conversation in Dutch.
Historic Pella Trust has been so fortunate to have Carol Hoeksema teach Dutch lessons. We believe that we need to preserve what makes Pella unique- first and foremost our Dutch heritage. This priority is followed closely by preservation of all the historical architecture, but especially the buildings where the walls heard the Dutch language spoken. The Dutch immigrants wanted to blend in as Americans as much as possible. This is true as long ago as the days of Domine Scholte but especially after WW1. Parents didn't teach the younger generations how to speak Dutch so they would not stand out as non-patriotic in the schools. Some of the children of the 1950's and 60's had lost that ability to communicate with older relatives in Dutch like their parents could. The lucky ones did learn Dutch either through a class or from family and they are able to enjoy traveling Europe with the ability to communicate. Dutch is similar and commonly understood by people in many countries.
Carol has provided these classes for several years, generously donating the class fee to Historic Pella Trust. This money will be utilized in helping to provide educational opportunities like the second grade field trips to Tuttle Cabin or special events along with our efforts to preserve the historical architecture of Pella, Iowa. This is not a class provided by city services; registration needs to be made through Carol or Pella Historic Trust. She is not sure how much longer she will continue to offer these classes; so if you have been thinking about it this may be a good time to enroll.
The Dutch classes are located in the Pella Community Center in Room 200. The community center is located at 712 Union Street: Pella, Iowa. Parking is available at the library or on the south and west sides of the building. There is an elevator and ramp located at the South East corner of the building; this South east door entry is handicapped accessible for walkers or wheelchairs. Exit the elevator on the next floor up and turn left. Room 200 is on the South side. If using the front doors go up the steps and to the left of the south doors. There is also a door on the North side if you park by the library; you will need to walk down the hall and turn right if you use this door, go past the steps and the next room on the left.
In the beginning class you do not need any prior experience in speaking Dutch. Plan on laughter and good conversation- Carol wants the class to be relaxed and informational for her students. She understands that we all have busy lifestyles and limited time to study, so she will not give any homework. She also does not test for what you have learned during the course. She has taught a variety of ages with her oldest student being 91 years old. "Je bent nooit te oud om te leren"—(you are never too old to learn). She has also had an eight year old home school student who attended with her parent. You are welcome to take the class as often as you like for a refresher on Dutch or just because it is fun! Carol is planning a new format for the 2019 spring beginning class. The class will include information on tracking your Dutch surname in Holland. You may even get to sing the Dutch birthday song! She will show you phone apps in case you want to study at home. The last class will be about restaurants and food and everyone brings Dutch food to share. The class topics may evolve with the group; as an example she included reading and learning the Lord's Prayer in Dutch for a group who came from Vriendschap Retirement Village.
If you are comfortable with your beginning Dutch skills and need something more challenging you may move on to the more advanced Dutch 2 class for an in-depth Dutch lesson. This spring the students in the advanced group are starting in Chapter 8 of the book "Contact! Nederland's voor anderstalingen". Only the continued advanced class will be available the spring of 2019. There is a textbook and homework but there will be no tests. Some students grew up around Dutch speakers and have good comprehension, but struggle to read and write. Others can read and translate, but are afraid to speak and have trouble understanding spoken Dutch. The book is not easy to find, so please sign up early so Carol can give you the information needed for your internet search to order the book.
There's lots of laughing in both of the Dutch classes. Expect to help each other, just wanting to learn is the prerequisite for class. Advance Dutch students need to have taken the beginning class or have a basic knowledge of Dutch.
If you would like to start with Chapter 1 in the book please contact Carol so she can place you on a future Advanced Dutch class list.


The landscapes created for public housing are often the lowest common denominator of many factors. At Ryan Street in West End, John Mongard Landscape Architects (JMLA) have attempted to give each resident the type of variety and individual character which we all desire, whilst maintaining a good balance of practicality and maintenance.
A complex of twelve duplex living spaces for elderly aboriginal people, The Ryan Street housing project, clusters around a communal sitting area which is framed by emergent rainforest plants. This universally accessible area links back to each unit through a subtle grading of footpath treatments, which define public from private, and domestic from communal areas.
The car park features drainage pavers, and water is harvested from hard areas throughout the site into dry creek-bed like corridors. This is part of a ground-water strategy which captures emerging subsurface waters from the hillslope and recycles it to plant-supportive areas. Water sensitive urban design principles have been applied throughout the site, from establishment of water catchment landscape units, to the selection of plants and drip irrigation. With a strong environmental mandate, applied finishes are minimal and low-energy materials dominate. Fences are hardwood timbers stained with organic tung oil, and various areas too small for lawns are treated with decomposed granite.
Plantings are based on JMLA�s local knowledge of West End�s endemic species and are all indigenous except one tree selected for its robustness in car park environs. Watering is by drip irrigation to conserve water. Attempts have been made to reintroduce some more rare, local plants that are being lost due to urbanisation of the area. The weed-infested site was cleared and trees protected through collaboration with an arborist. Ancient palm trees planted in the early years of the West End village were carefully relocated as reminders of the past.
Walls and fences play a strong role in defining territories and spaces without creating barriers. A close collaboration with Gall Meddek Architects ensured that each post and connection made a placemaking contribution. Painstaking effort has gone in to subtly differentiate bin enclosures, entry corridors and privacy screens. The philosophy of overlapping vertical planes creates an interesting play in the landscape and claims back the roles, not merely as just of fences and retaining walls and barriers, but as active participants in the visual experience of the landscape.
A strong effort has been made to re-stitch the site back into its neighborhood. This has been done by creating front porches and patios, which relate to the urban streetscape. Gateways feature ironwork created through an art-built-in collaboration with aboriginal art group Pioneer. A large number of public seats are provided so that elderly residents can enjoy the sun and talk in the open. The end result is hopefully a friendly place that has a small village feel.