davidanugraha/M4-RAG huggingface dataset:
棉花嶼

棉花嶼又名扛轎嶼為台灣附屬島嶼之一。位於基隆外海，是由火山作用形成的島嶼。棉花嶼名稱取自因海鳥多，人船近岸時海鳥紛飛、宛如棉絮飛揚而名之。島嶼的最東端為中華民國實際控制的極東點，日治時期為磷礦開採區。行政區劃歸於基隆市中正區。與花瓶嶼、彭佳嶼合稱北方三島。海洋國家公園管理處計畫把棉花嶼、花瓶嶼和彭佳嶼這塊海域劃為海洋國家公園。
棉花嶼位於東經122.06度，北緯25.3度。距離基隆東北方約42公里，航程約2小時。島東西長約300公尺，南北長約400公尺。面積約0.12平方公里，海拔最高的地方只有64公尺。由於棉花嶼和彭佳嶼地理位置相近，形狀也相似，所以有不少漁民都誤將棉花嶼當作彭佳嶼。
棉花嶼最早於清朝便有人居住，1886年自加拿大差派來台的傳教士馬偕於記錄到許多鳥類於此島活動；日治時期也有定期船往返棉花嶼與基隆之間；國民政府遷台之後劃入軍事管制區而無人居住。
1996年，基隆市政府向行政院農委會提出「棉花嶼、花瓶嶼野生動物保護區」的規劃，以保護島上野生動植物。棉花嶼也是台灣北部唯一的海鳥繁殖地。台灣基隆漁民表示，棉花嶼和彭佳嶼還存有珍貴稀有的第二級保育類鳥種玄燕鷗和白眉燕鷗生存繁殖。2009年，基隆野鳥學會人員發現屬瀕臨絕種的第一級保育類鳥種遊隼在棉花嶼繁殖。
棉花嶼東海岸中央部有一岩礁，高約25公尺，屹立於海中，有「屏風岩」之稱。
島上另一種特別的植物是俗稱「海芙蓉」的蘄艾，屬於菊科多年生草本植物，喜歡生長在海岸線邊緣的岩石上，是一種稀有的名貴藥材，用來治療氣喘、肺結核、高血壓及背脊痠痛。
北方三島

北方三島是台灣基隆北方海域3個離島的合稱，皆屬基隆市中正區管轄。由北而南依序為：
有時會再加上南方靠近台灣本島的基隆嶼，稱為北方四島。同為火山島的四座島嶼皆隸屬同一行政區，並呈線狀排列於東海海域。
各島嶼中，棉花嶼與彭佳嶼因面積較大，清代與日治時代曾有人定居，現今僅彭佳嶼以及基隆嶼有海巡署部隊駐紮。除去有主權爭議的釣魚臺列嶼，北方三島是臺灣最北端的附屬島群，其中彭佳嶼及棉花嶼也分別是整個台灣含附屬島嶼地理上的最北端及最東端。
由於生態資源豐富，中華民國政府在馬英九政府時期起著手規劃將北方三島設為海洋國家公園。唯後續因有部分漁民反對，仍在溝通中。
绿叶蔬菜

绿叶蔬菜（leafy greens，greens）也称作叶菜（leaf vegetables），是植物叶子可以作为蔬菜烹饪、食用。 虽然可作为绿叶蔬菜的品种千差万别，但大多数都有相似的营养成分与烹饪方法。
全世界已知有近千种植物作为绿叶蔬菜。大多数都是生长周期短的草本植物，如白菜、生菜。木本植物但叶子可食用的包括香椿、桑等。
许多饲料作物的叶子也可供人类食用，但通常还是只作为家畜的饲料。例如苜蓿、紫花苜蓿、大多数禾本科的草叶包括小麦与大麦。这些作物通常比绿叶蔬菜的产量更高，但利用其营养成分更困难，主要是因为含有过高的膳食纤维。
绿叶蔬菜一般具有低卡路里，低脂肪，高蛋白每单位卡路里，高膳食纤维，高铁钙，非常高的植物化合物如维生素C、胡萝卜素、叶黄素、叶酸、维生素K。
绿叶蔬菜可以炒、炖、蒸、白灼。美国南方黑人的典型菜肴是猪肉炖菜。大多数绿叶蔬菜也可以生吃，如在三明治中的配菜、沙拉。
绿萝

绿萝（學名：Epipremnum aureum），又名黄金葛，是天南星科、麒麟叶属的一种多年生木质藤本植物，原产于法属波利尼西亚的莫雷阿岛，随着人类引进而在东南亚、南亚、华南、所罗门群岛、非洲、西印度群岛等地的热带及亚热带森林中归化，并在部分地区成为入侵物种，影响一些地方的生态平衡。喜荫蔽潮湿的环境，生命力极强，在黑暗无光的条件下亦能生存。现作为观叶植物而被广泛栽培于人类居住和活动场所，因其枝茎善于攀缘的特性，适宜吊盆栽植或植於图腾柱上。
绿萝属高大藤本，靠茎部攀墙，节间具纵向槽状；较多分枝，枝悬垂。幼枝呈鞭状，细长，粗3－4毫米，节间长15－20厘米；叶柄长8－10厘米，两侧鞘状部分达顶部；鞘状部分呈皮革质感，下部每侧宽近1厘米，向上渐狭；下部叶片大，长5－10厘米，上部的长6－8厘米，纸质感，宽卵形，短渐尖，叶基部呈心形，宽6.5厘米。成熟枝上叶柄粗壮，长30－40厘米，枝基部稍大，上部关节长2.5－3厘米、稍肥厚，腹面具宽槽，叶鞘长，叶片薄皮革质感，翠绿色，通常特别是叶面有多数不规则的纯黄色斑块，不等边的卵形或卵状长圆形，前端短渐尖，叶基部深心形，长32－45厘米，宽24－36厘米，1级侧叶脉8－9对，稍粗，两面略隆起，与中肋成70°－80°。
本种开花极为罕见，1962年首次记录到本种开花，依据该年的记录，其肉穗花序的形态与麒麟叶极度相似，甚至因此一度被植物学家归类为麒麟叶的栽培型，但其全株成长形态与麒麟叶仍有显著差异，才将其保留为独立物种。但自此以后，无论野外或栽培环境中一直未再发现其开花。直到2016年在自然旗下的《Scientific Reports》期刊发表的一份研究发现其罕开花的原因：本种由于基因缺损，缺少合成赤霉素的酵素吉貝素3-氧化酶1“EaGA3ox1”，不能产生足够的赤霉素来激活促成花芽分化的转录因子“EaLFY”，因而不能启动开花程序。
研究者用2500ppm的GA3赤霉素溶液喷洒两株不同生长阶段的绿萝，至全部叶子及芽湿透，只施用了一次，横向生长的小型株在第7个星期首先生出花芽，而向上攀附生长的中型株则在第8个星期长出花芽，成功诱导绿萝开花，其中小型株长成的内穗花序比较小，中型株的内穗花序比较大。
本種是常見的居家種植植物，在溫帶地區，它是常見的裝飾性室內植物，如住家、辦公室、商業場所等常有其蹤影。在熱帶地區，則在室外、公園亦常見，甚至會形成野生的種羣。
由於本種難見開花結果，因此主要的種植方式為插枝。本種的莖節只要放在水中，很快就會從節眼處長出新根，即可移種土壤。如同其它澤瀉目植物，本種也很容易適應水培法。本種原生於雨林樹蔭下，因此能適應散射光明亮的室內環境，若直接放在猛烈的陽光下直曬反而會讓其葉子失去光澤、出現焦黃，但過於陰暗的環境，葉子會變深色、斑紋消失，嚴重的話會停止生長，甚至死亡。適應溫度介乎17至30 °C（63至86 °F）之間。
本種會吸收甲醛、三氯乙烯、苯、甲苯、二甲苯等常見的室內污染物，因此被認為可以改善室內空氣素質。
绿萝的毒性来自于其汁液中的针晶体（英语：Raphide），这也是许多天南星科植物的特征。这些不易溶解于水的草酸钙针晶体会对进食者的口腔、食道等软组织细胞带来物理性损伤，因此人或动物误食绿萝的枝叶，可以引起口腔刺痛、呕吐、吞咽困难等等。皮肤接触其汁液也会产生刺痛感等反应。
绿萝作为观赏植物被人类带到世界各地，而在一些非原生地的热带雨林中，因缺乏环境和其他物种的压制，绿萝得以大量繁殖，成为入侵物种。例如在斯里兰卡的雨林中，绿萝过度生长，进而干扰到当地生态平衡。美国农业部于1999年将绿萝列入“入侵物种”名录。
军舰

军用舰船，简称军舰，是列入海军或其他军兵种编制、用于完成战斗和保障等军事任务的船只，包括各种战斗舰艇、辅助舰艇和特种舰艇。现代军舰一般装有艦炮、機槍、機炮/近迫武器系統、巡航导弹、防空飛彈、反艦飛彈、反潛飛彈、魚雷、水雷、深水炸弹等武器，负责参与海战、对岸打击和军事运输，同时还可支持航空兵和陆战队等非海战兵种发动空战、两栖作战和特种作战。
1792年，西班牙和法国人围攻直布罗陀要塞时，就曾在木制风帆战船上安装装甲，以抵御岸炮的炮火，但是由于动力的问题，使建造装甲舰的思想在当时难以实现，只有在蒸汽机得到应用后，才使它能够从梦想变为现实。
19世纪在军舰发展史上占有特殊的地位，在动力，船体，火炮等方面完成由古代战船向现代军舰的演变。1813年，建成第一艘以蒸汽机为动力的军舰－装有20门大炮的德莫罗哥斯号。它是由著名的美国科学家“蒸汽船之父”富尔顿设计的，这实际上是一座用明轮推动的浮动炮台。明轮效率低，在海战和风浪中容易受损，这在某种程度上限制了蒸汽动力军舰的发展。
1816年螺旋桨推进器诞生之后，英国于1844年前后建造了第一艘螺旋桨战舰－响尾蛇号，这导致了蒸汽机终于成为军舰主要动力。但在此后的相当于长的一段时间内，军舰上用保留风帆作为辅助动力。至19世纪末，人们开始研制以汽轮机为动力的军舰，第一艘装有汽轮机的军舰是1904年下水的英国紫石英号巡洋舰。
早在火炮开始用于海军时，人们就萌发了建造装甲舰的思想。1854年，法国建造一座装有10厘米厚钢板装甲浮动炮台，用它来袭击俄国的克里米亚要塞，它经受住了俄军的猛烈炮火，而俄军却在法国军舰的攻击下被迫投降。这使各海军大国接受了需要装甲军舰的思想，开始大规模建造这种军舰。
1859年，法国首先建造了世界上第一艘装甲军舰－光荣号装甲巡洋舰。“光荣”号是一艘木壳装甲舰，木制船身，包有铁皮装甲，以蒸汽机为主机，以风帆为辅助动力，排水量5617吨，装备有36门舷炮。它的设计师是杜普罗梅。
1861年，英国建造世界上第一艘铁壳装甲舰－勇士号。初期的装甲军舰是在木壳或铁壳军舰的两舷中部或整个船舷装上装甲，蒸汽机功率不足，还需辅以风帆。直到19世纪70年代后，工业能够生产出马力大而又经济可靠的蒸汽机，不需风帆助力之后，才得以建造全装甲的军舰。
早期的蒸汽动力军舰装备的还是固定的舷炮，并且是从炮口装填球形实心背景的前装式滑膛炮。就在装甲战舰问世之际，开始出现了安装在军舰纵轴线上用装甲防护的旋转炮塔型舰炮。它可以根据需要向各个方面开炮，这使舰炮的数量可一下子减少一半。1906年，英国制造的以汽轮机为主机，装有5座双联装炮塔的装甲舰无畏号戰艦下水了，它标志着现代军舰朝代的开始。
主條目：航空母舰列表
陽光先生

《陽光先生》（韓語：미스터 션샤인，英語：Mr. Sunshine），為韓國tvN於2018年7月7日播出的週末連續劇，由《太陽的後裔》、《孤單又燦爛的神—鬼怪》的李應福導演與金銀淑作家三度合作打造。此劇以日本殖民統治之前的1902-1907年為時間軸，講述了辛未洋擾時期，乘坐軍艦來到美國的少年以美國軍人身份重返拋棄自己的祖國朝鮮後，邂逅朝鮮精神支柱，兩班世家的大家閨秀，兩人墜入愛河的故事。
《陽光先生》首播8.852%（AGB全國），為tvN連續劇首播收視紀錄第二名。全劇平均收視12.955%，創下tvN及韓國有線台電視劇最高全劇平均收視，本劇第24集結局平均收視率高達18.129%（AGB全國），成為tvN戲劇最高收視紀錄第4名，亦是2018年tvN的戲劇收視冠軍。
Netflix自2018年7月7日起于全球上线。
週六時段劇集
週末時段劇集
週日時段劇集
電視劇部分
演員部分
花语

花语指各国、各民族根据各种植物，尤其是花卉的特点、习性和传说典故，赋予其的各种不同的人性化象征意义。
花語在18世紀由土耳其傳入英、法，在特別是在法國流行，是由一些作家所創造出來，主要用來出版禮物書籍，特別是提供給當時上流社會女性休閒時翻閱之用。现传播到世界各国，不过因地域不同，每种花的花语可能会有所出入。
河殇

《河殇》是中国中央电视台制作的六集电视纪录片（时称“六集電視連續節目”），于1988年6月11日首播。在1980年代“新启蒙运动”的大背景下，《河殇》被一些人认为是繼承了1910年代新文化運動的脉络，对諸多中国文化符号辨析和评判，包括黃河黄土文明、长城和龙等，同时表达了对海洋文明的嚮往。約2億至3億中國觀眾收看，全國報章收到讀者尤其學生的來信感言。該片第一次用電視媒介總結了中国共产党改革派對於改革開放遇陷入經濟困局的解讀——困局源於中國文化有太多傳統包袱。
1988年的《河殇》在80年代的中國學生運動史有承先啟後的意義，是当时社会中“反传统”思潮的一个代表，與八六学潮和八九學運的思潮悉悉相關，並代表了80年代文化热的高峰和尾聲。
《河殇》以类似报告文学的风格对中国文化进行了批判，其主要论点是：中国以河流、大地为根基的内向式“黄色文明”导致了保守、愚昧和落后；为了生存，中国必须向以海洋为根基的“蓝色文明”学习，并应该建立以市场经济为基础的经济体系。为了令这套系列片的论证更加权威，作者引用了众多西方理论，包括魏復古的水利文明、东方专制论，黑格尔有关中国陆地文明趋于保守的说法，小湯恩比的一个早期观点——“除基督教文明外，所有其他文明，不是已经湮灭，就是步向死亡”。
在1983年由中国中央电视台制作的纪录片《话说长江》大获成功后，中国国内掀起“河流片热”的风潮。1986年，央视和日本NHK电视台耗时三年合拍了另一部“河”的纪录片《大黄河》。然而这部影片在一开始并没有通过央视高层的审批，仅在日本单方面播出。为重新带出该片，时任央视副台长陳漢元委派导演夏骏拍摄一部新的有关黄河的纪录片，重新带出对黄河的拍摄。
夏骏亲自邀请了苏晓康和王鲁湘来为影片撰写解说词。原先该片曾以《大血脉》作为片名，在王鲁湘的建议下，最终片名确定为《河殇》。
1987年9月，《河殇》正式在中国中央电视台立项。央视聘用了《走向未来》主编金觀濤和经济学家厲以寧作为该片的顾问。
2014年，总撰稿人之一的苏晓康表示，以现在的眼光看，《河殇》的思考水平有限，并且很肤浅，表示西方文明也有毛病。
2015年，另一位总撰稿人王鲁湘指出，《河殇》并非对中华文明抱有敌意、或是全盘否定中华文化，而是针对80年代各种旧观念对国家发展的束缚，进行一种文化批判上的策略安排，就是要用非常激昂的措辞，故意达到一种“片面的深刻”，因此才会鞭笞自己的祖先、传统和历史，憧憬甚至夸大西方文明的优点。而最终的目的是为了建构一个现代文明的“梦”，希望中国像开放的海洋一样，建成一个开放、现代化的国家。但同时他也承认，《河殇》以及当时的自己对中华传统文化的了解不够深入。
两位作者亦均否认该片有政治意图和背景。
Tree peony

Tree peony is the vernacular name for the section Moutan of the plant genus Paeonia, or one of the species or cultivars belonging to this section. It consists of shrubs that have perennial aerial woody stems. Other peonies do not have perennial woody stems, but their stems die back after the growing season, to emerge again from buds just below the surface early in the following year. Tree peonies have been in culture in China for millennia, and it is likely that hybrids came into being in gardens, where different wild tree peony species were planted closely together. They are used in China both for medicine and as an ornamental, particularly the hybrids called Paeonia suffruticosa. These hybrids in particular, but other tree peonies too, are called mǔdān (牡丹) in China.
Two subsections are recognised within the section Moutan: Delavayana and Vaginatae.
Species assigned to the section Moutan are:
Paeonia rockii

Paeonia rockii, or Rock's peony, is a woody species of tree peony that was named after Joseph Rock. It is one of several species given the vernacular name tree peony, and is native to the mountains of Gansu and adjoining provinces in China. In Chinese, it is known as 紫斑牡丹 (pinyin: zǐbān mǔdān).
Paeonia rockii is cultivated as an ornamental plant in Asia and the west. Like Paeonia lactiflora, another Chinese peony species, it is used as a herbal remedy in traditional Chinese medicine.
Paeonia rockii is known for the obvious black, purple, and brown-red spots at the base of petals. Its main features are:
Tree peony hybrids with Paeonia rockii as one parent are called Rockii hybrids. In China there are several cultivar groups of these hybrids, called Gansu Mudan and Zhongyuan Mudan, or North-West Chinese cultivar group. The European-grown Suffruticosa Group (Paeonia × suffruticosa) also belongs here.
Media related to Paeonia rockii at Wikimedia Commons
Museum of Oriental Ceramics, Osaka

The Museum of Oriental Ceramics, Osaka (大阪市立東洋陶磁美術館) is a Japanese art museum and regarded as one of the best ceramic-collections in the world. This museum collects, studies, conserves, exhibits and interprets East Asian ceramics, which mainly came from ancient China and Korea. The world-famous Ataka Collection, donated by the 21 companies of the Sumitomo Group, as well as the Rhee Byung-Chang Collection, provide the public an aesthetic experience with first-class collection.
Media related to Museum of Oriental Ceramics, Osaka at Wikimedia Commons
Paeonia qiui

Paeonia qiui is a species of peony very similar to P. jishanensis, but with more divided foliage. It can reach up to 1.2m in height. Identification characteristics: petals with a red blotch at base; leaflets mostly entire (not lobed), often purple above; flowers single.
P. qiui is most closely related to P. cathayana and P. jishanensis.
Paeonia turcica

Paeonia turcica, the Turkish peony, is a plant that is native to the mountains of Eastern Anatolia Region and Mediterranean region of Turkey. It is also called the bear rose in Turkey. The flowers are produced in late spring with a deep maroon red colouring on 65 cm stems. The blooms are large, up to 12 cm in diameter and bear a boss of rich orange stamens. This peony was once included with the species P. mascula.
Paeonia turcica resembles P. kesrouanensis in its glabrous carpels, but has reddish foliage upon emerging and the flowers are usually much darker pink, veering towards red.
It is usually found on mountain slopes and peak plains. The plant emerges as a bud from the soil before many plants in the Eastern Anatolia Region, including the Ferula plant, in spring.
It has been used for medicinal purposes in many places from history to the present day.
Marguerite Jacquelin

Marguerite Jacquelin (1850s – 1 February 1941) was a French flower painter.
Jacquelin was born in Paris and trained with the painters Louis-Auguste Auguin, Léon Bonnat, Maxime Lalanne, and Joseph Nicolas Robert-Fleury. She showed works at the Paris Salon from 1879.
Jacquelin moved to Bordeaux by 1937, where she exhibited works along with her sister Marthe at the Salon there, listing their address as "Rue Emile-Zola 2".
Peace & Prosperity

Peace & Prosperity (Chinese: 富贵平安) ran for 170 episodes series produced by Mediacorp Channel 8. It stars Xiang Yun, Desmond Tan, Belinda Lee, Tong Bingyu, Dawn Yeoh, Tracy Lee, Julie Tan, Michelle Wong and Zhang Wei as the casts in this series.
The show replaced the second half of the 7.00 pm drama timeslot, airing weekdays from April 4, 2016, 7.30 pm to 8.00 pm on weekdays making it the 3rd long form half hour drama airing together with news-current affairs programme Hello Singapore at 6.30pm.
Peace and Prosperity is centered around the lives of the Huang family who have been running a TCM (traditional Chinese medicine) clinic for three generations. The family-run business is on the search for its next successor as the young generation of Huangs are not interested in TCM and have yet to prove themselves capable of running the business. The clinic was founded by Huang Datong's father and is now operated by his daughter-in-law Shen Ping'an, who is also caring for six daughters; Ziting, Zishan, Zijun, Ziyu, Zihong and Zixin.
Shen Ping'an's vast knowledge in Chinese medicine is well known in the neighbourhood and many people show up at the hall for her medical consultation. Huang Datong's elder son, Huang Yuanhao and his wife Lin Shuzhi open a fruit stall near "Prosperity Hall", idling their days away. The only thing that motivates them is plotting Shen Ping'an's downfall so that they can get a share of ‘Prosperity Hall" for themselves. They are constantly creating trouble and distrust within the family. They have a son named Huang Zihao who is a lazy and spoilt young man. Datong does not trust them to take over "Prosperity Hall" and decides to let Ping An manage the hall. Datong is still bothered by the choice of possible successor to Ping An.
Huang Datong sponsors Yingxiong's study in traditional Chinese medicine and hopes of having him as a grandson-in-law and subsequently, his successor. Hong Yingxiong is in love with Zihong but Zihong went to New York and came back with Lan Baojie; as he still has not given up on Zihong, the show is left in a cliffhanger.
Huang Family
Beautiful Story
Peace & Prosperity was nominated for 3 Awards at Star Awards 2017, winning one.
Majado de verde

El majado de verde es un plato típico de la costa de Ecuador, de origen montuvio de las zonas bananeras.​ En su forma básica es el plátano verde cocinado, aplastado (de ahí el nombre de majado) y dependiendo de la provincia, se compaña con chicharrón y bistec (Guayaquil), con salsa de maní en Manabí, en Zaruma, provincia de El Oro existe una plato nativo llamado Tigrillo,​ que es más elaborado y que podría ser el plato "padre" del majado de verde.
En una olla colocamos agua con un chorrito de aceite de achiote, sal y dejamos que hierva en ese momento introducimos los plátanos verde lavados y cortados con piel en la mitad, se saldrá la piel sola y brindará mejor sabor y color al plátano verde, cocinamos hasta que se encuentren suaves retirando la piel del verde que se salen solas.
Retiramos del fuego e inmediatamente procedemos a majar con la ayuda de tenedor y reservamos.
En un sartén colocamos el aceite de achiote con la mantequilla y sofreímos la cebolla blanca y el menjurje, seguido del verde majado hasta que tome un color dorado añadimos el queso fresco, la crema de leche, el queso crema, la sal prieta y rectificamos con sal al gusto, finalmente el cilantro picado, mezclamos muy bien y servimos en porciones iguales.
En un sartén procedemos a hacer los huevos revueltos, inmediatamente servimos el majado de verde con una porción de huevo, salchichas rancheras y un delicioso café negro.
Majado (plato)

El majau es un plato típico de la gastronomía del Perú, específicamente de la región de Piura.​ Según sus ingredientes puede denominarse «majado de yuca» o «majado de plátano».
Se elabora con plátano verde o yucas asadas y chicharrones que se mezclan hasta formar una masa homogénea junto a un rehogado de cebolla, ajos y sal.​ También puede incluir quesillo de cabra y se acompaña de cancha serrana.
Existe un plato conocido como «majarisco», cuya preparación es similar pero con el añadido de caracoles, calamares y conchas negras, entre otros mariscos.​
Callejones de Las Majadas

Los Callejones de Las Majadas son un paraje natural en Las Majadas, provincia de Cuenca (España), en el que la erosión de las rocas calizas cretácicas produjo formas curiosas como pasajes, arcos, monolitos o puentes, configurando un paisaje similar al de la Ciudad Encantada, aunque de menores dimensiones y superficie que esta. En términos geológicos, los callejones constituyen un ejemplo de formación kárstica conocida como lapiaz, el cual se originó por la acción del agua, el hielo, el viento y las variaciones de temperatura.
Los Callejones han sido utilizados tradicionalmente por parte de los pastores para construir apriscos donde guardar el ganado, al utilizar las paredes de roca como parte de los mismos. Hoy en día todavía se pueden observar algunos de ellos.
En la actualidad, Los Callejones son parte del Parque natural Serranía de Cuenca, creado mediante la Ley de la Comunidad Autónoma de Castilla-La Mancha 5/2007.
Se sitúa en el extremo noreste de la provincia de Cuenca, en el término municipal de Las Majadas, a unos tres kilómetros de distancia de dicho pueblo. Se accede por el camino forestal entre Las Majadas y Uña. La altitud está en torno a los 1450 m s. n. m. Es un notable ejemplo de modelado kárstico en dolomías del Cretácico Superior (turonense).​
La flora es representativa de esta zona de la serranía conquense, al comprender ejemplares de pino negral, sabina, enebro, acebo, arce, aliaga, boj, varias hierbas aromáticas y diversos tipos de setas, además de otras especies, como rosales silvestres, zarzamoras, majuelos, espinos negros o agracejos. En el pinar se entremezclan los pinos negrales con los silvestres. Diversas especies rupícolas salpican el roquedo. En las zonas más expuestas se puede encontrar espliegos y tomillos.​
Con respecto a la fauna, es destacable la presencia de grandes mamíferos típicos de la parte montañosa de esta provincia tales como jabalíes, ciervos o gamos, y de aves como buitres leonados, diversos tipos de águilas y otras rapaces. Hay paseriformes forestales como el pinzón vulgar, carbonero garrapinos, herrerillo capuchino, reyezuelo listado y piquituerto, entre otros.​
Este paraje es visitado por miles de personas cada año. Es uno de los lugares naturales de mayor interés de Las Majadas, junto con los Miradores de las Majadas, muy próximos a Los Callejones, el parque cinegético experimental de El Hosquillo y la Fuente de la Tía Perra.
Existen dos recorridos principales, de distinta longitud, el más corto de los cuales está señalizado para que la visita resulte más cómoda y, también, para evitar que los visitantes se desorienten entre las rocas que forman los pasajes laberínticos.
Los Callejones de Las Majadas fueron el escenario elegido para rodar algunas secuencias del largometraje El mundo nunca es suficiente (1999), en el que Pierce Brosnan encarna al agente secreto James Bond por tercera vez en su carrera como actor.​​
Pipirrana

La pipirrana,​ pimpirrana o piriñaca (en Cádiz) es una ensalada de la gastronomía española cuyos ingredientes básicos son cebolla, tomate, pimiento verde y pepino (en zonas del sur de Andalucía se da también su preparación sin pepino). A veces se le añade huevo cocido, algún tipo de pescado, de carne prieta o incluso embutidos.
Se consume en las provincias españolas de Málaga, Granada, Jaén, Almería, Murcia, Cáceres, Badajoz y en Ciudad Real. Es el acompañamiento usado en la ciudad de Cádiz para los pescados asados, especialmente la caballa, existiendo en cada provincia y comarcas variaciones en su preparación y composición.
El plato lleva cuatro hortalizas (cebolla, pepino, pimiento y tomate) en dados muy pequeños. Aparte, en el dornillo, se puede majar un diente de ajo, un poco de pan húmedo, y con un poco de comino en grano y un poco de sal gorda. Una vez bien majado se le añade agua de forma que todo quede bien diluido y se añade este majado a las hortalizas. A continuación se le añade el aceite de oliva virgen extra al gusto, o batiendo hasta que todo una. Para acompañar esta ensalada se puede utilizar cualquier clase de embutido. También está muy extendido el añadirle atún en aceite (procedente de atún en lata) y un huevo duro pero de lo que no debemos de olvidarnos es de un buen pan, para mojar las sopas.
Maggi goreng

El Maggi goreng es un plato que suele servirse en los establecimientos Mamak en Indonesia y Malasia. Se trata de una forma de cocinar fideos instantáneos, similar a como se comercializan por la casa Maggi, que es muy popular en Malasia. Es un alimento muy común en los puestos callejeros Mamak en Malasia. El "Maggi goreng" es una palabra derivada de los fideos fritos indios denominados Mee goreng.
La forma tradicional de cocinar estos fideos es cocerlos en agua caliente y añadir saborizantes. La forma tradicional es cocinarlos con un caldo de carne enriquecido. Sin embargo, los Maggi goreng se cocinan al estilo stir-frying junto con diversas verduras y huevo duro picado. Algunos ingredientes son el tofu, el sambal, la salsa de soja oscura, y a veces se añade la carne. Algunas rodajas de lima para decorar y aportar unsabor ácido. No existe una forma estándar de cocinar, ya que se le incluyen diferentes ingredientes. Se suele comer con té de limón helado y mata kerbau (las marcas de "bull's-eye egg", o sunny-side-up).
Sándwich de tocino, huevos y queso

El sándwich de tocino, huevos y queso es un tipo de sándwich para el desayuno hecho con tocino, huevos (típicamente fritos o revueltos), queso y pan, que por lo general es tostado y untado con mantequilla. En unas variantes substituyen el tocino por salchicha o jamón. A veces se denomina simplemente como BEC o BE&C.​
Para su preparación se usan diferentes panes como croissants, bagels, tostado, biscuits y muffins, también se sirve como burrito o taco.​ Suele agregársele tomate.​ Una versión más consistente incluye hash browns. Uno de estos sándwiches contiene aproximadamente 20 gramos de grasa y 350 calorías,​​ aunque ha sido adaptado a una versión baja en carbohidratos.​​
Una publicación de salud recomienda retirar las salchichas, el tocino y otras carnes de los sándwiches del desayuno, para ahorrar 200 o más calorías y un ración de grasa saturada.​
Tacacho

Tacacho is a traditional Peruvian meal that is typically served for breakfast. It is popular in the Amazonas region, where the natives boil or grill plantains, peel them, then mash them in a large wooden mortar. When mashed, the plantains are combined with lard, salt, and tiny pieces of pork rind and served with vegetables and chorizo on the side.
This dish originated in west Africa. In the Caribbean and parts of South America with large African influences the plantains are boiled or roasted and typically smashed with garlic.
O Aleijadinho: Paixão, Glória e Suplício

O Aleijadinho: Paixão, Glória e Suplício é um filme brasileiro de 2003, do gênero drama biográfico, dirigido por Geraldo Santos Pereira.
A história do escultor mineiro Antônio Francisco Lisboa, o Aleijadinho, acompanhando sua vida e sua formação artística e cultural. O filme mostra o relacionamento com a escrava Helena, os conflitos políticos com o pai, um arquiteto português, a sua amizade com o inconfidente Cláudio Manuel da Costa e a doença que o deixou deformado, mas não conseguiu impedi-lo de trabalhar.
Maurício Gonçalves recebeu o prêmio de melhor ator no 5º Festival do Recife, em 2001, prêmio este dividido com Rodrigo Santoro, por Bicho de Sete Cabeças.
Raimundo da Costa e Silva

Raimundo da Costa e Silva (Rio de Janeiro, século XVIII — século XIX) foi um pintor, escultor, entalhador e restaurador ativo no Brasil Colônia.
Aprendeu o ofício com seu pai e passou a trabalhar na criação de presépios, deixando obras no Convento de Santa Teresa e na Capela do Livramento. Também se dedicou à pintura sobre vidro, em que se especializou, fazendo a decoração da Capela do Santíssimo Sacramento.
Como pintor registrou sua passagem com trabalhos nas Igrejas de Nossa Senhora Mãe dos Homens, da Igreja da Ordem Terceira do Carmo, da Igreja de Nossa Senhora da Conceição e Boa Morte, Igreja de São José e da Igreja e Convento de Nossa Senhora da Lapa do Desterro. Também restaurou o painel Virgem do Carmelo, de José de Oliveira Rosa, na Igreja de Nossa Senhora do Monte do Carmo, posteriormente destruído.
Mestre Piranga

Mestre Piranga, ou ainda Mestre de Piranga, é um dos principais artistas do barroco mineiro. Acredita-se que o pseudônimo diz respeito a uma oficina, muito atuante na segunda metade do século XVIII, nas frequesias de Guarapiranga e Rio Pomba. Estudiosos afirmam que os principais integrantes dessa oficina seriam os irmãos José de Meireles Pinto e Antônio de Meireles Pinto.
É desconhecida a verdadeira identidade de Mestre Piranga. Sabe-se que as suas esculturas são encontradas, majoritariamente, no vale do rio Piranga, ao sul de Ouro Preto. A palavra "Mestre" poderia dizer respeito a sua função em uma ofícina de escultores.
A partir de caracteristicas comuns, sobretudo a rudeza escultuária, singular em sua obra, produzidas em um mesmo período temporal, distribuidas pelo Vale do Piranga, concluiu-se que se tratava de um produtor ou de produtores em comum. Dai deu-se o nome de Mestre Piranga.
Dentre as características comuns, singulares, que são a assinatura do escultor, temos os ombros largos, as formas circulares nos joelhos e nas mangas, sulcos profundos entralhados, olhos grandes e esbugalhados. No que diz respeito aos olhos, a caracteristica que mais chama atenção é que enquanto uma das pupilas olha para o chão, outra olha para o céu.
As formas físicas das imagens entalhadas não são uma emulação das imagens vindas além-mar. Os rostos são populares, possuindo traços típicos da miscigenação afro-luso-brasileira. Há também uma referência a população camponesa, como os traços fisionômicos, as constituições de membros, e o destaque as mãos calejadas.
Em uma das principais obras que acreditam ser de sua autoria, o Bom Jesus, parte do Santuário do Bom Jesus do Bacalhau, em Piranga, Jesus Cristo é representado com a marca da forca no pescoço, em possível referência ao enforcamento de Tiradentes. Todo esse conjunto escultuário supracitado, é fruto do envolvimento de variados artesãos e aprendizes que, orientados por um mestre, se alinharam esteticamente a um mesmo padrão.
Sobre seu estilo, Dalton Sala afirma que há uma evidente influência de Aleijadinho na obra de Piranga, e explica que sua produção não é uma simples emulação, tendo o ineditismo:
A sua produção artística é reconhecida no Brasil e no mundo, sendo considerado um ícone do barroco mineiro do século XVIII. Está no panteão dos grandes mestres do barroco mineiro.
As suas obras estão presentes em diversas exposições particulares e em acervos de todo o país. Na região de Piranga, muitas de suas obras se perderam, pelo descaso patrimônial, sendo ainda presente na Igreja de Nossa Senhora do Rosário, e no Santuário do Bom Jesus do Bacalhau. Suas obras também estão na Igreja de São Francisco de Assis, de Mariana e na Igreja de Nossa Senhora das Mercês, em Mercês.
Domingos da Conceição

Frei Domingos da Conceição e Silva (Matosinhos, c. 1643 — 1718) foi um frade beneditino português, que se tornou famoso como escultor no Brasil colonial. Também foi arquiteto e pintor.
Frei Domingos nasceu no norte de Portugal e se mudou ao Brasil antes de 1669. Desenhou e esculpiu a talha dourada para o interior do Mosteiro de São Bento do Rio de Janeiro, desde 1669 até cerca de 1717. Nesse período fez a talha dourada do altar-mor, arco-cruzeiro da capela-mor, capelas e parte da nave, além de várias imagens. Morreu em 1718, no Mosteiro de São Bento, mas deixou maquetes da talha para a igreja que foram usadas por outros entalhadores.
É possível que haja trabalhado para o Convento de Santo Antônio, também no Rio de Janeiro, fazendo altares. São-lhe atribuídas algumas imagens do Mosteiro de São Bento de Olinda, em Pernambuco.
Frei Domingos foi um dos primeiros grandes escultores do barroco colonial brasileiro.
Museu de Arte Sacra (Chile)

O Museo de Arte Sagrado (Museu de Arte Sacra) é um museu de arte religiosa localizado em Santiago, Chile. O museu está localizado atrás da Catedral Metropolitana e apresenta um pátio e arquitetura colonial. O museu apresenta uma coleção de prataria jesuíta e pinturas religiosas, esculturas e móveis.
Correio Official de Minas

Correio Official de Minas foi um jornal brasileiro editado em Ouro Preto, pela Typographia Provincial, estabelecida pelo então governo da Província de Minas Gerais através do Regulamento Nº38 - Lei 791.
Sua primeira edição circulou em 08 de janeiro de 1857, sendo publicado pelo menos até meados de 1860. O jornal servia como imprensa oficial para publicação de atos legislativos e de governo, além de publicar notícias de fatos do cotidiano da época e artigos científicos, literários ou particulares.
Foi no jornal que em 19 e 23 de agosto de 1858, Rodrigo José Ferreira Bretas publicou em suas edições nº 169 e 170. uma das mais significativas fontes biográficas do importante escultor e entalhador mineiro Antônio Francisco Lisboa, o Aleijadinho.
O jornal pode ser considerado como embrião para o atual Diário Oficial do Estado de Minas Gerais, publicado pela Imprensa Oficial do Estado de Minas Gerais que viria a ser fundada em 1892 em substituição à Typographia Provincial.
Devido à sua importância histórica por representar um retrato do período de governo e da sociedade mineira na época em que foi publicado, o acervo digitalizado do jornal pode ser encontrado no sítio eletrônico da Biblioteca Nacional e também no sítio do Arquivo Público Mineiro.
Lista de obras de arte pública da Madeira

Este artigo tenciona fazer o inventário das obras de arte pública da Região Autónoma da Madeira, em Portugal. Todas as obras listadas são visíveis de ou estão em espaços públicos e são estátuas, bustos, esculturas abstratas, murais, fontenários e afins. A lista está organizada pelos municípios do arquipélago.
Cristo Redentore

The Statue of Christ the Redeemer of Maratea (Italian: Cristo Redentore di Maratea) is a statue of Jesus Christ in Maratea, southern Italy, realized in Carrara marble on the top of the Mountain “St. Biagio".
The sculpture was created by the Florentine sculptor Bruno Innocenti. The entire Statue was completed in 1965.
The idea to realize the Statue was the Count Stefano Rivetti of Valcervo’s, who was also the promoter and financier of the project execution.
This is the third tallest statue of Jesus in Europe, after Christ the King in Świebodzin, Poland and Cristo-Rei (Christ the King) in Lisbon, and one of the tallest in the world. It is 21,20 metres high, the head is 3 metres in height and the arm-span is 19 metres from finger tip to finger tip.
The idea to realize the statue of Christ the Redeemer in Maratea belongs to the Count Stefano Rivetti di Val Cervo, during his trip in Brazil, while he was flying over the Corcovado. When he came back to Italy he asked Bruno Innocenti, professor of sculpture at the Istituto d’Arte of Florence, to realize the big statue of Christ the Redeemer that became the symbol of Maratea.
André de Paula

André Carlos Alves de Paula Filho (born 22 July 1961 in Recife) is a Brazilian lawyer and politician. He is regional chairman of the Social Democratic Party, a member of the Chamber of Deputies for Pernambuco, and Minister of Fishing and Aquaculture.
Son of André Carlos Alves de Paula and Maria Cândida Moura, André became Bachelor of Laws at the Federal University of Pernambuco in 1986.
He began his political life as a student, when he joined the Democratic Social Party in 1982 until 1988, when he switched to the Liberal Front Party. In this party, he was elected for the first time as a constituent city councillor and as a member of the Legislative Assembly of Pernambuco in 1991. In 1999, he took a seat as member of the Chamber of Deputies, being reelected in 2002, 2006 and 2010.
In state level, André de Paula headed the Secretariats of Labour and Social Action and Rural Production and Agrarian Reform of Pernambuco.
He was reelected for the Chamber in 2014 for the 55th Legislature. He voted for the impeachment of president Dilma Rousseff. During Michel Temer presidency, he voted for the Constitutional Amendment of the Public Expenditure Cap. In April 2017, he was favorable to the Labour Reform. In August 2017, André de Paula was favorable to the investigation process against president Michel Temer.
In December 2014, André was nominated for the Secretariat of Cities by governor Paulo Câmara, being replaced in the Chamber by Carlos Eduardo Cadoca. However, on 23 August 2016, he was replaced by Francisco Antônio Souza Papaléo, due to his intention to run for a new term in 2018, which was successful.
Alan II

Alan Breizh, pe Alan al Louarn (anvet ivez Alan Varvek) (910-952 e Naoned ) a oa kont Poc'her ha kentañ Dug Breizh adalek 936. E dad e oa Matuedoi, kont Poc'her, hag e vamm a oa merc'h da Alan Veur, roue diwezhañ Breizh.
Aet e oa da chom da Vro-Saoz pa oa bugel, abalamour ma oa bet aloubet Breizh gant an Normanded.
E 936, gant sikour Edouarzh, mab Aofred Veur, ha war atiz an Tad-abad Yann Landevenneg en doa gwelet e oa tu da zistroadañ an Normaned, e tistroas da Vreizh ha dindan tri bloaz e kasas an Normaned kuit: ar stourm a echuas d'ar 1añ a viz Eost gant trec'h Treant.
Emglev a reas gant Loeiz IV, roue ar Franked en doa anavezet e Bro-Saoz.
Div wech e timezas:
Gant e zaou vav bastard e sinas un akta war-dro 945.
Mervel a reas Alan Barvek e Naoned. Beziet eo eno en Iliz-veur an Itron Varia, er gêr en doa choazet da gêr-benn, hag harpet da adsevel war-lerc'h ma voe distrujet gant ar Vikinged.
Rouantelezhioù brezhon

Rouantelezhioù brezhon a vez graet eus ar rouantelezhioù savet gant ar Vrezhoned goude diskar an Impalaeriezh roman en Enez Vreizh er bloavezh 410, en Arvorig, hag e Bro-C'hall zoken evit unan anezho. An darn vrasañ anezho a voe distrujet abred a-walc'h gant an Angled-ha-Saozon. Nemet e Breizh, Kernev-Veur, Kembre ha kreisteiz Bro-Skos e chomjont en o sav pelloc'h eget deroù ar Grennamzer. Ar re-se eo a zo deuet da vout ar broioù keltiek a-vremañ.
War douaroù an Impalaeriezh roman e voe savet an holl rouantelezhioù brezhon, met disheñvel eo an orin anezho hervez ar rannvrioù.
Plevin

Plevin (distaget [pleˈviːn] pe [pliˈviːn]) a zo ur gumun eus Breizh e departamant Aodoù-an-Arvor.
Emañ Plevin e departamant Aodoù an Arvor. Stokañ a ra ivez ouzh departamant Penn ar Bed hag ouzh departamant ar Morbihan. Etre ar Menezioù-Du war an Norz ha kanol Naoned da Vrest war ar Su emañ. Daoust da vezañ e Aodoù an Hanternoz eo muioc'h liammet ar gumun gant departamant Penn ar Bed ha ger Karaez dre bezañ er Poc'her.
Emañ Plevin e departamant Aodoù an Arvor. Stokañ a ra ivez ouzh departamant Penn ar Bed hag ouzh departamant ar Morbihan. Etre ar Menezioù-Du war an Norz ha kanol Naoned da Vrest war ar Su emañ. Daoust da vezañ e Aodoù an Hanternoz eo muioc'h liammet ar gumun gant departamant Penn ar Bed ha ger Karaez dre bezañ er Poc'her.
.
Anvioù hen : Pleguin (1330 ha 1368), Plezvin (1371), Ploeizvin (1394), Ploeguin (1535 ha 1536), Ploevin (1536 ha 1599). Eus plou (parez) ha Sant Ewin.
Niver a annezidi
Salaun (roue Breizh)

Salaun (?-†874), mab da Riwalon, kont Poc'her, a zo bet roue Breizh etre 857 ha 874. Dont a ra e anv eus hini Salomon, roue an Hebreed. Salamun e oa ar stumm kozh, aet da Salavun ha Salaun. Ur sant eus an Iliz katolik eo ivez
Dont a reas da vezañ roue Breizh e 857 goude bezañ muntret ar roue Erispoe, mab da Nevenoe ha kenderv dezhañ. Ne blije ket dezhañ gwelout Breizh o tostaat ouzh Bro-C'hall dre un dimeziñ. Prest e oa Erispoe da eurediñ e verc'h gant Loeiz, mab da Karl Voal, ar roue frank, diwar ali Alkmar, eskob Naoned.
E 863, dre Emglev Entrammes (Mayenne), ez eas Maine hag ul lodenn eus Anjev gantañ, diwar-goust ar Franked. E 868, dre Emglev Compiègne e c'hounezas ar c'hotentin, Bro-Avrañch hag Inizi Mor Breizh. Evel-se e tizhas Breizh ar brasañ gorread he deus bet bizskoazh.
Klask a reas Salaun distagañ eskibien Breizh eus arc'heskob Teurgn ha goulenn a reas digant ar pab lakaat eskopti Dol da vezañ un arc'heskopti. War an entremar e chomo statud Dol o vezañ ma oa gwelet evel an arc'heskopti gant ar Vrezhoned. Un asant a roas ar pab e 1076 pa gasas ur pallium, arouez ar garg, d'an arc'heskob Even. Cheñch a reas an traoù gant ar pab Inosant III pa urzhias e 1199 adlakaat beli arc'heskob Teurgn war an eskibien e Breizh.
E 853 e savas ur manati, dediet da sant Masen e Masen-Skirieg (Il-ha-Gwilen).
E dibenn e ren en em dennas en ur manati, er Merzher-Salaun pe e Lanwelan, evit goulenn pardon digant Doue eus muntr Erispoe. Eno e voe drouklazhet d'ar 25 a viz Mezheven 874 gant e zeuñv Paskwezhen harpet gant Gurwant, deuñv Erispoe : « Salaun a glaskas repu en iliz ur manati ma oa kemeret hag handeet gant ur gouezder bras-meurbet. Tennet e oa e zaoulagad gant kement a feulster ma varvas e-doug an noz »).
Lakaet e voe ar roue da sant e 910 abalamour d'e verzherinti ha d'e vertuzioù (Emañ Sant Salaun e roll merzherien an Iliz katolik war lec'hienn ar Vatikan).
Francis Blanche

Francis Jean Blanche, bet ganet d'an 20 a viz Gouhere 1921 e Pariz XI hag aet d'an Anaon d'ar 6 a viz Gouhere 1974 e Pariz XV, a oa un aktour, ur fentigellour ha skrivagner gall. Savet en devoa ur bern kanaouennoù, graet abadennoù skingomz ha c'hoariet en un toullad filmoù.
The Washington Post

The Washington Post (berraet a-wezhioù e WaPo) zo unan eus ar c'hazetennoù pennañ er Stadoù-Unanet. Embannet e vez e Washington D.C., kêr-benn ar vro, e-lec'h ma vez gwerzhet ar muiañ, ha moullet e vez embannadurioù evit District of Columbia, Maryland ha Virginia.
47 Priz Pullitzer zo bet gounezet gant ar gazetenn en holl. Brudet e oa bet evit he ferzh en afer ar Watergate pa rankas ar prezidant Richard Nixon dilezel e bost pa voe embannet enklask ar gazetenn diwar-benn doareoù e skipailh-kabaliñ.
He ger-stur eo Democracy dies in darkness (En deñvalijenn e varv an demokratelezh).
List of Nordic Academy Award winners and nominees

This is a list of Academy Award winners and nominees from Nordic countries: Denmark, Finland, Iceland, Norway, and Sweden. This list is current as of the 97th Academy Awards.
This list focuses on films from Nordic countries that won or were nominated for the International Feature Film award.
This list focuses on Nordic films that won or were nominated for the Best Animated Feature award.
This list focuses on Nordic films that won or were nominated for the animated, short film award.
This list focuses on Nordic films that won or were nominated for the live action, short film award.
This list focuses on Nordic films that won or were nominated for the Best Documentary award.
This list focuses on recipients of Irving G. Thalberg Memorial Award.
This list focuses on recipients of the Academy Honorary Award.
List of French Academy Award winners and nominees

This is a list of French Academy Award winners and nominees. This list details the performances of French actors, actresses, and films that have either been submitted or nominated for, or have won, an Academy Award (The Oscars). This list is current as of the 96th Academy Awards ceremony held on March 10, 2024.
This list focuses on French-born directors and producers.
This list focuses on French-born art directors and set decorators.
This list focuses on French-born cinematographers.
This list focuses on French-born costume designers.
This list focuses on French-born makeup artist.
This list focuses on French-born producers/directors.
This list focuses on French-born film editors.
This list focuses on French-born producers.
This list focuses on scores or songs created by French-born composers.
This list focuses on French-born writers.
This list focuses on French-born recipients of the Honorary Award
Mellac

Mellac (French pronunciation: [mɛlak]; Breton: Mellag) is a commune in the Finistère department of Brittany in north-western France.
Inhabitants of Mellac are called in French Mellacois.
The village centre is located 4.5 km (2.8 mi) northeast of Quimperlé. Historically, Mellac belongs to Cornouaille. The river Isole forms the commune's northern and eastern borders.
Mellac is border by Saint-Thurien and Querrien to the north, by Tréméven to the east, by Quimperlé and Baye to the south and by Le Trévoux and Bannalec to the west.
The oldest surviving parish registers date back to 1562.
French Future

The French Future (French: L'Avenir français; LAF) is a French political movement founded by dissidents from the Debout la France party, in disagreement with Nicolas Dupont-Aignan on his strategy for the 2021 regional elections, and wishing to get closer to Marine Le Pen and the National Rally.
On November 22, 2020, Jean-Philippe Tanguy, vice-president of Debout la France, announced his departure, followed by around sixty executives from Nicolas Dupont-Aignan's movement to form a collective of "sovereigntist Gaullists" (initially called Demain la France) which wishes to support Marine Le Pen in the next presidential election.
The foundation of French Future is formalized on March 22, 2021, in the presence of Marine Le Pen. The movement defines itself as independent and an ally of the National Rally and wishes to stand alongside it in the regional and departmental elections in June. It obtained 14 regional advisers in eight regions.
Edmond de la Poer, 1st Count de la Poer

Edmond James de Poher de la Poer, 1st Count de la Poer (6 March 1841 – 30 August 1915), known as Edmond James Power until 1863, and 18th Baron le Power and Coroghmore from 1851 to 1864, was an Irish Liberal politician.
De la Poer was born as Edmond James Power to John William Power and Frances (née Power), daughter of John Power. On 12 May 1851, he succeeded to the Irish peerage as 18th Baron le Power and Coroghmore of County Waterford.
In 1863, he commissioned the building of Castle Gurteen de la Poer, an Elizabethan Revival house in County Waterford, Ireland, replacing an earlier house on the estate. On 19 August 1864, he was made 1st Count de la Poer in the Papal States.
In 1881, he married Mary Olivia Augusta Monsell, daughter of Thomas William Gaston Monsell and Frances Vincent de la Poer, and they had at least six children: Edmond Alan Tremeur de Poher de la Poer-Monsell; John William Rivallon de Poher de la Poer (1882–1939); Elinor Mary Trifine de Poher de la Poer (1884–1973); William Stephen Arnold Trémeur de Poher de la Poer (1885–1936); Ermyngarde Berthe Frances de Poher de la Poer (1887–1967); and Mary Frances Yseult de Poher de la Poer (born 1889).
De la Poer was elected MP as a Liberal candidate for County Waterford at a by-election in 1866—caused by the succession of John Beresford to 5th Marquess of Waterford—and held the seat until 1873 when he resigned.
He was also a Justice of the Peace for County Waterford, High Sheriff of County Waterford in 1879, Private Chamberlain to Pope Pius IX, and Lord Lieutenant of Waterford and City of Waterford in 1909. He was also a Knight of Malta.
Aleph

Aleph是原始迦南字母表的第一个字母，后来演变为各种闪米特字母，包括腓尼基字母（Aleph）、叙利亚字母ܐ（'Ālaph）、希伯来字母א（Aleph）以及阿拉伯字母ا（ʾAlif）。
Aleph在闪米特语言中表示“牛”，最初是源于埃及圣书体中牛头的象形字
希腊字母Α源于Aleph，不过不再表示闪米特语言中的声门塞音，而表示一个元音。后来又演变为拉丁字母A与西里尔字母А。
希伯来字母א的Unicode编码为U+05D0.
在集合论中则使用此符号表示阿列夫数，即无限集合的势。Unicode给作为数学符号的阿列夫符号一个单独的码位：U+2135。这是因为数学符号阿列夫最常用于从左到右书写系统，而希伯来语是从右到左书写。
Dalet

Dalet是许多闪米特字母表中的第四个字母，包括腓尼基字母、亚兰字母、希伯来字母ד、叙利亚字母ܕ以及阿拉伯字母د（dāl，现代为第八个阿拉伯字母）。发音为浊齿龈塞音[d]。
该字母源于原始西奈字母，意为“门”，最初是按埃及圣书体中门的象形字创造的：
这一字母还发展出了希腊字母Δ、拉丁字母D以及西里尔字母Д。
疊字

疊字是指以同一文字重疊複合而成的漢字，大致可分為二字疊、三字疊、四字疊、五字疊等類別，大類下依照組字方向可再分為小類。在意義上，通常是用以表達被重複文字的「累加」與「大量」之意，或者藉以引申強調被重複文字的特性。因此以六書分類而言，大多數的疊字都是屬於會意字。
中文漢字中筆劃最多的文字皆為疊字，為64劃，共有兩個，一個是由四「龍」所組成：𪚥，另一個是由四個「興」所組成：𠔻。𰻝𰻝面中的“𰻞”字有部分写法超过64画，但被Unicode收录的版本只有58画。
日文漢字中筆劃最多的文字則是由「䨺」和「龘」兩個疊字相疊而成，計84劃：𱁬。
廾 艸 双 林 玨 𤤴 昍 朋 牪 玆 甡 砳 棘 絲 兟 皕 聑 兢 赫 覞 豩 賏 踀 虤 雔 競 囍 从 兓 厸 吅 喆 夶 巜 弜 斦 槑 歰 炏 祘 竝 竸 誩 辡 鍂 騳 龖 㐨 㐩 㒭 㒹 㚁 㚘 㚡 㝇 㣈 㯥 㱛 㲎 㸞 㹜 㼌 㽬 㿟 䀠 䎜 䖵 䡛 䣈 䪭 䲆 𣊫 𣊷 𣥖 𦧚 𩡐 𪙹
出 二 爻 圭 吕 多 炎 戔 哥 芻 棗 亖 仌 畕 昌 㕕 㕛 㚣 闁 𡦪 𣊧 𣥕 𣬅 𩺰
川 卅 巛 雦 㴇 𡥦 𦧵 𩧢 𢏝 𠬑 𧭛 𡕇 𧔗
三 𡭯 𢩕
卉 鑫 森 淼 焱 垚 犇 羴 鱻 蟲 猋 劦 品 姦 芔 晶 驫 惢 掱 毳 磊 畾 皛 聶 轟 贔 矗 雥 馫 麤 龘 众 刕 厵 厽 叒 嚞 壵 孨 尛 歮 瞐 𤾩 舙 譶 靐 飍 飝 灥 㐂 㽓 䆐 䖃 䨺 𣦴 𦜳 𥴒 𦏱 𦧅 𩖏 𪈼 𠁼 𨑂 𠄕 𠚛
㐺 晿 㷋 𣓏 𤬑 𥼬
卌 𠦌
亖
井 㸚 叕 𠈌 𠫬 㗊 㠭 茻 𡮐 𣊭 㵘 朤 燚 𡚌 𤛭 𤳳 𥗉 𠁠 𡈶 𤳵 𣡍 𠓙 𥷹 𦓋 𧮦 𨏿 𨰻 𣡽 𣡾 𨷾 𩙡 𣌠 𤆁 䲜 𩇔 䨻 𠔻 𪚥
㙓 𣛧 𥗐 㵘燚茻䨻
𠾅 𠉭
𥴒 𡦪 𣡕 𡿭
𣡽 𥷹
以下為類似疊字或不可拆分的漢字，作為參考之用。
川 出 州 羽 串 竹 弱 册 丽 彡 吕昌
李瑞清

李瑞清（1867年—1920年），字仲麟，号梅庵、梅痴、阿梅，晚号清道人，玉梅花庵主，戏号李百蟹，江西抚州人，中国教育家，美术家，书法家，中国近现代教育的重要奠基人和改革者，中国现代美术教育的先驱，中国现代高等师范教育的开拓者。
清光緒十九年（1893年）考中舉人，光緒二十一年中進士，同年五月，改翰林院庶吉士。光緒二十二年出任兩江優級師範學堂監督。光緒三十一年（1905年），李瑞清分发为江苏候补道，署江宁提学使，出任两江师范学堂监督（即校长）。光緒三十二年（1906年）正式上任后，他为提高师资水准，广延名师；团结同仁，大兴土木，广建校舍；改革学制，添置设备，增设科目，开办“公共科”、“分类科”；两江师范成东南一大学府。针对东南地区急需任课师资的实际，在学堂增设选科、补习科，附设中小学校。创办短期的留学预备学堂，输送了一批青年学生去美国深造。提倡国学、科学、艺术不遗余力。改博物科为农业博物科，购置农田耕牛供学生实习之用。亲赴东瀛，聘请日本教习传授西方科学和近代工艺。创设图画手工科，设立画室及有关工场，并亲自讲授国画课，增设音乐科，培养了中国最早的近代美术师资和艺术人才。国画大师张大千、著名书法家胡小石、李仲乾、黄鸿图皆出门下。在李瑞清的悉心主持下，两江师范学堂声誉卓著，名师汇集。自勉“视教育若生命，学校若家庭，学生若子弟”，以“嚼得菜根，做得大事”为校训，“俭朴、勤奋、诚笃”为校风，倡导“匡时而振俗”，主张融会贯通中西之学以造就“中国之培根、笛卡尔”。
宣統三年（1911年）辛亥革命爆发，李瑞清辞去两江师范学堂监督职务。离校时，卖去自己的车马，将钱散发给贫穷的学生而去。清帝逊位后，李瑞清以遗老自居，自称清道人，久寓上海，坚不为民国任职。
1920年八月初一逝世，享年54岁。逝世后，挚友曾熙、弟子胡小石共理丧事，将其遗体葬于南京南郊牛首山梅岭罗汉泉，在墓旁植梅花300株，筑室数间，题名“玉梅花庵”，以志其号。1916年，南京高等师范学校（由两江师范学堂改建而来）校长江谦在校园西北角六朝松旁，建茅屋三间，取名“梅庵”，以志怀念。
遗著有《围城记》；经门人整理遗稿，1939年中华书局出版了《清道人遗卷》，共计文、诗、跋、书论四卷。
李瑞清通诗、书、画，尤精书法。自幼钻研六书，学习书法，对殷墟、周、秦、两汉至六朝文字皆有研究。为一代书法宗师，也是中国高等书法教育的先驱。李瑞清的书法，上追周秦，博宗汉魏，各体偕备，尤工篆隶。其书法“秀者如妖娆美女，刚者如勇士挥槊”，潇洒俊逸，各具神态，以篆作画，合画篆为一体。李派书学熔铸古今，不偏不倚，至博且精，勇开风气，所播深远直至当代，为薪火相传的金石书派。
李瑞清也是清末民初的著名画家，擅丹青，山水、人物、花卉，绘画涉猎广泛。山水师法原济、八大山人，花卉宗恽南田。所绘松石、花卉意境独特，尤擅画佛。
南京大学鼓楼校区北园里的“二源壁”，两面分刻的“两江师范学堂”和“金陵大学堂”都是李瑞清所书——两江师范学堂的名牌系一整块石材制成，书写字体为魏碑体，内填绛红色漆；金陵大学的校牌一石一字，由五块石材组成，书写字体为魏碑体，内似填金色漆。这块校名牌在1910年2月金陵大学堂正式成立时，挂在当时位于干河沿（现南京市金陵中学所在地）的金陵大学堂校门上。
永字八法

永字八法，是古代書法家練習楷書的運筆技法。「永」字有八筆：點、橫、豎、鈎、挑（或提）、彎、撇、捺，按各自的筆勢以八字概括為側、勒、弩（又作努）、趯、策、掠、啄、磔。這八筆是楷書基本筆畫，每筆各有特色，而又互相呼應，一氣呵成。如李溥光《雪庵八法》稱：「磔法之妙，在險橫三過，而開揭其勢力。」如果能寫出「永」字每筆的精神，楷書可算達到相當水準。
「永」字八法的來源，有一說是出自東晉的王羲之，另說是崔子玉、鍾繇、智永、張旭。
八法的出現，深受《筆陣圖》所總結漢字七條「筆陣」（七勢，包括：橫、點、撇、折、豎、捺、鈎）所影響。據稱《筆陣圖》爲東晉衛鑠（衛夫人）所著。此外，不同時期的書法家也有相關技法的描述，例如：
繁體俗字

臺灣和香港、澳門等地雖將傳統中文字型（或謂繁體中文）作為教育和正式文書的標準，但在日常生活中，人們為了手寫快速，往往使用各式简笔字，如筆記、日記、便條、簽名、親友之間的信件皆常用略字書寫；在半正式場合如廣告文宣、海報、店家的公告、速記、商品上的標記，（非國文相關科目）考卷答題或教師板書、講義，寺廟的啟事、香條等場合也經常能看到；但在講求精確、正式的場合如填寫個人資料，則多半要求以正體字及正楷書寫。
這些字大多來自於歷史中流傳的簡體字、俗字，有些與日本新字體或中國大陸簡化字相同；有些是受二者影響，但因對二者不夠熟悉而訛傳產生變體；也有與上述無關的新造字，如「以耳就口」表現出「聽」而造出「咡」等。少數人會有意識地學習和使用日本新字體與中國大陸簡化字書寫，但多半只是穿插，鮮少通篇使用。
多數情況下，人們並不刻意仿照簡化字或日本新字體的規範筆畫書寫。但寫行、草體時由於快速運筆，會自然形成與簡化字（尤其草書楷化字）相似的形體，如：「讠」、「门」、「东」、「贝」、「见」、「页」、「书」等，這些通常視為行、草書，而不視作簡化字，一旦改用楷體書寫即不呈現這些形體；相對地，「体」、「葯」、「医」、「号」、「与」等字則可在楷體書寫時見到。
這些略字一般通稱「簡字」、「俗字」、「簡體（筆）字」、「手頭字」，與中國大陸簡化字（一般俗稱「簡體字」）不同。由於未經標準化、規範化，部分俗字未收入電腦編碼。
以下列出可循一定規律「造字」的類推偏旁，其規律未必與《简化字总表》或日本相同。
王穉登

王穉登（1535年—1614年），字百谷、百榖、伯榖，号半偈长者、青羊君、廣長庵主等，直隸长洲（今江蘇蘇州）人，晚明文人。
嘉靖十四年七月二十二日（1535年8月20日）生。十歲即能寫詩。嘉靖末年，入太学，萬曆時曾召修國史。广交朋友，人稱俠士，又設計以性賄賂官員，曾結交名妓如马湘兰、薛素素等。萬曆十四年（1586年）與屠隆、汪道昆、王世贞等組織“南屏社”，與邢侗交往甚密。邢侗謂：“吾友王百榖先生含贞蹈和，苞素扬采。”钱谦益稱：“穉登妙于书及篆隶。……闽粤之人，过吴门者，虽贾胡穷子，必蹐门求一见，乞其片缣尺素，然后去。”王世贞评其书法“出入淳父（黄姬水）、公瑕（周天球），而加尖峭”。萬曆四十一年十二月二十二日（1614年1月31日），病逝。
《萬曆野獲編》載其身患梅毒，目微帶障，被詩人汪道貫作「身上楊梅瘡作果，眼中蘿蔔翳為花」句譏諷之事。
著有《吴郡丹青志》、《处实堂集》等。
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吳音

吳音（日语：呉音／ごおん）是日本漢字音（音讀）的一種，指日本自大和時代從南朝建康傳入的在日本使用的漢字音。日本在吳音傳入之後，到奈良時代則從唐朝長安傳入新漢音。吳音與漢音一樣主要傳承了中古漢語的特徵。
有观点认为吳音是從六朝时代經由朝鮮半島輾轉而入日本列島的，但支持此說法的史料並不充足。一般認為吳音在南北朝時代（西元五至六世紀）從南朝直接傳入日本。吳音指的是当时南朝京师建康（今南京）的金陵雅音，金陵雅音在東晉衣冠南渡后继承洛陽雅音并融合金陵当地吴音而产生。南北朝時，日本等國尊南朝為華夏之正，受南朝冊封不絕，如當時日本（倭五王）同南朝宋保持朝貢關係。隋朝時融合金陵雅音和洛陽鄴下音編著《切韻》統一書面聲韻，為唐以後所沿襲。
六朝時佛教開始盛行，故吳音多使用於佛教用語與律令紀（古代的法律與政令紀）用語，在漢音導入後也沒有消失，直至現代仍用漢音一併使用。另外《古事記》的萬葉假名多使用吳音。
根據《日本國語大辭典》，相對於時期較晚的漢音，將舊來發音稱作「吳音」之習俗的最早用例為平安時代中期藤原公任著北山抄。而於此前「吳音」皆稱作「和音」。而「吳音」之稱乃是步入隋唐，中國北方出身者貶斥切韻音系為吳音後，為日本人所模仿。故此「吳音」之時代及地理源頭不詳，亦可追溯至漢魏時代論。
在吳音的時代日本其實並無「吳音」的名謂，或可推論，這種語音不是吳地一隅地域性的方音，而是當時通行的標準語音，後來的稱謂則是由於隋唐時期新的漢音引入後才出現的。後來，隋朝統一中國，陸法言載錄南北學者討論韻學的成果，編成《切韻》一書，融合南北朝官音，為唐朝長安正音所沿襲，對後世影響甚大。吳音融入日語程度較深（常用於基本詞彙中），日本古來也將其稱為「和音」。
另外尚有「對馬音」和「百濟音」的名稱，由來是欽明天皇時百濟的僧人法明來到對馬以吳音讀維摩經傳播佛教。
推考罕用字的讀音時，相對於漢音可根據中國韻書的反切等資料推定，吳音主要根據古代的佛典與律令等史料推斷，故而有時出現困難，不同的漢和字典也可能有不同的記錄。
吳音的來源駁雜，體系不如漢音完善，但也具有下列的特點：
吳音的聲調體系與廣韻有較大的不同。詳見日本漢字音的聲調。
參見古音 (日本漢字音)。
六朝東晉衣冠南渡後，中原雅音南傳對南方的方言產生了很大影響，唐朝時有所謂「至今南人能晉語」之說（此處「晉語」指西晉時的洛陽雅音，非指山西晉方言），因此日本的吳音和南方吳方言、閩南方言等有較大的相近性。
有說法認為這些類似是吳音與閩南白讀音皆源於南朝語音/五胡亂華前的中原音的證據。
聲母
韻母
有說法認為這些類似是吳音經由朝鮮半島所傳的殘存證據，一種推測是吳音傳承自百濟音，而現代朝鮮漢字音傳自新羅音，故有相關。
圣书体

圣书体（或称圣书文，圣书字，神碑体，碑铭体）是古代埃及的正式书写体系，它由表音字母、表意文字、限定符號（類似中國六書裡面的「象形」）共同构成，并被分为音节。它拥有1000多个单独的文字图形。圣书字有三种字体，其中碑铭体（圣书体）被视为正规体，此外還有草体的「僧侣体」和简化的「世俗体」（或称大众体）。幾乎所有現代字母系統均發源於聖書體。
圣书字发源于5200年前（即公元前32世纪）的青铜时代早期，最早的被破解的成句的书写文字来自第二王朝（前28世纪），并在中王國時期形成了成熟的书写文字体系。圣书字一直使用到公元5世纪后消亡。1820年，法国语言学家商博良在罗塞塔石碑的帮助下重新破解。
西方语言中象形文字一词的拼法（英语hieroglyph、法语hiéroglyphe等等），源自于希腊文单词ἱερογλύφος，“hiero-”（ἱερός）意为“神圣的”，“glyph” (γλύφειν)意为“镌刻”。古埃及的原称是mdw nṯr，意为“神辞”。
1890年代在希拉孔波利斯（又譯希拉康坡里斯）发掘时发现的纳尔迈石板（公元前31世纪）多年来被认为是埃及象形文字的最早文献。然而，在1998年德国考古队在阿拜多斯（现在地名为烏姆·卡伯）发现了前王朝奈加代三期的一个统治者的U-j坟墓，復原了几百块骨片，从中找到了具有完全规模的埃及象形文字。这一坟墓的年代约为公元前33世纪。
埃及象形文字包含3种字符：音符，包含单音素文字，还有许多单音节文字和多音节文字；意符，表示一个单词；限定符，加在单词的最后以限定语意的范围。埃及學家商博良对这一文字系统作了如下说明：
当文字发展并在埃及普及时，对文字的简化也就发展了。这就导致出现了僧侣体和世俗体字体。这些字体适合于在纸草上书写。但是圣书体并没有因此而衰落，而是与这些字体共存，類似於今天篆字在漢語的使用。罗塞塔石碑就包含了圣书体和世俗体。
在波斯人的统治期间（公元前6世纪到公元前5世纪，其中有间断），在亚历山大征服埃及之后，在马其顿和罗马统治时期，圣书体继续被使用。晚期埃及象形文字的地位有点复杂。一种说法是埃及象形文字区分了“真正的埃及人”和外国统治者（以及埃及的仆从），这可能归因于希腊和罗马的作家对于埃及象形文字的偏见。另一个原因是出对自己的文化的自尊心，希腊罗马时期的作家不愿用自己的语言来描述对方的文化。由于埃及象形文字是神圣的，那个时代的作家们把它想像成寓言式的，甚至是魔术式的、秘传的、神秘的知识。这种自尊心导致的不是好奇心，而是无视。虽然这种文字系统尽管复杂但却合理。埃及象形文字之所以衰落的原因即有外部原因也有内部原因，是一个饶有兴味的研究课题。
公元4世纪左右，只有很少的埃及人还能够读出这些埃及象形文字，此后逐渐就真的成了一个“谜”。罗马皇帝狄奥多西一世在公元391年发布敕令，关闭了所有非基督教的神殿，从此就再也没有建造过刻有埃及象形文字的纪念碑或者神殿。最后写下的埃及象形文字是在391年不久后，在遥远南方的一座神殿裡发现的。
公元4世纪出现了赫拉波罗的《象形文字集》，对将近200个象形文字作了解释。到底谁是作者至今还不清楚，这部著作长期以来成为解读埃及象形文字的障碍物。早期研究者认为它源出于希腊文，近期的研究则倾向于它含有真正的知识的残片，把它定性为埃及知识阶层试图挽救濒于失传的文化的一次“绝望”的尝试。《象形文字集》对文艺复兴时期的符号主义起了主要的影响，特别是安德烈亚·阿尔恰托的《图形的寓意》，还有弗朗切斯科·科隆纳的《寻爱绮梦》。
几百年来，有许多近代学者对解读这些象形文字进行了尝试，其中值得一提的是17世纪的阿塔納斯·珂雪。然而这些尝试不是失败，就是漫无边际的想像力的虚幻。对解读埃及象形文字最有成就的是托馬斯·楊和让-弗朗索瓦·商博良，在1800年的初始。拿破仑军队远征埃及时，在罗塞塔城附近发现了一块用三种文字（圣书体、世俗体和古希腊文）写成的黑色玄武石碑，被称为“罗塞塔石碑”。这块石碑给解读带来了关键性的资料。商博良借助自己丰富的语言知识，从国王托勒密的名字入手，在1830年代几乎完全破译了埃及象形文字。这对当时诞生不久的埃及学来说是一个重大的进展。
埃及象形文字有30个单音字，80个双音字，和50个三音字，也有直接能够表示意义的图形字符。真正的表形文字不多，多数是借数个表形文字的读音来表示其它的概念。类似于汉语的假借用法。限定符则类似于汉语中的偏旁部首的作用（形聲字）。埃及象形文字中表形、表意和表音相结合，其意符和声符都来源于象形的图形。与汉语所不同的则是它们依然保持单独的图形字符。有趣的是，这种文字可以横写也可以竖写，可以向右写也可以向左写，而到底是什么方向则看动物字符头部的指向来判断；至于在单词单元上则以体现匀称美观为主，只要不影响意思，上下左右均可。这可以说是埃及象形文字的书法特征之一。埃及象形文字一般特指圣书体，主要用于庄重场合，多见于神庙、纪念碑、金字塔的铭文的雕刻。僧侣体则多用于书写于纸草上，相当于汉字的行书或草书。而世俗体则是对僧侣体的再简化，常見於一般的日常生活。
古埃及文的书写中元音被忽略，这一点类似于阿拉伯文。当时的单词是加了什么样的元音发音的已经不很清楚，现代的人们在辅音之间加上中性的“e”予以补上。比如说：“nfr” -> “nefer” = 美丽的，好的。
其中的“EE”是一个字，可写成“I”或者“Y”。
在不同的环境裡可以读作 st、 ws 或者ḥtm。必须加其他表音符号来消除歧义：
埃及文的一些表形文字和漢語的甲骨文形式相似。這些字可以單獨使用，不需要添加任何表音文字。例如：
有時候，文字及其所表達的概念只有間接的語意關係：
除此之外，其他表形文字类似于汉字的部首。因为没有元音符号，埃及文字不能完全表现古埃及文的所有语音对立，所以发生许多歧义。为了消除歧义，只好用不同的表形文字来补充。例如：
表形文字一般放在表音文字的后面。在古埃及文裡，有许多单词发音十分相似，例如：有113个词读作nfr。可能元音不同，我们无法知道。我们举例说明表形文字的用法：
Unicode 5.2 編碼埃及象形文字於 U+13000 - U+1342F 範圍內。
現在支持這些字符的字體有“Aegyptus”、“Noto Sans Egyptian Hieroglyphs”和“Segoe UI Historic”（Windows 10自带字体）。