Academic literature on the topic 'Guzal'

This article is devoted to the work of the Uzbek poet A. Chulpan, whose lyrical lines are the basis of both national classical songs and modern ones. Abdulhamid Cholpon is one of the brightest representatives of the new Uzbek literature. The author of the article pays special attention to such works of Chulpan as “Guzal”, “Kalandar Ishki”, and “Uyqu”.

Abstract GUcal is a standalone application for automatically calculating the glucose unit (GU) values for separated N-glycan components of interest in an electropherogram and suggests their tentative structures by utilizing an internal database. We have expanded the original database of GUcal by integrating all publicly available capillary electrophoresis (CE) data in the GlycoStore collection (https://www.glycostore.org) and with in-house measured GU values. The GUcal app is freely available online (https://www.gucal.hu) and readily facilitates CE-based high throughput GU value determination for first line structural elucidation.

The potential for nature tourism in Suak Gual Village as a tourist destination in Belitung Regency has not been well managed. This study aims to examine the tourism potential in Suak Gual Village to increase development in disadvantaged areas. Specifically, this study aims to (1) examine the factors inhibiting tourism development in Suak Gual Village, (2) developing the Student Community Service Program for Tourism Development in Suak Gual Village, and (3) evaluating the Student Community Service Program results in Suak Gual Village. This research is action research using qualitative methods. The data collected includes primary and secondary data. Data analysis was using a qualitative descriptive approach. The results showed that the inhibiting factors for the development of Suak Gual Village were low education, accessibility, and infrastructure. The intervention program is classified into three dimensions: (1) the science-technology dimension, (2) the infrastructure dimension, and (3) the agro-marine dimension. The Student Community Service Program has resulted in tourism promotion, the creation of tourism marketing media, assistance for Tourism Awareness Groups, homestay improvements, and registration of homestay bookings on the Traveloka application.

Abstract. Aerosol physical and optical properties were measured at two locations in Northern India during 2006–2010. The first measurement station was a background site in Mukteshwar, about 350 km northeast of New Delhi, in the foothills of the Indian Himalayas. The second measurement site was located in Gual Pahari, about 25 km south of New Delhi. At both stations, the average aerosol concentrations during the monsoon were decreased by 40–75% compared to the pre-monsoon average concentrations. The decrease varied with the total local rainfall. Also the mean aerosol size decreased during the monsoon season. The size distribution at Mukteshwar was unimodal, with a mode diameter at about 80 nm. In Gual Pahari, the ratio of Aitken and accumulation particle concentration was >1, due to wet deposition and new particle formation during the monsoon season. Aerosol concentrations during the early monsoon were found to be affected by mineral dust which in Gual Pahari was observed as an increased particle volume at around 3–4 μm. The single scattering albedo varied from 0.73 to 0.93 during the monsoon season, being slightly lower in Gual Pahari than in Mukteshwar. The aerosol columnar properties, which were measured in Gual Pahari, showed a somewhat different seasonal behavior compared to the surface measurements, with the aerosol optical depth increasing to an annual maximum in the early monsoon season.

Abstract. Aerosol physical and optical properties were measured at two locations in northern India. The first measurement station was a background site in Mukteshwar, about 350 km northeast of New Delhi, in the foothills of the Indian Himalayas, with data from 2006 to 2009. The second measurement site was located in Gual Pahari, about 25 km south of New Delhi, with data from 2008 to 2009. At both stations, the average aerosol concentrations during the monsoon were decreased by 40–75 % compared to the pre-monsoon average concentrations. The decrease varied with the total local rainfall. In Mukteshwar, the monsoon season removed particles from all size classes, due to a combination of rain scavenging and activation to cloud and mountain fog droplets. The scavenging by rain is least effective for the size range of the accumulation mode particles. In Gual Pahari, this was the only major wet removal mechanism and, as a result, the accumulation mode particles were less effectively removed. Aerosol concentrations during the early monsoon were found to be affected by mineral dust which in Gual Pahari was observed as an increased particle volume at a diameter around 3–4 μm. The single scattering albedo varied from 0.73 to 0.93 during the monsoon season, being slightly lower in Gual Pahari than in Mukteshwar. This is due to the fact that Gual Pahari resided closer to high anthropogenic black carbon emissions. As the absorbing particles are typically in the accumulation mode, they were not effectively removed by rain scavenging. The aerosol columnar properties, which were measured in Gual Pahari, showed a somewhat different seasonal behaviour compared to the surface measurements, with the aerosol optical depth increasing to an annual maximum in the early monsoon season.

Masyarakat Kelurahan Lambung Bukik Kecamatan Pauh Kota Padang mayoritas bermata pencaharian bertani tanaman hortikultura, palawija, tanaman hutan (Sungkai dan gaharu) dan beternak sapi dan ayam. Kelompok Tani Sungkai Permai memiliki pohon gaharu yang telah berumur 2-5 tahun yang mana bibitnya diperoleh melalui kegiatan Elok Nagari CSR PT Semen Padang. Saat ini pohon gaharu tersebut sudah dapat berpotensi baik melalui inokulasi pathogen jamur pada pohon gaharu guna membentuk gubal gaharu yang bernilai ekonomi, maupun pemanfaatan daun menjadi minuman kesehatan. Kegiatan ini bertujuan: 1). masyarakat mengetahui cara budidaya tanaman gaharu, dan mengetahui manfaat dari tanaman ini serta tahu cara mengolah bagian dari pohon gaharu seperti gubal dan daun menjadi bahan baku minuman teh, 2). memberikan keterampilan khusus bagi anggota kelompok tani sehingga diharapkan dapat dijadikan sebagai salah satu usaha mandiri; 3). memberdayakan masyarakat dalam memanfaatkan lahan kosong melalui pola tanam agroforestri tanaman gaharu dengan tanaman perkebunan, 4). sebagai bentuk kegiatan kemasyarakatan dari Universitas Andalas, khususnya Fakultas Pertanian. Kegiatan ini dilaksanakan di kelompok Tani Sungkai Permai Kelurahan Lambung Bukik Kota Padang. Kelompok tani Sungkai Permai telah memperoleh pengetahuan tentang budidaya tanaman gaharu serta pemanfaatan teh melalui metode partisipatif dan pelatihan berupa demonstrasi dan demplot melalui penanaman lebih kurang 150 batang bibit gaharu sebagai bahan baku teh melalui pola agroforestri. Kelompok tani Sungkai Permai telah memperoleh pengetahuan pemanfaatan bagian gaharu menjadi teh gaharu sebagai minuman dan obat kesehatan dari daun dan gubal gaharu. Bahan baku daun dan gubal gaharu yang berasal dari pohon gaharu sekitar lahan petani di kelurahan Limau Manis atau daerah lain dapat dikelola oleh kelompok Tani Sungkai Permai dapat menjadi peluang usaha produktif sebagai teh dan obat dalam bentuk minuman kesehatan untuk meningkatkan perekonomian masyarakat.

Abstract. Gual Pahari is a polluted semi-urban background measurement site at the Indo-Gangetic plains close to New Delhi and Mukteshwar is a relatively clean background measurement site at the foothills of the Himalayas about 270 km NE from Gual Pahari and about 2 km above the nearby plains. Two years long data sets including aerosol and meteorological parameters as well as modeled backward trajectories and boundary layer heights were compared. The purpose was to see how aerosol concentrations vary between clean and polluted sites not very far from each other. Specifically, we were exploring the effect of boundary layer evolution on aerosol concentrations. The measurements showed that especially during the coldest winter months, aerosol concentrations are significantly lower in Mukteshwar. On the other hand, the difference is smaller and also the concentration trends are quite similar from April to October. With the exception of the monsoon season, when rains are affecting on aerosol concentrations, clear but practically opposite diurnal cycles are observed. When the lowest daily aerosol concentrations are seen during afternoon hours in Gual Pahari, there is a peak in Mukteshwar aerosol concentrations. In addition to local sources and long-range transport of dust, boundary layer dynamics can explain the observed differences and similarities. When mixing of air masses is limited during the relatively cool winter months, aerosol pollutions are accumulated to the plains, but Mukteshwar is above the pollution layer. When mixing increases in the spring, aerosol concentrations are increased in Mukteshwar and decreased in Gual Pahari. The effect of mixing is also clear in the diurnal concentration cycles. When daytime mixing decreases aerosol concentrations in Gual Pahari, those are increased in Mukteshwar.

W ciągu ostatniego stulecia radykalna mastektomia stanowiła główną metodę terapii pacjentów z nowotworem piersi. Dopiero pod koniec dwudziestego wieku mastektomia została zastąpiona przez zastosowanie oszczędzającego zabiegu chirurgicznego połączonego z frakcjonowaną radioterapią zewnętrzną (ang. external beam radiation therapy, EBRT), co znacznie obniżyło ryzyko wystąpienia u pacjentów wznowy miejscowej [1]. Pomimo osiągania dobrych wyników leczenia bez występowania ciężkich skutków ubocznych, czas trwania terapii EBRT stanowi poważne ograniczenie. Pacjenci mieszkający w dużej odległości od ośrodka radioterapii lub pacjenci wycieńczeni po przebytej chemioterapii często nie otrzymują radioterapii po wycięciu guza lub poddawani są zabiegowi mastektomii [2]. Rozwiązaniem tego problemu może być zastosowanie śródoperacyjnej radioterapii (ang. intraoperative radiotherapy, IORT), która podawana jest w jednej dawce w trakcie zabiegu chirurgicznego do loży po wycięciu guza. Rezultaty badań klinicznych ELIOT i TARGIT-A pokazały, że zastosowanie tej metody w odpowiednio wyselekcjonowanej grupie pacjentów może przynieść lepsze wyniki niż zastosowanie techniki EBRT [3, 4]. Jednak efekty działania śródoperacyjnej radioterapii na mikrośrodowisko guza nie są dobrze poznane. Wykazano, że proces zapalny wywołany zabiegiem chirurgicznym może stymulować wzrost pozostałych po zabiegu operacyjnym komórek nowotworowych [5]. Co więcej, najnowsze wyniki badań sugeruje, że proces ten może być hamowany poprzez zastosowanie radioterapii [6]. Lepsze zrozumienie interakcji zachodzących pomiędzy komórkami nowotworu piersi i mikrośrodowiskiem guza w odpowiedzi na napromieniowanie może pozwolić na odkrycie nowych strategii terapii nowotworów piersi.

'umar b. Abi rabi 'a est ne l'an 23 au hedjaz. Aristocrate mecquois, issu de la tribu des banu mahzum, il fut le plus illustre des poetes amoureux de son epoque. Il consacra tous ses poemes a l'exaltation de la femme. C'est egalement lui qui fut le premier a elaborer une poesie d'amour intitule (gazal). En fait, notre poete recourt souvent dans ses poemes a differents elements, pour chanter la beaute de la femme (physiquement et moralement). Son recueil frappe aussi par la diversite de son lexique, les mots derives des memes racines, la synonymie qui nuance avec aisance les valeurs d'un mot par rapport a l'autre
" 'umar b. Abi rabi 'a" was born in year 23 in hedjaz. Aristocrat from mecca, descended from the "banu mahzum" tribe, he became the most famous poet "lover" of his time. He dedicated all his poems to the exaltation of the woman. He was also the first one to build up a poetry of love called (gazal). In any way, very often, our poet used in his poems various factors to celebrate the beauty of the woman ( physically and mentally ). His work hits also by the various ways of his language, the words coming out of the same roots, the synonymy giving easy touches of the values of a word in relation to another

L’escenografia d’Adrià Gual es comença a desenvolupar en el marc dominant d’un plantejament tradicional vuitcentista de pretensions il·lusionistes i solucions il·lustratives. Es tracta d’uns decorats pintats marcats per un fort eclecticisme entre els estils de la pintura de cavallet del postromanticisme (a partir del 1874) i el realisme (a partir del 1890). En aquest context escenogràfic decadent, els decorats només reiteren un sentit de quadre, pintura de gran format a l’escenari. Adrià Gual, com a artista inquiet i vinculat ideològicament i artísticament a les ambicions regeneracionistes del modernisme, se suma a l’objectiu de construir un nou teatre —i, per tant, una nova escenografia— per a una societat catalana moderna. Va ser en aquests moments quan l’escenografia catalana va passar de ser un element de caràcter il·lustratiu a esdevenir un instrument amb més ambició artística en abandonar els efectes d’il·lusió per atribuir-se l’objectiu d’«il·luminar» L’escenografia simbolista és més que l’acte de materialitzar un espai a través d’estructures o pintures. És l’art de la suggestió, de l’evocació d’imaginaris, per mitjà principalment de llenguatges visuals, però sense excloure’n d’altres com el sonor o l’olfactiu. Aquests imaginaris es desenvolupen en diferents nivells d’expressió del missatge visual i espacial: des de «representativament» fins a «simbòlicament» i «abstractament». L’escenografia modernista d’Adrià Gual significa el trencament amb l’escenografia “quadre”, tradicional e il·lustrativa. La seva concepció de la plàstica escènica és l’inici de l’acció poetitzada moderna i expressiva. L’escenografia simbolista d’Adrià Gual mostra una alternança d’estils visuals en els projectes escenogràfics que il·luminen l’opció «situacional» i l’opció «dramàtica» en els primers drames simbolistes, els diferents processos de conceptualització que es defineixen visualment a causa de la «progressió en el tractament del drama íntim», la configuració del «teatre popular» o «l’abandó gradual del component llegendari» vers l’articulació de la «tragèdia moderna». Aquesta evolució dels processos de concepció dramàtica també es relaciona amb la de l’activitat pictòrica d’Adrià Gual quan, d’una banda, la concepció escènica simbolista basada en la narrativa de situacions en ambients quotidians i pròxims esdevé paral·lela a la pintura simbolista d’anatomia naturalista i, de l’altra, el drama simbolista de suggestió i evocació atmosfèrica intenses que té lloc preferentment a l’entorn d’allò llegendari es retroba en la pintura d’estil més sintètic i desenvolupada al voltant de temes mítics i al·legòrics. Adrià Gual va establir els fonaments teòrics, i els nous objectius, de l’escenografia simbolista, desenvolupats entre 1893 i 1895. De vegades l’escenografia serà per a un teatre simbolista d’aparença realista i d’altres, l’escenografia es projectarà com un dispositiu d’estil simbolicodecoratiu (Blanc i Negre, 1894, i Nocturn. Andante morat, 1895). Així, doncs, en la primera escenografia gualiana hi ha la constatació, d’origen naturalista, que el dispositiu és element transcendent i part indissociable del conjunt escènic, idea que se suma a les teories wagnerianes que cerquen assolir un art escènic total. Gràcies també al concepte d’independència de l’escenografia naturalista, d’espai autònom, s’accedeix a comprendre l’escenografia com a veritat única i particular, a articular-se la idea que el dispositiu —ara ja segons el simbolisme— es pot concebre com a atmosfera ideal, de qualitats íntimes i subjectives. Adrià Gual copsa, de l’escenografia naturalista, la transcendència del dispositiu en l’escenificació i, de l’ideari simbolista, la utilitat expressiva. Posteriorment, aprofundint en l’evolució i la diversificació del processos de conceptualització i projecció escenogràfiques, el plantejament simbolista d’Adrià Gual evolucionarà vers una escenografia d’estratègies modernes, en el sentit que, en lloc d’articular idees a partir d’imatges de sentit al·legòric, l’escenògraf utilitzarà estratègies de caràcter metafòric congruents amb l’escenografia d’avantguarda arreu d’Europa. Per tant, l’escenografia d’Adrià Gual, que s’emmarcava en aquests temps i dins del corrent del teatre simbolista, també resol les noves finalitats en l’escenificació moderna i, en conseqüència, esdevé representativa de la renovació de l’escenografia a Catalunya.
The stage design of Adrià Gual is beginning to develop in the dominant framework of a traditional approach of nineteenth century of illusionistic pretensions and illustrative solutions. These are painted scenery marked by a strong eclecticism between the styles of horse painting of Post-Romanticism (as of 1874) and Realism (as of 1890). In this context decadent stage, the scenography reiterates only a sense of painting but Adrià Gual, as an artist that is uneasy and ideologically and artistically linked to the regenerationist ambitions of modernism, adds to the objective of constructing a new theater -and, therefore, a new set design- for a modern Catalan society. It was at this time when the Catalan stage scene became an element of an illustrative nature to become an instrument to express emotions, moods and magic images to the audience. Symbolist scenery is the art of suggestion, the evocation of imaginaries, mainly through visual signs, but without excluding others such as sound or smell. These imaginaries are developed at different levels of expression of the visual and spatial message: from "representatively" to "symbolically" and "abstract". Its conception of the scenography is the beginning of the modern and expressive poetic action. Adrià Gual established the theoretical foundations, and the new objectives, of the symbolist stage scene, developed between 1893 and 1895. Sometimes the stage design will be for a symbolist theater of realistic appearance and others, will be projected as a device of symbolic-decorative style (Blanc i negre, 1894, and Nocturn. Andante morat, 1895). Thanks also to the concept of independence of the naturalist scenography, of autonomous space, it is accessed to understand the scenography as a unique and particular truth, to articulate the idea that the device - now according to the symbolism - is It can be conceived as an ideal atmosphere, of intimate and subjective qualities. Adrià Gual transform the naturalist stage scene, the transcendence of the device in the staging and, of the symbolist ideology, the expressive utility as Edward Gordon Craig or Adolphe Appia.