Littérature scientifique sur le sujet « Banderolage »

Sustainability was the worst banderole assemble in prior events, prowl discussing relationship to different life branches. In our cessation, we presume this reprove is strenuous, and accordingly involved to pliant more round environmental, natural and manmade elements. Accordingly we buttocks worth peasant-like technology okay and attainmentfriendly live with surrounding environment. As a smooth product we destine b apply to pin plant on stretch shrug off dismiss deportment, activate green area, and recycling. Impede commerce we discussing close by, our routine cities ordeal non-native neglecting sustainability on parish presence, causing by Sisyphean covenant for city frankly spaces, and resulting negative characteristic on achieving urban fabric sustainability for these cities. Inspect conclude was by activation guileless crack arrangement in the age-old cities reaching us to set out sustainable these centers and traditional cities, commensurate with explain, our target to succeed assorted strategies be capable execution reaching to reasonable venerable cities centers, function by investing cities sustainability elements, and make it as main tool for revitalization village life. The banderole meagre for this corroborate by formidable to administer strategies, stranger conspectus break down, on accustomed borough center, to reorder urban forthright aperture for reaching to create sustainable city and saving cultural and traditional values.

Espío en puntas de pie sobre la tapa del water, encaramada a la banderola, apoyando el pómulo izquierdo en el ángulo del marco de madera y la ventana con el vidrio esmerilado, inclinada hacia mí. Intento contener la respiración, y dejo que sólo ruede hacia el mundo un hilo de aire, el indispensable, tan liviano que mi pecho está casi suspendido, así de desairado, tieso como el torso de un sonámbulo que avanza con los brazos extendidos y los párpados temblando. Ah, la concentración. Qué física se pone. Antonio se asoma.

W latach 2009–2016 w doświadczeniach infekcyjnych badano podatność na fuzariozę kłosów ogółem 142 odmian pszenicy ozimej oraz 53 odmian pszenicy jarej. Kłosy zakażano sztucznie izolatami Fusarium culmorum. Ze względu na duże zróżnicowanie średniego nasilenia fuzariozy kłosów w kolejnych latach, wartości indeksów fuzariozy kłosów w poszczególnych latach poddano standaryzacji. Z wartości standaryzowanych wyliczono średnie wieloletnie dla odmian. Wśród odmian pszenicy ozimej najmniejszą podatność na fuzariozę kłosów wykazały wzorce odporne oraz odmiany Fregata, Olivin, Petrus, Turnia, Nateja, Piko i Dorota. Najbardziej podatne na fuzariozę kłosów były odmiany: Muszelka, Rapsodia, Kris, Kampana, Bagou, Belenus, Alcazar, Torrild, Banderola, Forkida. Wśród odmian pszenicy jarej najmniejszą podatność na fuzariozę kłosów wykazały również wzorce odporne oraz odmiany Pasteur, Jasna, Histra, Raweta i Izera. Najbardziej podatne były odmiany pszenicy twardej: SMH 87 i Strongfield oraz pszenicy zwyczajnej Banti, Nawra, Griwa, Radocha, Cytra i Helia.

The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings were made of it, it was registered in the monuments directories, but nobody lifted it into the style historical narrative before Jolán Balogh, and when it took place at last, it was erroneously dated to 1573. In her history of Hungarian renaissance art, she included it with the date 1573 in the chapter on the late renaissance (1940). She cited it rightly as an example of the survival of Italianate forms in the 16th century in all editions of the two-tome manual up to 1973. Then it disappeared from sight again. It was omitted from the university course book (2001). At last, in the renaissance volume of the series on Hungarian art by Corvina Publishers a photo of it was reproduced too (2009).Slovakian art historiography has naturally devoted more attention to it, and also read the date correctly. It is included in the four-volume monuments directory and also in the summaries. It was ascribed a salient place in the great renaissance monograph of 2009 edited by Ivan Rusina. Since the type of the book did not allow images of seals to be presented for analogy, it is worth returning to the problem briefly.The central panel of the parapet carries the coat of arms and the date 1523. In the shield there is an eagle with spread wings, looking to dexter flank. There is an arched banderole (with a rosette in the middle) in front of its crop and a tiny six-point star above its head. On the chief there is a helmet with mantling falling on either side. It is topped with an imperial mitre crown with ribbons, cross and crosier and a crest above. The elements of the coat of arms – the eagle, star and imperial crown – are identical with the motifs in the coat of arms of the Counts of Szentgyörgy and Bazin. The ancient coat of arms of the family, with the six-point star of two colours, was endorsed by Holy Roman emperor Frederic III in 1459. Enikő Spekner pointed out that Count Tamás of Szentgyörgy and Bazin already used a quartered shield in 1496 (with the star in fields 1 and 4 and the eagle in fields 2 and 3) in 1496, and so did seneschal Péter of Szentgyörgy and Bazin, too (1511). On the seal dated 1540 of Kristóf II of Szentgyörgy and Bazin – with whose death the male line of the family died out (1543) – the shield only features the left-looking eagle, and on the chief the imperial crown and peacock feathers can be seen. Changes in the use of the coat of arms cannot be accurately retraced, but the town was the property of the family until 1543 and after Kristóf II’s death it passed to the treasury. The coat of arms strongly suggests that the person who commissioned the pulpit must be sought among the members of the family still alive in 1523. On the younger Bazin line Ferenc and Farkas were alive and shared the office of lord lieutenant of Moson until 1521; the family died out with Farkas’ son Kristóf (his birthdate is not known).The pulpit received coats of white paint and thick gilding in more recent times. Its new wooden abat-voix was made in the 18th century; the medieval stone edifice must have been repaired at that time and on several occasions later. The ornamental elements of the parapet of the basket closely resemble some Italian renaissance antecedents; what may suggest the involvement of northern masters is the regular, rigid symmetry of the cherubim heads, and more emphatically the thick column holding the basket of the pulpit. Its shaft bulges midway, its capital above the necking is embellished with flutes of regularly alternating sizes; on it is a polygonal echinus with concave sides which holds the broadly spreading dense bunch of acanthus leaves. It is like a perfectly spoiled Corinthian column of bad proportions. The origin of this representative monument must be hypothesized from the direction of Vienna, even if no exact analogy can be compared with it at present. Both the network of relations of the landowning family and the geographic proximity support this assumption.

The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings were made of it, it was registered in the monuments directories, but nobody lifted it into the style historical narrative before Jolán Balogh, and when it took place at last, it was erroneously dated to 1573. In her history of Hungarian renaissance art, she included it with the date 1573 in the chapter on the late renaissance (1940). She cited it rightly as an example of the survival of Italianate forms in the 16th century in all editions of the two-tome manual up to 1973. Then it disappeared from sight again. It was omitted from the university course book (2001). At last, in the renaissance volume of the series on Hungarian art by Corvina Publishers a photo of it was reproduced too (2009).Slovakian art historiography has naturally devoted more attention to it, and also read the date correctly. It is included in the four-volume monuments directory and also in the summaries. It was ascribed a salient place in the great renaissance monograph of 2009 edited by Ivan Rusina. Since the type of the book did not allow images of seals to be presented for analogy, it is worth returning to the problem briefly.The central panel of the parapet carries the coat of arms and the date 1523. In the shield there is an eagle with spread wings, looking to dexter flank. There is an arched banderole (with a rosette in the middle) in front of its crop and a tiny six-point star above its head. On the chief there is a helmet with mantling falling on either side. It is topped with an imperial mitre crown with ribbons, cross and crosier and a crest above. The elements of the coat of arms – the eagle, star and imperial crown – are identical with the motifs in the coat of arms of the Counts of Szentgyörgy and Bazin. The ancient coat of arms of the family, with the six-point star of two colours, was endorsed by Holy Roman emperor Frederic III in 1459. Enikő Spekner pointed out that Count Tamás of Szentgyörgy and Bazin already used a quartered shield in 1496 (with the star in fields 1 and 4 and the eagle in fields 2 and 3) in 1496, and so did seneschal Péter of Szentgyörgy and Bazin, too (1511). On the seal dated 1540 of Kristóf II of Szentgyörgy and Bazin – with whose death the male line of the family died out (1543) – the shield only features the left-looking eagle, and on the chief the imperial crown and peacock feathers can be seen. Changes in the use of the coat of arms cannot be accurately retraced, but the town was the property of the family until 1543 and after Kristóf II’s death it passed to the treasury. The coat of arms strongly suggests that the person who commissioned the pulpit must be sought among the members of the family still alive in 1523. On the younger Bazin line Ferenc and Farkas were alive and shared the office of lord lieutenant of Moson until 1521; the family died out with Farkas’ son Kristóf (his birthdate is not known).The pulpit received coats of white paint and thick gilding in more recent times. Its new wooden abat-voix was made in the 18th century; the medieval stone edifice must have been repaired at that time and on several occasions later. The ornamental elements of the parapet of the basket closely resemble some Italian renaissance antecedents; what may suggest the involvement of northern masters is the regular, rigid symmetry of the cherubim heads, and more emphatically the thick column holding the basket of the pulpit. Its shaft bulges midway, its capital above the necking is embellished with flutes of regularly alternating sizes; on it is a polygonal echinus with concave sides which holds the broadly spreading dense bunch of acanthus leaves. It is like a perfectly spoiled Corinthian column of bad proportions. The origin of this representative monument must be hypothesized from the direction of Vienna, even if no exact analogy can be compared with it at present. Both the network of relations of the landowning family and the geographic proximity support this assumption.

PurposeThis study examines the effect of taxes, similar financial liabilities, and demographic variables such as respondent age, company age, and field of operation on the table wine market in Turkey.Design/methodology/approachAn online survey was conducted on the wine producers and importers via SurveyMonkey. Thirty-six survey questions were answered using a five-point Likert scale. The responses obtained from 51 owners and administrators of wine companies were analyzed using the Statistical Package for the Social Sciences 23 program.FindingsExcise and value-added taxes affected the amount and price of table wine production in Turkey, whereas the banderole affected quality and price. The excise tax, value-added tax, banderole, Resource Utilization Support Fund, customs duty, and authorizations also affected the amount, quality and price of table wine imports. Although financial liabilities such as the banderole, Resource Utilization Support Fund and authorizations required for import do not constitute a heavy load on wine costs, they do have similar effects as other taxes on table wine imports.Research limitations/implicationsA limitation of this study was its sample size. Only 51 individuals responded, as it was an online questionnaire. However, this did not compromise the representativeness of the sample with regard to the company's field of operation (production and import of table wine), lending credibility to the opinions provided.Originality/valueThis study establishes that, contrary to popular belief, decisions regarding wine production and import are not solely affected by a heavy tax burden. Other factors, such as the banderole, Resource Utilization Support Fund, ages of companies and respondents and authorizations required for import, which are not viewed as a heavy burden in monetary terms, also prove to be decisive.

All around, the top to-average ability amount (PAPR) of transmitted signs for MIMO-OFDM structures diminishes the arrangement accumulation and from this time advanced turns into the amount of the radio change (RF) ascendancy intensifier. In this paper, a afflicted chrism calculation is acquired to announce arena PAPR abatement beheading and abate computational aberrancy abandoned and the accepted cantankerous brand plot. This proposed addition accurate mapping (SLM) with center address action (PTS) frameworks, and added uses absolute amplification and barter of assorted PTS sub-squares to accomplish coherently constituent MIMO-OFDM banderole groupings. Thusly, with for all intents and purposes duplicate accommodation of IFFT and date change developments, our proposed addition has the believable outcomes to accouterments bigger PAPR abatement beheading with lower computational unusualness.

AbstractFrom the twelfth to the fifteenth centuries texts proliferated upon the surfaces of objects, monuments and architecture, ensuring that medieval people lived with texts, even if they never turned a page. Examining a series of inscribed objects, monuments, and buildings, this article focuses upon three constitutive features of this large-scale dynamic: epigraphic prosopopoeia, the use and effects of deixis in medieval inscriptions, and the device of the banderole. It concludes by examining the twelfth-century Bridekirk baptismal font: an epigraphic monument in which all three devices are skillfully deployed, to remarkably self-reflexive ends. The article aims to show how the design of epigraphic texts added not only new textual-material facts to the world, but also textual-visual ficta or fictions.

De nos jours, la protection des produits pendant le transport est devenue essentielle étant donné l'augmentation drastique de l'import-export. Par conséquent, le banderolage, utilisé pour stabiliser et protéger les palettes de marchandises, est fondamental. Le matériau le plus couramment utilisé pour les films de banderolage est le polyéthylène linéaire basse densité (PE-BDL). Cependant, l'écologie est devenue un enjeu majeur pour le monde. L'éco-conception du film est souhaitée pour une moindre masse de plastique sur la palette, tout en préservant la stabilité de la charge. Ce travail de thèse concerne donc l'optimisation de la stabilité de charge en fonction des propriétés des matériaux de banderolage et des sollicitations mécaniques du transport en vue de réduire la quantité de plastique utilisée. Des films manuels et mécaniques ont été analysés. L'anisotropie des matériaux a été étudiée. La caractérisation du matériau basée sur des tests mécaniques (traction, relaxation, hystérésis et fluage en fatigue) et morphologiques avec une analyse DSC, IR et DRX. La caractérisation du banderolage et l’importance de ses paramètres ont également été analysés. L'effet de la vitesse de banderolage, de la fatigue du matériau et de l’accélération subie lors du transport, ont été des facteurs influents sur les propriétés du film. La morphologie s'est avérée affectée par le processus de banderolage, montrant des changements dans la cristallinité. L’étude montre l'importance des paramètres de banderolage et des contraintes du transport sur la morphologie du film étirable sur la palette et donc sur la stabilité de la charge
Nowadays, protecting products during transportation has become essential as import-export increased drastically. Therefore, the wrapping used to stabilize and protect pallets of goods is fundamental. The most commonly used material for wrapping films is linear low density polyethylene (LLDPE). However, ecology has become a major issue for the world. The eco-design of the film is desired for a lower mass of plastic on the pallet, while preserving the stability of the load. Therefore this thesis work concerns the optimization of load stability according to the properties of the wrapping materials and the mechanical stresses of transport in order to reduce the weight of plastic used. Manual and mechanical films were analyzed. The anisotropy of materials was studied. The characterization of the material was performed through mechanical tests (traction, relaxation, hysteresis and fatigue creep) and morphological tests with DSC, IR and XRD analysis. The characterization of the wrapping and the importance of its parameters were also investigated. The effect of wrapping speed, LLDPE fatigue and acceleration experienced during transport were found to affect significantly the film properties. Films morphology was found to be affected by the wrapping process, showing changes in crystallinity. The study showed the importance of wrapping parameters and transport constraints on the morphology of the stretch film on the pallet and therefore on the stability of the load

Abstract One of the most ubiquitous images in medieval illustration, the speech scroll or banderole is a touchable object. Even when annotating acts of speech, speech scrolls are likely to be pictured unspooling not from the speaker’s mouth, but rather the speaker’s hand. This chapter reflects on touch as multisensory language in the medieval banderole, exploring how the banderole, as a visual sign, conscripts touch to amplify and translate sound. In the so-called Carthusian Miscellany, BL MS Additional 37,049, banderoles make an exceptionally robust presence. This chapter examines some of the manuscript’s many images of banderoles to argue that the Miscellany repeatedly invokes touch as part of its ascetic sensorium, picturing prayer as an action reinforced by contact with parchment as skin, such that reading and praying in the eremitical wilderness become a bodily practice.

El terror, el amor, porque el día pasa. Ha de pasar, aquí, con más penas de las que preveía el hombre cuyo apodo se repite en monedas y edificios. Asesinado, toman su nombre como banderola, los usos son ilimitados, las monedas llevan su permanencia. Sabía él quién era, pero no lo que podrían hacer de él ya muerto. Los visitantes quieren llevarse alguna muestra de su paso por estas tierras: eso alienta a la invención, el narrar de historias lejanas que nadie ha presenciado para venir a repetirlas ante los viajeros. Hay sin embargo un brillo que bordea las palabras de la mentira, un aire que despiden los relatos a despecho de los que hablan. Ese hombre, despeñado por la historia, saqueado por la mordida del tiempo, dejó señales que ni la maledicencia puede borrar del todo....