Book Hotel L'Oree de Chartres in Barjouville from &PricesFrom | Hotels.comEnglish (United States)Book online or call 866-539-0036This call is free. 24 hours a day; 7 days a week.Hotel DealsPackages & FlightsGroup BookingsGift CardsHelpWebsite feedbackSign in & AccountSign inCreate an accountYour bookingsTrip PlannerReview a hotelHotels.com® RewardsYour bookingsJump toOverviewRoom choicesMapReviewsHotel informationLowest price: $65Check availability Lowest price: $65Check availability HotelsFrance HotelsBarjouville HotelsHotel L'Oree de ChartresAll hotels in Barjouville, France1 room, 2 adultsChange searchDestination, hotel, landmark, or addressCheck inCheck out Rooms123456789+Room 1:Adults12345678Aged 18+Children01230-17Age at check in:Child 1:-?-<11234567891011121314151617SearchYou can collect Hotels.com® Rewards nights hereHotel L'Oree de Chartres, Barjouville3 starsThis property has received its official star rating from the French Tourism Development Agency, ATOUT France. 39 - 41, rue des Pierres Missiguault, Barjouville, Eure-et-Loir, 28630, France, 800-491-61263-star hotel in Barjouville with restaurant, bar/lounge Free WiFi and free parking Lowest price$71$65Price GuaranteePrice Guarantee on hotel bookings. If you find a better price on exactly the same stay, we’ll either match it or give you a coupon. Click below for details.Jump to:OverviewRoom choicesMapReviewsHotel informationInterior EntranceReceptionLobby LoungeGuest RoomPrivilege room, 2 person - Guest RoomSuperior Double Room - Guest RoomSuperior Double Room - Guest RoomFamily Room, 1 Queen Bed with Sofa bed - Guest RoomFamily Room, 1 Queen Bed with Sofa bed - Guest RoomFamily Room, 1 Queen Bed with Sofa bed - Guest RoomPrivilege room, 2 person - Guest RoomPrivilege room, 2 person - Guest RoomJunior Suite - Guest RoomJunior Suite - Guest RoomPrivilege room, 2 person - Guest RoomStandard Double Room - Guest RoomSuperior Double Room - Guest RoomSuperior Double Room - BathroomStandard Double Room - BathroomPrivilege room, 2 person - BathroomStandard Double Room - Bathroom SinkProperty AmenityBilliardsBilliardsDiningDiningBreakfast AreaBreakfast AreaRestaurantBuffetCoffee ShopFood and DrinkFood and DrinkHotel LoungeBanquet HallBanquet HallBanquet HallHotel EntranceHotel EntranceHotel Front – Evening/NightOutdoor DiningTerrace/PatioTerrace/PatioParkingParkingExterior[1/47]Flag this image1 - Hotel L'Oree de Chartres, Barjouville2 - Hotel L'Oree de Chartres, Barjouville, Interior Entrance3 - Hotel L'Oree de Chartres, Barjouville, Reception4 - Hotel L'Oree de Chartres, Barjouville, Lobby Lounge5 - Hotel L'Oree de Chartres, Barjouville, Guest Room6 - Hotel L'Oree de Chartres, Barjouville, Privilege room, 2 person, Guest Room7 - Hotel L'Oree de Chartres, Barjouville, Superior Double Room, Guest Room8 - Hotel L'Oree de Chartres, Barjouville, Superior Double Room, Guest Room9 - Hotel L'Oree de Chartres, Barjouville, Family Room, 1 Queen Bed with Sofa bed, Guest Room10 - Hotel L'Oree de Chartres, Barjouville, Family Room, 1 Queen Bed with Sofa bed, Guest Room11 - Hotel L'Oree de Chartres, Barjouville, Family Room, 1 Queen Bed with Sofa bed, Guest Room12 - Hotel L'Oree de Chartres, Barjouville, Privilege room, 2 person, Guest Room13 - Hotel L'Oree de Chartres, Barjouville, Privilege room, 2 person, Guest Room14 - Hotel L'Oree de Chartres, Barjouville, Junior Suite, Guest Room15 - Hotel L'Oree de Chartres, Barjouville, Junior Suite, Guest Room16 - Hotel L'Oree de Chartres, Barjouville, Privilege room, 2 person, Guest Room17 - Hotel L'Oree de Chartres, Barjouville, Standard Double Room, Guest Room18 - Hotel L'Oree de Chartres, Barjouville, Superior Double Room, Guest Room19 - Hotel L'Oree de Chartres, Barjouville, Superior Double Room, Bathroom20 - Hotel L'Oree de Chartres, Barjouville, Standard Double Room, Bathroom21 - Hotel L'Oree de Chartres, Barjouville, Privilege room, 2 person, Bathroom22 - Hotel L'Oree de Chartres, Barjouville, Standard Double Room, Bathroom Sink23 - Hotel L'Oree de Chartres, Barjouville, Property Amenity24 - Hotel L'Oree de Chartres, Barjouville, Billiards25 - Hotel L'Oree de Chartres, Barjouville, Billiards26 - Hotel L'Oree de Chartres, Barjouville, Dining27 - Hotel L'Oree de Chartres, Barjouville, Dining28 - Hotel L'Oree de Chartres, Barjouville, Breakfast Area29 - Hotel L'Oree de Chartres, Barjouville, Breakfast Area30 - Hotel L'Oree de Chartres, Barjouville, Restaurant31 - Hotel L'Oree de Chartres, Barjouville, Buffet32 - Hotel L'Oree de Chartres, Barjouville, Coffee Shop33 - Hotel L'Oree de Chartres, Barjouville, Food and Drink34 - Hotel L'Oree de Chartres, Barjouville, Food and Drink35 - Hotel L'Oree de Chartres, Barjouville, Hotel Lounge36 - Hotel L'Oree de Chartres, Barjouville, Banquet Hall37 - Hotel L'Oree de Chartres, Barjouville, Banquet Hall38 - Hotel L'Oree de Chartres, Barjouville, Banquet Hall39 - Hotel L'Oree de Chartres, Barjouville, Hotel Entrance40 - Hotel L'Oree de Chartres, Barjouville, Hotel Entrance41 - Hotel L'Oree de Chartres, Barjouville, Hotel Front – Evening/Night42 - Hotel L'Oree de Chartres, Barjouville, Outdoor Dining43 - Hotel L'Oree de Chartres, Barjouville, Terrace/Patio44 - Hotel L'Oree de Chartres, Barjouville, Terrace/Patio45 - Hotel L'Oree de Chartres, Barjouville, Parking46 - Hotel L'Oree de Chartres, Barjouville, Parking47 - Hotel L'Oree de Chartres, Barjouville, ExteriorMain amenities66 smoke-free guestroomsRestaurant and bar/loungeBreakfast availableFitness center4 meeting roomsTerrace24-hour front deskDaily housekeepingComputer stationFree newspapers in the lobbyTV in a common areaFree WiFi and free parking For familiesFree cribs/infant bedsRollaway/extra beds (free)Sofa bedConnecting/adjoining rooms availablePrivate bathroomFree toiletriesWhat’s aroundChartres Cathedral (3 mi / 4.8 km)Fine Arts Museum of Chartres (3.1 mi / 4.9 km)Church of Saint-Andre (5.2 mi / 8.3 km)Chateau de Maintenon (17.1 mi / 27.5 km)Chateau de La Loupe (25.4 mi / 40.8 km)Check locationExcellent4.2 / 5WiFiGood internet serviceCleanlinessCleanLocationGreat locationRoomRoom is all right46See all 46 Hotels.com reviewsTripAdvisor Traveller Rating: 3.5From 96 reviewsTripAdvisor Traveller RatingEmailSaveShareHotels.com® RewardsBook this hotel and collect nights after your stayHotel L'Oree de Chartres, BarjouvilleHotel Info: 866-539-8117 from $65Destination, hotel, landmark, or addressCheck inCheck out Rooms123456789+Room 1:Adults12345678Aged 18+Children01230-17Age at check in:Child 1:-?-<11234567891011121314151617Check availability Privilege room, 2 personDouble Room StandingSuiteStandard Double Room ChristmasPrivilege room, 2 personStandard Double RoomSuperior Double RoomFamily Room, 1 Queen Bed with Sofa bedDouble RoomPrivilege room, 3 personJunior SuitePrivilège Room, 4 PesonCheck availability More great choicesSee all hotels in BarjouvilleList viewMap viewSee all hotels in BarjouvilleAt a glanceKey factsHotel sizeThis hotel has 66 roomsThis hotel is arranged over 2 floorsArriving/leavingCheck-in time starts at 2 PMCheck-out time is noonRequired at check inCredit card or cash deposit required\nMinimum check-in age is 18 Travelling with othersChildrenUp to 3 children (13 years old and younger) stay free when occupying the parent or guardian's room, using existing bedding PetsPets allowed * InternetFree WiFi in public areas


Creator: Corey, E. J. and Stodola, Frank Harold, 1905-1992 / Department: Archives / Format: Text / Genre: Business correspondence / Place: Harvard University / Subject: Stodola, Frank Harold, 1905-1992 and Nobel Prize winners - Science History Institute Digital Collections Search Results\nCreator Corey, E. J. ✖Remove constraint Creator: Corey, E. J. Creator Stodola, Frank Harold, 1905-1992 ✖Remove constraint Creator: Stodola, Frank Harold, 1905-1992 Department Archives ✖Remove constraint Department: Archives Format Text ✖Remove constraint Format: Text Genre Business correspondence ✖Remove constraint Genre: Business correspondence Place Harvard University ✖Remove constraint Place: Harvard University Subject Stodola, Frank Harold, 1905-1992 ✖Remove constraint Subject: Stodola, Frank Harold, 1905-1992 Subject Nobel Prize winners ✖Remove constraint Subject: Nobel Prize winners


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Raji28DT786270Green BayGreen BayOne-year deal (3/14)55Pat Sims28DT775867.5OaklandOaklandOne-year deal (3/28)117Corey Peters26DT634453.5AtlantaAtlantaOne-year deal (3/4)165Terrence Cody26DT484345.5BaltimoreBaltimoreOne-year deal (4/4)76Tony McDaniel29DT665862SeattleSeattleRe-signs with team (3/12)63Jonathan Babineaux32DT646665AtlantaAtlantaThree-year deal (3/11)155Vance Walker27DT573847.5OaklandKansas CityThree-year deal (3/14)72Ryan Pickett34DT616563Green BayTBDUFA134Isaac Sopoaga32DT465550.5New EnglandTBDUFA143John Kuhn31FB396049.5Green BayGreen BayOne-year deal (4/3)144Vonta Leach32FB396049.5BaltimoreTBDUFA183Le'Ron McClain29FB384039San DiegoTBDUFA151Uche Nwaneri29G494748JacksonvilleDallasAgrees to terms (6/24)79Jon Asamoah26G655660.5Kansas CityAtlantaFive-year deal (3/11)87Zane Beadles27G556258.5DenverJacksonvilleFive-year deal (3/11)114Geoff Schwartz28G634554Kansas CityN.Y. GiantsFour-year deal (3/11)126Rich Ohrnberger28G584551.5San DiegoSan DiegoOne-year deal (4/10)139Davin Joseph30G554550Tampa BaySt. LouisOne-year deal (5/28)152Daryn Colledge32G534247.5ArizonaMiamiOne-year deal (6/30)160Charlie Johnson30G425046MinnesotaMinnesotaRe-signs with team (3/19)109Willie Colon31G515955N.Y. JetsN.Y. JetsTwo-year deal (3/19)77Travelle Wharton33G655761CarolinaTBDUFA158Richie Incognito31G425247MiamiTBDUFA175Steven Hauschka29K404743.5SeattleSeattleRe-signs with team (3/17)166Jameel McClain28LB454545BaltimoreN.Y. GiantsAgrees to terms (3/13)28Karlos Dansby32LB807075ArizonaClevelandFour-year deal (3/11)69Daryl Smith32LB666163.5BaltimoreBaltimoreFour-year deal (3/13)85Wesley Woodyard28LB407859DenverTennesseeFour-year deal (3/13)49D'Qwell Jackson30LB508869ClevelandIndianapolisFour-year deal (3/6)5Brian Orakpo28LB889390.5WashingtonWashingtonFranchised, signs tender (3/27)145Arthur Moats26LB485049BuffaloPittsburghOne-year deal (3/24)125Parys Haralson30LB584652New OrleansNew OrleansOne-year deal (4/2)116O'Brien Schofield27LB624654SeattleSeattleOne-year deal (5/2)150Larry Foote33LB484848PittsburghArizonaOne-year deal (5/7)122Perry Riley28LB604653WashingtonWashingtonRe-signs (3/11)146Rob Jackson28LB544449WashingtonWashingtonRe-signs with team (4/5)60Jason Worilds26LB854766PittsburghPittsburghSigns transition tag (3/4)75Brandon Spikes26LB774762New EnglandBuffaloSigns with team (3/14)137Akeem Jordan29LB564450Kansas CityWashingtonSigns with team (3/19)8DeMarcus Ware31LB888988.5DallasDenverThree-year deal (3/12)84Jon Beason29LB586059N.Y. GiantsN.Y. GiantsThree-year deal (3/12)29LaMarr Woodley29LB737775PittsburghOaklandTwo-year deal (3/13)149Jo-Lonn Dunbar29LB504648St. LouisSt. LouisTwo-year deal (3/14)119James Harrison35LB476053.5CincinnatiTBDUFA9Branden Albert29OT829488Kansas CityMiamiAgrees to terms (3/10)71Breno Giacomini28OT685863SeattleN.Y. JetsAgrees to terms (3/12)15Eugene Monroe27OT809286BaltimoreBaltimoreFive-year deal (3/11)17Jared Veldheer27OT788983.5OaklandArizonaFive-year deal (3/11)91Austin Howard27OT694657.5N.Y. JetsOaklandFive-year deal (3/11)96Rodger Saffold26OT645057St. LouisSt. LouisFive-year deal (3/12)78Anthony Collins28OT724960.5CincinnatiTampa BayFive-year deal (3/13)81Zach Strief30OT774460.5New OrleansNew OrleansFive-year deal (3/17)121Michael Oher28OT614553BaltimoreTennesseeFour-year deal (3/14)156Charles Brown27OT524247New OrleansN.Y. GiantsSigns with team (4/1)41Donald Penn30OT638071.5Tampa BayOaklandTwo-year deal (3/19)186Tony Pashos34OT452937OaklandTBDUFA113David Stewart31OT585054TennesseeTBDUFA129Eric Winston30OT564651ArizonaTBDUFA159Levi Brown29OT484546.5PittsburghTBDUFA170Jason Campbell32QB484044ClevelandCincinnatiOne-year deal (3/20)39Michael Vick34QB667972.5PhiladelphiaN.Y. JetsOne-year deal (3/21)54Mark Sanchez27QB607567.5N.Y. JetsPhiladelphiaOne-year deal (3/27)88Josh Freeman26QB674958MinnesotaN.Y. GiantsOne-year deal (4/17)89Josh McCown35QB526458ChicagoTampa BayTwo-year deal (3/12)180Brandon Weeden30QB454042.5ClevelandDallasTwo-year deal (3/17)123Ryan Fitzpatrick31QB505552.5TennesseeHoustonTwo-year deal (3/20)184Kevin Kolb29QB512538BuffaloTBDUFA74Rashad Jennings29RB576862.5OaklandN.Y. GiantsFour-year deal (3/11)59Darren McFadden27RB735966OaklandOaklandOne-year deal (3/11)47Knowshon Moreno27RB607969.5DenverMiamiOne-year deal (3/27)177Andre Brown27RB384843N.Y. GiantsHoustonOne-year deal (4/7)95James Starks28RB565857Green BayGreen BayRe-signs with team (3/19)161Rashard Mendenhall27RB514146Arizona--Retired (3/8)57Donald Brown27RB567867IndianapolisSan DiegoThree-year deal (3/11)176Toby Gerhart27RB444343.5MinnesotaJacksonvilleThree-year deal (3/11)50Maurice Jones-Drew29RB696969JacksonvilleOaklandThree-year deal (3/28)66Ben Tate26RB656464.5HoustonClevelandTwo-year deal (3/15)105LeGarrette Blount27RB476355New EnglandPittsburghTwo-year deal (3/28)45Chris Johnson28RB608070TennesseeN.Y. JetsTwo-year deal (4/17)185Michael Bush29RB502537.5ChicagoTBDUFA131Roman Harper31S455751New OrleansCarolinaAgrees to terms (3/15)65Mike Mitchell27S706065CarolinaPittsburghFive-year deal (3/11)16T.J. Ward27S878485.5ClevelandDenverFour-year deal (3/11)24Donte Whitner29S817176San FranciscoClevelandFour-year deal (3/11)103Antoine Bethea30S605055IndianapolisSan FranciscoFour-year deal (3/11)73Louis Delmas26S705562.5DetroitMiamiOne-year deal (3/10)97Stevie Brown27S536157N.Y. GiantsN.Y. GiantsOne-year deal (3/11)130Kendrick Lewis28S574551Kansas CityHoustonOne-year deal (3/21)167Ryan Clark34S513945PittsburghWashingtonOne-year deal (3/31)61Danieal Manning31S617065.5HoustonCincinnatiOne-year deal (4/3)157Major Wright26S474747ChicagoTampa BaySigns with team (4/7)3Jairus Byrd27S919794BuffaloNew OrleansSix-year deal (3/11)64Malcolm Jenkins26S636765New OrleansPhiladelphiaThree-year deal (3/11)135James Ihedigbo30S574450.5BaltimoreDetroitTwo-year deal (3/24)108Thomas DeCoud29S555555AtlantaCarolinaTwo-year deal (4/11)162Steve Gregory31S484446New EnglandTBDUFA52Brandon Pettigrew29TE716568DetroitDetroitFour-year deal (3/13)1Jimmy Graham27TE949996.5New OrleansTBDFranchised non-exclusive (3/1)153Ed Dickson27TE455047.5BaltimoreCarolinaOne-year deal (4/10)32Owen Daniels31TE688074HoustonBaltimoreOne-year deal (4/3)140Garrett Graham28TE445650HoustonHoustonThree-year deal (3/13)141Scott Chandler29TE554550BuffaloBuffaloTwo-year deal (3/13)33Jermichael Finley27TE687973.5Green BayTBDUFA163Dustin Keller29TE415045.5MiamiTBDUFA173Ben Hartsock34TE474043.5CarolinaTBDUFA34Julian Edelman28WR697873.5New EnglandNew EnglandAgrees to terms (3/15)98Brandon LaFell27WR565656CarolinaNew EnglandAgrees to terms (3/15)19Eric Decker27WR798682.5DenverN.Y. JetsFive-year deal (3/12)37Golden Tate26WR707673SeattleDetroitFive-year deal (3/12)90Andre Roberts26WR595657.5ArizonaWashingtonFour-year deal (3/11)68Jacoby Jones30WR686064BaltimoreBaltimoreFour-year deal (3/12)51Hakeem Nicks26WR746368.5N.Y. GiantsIndianapolisOne-year deal (3/14)101Kenny Britt25WR525955.5TennesseeSt. LouisOne-year deal (3/31)169Jacoby Ford27WR484044OaklandN.Y. JetsOne-year deal (4/1)132Sidney Rice27WR475551SeattleSeattleOne-year deal (4/16)179Jason Avant30WR454042.5PhiladelphiaCarolinaOne-year deal (4/8)171Jerome Simpson28WR484044MinnesotaMinnesotaRe-signs with team (3/14)86Miles Austin29WR675058.5DallasClevelandSigns with team (5/15)128Dexter McCluster26WR505251Kansas CityTennesseeThree-year deal (3/11)168Ted Ginn29WR444544.5CarolinaArizonaThree-year deal (3/13)18Steve Smith34WR818683.5CarolinaBaltimoreThree-year deal (3/14)62Emmanuel Sanders27WR716065.5PittsburghDenverThree-year deal (3/16)25James Jones30WR678576Green BayOaklandThree-year deal (3/17)100Devin Hester31WR664555.5ChicagoAtlantaThree-year deal (3/20)10DeSean Jackson27WR859087.5PhiladelphiaWashingtonThree-year deal (4/1)172Jerricho Cotchery32WR484044PittsburghCarolinaTwo-year deal (3/20)136Lance Moore30WR614050.5New OrleansPittsburghTwo-year deal (3/21)106Santonio Holmes30WR614955N.Y. JetsTBDUFA


Erik Satie Trois Gymnopédie Pack by pianomadi | AudioJungle\nErik Satie Trois Gymnopédie Pack\nErik Satie, Trois Gymnopédie, Complete piano score in Up-right piano solo version. For your special project. Good Listening\n1.Gymnopedie n.1: 3:55\n2.Gymnopedie n.2: 3:07\n3.Gymnopedie n.3: 2:52\nTags advertising, art music, beauty, cinema, cinematic, classic piano, classical, communication, Debussy, documentary, easy listening, film, gnossienne, Gymnopedie, minimalism, piano, Ravel, satie, sentimental, surrealism, up-right piano


Fryske slachtoffers bernetaslachaffêre: "Gemeenten moatte no proaktyf hannelje" | Omrop Fryslân\n27 nov 2020 - 17:42\nJierrenlang besochten Anoeska de Vries en Mariëlle Nijland by de Belastingdienst oan te jaan dat der flaters makke wiene, mar se krigen gjin gehoar. Se moasten tûzenen euro's werombetelje om't se tefolle bernetaslach ûntfongen hiene. Achterôf bliek dêr neat fan wier te wêzen. "Der is no begryp en ik hoech my net mear te skamjen, mar je wurde ek lilk dat dit je oerkommen is troch de skuld fan de Belastingdienst", fertelt De Vries.\nFryske slachtoffers fan bernetaslachaffere\nDe Vries ferlear har baan, koe har eigen bedriuw net mear trochsette en moast mentaal ek klappen ferwurkje. "Sels no't ik wit dat it net myn skuld wie, bin ik noch ûnwis oer de sitewaasje."\nHar freondin yn de striid hat dêr minder lêst fan hân. Nijland: "De jaaropgaven waarin stond dat ik recht had op kinderbijslag zijn tot twee keer toe kwijtgeraakt bij de Belastingdienst. Ik heb honderd keer aan de bel getrokken, maar ze gaven niet thuis."\nUteinlik krige Nijland in 'fraudevinkje' achter har namme te stean. "Toen ben ik boos het belastingkantoor ingestapt. Een ambtenaar heeft toen samen met mij een bezwaarschrift opgesteld, waarna het weer goed gekomen is."\nWat Nijland no foaral sear docht, is dat safolle oare dupearden noch altyd yn grutte problemen sitte. "Er zijn 26.000 gedupeerden, met hele schrijnende gevallen. Huisuitzettingen, echtscheidingen, zelfs zelfmoord. Dat mag je je als regering wel aantrekken."\nSe rjochtet har pylken no op gemeenten, om't dy fan de Belastingdienst in soad soarchtaken taskood krigen ha. De Belastingdienst mei om de AVG-wetjouwing gjin persoansgegevens diele, wêrtroch't gemeenten hielendal net witte wa't der help nedich hat. Nijland: "Zij moeten nu proactief handelen om die gedupeerden in beeld te krijgen."\nDat de dupearden harren sels net samar melde, begrypt De Vries wol. "Dat is skamte. It is hiel wichtich foar dy minsken om by harsels nei te gean: 'Bin ik dupearde?' Dy erkenning moatte se fine. Ik wit hoe't je omrinne kinne mei dy skamte, mar it is just sa belangryk om dêr oerhinne te stappen."\nbernetaslachaffêre Mariëlle Nijland Anoeska de Vries taslagge-affêre


willem schoorstra Archives - Pagina 2 van 2 - de Moanne\nPosted by BWH ontwerpers on februari 2, 2011 · Leave a Comment\nDe fjirde en lêste ôflevering fan it lêsbefoarderingsprojekt Fryslân lêst syn toppers giet fan start. Sintraal stiet de roman Swarte ingels fan Willem Schoorstra, it meislepende en dramatyske ferhaal fan de ûnmooglike leafde tusken Hilbrand en Fardou, broer en suster. Hilbrand en Fardou op twitter Nei 1 febrewaris binne dialogen tusken Hilbrand en Fardou te […]\nCategory Literatuer · Tags Bauke Zijlstra, Fardou, FLST, Hilbrand, Hille Stellingwerf, René Koster, Suzanne Quak, willem schoorstra


Radio Desperado wer yn de loft | Omrop Fryslân Skip to main content\nRadio Desperado wer yn de loft 17 jan 2009 - 14:37\n0 reaksjes De piratestjoerder wie wer eefkes yn de loft\nPiratestjoerder Radio_Desperado wie sneon foar ien dei wer te hearren yn Noardeast-Fryslân. De stjoerder is yn 1994 al út de loft helle en wie hiel populêr yn de tachtiger en njoggentiger jierren. Alles moast doe yn it geheim gebeure, want de boetes fan de radiokontrôletsjinst wiene, en binne noch altyd, heech. It foldocht de âldere jongeren goed om wer achter it mingpaniel te stean.\nKorreksje meldeLês foarTrefwurden: argyfView the discussion thread.Diel dit berjocht op: 17-01Hûs yn Warfstermûne ôfbaarnd 17-01Aksje op De Wâldsang Besjoch ek...


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Sikehûs MCL en Prinses Máxima Centrum wurkje gear | Omrop Fryslân\n12 apr 2019 - 22:56\nIt Medisch Centrum Ljouwert (MCL) is in gearwurking oangien mei it Prinses Máxima Centrum yn Utrecht. It giet om in oerienkomst op it mêd fan berne-onkologyske soarch. Yn totaal dogge 21 sikehûzen yn it lân mei oan de gearwurking.\nHjirtroch kin de behanneling fan bernekanker foar in grut part tichteby hûs plakfine. It MCL foldocht oan alle strange betingsten om dizze soarch te leverjen. Der binne nije ôfspraken makke oer ûnder oare rjochtlinen foar behanneling en de ynhâld fan de soarch.\nIt Prinses Máxima Centrum stelt de diagnoaze en bepaalt hoe de behanneling der út komt te sjen. It MCL fiert dêrnei de behanneling út, sa as gemoterapy, bloedtransfúzje of in opname omdat der bygelyks sprake is fan koarts wêrby't antibioatikum nedich is.\nMCL Utrecht Prinses Máxima Centrum bernekanker\nSC Cambuur wint mei 4-1: "Er hadden rustig een paar meer in gekund"


EVE Search - Free to play and plex prices\nPosted - 2016.08.31 15:39:09 -  - Quote\nPosted - 2016.08.31 15:51:54 -  - Quote\nPosted - 2016.08.31 15:56:27 -  - Quote\nPosted - 2016.08.31 16:15:37 -  - Quote\nPosted - 2016.08.31 16:21:31 -  - Quote\nPosted - 2016.08.31 16:52:28 -  - Quote\nPosted - 2016.08.31 17:04:31 -  - Quote\nPosted - 2016.08.31 17:28:32 -  - Quote\nPosted - 2016.08.31 19:31:56 -  - Quote\nPosted - 2016.08.31 19:34:19 -  - Quote\nPosted - 2016.08.31 19:34:22 -  - Quote\nPosted - 2016.08.31 19:39:44 -  - Quote\nPosted - 2016.08.31 19:43:42 -  - Quote\nPosted - 2016.08.31 21:48:26 -  - Quote\nPosted - 2016.08.31 21:51:41 -  - Quote\nPosted - 2016.08.31 22:01:44 -  - Quote\nPosted - 2016.08.31 23:35:35 -  - Quote\nPosted - 2016.08.31 23:59:36 -  - Quote\nPosted - 2016.09.01 04:24:08 -  - Quote\nPosted - 2016.09.01 06:27:46 -  - Quote\nPosted - 2016.09.01 07:32:00 -  - Quote\nPosted - 2016.09.01 07:35:50 -  - Quote\nPosted - 2016.09.01 09:58:07 -  - Quote\nPosted - 2016.09.02 07:41:03 -  - Quote\nPlayers who cant afford or dont want to pay a 12Gé¼ sub will never buy 20Gé¼ PLEXes. Demand for PLEX will skyrocket, while supply wont increase much. I predict that a PLEX will cost 3-4 bill 1 year after the change to F2P.\nPosted - 2016.09.02 08:14:03 -  - Quote\nPosted - 2016.09.02 11:00:38 -  - Quote\nPosted - 2016.09.02 14:30:37 -  - Quote\nMail me for a quote!\nPosted - 2016.09.02 18:09:36 -  - Quote\nPosted - 2016.09.04 05:57:08 -  - Quote\nPosted - 2016.09.04 06:07:33 -  - Quote\nCopyright © 2006-2020, Chribba - OMG Labs. All Rights Reserved. - perf 0,05s, ref 20201001/1226


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A. van Hijum/ ‘De rook fan mesjester’ fan Tjitte Piebinga; in bisprek\nYn nûmer 3/4 fan dizze jiergong fan ‘Trotwaer’ is de bundel ‘De rook van mesjester’ bisprutsen troch Ph.H. Breuker. Dat ik hjir dizze bundel noch ris oan 'e oarder stel hat twa redenen:\n1. Ik bin fan bitinken dat foar koarte forhalen jildt, hwat ek foar romans opgiet - dat it mooglik is se theoretysk to ûndersykjen en dêrmei dúdliker to meitsjen hwerom't se al of net goed neamd wurde kinne. Yn it bisprek fan Breuker is oan dizze theoretyske kant eins gjin omtinken jown.\n2. Dat ik krekt dizze bundel koarte forhalen keazen ha is to witen oan it feit dat der yn ús taelgebiet de lêste tiid sahwat gjin belletry mear útkomt. Ik nim net oan dat it foar de lêzers fan dit tiidskrift in biswier is dat ‘De rook fan mesjester’ nou al wer oan 'e oarder komt, hwant as it goed is sil bliken dwaen dat dit bisprek en it bisprek fan Breuker, yn elk gefal hwat de opset oanbilanget, fundamenteel forskille.\nDe bundel ‘De rook fan mesjester’ bistiet út fjirtjin koarte forhalen. De earste trije forhalen binne datearre 1958 en 1959, de oaren binne skreaun tusken 1964 en 1970.\nYn dit bisprek wol ik út beide ‘perioaden’ ien forhael hwat yngeander bihandelje. Dat sil wêze út de earste perioade buona sera, út de lêste perioade hoantsjepolle. Dizze kar is folslein tafallich. It binne foar dit bisprek it earste en it lêste forhael út dizze bundel, it hiene ek it achtste en tsiende forhael wurde kinnen.\nBuona sera stiet yn de hy-foarm, dat wol sizze dat de lêzer foar de\nynformaesje dy't oanbean wurdt ôfhinklik is fan de fortellende hy.\nMiskien kin ik dit lêste it bêste taljochtsje oan de hân fan de théory, dy't op dit mêd ûntwikkele is troch Frank K. Stanzel. Stanzel hat yn syn boekje ‘Typische Formen des Romans’ bisocht oan to jaen hwer't de forteller stiet neffens it forhael dat er fortelt. Hy komt dan mei de ûnderskieding:\nA. Auctoriale roman. - de forteller stiet min ofto mear bûten it forhael dat hy fortelt, is net ien fan de persoanen dy't yn it forhael in rol spylje. Hy ‘ûnderbrekt’ soms it forhael mei essayïstyske of moralistysk-didaktyske skôgingen. Sa út en troch kin dizze forteller ek rjochtstreeks de lêzer binaderje mei opmerkingen as: ‘It sil my binije hoe't dit nochris gean sil.’\nB. Ik-roman. - de forteller is sels ien fan de persoanen dy't yn it forhael in rol spylje; hy fortelt yn de ik-foarm hwat himsels oerkomt dan wol oerkaem is, of hy fortelt hwat, neffens him oan oare romanpersoanen oerkaem is.\nC. Personale roman. - Yn dit type roman komt de forteller, krekt oars as de forteller fan de auctoriale en ik-roman, net mear eksplisyt nei foaren, it forhael fortelt, om it sa ris to sizzen, himsels. De lêzer kriget it idee dat er sels oanwêzich is by it barren dat him yn de roman ôfspilet. Stanzel seit it sa: ‘Es ist vor allem die Illusion der Unmittelbarkeit, mit welcher das dargestellte Geschehen zur Vorstellung des Lesers wird, welche als charakteristikes Merkmal der personalen Erzählsituation anzusehen ist. (F.K. Stanzel, Typische Formen des Romans, Göttingen 1969, side 17).\nNou binne der, by de personale roman, perpektyfysk sjoen, twa mooglikheden:\na. It perspektyf is keppele oan ien fan de persoanen dy't yn de roman in rol spylje.\nb. It perspektyf is keppele oan mear persoanen, dy't yn de roman in rol spylje.\nIt is, neffens ús, foar de lêzer fan fundamenteel bilang to witten, hokker perspektyf in auteur kiest foar syn wurk. Hwant, as der sprake is fan in auktoriale roman sil dat bitsjutte dat it perspektyf net keppele is oan ien of mear romanpersoanen, mar dat it forhael forteld wurdt troch in boppe syn forhael steande forteller dy't dan ek, as hy dat nedich achtet, foarútrinne kin op de ôfrin fan syn forhael. Dizze forteller stiet der dan ek min ofto mear garant foar dat de lêzer alle ynformaesje, dy't yn de rin fan it forhael fan bilang wêze sil, kriget. De lêzer mei, mei oare wurden, forwachtsje dat de wurklikheit, sa't dy yn it forhael tekene wurdt, net in fortekene wurklikheit wêze sil. Dat is by de ik-roman al oars: Hjir kriget de lêzer nammentlik in byld fan de wurklikheit oanbean, sa't dy sjoen wurdt troch ien man. En dat bitsjut dat de lêzer fan it bigjin ôf, rekkening hâlde sil, yn elk gefal rekkening hâlde moat, mei de mooglikheit dat de haedpersoan út de ik-roman in fortekene byld fan de wurklikheit jowt. By de personale roman leit dit wer oars. Hjir kin it perspektyf keppele wêze oan ien fan de romanpersoanen en dat hat fansels fan gefolgen dat de lêzer, krekt as by de ik-roman, foar syn ynformaesje folslein ôfhinklik is fan ien man, hwertroch't it byld dat de lêzer him foarmje kin fan de romanwurklikheit in fortekene byld wurde kin. In moai foarbyld fan sa'n roman is ‘De donkere kamer van Damocles’ fan W.F.\nHermans hwer't it perspektyf sa likernôch folslein keppele is oan de haedpersoan fan dizze roman, Osewoudt. De ynterpretaesjemooglikheden en moeilikheden fan dizze roman binne werom to bringen op it feit dat de lêzer allinne mei de (roman) wurklikheitsbileving fan Osewoudt konfrontearre wurdt. Hermans sels praette yn forbân mei it perspektyf fan ‘De donkere kamer van Damocles’ oer de ‘verhulde ik-vorm’. En dat jowt, neffens my, yndie wol goed wer, dat der, yn prinsipe net in fundamenteel forskil bistiet tusken de ik-roman, dy't skreaun is yn de ik-foarm en de personale roman, dy't skreaun is yn de hy-foarm, mar hwerby't it perspektyf keppele is oan ien romanpersoan. As by de personale roman it perspektyf keppele is oan mear as ien fan de yn de roman in rol spyljende persoanen, dan hat dat foar de lêzer fan gefolgen dat him de romanwurklikheit tekene wurdt, sa't dy sjoen wurdt troch mear persoanen. En dat bitsjut dat it wurklikheitbyld, dat de lêzer him foarmje sil, hwat nuansearder wêze sil as it wurklikheitsbyld, dat de lêzer him foarmje kin by in ik-roman of in hy-roman, hwerby't it perspektyf keppele is oan ien fan de romanpersoanen, mar minder nuansearre as by de auktoriale roman.\nDe problematyk, dy't hjir oansnijd is, stiet tige ticht by filosofyske probleemstellingen op it mêd fan de ontology. De fraech oft men prate kin oer wurklikheit en sa ja, yn hoefier't it praten oer dy wurklikheit yndie sinfol is, hat de filosoof altyd al yntrigearre. En dat foar in great part omdat yn de praktyk bliken docht dat de wurklikheit foar elk minske oars is. As men foar syn ynformaesje oer in part fan dy wurklikheit oft dat nou de ‘werklike’ wurklikheit is of in romanwurklikheit, ôfhinklik is fan ien persoan, bitsjut dat dat men mar in part fan dy wurklikheit to sjen krijt.\nIt bêste kin ik faeks myn opmerkingen oer it perspektyf fan de auktoriale roman, de ik-roman en de personale roman fordúdlikje mei it folgjende diagramke:\nUt dit diagramke wurdt, neffens my, dúdlik, dat by de auktoriale roman de forteller net ien fan de romanpersoanen is, mar dat hy, om it sa ris to sizzen, boppe it forhael stiet; hy kin dan ek it forhael alhiel oersjen en hwer't dat nedich is foarútrinne op de forhaeltakomst. Hy is, om it to sizzen mei in term út de angelsaksyske literatuerthéory, ‘omniscient’. Hy bisjocht de saken ‘from an Olympian point of view’. Hy jowt de lêzer dan ek alle ynformaesje dy't nedich is om de romanwurklikheit oersjen to kinnen.\nUt it diagramke wurdt, tocht ik, ek dúdlik dat by de ik-roman en de personale roman, hwerby't it perspektyf keppele is oan ien romanpersoan de lêzer yn prinsipe mar in part fan de romanwurklikheit to sjen krijt. Ek sil dúdlik wêze dat de lêzer by de personale roman, hwerby't it perspektyf keppele is oan mear romanpersoanen, navenant in better sicht krije sil op de romanwurklikheit.\nNei dizze, frij lange oanrin, bin ik dan wer to lânne kommen by it objekt fan dit artikel: de koarte forhalen buona sera en hoantsjepolle út Piebinga's ‘De rook fan mesjester’.\nBuona sera stiet yn de hy-foarm; it perspektyf is keppele oan ien persoan, dy't in rol spilet yn dit koarte forhael. Dat wurdt direkt by it bigjin fan dit forhael al dúdlik: ‘Hy biseach de ljochtreklame, draeide him om en liet har foargean. De portier grommele hwat. Ik hear foar to gean hjirre, tocht er.’ (side 7 fan ‘De rook fan mesjester’; kursivearring a.v.h.) Der kin allinne mar stean ‘tocht er’, as it perspektyf keppele is oan dizze hy. It hele forhael troch bliuwt dit perspektyf keppele oan de hy, dy't tagelyk de haedpersoan fan dit koarte forhael is. Wy ha hjir dan ek to meitsjen mei in personael koart forhael hwerby't it perspektyf keppele is oan ien persoan. En foar de lêzer bitsjut dat, dat hy, krekt as by in koart forhael yn de ik-foarm, foar syn ynformaesje oer de yn it forhael tekene wurklikheit ôfhinklik is fan ien persoan. En dat bitsjut dat de lêzer der rekkening mei hâlde moat dat syn ynformaesje nochal iensidich wêze kin. Dit iensidich is hjir fansels net bidoeld as in weardeoardiel. It forskil tusken de ik-roman en de personale roman, hwerby't it perspektyf keppele is oan ien romanpersoan leit net yn it sicht dat de lêzer kriget op de romanwurklikheit - dat is yn beide gefallen yn prinsipe gelyk - mar yn it feit dat de personale roman, hwerby't it perspektyf keppele is oan ien romanpersoan in mear objektive yndruk makket as in ik-roman. Dy greatere objektivens lykwols is oars net as skyn. Dêrom ek fyn ik Herman's terminology foar de personale roman hwerby't it perspektyf keppele is oan ien romanpersoan (‘verhulde ik-vorm’) tige goed.\nHoantsjepolle, it lêste forhael út ‘De rook fan mesjester’ stiet yn de\nik-foarm. Ek dat wurdt fuort yn it bigjin fan dit koarte forhael al dúdlik: ‘Ik briek de buks it gatsje sprong mei in droege klik foar it ljocht. Ik seach troch de loop, de sinne skittere yn de stadige spiralen, it each die my der sear fan.’ (side 108 út ‘De rook fan mesjester’) Hjir jildt fansels itselde as by it koarte forhael Buona sera: de lêzer is foar syn ynformaesje oer de forhaelwurklikheit ôfhinklik fan ien romanpersoan en dat bitsjut dat er der rekken mei hâlde moat dat syn ynformaesje iensidich wêze kin. Nei dizze ynformaesje oer de yn dit artikel noch fierder oan de oarder to stellen forhalen - ynformaesje dy't fan fundamenteel bilang is foar it sicht fan de lêzer op de forhaelwurklikheit en dêrmei ek foar de weardearring fan de lêzer is it needsaeklik en gean hwat fierder yn op de ynhâld fan dy forhalen.\nDit sil ik dwaen troch gebrûk to meitsjen fan in fundamentele skieding fan romans hwat de plot oanbilanget, sa't dy foar it earst oan 'e oarder steld is troch R.S. Crane en fierder útwurke is troch N. Friedman.\nCrane kaem, troch in great tal romans út de wrâldliteratuer meiïnoar to forlykjen ta de konklúzje dat men de roman as genre ûnderfordele kinne soe yn de subgenres:\n1. plots of action\n3. plots of thought.\nCrane sels sei er dit oer: ‘(...) we may say that the plot of any novel or drama is the particular temporal synthesis effected by the writer of the elements of action, character and thought that constitute the matter of his intention. (...) There are, thus, plots of action, plots of character, and plots of thought. In the first, the synthesizing principle is a completed change, gradual or sudden, in the situation of the protagonist, determined and effected by character and thought (as in Oedipus and The Brothers Karamazov); in the second the principle is a process of change in the moral character of the protagonist, precipated or molded by action, and made manifest both in it and in thought and feeling (as in Jame's The Portrait of a Lady); in the third, the principle is a completed process of change in the thought of the protagonist and consequently in his feelings conditioned and directed by character and action (as in Pater's Marius the Epicurian)1\nCrane seit dus dat by in plot of action de foroaring, dy't der plak fynt yn de situaesje fan de haedpersoan fan de roman dominant is en dat dy foroaring reliëf kriget troch de foroaringen dy't har foardogge op it mêd fan it karakter en de tinkwrâld fan de haedpersoan. En sa jildt dat neffens Crane ek foar plots of character en thought: ien foroaring is dominant en oan foroaring wurdt reliëf jown troch de twa oare komponenten.\nIt sil dúdlik wêze dat it begryp plot hjir in folle bredere bitsjutting hat as ornaris it gefal is. Plot stiet hjir net gelyk oan intrige of soksahwat, mar plot stiet hjir foar it geheel fan faktoren dat meielkoar bipalend is foar dat hwat der bart yn elk forhael.\nFriedman hat, sa't al sein is, dizze plot-théory fan Crane fierder útwurke. Hy kaem mei in ûnderfordieling fan de plots of action, plots of character en plots of thought yn subgenres. It is hjir net it plak om dat fierder út to wurkjen. Wol is noch fan bilang dat Friedman, nei analyse fan in great tal romans,\nkonkludearre dat bygelyks by in plot of action de elementen karakter en tinkwrâld fan de haedpersoan oer it generael wol reliëf jaen sille oan it dominearjende element, mar dat dat bislist net altyd needsaeklik is. As men bygelyks in trochsnédetektiveroman nimt, dan sil dêr yn frijwol alle gefallen it element action dominant wêze, mar it is perfoarst net needsaeklik dat bygelyks ek it karakter fan de haedpersoan in foroaring ûndergiet, it sil sels by de detektiveroman meastal net it gefal wêze. Friedman hat dus yn dat opsicht de théory fan Crane hwat nuansearre.2\nHwat is nou it bilang fan ditsoarte opmerkingen op romanthéoretysk gebiet? De théory fan Crane en Friedman is súver sinleas as men mei help dêrfan allinne mar labeltsjes opplakke soe yn 'e trant fan: boek x is in plot of action en de elementen karakter en tinkwrâld fan de haedpersoan jowe oan dy plot of action reliëf. Mei dizze konstatearring is noch neat sein; it giet der krekt om fierder to gean en fêst to stellen hoe't de eleminten karakter en tinkwrâld fan de haedpersoan reliëf jowe oan de plot of action fan roman x, en as men dêrmei dwaende is blykt dat men sahwat alle fasetten fan it kunstwurk oan 'e oarder stelle moat.\nBuona sera: It is, yn 'e théory fan Crane en Friedman allerearst fan bilang fêst to stellen hwa't, yn it to analisearjen kunstwurk de haedpersoan is (evt. hwa't de haedpersoanen binne). Is it by in roman faek net sûnder mear út to meitsjen hwa't de haedpersoan is, by in koart forhael leit dat ornaris al oars, al soe it allinne mar wêze om't it tal persoanen, dat in rol to spyljen hat yn in koart forhael meastentiden lang sa great net is as it tal persoanen dat in rol to spyljen hat yn in roman. Yn Buona sera binne eins mar twa persoanen dy't in greate rol spylje: de fortellende hy en in famke dat troch him oppikt is. De fortellende hy kin dit famke by it bigjin fan dit forhael noch mar krekt: ‘Foar it earst naem er har op, dûnker hier, blauwe eagen en krekt tofolle lipstick.’ (side 7). It famke blykt adry to hyten: ‘Hoe hytstû, hy moast dochs hwat sizze. Siz mar adry.’ (side 7). De fortellende hy, dy't yn 'e rin fan dit forhael in dochs wichtiger rol to spyljen liket to hawwen as adry, blykt op de joune, hwerop't dit koarte forhael him ôfspilet jierdei to wêzen en men kriget, as lêzer, hast it idee dat hy in avontuerke mei adry bisiket oan to gean om hwat ûnder syn iensumens, dy't fansels op in jierdei dûbbeld swier weacht, út to kommen: ‘It is myn jierdei. - O, lokwinske. It foel him ôf. Hwat hie er forwachte? In lokkige glim? Of in hân faeks, iepen en waerm oer de tafel hinne stutsen? Of noch mear? Hy wist it net. It koe him ek neat skele. Mar dochs prike it.’ (side 8). It wurdt al gau dúdlik dat de haedpersoan fan Buona sera dizze joun foar it earst mei in frou fan it slach fan adry op stap giet: ‘Se smookten. Doe lei se har hân op syn earm. Hy soe de earm tobeklûke, mar skamme him. Dyn earste kear, frege se, fortroulik ynienen. Hy krige in kaem, stammere, hy hie spyt fan alles. Se seach him oan, in glimke om de mûlshoeken. Hiest better thús bliuwe kinnen.’ (side 9). De fortellende hy en adry komme yn in kafé tolânne hwer't in idioat foar in glês bier syn fersy sjongt fan it liet ‘buona sera signorina kiss me goodnight’: ‘Kees (=de idioat a.v.h.) brocht in heas lûd út, sakke troch de knibbels, bigoun oan in solo. Bûo sèè, bûo sèè, buzz mu koenai, buzz mu koenai. De\nminsken laken, songen mei. Hy seach it barren. Fêstklonken oan it stal fan de idioat, djip weilutsen yn it lûd fan de débyl. It bounze yn him, pine kloppe oan syn sliepen, yn him foel in forbjustering. Stoareagjend seach er de fûsten as bilen delsaeijen, as heiblokken wer omheechgean. Godfordomme. De ûntsetting briek út him wei Wyld loek er syn beurs út 'e bûse, bitelle, treau adry foar him út nei de doar.’ (side 12). Mei dizze skène is it kearpunt yn it koarte forhael Buona sera birikt. De fortellende hy en adry litte de kroegen foar hwat se binne en ite ergens hwat. Dêr ek wurdt bisletten dat de hy dy nachts by adry bliuwe sil: ‘Hy seach de ynweefde figueren op it lekken oer de tafel, de nopkes, skitterjend fan it ljocht. Har hân dy't in sigaret naem. Strak wer allinne, de feale doek, it skilderij mei de gatten, de sigerige keet. Hy wist it net. It is myn jierdei, sei er. Hja seach him freegjend oan. Goed, mar myn jild..., sei er. Samar, net foar, nou ja, forgees. Goed, sei er.’ (side 13). Se geane nei adry's hûs, en bisiikje dêr beide hwat to sliepen, op forskillende bêdden. It sliepen slagget net to goed; de fortellende hy binammen kin de gedachte oan de sjongende idioat mar min fan him ôf sette. Letter yn 'e nacht komt adry by him, mar se wol perfoarst net mei him op bêd (yn de oerdrachtelike bitsjutting). De fortellende hy klaeit him dan wer oan en fielt him nochal mismoedich: ‘Set in plaet op, ik kin wol grine, sei er. Hja pakte in plaet en sette him op. Hy soe in sigaret pakke. Buona sera signorina kiss me goodnight.... Fordomme, út dat ding, baltte er oerstjûr. Hja seach him oan, net bigripend. Doch út, grynde er heal. De plaet kraste troch, buona sera signorina. Doch út, idioat raesde er. Hy ropte syn klean by elkoarren, en sloech de doar ticht.’ (side 16).\nUt dit koarte forslach fan de ynhâld fan Buona sera wurdt, tinkt my, wol dúdlik dat eins mar ien persoan de haedpersoan fan dit koarte forhael neamd wurde kin: de fortellende hy. It wurdt hwat moeiliker om fêst to stellen mei hokker plot wy yn dit koarte forhael to krijen ha. It giet der yn dit koarte forhael om dat de hy, dy't him op syn jierdei, en nei alle wierskynlikheit dan net allinne, iensum fielt, bisiket dy iensumens to trochbrekken troch kontakt mei in nochal losse juffrou. Der wurdt dy hy in spegel foarhâlden yn it kafé, hwer't idioate Kees syn fersy fan it liet Buona sera signorina kiss me goodnight hearre lit. De hy sjocht in sekere oerienkomst tusken himsels en idioate Kees; hy bisiket nammers to dwaen, hwer't Kees fan sjongt. Troch it sjongen fan Kees wurdt hy mei syn neus drukt op it feit dat syn bisiikjen syn iensumens op dizze wize to trochbrekken, net bisûnder adekwaet is, dat dy iensumens dêrmei yn wêzen net to trochbrekken is. Hy kin dan ek it liet fan de idioat dy nachts yn it hûs fan adry net forjitte: ‘Hy bisocht to sliepen, it woe net. Hy woele him út 'e noflike posysje wei, wrotte, stoareage, draeide him om en switte. Foar him yn it tsjuster song de idioat. Bûo sèè, buzz, mu koenai. Letter waerd er wekker. Swittend. Hy seach op it horloazje. Bûo sèè buzz mu koenai. Hy draeide him om, fearren pipen. Bûo sèè buzz mu koenai. Horloazje. Healwei trijen. Bûo sèè buzz mu koenai. Eagen ticht, de idioat.’ (side 14). As dizze dingen sa op in rige set wurde, moat ik hast wol konklúdearje dat buona sera in plot of character is: de fortellende hy sjocht yn, op 'e ein fan dit koarte forhael, dat syn iensumens net to trochbrekken is\nop de wize hwerop't hy dat woe. Syn bisiikjen syn iensumens op dizze wize to trochbrekken is sahwat like dwaes en absurd as it sjongen fan idioate Kees. Kin men buona sera in goed koart forhael neame? Neffens my net. Adry, dy't dochs, sa moat men oannimme, in hoer foarstelle moat, is tofolle de hoer wurden sa't dy sjoen is troch de bril fan de ien oft oare kristlike plattelander. In hoer is der net sa maklik ta to bringen har tsjinsten om'e nocht oan to bieden. In hoer is net sa gau genegen har hûs as loazjemint iepen to stellen. Adry is yn dit koarte forhael it prototype fan de hoer sa't in plattelander him dat foarstelt en dêrmei is oan dit forhael in protte fan syn, yn bigjinsel oanwêzige krêft ûntnommen. Boppedat bin der, neffens my, ek wol biswieren tsjin it byld dat de fortellende hy fan himsels jowt. It bliuwt fierstentofolle in iendimensionale tekening: djipte en djipgong ûntbrekke tofolle. Neffens my is it ienniche fan dit koart forhael hwat yndie goed slagge is it gegeven: de iensume hy, dy't in signorina siket om oan syn iensumens to ûntkommen, ôfset tsjin de idioat dy't sjongt oer de signorina, dy't him in welterusten tút jaen moat Mar ik leauw dat Piebinga út dit gegeven to min helle hat.\nHjir komt noch in aspekt by: de wurklikheitsbileving dy't in forhael oproppe moat by de lêzer. Boppe ha wy it al efkes hawn oer romanwurklikheit en werklike wurklikheit. Nou is it net sa dat in forhael of in roman in wierheitsgetrou forslach jaen moat fan de wurklikheit. Wol kin men as lêzer oan de tradisionele roman en it tradisionele forhael de eask stelle dat it de yllúzje jowt fan wurklikheit. En ek dat is yn buona sera net it gefal. Gjin momint ha ik as lêzer it idé hawn dat ik in stikje wurklikheit ûnder eagen hie. Ik wist hieltyd dat ik mei in stikje fiksy dwaende wie. En dat kaem binammen troch de net slagge tekening fan adry en de iendimensionalens fan de fortellende hy. In iendimensionalens dy't yn 'e hân wurke is troch it feit dat yn buona sera it perspektyf keppele is oan ien persoan: de fortellende hy. Ik ha de yndruk dat de hy better út de ferve kaem wie as de auteur fan dit koarte forhael in oar perspektyf tapast hie.\nHoantsjepolle. Ek yn Hoantsjepolle is it tal persoanen dat in rol spilet tige biheind. De haedpersoan - de fortellende ik - is in jonge yn de puberteit, syn iennige tsjinspiler is Dut, in famke dat mei boadskippen rint. Yn it forhael Hoantsjepolle fortelt de ik yn de doetiid oer de puberale, erotyske, tour de force hwerop't Dut en hy elkoar ûnthelje op de hoantsjepolle. It is, mien ik, net mooglik om yn it gefal fan dit koarte forhael to praten oer plots of action, plots of character of plots of thought. Der bart yn dit koarte forhael nammentlik oars neat as dat Dut twa kear klear komt en de fortellende ik oardelkear. Ik leauw dan ek dat wy yn it gefal fan Hoantsjepolle better prate kinne oer de skets ta in koart forhael dan oer in koart forhael. En neffens my is dit sels as skets eins net slagge to neamen. En dat op groun fan it feit dat Piebinga, dy't yn dit ik-forhael it perspektyf keppele hat oan in jonge fan sa'n 12 jier yn de puberteit sûnder rjocht of reden troch dit perspektyf hinne syn eigen fisy op in partsje fan de wurklikheit jowt. Ik alteast kin my net foarstelle dat in jonge fan sa'n 12 jier, dy't nou net daliks in routinier neamd wurde kin op it mêd fan klearkommende famkes op de folgjende wize dat proses fan klearkommen biskriuwe soe: ‘Ik lei myn hân plat oer it hier en\nbigoun to biwegen. Dut forloek har gesicht en wipte op en del. De spieren yn it boppest fan har skonken spanden earst en waerden doe wer slop. Har sykheljen gie hastich, it fluite hast tusken har tosken troch en se hie in kleur as fjûr Doe sloech se ynienen har skonken ticht en se treau harsels omheech tsjin myn hân oan. Har holle loek se efteroer en har búk wie hurd. Se bleau in hoart lizzen. Har sykheljen waerd stiller, se forlei har skonken efkes en doe die se de eagen wer iepen. Se glimke.’ (side 116). Hjir fortelt net sa'n jonkje hoe't er it klearkommen fan in famke sjocht, it liket earder oft de ien of oare seksuolooch eksakt biskriuwt hwat der presiis bart as in famke klearkomt. En mei it feit dat Piebinga op dizze wize inkelde perspektiven troch elkoar hellet, sûndiget er tsjin ien fan de earste prinsipes fan it skriuwen: perspektyfwikseling allinne dan as dat motivearre is. It koarte forhael hoantsjepolle, dat gjin koart forhael is, wurdt troch dizze fout op it mêd fan it perspektyf in foarbyld fan hoe't it net moat.\nPh. Stevich. The theory of the novel. New York 1967 side 141/142.\nN. Friedman. ‘Forms of the plot.’ Journal of General Education, VII (1955) side 241-253.


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Hoe kinne direkteuren gegevensanalyses brûke om prestaasjes te ferbetterjen | Martech Zone\nDe fallende kosten en groeiende ferfining fan metoaden foar gegevensanalyse hawwe sels nije startups tastien en lytse bedriuwen te genietsjen fan de foardielen fan superieur ynsjoch en ferbettere begryp. Gegevensanalyse is in krêftich ark dat it potensje hat om effisjinsje te ferbetterjen, klantrelaasjes te ferbetterjen en derfoar te soargjen dat bedriuwen potinsjele problemen mei grutter gemak kinne identifisearje en oplosse. In bytsje mear leare oer de lêste tools en analysemethoden soarget derfoar dat de lêste boarnen en oplossings minder faak oersjoen wurde.\nBeoardieljen en ferbetterjen fan operaasjeprosessen\nEffektivere manieren om wichtige aspekten fan operaasje en workflow te beoardieljen en te mjitten kinne organisaasjes tastean effisjinsje en prestaasjes dramatysk te ferbetterjen. Software, tsjinsten en oplossings foar data-analyse kinne ferbettere ynsjoch en grutter begryp leverje oer hast alle aspekten fan deistige operaasjes.\nKinnen om effektiverere peilmerken yn te stellen en yn te stellen as potensjele feroarings te beoardieljen en te fergelykjen foarôfgeand oan ymplemintaasje, kin in soad kânsen opmeitsje foar ferbettering en ferfining. Fan in top-down-evaluaasje oant realtime rapporten, kinne analytics in wichtige rol spylje yn it garandearjen fan operasjonele effisjinsje kin optimisearre wurde.\nFerbettering fan klantrelaasjes\nIn gruttere klantbasis kultivearje of kinne foldwaan oan de behoeften fan sawol besteande as takomstige kliïnten binne saken dy't gjin bedriuw kin betelje te koarting. Der binne ferskate manieren dat gegevensanalyses kinne wurde brûkt om klantrelaasjes te ferbetterjen en klanttefredenheid te stimulearjen. Fan it meitsjen fan detaillearre profilen mei kinne wurde brûkt om de behoeften fan ferskate soarten klanten better te ferwachtsjen oant de mooglikheid om klantakkountynformaasje te analysearjen om ûnderlizzende patroanen fan gedrach te bepalen, kin gegevensanalyse in soad te bieden hawwe. In better begryp hawwe fan har kliïnten soarget derfoar dat bedriuwen de positive relaasjes better kinne kultivearje en ûnderhâlde, wat kin liede ta grutter sukses op lange termyn.\nKânsen foar ferbettering identifisearje\nIn gebrek oan ynsjoch makket it faaks ûnmooglik om ûnderlizzende problemen en situaasjes te ûntdekken dy't miskien in draining hawwe foar algemiene prestaasjes. Gegevensanalyse makket it makliker om ferskate aspekten fan operaasje yn 'e gaten te hâlden of effisjinsje en prestaasjesnivo's yn echt te beoardieljen.\nIdentifisearjen fan alle aspekten fan operaasje dy't oandacht of ferbettering nedich binne mei gruttere snelheid, gemak en krektens is altyd in soarch dy't fan it grutste belang wêze moat. Bedriuwen dy't lije kinne ûnder potinsjele problemen en soargen dy't binne slagge om te ûntkommen, fine faaks dat ferbetterjen fan prestaasjes of it optimalisearjen fan effisjinsje in heuveleftige striid kin wêze.\nMei de bêste boarnen\nFan softwareapplikaasjes oant tsjinstferlieners fan tredden, it sykjen nei de lêste tools en de bêste seleksje fan boarnen makket it makliker om te genietsjen fan it folsleine oanbod fan foardielen dy't mooglik binne mei statistyske en real time analytics, Fallende priispunten assosjeare mei gegevensanalysetechniken betsjuttet dat sels lytsere bedriuwen en organisaasjes dy't mar beheinde fûnsen hawwe, yn steat binne de boarnen te finen en te krijen dy't se nedich binne.\nOft it no siket nei de tsjinsten en assistinsje dy't in profesjonele analyseprovider as bedriuw digitale applikaasjes kin oanbiede of brûke om ljocht te werpen op ferskate aspekten fan har opsjes, bedriuwen soene it goed dwaan de bêste boarnen en oplossingen te sykjen.\nTakomstige trends yn grutte gegevens\nDêr en elts oantal fan aktueel en takomst trends dy't bedriuwen wiis wêze soene om yn de gaten te hâlden. Grutte gegevens wurde rap in ûnmisbere boarne, ien dy't in pear bedriuwen sûnder kinne betelje. Aktuele trends yn 'e sektor, lykas automatisearring op' e wurkpleats, dy't in gruttere gegevensgegevens en ynformaasje kinne leverje foar analyse as softwarebronnen dy't it makliker meitsje om rapporten te generearjen of eardere records te beoardieljen, betsjutte dat de hjoeddeiske bedriuwen kinne ferwachtsje dat se in soad mear gegevensanalyses de dagen dy't komme. Trochgean mei opkommende technologyen en it meitsjen fan in poging om mear te learen oer alle ark en boarnen dy't al gau beskikber kinne wurde, kinne bedriuwen in wirklik foardiel leverje yn har besykjen om prestaasjes te ferbetterjen.\nTags: analyticstrochrinnende ferbetteringklantferhâldingútfierende prestaasjesrealtime analytykstatistyk


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Gjin ynbraken mear yn Sint-Nyk troch alarm-whats-app | Omrop Fryslân (advertinsje)\nGjin ynbraken mear yn Sint-Nyk troch alarm-whats-app 06 okt 2015 - 11:58\n0 reaksjes Nederlands Whatsapp - Foto: Omrop Fryslân\nFoarsitter Siemen Zijlstra fan de wurkgroep Feiliger Sint-Nyk\nIt alarm-whats-app yn Sint-Nyk wurket. Al moannen is der net mear ynbrutsen yn it doarp. Dat seit foarsitter Siemen Zijlstra fan de wurkgroep Veiliger Sint-Nyk. Mei whats-app-groepen kinne ynwenners op 'e tiid op 'e hichte brocht wurde, as der wat is. De alarmgroep yn Sint-Nyk waard yn maart oprjochte. Elke buert hat in behearder dy't whats-app-berjochten pleatse kin, as der wat is. De oaren binne dan wach troch it nijs en hâlde de boel yn de gaten.\nLês foarKorreksje meldeTrefwurden: what's-appalarmynbrekkerijView the discussion thread.Diel dit berjocht op: 06-10Kontrakt foar Jamiro Monteiro by SC Cambuur 06-10"Reekpotten definsje mooglik oarsaak deadlik ûngelok" Besjoch ek...\nFrou oanhâlden foar ynbraak Harns 18 sep 2015 - 12:30 In 34-jierrige frou út Harns is tongersdeitejûn oanhâlden foar ynbrekkerij. De plysje krige in melding fan in wenningynbraak oan de Joost van den... Bewenner trapearret ynbrekker yn Ljouwert 29 jul 2015 - 10:41 De bewenner fan in hûs oan de Andringastate yn Ljouwert hat yn de nacht fan tiisdei op woansdei in ynbrekker trapearre. De ynbrekker besocht om... Lanlike 112-dei yn ramt fan falske meldings 11 feb 2015 - 11:30 Mear as de helte fan de alarmmeldingen by de sintrale meldkeamer fan de plysje yn Drachten is falsk of ûnnedich. Dat kostet in soad ekstra tiid en... Tredde ynbraak by transportbedriuw De Haan 06 jan 2015 - 12:42 Dieven hawwe foar de tredde kear yn in koart skoftke tiid ynbrutsen by transportbedriuw De Haan yn Sint Jabik. Dit wykein waard der 250 liter... (advertinsje)


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Hand Rolling Tobacco£9.29\nTurmeaus Own Christmas Pudding Pipe Tobacco£6.39\nTurmeaus Own Sara's Birthday Blend Pipe Tobacco£6.39\nTurmeaus Own Second Wave Pipe Tobacco£6.39 Result Pages: 1 Alfies's blends is a mixture of our very own pipe tobacco and mixtures made up by you the customer. From Lemon Drizzle to the Birthday blend we have a massive range of new pipe tobaccos for you to try.\tEmail: sales@cgarsltd.co.uk (24 hr / 7 days)