The flame robin (Petroica phoenicea) is a small passerine bird native to Australia. It is a moderately common resident of the coolest parts of south-eastern Australia, including Tasmania. Like the other two red-breasted Petroica robins—the scarlet robin and the red-capped robin—it is often simply called the robin redbreast. Like many brightly coloured robins of the Petroicidae, it is sexually dimorphic. Measuring  long, the flame robin has dark brown eyes and a small thin black bill. The male has a brilliant orange-red chest and throat, and a white patch on the forehead above the bill. Its upper parts are iron-grey with white bars, and its tail black with white tips. Female coloration is a muted grey-brown. Its song has been described as the most musical of its genus.

The position of the flame robin and its Australian relatives on the passerine family tree is unclear; the Petroicidae are not closely related to either the European or American robins, but appear to be an early offshoot of the Passerida group of songbirds. The flame robin is predominantly insectivorous, pouncing on prey from a perch in a tree, or foraging on the ground. A territorial bird, the flame robin employs song and plumage displays to mark out and defend its territory. It is classified by BirdLife International as least concern.

Taxonomy
The flame robin was first described by the French naturalists Jean René Constant Quoy and Joseph Paul Gaimard in 1830 as Muscicapa chrysoptera. The specific epithet chrysoptera is derived from the Ancient Greek words chrysos 'golden', and pteron 'feather'.

John Gould placed the flame robin in its current genus as Petroica phoenicea in his 1837 description, and it was this latter binomial name that has been used since that time. Given this, Quoy and Gaimard's name was declared a nomen oblitum. The generic name is derived from the Ancient Greek words , 'rock', and , 'home', from the birds' habit of sitting on rocks. The specific epithet is also derived from Ancient Greek, from the adjective  'crimson, dark red'. It is one of five red- or pink-breasted species colloquially known as "red robins", as distinct from the "yellow robins" of the genus Eopsaltria. Although named after the European robin, the flame robin is not closely related to either it or the American robin. The Australian robins were placed in the Old World flycatcher family Muscicapidae, and the whistler family Pachycephalidae, before being classified in their own family Petroicidae. Sibley and Ahlquist's DNA-DNA hybridisation studies placed the robins in a Corvida parvorder comprising many tropical and Australian passerines, including pardalotes, fairy-wrens and honeyeaters, as well as crows. However, subsequent molecular research (and current consensus) places the robins as a very early offshoot of the Passerida, or "advanced" songbirds, within the songbird lineage.

No subspecies are recognised, and the degree of geographic variation is unclear. Adult male birds which breed on the mainland have been reported as having lighter upperparts and underparts than their Tasmanian relatives, and females are said to be browner, but these differences may also result from worn plumage. Furthermore, migration across the Bass Strait by some birds obfuscates the issue. Mainland and Tasmanian birds are the same size. Ornithologists Richard Schodde and Ian Mason argued that the poor quality of museum collections and partially migratory habits meant that discrete subspecies could not be distinguished on the basis of the observed variation within the species.

Flame-breasted robin was the common name formerly used for the species, and it was gradually abbreviated to flame robin. Other names recorded include bank robin, redhead, and (inaccurately) robin redbreast.  Flame robin is the preferred vernacular name of the International Ornithological Congress.

Description

The largest of the red robins, the flame robin is  long. It has a more slender build than other members of the genus Petroica, with relatively long wings and neck and small head. The male is easily distinguished by the bright orange-red plumage of the throat, breast, and abdomen. The crown, nape, ear coverts, hindneck, and sides of neck are dark grey, and lores and chin are a grey-black. The grey feathers of the sides of the crown may be suffused with dull orange. The rest of the upperparts, comprising the wings, back and tail, are dark grey. There is a small, white frontal spot above the bill, and the wing bar and outer tail shafts are white. The feathers of the posterior belly, flanks, and vent are white with grey-black bases. The female is plainly coloured—pale brown overall, and a lighter buff underneath. The lower belly, sides, and underside are a soft off-white color. Similar to the male, feathers on the sides of the crown might have a subtle hint of dull orange, and this coloration could also extend to the feathers on the breast area. There are small, off-white marks on the wings and above the bill. The bill, legs, feet, and claws are black, and the eyes dark brown. A flame robin with an all lemon-yellow breast and otherwise female plumage was observed in a small flock of flame robins near Swansea, in eastern Tasmania, in September 1950.

Nestlings have dark grey or brown down, cream to grey bills, cream gapes and orange throats. The plumage of juvenile birds in their first moult resembles that of the adult female, but the head and upperparts are streaked and slightly darker. Soon after fledging, juveniles moult into their first immature plumage, and more closely resemble the adult female. The breasts of male juveniles may have some orange feathers. Birds in their second year moult into a second immature phase, some males of which may resemble adult males, while others retain a more immature brown plumage. Determining the age and sex of birds in brown plumage can be very difficult. Information on exact timing of moulting is lacking, but the replacement of primary feathers takes place over the summer months between December and February.

The colour alone is not a reliable guide to determine the species, as some scarlet robins (P. boodang) take on an orange hue, but while male scarlet and red-capped robins (P. goodenovii) have red breasts and black throats, the flame robin's breast plumage extends right up to the base of the bill. It is also a little slimmer and has a smaller head than the scarlet robin, and is clearly larger than the red-capped robin. Females of the respective species are harder to tell apart. Those of red-capped, rose, and pink robins are all smaller, with wing lengths less than , smaller than the smallest flame robin. The female scarlet robin has a more pronounced red flush to the breast and the spot on the forehead above the bill is more prominent and white rather than off-white.

The flame robin's calls are grouped into louder and quieter calls; the former can be heard from  away, while the latter, which are often briefer, from . Loud songs make up almost 90% of calls in spring, summer, and autumn, but less than 50% of calls from May to July. Males sing rarely during this time, although they do so to defend their territories. Their song is more varied and complex than that of the scarlet robin, and has been described as the most musical of the red robins. A series of descending notes in groups of three, the musical song has been likened to the phrases, "you-may-come, if-you-will, to-the-sea" or "you-are-not a-pretty-little-bird like-me". Both males and females sing this song, often perched from a vantage point, such as a stump or fence. This loud song is used to attract the attention of a potential mate, and to announce the bringing of food to its mate or young. The softer call has been described as a ,  or , and is used as a contact call in the vicinity of the nest. The female makes a hissing sound, if approached while on the nest, and the male has been recorded making a wheezing call when displaying around the nest.

Distribution and habitat
The flame robin is found in temperate regions of southeastern Australia and all over Tasmania, although it is less common in the southwest and west. In Victoria, it is more common in uplands than lower altitudes. It ranges from the Adelaide and Murray Plains around the mouth of the Murray River in southeastern South Australia, across Victoria, and into the South West Slopes and southern regions of New South Wales. Further north, it is found along the Great Dividing Range and its western slopes, with a few records from southeast Queensland. Within its range, it is generally migratory, moving from alpine and subalpine regions to lowlands in winter, although the breeding and non-breeding ranges overlap. There is some evidence that male birds migrate several days before the females. It is unclear what proportion of Tasmanian birds cross Bass Strait to winter in Victoria. Birds which remain in Tasmania move away from breeding areas, and are found in paddocks in loose flocks of up to fourteen birds. They have left these areas by August, and immature birds appear to disperse earlier. A field study in the outer Melbourne suburb of Langwarrin showed that climate did not influence peak abundance of flame robins there. The international organization BirdLife International has regraded it from Least Concern to Near Threatened in 2004, due to its population decline over the previous 25 years. The Australian Government had classified it as Least Concern, but noted evidence of decline at the edges of its non-breeding range; it has become rare in South Australia, and uncommon in the lowlands of Victoria. Flame robins are not rare in the Victorian high country. They are frequently encountered at high elevations on the Great Dividing Range, especially in sparser snow gum woodland and similar habitat, and during the summer breeding season are one of the most reliably observed species around the summit of Mount Macedon, NW of Melbourne.

In spring and summer, the flame robin is more often found in wet eucalypt forest in hilly or mountainous areas, particularly the tops and slopes, to an elevation of . It generally prefers areas with more clearings and less understory. In particular, it prefers tall forests dominated by such trees as snow gum (Eucalyptus pauciflora), mountain ash ( E. regnans), alpine ash (E. delegatensis), manna gum (E. viminalis), messmate stringybark (E. obliqua), black gum (E. aggregata), white mountain gum (E. dalrympleana), brown barrel (E. fastigata), narrow-leaved peppermint (E. radiata), and black peppermint (E. amygdalina). It is occasionally encountered in temperate rainforest. In the autumn and winter, birds move to more open areas, such as grasslands and open woodlands, particularly those containing river red gum (E. camaldulensis), Blakely's red gum (E. blakelyi), yellow box (E. melliodora), grey box (E. microcarpa), and mugga ironbark  (E. sideroxylon), at lower altitude.

Flame robins often become more abundant in areas recently burnt by bushfires, but move away once the undergrowth regrows. They may also move into logged or cleared areas in forests. However, a field study in the Boola Boola State Forest in central Gippsland revealed they are not found in areas where the regrowth after logging is dense.

Behaviour

The flame robin mostly breeds in and around the Great Dividing Range, the Tasmanian highlands, and islands in Bass Strait. With the coming of cooler autumn weather, most birds disperse to lower and warmer areas, some travelling as far as eastern South Australia, southern Queensland, or (in the case of some Tasmanian birds) across Bass Strait to Victoria. Birds breeding in the warmer climates north of the Blue Mountains in New South Wales tend to retain their highland territories all year round. Outside the breeding season, birds may congregate in loose flocks, but they are most usually encountered throughout the year singly or in pairs, the latter more commonly in breeding season.

When perched or between bouts of foraging on the ground, the flame robin holds itself in a relatively upright pose, with its body angled at 45° or less from the vertical, and its wings held low below its tail. It impresses as nervous and twitchy, flicking its wings alternately when still. The flame robin's flight is fast, with a markedly undulating character.

The flame robin is territorial, defending its territory against other members of its species, and also against scarlet robins where they co-occur. In Nimmitabel in southern New South Wales, migratory flame robins invaded and eked out their territories from amid existing scarlet robin territories. Once settled, however, no species dominated over the other and stable boundaries emerged. The flame robin deploys a number of agonistic displays, including a breast-puffing display where it puffs its breast feathers, and a white spot display where it puffs its feathers to accentuate its frontal white spot, white wing markings or white outer tail feathers. They may also fly at intruders or sing to defend their territory.

Courtship and breeding

Several courtship behaviours have been recorded. Males have been recorded feeding females. A male flame robin either lands next to and moves a female off her perch, or flies in front of her. Courting males also run to and fro in front of a female, in a crouch with wings and head lowered, and hiding their breast feathers. In both displays, the male proceeds to chase the female. Pairs are generally monogamous, and remain together unless one bird perishes, although "divorces" have been recorded.

The breeding season is August to January with one or two broods raised. The male proposes suitable nest sites to the female by hopping around the area. Unlike other robins, the female sometimes initiates the site selection. A pair spends anywhere from one to five days looking before finding a suitable site. The female constructs the nest alone. Eucalypts are generally chosen, but birds have been recorded nesting in Pinus radiata on Mount Wellington in Tasmania. The flame robin is more versatile in its selection of nesting sites than other robins, and has even been recorded nesting in sheds.

The nest is a neat, deep cup made of soft dry grass, moss, and bark. Spider webs, feathers, and fur are used for binding/filling, generally in a tree fork or crevice, or cliff or riverbank ledge, typically within a few metres of the ground. The clutch generally numbers three or four dull white eggs, which are laid on consecutive days. They are tinted bluish, greyish or brownish, and splotched with dark grey-brown, and measure 18 mm x 14 mm. A field study in open eucalypt forest at Nimmitabel found that flame robins and scarlet robins chose different sites to breed, the former in tree hollows and bark crevices, most commonly of Eucalyptus viminalis around  off the ground, and the latter more commonly in forks or on branches of E. pauciflora  around  above the ground. Flame robins, which were migratory at the site, were more successful in raising young, but the success rate of scarlet robins in the area appeared to be poor compared with other sites.

Incubation has been recorded as averaging around 17 days. Like all passerines, the chicks are altricial; they are born blind and naked, and start to develop down on their heads on day two. Their eyes open around day six, and they begin developing their primary flight feathers around day nine or ten. For the first three days after hatching, the mother feeds the nestlings alone, with food brought to her by the father. The father feeds them directly from the fourth day onwards, with the mother brooding them afterwards until day seven. Flies, butterflies, moths, caterpillars, and beetles predominate in the food fed to the young birds. Flame robins fed a higher proportion of flying insects to their young at Nimmitabel than did scarlet robins, which may have been due to their later start to breeding. Both parents participate in removing faecal sacs from the nest. Parents have been observed feeding young up to five weeks after leaving the nest.

The fan-tailed cuckoo (Cacomantis flabelliformis) and pallid cuckoo (C. pallidus) have been recorded as brood parasites of the flame robin; female cuckoos lay their eggs in robin nests, which are then raised by the robins as their own. One fan-tailed cuckoo was recorded ejecting baby robins before being raised by its foster parents. Other nest predators recorded include the grey shrikethrush (Colluricincla harmonica), pied currawong (Strepera graculina), and eastern brown snake (Pseudonaja textilis).

Feeding
Like all Australasian robins, the flame robin is a perch and pounce hunter, mainly eating insects, and often returning to a favourite low perch several times to stand erect and motionless, scanning the leaf-litter for more prey. They are typically seen in pairs (during the spring and summer breeding season) or in loose companies in more open country during winter, when they more commonly feed on the ground. A field study in the Southern Tablelands of New South Wales found no significant difference in foraging behaviour between male and female flame robins. Birds have been recorded foraging for insects in furrows in freshly ploughed fields. In Deniliquin, a flame robin was observed holding one foot forward and pattering the ground repeatedly to disturb ground-dwelling insects, and then watching and snapping up any which emerged; this behaviour is otherwise seen in waders.

Compared with the scarlet robin, the flame robin eats a higher proportion of flying insects. Biologist, Doug Robinson, has proposed that scarcity of flying insects in winter is a reason why the flame robin migrates. They have been seen in  mixed-species flocks with other small insectivorous passerines, such as scarlet robins, hooded robins (Melanodryas cucullata), white-fronted chats (Epthianura albifrons), and Australian pipits (Anthus australis).

Among the types of insects consumed are many families of beetles, wasps, and ants, flies (families Tabanidae and Asilidae), bugs, and caterpillars. Other invertebrates eaten include spiders, millipedes and earthworms. The flame robin consumes small prey items whole, and bashes larger victims against a hard surface repeatedly to break up before eating. The latter group constitute only 0.5% of prey over time—seasonally varying from a peak of 1.8% in autumn to a low of 0.2% of prey caught in winter.

References

Cited texts

External links

 Flame robin videos, photos & sounds on the Internet Bird Collection

flame robin
Birds of New South Wales
Birds of South Australia
Birds of Tasmania
Birds of Victoria (state)
Endemic birds of Australia
flame robin
Articles containing video clips
Taxa named by John Gould

Flame robin


Svijet

Natjecanja

Svjetska natjecanja
 Od 15. rujna do 1. listopada – XXVII. Olimpijske igre – Sydney 2000.

Kontinentska natjecanja

Europska natjecanja
 Od 21. do 30. siječnja – Europsko prvenstvo u rukometu u Hrvatskoj: prvak Švedska
 Od 10. lipnja do 2. srpnja – Europsko prvenstvo u nogometu u Belgiji i Nizozemskoj: prvak Francuska

Osnivanja
 Newcastle United Jets FC, australski nogometni klub

Rekordi

Nagrade

Ostali događaji

Rođenja

Smrti

Hrvatska i u Hrvata

Natjecanja

Timski športovi

Pojedinačni športovi

Osnivanja

Rekordi

Nagrade

Ostali događaji

Rođenja

Smrti

Izvori

Vanjske poveznice

Šport u 2000.


Kulturno dobro svako je dobro od državnog interesa koje uživa državnu zaštitu. U širem smislu, kulturno dobro je kulturna baština koja pripada nekoj skupini ili društvu, tj. "nešto što ima i bit će očuvano kao kulturna vrijednost".

Kulturno dobro uključuje nepokretne ili pokretne materijalne predmete kao što je svjetska baština UNESCO-a ili dobra u skladu s međunarodnim komitetom Modri štit, a može biti i nematerijalna kulturna baština. Koncept "baštine" (francuski héritage za "nasljeđe") je krajem 18. stoljeća prvi uporabio Henri-Baptiste Grégoire, biskup Bloisa.

Kulturna dobra u Hrvatskoj
Prema Zakonu o zaštiti i očuvanju kulturnih dobara Republike Hrvatske, kulturna dobra i sva preventivno zaštićena dobra su nacionalno blago, a mogu biti:
 pokretne i nepokretne stvari od umjetničkoga, povijesnoga, paleonotološkoga, arheološkog i znanstvenog značenja,
 arheološka nalazišta i arheološke zone, krajolici i njihovi dijelovi koji svjedoče o čovjekovoj prisutnosti u prostoru, a imaju umjetničku, povijesnu i antropološku vrijednost,
 nematerijalni oblici i pojave čovjekova duhovnog stvaralaštva u prošlosti kao i dokumentacija i bibliografska baština i
 zgrade, odnosno prostori u kojima se trajno čuvaju ili izlažu kulturna dobra i dokumentacija o njima.

Svojstvo kulturnoga dobra, na temelju stručnog vrednovanja, utvrđuje Ministarstvo kulture rješenjem koje može donijeti bez prethodnog izjašnjavanja vlasnika i nositelja prava na kulturnom dobru.

Registar kulturnih dobara Republike Hrvatske javna je knjiga kulturnih dobara koju vodi Ministarstvo kulture. Sastoji se od tri liste: Liste zaštićenih kulturnih dobara, Liste kulturnih dobara nacionalnog značenja i Liste preventivno zaštićenih dobara.

Nepotpuni popisi zaštićenih dobara po hrvatskim županijama mogu se naći u kategoriji Zaštićeno kulturno dobro i na sljedećim stranicama:

 Popis dobara u Bjelovarsko-bilogorskoj županiji
 Popis dobara u Brodsko-posavskoj županiji
 Popis dobara u Dubrovačko-neretvanskoj županiji
 Popis dobara u Istarskoj županiji
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 Popis dobara u Požeško-slavonskoj županiji
 Popis dobara u Primorsko-goranskoj županiji
 Popis dobara u Sisačko-moslavačkoj  županiji
 Popis dobara u Splitsko-dalmatinskoj županiji
 Popis dobara u Šibensko-kninskoj županiji
 Popis dobara u Varaždinskoj županiji
 Popis dobara u Virovitičko-podravskoj županiji
 Popis dobara u Vukovarsko-srijemskoj županiji
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 Popis dobara u Zagrebačkoj županiji
 Popis dobara u Gradu Zagrebu

Izvori

Kulturno dobro


සිරිල් වික්‍රමගේ (උපත 1932 ජනවාරි 26), යනු ශ්‍රී ලංකා සිනමාවේ, වේදිකාවේ සහ රූපවාහිනියේ නළුවෙක් හා ගායකයෙකි. වික්‍රමගේ ප්‍රධාන වශයෙන් කලාත්මක සිංහල චිත්‍රපට සඳහා සහභාගී වීම සඳහා ප්‍රසිද්ධය. වේදිකා, සිනමාව, ටෙලිනාට්‍ය යන කලා මාධ්‍ය තුනේම චරිතාංග නළුවකු ලෙස රඟ පෑ වික්‍රමගේ වඩාත් කැපී පෙනුනේ බඹරු ඇවිත්, කරුමක්කාරයෝ, සෙයිලම සහ ධීවරි චිත්‍රපටවල නාට්‍යමය චරිත සඳහා ය.

Personal life
වික්‍රමගේ උපත ලැබුවේ 1932 ජනවාරි 26 වැනිදා ශ්‍රී ලංකාවේ කුරුණෑගල කොහිල ගෙදර ගම්මානයේය. ඔහුගේ පියා චාල්ස් වික්‍රම ගොවියෙකි. ඔහුගේ මව වෙල් විදානේගේ දියණියක වූ ලිඩියා විය. සිරිල් උපන්නේ සහෝදරයන් හතර දෙනෙකු සහ සහෝදරියන් හතර දෙනෙකුගෙන් යුත් පවුලේ පස්වන දරුවා ලෙස ය. ඔහුගේ පියා ගමේ සිටි නර්තන ශිල්පියෙක් සහ බෙර වාදකයෙක්. ඔහු මුලින්ම සැතපුම් 9ක් පයින් ගියේ ගැලවීමේ හමුදාව විසින් පවත්වාගෙන යනු ලබන පාසලකටය.

තරුණ වියේදීම යුද හමුදාවට බැඳුණත් පසුව 1954 දී පේරාදෙණිය විශ්වවිද්‍යාලයයෙන් ගුරු පුහුණුව ලැබූ ඔහු මේ කාලයේදී මහනුවර පොල්ගම්පොල සිරිල් පෙරේරාගේ කලායතනයට සංගීතය හැදෑරීමට සම්බන්ධ වී වයලීනය වාදනය කිරීමට ඉගෙන ගත්තේය. ගුරුවරයකු ලෙස වික්‍රමගේට රත්මලානේ බිහිරි පාසලේ තනතුරක් ලැබුණි. ශ්‍රී ජයවර්ධනපුර විශ්ව විද්‍යාලයේ ඩිප්ලෝමාව සම්පූර්ණ කරන අතරතුර වික්‍රමගේ රංගනයට යොමු විය. මේ කාලයේදී වික්‍රමගේට ජාතික ගුවන්විදුලි සංස්ථාවේ සේවය කළ වසර දෙකක පමණ කාලයක් වයලීනයේ දස්කම් දැක්වූ සෝමවංශ පට්ටිආරච්චි හමුවිය. මේ අතර ඔහුව කොළඹ වෙස්ලි විද්‍යාලයට මාරුකර යවා ඇත.

ඔහු විවාහ වී සිටින්නේ සංගීත අධ්‍යක්ෂක සහ චිත්‍රපට නළු වින්සන්ට් ප්‍රේමසිරිගේ සහෝදරිය වන විනිෆ්‍රෙඩා පෙරේරා සමඟයි. මෙම යුවළට පුතුන් දෙදෙනෙක්: චන්දන, ලක්ෂිත සහ වත්සලා, දිසාලා යන දියණියන් දෙදෙනෙකි.

Drama career
වෙස්ලි විද්‍යාලයේ අධ්‍යාපනය ලබන සමයේ ඔහුට එම පාසලේ නැටුම් ගුරුවරයා ලෙස සේවය කළ ශ්‍රී ජයනා හමුවිය. ඔවුන් එක්ව රණ තිසර මුද්‍රා නාට්‍යය නිෂ්පාදනය කළා. වික්‍රමගේ යම් කීර්තියක් අත්කර ගත්තේ ගුණසේන ගලපත්තිගේ මුහුදු පුත්තු වේදිකා නාට්‍යයේ මංගල රංගනය සමගයි. පසුව ඔහු දේවතා එළිය, කුවේණි, තවත් උදානක්, දවසක් වෙනවා, එලොව ගිහින් මෙලොව ආවා, කඩ වළල්ලු, පබාවතී, ලියතඹර, නටුක්කාරය, වෙස් මුහුද, අහසින් වැටුණු මිනිස්සු සහ ඉඩම යන වේදිකා නාට්‍යවල පෙනී සිටියේය. පබාවතී වේදිකා නාට්‍යයේ වික්‍රමගේ 'ඔක්කාක රජුගේ' චරිතය රඟපෑවේය.

සිසිර සේනාරත්න ගේ ආරාධනයෙන් වික්‍රමගේ 1965 වසරේ හඳපාන චිත්‍රපටයේ සහය චරිතයක් සමඟින් සිනමා නළුවෙකු ලෙස සිය මංගල දර්ශනය ආරම්භ කළේය. කෙසේ වෙතත් 1967 දී පෙරළිකාර සත් සමුදුර චිත්‍රපටයෙහි "ගුණදාසගේ" භූමිකාව සමඟ ඔහුගේ සැබෑ ඉදිරි ගමන සිදු විය. මෙම චිත්‍රපටය ශ්‍රී ලංකාවේ ඉමහත් ප්‍රශංසාවට ලක් වූ අතර 1968 සරසවිය චිත්‍රපට උළෙලේදි විවිධ සම්මාන රාශියකින් පිදුම් ලැබීය. වික්‍රමගේ 1960 දශකය ආරම්භ කළේ මොකද වුනේ කලාත්මක චිත්‍රපටය සහ ජනප්‍රිය බිනරමලී චිත්‍රපටය සමඟිනි. 60 දශකයේ අගභාගයේදී වික්‍රමගේ වසන්ත ඔබේසේකර සහ නිෂ්පාදක ආචාර්ය ලීනස් දිසානායක සමඟ සාර්ථක සහයෝගීතාවයක් ආරම්භ කළේය. 1970 වසරේ පළමු වසන්ත-සිරිල්-ලීනස් එක්වූ වෙස් ගත්තෝ චිත්‍රපටය තිරගත විය. ග්‍රාමීය තාරුණ්‍යය අතර විරසක භාවය වැනි ප්‍රශ්න සමඟ කටයුතු කරමින්, 1976 දී වල්මත් වූවෝ චිත්‍රපටය දිග හැරියේය. සිරිල් 1972 දී සිහින ලොවක් චිත්‍රපටයේ ඔහු ද රඟපෑවේය.

වික්‍රමගේ ධර්මසේන පතිරාජගේ ප්‍රියතමයෙක් වූ අතර, ඔහුගේ අහස් ගව්ව, එයා දැන් ලොකු ළමයෙක්, බඹරු ඇවිත්, සොල්දාදු උන්නැහේ ඇතුළු ඔහුගේ සෑම චිත්‍රපටයකම පාහේ පෙනී සිටියේය. විශේෂයෙන්ම 1978දී බඹරු ඇවිත් චිත්‍රපටයෙහි භූමිකාව වික්‍රමගේ රංගනයෙන් දායක වූ ජනප්‍රියතම චරිතය වේ. ඉන් පසු ඔහු 1980දී තිස්ස අබේසේකරයන් අධ්‍යක්ෂණය කළ කරුමක්කාරයෝ සහ 1985දී ධර්මසිරි බණ්ඩාරනායක අධ්‍යක්ෂණය කළ සුද්දිලගේ කතාව සදහා දායක විය. ඔහුගේ අනිකුත් ජනප්‍රිය චරිත ලෙස නුඹ නාදනා සෙනෙහෙලතා, පළිඟු මැණිකේ, අඩුකුලේ, මිහිකතාගේ දරුවෝ, සාප නොකරව් දරුවනේ, ගව්වෙන් ගව්ව, ඇල්ල ලග වලව්ව වැනි රූපවාහිනී කතාමාලා වල දැකිය හැක.

References

External links

මේ රට රැකගන්න නම් ජනාධිපතිතුමන් රැකගන්න ඕනෑ...

ශ්‍රී ලාංකික නළුවෝ
සිංහල ජනයා

සිරිල් වික්‍රමගේ


Ulandsfrivillig er en dokumentarfilm instrueret af Ole Gammeltoft efter manuskript af Ole Gammeltoft.

Handling
Filmen viser proceduren til udvælgelse af u-landsfrivillige. Det sker bl.a. ved samtale med psykologen Sten Hegeler. Fire frivillige udsendte interviewes: en lærer i Kenya, en sygeplejerske i Tanzania, en landmand i Kenya og en ingeniør i Tanzania. Gennem interviewene belyser filmen dels de lokale forhold, dels hvordan u-landshjælpen fungerer. Der er stof til diskussion om arbejdets mål og metoder.

Referencer

Eksterne henvisninger

Danske film fra 1967

Dokumentarfilm fra Danmark

Ulandsfrivillig


Inis Dairgreann o la Isla de Ram (en inglés: Ram's Island) es una isla que se encuentra aproximadamente a una milla de la costa de la bahía de Lennymore y la Bahía de Sandy en la costa oriental del lago Neagh, en Irlanda del Norte, en la parte septentrional del Reino Unido.

Se trata de una isla de casi una milla de largo por un cuarto de milla de ancho siendo la mayor isla en el Lago Neagh.  Las características notables de la isla son una torre redonda y las ruinas de la casa de Verano de los O'Neill del .

La isla permaneció permanentemente habitada en los años 20 por la familia Cardwell que cuidaba el espacio por encargo para la familia O'Neills. También tiene una colección única de árboles antiguos y los restos de un establecimiento monástico antiguo incluyendo la llamada torre redonda.

La Isla jugó un papel durante la Segunda Guerra Mundial, como una base de la Real Fuerza Aérea Británica (RAF Sandy Bay), utilizando el refugio ofrecido por la Isla gracias a los vientos del oeste.

Véase también
Islas Copeland
Isla Derrywarragh

Referencias

Enlaces externos

Archipiélagos e islas de Irlanda del Norte
Islas lacustres

Inis Dairgreann


ماريو ماغنوزي (Mario Magnozzi) ، (ليفورنو، 20 مارس 1902 - ليفورنو، 25 يونيو 1971) لاعب كرة قدم مهاجم و مدرب كرة قدم إيطالي . بدأ مسيرته كلاعب كرة قدم في
نادي ليفورنو ، و انتقل عام 1930 إلى نادي إيه سي ميلان و لعب 97 مباراة من عام 1930 إلى عام 1933 ، ثم رجع مرة أخرى إلى نادي ليفورنو و لعب لموسمين قبل أن يعتزل في عام 1935 ،و اتجه بعدها للتدريب فدرب إيه سي ميلان من 1941 إلى 1943. و توفي عام 1971.

مراجع

وصلات خارجية

مهاجمو كرة قدم رجالية
إيطاليون فازوا بالميدالية البرونزية الأولمبية
حائزون على ميداليات في الألعاب الأولمبية الصيفية 1928
حاصلون على ميداليات أولمبية في كرة القدم
رياضيون من ليفورنو
كباتن إيه سي ميلان
لاعبو الدوري الإيطالي
لاعبو الدوري الإيطالي الدرجة الثانية
لاعبو إيه سي ميلان
لاعبو كرة قدم إيطاليون
لاعبو كرة قدم إيطاليون أولمبيون
لاعبو كرة قدم في الألعاب الأولمبية الصيفية 1924
لاعبو كرة قدم في الألعاب الأولمبية الصيفية 1928
لاعبو كرة قدم من توسكانا
لاعبو منتخب إيطاليا لكرة القدم
لاعبو نادي ليفورنو
مدربو أيك أثينا
مدربو الدوري الإيطالي
مدربو إيه سي ميلان
مدربو كرة قدم إيطاليون
مدربو نادي ليتشي
مواليد 1902
مواليد في ليفورنو
وفيات 1971
وفيات في ليفورنو
لاعبو كرة قدم من ليفورنو

ماريو ماغنوزي


Hornhlynur (fræðiheiti: Acer diabolicum) er runni eða lítið lauftré af ættkvísl hlyna (Acer) sem er einlent í Japan (Honshu, Shikoku og Kyushu).  Hann getur orðið 10 til 20 m hár.

Tilvísanir

Hlynir

Hornhlynur


Messidor es un "drama lírico" operístico en cuatro actos con música de Alfred Bruneau y libreto en francés de Émile Zola. La ópera se estrenó el 19 de febrero de 1897 en el Palais Garnier de París. La ópera toma su nombre del décimo mes del calendario republicano francés.

Personajes

Referencias

Enlaces externos

Óperas de Alfred Bruneau
Óperas de 1897
Óperas en francés
Óperas estrenadas en París

Messidor (ópera)


Michał Żewłakow (, n. 22 aprilie 1976) este un fost fotbalist polonez care a jucat pe postul de fundaș. A fost căpitanul echipei naționale de fotbal a Poloniei, fiind cel mai selecționat jucător al ei cu 102 meciuri.

Cariera

Tineret
Născut în Varșovia, în aprilie 1976, Żewłakow a petrecut opt ani la Polonia Varșovia și a intrat în prima echipă în 1996-97.

Belgia
El a fost împrumutat în Belgia, la KSK Beveren, în octombrie 1998, care l-a vândut la pachet, împreună cu fratele său geamăn, Marcin la R. Excelsior Mouscron pentru 485 000 €. Żewłakow a devenit un jucător-cheie, ajutându-și clubul să ajungă în finala Cupei Belgiei din 2002.

RSC Anderlecht
După ce l-a urmat pe antrenorul Hugo Broos la RSC Anderlecht, în al doilea său sezon la belgieni a debutat în UEFA Champions League după ce Andrelcht a recâștigat titlul în Belgia. Sezonul următor și-a pierdut locul de titular, dar și l-a recăpătat în sezonul 2005-06, în care Anderlecht a câștigat din nou campionatul.

Olympiacos
În vara anului 2006 a ajuns la Olympiacos din postura de jucător liber de contract.

Ankaragücü
La sfârșitul sezonului 2009-10, Olympiacos i-a oferit un salariu mai mic, așa că a preferat să nu își reînnoiască contractul. Pe 16 iunie 2010 a semnat cu Ankaragücü tot din postura de jucător liber de contract.

Legia Varșovia
În iunie 2011 a ajuns la clubul polonez Legia Varșovia, semnând un contract pe un an.

La națională
Fiind prima alegere pe postul de fundaș stânga în meciurile de calificare pentru Campionatul Mondial din 2002, Żewłakow a fost singurul jucător care a apărut în toate cele zece meciuri de calificare. El a jucat în două meciuri de la Campionatul Mondial din 2002 și a fost titular în calificările pentru UEFA EURO 2004 și cele pentru Campionatul Mondial din 2006, jucând de trei ori la turneul final care a avut loc în Germania.

Familia
Michał Żewłakow are un frate geamăn, Marcin, care joacă pentru GKS Bełchatów pe postul atacant. Ei au devenit primii gemeni care au jucat vreodată împreună pentru Polonia, fiind titulari în meciul cu Franța din februarie 2000 și colegi de lot la Campionatul Mondial din 2002.

Titluri
RSC Anderlecht
 Prima Ligă Belgiană: 2003-04, 2005-06
Olympiacos FC
 Superliga Greacă: 2007, 2008, 2009
 Cupa Greciei: 2008, 2009
 Supercupa Greciei: 2007
Legia Varșovia
 Campionatul Polonez (Ekstraklasa): 2012-13
 Cupa Poloniei (2): 2012, 2013

Note

Legături externe

 Echipa națională de statistici  pe site-ul Asociației Poloneze de Fotbal (poloneză)

Nașteri în 1976
FIFA Century Club
Fotbaliști ai Campionatului Mondial de Fotbal 2002
Fotbaliști ai Campionatului Mondial de Fotbal 2006
Fotbaliști internaționali polonezi
Gemeni sportivi
Sportivi polonezi în viață

Michał Żewłakow


Goldbach ist ein Ortsteil der Landgemeinde Ilmtal-Weinstraße im Landkreis Weimarer Land in Thüringen.

Lage
Goldbach liegt im Städtedreieck Weimar, Apolda und Buttstädt östlich von Liebstedt im Südosten des Thüringer Beckens in einer flachen Talmulde des Kleinen Ettersberges.

Geschichte
1124 wurde die urkundliche Ersterwähnung dieses Ortsteils im Urkundenbuch Erzbist. Magdeburg 210 eingetragen. Der landwirtschaftlich geprägte Ort besitzt einen Pferdehof. Bis zum 31. Dezember 2013 gehörte Goldbach jahrzehntelang zur Gemeinde Liebstedt, zu diesem Datum wurde es aus der Gemeinde ausgegliedert, weil die Verwaltungsgemeinschaft Ilmtal-Weinstraße in die Landgemeinde Ilmtal-Weinstraße überging. Goldbach erhielt wieder Ortsteilstatus.

Einzelnachweise

Weblinks

Ort im Landkreis Weimarer Land
Geographie (Ilmtal-Weinstraße)
Ersterwähnung 1124
Ehemalige Gemeinde (Landkreis Weimarer Land)
Gemeindeauflösung 1974

Goldbach (Ilmtal-Weinstraße)


Branko Lukšić (Punta Arenas, Čile,  – na Kleku kod Ogulina, 11. svibnja ), hrvatski planinar i planinarski dužnosnik.

Životopis
Rodio se je u Punta Arenasu. U Hrvatsku, domovinu svojih predaka došao je poslije Drugoga svjetskog rata. Upisao je studij ekonomije du Zagrebu. Učlanio se u SPD Velebit, uskoro ušao u upravu i bio referent za propagandu i član Alpinističkog odsjeka. Djelovao je i kao pročelnik Komisije za alpinizam Planinarskog saveza Hrvatske te organizirao brojne alpinističke akcije. Među poznatim kolegama iz društva s kojima se je penjao po gorjima bio je Branko Lustig. Intenzivno se je Lukšić penjao na Kozjaku, u Kamniškim i Julijskim Alpama, na Velebitu, Biokovu i Prokletijama. Prvi prvenstveni smjer ispenjao je na Durmitoru je u Savinom kuku. Godine 1955. ostvario je veliki uspjeh hrvatskog planinarstva, kad se je u navezu s Ervinom Hanzerom popeo na smjeru u sjevernim Alpama Aschenbrenneru koji je u granicama ljudskih mogućnosti. Dana 11. svibnja 1958. u navezu sa Zvonimirom Lidenbachom smrtno je stradao na svom 130. usponu na Kleku. Pokopan je u obiteljskoj grobnici u Sutivanu.

Priznanja
 Njemu u spomen prijatelji iz kluba nazvali su Brankovim smjerom jedan zahtjevni smjer koji su ispenjali 1960. godine.
 Na Kleku mu je ime upisano na spomen obilježje poginulim hrvatskim planinarima.
 U Ogulinu mu je ime upisano na spomen obilježje poginulim hrvatskim planinarima.
 Splitski HPD Mosor nazvao je 1958. svoju planinarsku kuću na Vidovoj gori njegovim imenom. Objekt je srušen 1972., no spomen-ploča je sačuvana i uzidana u zapadni zid ugostiteljskog objekta podignuta nedaleko od te planinarske kuće.

Izvori

Hrvati u Čileu
Hrvatski planinari

Branko Lukšić


Monarşi ya da tek erklik, bir hükümdarın devlet başkanı olduğu bir yönetim biçimidir. Saltanatın bir başka adıdır. Genellikle seçim dışı yöntemler kullanılır. Bu hükümdar, Türkçede kral, imparator, şah, padişah, prens, emir, kağan, hakan, han gibi çeşitli adlar alabilir. Monarşiyi diğer yönetim biçimlerinden ayıran en önemli özellik, devlet başkanının bu yetkiyi yaşamı boyunca elinde bulundurmasıdır. Hükümdar öldükten sonra onun soyundan biri gelir (oğlu, kızı, kardeşi gibi). Yani yetki genellikle babadan oğula geçer. Demokrasilerde ise devlet başkanı seçimle işbaşına gelir. "Monarşi" sözcüğü Türkçeye Fransızcadan (Monarchie) geçmiştir. Cezalandırma ve bağışlama yetkileri sadece hükümdarın elindedir.
Otoritenin bir kralın veya bir imparatorun elinde olduğu yönetim türüdür.

Etimolojik anlamına bakılırsa monarşi bir kişinin yönettiği bir devlet düzenidir. Bu terim, iktidarın aynı soyda kaldığı, monarşinin en yaygın şekli olan kalıtsal monarşiyi de tanımlamakta kullanılabilir. Bununla birlikte, seçimli monarşiler de vardır.

Monarşi, yüzyıllar boyu, dünyada en yaygın yönetim biçimiydi. Bunlar çoğu zaman, geleneksel tanıma en yakın, tanrısal hakka dayanan monarşilerdi: prens, iktidarı tek başına elinde tutardı ve Tanrı'dan başka kimseye hesap vermek zorunda değildi, çünkü otoritesini Tanrı'dan aldığına inanılıyordu. Aslında, bu tip yönetim hiçbir zaman tam anlamıyla uygulanamadı. Gerçekten, en müstebit hükümdarlar bile, uyruklarının bazılarını (zengin ve güçlü soylular, etkili din adamları gibi) kollamak zorundaydılar; üstelik ulaşım ve haberleşme araçlarının yavaşlığı da onları, uzak bölgelerdeki topraklarını başkaları eliyle yönetmeye zorluyordu. Bununla birlikte otorite, kralın veya danışmanlarının elinde toplanmıştı ve halk alınan kararlara karışamıyordu.

Birçok ülkede toplumsal ve siyasal gelişim, özellikle XVIII. yüzyıl sonlarında, Meşrutîyet adı verilen yeni bir tür monarşinin doğmasına yol açtı: buna göre hükümdarın yetkileri, yazılı bir anayasa ile tanımlandı ve sınırlandı. Bu monarşi genellikle parlamenterdir ve demokratik bir rejimdir: kral, devletin simgesi olarak kalır, ancak yürütme yetkisini bir hükûmete bırakır. Hükûmet de halk tarafından seçilmiş bir millet meclisinin kararlarına uymak zorundadır. Söz gelimi Hollanda, Danimarka, Birleşik Krallık, İspanya, İsveç, Japonya ve Belçika'da bugünkü durum böyledir.

Antik monarşi
Tüm toplumlar, tarihlerinin şu veya bu evresinde monarşiyi yaşamış ve ona kutsal bir nitelik vermiştir. Her eylemin bir ayin görünümüne büründüğü kalıcı bir dini ortam içinde yaşanılan bir dünyada, kral, ancak tanrının (İbranilerde) veya tanrıların seçtiği bir kişi, hatta mısır firavunları gibi tanrının kendisi de olabilirdi. Monarşilerin bu ağırlıklı dini niteliği bu yönetim biçiminin ortadan kalkmasından sonra bile varlığını korudu: Mesela, Atina'da demokratik dönem içinde, yargıç kral, sitenin tüm dini hayatını denetimi altında tutuyordu. Tanrılar ve insanlar arasında aracılık görevini üstlenen hükümdar, kendisini destekleyenlerin ve iktidarını kabul ettirmek için gerekli olan kişilerin gücünün, kendi iktidarını sınırladığını görüyordu. Mısır'da kral, defalarca rahiplerin engellemesiyle karşılaştı ve onlarla uzlaşmak zorunda kaldı; yine mikenai dönemi Yunanistan'ında krallık gücü, ayrıntılı ve bürokratik bir saray yönetimine dayanıyordu. Kral, aynı zamanda ordunun başıydı ve savaşlarda kendine eşlik eden savaşçılar sınıfını göz önünde bulundurmak zorundaydı.

Monarşilerin en mutlak nitelik kazandığı ve en uzun süre varlığını koruduğu bölgeler, tarımın sulamaya dayandığı ve karmaşık bir örgütlenme gerektirdiği yerlerdi (Nil Vadisi ve Mezopotamya deltası). Atina, Sparta veya Roma gibi başka yerlerde, oligarşi kısa süre içinde kralın yetkisi yerine kendi yetkisini kabul ettirdi. Bununla birlikte, İskender'in fethi sonucunda, Yunanistan'da doğu monarşilerinin kutsal niteliğinden geniş ölçüde esinlenen bir monarşi türü ortaya çıktı.

Modern monarşi

Kıta Avrupası'nda monarşi, Fransız İhtilali'ne kadar sürmüştür. 1789 Fransız İhtilalinden günümüze kadar olan süreçte modern devlet anlayışının ikinci aşaması yaşanmıştır. Bu aşamada egemenlik topluma verilmiştir. Egemenliğin yetkilerinin sınırlı olarak kullanılması gerektiğinin düşünülmesi gibi gelişmelerin yaşanmasının ardından, mutlak egemenlikten farklı olarak sınırlı bir egemenlik ortaya çıkmıştır. Egemenliğin sınırlandırıldığı dönemin siyasal iktidar tipi ulus devlet olmuştur.

Rönesans'ın etkisiyle 16. yy başlarından itibaren toplumların sosyal, ekonomik ve kültürel ölçüleri değişikliğe uğramaya başlamıştır. Bu dönemde  kent uygarlığının gelişmesi ve açık ekonomi düzenine geçilmesiyle sermaye, ulusal alanda ağırlığını daha fazla duyurmuştu. Burjuvazi sınıfı, niteliğini değiştirme ve üretken bir sınıf olma yolunda ilerlemekteydi. Ticarete ve el sanatlarına dayalı sermaye, giderek artış göstermekteydi. Ticaret burjuvazisinin korunması gerektiğini düşünen dönemin kralları, ticareti içte ve dışta korumaya yönelik önlemler alma yoluna girdiler. Ekonomiye egemen olan burjuvazi sınıfı, tüm yetkilerin kralda toplanmasıyla kazancını her bakımdan garantiye alabilecekleri düşüncesini taşımaktaydılar. Ayrıca kilise de kralın yönetimine girdi ve yönetimdeki ağırlığı ciddi oranda bir kayba uğramış oldu. Burada krallığın burjuvazi sınıfıyla kolaylıkla uyuşmasının bir nedeni de soylularla olan ve kökleri tarihte çok eskilere dayanan bir anlaşmazlık içinde oluşlarıdır. Krallar ve soylular tüm tarih boyunca birbirlerinin yetkilerini sınırlandırmak için uğraş vermişlerdir. Bu iki taraf arasındaki çatışmanın bir örneği de Magna Carta olarak gösterilebilir. "Özgürlük" terimi burjuvazi sınıfının temel statüsü haline gelecektir. Yeni dönem hukuku, genellik ve kesinlik karakterine sahip "modern" bir hukuk olacaktır.

Niccolò Machiavelli'ye göre; ahlakın kökenini toplum oluşturmaktadır. İnsanı evrensel bencil olarak tanımlamaktadır. Prensi ahlak dışı tutar ve toplumda düzeni sağlayacağına inanır. Ahlakın temel ilkesinin sevgi olduğu görüşündedir. Din, birleştirici olmalıdır. Bunun için de din, devlete bağlı durumda olmalıdır. Machiavelli, bu şekilde laikliği gerçekleştirmiş olur.

Jean Bodin ise, vicdan özgürlüğünü savunur. Machiavelli ile ortak yönleri; dinsel hoşgörüyü ülkenin düzeni için bir araç olarak görüyor oluşudur. Bodin'e göre kral, Tanrının vekili konumundadır ve gücünü ondan alır. Farklı dinlerde insanların birbirlerine hoşgörüyle yaklaşımında din birliğinin sağlanabileceği görüşündedir.

Thomas Hobbes da Machiavelli gibi kiliseyi devlete bağımlı kılar. Aslında hepsinin amacı; barış ve birliğin korunmasıdır. Fakat bu amaca, Bodin hoşgörüyle ulaşmayı amaçlarken Machiavelli ve Hobbes toplumu güderek ve zor kullanılarak bu ulaşmayı amaçlar. Üç düşünürün de benimseyip savunduğu yönetim biçimi mutlak egemenliktir. Üçü de görüşlerinde objektif ve tarihsel bir metot kullanmıştır.

Osmanlı monarşisi
Osmanlı Saltanatı veya Padişahlık, Osmanlı İmparatorluğu döneminde kullanılan monarşiye verilen addır. Yönetim şekli Osmanlı Hanedanı mensubu padişahın görünüşte mutlak egemen olmasına dayalıdır.

Saltanatın bazı dönemlerinde, padişahın yetkin olmamasından dolayı, Haseki sultanlar veya Valide sultanlar (hatta Mihrimah Sultan örneğinde görüldüğü gibi, padişah kızı) devlet yönetimine müdahale etmişler, hatta zaman zaman bizzat devleti yönetmişlerdir. Bu dönem Kadınlar saltanatı olarak bilinir. Dönem büyük ölçüde Osmanlı İmparatorluğu'nun duraklama dönemine denk gelir. Kanuni Sultan Süleyman'ın yaşlılık döneminde (1550 civarı) başlamış, 1656 yılında Köprülü Mehmed Paşa'nın sadrazam oluşuna kadar devam etmiştir.

Saltanatın sınırlanması
1876 yılında II. Abdülhamid tarafından Birinci Meşrutiyet ilan edildi. 3 Ocak 1877'de Osmanlı'da ilk seçim yapıldı. Rusya'da bundan memnun değildi. 20 Nisan 1877'de Rusya, Osmanlı Devleti'ne savaş ilan etti. Savaştan dolayı II. Abdülhamid 13 Şubat 1878'de parlamentoyu feshetti. 30 yıl askıda kalmasından sonra yine İkinci Meşrutiyet ilan edildi. Bununla birlikte Osmanlılar Trablusgarp Savaşı ve I. Dünya Savaşı'nda savaştı. Osmanlı'nın I. Dünya Savaşı'nda yenilmesiyle Meclis-i Mebusan 23 Nisan 1920'ya kadar açık kaldı. 28 Ocak 1920'de Son Osmanlı Meclisi Misak-ı Milli'yi kabul etti. 23 Nisan 1920'de yerini Türkiye Büyük Millet Meclisi'ne bırakmıştır.

Saltanatın kaldırılması

Saltanat, Türkiye Büyük Millet Meclisi (TBMM)'nin 1 Kasım 1922'de kabul ettiği "Osmanlı İmparatorluğu'nun münkariz olduğuna dair" 308 numaralı kararname ile kaldırılmıştır. Kararname, ilga hükmünü geriye yürüterek "İstanbul'daki şekl-i hükûmetin 16 Mart 1336 (1920)'de tarihe intikal ettiğini" bildirmiştir. Saltanatın kaldırılmasıyla Türk tarihinin en uzun ömürlü devleti olan Osmanlı Devleti'nin 623 yıllık yaşantısı resmen sona ermiştir. 17 Kasım 1922'de son Padişah VI. Mehmed Vahdettin, Osmanlı'nın sonu olduğunu anlamış ve tahtından çekildiğini açıklamıştır. Aynı zamanda TBMM'ye de tahtından çekildiğini bildirmiştir. Saltanatın kaldırılmasının ardından Türkiye Cumhuriyeti kurulmuştur.

Ayrıca bakınız
Veraset yasası

Kaynakça

Monarşi
Yönetim biçimleri
Siyasi sistemler
Otorite unvanları

Monarşi


Xantina (3,7-dihidropurin-2,6-dionă) este o bază purinică întâlnită în marea majoritate a țesuturilor și fluidelor organismelor. Există multe stimulente derivate de la xantine, precum cofeina și teobromina.

Biosinteză
Xantina este implicată într-o cale metabolică, a purinei, mai exact fiind un compus intermediar în cadrul degradării adenozinmonofosfatului în acid uric. Se obține din guanină (cu guanin-deaminază), hipoxantină (prin oxidare, cu xantin-oxidoreductază) și xantozină (cu fosforilază).

Proprietăți
Xantina este transformată în acid uric în urma acțiunii enzimei numite xantin-oxidază.

Importanță clinică
Derivații de xantină (de obicei denumiți xantine sau alcaloizi xantinici) reprezintă un grup de alcaloizi utilizați pentru efectele lor de stimulente ușoare și bronhodilatatori, în special în tratamentul simptomelor astmului bronșic.

Xantinele metilate (metilxantinele), printre care se numără cofeina, aminofilina, paraxantina, pentoxifilina, teobromina și teofilina, au efect nu numai asupra căilor aeriene, dar stimulează ritmul cardiac, forța de contracție a miocardului și pot produce aritmii cardiace în concentrații mari. În doze mari, pot induce convulsii. Metilxantinele sunt metabolizate de citocrom P450 în ficat.

Vezi și
 Hipoxantină

Note

Xantine

Xantină


La Loggia de Raphaël est une salle au deuxième étage du palais du Vatican à Rome, à la limite des Chambres de Raphaël, qui fait partie du complexe des Loges de Raphaël. Elle est célèbre pour un cycle de fresques de l'école de Raphaël reproduisant des décors aux histoires bibliques et des grotesques, datables entre fin 1517 ou 1518 et 1519.

Une deuxième loggia, déjà décorée de fresques par Raphaël et ses assistants, est la soi-disant Prima Loggia, au rez-de-chaussée (entièrement repeinte par Alessandro Mantovani dans la seconde moitié du ) ; une troisième est la Loggetta du cardinal Bibbiena, au troisième étage. Les trois loggias, donnant sur la cour San Damaso, forment le complexe des Loges de Raphaël ou Loges vaticanes.

Histoire

La façade du palais de Nicolas III sur le cortile di San Damaso a été aménagée par Bramante sous Jules II et poursuivie, du point de vue de la surintendance des travaux architecturaux, par Raphaël lui-même à l'époque de Léon X. Le pape Médicis, confirmant alors la faveur envers Raphaël et ses élèves, leur confie également le décor de stucs et de fresques qui doit s'inspirer de la Domus aurea, dont un extraordinaire essai de reconstitution archéologique avait déjà été présenté dans la Stufetta du cardinal Bibbiena (1516), au troisième étage de l'édifice.

Raphaël se limite à concevoir la décoration en général, à superviser les travaux et à parfois fournir les dessins des « petites histoires ». Toutefois, l'organisation des voûtes, symétriques autour du centre qui correspond à la septième voûte, porte la marque de son esprit structuré. Selon Giorgio Vasari, Raphaël aurait exécuté les esquisses de la plupart des épisodes bibliques, sinon de tous. Il ne subsiste aujourd'hui d'une esquisse à la pierre noire de David et Goliath, qui représente trois figures dessinées d'après des modèles posant dans leurs vêtement d'atelier (Vienne, Albertina (musée), inv. 178). Raphaël devait esquisser les figures de base et un assistant (habituellement Giovan Francesco Penni) les élaborait pour faire des modelli, généralement au lavis avec des rehauts de blanc sur un tracé de sanguine. Un seul modello, celui pour les Tables de la Loi, révèle une telle variété de style et une telle énergie, contenant des repentirs importants, est attribué à Raphaël lui même.

Giorgio Vasari désigne Giovanni da Udine, décorateur principal, Jules Romain, Giovan Francesco Penni, Tommaso Vincidor de Bologne, Vincenzo Tamagni, Perin del Vaga, Pellegrino Aretusi, Polidoro da Caravaggio « et de nombreux autres peintres » parmi les participants à l'entreprise. Toujours selon Vasari, l'entreprise constitue un véritable centre de recrutement pour les jeunes peintres, qui peuvent y acquérir une première expérience. L'un d'eaux est Perin del Vaga qui perfectionne ses talents de stucateur sous la houlette de Giovanni da Udine, et dont il subsiste au moins une esquisse préparatoire pour un groupe mineur figurant sur un pilastre (Édimbourg, Galerie nationale d'Écosse, D 644). Un autre est Polidoro da Caravaggio, qui va dominer la décoration des façades à Rome dans la période comprise entre la mort de Raphaël et le Sac de Rome. Il aurait commencé comme peintre plâtrier dans la loggia, mais, ses talents ayant été rapidement repérés, il travaille bientôt aux fresques. Ses premiers dessins laissent penser que sa carrière de dessinateur commence aussi avec les modelli de Penni, qui est en quelque sorte le maître d'œuvre des fresques de la voûte. Le projet faisant appel à un grand nombre de jeunes artistes, Raphaël doit assumer des fonctions d'entrepreneur, de recruteur de talent et de maître d'ouvrage délégué ; il joue certainement un grand rôle en conseillant les mécènes sur le choix des peintres.

Presque tous les grotesques sont unanimement attribués à Giovanni da Udine et Perin del Vaga ; le premier devait également s'occuper des stucs, qu'il réalisa selon Vasari avec la technique du « vero stucco antico » (« vrai stuc ancien »), qu'il « redécouvrit », et qui impliquait l'utilisation de poudre « du marbre le plus blanc que l'on puisse trouver » avec « chaux de travertin blanc ».

Pour ce qui est de la datation du décor, 1513, année que l'on peut lire sous un stuc Victoire à gauche de la fenêtre du douzième arc, paraît inacceptable comme date de début des travaux : il s'agit plutôt d'un rappel de l'année d'élection de Léon X. La décoration a dû commencer entre la fin de 1517 et 1518, et s'achever en un temps record dans les premiers mois de 1519 : le 11 juin, un ordre de paiement fut en effet enregistré en faveur des « garçons qui peignirent la Loggia » ; en outre, deux lettres cette année-là, une de Marcantonio Michiel à un correspondant vénitien (datée du 4 mai) et une de Baldassare Castiglione à Isabelle d'Este (du 16 juin), annoncent l'achèvement des travaux.

Les fresques ont été endommagées par les intempéries du fait l'architecture ouverte de la loggia, jusqu'à ce que dans la seconde moitié du , il soit décidé de la fermer avec des vitres. De nombreuses restaurations se sont succédé au fil des siècles, ce qui a encore compromis la fraîcheur de l'original, visible entre autres dans les piliers de l'arc du fond, où en 1952, les grotesques d'origine ont été redécouverts, protégés par un mur de clôture construit à l'époque de Paul III, vingt-trente ans seulement après leur achèvement.

Ce décor, une version amplifiée de  la Loggetta du cardinal Bibbiena, aura une influence considérable sur les projets décoratifs en Europe. Selon Antonio Paolucci, historien de l'art et directeur des Musées du Vatican, « Raphaël est sans aucun doute le plus grand peintre du deuxième millénaire, et la Loggia est son héritage le plus important ». Il existe une reproduction fidèle de la Loggia au Palais d'Hiver du Musée de l'Ermitage à Saint-Pétersbourg, commandée par la tsarine Catherine II.

Certains épisodes donneront lieu à des gravures et cette « Bible de Raphaël » fournira pour les trois siècles suivants tout un répertoire d'illustrations de la Bible qui doivent une partie de leur clarté et de leur lisibilité au style des cartons de tapisserie, nécessaires puisqu'elles devaient être vues de plusieurs mètres en dessous. Nicolas Poussin a été l'un des peintres les plus inspirés par ces images.

Description et style
La Loggia s'étend sur tout le côté est, sur une longueur d'environ 65 mètres et sur une largeur d'environ quatre mètres. Elle est divisée en treize petites travées couvertes par une voûte en arc-de-cloître. On y trouve un riche éventail d'ornements en stuc, de spécimens de flore et de faune peints, et, dans les voûtes, cinquante-deux épisodes de la Bible, quarante-huit de l'Ancien Testament et quatre du Nouveau Testament, complétés à la base des murs par d'autres scènes bibliques imitant des bas-reliefs en bronze

Piliers et murs
Tous les piliers et les murs du côté fermé ont une décoration en stuc et fresque avec des grotesques, dont les figures sont liées principalement à des thèmes mythologiques ; certaines reproduisent des œuvres d'art célèbres, telles que le Torse du Belvédère, le Saint Georges et la Giona de Lorenzo Lotti dans la chapelle Chigi, peut-être sculptée d'après un dessin de Raphaël lui-même ; d'autres encore sont liées à des événements contemporains du pape et de sa cour : Léon X donnant la bénédiction à un prélat sous les Loges, lÉléphant Hanno, etc..

Au fond court un socle monochrome, qui reprend des thèmes bibliques, qui selon Vasari se réfèrent tous à Perin del Vaga.

Voûtes
Sous chaque voûte, il y a quatre « histoires » à fresque entourées de cadres en stuc de formes variées (hexagonales, rectangulaires ou nervurées), tandis qu'aux angles se trouvent des grotesques ou des décorations architecturales ; des armoiries se trouvent au centre des voûtes : dans celle centrale, l'emblème du pape Léon X avec les clés de  saint Pierre, et dans toutes les autres, des victoires ou des génies du jeu, l'insigne personnel de Giovanni de' Medici avant de devenir pape.

Les douze premières voûtes présentent des récits de l'Ancien Testament, la dernière du Nouveau Testament : la richesse des scènes a fait que l'ensemble est appelé la « Bible de Raphaël ».

Première voûte

La première voûte est ornée de quatre Histoires de la Genèse dans des cadres hexagonaux : Création de la lumière, Séparation de la terre des eaux, Création du soleil et de la lune et Création des animaux. Le maillage avec des figures de petits anges est attribué par Fritz Fischer à la main de Raphaël, tandis que les Histoires sont généralement rapportées à Penni d'après un dessin de Jules Romain, même si le nom de Giovanni da Udine a été mentionné pour les animaux (parmi lesquels un éléphant et un rhinocéros, cadeaux exotiques des sultans du Moyen-Orient aux cours italiennes) et celui de Polidoro da Caravaggio pour les paysages. Gamba attribue la scène de la Séparation de la terre des eaux à Raphaël, qui aurait voulu donner le ton à toute la décoration.

Dans ces scènes, les références aux Histoires de la Genèse de Michel-Ange au plafond de la chapelle Sixtine sont évidentes.

Deuxième voûte
La deuxième voûte présente les Histoires d'Adam et Ève, de forme rectangulaire : Création d'Ève, Péché originel, Expulsion du paradis et Travail des ancêtres (très abîmée). La tendance dominante est de les référer à Penni assisté de Giulio Romano. Dans ce cas également, les références à  Michel-Ange sont évidentes, tandis que la scène de lExpulsion apparaît assez fidèlement inspirée par la scène analogue d'Adam et Ève chassés de l'Éden (Masaccio) dans la chapelle Brancacci.

Le monochrome du socle a été perdu, mais d'après les reproductions faites par Bartoli, il ressort qu'y étaient représentés Caïn et Abel agenouillés devant les autels, l'Éternel qui s'adresse à Abel et Caïn qui tue Abel.

Troisième voûte

La troisième voûte montre les Histoires de Noé, de forme rectangulaire : La Construction de l'Arche, Le Déluge, La Sortie de l'Arche (fortement endommagé) et Le Sacrifice de Noé. Ces scènes aussi sont principalement attribuées à Penni, avec une possible intervention plus substantielle de Jules  Romain dans le Déluge.

Dans le socle, figure L'Arc-en-ciel après le déluge.

Quatrième voûte
La quatrième voûte contient les Histoires d'Abraham et de Loth, de forme incurvée, diversement attribuées à Giovan Francesco Penni, Jules Romain ou Perin del Vaga. Les histoires sont : Abraham et Melchisédech, La Promesse de Dieu, La Rencontre avec les anges et  La Fuite de Sodome.

Dans la base, le Sacrifice d'Isaac est en monochrome, auquel Giovanni Battista Cavalcaselle fait référence à une idée de Raphaël lui-même.

Cinquième voûte

Les Histoires d'Isaac occupent la cinquième voûte, peut-être exécutée par Penni d'après un dessin de Giulio Romano, mais certains attribuent toute la première histoire à ce dernier, tandis que d'autres émettent également l'hypothèse d'une intervention de Perin del Vaga. Les histoires, de forme rectangulaire, sont : Dieu apparaissant à Isaac, Isaac et Rebecca espionnés par Abimelech, La Bénédiction de Jacob et Le Droit d'aînesse d'Ésaü.

Dans la scène monochrome, le Le Sacrifice d'Isaac est reproduit à nouveau, très probablement une erreur des assistants qui ont reproduit le même dessin.

Sixième voûte

La sixième voûte est consacrée aux Histoires de Jacob, qui partagent les mêmes oscillations attributives que les précédentes ; les paysages ont été attribués à Giovanni da Udine. Les récits, de forme rectangulaire, sont : Le Rêve de Jacob, La Rencontre avec Rachel, L'Alliance avec Laban et Le Départ à Canaan .

Le monochrome du socle montre le Combat de Jacob avec l'Ange.

Septième voûte

Dans la septième voûte, la voûte centrale, sont représentées les Histoires de Joseph, de forme rectangulaire : L'Explication des rêves à ses frères, La Vente par ses frères, La Tentation de la femme de Potiphar et L'Explication des rêves au pharaon. Les mêmes noms ont été donnés pour l'attribution, avec une éventuelle intervention de Jules Romain seul pour la La Tentation de la femme de Potiphar, qui aurait une affinité avec les Adonis fuyant devant Mars dans le salon de Psyché au palais du Te de Mantoue.

Sur le socle est représenté Joseph qui se fait reconnaître par ses frères.

Huitième voûte

Sur la huitième voûte se trouvent les Histoires de Moïse, de forme rectangulaire : Moïse sauvé des eaux, Le Buisson Ardent, Le Passage de la Mer Rouge et Le Prodige de l'eau libérée d'une falaise. Les deux premières scènes et la quatrième sont généralement attribuées à Jules Romain, tandis que la troisième est d'attribution plus discordante, peut-être par Giulio Romano ou par Perin del Vaga.

La scène monochrome représente la Chute de la manne.

Neuvième voûte

La neuvième voûte est décorée des Histoires de Moïse et Josué, de forme rectangulaire, peut-être de Raffaellino del Colle ou du résultat de la collaboration Romano / Penni. Elles montrent : La Remise des Tables de la Loi, L'Adoration du Veau d'or, La Colonne de Fumée et La Présentation de la Loi aux Juifs.

Dans le socle, le monochrome représente peut-être Josué s'adressant aux Israélites.

Dixième voûte
Pour la dixième voûte, les Histoires de Josué ont été choisies, sous forme d'arc, avec : La Traversée du Jourdain, La Chute de Jéricho, Josué arrêtant le Soleil et la Lune et Le Partage de la terre promise. Vasari attribue les première et troisième histoires à Perin del Vaga, une attribution généralement étendue aux autres également. Le carton de la troisième scène existait au , que Johann David Passavant a vu dans la maison Gaddi à Florence.

Il n'y a pas de monochrome pour la porte menant à la Sala dei Palafrenieri ; malgré cela Bartoli, dans une série de gravures, a placé deux personnages debout et deux couloirs sur les côtés d'une porte, peut-être une de ses inventions ou une représentation du monochrome perdu de la travée suivante.

Onzième voûte

Dans la onzième voûte se trouvent les Histoires de David, avec : La Consécration, Le Choc avec Goliath, Le Triomphe sur les Assyriens et La Toilette de Bethsabée, toutes faisant référence à Perin del Vaga d'après un dessin de Jules Romain ou Giovan Francesco Penni.

Douzième voûte
La douzième voûte est consacrée aux Histoires de Salomon : La Consécration du Roi, Le Jugement, La Rencontre avec la reine de Saba et La Construction du temple de Jérusalem, généralement attribuées à Perin del Vaga.

Le monochrome du socle montre Bethsabée devant David.

Treizième voûte

La treizième et dernière voûte contient les Histoires du Christ, toutes liées par Vasari à Perin del Vaga, attribution acceptée par la plupart des savants ultérieurs. Filippino a plutôt mentionné le nom de Thomas Vincidor, sur la base de comparaisons entre la Nativité et la tapisserie de la deuxième série du Vatican sur le même sujet. Les quatre scènes du Nouveau Testament représentées sont : La Nativité, L'Adoration des mages, Le Baptême du Christ et La Cène, toutes de forme hexagonale.

Dans le monochrome, qui conclut tout le cycle de la loggia, figure la Résurrection.

Références

Bibliographie

 Pierluigi De Vecchi, Raffaello, Rizzoli, Milan 1975.
 AA. VV., Rome, Touring Editore, Milan 2008.
 .

Articles connexes

 Loges de Raphaël
 Art grotesque
 Chambres de Raphaël
 Haute Renaissance
 Renaissance romaine
 Raphaël (peintre)

Palais apostolique
Musée au Vatican
Lieu lié à la peinture
Renaissance italienne
Nouveau Testament dans la peinture
Ancien Testament dans la peinture
Bâtiment de Bramante
Tableau de Raphaël
Œuvre de Raphaël au Vatican
Pages avec des traductions non relues

Loggia de Raphaël


نادي مولان  نادي كرة قدم فرنسي يلعب في دوري الدرجة الوطنية . تم تأسيس النادي في سنة 1927 .

مراجع

الرياضة في أليي
أندية كرة قدم أسست في 1927
أندية كرة قدم في أوفيرني-رون ألب
أندية كرة قدم في فرنسا
تأسيسات سنة 1927 في فرنسا
مولينز (ألير)

نادي مولان


Abdullah I may refer to:

Abdullah ibn Muhammad al-Umawi (844–912), Emir of Córdoba
Abdullah I of the Maldives, Sultan of the Maldives from 1374 to 1376
Abdullah I Al-Sabah (1740–1814)
Abdullah bin Saud, leader of the House of Saud from 1814 to 1818
Abdullah I of Jordan (1882–1951), emir of Transjordan (1921–1946), then King of Transjordan (1946–1949), then King of the Hashemite Kingdom of Jordan (1949–1951)

See also
 Abdullah II (disambiguation)
 King Abdullah (disambiguation)
 Abdullah Khan (disambiguation)
 Abdullah (name)
 Abdullah (disambiguation)

Abdullah I


Azur Air Ukraine, UTair-Ukraine, jusqu'en octobre 2015 (, ) est une compagnie aérienne charter ukrainienne basée à l'aéroport international de Boryspil. Elle était auparavant une filiale du russe UTair Aviation. En octobre 2015, le voyagiste Anex Tours annonce racheter UTair-Ukraine à UTair Aviation.

Histoire

UTair-Ukraine (2008-2015)
Fondée en 2008, UTair-Ukraine est créée en tant que filiale ukrainienne de la société mère russe, UTair Aviation, pour desservir des destinations nationales et internationales.

Azur Air Ukraine (2015-aujourd'hui)
En octobre 2015, le voyagiste Anex Tours annonce racheter UTair-Ukraine à UTair Aviation dans le but de le rebaptiser Azur Air Ukraine en tant que transporteur charter de loisirs. UTair Ukraine a réduit sa flotte en vue de réduire les services intérieurs pour augmenter les activités de loisirs plus tôt. La vente et le changement de marque sont confirmés peu après. Quelques semaines plus tard, Anex a également racheté la compagnie russe Azur Air dont la « nouvelle » filiale Azur Air Ukraine est désormais une compagnie sœur.

Flotte

La flotte d'Azur Air Ukraine comprend les appareils suivants (décembre 2021) :

Bien qu'Azur Air Ukraine ait été renommé en 2015, certains Boeing 737-800 de leur flotte volent toujours avec les livrées rouges d'Azur Air (Russie), de leur compagnie aérienne sœur russe, avec un marquage « Ukraine » peint pour les distinguer.

Références

Compagnie aérienne ayant son siège en Ukraine

Azur Air Ukraine


SA-501 ලෙසින්ද හැඳින්වෙන,  ඇපලෝ 4 (නොවැම්බර් 9, 1967) යනු, අත්‍යන්තයෙහිදී අභ්‍යාවකාශගාමීන් චන්ද්‍රයා වෙත ගෙන ගිය දියත්කෙරුම් යානය වූ  සැටර්න් V රොකට්ටුව සඳහා පළමුවන පරීක්ෂණය විය.

ඇපලෝ 4


مدرعة بحرية أو دارعة بحرية  هي نوع من البوارج الحربية التي سادت خلال القرن العشرين، أول بارجة من هذا النوع ظهرت في العام 1906 حينما أطلق البحرية الملكية بارجتها المسماة دريدنوت فأصبحت البوارج التي تبني بعد هذا التاريخ تعرف بدريدنوت فيما سميت البوارج التي صنعت قبل هذا التاريخ باسم قبل-دريدنوت، كان تصميم دريدنوت يحمل خاصيتين ثوريتيين هما مدافع كبيرة، ومحركات توربينية غازية.

الخلفية التاريخية
خلال السنوات الأولى من القرن العشرين (1900-1909) سعت القوى البحرية إلى زيادة المدى والقوة والنارية في تسليح بوارجها٬ وقد كان التسليح النموذجي للبوارج في تسعينات القرن التاسع عشر (1890-1899) والتي اسميت ببوارج ما قبل دريدنوت يقتصر على تسليح رئيسي من 4 مدافع ثقيلة عيار 12 انش (305 ملم) وتسليح ثانوي يتألف من 6 إلى 18 مدفع سريع الإطلاق بأعيرة تتراوح من 4.7 انش (119 ملم) و 7.5 انش (191 ملم) إضافة إلى مدافع أخرى من أعيرة أصغر. هذا التسليح يأتي من النظرية السائدة آنذاك من أن المعارك البحرية تبدأ من مسافات بعيدة ثم تبدأ السفن بالاقتراب لمسافات أكثر قربا من أجل الضربات النهائية حينها ستكون المدافع قصيرة المدى ذات الرمي السريع أكثر فائدة إلا أن تصميم البوارج أخذ في الاعتماد على المدافع الثقيلة ليظهر التسليح المميز لبوارج دريدنوت والذي يتألف من بوارج مسلحه بمدافع جميعها من أعيرة كبيرة ويرجع السبب في هذا تصميم إلى المميزات التي تقدمها هذه المدافع من حيث المدى والقوة النارية

القوى البحرية في العالم 1914

مراجع

أسلحة بحرية
أنواع السفن
التاريخ العسكري في القرن 20
العصر الإدواردي
بوارج
عتاد عسكري في القرن 20
مدرعات
مصطلحات عسكرية

مدرعة


إيفو فيكتور، من مواليد 21 مايو 1942، لاعب كرة قدم تشيكوسلوفاكي سابق. لعب مع منتخب تشيكوسلوفاكيا لكرة القدم وشارك في كأس العالم عام 1970.

روابط خارجية

مراجع

لاعبو كرة قدم رجالية تشيكيون
حراس مرمى كرة قدم رجالية
أشخاص من مقاطعة أولوموتس
أشخاص على قيد الحياة
لاعبو برنو
لاعبو بطولة أمم أوروبا 1976
لاعبو كأس العالم 1970
لاعبو كرة قدم تشيكوسلوفاكيون
لاعبو كرة قدم تشيكيون
لاعبو منتخب تشيكوسلوفاكيا لكرة القدم
لاعبون فائزون ببطولة أمم أوروبا
مدربو دوكلا براغ
مدربو كرة قدم تشيكوسلوفاكيون
مدربو كرة قدم تشيكيون
مواليد 1942
لاعبو دوكلا براغ
رياضيون من إقليم أولوموتس
لاعبو كرة قدم من إقليم أولوموتس

إيفو فيكتور


استيفان روستي (1891 - 1964) أو ستيفان روستي  ممثل مصري من مشاهير نجوم سينما الأبيض والأسود المصرية، اشتهر في أدوار الشرير الظريف. وُلد استيفانو دي روستي من أم إيطالية وأب نمساوي في 16 نوفمبر 1891، كان والده سفير النمسا بالقاهرة، انفصل والده السفير عن أمه بسبب المشاكل التي قابلت عمل الوالد الدبلوماسي فانتقل للعيش طفلا مع والدته الإيطالية والتحق بمدرسة رأس التين الابتدائية إلى أن تزوجت والدته من رجل إيطالي آخر ليترك المنزل شابا ويلتقي صدفة ب عزيز عيد الذي أعجب به لطلاقته باللغة الفرنسية والإيطالية وقدمه في فرقته. سافر إلى النمسا بحثاً عن والده ثم إلى فرنسا وألمانيا وعمل راقصاً في الملاهي الليلية وبالمصادفة التقى بمحمد كريم الذي كان يدرس الإخراج السينمائي في ألمانيا وتعرف على سراج منير الذي هجر الطب ليتفرغ لدراسة الفن وقرر استيفان أن يلتحق بنفس المعهد ليدرس التمثيل دراسة أكاديمية، وعاد إلى القاهرة وتعرفت عليه المنتجة عزيزة أمير التي انبهرت بثقافته السينمائية الكبيرة وأسندت إليه مهمة إخراج فيلم «ليلى».

أفلام من إخراجه
 ليلى 1927
 البحر بيضحك ليه 1928
 عنتر أفندي 1935
 الورشة 1940
 ابن البلد 1942
 جمال ودلال 1945
 أحلاهم 1945

كما التقى بإسلام فاروق مخرج السنما في أوائل سنة 1910 وقدم معه فلمين فقط .

بعض الأفلام التي مثل فيها

عقد العشرينات
 1927 ليلى
 1928 البحر بيضحك

عقد الثلاثينات
 1931 صاحب السعادة كشكش بيه
 1935 عنتر أفندي
 1937 سلامة في خير
 1937 نشيد الأمل
 1937 المجد الخالد
 1938 أنا طبعي كده
 1939 ليلة ممطرة

عقد الأربعينات
 1940 الورشة
 1941 انتصار الشباب
 1941 سي عمر
 1942 ابن البلد
 1943 الطريق المستقيم
 1944 شهداء الغرام
 1945 سلامة
 1945 المظاهر
 1945 أحلاهم
 1946 أصحاب السعادة
 1946 النفخة الكدابة
 1947 ابن عنتر
 1947 أبو حلموس
 1947 شادية الوادي
 1947 قلبي دليلي
 1948 بلبل أفندي
 1948 عنبر
 1948 المغامر
 1948 مغامرات عنتر وعبلة
 1948 الهوى والشباب
 1948 خيال امرأة
 1949 عفريتة هانم
 1949 إجازة في جهنم
 1949 غزل البنات
 1949 ليلة العيد

عقد الخمسينات
 1950 معلش يا زهر
 1950 شاطئ الغرام
 1950 آخر كدبة
 1950 المليونير
 1950 بنت باريز
 1950 بلدي وخفة
 1950 طريق الشوك
 1951 خدعني أبي
 1951 ليلة الحنة
 1951 فيروز هانم
 1952 بشرة خير
 1952 ما تقولش لحد
 1952 آمنت بالله
 1952 حلال عليك
 1953 جحيم الغيرة
 1953 الدنيا لما تضحك
 1953 حرام عليك
 1953 مجلس الإدارة
 1953 قطار الليل
 1954 بنت البلد
 1954 حسن ومرقص وكوهين
 1954 رقصة الوداع
 1954 الستات ما يعرفوش يكدبوا
 1954 الشيخ حسن
 1954 كدبة أبريل
 1955 عاشق الروح
 1955 أهل الهوى
 1955 حب ودموع
 1955 عرايس في المزاد
 1956 زنوبة
 1956 كفاية يا عين
 1956 القلب له أحكام
 1957 سجين أبو زعبل
 1957 تمر حنة
 1957 المجد
 1958 أبو عيون جريئة
 1958 أحبك يا حسن
 1958 إسماعيل يس طرزان
 1958 حبيبي الأسمر
 1958 سيدة القصر
 1959 حسن وماريكا
 1959 قاطع طريق
 1959 المليونير الفقير

عقد الستينات
 1960 إسماعيل يس في السجن
 1960 حلاق السيدات
 1961 بلا عودة
 1961 الترجمان
 1961 النصاب
 1962 صراع الجبابرة
 1962 جمعية قتل الزوجات
 1962 ملك البترول
 1963 امرأة على الهامش
 1963 المجانين في نعيم
 1963 النشال
 1964 آخر شقاوة
 1964 مع الناس
 1964 الحقيبة السوداء

وفاته

توفي في مايو عام 1964.

في سنة 1964 انطلقت إشاعة وفاته بينما كان يزور أحد أقاربه في الإسكندرية وأقامت نقابة الممثلين
حفل تأبين بعد أن صدقت الإشاعة وفي منتصف الحفل جاء استيفان روستي إلى مقر النقابة ليسود الذعر الحاضرين وانطلقت ماري منيب ونجوى سالم وسعاد حسين في إطلاق الزغاريد فرحاً بوجوده على قيد الحياة.

ولكن بعد أسابيع قليلة في 26 مايو من نفس العام (1964)، توفي استيفان روستي بالفعل ولم يجدوا في جيبه بعد كل هذا العمر والنجاح والكفاح سوى عشرة جنيهات فقط.

رحل استيفان روستي عن دنيانا وكان آخر أفلامه حكاية نص الليل مع عماد حمدي وزيزي البدراوي.

وقد وصل عدد الأفلام التي شارك في تمثيلها وإخراجها والتمثيل فيها إلى 380 فيلما سينمائيا على مدى أربعين عاما هي عمره الفني. لقد نجح روستي في أن يجمع بين الشر والكوميديا، وأن يُصبح وحده تقريبا الشرير الكوميديان بين الأخيار أو لنقل أكثر الكوميديانات شرا على الشاشة أو أكثر الأشرار حضورا خفة ومرحا. وهي البصمة الخاصة التي ظل يتفرد بها على شاشة السينما حتى اليوم لم ينازعه فيها أحد سوى الفنان الكبير عادل أدهم.

مراجع

وصلات خارجية

https://www.youtube.com/watch?v=zBS2nJwWnRs

حاصلون على الجنسية المصرية
مخرجون سينمائيون مصريون
مسيحيون مصريون
مصريون من أصل إيطالي
مصريون من أصل نمساوي
ممثلو أفلام مصريون
ممثلو أفلام صامتة مصريون
ممثلون من أصل إيطالي
مواليد 1309 هـ
مواليد 1891
مواليد في إيطاليا
وفيات 1383 هـ
وفيات 1384 هـ
وفيات 1964
وفيات في القاهرة

إستفان روستي


The Metropolitan Rapid Transit or MRT is a mass rapid transit system serving the Bangkok Metropolitan Region in Thailand. The MRT system comprises two fully operational rapid transit lines. One monorail line is in trial operation, with a further two lines under construction. The MRT Blue Line, officially the Chaloem Ratchamongkhon Line, between Hua Lamphong and Bang Sue was the first to open in 2004 as Bangkok's second metro system. The MRT Blue line is officially known in Thai as rotfaifa mahanakhon (รถไฟฟ้ามหานคร) or "metropolitan electric train", but it is more commonly called rotfai taidin (รถไฟใต้ดิน), literally, "underground train" as it was distinguished by the BTS Skytrain as being completely underground, when its first section between Hua Lamphong to Bang Sue opened.

The second MRT line MRT Purple Line, officially the Chalong Ratchadham Line, opened on 6 August 2016 and connected Tao Poon with Khlong Bang Phai in Nonthaburi in the northwest of Greater Bangkok. It was the first mass transit line to extend outside Bangkok.

Both the Blue Line and Purple Line are operated by the Bangkok Expressway and Metro Public Company Limited (BEM) under a concession granted by the Mass Rapid Transit Authority of Thailand (MRTA) which is the owner of the MRT lines. Along with the BTS Skytrain and the Airport Rail Link, the MRT is part of Bangkok's rail transportation infrastructure. The two MRT lines have 470,000 passengers each day (Blue Line 400,000 and Purple Line 70,000) with 45 operational stations and a combined route length of .

From mid 2011, construction began to extend the MRT Blue Line with an extension west from Hua Lamphong via Tha Phra to Lak Song, and in the north from Bang Sue to Tha Phra. After completion in April 2020, the Blue Line has become a quasi loop line (providing interchange with itself at Tha Phra) around the centre of Bangkok. The first section of the MRT Blue Line extension from Hua Lamphong via Tha Phra to Lak Song opened for full operation on 29 September 2019.

The MRT Yellow Line monorail line opened for trial operation in June 2023.

Other MRT lines are planned for the future MRT system with the MRT Orange Line and MRT Pink Line under construction. An extension to the MRT Purple Line south from Tao Poon to Rat Burana and MRT Brown Line are also planned.

History

The MRT was constructed under a concession framework. For the first MRT line, officially known as Chaloem Ratchamongkhon or informally as the "Blue Line", civil infrastructure was provided by the government sector, Mass Rapid Transit Authority of Thailand (MRTA), and handed over to their concessionaire under a 25-year concession agreement. Bangkok Expressway and Metro Public Company Limited (BEM) was the only private sector company that won a bid in MRTA's concession contract for the blue line. As MRTA's concessionaire, BEM provides M&E equipment, including electrical trains, signalling systems, SCADA, communication, PSD, etc. for the subway project and fully operates the system. To maintain the system, BEM has subcontracted in 10 years to Siemens which was the M&E system supplier since system opening and 7 years maintenance contract to two local maintenance services for north and south line.

The construction of the first Bangkok Metro line, officially known as Chaloem Ratchamongkhon (Thai สายเฉลิมรัชมงคล) – "Celebration of Royal Auspice" – or informally as the "Blue Line", began on 19 November 1996. The project suffered multiple delays not only because of the 1997 economic crisis, but also due to challenging civil engineering works of constructing massive underground structures deep in the water-logged soil upon which the city is built.

The Blue Line was opened for a limited public trial period of several weeks starting on 13 April 2004. On 3 July 2004 the line was officially opened at 19:19 local time by HM King Bhumibol and Queen Sirikit, who were accompanied by other members of the royal family. Within 30 minutes of its opening, sightseers filled the system to its maximum capacity, but after the initial rush ridership has settled down to around 180,000 riders daily — considerably lower than projections of over 400,000, despite fares being slashed in half from 12 to 38 baht to 10-15 baht per trip. From 2006 until 2008, fares ranged between 14 and 36 baht per trip. The fare was raised to 16-41 Baht on 1 January 2009. Daily ridership in 2014 was 253,000.

In August 2016, the Purple Line opened for service. In August 2017, the MRT Blue Line was belatedly extended to Tao Poon station allowing interchange with the Purple Lines.

Operation

Considering that Bangkok is a low-lying plain which is prone to flooding, all of the Metro's station entrances are raised about one metre above the ground level and are equipped with built-in floodgates in order to avoid water inundating the system. Lifts and ramps are found at all stations, providing easy access for passengers in wheelchairs. Stations have multiple passageways (generally four) which allow passengers to connect to any corner of the adjacent surface intersection. Passageways between exits are very spacious and some are beginning to open as malls. Maps depicting the local area and exit points are posted on the walls on the way out.

Due to safety considerations, platform screen doors are installed. Uniformed security personnel and security cameras are present at all platforms. Currently 19 three-car metro trains, of the Siemens Modular Metro type, are used. Each metro train consists of two motor cars and a centre trailer car.

The Bangkok Expressway and Metro company has signed a agreement with CK Power to use solar energy to power the mass transit system. The power purchase agreement is set for 25 years and will provide for the supply of 452 million kWh of electricity.

Ticketing

The ticketing system uses RFID contactless technology with round tokens issued for single trips and a contactless stored value card, the MRT Plus card, for frequent travellers. It is planned that a joint ticketing system will be set up so that passengers can use a single ticket on the MRT as well as on the Skytrain. Multi-storey park & ride facilities are provided at Lat Phrao and Thailand Cultural Centre. Motorists who park their cars at these premises will be issued with additional contactless smartcards and they need to have them electronically stamped at their destination station. The turnstiles accept cards or tokens, both available from a staffed booth or automated ticket machines.

Smart cards are available in two types:
 A rechargeable card for distance-based fares:
 for adults, at the same rate as single fares
 for students, not over 23 years old, at 10% discount
 for children/elderly, not over 14 old and height between , or not less than 60 old, each with 50% discount.

Children under 15 or whose height does not exceed 90 cm may ride for free. Reduced fares for older children and half price fares for the elderly also apply when buying a token at the booth.

From January 2022, MRT started accepting a new payment fare type for Blue Line and Purple Line via EMV Contactless (Europay Mastercard and Visa).

Current lines

The first line, the Blue Line, opened on 3 July 2004. It runs eastward from Tao Poon Station in Bang Sue District along Kamphaeng Phet, Phahon Yothin and Lat Phrao Roads, then turns south following Ratchadaphisek Road, then west following Rama IV Road to Hua Lamphong Station in Pathum Wan District. The second line, the Purple Line opened on 6 August 2016. The 1.2 km missing link of the Blue Line between Bang Sue and Tao Poon, connecting the two lines opened on 11 August 2017. The first section of the Blue Line extension from Hua Lamphong via Tha Phra to Lak Song opened for full operation on 29 September 2019.

  The interchange station is counted as a station (Tha Phra Station).

MRT Blue Line

The MRT Blue Line presently runs from Tha Phra to Lak Song and has a carrying capacity of 40,000 people in each direction per hour. Similar to the Skytrain, the Metro uses trains supplied by Siemens which travel up to . Passengers can connect to the Skytrain at Si Lom, Sukhumvit and Chatuchak Park stations. The Blue Line has a large depot located on the large MRTA Headquarters in Huai Khwang district and accessed via a spur line located between Phra Ram 9 and Thailand Cultural Centre stations.

The 48-kilometer-long MRT Blue line will serve as a circle line for Bangkok's metro rail system, providing connections to all other major lines, including the SRT Red Lines and the Airport Rail Link. However the complete track does not form a circle, but rather a figure 6. So to ride the complete circle one has either to start at Tha Phra or change trains there.

MRT Purple Line

The MRT Purple line is divided into two sections, the first 23 kilometer stage from Khlong Bang Phai - Tao Poon which opened on 6 August 2016, and a planned 19.8 kilometer southern extension from Tao Poon - Phra Pradaeng.

The Purple line currently serves travel demand between the northwestern suburbs of Bangkok in Nonthaburi Province to the mid north areas of Bangkok where it links with the Blue line. Eventually, the line will link with the southern area of Thonburi in Phra Pradaeng District, Samut Prakan Province with a southern extension. This extension will serve the new Thai parliament construction site at Kiak Kai intersection and will run along Samsen Road, then passing through the historic old quarter of Bangkok Rattanakosin Island and many historical places in Dusit and Phra Nakhon District like the national library, Thewet market, Bang Lamphu, the Democracy Monument, the Golden Mount, Phahurat near Chinatown. It then runs near the Memorial Bridge over the river to Wongwian Yai roundabout before continuing south to Chom Thong and ends in Rat Burana District.

MRT Yellow Line

The 30.4 km long Yellow line has 23 stations. It was originally proposed to be an underground and elevated rapid transit line, but that plan has changed to be built as an elevated monorail line.

In December 2011, the MRTA was instructed by the MOT to divide the Yellow Line into two Phases for tender and construction purposes and to control land appropriation costs. In June 2012, the MRTA contracted consultants to undertake detailed designs of the Yellow Line. In February 2013, OTP stated that the tender for the Yellow line should be ready by late 2013 for tender in early 2014. However, similar to the Pink Line, delays in finalising the technical requirements of the tender in relation to the selection of monorail rolling stock which determines the type of track to be constructed resulted in a significant delay. The subsequent political turmoil of 2014 caused further delay. Thereafter, the coup of May 2014 resulted in a new military administration and the tender being deferred for 2014.

The MRTA tender was subsequently not released until mid-2016. In early December 2016, BSR Joint Venture (comprising BTS Group Holdings which owns 75%, Sino-Thai Engineering and Construction - STEC, and Ratchaburi Electricity Generation Holding - RATCH), won the bid for the project. The BSR also won the bid the Pink Line project. On 16 June 2017, a contract was signed for the Lat Phrao-Samrong section with the Mass Rapid Transit Authority of Thailand by a consortium including BTS Group Holdings, Sino-Thai Engineering and Construction, and Ratchaburi Electricity Generation Holding. Construction of the MRT Yellow Line began in March 2018, and free trial operations began from Hua Mak station to Samrong BTS Station in June 2023. Full operations began on July 3, 2023.

Expansion plans

The MRT Blue line forms a lariat-shaped loop encircling the city.

It is eventually planned that the combined route distance of all MRT lines covering major areas of Bangkok will total 171 km. This comprises 94 km for the three rapid transit lines and 77 km for the three monorail lines.

MRT Blue Line extension

Bang Sue – Bang Phlat – Tha Phra (opened December 2019). It starts from Bang Sue Station, passing along Pracharat Sai 2 Road. It crosses Chao Phraya River and turns left along Charansanitwong Road until it reaches Tha Phra at Phetkasem and Charansanitwong intersection. The length is 13.1 km with 7 elevated stations.
Hua Lamphong – Tha Phra – Lak Song (opened 29 September 2019). From Hua Lamphong Station it goes along Charoen Krung Road, passes Wat Mangkon Station, Sam Yot Station, and then turns left at Wat Pho before crossing under the Chao Phraya River at Pak Khlong Talat. Passing through Itsaraphap, it finally enters Phetkasem Road and ends at Lak Song. After 4 underground stations, starting from Tha Phra the line becomes elevated for 6 stations. The length is 13.9 km. with 8.9 km elevated station and 4.8 km underground stations.
Lak Song to Phutthamonthon Sai 4 - 7.8 km, 4 station elevated extension (approved by Cabinet and tender delayed).

MRT Purple Line extension

The planned southern extension from Tao Pun - Rat Burana will run south through Bangkok's old quarter from Tao Pun Junction on a viaduct. It then will go into an underground structure along Sam Sen Road, passing the new Thai parliament site, and transfers to the proposed Red inner-city shortcut commuter at Sanghi intersection. It passes the national library in Dusit District before it reaches Phra Nakhon District at Thewet Market.

The line turns east at Bang Lamphu and goes along the city moat to the south, with transfers possible to the MRT Orange Line at Ratchadamnoen Road near the Democracy Monument. It passes Golden Mount before possible transfers to the extension of the Blue Line at Wang Burapha near Yaowarat Road in Chinatown and the Phahurat textile market.

The line crosses the Chao Phraya River near the Memorial Bridge towards the Wongwian Yai roundabout in Thonburi on the west bank, with possible transfers to the Dark Red Line commuter and to Wongwian Yai. It continues south to Chom Thong, then on an elevated structure for  and ends in Rat Burana District, a short distance to the nearby Phra Pradaeng suburban town in Samut Prakan Province. The total length will be about 23.6 km, including ten underground and seven elevated stations.

The Thai Cabinet was expected to approve the Purple Line Southern extension in mid 2017 with a tender due by the 2nd half of 2017. On 25 July 2017, the Cabinet approved the 101 billion baht budget and tender for the extension but the tender was delayed until 2018 due to land acquisition issues. There was a further delay to an early 2019 date as the tender was changed to a PPP tender. However, a subsequent delay in finalising the PPP process resulted in a new tender date of April 2020 but this has been further delayed with an expected tender by the end of 2020.

Construction contracts were finally signed in March 2022 for a planned 2027 opening date.

MRT Orange Line

The Orange Line will start from Min Buri as elevated structure on Ramkhamhaeng Road (former Suka Phiban III Road) from eastern suburb in Min Buri District and goes underground near Lam Sali intersection in Bang Kapi District, also transfers to MRT Yellow Line. It continues southwest along Ramkhamhaeng Road, passing Hua Mak Stadium and Ramkhamhaeng University. Then it turns to the west and crosses Pradit Manutham Road to the current MRT depot. Then it goes to Thailand Cultural Centre Station, the alignment crosses over and transfers to the current MRT Blue Line. It continues via Din Daeng housing estates and Bangkok City Hall 2 to Vibhavadi Rangsit Road, Sam Liam Din Daeng Junction. Then turn left into Ratchaprarop Road towards Pratunam and turn right into Phetchaburi Road then interchange with BTS Sukhumvit Line at Ratchathewi Station. It continues along Larn Luang Road and Ratchadamnoen Road. Then it crosses the Chao Phraya River near Phra Pinklao Bridge, passes Siriraj Hospital and goes along Bangkok Noi Rail line and terminates at Bang Khun Non Station, interchanges with MRT Blue Line again. The total length is 35.9 km.

This Line is divided into 2 sections
 Eastern section from Thailand Cultural Centre - Min Buri (22.5 km).
 Western section Bang Khun Non - Thailand Cultural Centre (13.4 km)

The phase 1 Eastern section began construction in June 2017 with a planned 2024 opening. The Phase 2 Western section extension from Thailand Cultural Centre to Bang Khun Non was released for tender on 3 July 2020 as a Public-Private Partnership project.

When fully completed, the line will be 35.9-km long, mostly underground, with 29 stations (7 elevated stations for 8.9 km and other 22 underground stations for 27 km).

MRT Pink Line

The 35.5 km long MRT Pink line will have 30 stations and will be a monorail line. It will run in the northern part of the city from east Bangkok in Minburi District (also transfers to MRT Orange Line) along Ram Inthra Road to west Bangkok (Pak Kret district, Nonthaburi Province) Chaeng Watthana Road and Tiwanon Road ending at The Nonthaburi Civic Center which transfer to the MRT Purple Line.

The line will also transfer with the SRT Dark Red Line, the BTS Sukhumvit Line extension to Lam Lukka, and the BMA Proposed MRT Grey Line in the future.

The Pink line was due to be tendered in the 3rd quarter of 2013 with construction due to commence in early 2014. However, delays in preparation of the tender in relation to the selection of monorail rolling stock and subsequent political protests resulting in a snap national election in early February 2014, further delayed the Pink Line tender. A subsequent coup in May 2014 resulted in a new military administration and the tender being deferred for 2014. The MRTA tender was subsequently not released until mid-2016.

In early December 2016, BSR Joint Venture (comprising BTS Group Holdings which owns 75%, Sino-Thai Engineering and Construction - STEC, and Ratchaburi Electricity Generation Holding - RATCH), won the bid. The BSR also won the bid for the Yellow Line project. On 16 June 2017, the Pink Line project contracts were signed with the BSR consortium by the Mass Rapid Transit Authority of Thailand with a scheduled operational date of 2022. Construction of the MRT Pink Line began in late 2017. The line is due to be fully operational by June 2022.

The BSR has proposed a 2.8 km spur monorail route to link to Impact, Muang Thong Thani from Si Rat station which is waiting for approval from the government.

MRT Brown Line

The 22.1 km long Brown line is under study by the OTP. It is proposed to run from Khae Rai, Nonthaburi to Bueng Kum with 20 stations and be a monorail line.

The line was originally proposed as the Gold Line by the Pheu Thai party for the Bangkok Governors election held in March 2013. This was in response to objections by Kasetsart University to long proposed Expressway extensions in the area. The line would essentially have replaced the need to build an elevated Expressway. However, the Pheu Thai candidate did not win the Bangkok Governor election and the Gold Line was dropped with the Deputy Minister of Transport stating that land appropriation costs were too high. Subsequently, OTP has reworked the Gold Line proposal into a new Brown Line following much the same route. As of June 2013, the route was under preliminary study by OTP. Public hearings on the Brown line were held in 2017. The MOT announced that a 14-month feasibility study into the line would be completed in 2018. By August 2018, OTP had completed the feasibility study and conducted public hearings. Although, there was much public support for building the MRT Brown line, public opposition to the N2 expressway remained high. OTP intends to submit the project for Cabinet approval by the end of October 2018. In early June 2019, the MRTA Board approved the investment plan for the Brown Line and integrated design with the N2 Expressway conducted by EXAT. The project is expected to be tendered in 2024.

This line should not be confused with the original 2004 13 km MRT Brown Line proposal from Bang Kapi to Min Buri. This was subsequently merged in 2009 into an extended MRT Orange Line.

Accidents and incidents
On 17 January 2005, just after 09:15, an empty train returning to the depot collided with a peak-hour train filled with passengers at the Thailand Cultural Centre MRT station. 140 people were hurt, most of whom sustained only minor injuries and the entire Metro network was shut down for two weeks.

After initial investigations, it was found that the empty train had run into problems shortly before the accident, grinding to a halt on a curve leading to the depot. The driver applied the train brake and was waiting to be towed to the maintenance centre close to the Thailand Cultural Centre station.

A rescue train was attempting to connect to the stalled train when the driver was told to release the brake even though coupling had not been successful. It was then that the empty train began to roll backwards at a speed of ten metres per second and into the other train, which was carrying passengers. Therefore, it was believed that the incident was caused by negligence due to insufficient training of operation staff. This accident caused damage to both trainsets, with heavily damaged areas limited to the two cars that collided. From the extent of the damage, investigators estimated the collision speed to be around 60 km/h. However, one train, which was rebuilt from the repair of the minor-damaged cars, was already fitted for operation at the end of 2006 and the remaining one was still under heavy repair until mid of 2007; it was released into service in October 2007. The cost resulting from the accident might be a much higher figure than BMCL quoted, and it was expected to be at least 400 million baht, which was totally insured by a local insurance company.

The Metro resumed full operation on 1 February 2005, and passenger numbers soon rose back to pre-crash levels, partly due to a temporary promotional fare scheme which allowed passengers to travel any distance on the MRT for only ten baht (~US$0.33).

Ridership
The first few years of operations saw less than forecast ridership, but pax numbers grew gradually over time. After the opening of the Tao Poon interchange station between Blue Line and Purple Line in mid-August 2017, ridership immediately increased especially on the Purple Line. In September 2017, BEM stated that average daily ridership of the Blue Line had increased from 340,000 to 360,000 after the opening. The Purple line ridership significantly increased from 33,000 to nearly 50,000. In August 2018, the MRTA Deputy Governor stated that daily ridership for the Purple Line had increased to 60,000 each weekday. After the opening of the Blue Line extension to Lak Song on 29 September 2019, daily ridership increased to 400,000 for the Blue line and 70,000 for the Purple line. Ridership decreased significantly during the outbreak of coronavirus in Thailand.

Ridership statistics

Stations

Network map

See also
 Mass Rapid Transit Master Plan in Bangkok Metropolitan Region
 BTS Skytrain
 Sukhumvit line
 Silom line
 Airport Rail Link (Bangkok)
 SRT Dark Red Line
 SRT Light Red Line
 Bangkok BRT
 BMA Gold Line
 Lists of rapid transit systems
 List of rapid transit stations in Bangkok

References

External links

 Mass Rapid Transit Authority of Thailand
 Bangkok MRT Master Plan - Office of Transport and Traffic Policy Planning
 Bangkok Metro Company Limited
 MRT System Map

2004 establishments in Thailand

750 V DC railway electrification
Standard gauge railways in Thailand

MRT (Bangkok)


Attila Nagy (* 26. Dezember 1966 in Miskolc) ist ein ungarischer Badmintonspieler.

Karriere
Attila Nagy war in Ungarn vier Mal bei den Juniorenmeisterschaften erfolgreich, bevor er sich 1986 erstmals bei den Erwachsenen durchsetzen konnte. Von 1988 bis 1997 erkämpfte er sich elf weitere Titel bei den Einzelmeisterschaften. 1991 siegte er bei den Cyprus International.

Sportliche Erfolge

Literatur
Ki kicsoda a magyar sportéletben? Band 2 (I–R). Szekszárd, Babits Kiadó, 1995. ISBN 963-495-011-6

Badmintonspieler (Ungarn)
Ungarischer Meister (Badminton)
Ungar
Geboren 1966
Mann

Attila Nagy


Boy Azooga est un groupe britannique de rock indépendant originaire de Cardiff, au Pays de Galles. Formé en 2017, le groupe est composé de Davey Newington (chant, guitare), Dafydd Davies (batterie), Sam Barnes (guitare basse) et Dylan Morgan (clavier).

Biographie
Le groupe est décrit comme influencé par Run-DMC, William Onyeabor, ou encore les Beach Boys.
Leurs premières sorties sont le résultat du travail entre le chanteur Davey Newington et le producteur de hip hop Ed Al-Shakarchi (Dr Ed Boogie).

Le nom du groupe provient de la comédie de 1994 Les Chenapans, que Newington regardait enfant lorsqu'il rendait visite à sa grand-mère en Écosse.

En 2017, le groupe a fait sa première apparition en festival au   dans les Brecon Beacons.

Boy Azooga fait ses débuts à la télévision en mai 2018 dans l'émission Later... with Jools Holland, aux côtés des artistes gallois Gwenno et Manic Street Preachers. Newington a également participé à une émission animée par Mike D des Beastie Boys et sa musique a été diffusée sur BBC Radio 1 et BBC Radio 6 Music.

L'album , sorti en 2018, est récompensé par le Welsh Music Prize.

En mai 2019, le groupe se produit au Château de Cardiff en première partie de Noel Gallagher et son groupe High Flying Birds.
Son frère Liam Gallagher affirme également que le groupe est son "artiste émergent préféré".

Membres
 Davey Newington – chant, guitare
 Dafydd Davies – batterie
 Sam Barnes – guitare basse
 Dylan Morgan – guitare, claviers

Davey Newington
Originaire de Cardiff, Davey Newington est initié à la musique dès son plus jeune âge par ses parents, musiciens classique  qui se sont rencontrés au BBC National Orchestra of Wales. Newington commence à jouer de la batterie à l'âge de six ans,
et a commencé à écrire des chansons à quatorze ans. Il joue également des timbales, du xylophone et des grelots dans des orchestres de jeunesse. Bien que maîtrisant plusieurs instruments, au début de sa carrière, il jouait principalement de la batterie.

Davey Newington commence à écrire sa discographie à l'âge de , en commençant par Hangover Square à partir duquel est créé leur premier album 1 2 Kung Fu! Il a enregistré la quasi-totalité de 1 2 Kung Fu!, à l'exception de quelques accords à cordes de son père sur Jerry, Hangover Square et Breakfast Epiphany II.

Avant Boy Azooga,Davey Newington était actif en tant qu'artiste solo sous le nom de Bongo Fury. Il décide de signer avec le label Heavenly Recordings après avoir suivi la carrière de King Gizzard & The Lizard Wizard. Le propriétaire du label, Jeff Barrett, a écouté la chanson Hangover Square alors qu'il se rendait à un concert de King Gizzard & The Lizard Wizard à Brighton, et appelle immédiatement Davey Newington pour lui demander de signer sur le label.

Discographie

Singles
 2017 : Face Behind Her Cigarette
 2017 : Loner Boogie
 2018 : Jerry
 2018 : Waitin (Edit)
 2018 : Do the Standing Still
 2019 : O Silly Me
 2020 : U.F.O

Albums
 2018 : 1 2 Kung Fu!

Références

Liens externes

 Allmusic

Groupe gallois de rock
Groupe musical formé en 2017
Groupe britannique de rock indépendant
Groupe de dream pop

Boy Azooga


O rio Ambato é um rio do Equador . Flui perto da cidade de Ambato . Ele deságua no rio Pastaza e, finalmente, através do Amazonas, no Oceano Atlântico.

Veja também
 Lista de rios do Equador

Referências

 Rand McNally, O Novo Atlas Internacional, 1993.
 Servidor de nomes GEOnet
 Avaliação de Recursos Hídricos do Equador

Rios do Equador

Rio Ambato