Želimir Altarac Čičak (Sarajevo, 21. kolovoza 1947. – Sarajevo, 26. ožujka 2021.), jedan je od najznačajnijih i najutjecajnijih kreatora bosanskohercegovačke i sarajevske glazbene pozornice, pionir disk-džokejstva, urednik i voditelj mnogih popularnih radijskih i televizijskih emisija, promotor i organizator velikih rock spektakala, publicist i animator rock kulture, inicijator mnogih glazbenih manifestacija koje su postale tradicionalne

Životopis
Želimir Altarac Čičak još se kao srednjoškolac Prve gimnazije u Sarajevu od 1961. do 1965. istaknuo kao organizator koncerata, kulturno zabavnih programa te kao jedan od urednika gimnazijskog lista "Polet" u kojemu je objavljivao svoje pjesme i novele.
Kao gimnazijalac organizirao je programe i bio najbolji voditelj koncerata "in live".
 U drugoj polovici šezdesetih godina, osim svojih aktivnosti voditelja i organizatora, često je nastupao na večerima poezije govoreći svoje stihove po studentskim domovima i domovima culture, gdje je stekao brojnu publiku. Bili su to Čičkovi glazbeno-poetski performansi na kojima bi kao gosti njegove stihove govorili Etela Pardo i Branko Ličen, tada studenti Pozorišne akademije, dok je za glazbenu pratnju na orguljama bio zadužen Ranko Rihtman.
Krajem šezdesetih i početkom sedamdesetih u podrumu studentskog doma "Mladen Stojanović" djelovao je i prvi underground club u Sarajevu "Barutana". U kratkoj povijesti tu su svirali mnogi, ali "Barutana" je zapamćena po programima koje je vodio Čičak i to pod nazivom "Čičak plus Čičak", gdje su zajedno nastupali Ž. A. Čičak i grupa "Čičak", a koji je već tada stekao epitet najboljeg disk-džokeja ex-Jugoslavije, a "Barutana" bila mjesto gdje su se mogla čuti najaktualnija svjetska glazbena ostvarenja trendovskog i progresivnog avangardnog žanra.
Suradnja sa sarajevskim pop-rock grupama rezultirala je posve novim glazbenim izrazom. U suradnji s grupom "Kodexi" snimljene su tri pjesme, tri hita ove grupe. Napisao je stihove za skladbu Eduarda Bogeljića "Lutalica", ali je i autor prepjeva za melodije "Voljeti nekog" - The Bee Gees i "Pekareva pjesma" - The Small Faces. Sve tri su, a posebno treća, zabilježile visoke plasmane na "Top-hit listi slušalaca Radio-Sarajeva".Ipak, najuspješniju suradnju ostvaruje s grupom Indexi, odnosno s gitaristom i skladateljem Slobodanom Bodom A. Kovačevićem.
Uradio je tekstove za neke od ključnih pjesama Indexa, kao što su "Negdje na kraju u zatišju"  i "Svijet u kome živim". Pjesmu "Negdje na kraju u zatišju" napisao je 1965. godine i bila je objavljena u "Poletu", listu Prve gimnazije, a tek u suradnji s gitaristom i skladateljem Slobodanom Bodom A. Kovačevićem, kasnije biva uglazbljena u istoimenu, gotovo dvanaestminutnu skladbu, s recitativom na početku i kraju, a stihove je govorio Branko Ličen, tada student Pozorišne akademije. Pjesma "Negdje na kraju u zatišju" snimljena je u listopadu 1969. i time je bila potpuno razbijena dotadašnja shema već klasičnih formi trominutnih skladbi i popularnih hitova. Bez obzira na duljinu trajanja, ova rock poema bila je proglašena za najslušaniju, i bila je hit 1970., na Radio Sarajevu. Također, Indexima je napisao stihove za njihovu antologijsku i na koncertima najviše izvođenu "Svijet u kome živim" (domaći hit '71.), "Povratak Jacka Trbosjeka i ostalog zla" (objavljenu na njihovu povijesnom prvom maxi singlu listopada 1972.). Pjesma "Svijet u kome živim" je najviše puta snimljena u izvođenju drugih grupa i izvođača raznolikih muzičkih žanrova kao: Teška industrija, Konvoj, Branimir Štulić Johnny, Gruhak,Krug, The Evolution, Texas Flood…

Vrijeme afirmacije: DJ, novinar, promotor
Želimir Altarac Čičak je sa svojom putujućom diskotekom obilazio mnoge gradove u bivšoj SFRJ. Posebno se zadržavao u Istri, gdje je gostovao u Vrsaru, Poreču, Umagu, Puli i Rovinju. Na međunarodnom takmičenju DJ-a održanom u Rovinju 1972. godine osvojio je prvo mjesto u konkurenciji predstavnika iz Italije, Holandije, Švicarske, Austrije i Njemačke.

Kao DJ i voditelj glazbenih emisija prvi put se oglašava 1974. godine na Radio-Sarajevu ("Pop Orion"), a zatim slijede emisije "Pažnja, na ploči dinamit", "Balade u sjenci solitera" i "Razigrane elektronike". Pokretanjem noćnog programa Radio-Sarajeva 1981. godine, uređivao je i vodio emisiju "Diskoteka u pola dva". Nakon toga slijedi zasigurno njegova najpopularnija emisija "Šarada akustika" (koja se emitirala subotom 16:30-18:00) . To je u pravom smislu riječi bila hit emisija u kojoj su se mogla čuti sva aktualna zbivanja sa svjetske i domaće glazbene scene, ali i klasika rocka. Emisija je bila slušana od Kopra do Skoplja, što najbolje potvrđuju stotine pisama koja su stizala na njegovu adresu.Ipak, on nije mogao bez putovanja. Brojna gostovanja njegove diskoteke pod nazivom "Top Rock Disco Show", diljem ex-YU posijala su za sobom novinske naslove u stilu "Čičak obara rekorde", "Čičak to radi najbolje", "Samo jedan je Čičak"...

"Od 1977. do 1982. Čičak subotom i nedjeljom u sarajevskoj "Slozi" predstavlja nove rock sastave. Kao gosti njegovog šou programa, u prepunoj dvorani, uvijek pred više od tisuću posjetitelja, a što je i maksimum ovoga klupskog prostora, kalila se jedna nova generacija sarajevske pop-rock škole, predstavljajući se prvim autorskim radovima i izvođačkim umijećem. Sa svojih dvadeset minuta, kao šampioni svoje ulice, gimnazije, mjesne zajednice, nastupali su mlađani bendovi Žaoka, Flota, Top, Kako kad, Mali princ, Rock apoteka, Tina, Ozbiljno pitanje, Linija života, Posljednji autobus, Lucifer, Velika porodica... Iz tih početničkih sastava izniknuli su kasnije Zabranjeno pušenje, Elvis J. Kurtovich, Plavi orkestar, Crvena jabuka, Bombaj štampa,Valentino, Gino Banana te Mladen Vojičić Tifa... Bila je to nova generacija šampiona sarajevske, bosanskohercegovačke i ex: SFRJ pop rock scene". Pored njih, svoje prve nastupe kao gosti njegovog programa su tih godina imali i bendovi koji su takodje najvaljivali svoj izlazak na scenu svojim ranim radovima :Vatreni poljubac, Divlje jagode,Film, Buldožer,Galija …

Na sarajevskoj Gradskoj predavačkoj tribini (RU "Đuro Đaković") od 1977. do 1980. godine, Ž. A. Čičak redovno organizira predavanja o razvoju svjetskog i domaćeg pop-rock stvaralaštva. Bio je tu i ciklus s temama o folk rocku, poeziji u rock glazbi, rock glazba i film, sarajevska pop-rock škola... Tu dobiva mnoge pohvale, a dvorana je uvijek prepuna.
Kao novinar i glazbeni kritičar počinje objavljivati tekstove 1973. godine u "Našim danima", da bi kasnije surađivao sa svim listovima u Sarajevu, kao kolumnist  "VEN-a", "Večernjih novina" "Svijeta", "Oslobođenja", beogradskog "Džuboksa" i "Rocka". Svojim je napisima u mnogome doprinio afirmiranju mnogih mladih sarajevskih grupa, kao i drugih, koje su se tek borile za širu popularnost".

Dolaskom u sarajevski Dom mladih je kao urednik glazbenih programa djelovao od 1984. do 1992 godine. U tom periodu je pored koncertnih aktivnosti u velikoj "okrugloj dancing dvorani" pokrenuo i novu klupsku scenu "Muzički video art klub" (od 1986. do 1992.)  i utemeljio dvije tradicionalne glazbene manifestacije koje su se dešavale svake godine i dobivši priznanje diljem ex: SFRJ i to:  "Yu heavy metal fest" (Dom mladih od 1986. do 1991.),koji je u anketama uglednog beogradskog (čitaj: Jugoslovenskog) glazbenog magazina "Rock" bio proglašen među pet najvećih spektakala godine 1986; 1987. i 1988 godine  te  "Festival pop-rock grupa BIH - nove nade nove snage" (Dom mladih od 1984. do 1992.) Tu su svoje prve promotivne nastupe kao "nove nade nove snage" bh. pop rock scene imali Merlin, Hari Mata Hari (nastao iz benda Baobab), Konvoj, Regina, Letu štuke, Protest, Knock Out (nastao iz benda Apokalipsa), Rupa u zidu - (Damir Avdić Diplomatz ) kao i mnogi drugi muzičari koji i danas djeluju u raznim bendovima s više ili manje uspjeha. Zahvaljujući koncertnim aktivnostima svakog vikenda i rekordnom broju posjetilaca, u prosjeku od preko dvije hiljade, Dom mladih je tih godina stekao epitet kao jedan od najznačajnijih muzičkih centara ex: SFRJ. Nakon šesnaest godina, u obnovljenom sarajevskom Domu mladih ovaj festival ponovo nastavlja s aktivnošću afirmisanja mladih stvaralaca iz svih žanrova pop-rock muzike 29. marta 2008 godine pod nazivom "9.Festival pop rock grupa BiH-Nove nade nove snage", a čiji je organizator i inicijator opet bio Želimir Altarac Čičak.

Rock maratoni:
Posebno mjesto u njegovu radu imaju "Rock maratoni", pod nazivom "Ž. A. Čičak – uz malu pomoć mojih prijatelja", koje je organizirao svakih pet godina, obilježavajući obljetnice svojega rada. U desetsatnim programima sudjelovale su vrhunske grupe, autori i izvođači iz ex-YU. Prvi se desio u sarajevskom Domu mladih 18. siječnja 1979. na kome su u prepunoj dvorani nastupili pioniri i predstavnici sarajevske pop rock škole Indexi,Vatreni poljubac,Divlje jagode, Cod, Formula 4, Jadranka Stojaković, te najmlađi predstavnici, skupine Rock apoteka, Znak sreće, Paradoks.
Drugi se desio 24. studenoga 1984. u prepunoj velikoj dvorani KSC Skenderija na kome su nastupili veterani Indexi, kao i bendovi koji su tek počeli šire promovirati svoj rad Bajaga i instruktori, U škripcu, Slomljena stakla, Elvis J. Kurtovich, Kongres, Divlje jagode, Gino banana te skupine Leb i sol, Laboratorija zvuka, Galija, Drugi način,Vatreni poljubac ,Teška industrija, Rezonansa, Formula 4.
Treći najspektakularniji, kada je oboren i rekord posjeta s jednim takvim rock spektaklom, zbio se u sarajevskoj "Zetri" 14. listopada 1989. godine. Tijekom desetsatnog programa koji je počeo u 17,00 sati i trajao do gotovo jutarnjih sati nastupili su legendarni Indexi, te Riblja čorba, Atomsko sklonište,YU grupa, Vatreni poljubac,Galija,Jura Stublić i Film ,Le Cinema,Zabranjeno pušenje,Psihomodo pop  ,Hari Mata Hari, Tifa Bend, Formula 4, Bambinosi, Rusija. Posebno treba istaći da svi sudionici ovih njegovih jubilaraca sastavljenih od šampiona i legendi pop rock glazbe pa do novih nada ex-YU glazbene scene su u znak uspješne suradnje i višegodišnjeg druženja i prijateljstva nastupali bez honorara.

1990-2000-te godine
Ni tijekom ratnih godina u Sarajevu Čičak ne posustaje. Organizirao je koncerte u "Slozi" te vodio mnoge glazbene emisije. Poseban je događaj bio koncert proslavljene kantautorice Joan Baez, održan u Sarajevu 14. travnja 1993. godine u dvorani kina "Imperijal".  Također, posebnu je pažnju izazvao njegov koncert "Give Peace A Chance" u okviru tradicionalne manifestacije "Sarajevska zima" iste godine, a na kojem su nastupili gotovo svi glazbenici koji su tada ostali u Sarajevu. U periodu od 1993. do 1995. na sarajevskom radiju "Zid" uređuje i vodi emisiju "Rock 'n' roll radio", a u mnogim anketama emisija je proglašena najboljom i najslušanijom tih godina, a što se desilo i s tv-emisijom "Iznad oblaka" emitiranom svakoga petka na "NTV99" 1996. i 1997 godine. Od 2006. godine svakoga petka od 16:30 do 18:00 sati još jednom potvrđuje svoje kvalitete vodeći u svom majstorskom i originalnom stilu glazbenu emisiju "Izvan vremena" na radiju Otvorena mreža – ROM i City radio, koja također već nekoliko godina u mnogim medijskim anketama biva proglašena najslušanijom u BiH.Organizator je prvog poslijeratnog povratničkog koncerta legendarnih Indexa u sarajevskom Bosanskom kulturnom centru, dvije večeri, 2. i 3. veljače 1996. godine, te koncerta "Rock No War" talijanske zvijezde Paola Bellija u "Slozi" 17. ožujka 1996., a kao promotor sudjeluje i u organizaciji najvećeg sarajevskog spektakla irskih rock zvijezda, grupe U2, održanog na Koševskom stadionu 23. rujna 1997. godine
. Organizator je i promotor glazbeno sportskog spektakla "Susret srca", odnosno prvog susreta reprezentacije pjevača Italije i BiH održanog 19. listopada 1998. na prepunom stadionu "Grbavica", kao i koncerta legendarne grupe Deep Purple u sarajevskoj "Zetri" 3. studenoga 2007. godine, te još jednog koncerta proslavljene kantautorice  Joan Baez u okviru tradicionalne manifestacije "Baščaršijske noći" 16. srpnja 2008. godine Bio je organizator odlazaka iz BiH na koncerte svjetskih asova koji su se dešavali u susjednim državama, o čemu je grupa "Zabranjeno pušenje" ispjevala pjesmu "S Čičkom na Stonese" na albumu "Agent tajne sile" 1999. godine.
Do 1983 godine djelovao je kao slobodni umjetnik, a od te godine do 1994. kao urednik i organizator muzičkih programa u RO omladinski centar Dom mladih Sarajevo. Od 1994. do 2007.godine djeluje u novinskoj agenciji "BIH PRESS" - kasnije Federalna novinska agencija "FENA", kao promotor "BiH promocije", novinar i glavni i odgovorni urednik elektronskog magazina za kulturu "BiH KULT". Objavio je knjigu "Anitkvarnica snova" autobiografiju/monografiju kao učesnik razvoja sarajevske, bh. i ex-SFRJ pop-rock scene od početka 60-ih pa do današnjih dana, a čija pretpromocija se desila 25. studenoga 2017. u okviru Prvog Sajma izdavača/nakladnika BiH – "Knjige u nišama". Slijedila je i koncertna promocija ove knjige 23. prosinca u 2017. u sarajevskom "Domu mladih" pod nazivom "Druženje izvan vremena za sva vremena" gdje su kao njegovi gosti nastupili bez honorara u znaku priznanja, neki od njegovih suradnika proteklih decenija. Tijekom 2018. godine promocije knjige "Anitkvarnica snova" održane su u Zagrebu,  Beogradu, te u gradovima diljem BiH Zenici,  Mostaru i Tuzli. Za svoj rad dobitnik je mnogih priznanja.

Nagrade
Tijekom proteklih desetljeća za svoj je rad dobio mnoga priznanja od kojih se posebno izdvajaju:

 Spomen-plaketa Grada Sarajeva (6. travnja 1980. - Grad Sarajevo)
 Medalja rada (1983. – Predsjedništvo SFRJ)
 Estradna nagrada BiH (1990. – Savez Udruženja estradnih radnika SR BiH)
 Zlatni ljiljan (1996. – Općina Centar Sarajevo)
 Davorin 2005 (Posebna nagrada za afirmaciju bh. pop-rock kulture)
 Počasni građanin Grada Sarajeva (2020. - Grada Sarajevo)

Literatura
 Želimir Altarac Čičak - "Antikvarnica snova" (autobiografija/monografija) - izdavač Dobra knjiga, Sarajevo 2017. -
 Biografski leksikon "KO JE KO u BiH 2018 -2022." - Izdavačko grafička kuća PLANJAX KOMERC –Tešanj,
 Josip Dujmović: "Indexi - U inat godinama": Igrano -dokumentarna biografija u 4 čina (Opća biblioteka Zenica 2016.), , str.17,116,125,126,131,133,135,141,162,163,164,231,249,260,301,302,333,334,335,346.
 "Sarajevo moj grad 6" – Izdavač "Rabic" Sarajevo 2016. – "Virtuozni gitar romantik," , str. 153-160.
 Dr. Nele Karajlić (pravo ime autora Nenad Janković)- "Fajront u Sarajevu", izdavači "Laguna"  i NID kompanija "Novosti"a.d. Beograd 2014. , str. 125,126,127,130.
  Dušan Vesić –"Šta bi dao da si na mom mjestu" – izdavač naklada "Ljevak" d.o.o. 2014. , str. 08,30,199
 "Sarajevo moj grad 3" – Izdavač "Rabic" Sarajevo 2014. –"Jedan od tih dana –Sloga naše mladosti" , str.193-201.
 Josip Dujmović: Indexi - "U inat godinama" (Quattro Media Sarajevo, 2006.), romansirana biografija Indexa, , str. 8, 101, 102, 108, 109, 114, 116, 117, 125, 140, 148, 183, 184, 193, 207, 215, 244, 249, 250.
Josip Dujmović: Indexi - "U inat godinama"- fotomonografija (Quattro Media Sarajevo, 2006.), - str. 7,61,67,101,110,114,135,142,161,171,227 ()
 Siniša Škarica: "Kad je rock bio mlad" (V.B.Z. Zagreb, 2005.), , str. 142, 177
 Amir Misirlić: "1.bosanskohercegovački pop-rock leksikon" (Hercegtisak, 2004.), , str. 2, 13, 46, 59, 77, 81, 106, 115, 151.
Petar Janjatović -"Ex Yu rock enciklopedija 1960-2006 -drugo dopunjeno izdanje - Beograd: Čigoja štampa 2007. , str. 105
"Leksikon Yu mitologije" –Rende –Postscriptum –Beograd 2004. (Narodna biblioteka Beograd ) Nacionalna i sveučilišna knjižnica Zagreb ), (Časopis je upisan u evidenciji javnih glasila pod br. 647 kod Federalnog Ministarstva obrazovanja, nauke, kulture i sporta), str. 96, 248
 "Muzika" – (God I br,4 oktobar - decembar 1997- Sarajevo:Muzička akademija) – "Značaj i razvoj sarajevske pop rok scene" – str. 137,138,139,140,141
 "Prilozi proučavanju muzičke kulturne baštine Bosne i Hercegovine – "Significance And Development Of The Sarajevo Pop Rock Music Scene" – 24. februar 1994 g. (AINFSN, pub. AVICENA, - Open Society Soros Sarajevo (Registrovan kao javni časopis u Saveznom ministarstvu za obrazovanje, nauku, kulturu i sport pod br. 647, str. 143,144,145,146,147.
 Hrvoje Miličević: Sarajevska ratna drama II čin – Sarajevo, kolovoz 1993 godina. str.143,144,145.

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Životopisi, Sarajevo
Bosanskohercegovački novinari
Bosanskohercegovački glazbeni producenti
Bosanskohercegovački radijski voditelji
Bosanskohercegovački radijski urednici
Bosanskohercegovački televizijski voditelji
Bosanskohercegovački televizijski urednici

Želimir Altarac Čičak


Aimé Dossche (Landegem, Nevele, 28 de março de 1902-30 de outubro de 1985) foi um ciclista belga que foi profissional entre 1924 e 1933. Durante sua carreira profissional conseguiu 11 vitórias, entre elas 3 etapas no Tour de France e três edições do Campeonato de Flandres.

Palmarés
 1924
 1.º na Paris-Cambrai
 1925
 1.º no Campeonato de Flandres
 1926
 Vencedor de 2 etapas ao Tour de France
 1927
 1.º em Mere
 1928
 1.º no Campeonato de Flandres
 1.º em Erembodegem
 1.º no Critérium da Xampanya
 1929
 1.º na Paris-Cambrai
 Vencedor de uma etapa ao Tour de France
 1931
 1.º no Campeonato de Flandres

Resultados no Tour de France
 1926. 15.º da classificação geral. Vencedor de 2 etapas
 1929. Abandona (12.ª etapa). Vencedor de uma etapa. Leva a camisola amarela durante 3 etapas
 1930. 12.º da classificação geral

Referências

Ligações externas
 Palmarés de Aimé Dossche ((em italiano))

Ciclistas da Bélgica
Vencedores de etapas do Tour de France

Aimé Dossche


قصر باكنغهام (بالإنجليزية: Buckingham Palace) هو المقر الرسمي لملوك بريطانيا. يقع في لندن، ويعتبر مكاناً لجل الأحداث المتصلة بالعائلة البريطانية المالكة، ومكاناً لانعقاد العديد من الإجتماعات وزيارات قادة الدول، إضافة لكونه نقطة جذب سياحية رئيسية.

يعتبر القصر مزار جذب سياحي ونقطة محورية للشعب البريطاني في لحظات الفرح والأزمات والمتاعب، من هناك أيضا تصدر جل التصريحات الصحفية التابعة للمكاتب الملكية.

تم الإنتهاء من أول منزل تم بناؤه على موقع في سنة 1624، بناءً على أوامر سير وليم بلاك، على الرغم من أن هذا كان بداية لفترة مختلطة جدا ومثيرة للجدل للغاية بالنسبة للموقع، فقد استمرت الحجج القانونية، والوثائق المفقودة وفجوات من الموافقة الملكية والارتباك حول الملكية الحقيقية للموقع لعدة سنوات، ومع ذلك، كان المبنى الرئيسي الأول الذي نصب في الحدود الحالية لقصر باكنغهام هو بيت جورينج على الرغم من أنه بعد ذلك أحرق في 1674، بيت أرلينغتون هو الآن الجناح الجنوبي من القصر. بالرغم من أنه مقر للكثير من المناسبات الرسمية وحفلات الاستقبال التي تعقدها الملكة، ويحتوي القصر على غرف الدولة التي تفتح للزوار كل عام.

عام 1703 قرر دوق باكنجهام ونورماندي إنشاء منزل كبير على الأرض، والذي يشكل جزءاً كبيراً من قصر باكنجهام اليوم.
عام 1761 بيع منزل باكنجهام للملك جورج الثالث مقابل 21,000 جنيه إسترليني.

لم يكن القصر حتى عام 1837 عندما اعتلت الملكة فيكتوريا العرش مسؤولاً عن الإقامة الملكية الرئيسية كما هو الآن، عندما تزوجت الملكة فيكتوريا الأمير ألبرت في عام 1840 أخذ على عاتقه تنظيم حالة التوظيف في مقر الهيئة الملكية الرئيسي الحالي تماماً وشاهدنا ظهور قصر باكنغهام الذي نعرفه اليوم.

مواصفات المبنى
يبلغ طول واجهة القصر 108 متراً ويبلغ عمقه 120 متراً (بما في ذلك الساحة المربعة المركزية) وارتفاعه 24 متراً، يوجد بالقصر 775 غرفة، تشتمل على 19 غرفة دولة، و52 غرفة ملكية وغرف للضيوف، و188 غرفة للموظفين، و92 مكتباً، و78 حماماً.

الأهمية

الأهمية السياسية
القصر هو مبنى خاص بالعمل إلى حد كبير، وهو يعد الدعامة الأساسية للنظام الملكي الدستوري في بريطانيا، ويضم مكاتب أولئك الذين يدعمون نشاطات يومية، وواجبات الملكة ودوق أدنبرة وأسرهم، وهو أيضاً المقر الرسمي لانعقاد الاحتفالات الملكية الكبيرة، والزيارات الخارجية، والتعيينات التي تنظمها الأسرة المالكة، غرف الدولة تشكل نواة القصر كمقر للعمل.

الأهمية التراثية
زين قصر باكنجهام بالعديد من التحف الفنية التي لا تقدر بثمن، والتي تشكل جزءاً من المجموعة الملكية، أحد أهم المجموعات الفنية في العالم، لكن هذا لم يجعل منه متحفاً أو معرضاً فنياً.

زيارات القصر
أكثر من 50,000 شخص يزورون القصر سنوياً كمدعوين إلى ولائم، أو وجبات الغداء أو العشاء، أو حفلات الاستقبال، أو احتفالات الحديقة الملكية.

بالنسبة لأولئك الذين يتلقون دعوة لقصر باكنغهام، الخطوة الأولى عبر العتبة تكون داخل القاعة الكبرى ثم صعود الدرج الرخامي المقوس في الدرج الكبير، لا يزال يتم وضع لوحات في الجدران، كما كان في عهد الملكة فيكتوريا.

انظر أيضا
 بيت بيلتون.
 نصب فيكتوريا التذكاري.

المصادر

تأسيسات سنة 1837 في إنجلترا
عمارة الريجنسي في المملكة المتحدة
عمارة إدواردية في لندن
عمارة جورجية في لندن
عمارة كلاسيكية جديدة في لندن
قصور المملكة المتحدة
قصور في لندن
قصور كلاسيكية جديدة
قلاع في إنجلترا
مبان تراثية في إنجلترا
مبان تراثية مدرجة في المستوى الأول
مبان تراثية من المستوى الأول في لندن
مبان ملكية في لندن
مبان ومنشآت في لندن
متاحف في مدينة وستمنستر
مساكن ملكية في المملكة المتحدة
منازل اكتملت في 1703
منازل اكتملت في 1762
مواقع جذب سياحي في مدينة وستمنستر
عمارة جورجية في وستمنستر

قصر بكنغهام


Vitaliy Parakhnevych (født 4. maj 1969) er en tidligere fodboldspiller fra Tadsjikistan.

Tadsjikistans fodboldlandshold

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Eksterne henvisninger

Fodboldspillere
Personer fra Tadsjikistan

Vitaliy Parakhnevych


El Estadio Lenin (en ruso: Стадион имени Ленина) es un estadio multiusos de la ciudad de Jabárovsk, en el Extremo Oriente ruso. El estadio fue construido en 1956, tiene capacidad para 15 200 espectadores y sirve, principalmente, para la práctica del fútbol. El club de fútbol SKA-Energiya Khabarovsk juega en el estadio Lenin sus partidos oficiales como local.

Historia
El estadio fue construido en 1956 en el parque a orillas del río Amur en Jabárovsk por orden del Mariscal Malinovski, un Comandante dos veces destacado Héroe de la Unión Soviética. En 1979 se produjo la reconstrucción del estadio para la Copa del Mundo de Bandy de 1981, que se celebró en la ciudad de Jabárovsk. La capacidad del estadio en ese momento era superior a las 20 000 localidades.

El 20 de noviembre de 1982 se produjo una estampida de aficionados durante un partido de hockey sobre hielo en el que fallecieron 18 personas. Fuentes oficiales contabilizaron 22 000 espectadores, lleno absoluto, pero los presentes observaron cómo muchos más aficionados entraron al estadio saltando las vallas de seguridad del estadio. Desde entonces, cada año se reúnen aficionados en la Tribuna Oriental para recordar a los fallecidos.

El césped del estadio fue sustituido en 2003 por uno artificial, convirtiéndose así en el primer estadio más allá de los Urales que acometía dicha operación. Las obras de remodelación de ese año incluyeron, también, la instalación de un sistema de calefacción por debajo del césped y asientos de plástico con los colores del SKA-Energiya —rojo y azul—, por lo que la capacidad del estadio descendió hasta los 15 200 espectadores.

El 2 de noviembre de 2011, el estadio pasó a ser propiedad del Krai de Jabárovsk tras las negociaciones mantenidas entre el gobernador Vyacheslav Shport y el Ministerio de Defensa, antiguo titular del estadio. Con el nuevo cambio de titularidad, el estadio dispondrá de mejoras como video vigilancia en el perímetro de las instalaciones deportivas y un detector de metales.

Véase también
 Anexo:Estadios de fútbol de Rusia

Referencias

Enlaces externos
Sitio web oficial
Perfil en RFPL

Estadios de fútbol de Rusia del siglo XX
Estadios de fútbol inaugurados en 1956
Deporte en Jabárovsk
Unión Soviética en 1956

Estadio Lenin (Jabárovsk)


El Panteón de la Patria, es un mausoleo de la República Dominicana donde se conservan los restos de personajes destacados de su historia. El Panteón está ubicado en la Zona Colonial de Santo Domingo.

Desde 1990, forma parte del Patrimonio de la Humanidad de la UNESCO, adscrito a la Ciudad Colonial de Santo Domingo. Como tal, es operado y mantenido por el Ministerio de Cultura.

Historia
El edificio fue una  de las últimas edificaciones construidas por los españoles en suelo dominicano. No se sabe con certeza la fecha del inicio de su construcción pero algunos historiadores suponen que fue entre los años 1714 y 1755 y se le atribuye a Jerónimo Quezada y Garçon.  Sirvió originalmente como una iglesia de la Orden de los jesuitas.

Cuando los jesuitas fueron expulsados del país en 1767, al edificio le fueron dados diversos usos: fue utilizado como almacenes de tabaco, y luego como sede del primer teatro dominicano con fines puramente artísticos creado por la Sociedad de Amantes de las Letras en 1860 hasta 1878 cuando se convirtió en el teatro La Republicana que funcionó hasta 1917. Más tarde alojó oficinas gubernamentales hasta 1956.

En 1958, durante la era de Trujillo, se restauró, a un costo de RD$438,938.00, (suma muy elevada para la época), bautizándolo luego como "Panteón Nacional": un mausoleo para albergar los restos de los héroes nacionales, civiles y militares. El majestuoso candelabro que cuelga en el centro de la capilla fue un obsequio de Francisco Franco a Trujillo. Justamente debajo del candelabro hay una flama que arde las 24 horas del día.

A partir de junio 2023, el edificio pasa a ser una dependencia del Ministerio de Cultura, mediante el decreto no. 214-23, dejando, por tanto, de ser una dependencia del Ministerio del Interior y Policía. De esta manera, la oficina de Cultura, concretamente el viceministerio de Patrimonio Cultural, recibió las funciones de promover y salvaguardar el Panteón de la Patria.

Descripción

El Panteón de la Patria tiene alrededor de 36 espacios vacíos para albergar a futuros próceres. También existe un espacio vacío sin placa, dedicada al soldado desconocido.  Hay una guardia de Honor permanente, compuesta por efectivos de la guardia presidencial, vestidos de gala, sin mover ni un solo músculo. Uno de ellos hace un paseo solemne de ronda en el pasillo central, que va desde la entrada principal hasta justo al frente del altar mayor. En el panteón, conjuntamente con la bandera dominicana se exhiben las banderas de la Fuerza Aérea, de la Armada y del Ejército de República Dominicana.

Personas sepultadas y recorrido
Los enterramientos y placas se distribuyen entre las dos naves laterales y el altar mayor.

La entrada al edificio se realiza por la pared este. El acceso se hace por la puerta de la izquierda, desde donde se continúa por la nave sur, se cruza frente al altar mayor y se prosigue por la nave norte, para salir nuevamente por la pared oriental.

Nave sur
En este pasillo están enterrados:

 Eugenio María de Hostos
 Francisco Henríquez y Carvajal
 Federico Henríquez y Carvajal
 Salomé Ureña
 Pedro Henríquez Ureña

Altar mayor
En el propio altar, detrás de la mesa, hay tres grandes tumbas:

 Gregorio Luperón
 Ulises Francisco Espaillat
 Benigno Filomeno de Rojas

En la pared sur del altar se encuentran las siguientes placas:

 Gaspar Polanco
 José María Cabral
 Francisco Gregorio Billini
 Benito Monción Durán
 Cayetano Abad Rodríguez
 Santiago Rodríguez Masagó
 Juan Isidro Pérez
 Antonio Duvergé
 María Trinidad Sánchez
 Pedro Alejandrino Pina García
 Juan Sánchez Ramírez
 Juan Nepomuceno Ravelo
 Félix María Ruiz
 Balbina de Peña, viuda Sánchez
 José Joaquín Puello
 José Reyes
 Emilio Prud'Homme
 Socorro del Rosario Sánchez
 José María Serra
 Ángel Perdomo
 José Núñez de Cáceres
 Rosa Duarte

En la pared norte del altar se encuentran las siguientes placas:

 Concepción Bona
 Américo Lugo
 Pedro Santana
 Antonio del Monte y Tejada
 José Gabriel García
 José Joaquín Pérez
 Gastón Fernando Deligne
 Juan Alejandro Acosta
 Juan Bautista Cambiaso
 Timoteo Ogando Encarnación

Nave norte
En este pasillo están:

 Francisco Antonio Salcedo
 Pedro Francisco Bonó
 Rafael Tomás Fernández Domínguez
 Francisco Alberto Caamaño Deñó
 Gregorio Gilbert Suero

Referencias
 Historia Sucinta del Panteón Nacional (En Inglés)
 Artículo investigativo sobre La Tumba de los Inmortales en la revista Ahora Año 2001
 Reportaje sobre la historia del Panteón Nacional En Youtube.com

Enlaces externos

Ciudad Colonial de Santo Domingo
Mausoleos de República Dominicana
Panteones
Monumentos de República Dominicana

Panteón de la Patria


O Katinguelê Na Área é o quinto álbum do grupo de pagode Katinguelê em 1998.

Com o álbum, o grupo paulista atingiu mais uma vez a marca de 250 mil cópias vendidas, puxada pelo sucesso da canção "Inaraí", em 2018, o grupo e o ex integrante Salgadinho discordaram sobre a origem da canção.

Faixas

Álbuns de 1998
Álbuns de pagode

Katinguelê Na Área


Gandhāra was an ancient Indo-Aryan civilization centered in the present-day north-west Pakistan and including parts of north-east Afghanistan, roughly in the northwestern part of the Indian subcontinent. The core of the region of Gandhara was the Peshawar valley and Swat valley, though the cultural influence of "Greater Gandhara" extended across the Indus river to the Taxila region in Potohar Plateau and westwards into the Kabul valley in Afghanistan, and northwards up to the Karakoram range.

The Gandhara tribe, after which it is named, is attested in the Rigveda (), while the region is mentioned in the Zoroastrian Avesta as Vaēkərəta, the sixth most beautiful place on earth created by Ahura Mazda. It was one of the 16 Mahajanapadas of the second urbanisation. Gandhara is frequently mentioned in the Ramayana and Mahabharata.

The Iron Age Gandhara kingdom emerged as a major imperial power during the reign of King Pushkarasarin in . Gandhara was conquered by the Achaemenids in the 6th century BCE, Alexander the Great in 327 BCE, and later became part of the Maurya Empire before being a centre of the Indo-Greek Kingdom. The region was a major centre for Greco-Buddhism under the Indo-Greeks and Gandharan Buddhism under later dynasties, including Indo-Scythians, Indo-Parthians and Kushans. Gandhara was also a central location for the spread of Buddhism to Central Asia and East Asia.

Gāndhārī, an Indo-Aryan language written in Kharosthi script, acted as lingua franca of the region. Famed for its unique Gandharan style of art which is influenced by the classical Hellenistic styles, Gandhara attained its height from the 1st century to the 5th century CE under the Kushan Empire, who had their capital at Peshawar (Puruṣapura) and ushered a period of relative peace known as Pax Kushana. Gandhara "flourished at the crossroads of India, Central Asia, and the Middle East," connecting trade routes and absorbing cultural influences from diverse civilizations; Buddhism thrived until the 8th or 9th centuries, when Islam first began to gain sway in the region.

The region steadily declined after the violent invasion by Alchon Huns in 6th century, and the name Gandhara disappeared after Mahmud Ghaznavi's conquest in 1001 CE.

Etymology

Gandhara was known in Sanskrit as  (), in Avestan as , in Old Persian as Gadāra (Old Persian cuneiform: 𐎥𐎭𐎠𐎼, Gadāra, also transliterated as Gandāra since the nasal "n" before consonants was omitted in the Old Persian script, and simplified as Gandara), in Akkadian and Elamite as Paruparaesanna (), in Chinese as  (Pinyin: Jiāntuóluó; Middle Chinese (Zhengzhang Shangfang): /kɨɐn  dɑ  lɑ/) or
 (Pinyin: Jìbīn; Middle Chinese (Zhengzhang Shangfang): /kˠiᴇiᴴ  piɪn/), and in Greek as  (Gandhara).

One proposed origin of the name is from the Sanskrit word  , meaning "perfume" and "referring to the spices and aromatic herbs which they (the inhabitants) traded and with which they anointed themselves". The Gandhari people are a tribe mentioned in the Rigveda, the Atharvaveda, and later Vedic texts.

A Persian form of the name, Gandara, mentioned in the Behistun inscription of Emperor Darius I, was translated as Paruparaesanna (, meaning "beyond the Hindu Kush") in Babylonian and Elamite in the same inscription.

Geography

The boundaries of Gandhara varied throughout history. Sometimes the Peshawar Valley and Taxila were collectively referred to as Gandhara; sometimes the Kabul Valley and Swat (Sanskrit: Suvāstu) were included. The kingdom was ruled from capitals at Kapisi (Bagram), Pushkalavati (Charsadda), Taxila, Puruṣapura (Peshawar) and in its final days from Udabhandapura (Hund) on the River Indus. Historically, it bordered ancient regions of Bactria and Ariana to the north and Arachosia and Sattagydia to the south.

History

Stone age
Evidence of human activity in the Middle Palaeolithic has been reported from Sanghao Cave in the Mardan district of Pakistan. The cave was excavated by Ahmad Hasan Dani in 1963. Chipped stone, bones, were found during the excavation. Other items included scrapers, quartz tools, blades, flakes, etc.

Gandhara grave culture

Gandhara's first recorded culture was the Grave Culture that emerged  and lasted until 800 BCE, and named for their distinct funerary practices. It was found along the Middle Swat River course, even though earlier research considered it to be expanded to the Valleys of Dir, Kunar, Chitral, and Peshawar.  It has been regarded as a token of the Indo-Aryan migrations, but has also been explained by local cultural continuity. Backwards projections, based on ancient DNA analyses, suggest ancestors of Swat culture people mixed with a population coming from Inner Asia Mountain Corridor, which carried Steppe ancestry, sometime between 1900 and 1500 BCE.

Vedic era

The first mention of the Gandhārīs is attested once in the  as a tribe that has sheep with good wool. In the , the Gandhārīs are mentioned alongside the Mūjavants, the Āṅgeyas. and the Māgadhīs in a hymn asking fever to leave the body of the sick man and instead go those aforementioned tribes. The tribes listed were the furthermost border tribes known to those in , the Āṅgeyas and Māgadhīs in the east, and the Mūjavants and Gandhārīs in the north.

The Gāndhārī king Nagnajit and his son Svarajit are mentioned in the s, according to which they received Brahmanic consecration, but their family's attitude towards ritual is mentioned negatively, with the royal family of Gandhāra during this period following non-Brahmanical religious traditions. According to the Jain , Nagnajit, or Naggaji, was a prominent king who had adopted Jainism and was comparable to Dvimukha of Pāñcāla, Nimi of Videha, Karakaṇḍu of Kaliṅga, and Bhīma of Vidarbha; Buddhist sources instead claim that he had achieved .

By the later Vedic period, the situation had changed, and the Gāndhārī capital of Takṣaśila had become an important centre of knowledge where the men of  went to learn the three Vedas and the eighteen branches of knowledge, with the  recording that s went north to study. According to the  and the , the famous Vedic philosopher Uddālaka Āruṇi was among the famous students of Takṣaśila, and the  claims that his son Śvetaketu also studied there. In the , Uddālaka Āruṇi himself favourably referred to Gāndhārī education to the Vaideha king Janaka.

During the 6th century BCE, Gandhāra was an important imperial power in north-west Iron Age South Asia, with the valley of Kaśmīra being part of the kingdom, while the other states of the Punjab region, such as the Kekayas, Madrakas, Uśīnaras, and Shivis being under Gāndhārī suzerainty. The Gāndhārī king Pukkusāti, who reigned around 550 BCE, engaged in expansionist ventures which brought him into conflict with the king Pradyota of the rising power of Avanti. Pukkusāti was successful in this struggle with Pradyota, but war broke out between him and the Pāṇḍava tribe located in the Punjab region, and who were threatened by his expansionist policy. Pukkusāti also engaged in friendly relations with the king Bimbisāra of Magadha.

Due to this important position, Buddhist texts listed the Gandhāra kingdom as one of the sixteen s ("great realms") of Iron Age South Asia. It was the home of Gandhari, the princess of Gandhara kingdom.

Achaemenid Gandhara

By the later 6th century BCE, the founder of the Persian Achaemenid Empire, Cyrus, soon after his conquests of Media, Lydia, and Babylonia, marched into Gandhara and annexed it into his empire. The scholar Kaikhosru Danjibuoy Sethna advanced that Cyrus had conquered only the trans-Indus borderlands around Peshawar which had belonged to Gandhāra while Pukkusāti remained a powerful king who maintained his rule over the rest of Gandhāra and the western Punjab.

However, according to the scholar Buddha Prakash, Pukkusāti might have acted as a bulwark against the expansion of the Persian Achaemenid Empire into north-west South Asia. This hypothesis posits that the army which Nearchus claimed Cyrus had lost in Gedrosia had in fact been defeated by Pukkusāti's Gāndhārī kingdom. Therefore, following Prakash's position, the Achaemenids would have been able to conquer Gandhāra only after a period of decline of Gandhāra after the reign of Pukkusāti combined the growth of Achaemenid power under the kings Cambyses II and Darius I. However, the presence of Gandhāra, referred to as  in Old Persian, among the list of Achaemenid provinces in Darius's Behistun Inscription confirms that his empire had inherited this region from conquests carried out earlier by Cyrus.

It is unknown whether Pukkusāti remained in power after the Achaemenid conquest as a Persian vassal or if he was replaced by a Persian satrap (governor), although Buddhist sources claim that he renounced his throne and became a monk after becoming a disciple of the Buddha. The annexation under Cyrus was limited to Gandhāra proper, after which the peoples of the Punjab region previously under Gāndhārī authority took advantage of the new power vacuum to form their own states.

Under Persian rule, a system of centralized administration, with a bureaucratic system, was introduced into the Indus Valley for the first time. Provinces or "satrapy" were established with provincial capitals.

Gandhara satrapy, established 518 BCE with its capital at Pushkalavati (Charsadda).

The inscription on Darius' (521–486 BCE) tomb at Naqsh-i-Rustam near Persepolis records Gadāra (Gandāra) along with Hindush (Hənduš, Sindh) in the list of satrapies. By about 380 BC the Persian hold on the region had weakened. Many small kingdoms sprang up in Gandhara.

Macedonian Gandhara

In 327 BCE, Alexander the Great conquered Gandhara as well as the Indian satrapies of the Persian Empire. The expeditions of Alexander were recorded by his court historians and by Arrian () in his Anabasis Alexandri and by other chroniclers many centuries after the event.

In the winter of 327 BCE, Alexander invited all the chieftains in the remaining five Achaemenid satraps to submit to his authority. Ambhi, then ruler of Taxila in the former Hindush satrapy complied, but the remaining tribes and clans in the former satraps of Gandhara, Arachosia, Sattagydia and Gedrosia rejected Alexander's offer.

The first tribe they encountered were the Aspasioi tribe of the Kunar Valley, who under the leadership of their queen Cleophis initiated a fierce battle against Alexander, in which he himself was wounded in the shoulder by a dart. However, the Aspasioi eventually lost and 40,000 people were enslaved. Alexander then continued in a southwestern direction where he encountered the Assakenoi tribe of the Swat and Buner valleys in April 326 BCE. The Assakenoi fought bravely and offered stubborn resistance to Alexander and his army in the cities of Ora, Bazira (Barikot) and Massaga. So enraged was Alexander about the resistance put up by the Assakenoi that he killed the entire population of Massaga and reduced its buildings to rubble. A similar slaughter then followed at Ora, another stronghold of the Assakenoi. The stories of these slaughters reached numerous Assakenians, who began fleeing to Aornos, a hill-fort located between Shangla and Kohistan. Alexander followed close behind their heels and besieged the strategic hill-fort, eventually capturing and destroying the fort and killing everyone inside. The remaining smaller tribes either surrendered or like the Astanenoi tribe of Pushkalavati (Charsadda) were quickly neutralized where 38,000 soldiers and 230,000 oxen were captured by Alexander. Eventually Alexander's smaller force would meet with the larger force which had come through the Khyber Pass met at Attock. With the conquest of Gandhara complete, Alexander switched to strengthening his military supply line, which by now stretched dangerously vulnerable over the Hindu Kush back to Balkh in Bactria.

After conquering Gandhara and solidifying his supply line back to Bactria, Alexander combined his forces with the King Ambhi of Taxila and crossed the River Indus in July 326 BCE to begin the Archosia (Punjab) campaign. Alexander nominated officers as Satraps of the new provinces, and in Gandhara, Oxyartes was nominated to the position of Satrap in 326 BCE.

Mauryan Gandhara

After a battle with Seleucus Nicator (Alexander's successor in Asia) in 305 BCE, the Mauryan emperor Chandragupta extended his domain up to and including Gandhara and Arachosia. With the completion of the Empire's Grand Trunk Road, the region prospered as a centre of trade. Gandhara remained a part of the Mauryan Empire for about a century and a half.

Ashoka, the grandson of Chandragupta, was one of the greatest Indian rulers. Like his grandfather, Ashoka also started his career in Gandhara as a governor. Later he became a Buddhist and promoted Buddhism, building many stupas in Gandhara. Mauryan control over the northwestern frontier, including the Yonas, Kambojas, and the Gandharas, is attested from the Rock Edicts left by Ashoka.

According to one school of scholars, the Gandharas and Kambojas were cognate people. It is also contended that the Kurus, Kambojas, Gandharas and Bahlikas were cognate people and all had Iranian affinities, or that the Gandhara and Kamboja were nothing but two provinces of one empire and hence influencing each other's language. However, the local language of Gandhara is represented by Panini's conservative bhāṣā ("language"), which is entirely different from the Iranian (Late Avestan) language of the Kamboja that is indicated by Patanjali's quote of Kambojan śavati 'to go' (= Late Avestan šava(i)ti).

Indo-Greek Kingdom
The Indo-Greek king Menander I (reigned 155–130 BCE) drove the Greco-Bactrians out of Gandhara and beyond the Hindu Kush, becoming king shortly after his victory.

His empire survived him in a fragmented manner until the last independent Greek king, Strato II, disappeared around 10 CE. Around 125 BCE, the Greco-Bactrian king Heliocles, son of Eucratides, fled from the Yuezhi invasion of Bactria and relocated to Gandhara, pushing the Indo-Greeks east of the Jhelum River. The last known Indo-Greek ruler was Theodamas, from the Bajaur area of Gandhara, mentioned on a 1st-century CE signet ring, bearing the Kharoṣṭhī inscription "Su Theodamasa" ("Su" was the Greek transliteration of the Kushan royal title "Shau" ("Shah" or "King")).

It is during this period that the fusion of Hellenistic and South Asian mythological, artistic and religious elements becomes most apparent, especially in the region of Gandhara.

Local Greek rulers still exercised a feeble and precarious power along the borderland, but the last vestige of the Greco-Indian rulers were finished by a people known to the old Chinese as the Yeuh-Chi.

Indo-Scythian Kingdom

The Indo-Scythians were descended from the Sakas (Scythians) who migrated from Central Asia into South Asia from the middle of the 2nd century BCE to the 1st century BCE. They displaced the Indo-Greeks and ruled a kingdom that stretched from Gandhara to Mathura. The first Indo-Scythian king Maues established Saka hegemony by conquering Indo-Greek territories. The power of the Saka rulers declined after the defeat to Chandragupta II of the Gupta Empire in the 4th century.

Indo-Parthian Kingdom

The Indo-Parthian Kingdom was ruled by the Gondopharid dynasty, named after its first ruler Gondophares. For most of their history, the leading Gondopharid kings held Taxila (in the present Punjab province of Pakistan) as their residence, but during their last few years of existence the capital shifted between Kabul and Peshawar. These kings have traditionally been referred to as Indo-Parthians, as their coinage was often inspired by the Arsacid dynasty, but they probably belonged to a wider groups of Iranic tribes who lived east of Parthia proper, and there is no evidence that all the kings who assumed the title Gondophares, which means "Holder of Glory", were even related.

Kushan Gandhara

The Parthian dynasty fell in about 75 to another group from Central Asia. The Kushans, known as Yuezhi in the Chinese source Hou Han Shu (argued by some to be ethnically Asii) moved from Central Asia to Bactria, where they stayed for a century. Around 75 CE, one of their tribes, the Kushan (Kuṣāṇa), under the leadership of Kujula Kadphises gained control of Gandhara. The Kushan empire began as a Central Asian kingdom, and expanded into South Asia in the early centuries CE.

The Kushan period is considered the Golden Period of Gandhara. Peshawar Valley and Taxila are littered with ruins of stupas and monasteries of this period. Gandharan art flourished and produced some of the best pieces of sculpture from the Indian subcontinent.

Gandhara's culture peaked during the reign of the great Kushan king Kanishka the Great (127 CE – 150 CE). The cities of Taxila (Takṣaśilā) at Sirsukh and Purushapura (modern day Peshawar) reached new heights. Purushapura along with Mathura became the capital of the great empire stretching from Central Asia to Northern India with Gandhara being in the midst of it. Emperor Kanishka was a great patron of the Buddhist faith; Buddhism spread from India to Central Asia and the Far East across Bactria and Sogdia, where his empire met the Han Empire of China. Buddhist art spread from Gandhara to other parts of Asia.

In Gandhara, Mahayana Buddhism flourished and Buddha was represented in human form. Under the Kushans new Buddhists stupas were built and old ones were enlarged. Huge statues of the Buddha were erected in monasteries and carved into the hillsides. Kanishka also built the 400-foot Kanishka stupa at Peshawar. This tower was reported by Chinese monks Faxian, Song Yun, and Xuanzang who visited the country. The stupa was built during the Kushan era to house Buddhist relics, and was among the tallest buildings in the ancient world.

Kidarites
The Kidarites conquered Peshawar and parts of northwest Indian subcontinent including Gandhara probably sometime between 390 and 410 from Kushan empire, around the end of the rule of Gupta Emperor Chandragupta II or beginning of the rule of Kumaragupta I. It is probably the rise of the Hephthalites and the defeats against the Sasanians which pushed the Kidarites into northern India. Their last ruler in Gandhara was Kandik, .

Alchon Huns
Around 430 King Khingila, the most notable Alchon ruler, emerged and took control of the routes across the Hindu Kush from the Kidarites. Coins of the Alchons rulers Khingila and Mehama were found at the Buddhist monastery of Mes Aynak, southeast of Kabul, confirming the Alchon presence in this area around 450–500 CE.

The numismatic evidence as well as the so-called "Hephthalite bowl" from Gandhara, now in the British Museum, suggests a period of peaceful coexistence between the Kidarites and the Alchons, as it features two Kidarite noble hunters, together with two Alchon hunters and one of the Alchons inside a medallion. At one point, the Kidarites withdrew from Gandhara, and the Alchons took over their mints from the time of Khingila.

The Alchons apparently undertook the mass destruction of Buddhist monasteries and stupas at Taxila, a high center of learning, which never recovered from the destruction. Virtually all of the Alchon coins found in the area of Taxila were found in the ruins of burned down monasteries, where apparently some of the invaders died alongside local defenders during the wave of destructions. It is thought that the Kanishka stupa, one of the most famous and tallest buildings in antiquity, was destroyed by them during their invasion of the area in the 460s CE. The Mankiala stupa was also vandalized during their invasions.

Mihirakula in particular is remembered by Buddhist sources to have been a "terrible persecutor of their religion" in Gandhara. During the reign of Mihirakula, over one thousand Buddhist monasteries throughout Gandhara are said to have been destroyed. In particular, the writings of Chinese monk Xuanzang from 630 CE explained that Mihirakula ordered the destruction of Buddhism and the expulsion of monks. Indeed, the Buddhist art of Gandhara, in particular Greco-Buddhist art, becomes essentially extinct around that period. When Xuanzang visited Gandhara in , he reported that Buddhism had drastically declined in favour of Shaivism, and that most of the monasteries were deserted and left in ruins.

Turk and Hindu Shahis

The Turk Shahis ruled Gandhara until 870, when they were overthrown by the Hindu Shahis. The Hindu Shahis are believed to belong to the Uḍi/Oḍi tribe, namely the people of Oddiyana in Gandhara.

The first king Kallar had moved the capital into Udabandhapura from Kabul, in the modern village of Hund for its new capital. At its zenith, the kingdom stretched over the Kabul Valley, Gandhara and western Punjab under Jayapala. Jayapala saw a danger in the consolidation of the Ghaznavids and invaded their capital city of Ghazni both in the reign of Sebuktigin and in that of his son Mahmud, which initiated the Muslim Ghaznavid and Hindu Shahi struggles. Sebuk Tigin, however, defeated him, and he was forced to pay an indemnity. Jayapala defaulted on the payment and took to the battlefield once more. Jayapala however, lost control of the entire region between the Kabul Valley and Indus River.

However, the army was defeated in battle against the western forces, particularly against the Mahmud of Ghazni. In the year 1001, soon after Sultan Mahmud came to power and was occupied with the Qarakhanids north of the Hindu Kush, Jaipal attacked Ghazni once more and upon suffering yet another defeat by the powerful Ghaznavid forces, near present-day Peshawar.  After the Battle of Peshawar, he died because of regretting as his subjects brought disaster and disgrace to the Shahi dynasty.

Jayapala was succeeded by his son Anandapala, who along with other succeeding generations of the Shahiya dynasty took part in various unsuccessful campaigns against the advancing Ghaznvids but were unsuccessful. The Hindu rulers eventually exiled themselves to the Kashmir Siwalik Hills.

Rediscovery

By the time Gandhara had been absorbed into the empire of Mahmud of Ghazni, Buddhist buildings were already in ruins and Gandhara art had been forgotten. After Al-Biruni, the Kashmiri writer Kalhaṇa wrote his book Rajatarangini in 1151. He recorded some events that took place in Gandhara, and provided details about its last royal dynasty and capital Udabhandapura.

In the 19th century, British soldiers and administrators started taking an interest in the ancient history of the Indian Subcontinent. In the 1830s coins of the post-Ashoka period were discovered, and in the same period Chinese travelogues were translated. Charles Masson, James Prinsep, and Alexander Cunningham deciphered the Kharosthi script in 1838. Chinese records provided locations and site plans for Buddhist shrines. Along with the discovery of coins, these records provided clues necessary to piece together the history of Gandhara. In 1848 Cunningham found Gandhara sculptures north of Peshawar. He also identified the site of Taxila in the 1860s. From then on a large number of Buddhist statues were discovered in the Peshawar valley.

Archaeologist John Marshall excavated at Taxila between 1912 and 1934. He discovered separate Greek, Parthian, and Kushan cities and a large number of stupas and monasteries. These discoveries helped to piece together much more of the chronology of the history of Gandhara and its art.

After 1947 Ahmed Hassan Dani and the Archaeology Department at the University of Peshawar made a number of discoveries in the Peshawar and Swat Valley. Excavation of many of the sites of Gandhara Civilization are being done by researchers from Peshawar and several universities around the world.

Culture

Language

Gandhara's language was a Prakrit or "Middle Indo-Aryan" dialect, usually called Gāndhārī. Hindko from Peshawar which was the capital of Gandhara, came from Shuraseni prakrit a language spoken in Gandhara. Under the Kushan Empire, Gāndhārī spread into adjoining regions of South and Central Asia. It used the Kharosthi script, which is derived from the Aramaic script, and it died out about in the 4th century CE.

Linguistic evidence links some groups of the Dardic languages with Gandhari. The Kohistani languages, now all being displaced from their original homelands, were once more widespread in the region and most likely descend from the ancient dialects of the region of Gandhara. The last to disappear was Tirahi, still spoken some years ago in a few villages in the vicinity of Jalalabad in eastern Afghanistan, by descendants of migrants expelled from Tirah by the Afridi Pashtuns in the 19th century. Georg Morgenstierne claimed that Tirahi is "probably the remnant of a dialect group extending from Tirah through the Peshawar district into Swat and Dir". Nowadays, it must be entirely extinct and the region is now dominated by Iranian languages brought in by later migrants, such as Pashto. Among the modern day Indo-Aryan languages still spoken today, Torwali shows the closest linguistic affinity possible to Niya, a dialect of Gāndhārī.

Religion

Mahāyāna Buddhism
Mahāyāna Pure Land sutras were brought from the Gandhāra region to China as early as 147 CE, when the Kushan monk Lokakṣema began translating some of the first Buddhist sutras into Chinese. The earliest of these translations show evidence of having been translated from the Gāndhārī language. Lokakṣema translated important Mahāyāna sūtras such as the Aṣṭasāhasrikā Prajñāpāramitā Sūtra, as well as rare, early Mahāyāna sūtras on topics such as samādhi, and meditation on the Buddha Akṣobhya. Lokaksema's translations continue to provide insight into the early period of Mahāyāna Buddhism. This corpus of texts often includes and emphasizes ascetic practices and forest dwelling, and absorption in states of meditative concentration:

Some scholars believe that the Mahāyāna Longer Sukhāvatīvyūha Sūtra was compiled in the age of the Kushan Empire in the 1st and 2nd centuries CE, by an order of Mahīśāsaka bhikṣus which flourished in the Gandhāra region. However, it is likely that the longer Sukhāvatīvyūha owes greatly to the Mahāsāṃghika-Lokottaravāda sect as well for its compilation, and in this sutra there are many elements in common with the Lokottaravādin Mahāvastu. There are also images of Amitābha Buddha with the bodhisattvas Avalokiteśvara and Mahāsthāmaprāpta which were made in Gandhāra during the Kushan era.

The Mañjuśrīmūlakalpa records that Kaniṣka of the Kushan Empire presided over the establishment of the Mahāyāna Prajñāpāramitā teachings in the northwest. Tāranātha wrote that in this region, 500 bodhisattvas attended the council at Jālandhra monastery during the time of Kaniṣka, suggesting some institutional strength for Mahāyāna in the north-west during this period. Edward Conze goes further to say that Prajñāpāramitā had great success in the north-west during the Kushan period, and may have been the "fortress and hearth" of early Mahāyāna, but not its origin, which he associates with the Mahāsāṃghika branch of Buddhism.

Art

Gandhāra is noted for the distinctive Gandhāra style of Buddhist art, which shows influence of Hellenistic and local Indian influences from the Gangetic Valley. The Gandhāran art flourished and achieved its peak during the Kushan period, from the 1st to the 5th centuries, but it declined and was destroyed after the invasion of the Alchon Huns in the 5th century.

Siddhartha shown as a bejeweled prince (before the Sidhartha renounces palace life) is a common motif. Stucco, as well as stone, were widely used by sculptors in Gandhara for the decoration of monastic and cult buildings. Buddhist imagery combined with some artistic elements from the cultures of the Hellenistic world. An example is the youthful Buddha, his hair in wavy curls, similar to statutes of Apollo. Sacred artworks and architectural decorations used limestone for stucco composed by a mixture of local crushed rocks (i.e. schist and granite) which resulted compatible with the outcrops located in the mountains northwest of Islamabad.

The artistic traditions of Gandhara art can be divided into following phases:
Indo-Greek art; 2nd century BCE to 1st century CE
Indo-Scythian art; 1st century BCE to 1st century CE
Kushan art; 1st century CE to 4th century CE

Major cities
Major cities of ancient Gandhara are as follows:
Puṣkalavati (Charsadda), Pakistan
Takshashila (Taxila), Pakistan
Puruṣapura (Peshawer), Pakistan
Sagala (Sialkot), Pakistan
Oddiyana (Swat), Pakistan
Kapisi (Bagram), Afghanistan
Jibin, appears in the Chinese sources

Notable people

In popular culture
Gandhara:Buddha no Seisen is an action RPG released in Japan in 1987.
"Gandhara" is a 1978 song by Japanese rock band Godiego, serving as their 7th single.
Gandhara is a Buddhist pacifist organization in the Japanese manga series Shaman King.

See also

History of Pakistan
History of Afghanistan
History of India
Mahajanapadas

Notes

References

Sources

 Beal, Samuel. 1884. Si-Yu-Ki: Buddhist Records of the Western World, by Hiuen Tsiang. 2 vols. Trans. by Samuel Beal. London. Reprint: Delhi. Oriental Books Reprint Corporation. 1969.
 Beal, Samuel. 1911. The Life of Hiuen-Tsiang by the Shaman Hwui Li, with an Introduction containing an account of the Works of I-Tsing. Trans. by Samuel Beal. London. 1911. Reprint: Munshiram Manoharlal, New Delhi. 1973.
 Bellew, H.W. Kashmir and Kashgar. London, 1875. Reprint: Sang-e-Meel Publications 1999
 Caroe, Sir Olaf,  The Pathans, Oxford University Press, Karachi, 1958.

 Hill, John E. 2003. "Annotated Translation of the Chapter on the Western Regions according to the Hou Hanshu". 2nd Edition: Through the Jade Gate to Rome: A Study of the Silk Routes, 1st to 2nd Centuries CE. 2015. John E. Hill. Volume I, ; Volume II, . CreateSpace, North Charleston, S.C.
 Hussain, J.  An Illustrated History of Pakistan, Oxford University Press, Karachi, 1983.

 Legge, James. Trans. and ed. 1886. A Record of Buddhistic Kingdoms: being an account by the Chinese monk Fâ-hsien of his travels in India and Ceylon (A.D. 399–414) in search of the Buddhist Books of Discipline. Reprint: Dover Publications, New York. 1965.

 Shaw, Isobel. Pakistan Handbook, The Guidebook Co., Hong Kong, 1989
 Watters, Thomas. 1904–5. On Yuan Chwang's Travels in India (A.D. 629–645). Reprint: Mushiram Manoharlal Publishers, New Delhi. 1973.

Further reading

 Rienjang, Wannaporn, and Peter Stewart (eds), The Rediscovery and Reception of Gandharan Art (Archaeopress, 2022) ISBN 978-1-80327-233-7.

External links

Gandharan Connections Project (Cambridge, 2016–2021)
Livius.org: Gandara
The Buddhist Manuscript project
University of Washington's Gandharan manuscript
Coins of Gandhara janapada
Gandhara Civilization- National Fund for Cultural Heritage (Pakistan)

Achaemenid satrapies
Ancient empires and kingdoms of India
Ancient history of Pakistan
Archaeological sites in Pakistan
Buddhist sites in Pakistan
Ancient Asia
History of Pakistan
Historical regions of Pakistan
Kingdoms in the Ramayana
Locations in Hindu mythology
Prehistoric Pakistan

Gandhara


Kayıkçılar, Zonguldak ilinin Çaycuma ilçesine bağlı bir köydür.

Tarihçe
Köy, 1919 yılından beri aynı adı taşımaktadır.

Coğrafya
Köy, Zonguldak il merkezine 40 km, Çaycuma ilçe merkezine 7 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Çaycuma belde ve köyleri

Kayıkçılar, Çaycuma


Redbank  may refer to:

Places
In Australia
Redbank, Queensland, a suburb in Ipswich
Redbank, Victoria
Redbanks, South Australia

In the United States
Redbank Township, Armstrong County, Pennsylvania
Redbank Township, Clarion County, Pennsylvania
Saluda, South Carolina, formerly known as Redbank

Streams
In the United States
Redbank Creek (Pennsylvania), a tributary of the Allegheny River

See also

Red Bank (disambiguation)
Red Banks (disambiguation)

Redbank


Ernst Fritz Schmid (* 7. März 1904 in Tübingen; † 20. Januar 1960 in Augsburg) war ein deutscher Musikwissenschaftler und Mozartexperte.

Leben
Ernst Fritz Schmid war Sohn des Gräzisten Wilhelm Schmid und Enkel von Karl Emil Kauffmann. Zunächst studierte Schmid 1924 bis 1927 an der Akademie der Tonkunst in München Violine, Viola und Viola d'amore und war 1927 in Düsseldorf auch als Bratschist tätig. Anschließend studierte er in Freiburg, Tübingen und Wien Musikwissenschaft. 1929 wurde er promoviert, 1934 habilitiert. Von 1935 bis 1937 war er Extraordinarius für Musikwissenschaft an der Universität Tübingen sowie deren Universitätsmusikdirektor. Um 1937 wurde er von den Nationalsozialisten um seine Stellung gebracht und wirkte zunächst als Chorleiter in den süddeutschen Gemeinden Amorbach und Miltenberg sowie in Augsburg, bis er 1940 als Soldat verpflichtet wurde. Während des Krieges heiratete er 1942 die Münchnerin Lotte Köbele, mit der er drei Söhne hatte. Schmid war Vater des Tübinger Ordinarius und Mozartforschers Manfred Hermann Schmid.

Seit 1945 finden in der Klosterkirche Ottobeuren und im dortigen Kaisersaal auf Anregung von Schmid klassische Konzerte in der Reihe Ottobeurer Konzerte statt, teilweise mit weltberühmten Dirigenten wie Herbert von Karajan und Leonard Bernstein. Im Juli 1945 begann Schmid im Auftrag der Stadt Augsburg mit den Mozart-Studien. Darüber hinaus verfasste er ab 1948 Kritiken zum lokalen Musikleben der Nachkriegsjahre in der Augsburger Tagespost.

Obwohl Schmid 1951 einer der maßgeblichen Mitbegründer der Deutschen Mozart-Gesellschaft war – einer der Träger-Institutionen der Neuen Mozart-Ausgabe –, gab es bis in die 1950er Jahre hinein für ihn keine Anstellung, in der er sein Auskommen gefunden hätte. Erst 1958 konnte er in Augsburg eine eigene Wohnung erwerben.

Schmid galt insbesondere als international anerkannter Mozartexperte und war einer der wichtigsten Wegbereiter und Mitarbeiter der Neuen Mozart-Ausgabe sowie 1954–1960 deren erster Editionsleiter. In seinen Arbeiten widmete er sich allerdings auch zahlreichen anderen Gebieten der Musikwissenschaft, darunter insbesondere Joseph Haydn und dessen Gesamtausgabe. Anlässlich seines Todes erschien die Broschüre In memoriam Ernst Fritz Schmid (1904–1960): ein Gedenkblatt für seine Angehörigen und Freunde.

Schmid war 1957 Gründungsmitglied der Gesellschaft für Bayerische Musikgeschichte.

Veröffentlichungen (Auswahl)
 Carl Philipp Emanuel Bach und seine Kammermusik: Mit 18 Lichtdrucktafeln und einem Notenanhang. Bärenreiter-Verlag, 1931, 188 Seiten
 Joseph Haydn Werke für das Laufwerk (Flötenuhr) für Klavier zu zwei Händen übertragen und erstmals herausgegeben von Ernst Fritz Schmid. Sonderausgabe von Nagels Musik Archiv. Verlag Adolph Nagel, Hannover 1931.
 Mozart und das geistliche Augsburg, insonderheit das Chorherrnstift Heilig Kreuz. In: Zeitschrift des Historischen Vereins für Schwaben, 55/56 (1942/43), S. 40–202.
 Ein schwäbisches Mozart Buch (1948).
 Leopold Mozart (1719–1787). In: Götz von Pöllnitz (Hrsg.): Lebensbilder aus dem Bayerischen Schwaben, 3 (= Veröffentlichungen der Schwäbischen Forschungsgemeinschaft bei der Kommission für Bayerische Landesgeschichte 3,3). Hueber, München 1954, S. 346–368.

Literatur

 Gabriela Rothmund-Gaul: Zwischen Taktstock und Hörsaal. Das Amt des Universitätsmusikdirektors in Tübingen 1817 - 1952 (= Musik in Baden-Württemberg/Quellen und Studien, Bd. 3). Metzler, Stuttgart 1998, ISBN 3-476-01599-8.

Weblinks

 Schwäbisches Landesmusikarchiv
 Mozartgemeinde Augsburg
 Augsburger Stadtlexikon

Einzelnachweise

Musikwissenschaftler
Mozart-Forscher
Herausgeber (Musik)
Universitätsmusikdirektor
Hochschullehrer (Eberhard Karls Universität Tübingen)
Absolvent der Hochschule für Musik und Theater München
Träger des österreichischen Ehrenkreuzes für Wissenschaft und Kunst
Person (Augsburg)
Deutscher
Geboren 1904
Gestorben 1960
Mann

Ernst Fritz Schmid


Naoki Naito (født 30. maj 1968) er en tidligere japansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Hitachi, Shimizu S-Pulse, Sanfrecce Hiroshima og Vissel Kobe.

Eksterne henvisninger

Fodboldspillere fra Japan

Naoki Naito


Eva Maria Ziegler (* 4. August 1962 in Innsbruck) ist eine österreichische Juristin und Diplomatin.

Leben
Ziegler machte 1980 ihre Matura in Wien, studierte von 1980 bis 1986 Rechtswissenschaft und wurde zum Doktor der Rechte promoviert. Von 1981 bis 1986 studierte sie Gesang an der Hochschule für Musik in Wien, anschließend bis 1988 internationales Kulturmanagement.

Von 1989 bis 1990 assistierte sie dem Generaldirektor von Olivetti Österreich und war für die Öffentlichkeitsarbeit zuständig. Im Jahre 1991 trat sie in den auswärtigen Dienst und wurde in der Generaldirektion für Integrationspolitik und Wirtschaftsfragen beschäftigt. An der österreichischen Botschaft in Brüssel war sie 1992 zuständig für Kultur und Öffentlichkeitsarbeit. Von 1992 bis 1993 war sie wieder in der Generaldirektion für Integrationspolitik und Wirtschaftsfragen beschäftigt, bis 1996 in Bonn als Botschaftsrätin für Wirtschaftsfragen und Integrationspolitik und schließlich bis 1998 in Brüssel Stellvertretende Ständige Vertreterin Österreichs bei der Westeuropäischen Union. Von 1998 bis 2001 leitete sie das Referat Sicherheitspolitik (ESVP, NATO, WEU).

Von 2001 bis 2003 war Ziegler im Kabinett von Benita Ferrero-Waldner zuständig für allgemeine außenpolitische und Fragen des Völkerrechts. Von 2003 bis 2008 war sie Generalkonsulin in Mailand, von Juni 2008 bis April 2012 war Botschafterin in Beirut. Von Mai 2012 bis Oktober 2017 war sie Leiterin der Abteilung für Südtirol und Südeuropa im Außenministerium. Von Oktober 2017 bis Juli 2021 war sie österreichische Botschafterin in Nikosia in Zypern.

Seit Juli 2021 ist Ziegler  Generalkonsulin für Österreich in München.

Einzelnachweise

Botschafter (Republik Österreich)
Jurist im auswärtigen Dienst
Träger des Verdienstordens der Italienischen Republik (Komtur)
Österreicher
Geboren 1962
Frau

Eva Maria Ziegler


Anthropornis es un género extinto de pingüino que vivió hace entre 45 a 37 millones de años, durante el Eoceno tardío y la parte inicial del Oligoceno. Alcanzaba 1.7 metros de altura y llegaba a pesar 90 kg. Los fósiles de esta ave se han encontrado en la isla Seymour en las costas de la Antártida y en Nueva Zelanda. En comparación, la mayor especie existente de pingüino, el pingüino emperador, llega hasta alrededor de un metro de altura (1.2 metros desde el extremo del pico a la cola, por lo que no hay que confundir la altura con la longitud del animal). La especie tipo, A. nordenskjoldi, tenía una articulación curvada en sus alas, probablemente un legado de sus ancestros voladores.

En la cultura popular
Los enormes pingüinos albinos ciegos de 1.8 metros de alto de la novela de 1931 En las montañas de la locura de H. P. Lovecraft eran descendientes ficticios de esta ave que viven en cavernas. Usan sus largos picos para apresar pequeños dinosaurios.

Referencias

†
Géneros de aves
Aves prehistóricas
Aves del Oligoceno
Aves extintas de la Antártida
Pingüinos extintos
Geología de Antártida

Anthropornis


Taguchi methods () are statistical methods, sometimes called robust design methods, developed by Genichi Taguchi to improve the quality of manufactured goods, and more recently also applied to engineering, biotechnology, marketing and advertising.  Professional statisticians have welcomed the goals and improvements brought about by Taguchi methods, particularly by Taguchi's development of designs for studying variation, but have criticized the inefficiency of some of Taguchi's proposals.

Taguchi's work includes three principal contributions to statistics:
A specific loss function
The philosophy of off-line quality control; and
Innovations in the design of experiments.

Loss functions

Loss functions in the statistical theory
Traditionally, statistical methods have relied on mean-unbiased estimators of treatment effects: Under the conditions of the Gauss–Markov theorem, least squares estimators have minimum variance among all mean-unbiased linear estimators. The emphasis on comparisons of means also draws (limiting) comfort from the law of large numbers, according to which the sample means converge to the true mean. Fisher's textbook on the design of experiments emphasized comparisons of treatment means.

However, loss functions were avoided by Ronald A. Fisher.

Taguchi's use of loss functions
Taguchi knew statistical theory mainly from the followers of Ronald A. Fisher, who also avoided loss functions.
Reacting to Fisher's methods in the design of experiments, Taguchi interpreted Fisher's methods as being adapted for seeking to improve the mean outcome of a process. Indeed, Fisher's work had been largely motivated by programmes to compare agricultural yields under different treatments and blocks, and such experiments were done as part of a long-term programme to improve harvests.

However, Taguchi realised that in much industrial production, there is a need to produce an outcome on target, for example, to machine a hole to a specified diameter, or to manufacture a cell to produce a given voltage. He also realised, as had Walter A. Shewhart and others before him, that excessive variation lay at the root of poor manufactured quality and that reacting to individual items inside and outside specification was counterproductive.

He therefore argued that quality engineering should start with an understanding of quality costs in various situations. In much conventional industrial engineering, the quality costs are simply represented by the number of items outside specification multiplied by the cost of rework or scrap. However, Taguchi insisted that manufacturers broaden their horizons to consider cost to society. Though the short-term costs may simply be those of non-conformance, any item manufactured away from nominal would result in some loss to the customer or the wider community through early wear-out; difficulties in interfacing with other parts, themselves probably wide of nominal; or the need to build in safety margins. These losses are externalities and are usually ignored by manufacturers, which are more interested in their private costs than social costs. Such externalities prevent markets from operating efficiently, according to analyses of public economics. Taguchi argued that such losses would inevitably find their way back to the originating corporation (in an effect similar to the tragedy of the commons), and that by working to minimise them, manufacturers would enhance brand reputation, win markets and generate profits.

Such losses are, of course, very small when an item is near to negligible. Donald J. Wheeler characterised the region within specification limits as where we deny that losses exist. As we diverge from nominal, losses grow until the point where losses are too great to deny and the specification limit is drawn. All these losses are, as W. Edwards Deming would describe them, unknown and unknowable, but Taguchi wanted to find a useful way of representing them statistically. Taguchi specified three situations:

Larger the better (for example, agricultural yield);
Smaller the better (for example, carbon dioxide emissions); and
On-target, minimum-variation (for example, a mating part in an assembly).

The first two cases are represented by simple monotonic loss functions. In the third case, Taguchi adopted a squared-error loss function for several reasons:
It is the first "symmetric" term in the Taylor series expansion of real analytic loss-functions.
Total loss is measured by the variance. For uncorrelated random variables, as variance is additive the total loss is an additive measurement of cost.
The squared-error loss function is widely used in statistics, following Gauss's use of the squared-error loss function in justifying the method of least squares.

Reception of Taguchi's ideas by statisticians
Though many of Taguchi's concerns and conclusions are welcomed by statisticians and economists, some ideas have been especially criticized. For example, Taguchi's recommendation that industrial experiments maximise some signal-to-noise ratio (representing the magnitude of the mean of a process compared to its variation) has been criticized.

Off-line quality control

Taguchi's rule for manufacturing

Taguchi realized that the best opportunity to eliminate variation of the final product quality is during the design of a product and its manufacturing process. Consequently, he developed a strategy for quality engineering that can be used in both contexts. The process has three stages:

System design
Parameter (measure) design
Tolerance design

System design

This is design at the conceptual level, involving creativity and innovation.

Parameter design

Once the concept is established, the nominal values of the various dimensions and design parameters need to be set, the detail design phase of conventional engineering. Taguchi's radical insight was that the exact choice of values required is under-specified by the performance requirements of the system. In many circumstances, this allows the parameters to be chosen so as to minimize the effects on performance arising from variation in manufacture, environment and cumulative damage. This is sometimes called robustification.

Robust parameter designs consider controllable and uncontrollable noise variables; they seek to exploit relationships and optimize settings that minimize the effects of the noise variables.

Tolerance design

With a successfully completed parameter design, and an understanding of the effect that the various parameters have on performance, resources can be focused on reducing and controlling variation in the critical few dimensions.

Design of experiments

Taguchi developed his experimental theories independently. Taguchi read works following R. A. Fisher only in 1954.

Outer arrays

Taguchi's designs aimed to allow greater understanding of variation than did many of the traditional designs from the analysis of variance (following Fisher). Taguchi contended  that conventional sampling is inadequate here as there is no way of obtaining a random sample of future conditions.  In Fisher's design of experiments and analysis of variance, experiments aim to reduce the influence of nuisance factors to allow comparisons of the mean treatment-effects. Variation becomes even more central in Taguchi's thinking.

Taguchi proposed extending each experiment with an "outer array" (possibly an orthogonal array); the "outer array" should simulate the random environment in which the product would function. This is an example of judgmental sampling. Many quality specialists have been using "outer arrays".

Later innovations in outer arrays resulted in "compounded noise."  This involves combining a few noise factors to create two levels in the outer array: First, noise factors that drive output lower, and second, noise factors that drive output higher.  "Compounded noise" simulates the extremes of noise variation but uses fewer experimental runs than would previous Taguchi designs.

Management of interactions

Interactions, as treated by Taguchi
Many of the orthogonal arrays that Taguchi has advocated are saturated arrays, allowing no scope for estimation of interactions. This is a continuing topic of controversy.  However, this is only true for "control factors" or factors in the "inner array".  By combining an inner array of control factors with an outer array of "noise factors", Taguchi's approach provides "full information" on control-by-noise interactions, it is claimed.  Taguchi argues that such interactions have the greatest importance in achieving a design that is robust to noise factor variation.  The Taguchi approach provides more complete interaction information than typical fractional factorial designs, its adherents claim.

Followers of Taguchi argue that the designs offer rapid results and that interactions can be eliminated by proper choice of quality characteristics. That notwithstanding, a "confirmation experiment" offers protection against any residual interactions. If the quality characteristic represents the energy transformation of the system, then the "likelihood" of control factor-by-control factor interactions is greatly reduced, since "energy" is "additive".

Inefficiencies of Taguchi's designs
 Interactions are part of the real world. In Taguchi's arrays, interactions are confounded and difficult to resolve.

Statisticians in response surface methodology (RSM) advocate the "sequential assembly" of designs: In the RSM approach, a screening design is followed by a "follow-up design" that resolves only the confounded interactions judged worth resolution. A second follow-up design may be added (time and resources allowing) to explore possible high-order univariate effects of the remaining variables, as high-order univariate effects are less likely in variables already eliminated for having no linear effect. With the economy of screening designs and the flexibility of follow-up designs, sequential designs have great statistical efficiency. The sequential designs of response surface methodology require far fewer experimental runs than would a sequence of Taguchi's designs.

Assessment
Genichi Taguchi has made valuable contributions to statistics and engineering. His emphasis on loss to society, techniques for investigating variation in experiments, and his overall strategy of system, parameter and tolerance design have been influential in improving manufactured quality worldwide.

See also

References

Bibliography

 Box, G. E. P. and Draper, Norman. 2007. Response Surfaces, Mixtures, and Ridge Analyses, Second Edition [of Empirical Model-Building and Response Surfaces, 1987], Wiley.

 R. H. Hardin and N. J. A. Sloane, "A New Approach to the Construction of Optimal Designs", Journal of Statistical Planning and Inference, vol. 37, 1993, pp. 339-369
 R. H. Hardin and N. J. A. Sloane, "Computer-Generated Minimal (and Larger) Response Surface Designs: (I) The Sphere"
 R. H. Hardin and N. J. A. Sloane, "Computer-Generated Minimal (and Larger) Response Surface Designs: (II) The Cube"

 Moen, R D; Nolan, T W & Provost, L P (1991) Improving Quality Through Planned Experimentation

Bagchi Tapan P and Madhuranjan Kumar (1992) Multiple Criteria Robust Design of Electronic Devices, Journal of Electronic Manufacturing, vol 3(1), pp. 31–38

 Montgomery, D. C. Ch. 9, 6th Edition [of Design and Analysis of Experiments, 2005], Wiley.

Manufacturing
Quality control tools
Systems engineering
Design of experiments
Japanese inventions

Taguchi methods


La Revue de Prométhée était un journal mensuel édité à Paris de 1926 à 1940 par le journaliste géorgien Georges Gvazava, puis par l'homme d'État ukrainien Alexandre Choulguine. Elle était l'organe de défense nationale des peuples du Caucase, de la Géorgie, de l'Ukraine et de la Pologne. Le titre reprenait les idéaux du prométhéisme prônait par le Polonais Józef Piłsudski qui se diffusait en Europe de l'Est durant l'entre-deux-guerres

Présentation
La Revue de Prométhée parut dans la période de l'entre-deux-guerres par des personnalités politiques exilés notamment en France. La revue s'intitula d'abord Prométhée, mais en 1938, elle prit le nom de Revue de Prométhée.

La revue éditait des articles sur les affaires politiques et aux problèmes du nationalisme dans les pays de l'Est européen, de l'Asie centrale et septentrionale. Le journal s'est également consacré à la culture et à l'histoire des peuples non russes sous domination soviétique, en particulier celle des Ukrainiens.

Aujourd'hui, le Palais des Orbeliani, qui sert de palais présidentiel de la Géorgie, contient la Salle Prométhée en honeur de la revue.

Sources

Liens externes

 Étienne Copeaux, Le mouvement «prométhéen», Cahiers d'Études sur la Méditerranée Orientale et le monde turco-iranien, N°16, année 1993
Couverture de la Revue de Prométhée en 1938

Revue en français
Revue disparue
Périodique en relations internationales
Titre de presse créé en 1926
Titre de presse disparu en 1940
Journal de propagande
Presse écrite mensuelle
Presse d'opinion
Presse mensuelle disparue en France
Histoire culturelle de l'Ukraine
Presse écrite en Ukraine

La Revue de Prométhée


Eurotex Company este o companie producătoare de confecții textile din Iași, România.
A fost fondată în 1991 de către familia Șandru.

În anul 2014, Eurotex Company se afla pe locul trei în topul celor mai mari exportatori din județul Iași.

Număr de angajați în 2014: 300

Cifra de afaceri în 2014: 125 milioane lei

Note

Legături externe
www.eurotex.ro  - Site web oficial

Companii producătoare de confecții din România
Companii din Iași
Fondări în 1991

Eurotex Company


The Business Development Bank of Canada (BDC; ) is a Crown corporation and national development bank wholly owned by the Government of Canada, mandated to help create and develop Canadian businesses through financing, growth and transition capital, venture capital and advisory services, with a focus on small and medium-sized enterprises.

Founded in 1944, its corporate headquarters is located in Montreal and it has more than 123 business centres working with 60,000 clients. BDC's debt obligations, secured by the Government of Canada, are issued to public and private sector institutions.

History
The bank was established by an Act of Parliament as the Industrial Development Bank (IDB) in September 1944. IDB was initially an arm of the Bank of Canada, and the Governor of the Bank was also Chief Executive Officer of the IDB. During its first years, the bank's main role was to help small "industrial enterprises" convert from military production to peacetime operations after World War II. IDB was one of the first and largest development banks in the world.

The Industrial Development Bank Act was first amended in 1952 to allow the bank to offer financing to companies in the commercial airlines industry. By the mid-1950s, one in ten planes in Canada was financed by IDB. Later, the Industrial Development Bank Act was amended twice more to allow the bank to lend to companies in almost all industries.

By 1964, 20 years after its foundation, IDB had 22 branches across Canada, covering main cities such as Halifax, Montreal, Toronto, Winnipeg, Calgary and Vancouver, including operations in relatively rural areas. In the mid-1970s, the bank added consulting and training to its financial offerings to help entrepreneurs better manage their businesses.

In 1975, its name was changed to Federal Business Development Bank (FBDB), and its venture capital operations were started. At the time, the bank was known as "a lender of last resort"—supporting businesses in difficulty.

In 1995, the Business Development Bank of Canada Act was passed, leading to a new name and mission for the bank. It mandated BDC to promote entrepreneurship, focusing on the needs of small and medium-sized enterprises (SMEs), to fill gaps in the market and maximize financing alternatives for businesses by offering services that were complementary to those available from other financial institutions.

BDC is financially self-sustaining. Since 1998, it has been profitable and paid a total of more than $746 million in dividends to its sole shareholder, the Government of Canada. On June 8, 2022, BDC's Board of Director authorized the repurchase of $5.0 billion of its common shares.
Every ten years, the Minister of Industry must conduct a review of the provisions and operations of the BDC Act. The last legislative review was completed in December 2014.

In April 2021, the Bank announced the appointment of Isabelle Hudon as President and Chief Executive Officer as of August of the same year, at the end of the term of current CEO Michael Denham. In 2023, current and former staff raised concerns about spending at the bank, including expenditure on consulting services from McKinsey & Company and air transport for a private chauffeur.

Services

BDC offers loans and advisory services with a focus on small and medium-sized companies. It reports to Parliament through the Minister of Innovation, Science and Economic Development.  BDC Capital, a subsidiary of BDC, offers specialized financing, including venture capital, equity as well as growth and business transition capital.

BDC's Venture Capital arm makes strategic investments in Canadian companies through its Energy/Cleantech Fund, Healthcare Fund and IT Fund. Notable investments include GradeSlam, Q1 Labs, Radian6, Canopy Labs, D-Wave Systems, CoolIT Systems, Protiva Biotherapeutics and Klipfolio Dashboard.

BDC is a complementary lender, offering commercial loans and investments that fill out or complete services available from private-sector financial institutions. It also provides advice to businesses through its advisory services division.

Launched by FBDB in 1979, Small Business Week is a yearly celebration of entrepreneurs and their contribution to Canadian society. It became a nationwide event in 1981.

Tax Exemption
BDC is exempt from taxes imposed by the Income Tax Act.

Recognition
BDC was named among Canada's Top 100 employers from 2007 to 2018.

BDC Capital won multiple Deal of the Year Awards from the Canadian Venture Capital and Private Equity Association in the venture capital category. It won in 2011, for its investment in Radian6 Technologies Inc.; in 2012, for its investment in Q1 Labs Inc.; and again in 2014, for its investment in Layer 7 Technologies.

References

External links
 Official website

Banks of Canada
Federal departments and agencies of Canada
Canadian federal Crown corporations
Companies based in Montreal
Banks established in 1944
1944 establishments in Quebec
Benefit corporations
Small business
Innovation, Science and Economic Development Canada
B Lab-certified corporations
National development banks

Business Development Bank of Canada


Türbin, bir akışkanın enerjisini işe çevirmek için kullanılan alettir. Türbin bir mil ve üzerinde kanatçıklardan oluşur. Kullanılan akışkana göre türbinin yapısı değişir. Çalışma prensibi şu şekildedir. Akışkan türbinin kanatçıklarına çarparak türbin miline hareket verir, hareket milin çıkışında mekanik işe dönüşür.

Kullanım alanları oldukça geniş ve yaygındır.

Buhar türbinleri

Genelde enerji santrallerinde kullanılır, fosil yakıt (petrol veya doğal gaz) veya nükleer yakıttan alınan enerji ile buhar elde edilir. Buharın türbin kanatçıklarına çarparak döndürmesi ve türbin çıkışında elde edilen dönme ile enerji elde edilir.Buharın potansiyel enerjisini, kinetik enerjiye ve kinetik enerjiyi mekanik enerjiye dönüştüren güç ünitesidir.
Çalışma prensibi: Sabit kanada giren buharın basınç ve sıcaklığı düşürülür. Buna karşılık buhar belirli bir hız kazanır. Hız kazanmış olan buhar hareketli kanatlara çarparak mekanik enerji üretilir.

Buhar Türbinlerinin Sınıflandırılması

Çalışma Prensibine Göre
 Aksiyon Türbinleri
 Reaksiyon Türbinleri
Aksiyon Türbinlerinde basınç ve sıcaklık düşüşü, başka bir deyişle ısı düşüşü sadece sabit kanatlarda yapılırken, Reaksiyon Türbinlerinde hem sabit, hem de seyyar yani hareketli kanatlar yapılır.

Basamak Sayısına Göre

 Tek Kademeli Türbinler
 Çok Kademeli Türbinler
Düşük buhar basıncı ve sıcaklığında çalışan küçük güçlü türbinler tek basamaklı olabilir. Ve bunlar sadece Aksiyon tipte yapılır. Tipik örneği Laval Türbini'dir. Büyük güçlü türbinler çok basamaklı yapılır ve hem Aksiyon hem de Reaksiyon tipte olabilir.

Buhar Akış Doğrultusuna Göre
 Eksenel Türbinler
 Karmaşık akışlı ve Çapsal Türbinler
Eksenel akışlı türbinlerde, buharın türbin içinde akış doğrultusu türbin mili eksenine paralel iken, Radyal tiplerde diktir. Türbinler daha çok Eksenel, nadiren de Radyal tip olarak yapılır.

Kullanım Yerlerine Göre

Kara Türbinleri (Sabit Tesisler)
Kara türbinlerinde genellikle devir sayısı sabittir.(n= sabit) En fazla kullanıldığı alanlar termik santraller ve endüstridir.

Gemi Türbinleri
Gemi türbinlerinde devir sayısı değişkendir. Gemilerde türbinin ana görevi, pervane miline hareket vermektir. Bunun yanında, geminin ihtiyacı olan elektriğin üretiminde de kullanılırlar. Türbinli gemilerde redüktör kullanılarak pervane devri 200-300 dev/dak'ya düşürülür. Türbin devir sayıları daha yüksektir ve genellikle 3000 dev/dak'nın üzerindedir. Pervaneyi bu devirde çalıştırırsak, pervane verimi düşer. Bu nedenle araya bir redüktör yerleştirilir.
Buhar türbini yapısı gereği sadece tek yönde döner, tersine döndürülemez. Halbuki gemilerde hem ileri, hem de daha kısa süreli olmak üzere geri (gemicilik deyimiyle: tornistan) hareket vardır. Bu hareketleri sağlamak için türbinli gemilerde üç tip sistem kullanılır.
 Doğrudan Tahrik: Bu durumda ileri ve geri (tornistan) hareketi sağlamak için en az iki türbin kullanılır. Tornistan türbini pervaneyi ters yönde çalıştırarak geri hareketi sağlar. Pervane suyu geminin arksına doğru iterse ileri, baş tarafa doğru iterse geri hareket sağlanır. Tornistan türbini daha çok manevra ve acil durumlarda kısa süreli kullanılır. Bu nedenle ileri türbine göre gücü daha düşük tutulur.
 Pitch Kontrollü Pervane: Modern gemilerde daha çok bu sistem kullanılır. Bu sistemde tek bir türbin kullanılır ve pervane tek yönde döner. Pervane kanatları hareketlidir ve ekseni etrafında dönebilir. Uzaktan kumanda ile kanat açıları değiştirilerek suyun akışı, buna bağlı olarak da ileri ve geri hareket sağlanır.
 Turbo-Elektrik Sistemi: Bu sistemde de tek bir türbin kullanılır ve bu türbin bir jeneratöre hareket vererek elektrik üretilir. Üretilen elektrikle çalışan bir elektrik motoru pervane miline hareket verir. Elektrik motorunu kolaylıkla tersine döndürmek mümkündür. Böylece pervane de tersine döndürülerek geri hareket sağlanmış olur.

Çalışma Koşullarına Göre

Kondensasyonlu Türbinler
Bu türbinlerde türbinde buharın çıkış basıncı (Po) atmosfer basıncının altındadır(yani eksi(-)basınç altındadır). (Po < Patm) Bu, türbin çıkışına kondenser adını verdiğimiz ısı eşanjörü yardımıyla buharın yoğuşturulmasıyla sağlanır. Bütün güç türbinleri (Santral ve Gemi) bu şekilde yapılır.

Karşı Basınçlı Türbinler
Bu tipte çıkış basıncı atmosfer basıncının üzerindedir. (Po > Patm) Özellikle elektrik ve ısının beraber kullanıldığı (kojenerasyon) endüstri türbinleri bu tipte yapılır. Burada elektrik üretmenin yanında tesisin ihtiyacı olan ısı da türbinden çıkan nispeten yüksek basınç ve sıcaklıktaki buharla sağlanır.

Ara Buhar Türbinleri
Endüstri tipi türbinlerdir. Bu türbinlerde, belirli basamaklardan çekilen buhar ile proses ısısı üretilir.

Çift Basınç Türbinleri
Bu türbinlerde türbinin iki noktasından buhar girişi yapılır. Ana girişten taze buhar, diğer girişten ise herhangi bir kaynaktan sağlanan daha düşük basınç ve sıcaklıktaki buhar türbine girer.

Su türbinleri

Yine enerji santrallerinde (hidroelektrik santrallerde) kullanılır. Buhar türbinindeki gibi aynı prensiple çalışır. Akan su türbin kanatlarına çarparak kanatlar üzerinde bir güç yaratır. Böylece su akışı enerjisi türbini döndüren enerjiye dönüşür. Su türbinleri iki grupta ele alınır. Tepki (reaksiyon) ve itici güç (impuls) türbinleri. Su türbin kanatlarının kesin şekli ve dizaynı su basınç kaynağına uygun verilir.

Tepki (reaksiyon) türbinleri

Türbin çarkının dönmesi, suyun çark çıkışında ivmelenmesi sonucu oluşan tepki kuvvetiyle sağlanır. Su enerjisini türbine verirken basınç değişir. Burada su basıncı ya da su emişi sağlanması için kapalı bir ortam ya da çarkın tamamen suyun içinde olması gerekir. Bu nedenle fazla miktarda suya gereksinim duyarlar.Tepki türbinleri için enerji dönüşümü, Newton'un üçüncü yasası (Etki-tepki ilkesi) ile açıklanır. Bilinen çeşitleri;

 Francis
 Kaplan, Propeller, Bulb, Tube, Straflo
 Water wheel

İtici güç (impuls) türbinleri

Türbin çarkı üzerinde çukur çanak şeklindeki kanatlara su fiskiyesinin (su jeti) çarparak su hızının değişmesi sonucu türbinin dönmesi sağlanır. daralan bir boru sisteminden (nozul) geçirilerek suya bir hız kazandırılır ve su jeti oluşturulur. Su jetinin kanatlara çarpması sonucu kinetik enerji,potansiyel enerjiye dönüşür. Bu sistemde çark kanatlarında basınç değişimi ortaya çıkmaz ve türbin kapalı bir ortama gereksinim duymaz.
İmpuls türbinleri için enerji dönüşümü, Newton'un ikinci yasası ile açıklanır. Daha ziyade çok yüksek düşülerde tercih edilir.Çeşitleri:
 Pelton
 Turgo
 Michell-Banki (Crossflow ya da Ossberger türbini olarak da bilinir.)

Rüzgâr türbini

Normalde lüle ve kademeler arası yönlendirme kanatçıkları olmadan tek kademeli olarak çalışırlar. Éolienne Bollée'nin rotor ve statoru bulunan bir türbini istisnai bir durumdur.

Gaz türbinleri

Dış bağlantılar
 Türkiye´nin Bağımsız Milli Enerji Kaynakları

Türbin


Theofilos af Pskov (eller Filofei) var en munk og Hegumen (abbed) ved Jeleazarovskij-klosteret i Pskov i 1500-tallet. Han er kendt for Legenden om den hvide hætte og profetien om Moskva som "det tredje Rom" efter Konstantinopel, som blev erobret af Det osmanniske rige i 1453. Teorien om Moskva som det tredje Rom vandt betydelig tilslutning som ideologi for russificering og statsekspansion fra 1500-tallet.

Referencer

Russere i 1400-tallet
Gejstlige fra middelalderen
Russere i 1500-tallet

Theofilos af Pskov


Île Marie-Galante er en ø i øgruppen Leeward Islands i den sydlige del af de Små Antiller i det Caribiske hav i Vestindien. Øen er en del af franske Oversøiske departement Guadeloupe.

Geografi
Île Marie-Galante ligger cirka 25 km sydøst for Île de Basse-Terre og cirka 40 km nord for øen Dominica. Den runda ø har et areal på cirka 158 km² med en diameter om cirka 15 km.
Øens højeste punkt er Morne Constant på cirka 204 moh.

Hovedbyen er Grand-Bourg der har cirka 5.500 indbyggere og ligger på øens sydvestlige del. Andre større byer er Capesterre-de-Marie-Galante og Saint-Louis.

Befolkningen er på cirka 13 000 indbyggere.

Forvaltningsmæssigt indgår Île Marie-Galante i arrondissement (kreds) Pointe-à-Pitre og er inddelt i tre kommuner.

Île Marie-Galantes flyveplads hedder Les Bases Airport (IATA-lufthavnskode "GBJ") og ligger cirka 5 km sydväst for Grand-Bourg på øens sydlige del.

Ud for vestkysten ligger den lille ø Ilet de vieux Fort.

Historie
Den 3. november 1493 opdagede Christopher Columbus som første europæer Île Marie-Galante, der døbtes til Santa Maria la Galante efter et af hans skibe.

1635 kom området under fransk styre, som det har været bortset fra korte perioder i 1700- og 1800-tallet, da området blev okkuperet af Storbritannien. Årene 1813 til 1814 tilhørte området formelt Sverige. Efter Freden i Paris år 1814 fik Frankrig igen kontrollen över Guadeloupe.

1648 ankom de første franska kolonister til øen.

Eksterne kilder og henvisninger

 Om Île Marie-Galante
 Karta över hela Guadeloupe

Guadeloupe
Caribiske øer

Marie-Galante


El impuesto al lujo es un impuesto o gravamen que se aplica a los artículos de lujo (automóviles, joyas, artículos de arte y yates, entre otros), en distintos países del mundo. En algunos casos se hace para proteger a la industria  nacional, tal es el caso de Argentina, Ecuador y Chile, y en otros para aumentar la recaudación de impuestos, tal es el caso de Italia.

Véase también
 Impuesto
Impuesto sobre el Lujo (España)

Referencias

Impuestos

Impuesto al lujo


Tōhoku (, Tōhoku-chiho; "Kuzeydoğu Bölgesi"), Japonya'nın sekiz bölgesinden biridir. Bölge, Honshū Adası'nın kuzeydoğusunda yer almaktadır. Tōhoku bölgesi, Akita, Aomori, Fukuşima, Iwate, Miyagi ve Yamagata prefektörlüklerinden oluşmaktadır.

Tōhoku sert bir iklime sahip uzak ve doğal bir bölge olarak bilinir. Bölge daha önceden Michinoku adı ile bilinmekteydi. Ayrıca geleneksel olarak ülkenin en az gelişmiş bölgesi olarak da bilinir. Japonya'nın tamamında olduğu gibi dağlar burada da büyük yer kaplar. İklimi Honshū'nun diğer kısımlarına kıyasla daha sert olsa da ülkenin pirinç ihtiyacının %20'sini karşılar.

11 Mart 2011 tarihinde yaşanan Tōhoku depremi ve tsunamisi sonucu bölge ağır zarar görmüştür.

Kaynakça

Dış bağlantılar

Tōhoku


بلدية توريسايلاس دي لا تايسا ، هي بلدية تقع في مقاطعة قصرش والتي تقع في منطقة إكستريمادورا، غرب إسبانيا.

يبلغ عدد سكانها 1.154 نسمة وفقاً لإحصائية سنة (2002).

مراجع

أماكن مأهولة في قصرش
بلديات قصرش

توريسايلاس دي لا تايسا


Crni vrh (razdvojba) može značiti:
Crni vrh (planina u BiH, Prozor-Rama)
Crni Vrh (Čelinac, BiH)
Crni vrh (planina u BiH, Tešanj)
Crni Vrh (Glamoč, BiH)
Crni Vrh (Konjic, BiH)
Crni vrh (planina blizu Bišća)
Crni Vrh (Višegrad, BiH)
Crni vrh (planina u BiH)

Crni vrh (razdvojba)


Takahiro Yamanishi (født 2. april 1976) er en tidligere japansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Júbilo Iwata og Shimizu S-Pulse.

Eksterne henvisninger

Fodboldspillere fra Japan

Takahiro Yamanishi


Der Grundtvig-Dolmen ( – auch Borup Ris; Rejnstrup Langdysse 3 oder Gunderslevholmdyssen- bzw. Gunderslevholm Skov genannt) ist ein Urdolmen in einem Hünenbett, dessen Form von der Norm abweicht. Er liegt am Rejnstrupvej, im Kirchspiel (dän.: Sogn) Gunderslev, südlich des Bavelse Sø (See) im Wald von Gunderslevholm auf der dänischen Insel Seeland. Das Vorzeitdenkmal ist eine zwischen 3500 und 2800 v. Chr. entstandene Megalithanlage der Trichterbecherkultur (TBK).

Beschreibung
Der Urdolmen liegt in einem etwa 55 m langen und sieben Meter breiten Hünenbett, dessen Randsteine weitgehend erhalten sind. Die schmalen Enden des Hünenbettes sind stark gerundet. In der Mitte stehen zwei Wächtersteine, die üblicherweise und auf alten Skizzen außen vor den Enden stehen. Das Hünenbett war mit einer Lage großer Steine bedeckt, von denen sich noch viele innerhalb der Einfassung finden. Die Kammer liegt axial (Parallellieger), aber außermittig. Zwei besonders lange und zwei sehr kurze Tragsteine bilden die lange, schmale Kammer, auf der ein großer, unregelmäßig runder, überstehender Deckstein liegt. Die Anlage wurde 2008 restauriert.

Forschungsgeschichte
Im Jahre 1808 kamen der Literaturhistoriker Christian Molbech (1783–1857) und der Theologe Nikolai Frederik Severin Grundtvig (1783–1872) zu der Megalithanlage. Mit ihrer Hilfe gelang es bereits im folgenden Jahr, den Dolmen als eines der ersten vorgeschichtlichen Monumente in Dänemark unter Denkmalschutz zu stellen. Zu dieser Zeit erwachte das Interesse an der dänischen Vorgeschichte. Bereits 1807 hatte Kronprinz Friedrich auf Initiative von Rasmus Nyerup (1779–1829) eine Kommission für Altertümer berufen (Den Kongelige Commission til Oldsagers Opbevaring), um die archäologischen Spuren der dänischen Vergangenheit zu schützen.

Siehe auch
 Nordische Megalitharchitektur
 Großsteingräber in Dänemark

Literatur
 Klaus Ebbesen: Danmarks megalitgrave. Band 1: Katalog. Attika, Kopenhagen 2008, ISBN 978-87-7528-731-4 Nr. 1599.

Weblinks
 Beschreibung (dän.) und Bilder
 Beschreibung (dän.) und Bilder
 Beschreibung (dän.) und Bilder

Großsteingrab in der Region Sjælland
Nordgruppe der Trichterbecherkultur
Dolmen
Bauwerk in Næstved Kommune
Nikolai Frederik Severin Grundtvig
Geographie (Næstved Kommune)
Sakralbau auf Seeland (Dänemark)
Archäologischer Fundplatz auf Seeland (Dänemark)
Grabbau in Europa
Archäologischer Fundplatz in Europa

Grundtvig-Dolmen