Los abrigos de Peñas de Cabrera se ubican en el término municipal de Casabermeja (España). La totalidad del yacimiento recibe el nombre de uno de los enclaves, el de Peñas de Cabrera, también conocido como Las Piedras de Cabrera, aunque el complejo se compone de una importante serie de abrigos con manifestaciones rupestres, tanto pinturas como grabados.

La zona de Peñas de Cabrera, en concreto sus pinturas rupestres, se dieron a conocer científicamente en la década de los 1970 por parte de la Universidad de Málaga. Estos abrigos han sido estudiados por eminentes investigadores que han llevado a cabo trabajos muy diversos, englobados en actividades como prospecciones arqueológicas, realización de calcos, levantamientos topográficos y la elaboración de un inventario de los motivos rupestres, obra que ha servido de base para todos los trabajos posteriores y que recoge ciento treinta y cinco motivos rupestres repartidos en veintidós abrigos.

El enclave arqueológico de Peñas de Cabrera presenta una treintena de abrigos rocosos, pintados y grabados con casi doscientas figuraciones, por lo que se convierten en uno de los yacimientos más interesantes para el estudio y comprensión del fenómeno rupestre esquemático y de las sociedades que lo concibieron y expresaron.

El enclave

El enclave arqueológico de Peñas de Cabrera se encuentra en el término municipal de Casabermeja, próximo al llamado cortijo de Cabrera. La zona en que se encuentra el conjunto rupestre, presenta una superficie de unas 15 hectáreas, se sitúa a 666 , el manto vegetal se encuentra compuesto por un bosque poco denso de alcornoques, con abundantes arbustos y matorrales. Al este y al oeste del enclave se sitúan los arroyos de Mogea y los Pilones, encajados en gargantas hacia las que caen las laderas del Cerro de Cabrera. La característica más singular del yacimiento es la gran concentración de abrigos rocosos.

Historia de la investigación

El descubrimiento del arte rupestre y los primeros estudios
El conjunto rupestre es descubierto en 1974 por un pastor, que  pone en conocimiento de su existencia a Sebastián Fernández, profesor de la Facultad de Filosofía y Letras de la Universidad de Málaga. Una vez que se verifica la autenticidad del yacimiento, se le encarga el primer estudio científico a Cecilio Barroso Ruíz y Francisca Medina Lara.

Los trabajos de investigación se organizaron en dos fases. La primera de ella consistió en una serie de prospecciones mediante la que se descubrió la mayor parte de abrigos rocosos con pinturas rupestres.

En la segunda fase, se llevó a cabo una prospección extensiva de la zona de afloramientos de areniscas. En esta fase se completó el levantamiento topográfico de todos los abrigos, se realizaron algunos calcos de las figuras más importantes y se elaboró un catálogo en el que registraron 135 motivos pintados repartidos en 23 abrigos.

El conjunto de arte rupestre, concentrado en el cerro de Cabrera y en sus abrigos rocosos, se define por sus pinturas de estilo esquemático y de otras formas grabadas, localizadas en el exterior e interior de los abrigos. Los diseños que se encuentran son circulares y lineales, además, se ha encontrado restos de material lítico y algunas estructuras de piedra.

La investigación actual
Una vez finalizados los trabajos de Cecilio Barroso y Francisca Medina en el enclave arqueológico de Peñas de Cabrera y de la Universidad de Málaga en el sepulcro megalítico del "Tajillo del Moro", este enclave entra en una fase de cierto letargo, pudiendo destacarse su inclusión en algunos informes y estudios realizados por parte de la Dirección General de Bienes Culturales de la Consejería de Cultura de la Junta de Andalucía y del Centro Superior de Investigaciones Científicas (CSIC), centrado en los procesos de alteración de las rocas soporte.

Rafael Maura inicia sus estudios en 1999 como especialista del conjunto rupestre de Peñas de Cabrera y desde entonces ha realizado importantes aproximaciones y revisiones generales sobre diferentes aspectos del arte rupestre postpaleolítico en la provincia de Málaga.

En el año 2005 se retomó el proyecto de tutela y valorización del Conjunto Arqueológico Dólmenes de Antequera, además se diseñaron unas líneas de actuación orientadas a la consecución de una visión precisa de las sociedades que construyeron y usaron esta necrópolis megalítica, analizando estas construcciones funerarias y su entorno geográfico.

El proyecto de Investigación de "Sociedades, Territorios y Paisajes en la Prehistoria Reciente de las Tierras de Antequera", engloba a la mayoría de los términos municipales de la mitad septentrional de la provincia de Málaga y se erige como el eje en el que se enmarcan los estudios presentes y futuros de estas estaciones rupestres, otorgándoles un sentido integrador y de proyección científica en torno a los dólmenes antequeranos.

Arte rupestre

Los abrigos rocosos
El enclave arqueológico de Peñas de Cabrera se localiza en un cerro salpicado de afloramientos de areniscas silíceas muy duras y compactas, en las que la erosión natural ha socavado multitud de cavidades.

Para el mejor estudio de este yacimiento, se dividió el área en cuatro sectores (A, B, C y D), cada uno de ellos cuenta con un número de abrigos similar, en torno a la veintena. En total han sido contabilizados 77 abrigos rocosos.

Se tienen datos como las coordenadas geográficas, la altitud y orientación de cada uno de ellos, y se cuenta con un diagnóstico relativo a los rellenos sedimentarios que se observan en algunos de ellos, en los que se plantea la posibilidad de efectuar en el futuro cortes y sondeos estratigráficos.

 Sector A (Abrigos 1 al 17). Cuenta este sector con un total de 17 abrigos, resultando un número de 10 abrigos con arte rupestre.
 Sector B (Abrigos 18 al 38). El total de abrigos que corresponde a este sector es de 21, de los que 13 registran motivos artísticos.
 Sector C (Abrigos 39 al 59). El número de abrigos registrados en este sector se eleva a 21. Sólo 3 presentan manifestaciones artísticas.
 Sector D (Abrigos 60 al 77). Son 18 abrigos y sólo 3 de ellos presentan motivos artísticos.

Pinturas rupestres
Rafael Maura nos propone una clasificación de las técnicas de ejecución para los motivos pictóricos postpaleolíticos registrados en las tierras de Antequera:

 Dedo. Impresión. Dedos índice y pulgar. Se obtienen puntuaciones en rojo y ocre (La Escardadera, Tajo del Vilo, Peñas de Cabrera, El Romeral).
 Dedo. Fricción. Dedos índice y pulgar. Se obtienen signos y antropomorfos en color rojo, presente en la mayoría de los yacimientos.
 Pincel. Se obtienen signos y antropomorfos en rojo (Tajo del Molino, Cueva Alta, Peñas de Cabrera) y negro (Casilla del Búho).
 Carboncillo. Se obtienen signos (Cueva Rota).

Las sustancias empleadas para la confección de la pintura parten del óxido del hierro en polvo, disuelto en algún tipo de líquido.

En la actualidad, tenemos constancia de la existencia de 25 abrigos pintados y reconocidos una veintena de motivos que no aparecían en los primeros trabajos de Barroso y Medina.

En Peñas de Cabrera, encontramos figuras individuales de una amplia variedad: antropomorfos acéfalas, jinetes y figuraciones arborescentes. Su importancia como ámbito sagrado, de carácter simbólico, se acrecienta si tenemos en cuenta, que en este lugar se producen afloramientos de malaquita, apreciada por las primeras poblaciones metalúrgicas.

Las tipologías son muy características de este estilo artístico. Entre los antropomorfos, encontramos representaciones cruciformes, en "T", "tipo golondrina", ancoriformes, en "Y", en doble "Y", de brazos y piernas en cruz, en doble "T", de "brazos en asa", de brazos en círculo, de brazos en ángulo y en "Phi" griega.

Son formas muy estandarizadas, algunos antropomorfos aparecen matizados por elementos añadidos, que parecen referirse a detalles corporales, atuendos o utensilios.

No se encuentra ninguna representación en la que se detallen las manos o los pies, se incorpora a las figuras puntos y barras, representando quizás, algún tipo de utensilio o armamento.

Resulta muy complicado percibir si estas representaciones se refieren a figuras masculinas o femeninas, ya que la mayoría son figuras realizadas a partir de dos trazos cruzados, atribuidos al tronco (el vertical) y de las extremidades superiores (el horizontal), solo cuando quedan evidenciadas las extremidades inferiores cabe interpretar la prolongación de vástago vertical como un pene, así podríamos distinguir algunas representaciones masculinas.

Si encontramos una gran dificultad para localizar las figuras masculinas, más difícil aún es localizar representaciones femeninas, aunque en algunos casos, puede aceptarse que las tipologías antropomorfas concebidas a partir de trazos curvados pudieran hacer alusión a las mujeres.

Los motivos artísticos que aparecen en Peñas de Cabrera se caracterizan por un alto grado de esquematismo, destacan los motivos antropomorfos sobre las demás representaciones, aunque encontramos una gran uniformidad estilística, únicamente se utiliza el color rojo, con distintas tonalidades. No se encuentran figuras superpuestas, por lo que se deduce que todas estas representaciones pudieron realizarse en la misma época, pero lo que si se ha encontrado ha sido figuras remarcadas, lo que supone un indicio de la perduración en el tiempo del uso social de estas manifestaciones.

El número de representaciones que aparecen en los abrigos es irregular, ya que hay veces en las que solo aparece una figura, en otros abrigos aparecen muchas figuras pero con un gran espacio entre unas y otras; en ocasiones ocupan por completo los paneles rocosos, dando lugar a complejas composiciones.

En Peñas de Cabrera encontramos que los grupos compositivos son muy numerosos, aunque a veces solo estén constituidos por grupos antropomorfos, suelen combinarse con signos, estos presentan tipologías muy características, destacando los pectiniformes, ramiformes, bitriangulares, cuadrangulares, reticulados, circulares y oculados.

Cecilio Barroso y Francisca Medina realizaron en el 1988 un primer estudio sobre las pinturas de Peñas de Cabrera, en este primer texto de los 22 abrigos presentes en este yacimiento desarrollan los más importantes, uno de ellos es el abrigo n.º 3.

El abrigo n.º 3 está abierto en una de las laderas del cerro, los dibujos presentes pertenecen en su gran mayoría a figuras humanas, aunque aparecen otros motivos como dos ídolos y algunos animales. Esta cavidad posee 15 esquemas humanos de un total de 28 figuras, por lo que en este abrigo existe un carácter antropomórfico.

La figura humana que encontramos en este abrigo presenta una gran variedad de formas y actitudes, es del tipo golondrina, dos con cabeza muy alargada y otras dos con la cabeza algo señalada, el resto son acéfalas.

Los paralelos existentes son bastante numerosos dentro de la pintura esquemática española. Encontramos varios yacimientos con figuras de tipo golondrina con cabeza, entre los que destacamos: la Cueva de la Victoria (Málaga) y Saladavieja (Cádiz).

Las figuras humanas acéfalas tienen presencia más presencia en otros yacimientos, entre los que destacamos: Chorreón del Salado (Cádiz), Cueva de la Victoria (Málaga), Tajo Amarillo (Cádiz) y Piedras de la Cera (Almería).

La figura humana de H invertida, representada en este abrigo es muy numerosa en la pintura rupestre esquemática. Cecilio Barroso y Francisca Medina, piensan que en este abrigo hay una escena de equitación, con dos ídolos. Aunque esto ha sido debatido por numerosos investigadores, ya que creen que las poblaciones prehistóricas no pintaban ídolos.

En ocasiones se parecían actitudes dinámicas, como es el caso de la escena principal representada en el abrigo n.º 11, donde encontramos una disposición irregular de las figuras formando una especie de círculo, la cual da sensación de movimiento.

Descomposición de la escena en una tipología de protagonistas:

•Parejas: Se observan en la imagen dos parejas, una a cada uno de los lados de la composición, son los únicos personajes que se han representado tocándose.

•Individuos: Representados de forma exclusiva, aparece uno muy alto, otro que parta un objeto, se cree que pueden ser dos hoces, y el último de ellos tiene el órgano reproductor masculino muy marcado.

•Otros protagonistas: En la composición hay otros motivos, signos de menor tamaño y cuatro individuos representados de forma parecida.

Gracias al estudio de Cecilio Barroso y Francisca Medina, sabemos que existen algunos paralelos con respecto a la pintura encontrada en el abrigo n.º 11 de Peñas de Cabrera, el más cercano es de una figura hallada en Cueva Betín (Cádiz), aunque también ay figuras semejantes en la Cueva de las Grajas y en el abrigo del Arroyo de Santo Domingo, estos dos en Jaén.

Encontrar paralelos a la danza de Peñas de Cabrera dentro de la pintura esquemática peninsular no es nada fácil, ya que este tipo de manifestación artística es muy poco abundante y  de los que han llegado a nuestros días, son de muy difícil interpretación para los investigadores.

Una afirmación muy interesante que nos hace Cecilio y Francisca es que la pintura rupestre esquemática tiende a lo narrativo, por la gran cantidad de escenas pictóricas que representaban nuestros antepasados de la su estilo de vida y de sus aspectos religiosos.

Existe una danza semejante a esta en el Abrigo Cholones (Córdoba), en la que hay un pequeño número de figuras humanas, todas ellas femeninas excepto un varón que se encuentra en el centro de la composición, aparece un antropomorfo en forma de "T", similar al que hemos visto en Peñas de Cabrera. Otra figura parece que tiene sobre su cabeza un tocado, siendo evidente que desempeña un papel importante dentro de la composición. Para los investigadores, esta pintura les sugiere algún ritual relacionado con el sexo.

Los autores de este artículo nos lanzan una afirmación muy interesante y mediante la cual nos hacen realizar una profunda reflexión y es que en todas las composiciones aparece una figura con forma de "T", los investigadores interpretan que es un hombre, pero si nuestros antecesores en vez de representar al sexo masculino, pero otros estudiosos creen que esta figura podría tratarse en realidad de un diosa femenina.

Grabados
En Peñas de Cabrera los grabados no se circunscriben al interior de los abrigos, ya que muchos de ellos se encuentran en el exterior, siempre en superficies horizontales.

El número de abrigos en los que han sido localizados grabados rupestres asciende a un total de siete. Aparecen principalmente dos tipos de motivos, las cazoletas y los grabados lineales.

La forma más plausible para la ejecución de las cazoletas sería la abrasión por medio de un útil lítico redondeado, para ello utilizaban como materia prima la cuarcita.

Las cazoletas se localizan en cuatro abrigos, en lo que se refiere a los grabados lineales, todos ellos tienen sección en "V", presentando en la mayoría de ocasiones apariencia fusiforme respondiendo a procesos abrasivos que obedecen a incisiones repetidas hacia arriba y hacia abajo, realizas por algún instrumento lítico.

Otras evidencias de frecuentación
En Peñas de Cabrera varios abrigos tienen la posibilidad de ser excavados, lo que nos puede ofrecer nuevos restos arqueológicos, como es el caso de la cerámica.

Se ha encontrado una gran de cantidad de material lítico, entre los abrigos 38 y 51. En el interior de este último, se ha encontrado una gran cantidad de lascas y fragmentos de varios tamaños, lo que nos hace indicar que este abrigo se debió de usar como taller. La pieza más importante apareció en el abrigo 38, una pequeña lámina de sección trapezoidal que podemos adscribir hacia un Neolítico final- Calcolítico.

Aparte del arte rupestre y del material lítico, el enclave presenta algunos lugares que posiblemente pudieran haber sido objeto de transformación de carácter arquitectónico durante la prehistoria. Se trata de una de las estructuras de mayores dimensiones y consiste en un gran semicírculo formado por piedras de gran tamaño, esta estructura cierra una explanada, localizada inmediatamente delante de los abrigos principales, se cree que este lugar pudo ser usado para la celebración de reuniones.

Los trabajos de la universidad de Málaga en el dolmen del "Tajillo del Moro"

Este dolmen fue descubierto y excavado a finales de los años setenta por miembros del departamento de Prehistoria y Arqueología de la Universidad de Málaga, dirigidos por los profesores Ignacio Marqués y José Enrique Ferrer.

Se encuentra próximo al conjunto rupestre, en un altozano perteneciente al cortijo del Hospital, además, es rodeado al sur y al norte por cursos fluviales.
Tajillo del Moro es un sepulcro megalítico de pequeñas proporciones. En la actualidad solo quedan los ortostatos laterales, la piedra cabecera y una de las cobijas. Es un dolmen de corredor con la cámara en forma ovalada y el corredor largo, trapezoidal y segmentado en dos tramos. El carácter funerario y colectivo de esta construcción se reconoce a partir del hallazgo de una serie de huesos correspondientes a tres individuos.

Los ajuares funerarios que se encontraron en Tajillo del Moro son cerámicos, líticos y metálicos. Los restos de cerámica pertenecen a cuencos, platos y fuentes; las piezas de sílex son más numerosas, destacan las puntas de flecha, láminas retocadas, una muesca y un raspador. Han aparecido también restos óseos de origen animal, pertenecientes en su gran mayoría a bóvidos, estos se los colocaban al difunto como alimento para la otra vida.

La gran cantidad de puntas de sílex nos muestran un posible aprovechamiento de los recursos de los montes de Málaga. El hacha de metal puede considerarse un elemento de prestigio de una población experimentada en las prácticas metalúrgicas.

Cronología
En todos los abrigos la única coloración que encontramos es la roja, con algunas variaciones en tono e intensidad, esta característica cromática no lleva implícito una diversidad de fases, sino que la composición del color original  ha perdido parte de sus características, por fenómenos endógenos a la roca como la capilaridad de la misma o exógenos, como puede ser el grado de fosilización de la manifestación pictórica.

Por estos fenómenos les fue imposible a los investigadores determinar si existen distintas cronologías en base al cromatismo presente. Se piensa que la contemporaneidad o no de todas las pinturas podrá ser establecida tomando como hilo conductor su similitud morfológica y estructural, la cual está demostrada en todos los abrigos.

Generalmente viene siendo aceptada por la inmensa mayoría de los investigadores de este tipo de manifestación artística pertenece a la prehistoria reciente, concretamente a la Edad del Cobre. Se le da una cronología en torno al Bronce I Hispano, basándose en el material mueble aparecido en el yacimiento arqueológico, sin embargo, la cronología es la cuestión más difícil de resolver. Además se ha llegado a pensar que las cazoletas presentes en algunos abrigos pueden ser posteriores a las pinturas

En el caso del dolmen "Tajillo del Moro", los investigadores, por todas las evidencias arqueológicas encontradas, lo sitúan hacia un Calcolítico Antiguo, entre el 2600 y el 2300 a. C.

Propuestas interpretativas

En Peñas de Cabrera se dan juegos visuales que requieren ser observados desde una determinada posición, por ejemplo, en el abrigo n.º 20 hay una figura humana en actitud dinámica que solo se ve si nos damos la vuelta y miramos hacia el interior de la visera que cubre el abrigo, pero más espectacular es la perforación practicada en un pliegue del abrigo n.º 12, a través del cual puede verse el orto solar del solsticio de verano.

Las relaciones de visibilidad, los alineamientos, o las orientaciones astrales no dejan de tener cierta parcialidad en cuanto al estudio de las manifestaciones rupestres primitivas. Son datos que se deben tener en cuenta, aunque en realidad representan solo una parte de la investigación, de hecho, las formas esquemáticas que podemos relaciones con estos factores son muy escasas, además, el arte esquemático estuvo relacionado con otros muchos aspectos de la existencia.

Parece claro que tanto el arte rupestre prehistórico en general como el esquemático en particular, son una expresión de los modos de vida de las sociedades que los produjeron, y que su intención última debió ser la transmisión generacional.

Un caso particular lo encontramos en el abrigo n.º 12, en que encontramos a un antropomorfo portando un objeto, en un primer momento, los investigadores supusieron que este objeto debía de ser algún tipo de material bélico, pero posteriormente se pensó que debía de ser un objeto de labranza o un hacha.

Una de las tipologías más características del arte esquemático lo encontramos en Peñas de Cabrera, los antropomorfos de brazos y piernas en cruz o de tipo "T" doble, este tipo de representaciones las encontramos en el abrigo n.º 5, 31 y 34. La insistencia en la disposición de estas tipologías en lugares destacados de las composiciones nos indica que mediante esta tipología, quería representarse a un personaje principal, por lo que esta imagen estaría ligada a la personificación del poder. Esta es la hipótesis que se tiene para este tipo de representaciones.

Los signos son aquellos motivos no representativos de la figura humana, incluyendo los que pudieran haber tenido una dimensión simbólica. En este caso es posible, ya que ni en Peñas de Cabrera ni en toda la provincia se Málaga se conocen representaciones netamente zoomorfas. Los signos más simples son barras y puntos.

Las barras pueden hacer referencia a un concepto simple de unidad, aunque también pueden considerarse como la forma más reducida de expresar la condición humana. Los puntos suelen representarse formando grupos, esto es muy habitual en Peñas de Cabrera, esto lo encontramos en los abrigos n.º 11, 31, 33 y 39. Los signos más abundantes en Peñas de Cabrera son los pectiniformes, ramiformes y rectangulares.

La problemática de los pectiniformes y ramiformes viene dada por las interpretaciones de Pilar Acosta relativas a tipología compuesta. Esta autora cree que las figuras con forma de "Pi" griega representarían a una pareja con los brazos entrelazados. Julián Bécares es contrario a esta teoría, ya que pone en duda la inclusión de estos signos como figuras humanas, aunque al final acaba incluyéndolas en su categorización en el apartado de antropomorfos.

En cuanto a los ramiformes, Pilar Acosta los considera como la visión sintética de varias figuras humanas alineadas, ya que entiende que la asimilación de una serie de figuras humanas al mismo motivo responde a que quiere significarse una relación entre ellas de la índole que sea.

Se ha encontrado casos en los que estos signos se encuentran incluidos en otras formas, generalmente cuadrangulares, esto se considera como un modo de representar algún tipo de habitáculo, un lugar de reunión, etc.

En Peñas de Cabrera encontramos rectángulos, en algunos casos abiertos, con una especie de viga interior, vertical u horizontal. Estas representaciones en la mayoría de las ocasiones se encuentran asociadas a figuras antropomorfas.

Bitriangulares, reticulados y circulares tienen escasa presencia en Peñas de Cabrera. Desde el punto de vista representativo, la que ha suscitado un mayor interés son las representaciones bitriangulares. Bécares definió a este tipo de representaciones como el modo más básico de representación de un "ídolo". Para ello se basa en numerosos paralelos de objetos muebles de piedra y hueso identificados con este tipo de simbología.

En Peñas de Cabrera solo conocemos un bitriangular en el abrigo n.º 6. En el abrigo n.º 37 encontramos lo que parecer ser un ídolo oculado, aunque se encuentra muy deteriorada, se aprecian los trazos curvos que conforman las cejas y ojos.

Sobre estos se han propuesto diversas interpretaciones, se relaciona la marida fija con el control simbólico del territorio, siendo iconos vigilantes y protectores de los recursos económicos de las tierras explotadas por los pobladores de Peñas de Cabrera.

El abrigo n.º 10 debió de ser uno de los más significativos y con una gran iconografía, ya que ocupa un lugar central en el yacimiento, pero las pinturas que encontramos aquí son escasas y con bastante espacio entre unas y otras. Encontramos un gran pectiniforme en el lado izquierdo, la escena central, está compuesta por un antropomorfo cruciforme que se relaciona con otros dos antropomorfos de diferente color.

Como bien explica Rafael Maura, a modo de conclusión, el arte esquemático de Peñas de Cabrera se nos muestra como un todo ordenado y coherente con los modos de vida que presuponemos para estos grupos humanos de la prehistoria reciente.

Otros restos
Por último, el estudio ocupacional de la zona permite identificar restos de materiales pertenecientes a época romana y musulmana, también a este último período correspondería, posiblemente, unos frentes de cantera y una serie de grabados cruciformes. De momentos posteriores, ya modernos, son algunas estructuras dispersas, una calera y dos eras.

Véase también
 Anexo:Bienes de interés cultural de la provincia de Málaga

Referencias

Bibliografía
 BAlDOMERO NAVARRO, Ana (1997), "Aproximación al poblamiento del parque de los montes de Málaga durante la Prehistoria", Baetica. Estudios de arte, geografía e historia, 19-1, pp. 313-332.
 BARROSO RUÍZ, Cecilio y MEDINA LARA, Francisca (1982), "Avance al estudio de las pinturas esquemáticas de Peñas de Cabrera. Casabermeja, Málaga", zephyrus XXXIV-XXXV, pp. 269-284.
 BARROSO RUÍZ, Cecilio y MEDINA LARA, Francisca (1988), "Una escena de danza en el arte rupestre postpaleolítico de la provincia de Málaga", Mainake X, pp.61-73.
 MARTÍNEZ GARCÍA, Julián y HERNÁNDEZ PÉREZ, Mauro S. (2010), Arte rupestre esquemático en la península ibérica, Ayuntamiento de Vélez-Blanco, Vélez-Blanco.
 MAURA MIJARES, Rafael (2010), Peñas de Cabrera: Guía del enclave arqueológico, Consejería de cultura de la Junta de Andalucía, Sevilla.
 MAURA MIJARES, Rafael (2011), Arte prehistórico en las tierras de Antequera, Junta de Andalucía.
 MAURA MIJARES, Rafael (2015), "Peñas de Cabrera. Conjunto rupestre y enclave arqueológico", en Virgilio MARTÍNEZ ENAMORADO (direc.) Casabermeja un lugar en la historia, centro de ediciones Diputación de Málaga, Málaga, pp. 194-236.
 MAURA MIJARES, Rafael (direc.) (2006), "El grabado esquemático en Málaga: Nuevas aportaciones y aproximación a su problemática", Mainake, XXVIII, pp. 433-455.

Enlaces externos

Casabermeja
Bienes de interés cultural de la provincia de Málaga
Yacimientos arqueológicos de la provincia de Málaga
Arte rupestre de Andalucía
Montes de Málaga

Peñas de Cabrera


Esta é uma lista de países pelo número de milionários por patrimônio líquido (em dólares dos Estados Unidos) com base em uma avaliação anual de riqueza e ativos compilada e publicada pelo banco suíço Credit Suisse. Segundo estimativas, em meados de 2021 havia 56 milhões de pessoas em todo o mundo cujos ativos ultrapassavam um milhão de dólares, dos quais quase 40% viviam nos Estados Unidos. O patrimônio líquido total de todos os milionários ficou em aproximadamente $158.261 trilhão.

Regiões por número e porcentagem de milionários

Países por número e porcentagem de milionários

Referências

Listas de países

Lista de países pelo número de milionários


Routing, farklı networklerin birbirleriyle haberleşmek için hangi yolu kullanması gerektiğinin hesaplanması ya da seçilmesi işlemidir. Routing işlemini Router(yönlendirici) lar yapar.

Router lar paketleri IP paket başlığında bulunan hedef adres bilgisini kullanarak diğer Router lara gönderir. Her bir Router dan geçen paket in time to live (yaşam süresi) i 1 azaltılır. Time to live 8 bit ile ifade edilir bu da time to live en fazla 255 değerini alabiliyor demektir. Time to live i 0 olan paket routing edilmez ve yok sayılır.

Routerlar Routing işlemini Routing Table(Yönlendirme Tablosu) lardan aldığı bilgilere göre hesaplarlar.

Routing Türleri

Static Routing

Static Routing Routing Table a yönetici tarafından el ile giriş yapılmasıdır.

Static Routing in avantajları

 Router ın CPU su hesaplama yapmakla uğraşmaz.
 Manuel olarak giriş yapıldığından diğer router lar ile ilgilenmez.
 Güvenliklidir çünkü bilgi girişi yönetici tarafından yapılmaktadır.

Static Routing in Dezavantajları

 Yeni bir network ün sisteme eklenmesi yönetici tarafından manuel olarak yapılmalıdır.
 Static olarak yapılan route işleminde yedekleme yapılmaz.

Dynamic Routing
Static Route taki sorun ağın büyümesidir. Ağ büyürse router ların manue olarak eklenmesi gerekir.

Dynamic Routing de routing table lar dinamik oluşturulur.
Administrative Distance router ın hedef router a ulaşması için katetmesi gereken yoların bir haritasını çıkarır.
Administrative Distance ler 0 dan 255 e kadar numaralar alırlar numarası en düşük olan yol hedef router a ulaşmak için kullanılır.

Dynamic Routing Protokolleri

 (RIP) Routing Information Protocol
 (IGRP) Interior Gateway Routing Protocol
 (EIGRP) Enhanced Interior Gateway Routing Protocol
 (OSPF) Open Shortest Path First

Dış bağlantılar
 Örneklerle IP Yönlendirme

İnternet erişimi

Yönlendirme


The Renault Clio () is a supermini (B-segment) car, produced by French automobile manufacturer Renault. It was launched in 1990, and entered its fifth generation in 2019. The Clio has had substantial critical and commercial success, being consistently one of Europe's top-selling cars since its launch, and it is largely credited with restoring Renault's reputation and stature after a difficult second half of the 1980s. The Clio is one of only two cars, the other being the Volkswagen Golf, to have been voted European Car of the Year twice, in 1991 and 2006.

The car is named after Clio, one of the nine Muses in Greek mythology. In Japan, it is sold as the Renault Lutecia because Honda retains the rights to the name Clio after establishing the Honda Clio sales channel in 1984. Lutecia is derived from the name of Lutetia, an ancient Roman city that was the predecessor of Paris. The Renault Lutecia was formerly available through Yanase Co., Ltd., but in 1999 Renault purchased a stake in Japanese automaker Nissan. Following Renault's takeover, distribution rights for the Lutecia were handed over to Nissan locations in 2000 and sold at Nissan Red Stage locations.

First generation (1990)

Renault had replaced its R5 supermini with a completely redesigned model (which had similar styling to the 1972 original) in 1984, but soon afterwards began working on an all-new supermini to take the company into the 1990s. It was eventually decided that the new car would feature a name designation, rather than the numeric model designations which Renault had traditionally used – this would be adopted across the entire Renault range by 1995. Cars like the Fuego coupe (launched in 1980) had been an exception to this rule, and the last "numeric" Renault was the 19, launched in 1988, and by the end of 1996 the numeric model designations had completely disappeared from the Renault range in Western Europe.

The Clio was introduced at the Paris Motor Show in June 1990 and sales in France and the rest of the continent began then, although sales in right-hand drive Britain did not begin until March 1991. The Clio was the replacement to the hugely successful Renault 5, although this car remained in production until 1996 at a factory in Slovenia, where some versions of the Clio were later built. The Clio's suspension and floorpan were largely the same as the R5, which was derived from the R9 saloon of 1981 and R11 hatchback of 1983 – not that of the original 1972 Renault 5, despite the later R5 visually resembling the original model.

The suspension uses half-width torsion bars (full-width on higher spec models) with trailing arms at the rear, and coil sprung MacPherson struts, attached to a thick pressed steel subframe at the front. The engine range available at launch included 1.2 L and 1.4 L E-type "Energy" petrol inline-four engines (first seen in the Renault 19) and 1.7 L and 1.9 L diesel engines, both based on the F-type unit. The petrol engines gradually had their carburettors replaced with electronic fuel injection systems by the end of 1992, in order to conform to ever stricter pollutant emission regulations brought in by the EEC.

A minor trim facelift occurred after only a year of being on sale. A new "smooth" version of the Renault diamond badge (the previous "ribbed" badge was being phased out at the time) and a new front seat design were the only changes. The altered design did not constitute a new "phase". In March 1994 (at the Geneva Motor Show), the phase two model was launched, with small updates to the exterior and interior of the Clio. Most noticeable was the change in the front grille from two metal ribs to a single colour-coded slat. The bump strips were made slightly larger and rounder and had the car's trim level badge incorporated into them. The badges on the tailgate strip were moved up onto the tailgate itself and the tailgate strip was given a carbon fibre look. The rear light clusters were given a slightly more rounded bubble shape, giving the Clio a more modern look. The clusters, however, are physically interchangeable with phase ones'.

In May 1996, with the arrival of the phase three facelifted Clio, the 1.2 L Energy engine was replaced by the 1,149 cc D7F MPi (multi point injection) DiET engine, first used in the Renault Twingo; for some time also, versions were available with the older 1239 cc "Cléon" unit from the original Twingo. The cylinder head design on the 1.4 L E-type was also slightly altered for the phase three models in a bid for better fuel economy. This resulted in the engines producing slightly less power than their earlier versions.

The phase three Clios have a slightly more noticeable update than the phase twos. The phase three has different, more rounded headlights, incorporating the turn signal in the unit with the headlight, and the bonnet curves more around the edges of the lights. The tailgate incorporates a third brake light and a new script "Clio" name badge, following the same typeface as contemporary Renaults. Some mechanical improvements were also made, as well as the introduction of side impact bars and airbags, which were now common features on mainstream cars across Europe.

Renault also released a hot hatch version of the Clio in 1991. It was aesthetically very similar, but with the addition of a  1.8 L eight-valve engine, side skirts and disc brakes on all wheels. This, with multi-point fuel injection, was badged as the RSi. From 1991 a lighter tuned version of this 1.8 litre engine (with single-point injection) joined the earlier 1.7 used in the very luxurious Baccara version which was sold in some continental European markets. In addition to this reasonably powerful engine, the Baccara has a luxurious interior with much leather and wood, as well as power windows, locks, etc. The Baccara was renamed "Initiale" in 1997, in line with other Renaults, differing from the Baccara mainly in the wheel design.

During 1991, a fuel injected 1.8 L 16-valve engine producing  (which had debuted on the Renault 19) capable of propelling the car to  was introduced to the Clio engine range, known simply as the Clio 16S in France (S for "soupapes", the French word for valves), and Clio 16V in export markets. It was the successor to the Renault 5 GT Turbo, which was discontinued that year as the R5 range was pruned back. As well as having a higher top speed than a regular Clio, the 16S sports wider plastic front wings, an offset bonnet vent, wider rear arches and uprated suspension and brakes, and colour-coded front mirrors and bumpers. The RSi side skirts were omitted, however. Inside, the 16V model has an extended instrument panel that houses dials for engine oil pressure, oil temperature, and oil level (which only indicates on engine start). The seats are also more supportive to match the sporting nature of the model. The non-catalyzed versions, still available in some markets, offer  and marginally higher performance with top speeds up to  and the 0–100 km/h (62 mph) time dropping from 8 to 7.8 seconds.

In December 1990, the Clio was voted European Car of the Year for 1991, and soon became one of Europe's best-selling cars, as well as the first Renault to be consistently among the top-10 best sellers in the United Kingdom, where it was selling in excess of 50,000 units a year by 1995. UK sales were helped by a famous television advertising campaign by Publicis shot in France, featuring the two main characters of Papa and Nicole, played by Max Douchin and Estelle Skornik respectively.

From 1991 to 1993, trim levels were identical in every European country. Starting in 1993, trim levels designations became more varied across the various markets. The car was sold as the Renault Lutecia (from Lutetia, the Latin name for Paris) in Japan, as "Clio" was used there by Honda for one of their domestic marketing networks.

Clio Williams

In 1993, Renault launched the Clio Williams as a limited edition of 3,800 cars (1,300 more than they needed for homologation purposes) with each car bearing a numbered plaque on the dash. These sold out so quickly that Renault ended up building 1,600 more.

After the first series, due to the demand, Renault built the Williams 2 and 3, with more than 12,000 eventually being built. However, many new road cars were directly converted to race cars and when damaged replaced with another converted road car, which means that the actual number of road cars is significantly lower than the figures suggest.

The car was named after the then Renault-powered Formula One team WilliamsF1, though Williams had nothing to do with the design or engineering of this Clio. The modifications to the Clio 16S on which it was based were the work of Renault Sport, Renault's motorsport division. Nevertheless, this car had a Formula One link by being the sport's Safety Car in 1996.

The naturally aspirated  DOHC 4 valves per cylinder fed by Multipoint fuel injection Inline-four engine, was rated at  at 6,100 rpm and  at 4,500 rpm of torque. It has a top speed of  equipped with performance-tuned ride and handling. Renault later released the Williams 2 and Williams 3 special editions, much to the chagrin of those owners who had been assured of the exclusivity of the "original" Williams. One common mistake people can make is thinking that the 2.0 16V (F7R) used in the Williams is simply a bored out 1.8 16V (F7P), whereas, in reality the large engine had different size valves, cams, stroked crank and engine oil cooler. Other differences between the Williams and the Clio 16S it is based on include a wider front track with wishbones similar, but not the same as the Renault 19, wider Speedline alloys, uprated (JC5) gearbox, bespoke four-to-one manifold, firmer suspension, and some cosmetic differences on the exterior and interior.

The differences between the three versions of the Williams were largely a reflection of phase changes across the Clio range, e.g. the gradual addition of enhanced safety features and cosmetic variations. Other than this, the Williams 1 and 2 had no sunroof and were painted in 449 Sports Blue. The final Williams 3 was painted in a slightly brighter shade of blue (432 Monaco Blue) and finally gained a sunroof which had long been standard on virtually all previous Clios. The original Williams was the lightest of the three, lacking the electrics necessary for the sunroof or the mirrors, and was the only one to support a metal plaque stating the build number.

The Renault Clio Williams was and still is a very popular rally car. The basic racing version (Gr.N) had racing suspension, different engine management, and a more free flowing exhaust. Power output was around . Roll cage was made by Matter France. Bucket seats were made by Sabelt.

The next step up was the Gr.A car, which was fitted with 16″ Speedline 2012 rims (with optional extractors), further improvements on suspension and more tuned engine producing between . Front brakes were also updated with 323 mm discs and four-pot Alcon brake calipers.

The final evolution was the Renault Clio Williams Maxi kit-car with wider arches and 17″ Speedline 2012 rims and improved Proflex suspension. Sodemo engine was further tuned to .

Engines

Second generation (BB/CB; 1998)

Development of the X65 commenced in 1991, a year after the May 1990 launch of the Clio. In 1992, Pierre Beuzit became project manager of the X65 programme. In December 1993, a final design developed under Patrick Le Quément was approved, with development for production commencing, so in 1994 Renault rented a 129,600-square-foot building in Saint-Quentin-en-Yvelines, west of Paris. More than 600 people from Renault and its suppliers went to work there. The X65 project team became a laboratory for Renault's Guyancourt technical center. Forty teams were created, each responsible for a section of the car. In February 1997, management moved market launch by nearly a month from 15 March 1998 to 11 April 1998. Development ended in 1997, as pre-production units began to be constructed at Flins.

The second generation of the Clio was launched on 9 March 1998 and sold for less than €8,000, with considerably more rounded and bulbous styling than its predecessor. Part of the radical concept of the new Clio were many components made of unusual materials to save in weight and repair costs. For instance, the front wings were made of plastic (following criticisms of corrosion in this part of the previous model and based on technology developed for the Renault Espace) and the material of the bonnet was aluminium in some versions. Originally the engine lineup was similar to before, with 1.2 L, 1.4 L and 1.6 L petrol engines and a 1.9 L diesel. The project manager from 1992 to 1998 for the Clio II was Pierre Beuzit.

In early 2000, a sportive 16V version equipped with a new 1.6 L 16-valve engine was introduced, and eventually, all the older petrol engines were upgraded to more powerful and more economical 16-valve versions.

In 1998, Renault launched the  Clio Renault Sport (also known as Clio R.S. for short), with a 2.0 L 16-valve engine and a top speed of . This was named the Clio Renault Sport 172 in the UK – 172 coming from the DIN method metric horsepower measurement. The standard Clio RTE powered with by the 1.2  engine could reach 160 km/h. The top-of-the-range Clio, however, was the 2001 mid-engined, rear-wheel drive Clio V6 Renault Sport, originally engineered by Tom Walkinshaw Racing for a one-make racing series, which placed a  3.0 L V6 engine, sourced from the Renault Laguna, behind the front seats, with a top speed of . Production was at the TWR factory in Sweden. Clio V6 production over three years was approximately 1513 vehicles with 256 sold in the UK.

In 2000, a few minor changes were made to the Clio range, which included revised specification levels, a new instrument cluster, and a passenger airbag fitted as standard for all models. The Clio achieved a four-star Euro NCAP rating in 2000, which was class-leading at the time.

In Japan, Renault was formerly licensed by Yanase Co., Ltd., but in 1999, Renault purchased a stake in Japanese automaker Nissan after Nissan had faced financial troubles following the collapse of the Japanese asset price bubble in 1991 and subsequent Lost Decade. As a result of Renault's purchase of interest, Yanase canceled its licensing contract with Renault in the spring of 2000, and Nissan took over as the sole licensee, hence sales of the Lutecia II in Japan were transferred from Yanase Store locations to Nissan Red Stage Store locations.

Electric Clio
An electric version of the Clio was developed by Renault for an electric carshare project in Saint-Quentin-en-Yvelines in 1998. Fifty cars were produced, and could be charged by plugging in or by an induction pad located in some of the town's special locations. The electric Clio had a claimed top speed of 60 mph and a range of 35–40 miles. The scheme was branded Praxitèle and membership was charged at £10/month and around £3 for a 30-minute trip.

Phase 2

A major facelift occurred in June 2001 (Phase 2) which saw the exterior restyled (most visibly the headlights were made more angular), the interior quality improved with a new dashboard and centre console including the availability of digital climate control air-conditioning and satellite navigation on top models and a 1.5 L common rail Diesel engine added.

2003
Major revisions were made to the mid-engine 3.0 litre V6 model in line with the facelift introduced to the regular models in 2001 including revised frontal styling, new dashboard and higher equipment levels including climate control, cruise control and xenon headlights. The power output of the engine was raised by  to , giving it a top speed of  and a 0–62 mph (100 km/h) time of 5.8 seconds. Emissions are 285g/km and meet Euro IV standards 2 years before the implementation deadline. The chassis was also significantly revised with a slightly longer wheelbase and revised suspension together with larger 18 inch alloy wheels. For the Phase 2 V6, production was transferred from TWR's Swedish factory to the dedicated Renault Sport Alpine factory at Dieppe in Northern France. Production from 2003 to the end of 2005 was approximately 1309 vehicles of which 354 were sold in the UK.

On ordinary cars, an interior equipment specification change was made from this model year – fitment of a CD player as standard (as opposed to cassette) on Expression and Dynamique. It remained optional on Authentique and its Rush derivative.

Phase 3

In 2004, Phase 3 followed starting on a 53 Plate, this was just some small changes to bring it up to date. The front bumper was changed giving it a wide lower grille and the foglights were bulged out at the side (cars not equipped with foglights remained using the older ph2 bumper), the upper grille was changed and the headlights (which previously had black background) now had grey. The 15" alloy wheels were changed and were now a 15" version of the facelift 172 model on Dynamique and Extreme models. Clear side repeaters were added, as was a colourcoded rear spoiler (again on Dynamique spec cars). In the South American market, the facelifted Clio continued to use the dashboard of the 1998 model and was never updated, except for the Colombian 2008 model that included the same interior of the European version with little changes, and continued having the same exterior as the phase II model.

On the inside the pattern on the seats was changed for a simpler one, and the dials were changed to do away with the fuel and water temperature needles and now featured a larger screen that included a digital version of these gauges as well as the mileage and trip computer. Climate control equipped cars were given a vent in the back of the glove box so it could be climate controlled. Under the bonnet a new  dCi engine was available (the 1.2 16v also received a new engine developed with Nissan). Rear disks were fitted on 1.6 16v models and DCi 100 models equipped with ESP. On this second facelift, the Clio Renault Sport's power was improved to  (in the UK, the designation R.S. 182 was adopted). For the first time there were two options in chassis stiffness for the R.S. model. the standard Settings (different from the non-sport models), and CUP badge chassis, 20 mm lower, larger stabilizer bars, and stiffer suspension with dark graphite alloy wheels.

At the 2006 Paris International Agricultural Show, Renault exhibited a Hi-Flex Clio II with a 1.6 L 16-valve engine. This vehicle, which addresses the Brazilian market, features Renault-developed flex-fuel technology, with a highly versatile engine that can run on fuel containing a blend of petrol and ethanol in any proportion (0% to 100% of either).

Phase 4 / 5

The Phase 4 Clio II, known as the Clio Campus, was introduced in 2006 and had a restyled rear end, the number plate moving from boot to bumper, and a better specification on all models. This car stopped being sold in the UK in late 2008, and a revised front end was then released in April 2009 (Phase 5).

The last units of the Clio II built in Mexico featured the headlights used on the Nissan Platina, thus becoming the third headlight design to be used in the car. This version lasted a month (January 2010) on sale, before both the Clio and Platina being replaced by the Logan and Sandero due to quality issues. The second generation Clio was marketed until 2012 in France as the Clio Campus, or in Slovenia as the Clio Storia. It is still marketed in Colombia also as Clio Campus since 2012, with the same interior as the pre-facelifted model and a very basic equipment, without airbags or foglights.

Phase 6

In October 2012, a new version of the Clio II, called Clio Mío, was introduced at the São Paulo Motor Show, featuring the brand's new design theme. Intended to be the lowest priced Renault model available in Latin America, it was manufactured in Córdoba, Argentina, and featured additional styling and equipment updates. It kept the dashboard of the pre-facelift version, but with new gauges and optional colour matching inserts.

As of 2015, it contained about 40% Argentine parts.

The Phase 6 Clio II was also offered in Maghreb, where it kept the name Clio Campus. It was finally retired from production in October 2016.

Safety
The Clio Mío in its most basic version for Latin America with no airbags received 0 stars for adult occupants and 1 star for infants from Latin NCAP in 2013.

Sedan

In 1999, Renault launched the saloon version of the Clio II, named Clio Symbol in Turkey and Eastern Europe, Thalia in Central Europe, Clio Classic in Asia and North Africa, Clio Sedan in Brazil and Paraguay, or Symbol in the rest of South America (except Argentina where it was called Clio). The car was intended for sale in developing countries, where saloons were traditionally preferred over hatchbacks, most notably in Eastern Europe, where the Thalia was cheaper than the Clio, but was still about 30% more expensive than the Dacia Logan, also sold by Renault as a low cost model. In some Latin American markets the sedan was offered as the Nissan Platina (manufactured in Aguascalientes, Mexico), with slight changes in the front of the car to make it resemble the Nissan Altima. The sedan version of the Clio was facelifted in 2002, with new exterior similar to the facelifted Clio, better equipment and safety levels.

In the fall of 2006, an improved Clio sedan has been offered, renamed in Eastern Europe as Renault Symbol. This model featured the interior of the facelifted Clio II with very minor parts commonality with Megane II, as well as new standard and optional equipment, such as automatic air conditioning and a CD player. The model earned moderate reception in the domestic market.

Renault introduced the second generation of the Symbol model at the 2008 Moscow Motor Show. This new model featured chrome-trimmed front grille and rear fascia, while powered by similar engines as the Dacia Logan range. It was designed for the Eastern and Central Europe, Russia, Turkey and North Africa, and it was also manufactured in Argentina for South America.

Watchdog controversy
In April 2006, the BBC's consumer affairs programme Watchdog aired details of over 1,000 incidents involving Clio IIs in which the bonnet flew open without warning while still being driven, usually at high speeds, and sometimes writing the cars off. The problem was found to be caused by the catch not being cleaned and lubricated during servicing causing it to stick in the open position. Renault investigated the issue with the aid of the Vehicle and Operator Services Agency (VOSA) and a "task force" of Renault departments to test the design but found no problem with the bonnet catch and so would not issue a recall. Renault instead wrote to owners of the model and offered to "remedy for free any catches where there has been poor maintenance".

Watchdog has since claimed other experts have contacted them with accusations that Renault was expecting people to maintain a flawed part that would corrode over time and could cost lives. David Burrowes, MP, Chair of the Government's Road Safety Group, later tabled a motion in the House of Commons urging further action. Renault was accused by its Press Relations Manager Graeme Holt, who quit in protest, of downplaying the serious "fault" and putting customers' lives in danger.

Engines

Third generation (BR/CR/SB/SR; 2005)

The third generation Clio was unveiled at the 2005 Frankfurt Motor Show.

The Clio III uses the Nissan B platform, co-developed with Nissan (which Renault has a share in), that is shared with the Renault Modus, the Nissan Micra, and the Nissan Note. It is considerably larger and  heavier as well as being more expensive than the Clio II and, at nearly  in length, has almost outgrown the supermini class.

This was the result of a decision to move the Clio upmarket. It also brings the trademark "Renault Card" keyless immobiliser to the Clio for the first time.  The Clio III achieved a 5-star EuroNCAP safety rating. Sales began throughout Europe in October 2005.

Clio came with several trims, with the Dynamique having the most variations as it comes with 4 versions, namely the Dynamique, Dynamique S, Dynamique SX and Dynamique TomTom. The Clio Dynamique S comes with 4-wheel disc brakes and 16-inch alloys. Several options were offered, with others that could be added later on, like a sport exhaust made by Sebring, or rear "becquet" (spoiler), to provide a sporty look.

It was voted European Car of the Year 2006, becoming the first car to win twice, defeating the rival Volkswagen Passat by just 5 points. The Clio was described by several people as the new benchmark for its category and by one judge as a "great little car that should inspire bigger ones". The trophy for the award was presented in January 2006 to the Renault chief executive at a ceremony in Italy organized by Auto Magazine.

In June 2006 the sales of the third generation Clio Renault Sport started in France for the price of €23,000. The Clio Renault Sport is equipped with a new naturally aspirated 16-valve 2.0 L engine based on the earlier version used in the second generation Clio Renault Sport and a 6-speed manual gearbox. The engine develops  at 7250 rpm. The top speed is  and 0–100 km/h (62 mph) takes 6.9 seconds.

An estate version called Sport Tourer in the UK was unveiled in March 2007. All Clio Estate were built in Turkey by Oyak-Renault. At the same time, Renault replaced the 1.4 L atmospheric engine with a new turbocharged 1.2 TCe version, with  and  of torque. In the 2nd, 3rd and 4th gears over 4500 rpm the turbocharger adds 5 extra HP.

Unlike its predecessors, the Japanese-spec Renault Lutecia III was not available at any Yanase Co., Ltd. dealership location, as Yanase had ended its import rights for Renault after Renault had acquired a stake in Nissan when the Lutecia II was still in production. Instead, the Renault Lutecia III was sold exclusively through Nissan Red Stage Store locations.

Facelift

2009

A facelifted version of the Clio III went on sale in the United Kingdom on 15 May 2009.

It features better quality materials used in the interior and is better equipped than the pre-facelift model.

It is also introduced with a new Clio R.S. variant, intended to slot between the regular Clio and the Clio 182 R.S..

The Clio GT has a new aggressive front end styling incorporating a black grille, extended side sills, suspension settings unique to the R.S. variant, and a twin tailpipe design with a lip spoiler on the rear end.

The Renault Clio III also became the basis for the Renault Clio Gordini 20–34 (limited edition) introduced in the United Kingdom in 2010. The Clio Gordini 200 is equipped with a 2.0L F4R engine which develops . However, the limited edition is priced as low as the usual version.

The range was reduced in late 2012, due to the launch of the Clio IV. However, in France and Spain it remained in the range as the Clio Collection and was in production until 2014.

Engines

Fourth generation (BH/KH; 2012)

The Clio IV was introduced at the September–October 2012 Paris Motor Show, and began marketing a month later. It is available in hatchback body style and starting from early 2013 also as an estate. It is manufactured in Flins, France, and in Bursa, Turkey (main production site), where the estate will particularly be assembled.

The Clio IV is only available with five doors, with "hidden" rear door handles near the windows. Another notable difference from the previous generation is the wheelbase, which has been significantly extended and is now near to the one of a compact car. The length and the width have also been increased, but less significantly.

The R.S. version was launched in Mexico in 2014, and was the only French-made product in Renault's Mexican lineup.

A brief time line for the Clio IV (based on the French market)
 Phase 1
Produced from October 2012 to August 2016.

 Phase 2
Produced from August 2016 to April 2019.

 Génération
Produced from April 2019 to 2020.

 October 2012: Introduced with Authentique, Expression and Dynamique
 March 2013: Introduced Estate (Authentique, Expression and Dynamique)
 April 2013: Renamed to Life, ZEN and Intens also added GT.
 September 2013: Added dCi EDC
 January 2014: Added 1.2 16V (D4F) GPL
 October 2014: Added Initial Paris
 March 2015: Added GT-Line (Pack Option), added Ivory paint and deleted Yellow.
 July 2015: Minor update for dashboard and steering wheel for Intens.
 April 2016: GT discontinued.
 August 2016: Introduced Phase 2.
 May 2018: Added 0.9 TCe 75.
 July 2018: Reorganize version to Trend, Limited and Intens.
 April 2019: After the commercialization of the Clio V, the Clio IV continues to be produced under the designation "Clio Génération" with only two engine options; 0.9L TCe 70 and TCe 90.

Clio R.S.
Revealed at the 2012 Paris Motor Show, the fourth-generation model eliminates manual transmission in favor of a 6-speed EDC dual-clutch transmission (Efficient Double Clutch) developed by Renault Sport engineers. The new model now comes with a  DIG-T Nissan MR16DDT inline-four engine, which develops  and  of torque. It is available exclusively as a five-door model for the first time.

In 2016 Renault released a face-lifted version featuring new LED headlights and other minor improvements. There's also a Trophy version that has an improved engine that produces  and   In 2018, Renault released a limited edition R.S. 18. This model is only available in black with livery inspired by the colour scheme of the company's Formula 1 race car.

Features
The Clio IV features new equipment such as hands-free, rear camera connectivity with more than 50 applications (Renault R-Link 7-inch infotainment system, powered by Android & TomTom) and a six-speed dual-clutch transmission that will be available starting early 2013.

Engines
The range of petrol engines consists of three options: a 1.2-litre 16 valve straight-four engine, with a maximum power output of , a turbocharged 0.9-litre 12 valve straight-3 engine, developing , which can have a  emission level of 99 g/km and a 1.2 litre turbocharged engine which produces . A turbocharged 1.6-litre four-cylinder engine, capable of producing , will be featured on the Renault Sport version.

The diesel range has two versions of the 1.5 dCi straight-4 engine, one of  and one of , which can have a  emission level of 83 g/km.

Facelift

Phase 2

In August 2016, the Phase 2 was launched. This introduced a mild cosmetic refresh including new LED headlights and tail lights (standard on high spec models and optional on mid spec), restyled front and rear bumpers, new alloy wheel designs, LED front fog lights and a new front grille. Inside, the Clio received a new steering wheel, updated versions of the MediaNav and R-Link systems (including the addition of DAB digital radio), new interior door panels including a new 4-way mirror adjustment control (the first time this saw a new design since Clio II), and a new gear knob.

In 2018, the Clio IV range for the UK market was significantly condensed. The trim levels were reduced to: Play, Iconic and GT-Line. The 1.6-litre R.S. model was dropped from the lineup, as were both 1.2-litre petrol engines and the 110 hp diesel. This left the engine range at the 0.9 TCe petrol engine available with either 75 hp or 90 hp, and the 1.5 dCi 90 hp diesel.

In France, despite being replaced by the fifth generation in 2019, the Clio IV (marketed as Renault Clio Génération) remained on offer until August 2020. It is still manufactured in Turkey for some markets until May 2021. After this date, the Clio IV only stays assembled in Algeria for the domestic market.

Fifth generation (BF; 2019)

The fifth generation model was unveiled at the 2019 Geneva Motor Show. It was originally planned to be unveiled at the 2018 Paris Motor Show, but it was later delayed. It is the first model to use the CMF-B HS platform, shared with the second-generation Renault Captur and Nissan Juke among others.

The fifth generation features an interior that uses higher quality materials and finishes (for higher trim levels) than the previous one, sporty seats, a 9.3-inch touchscreen (with Easy Link system, compatible with Android Auto and Apple CarPlay and equipped with Google Maps and TomTom navigation), customizable instrument cluster that uses a TFT LCD and a redesigned, more compact steering wheel.

On higher trim levels it can be equipped with an electric parking brake, a wireless smartphone charger, hands-free parking, a 360-degree system with four cameras, lane keeping assistant, adaptive cruise control and recognition of road signs, blind spot warning and automatic emergency braking.

Facelift

On April 18, 2023, a significant facelift debuted, featuring a completely redesigned front bumper with slimmer headlights and a wider checkerboard grille. The R.S. Line trim level was replaced with the Esprit Alpine trim level.

The Mitsubishi Colt was debuted on June 8, 2023, which is a rebadged version of the facelifted Clio, and it will featuring a hybrid powertrain option.

Powertrain
The CMF-B modular platform enables improved efficiency and offers the option of a hybrid powertrain for the first time. Available from 2020, the E-Tech hybrid drivetrain combines a new generation 1.6 liter petrol engine with two electric motors, a multi-mode gearbox and a 1.2 kWh battery.

The range of conventional engines includes new turbo petrol engines (1.0 TCe 100 and 1.3 TCe 130), along with the naturally aspirated 1.0 SCe, as well as the 1.5 liter Blue dCi diesel with an output of . In total, customers can choose from nine engine/gearbox combinations.

Advertising
 In the United Kingdom, the Clio was advertised on television using the characters "Nicole" (a flirtatious young French woman played by Estelle Skornik) and "Papa" (her somewhat slow-witted father played by Max Douchin). The 1994 advert featured Vincent Cassel as Nicole's boyfriend. The commercials were very popular, with the final instalment of the series featuring comedy double act Bob Mortimer and Vic Reeves, in a sequence parodying The Graduate. In 2000, the 1991 commercial "Interesting" was named the 12th best television commercial of all time, in a poll conducted by The Sunday Times and Channel 4. Sound clips of the advert were played repeatedly on The Chris Moyles Show when it was discovered Comedy Dave and his girlfriend had named their newborn daughter Nicole.
 In 1999, a television advert was launched worldwide for the Renault Clio MTV Limited edition featuring a man who was saying  "Get up ah!" all the time, it was actually the only sound he can hear from a Clio passing in front of his house early in the morning, then the advert shows the five men inside the Clio and moving their heads to the rhythm of the James Brown song "Get Up (I Feel Like Being a) Sex Machine". Same advertising made in Argentina with the Clio II in 2000 with this song.
 The Clio II advertising campaign featured French model Hélène Mahieu, and French international footballer Thierry Henry for the Clio II facelift, both attempting to define the term va-va-voom, a term later defined by the Oxford English Dictionary as "The quality of being exciting, vigorous, or sexually attractive", although they state that it dates from the 1950s. In Brazil, the Clio had a trim level called Va Va Voom. The trim level has been discontinued. In Mexico, The Clio II's latest campaign reads "todo por mi Clio" (anything for my Clio), depicting one would give anything to keep one's Clio safe from danger.
 The Renault Clio R.S. 200 EDC hatchback was one of the many vehicles that can be unlocked in Asphalt 8 with a certain amount of coins in the game.
 The latest campaign to date for the Clio was for the Renault Clio III, which featured French actress Annelise Hesme and English actor Jeremy Sheffield as Sophie and Ben (respectively), trying to outdo each other over the superiority of each nation via a range of cultural aspects. This "France Vs Britain" (French car, British designers) campaign has been extended across a number of media, for example the "French Film, British Cinemas" tag for the annual Renault French Film Festival. The music used is Nina Simone's "Sinnerman".

Motorsport

The Clio has competed in various well-known races and championships such as the Spa 24 hours and British GT. The car competed in the Spa 24 hour race in 1991, 1992, 1993, 1995, 1999 and 2000. Atlanta Motorsport competed in the GT Cup class in 2003 and 2004, both times at Donington Park. The Clio has also been entered in the Nürburgring 24 Hours and Zolder 24 Hours with varying amounts of success.

In 2001, Rob Collard entered the BTCC with a Renault Clio in the Production class, which were made up of slower, smaller cars like the Peugeot 306 GTi, the Ford Focus and Honda Accord. Throughout the season, Collard was a common contender in the middle of the field in most races. He was often seen amongst the lower-scoring Peugeot 306s like Tom Boardman and Paul O'Neill. At the end of the season, despite not participating in nine races and getting only eight finishes, initially, he finished 12th with 51 points, but due to a penalty of 5 points, his final position in the championship standings was 13th with 46 points. He scored one podium in the first race at Snetterton, with a 5th-place finish.

In 2002, Collard entered again with the Clio for the next season. Unfortunately, out of the ten races he was entered in, he only started four, with the three he finished resulted in him ending up on the podium with a 2nd place in class (7th overall) and a 1st place in class (9th overall) at the first event of the season. After four non-starts at Oulton Park and Thruxton, Collard finished 2nd in class (14th overall) at Silverstone in the first race, later retiring from the second. His last entry in the Clio was at Croft where he didn't start either race. By the end of the season, he initially had 39 points, but 5 were redacted, he remained in his 12th-place finish in the championship standings with 34 points.

Rallying

Versions of the mark-five Clio, the Renault Clio Rally4 and the Renault Clio Rally5, have been produced by Renault Sport for the Rally4 and Rally5 tiers of the Fédération Internationale de l'Automobile's Rally Pyramid. Both are  wider than their consumer counterpart, which is  taller than the rally versions. Both are two-wheel drive, and have a front-axle track of .
A rallycross variant also exists.

Awards
 European Car of the Year in 1991
 European Car of the Year in 2006
 What Car? "Supermini of the Year" 2006
 Winner of El Mejor Automóvil Subcompacto (Best supermini) on Automóvil Panamericano magazine in 2002, 2003 and 2004 in Mexico

References

External links

  (UK)

2000s cars
2010s cars
2020s cars
Cars introduced in 1990
Cars of Argentina
Cars of Brazil
Cars of Mexico
Cars of Turkey
Euro NCAP superminis
Latin NCAP superminis
Front-wheel-drive vehicles
Plug-in hybrid vehicles
Hot hatches
Rally cars
Clio
Sedans
Station wagons
Subcompact cars
Touring cars
Production electric cars

Renault Clio


An Trisetaria linearis in uska species han Liliopsida nga ginhulagway ni Peter Forsskål. An Trisetaria linearis in nahilalakip ha genus nga Trisetaria, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Trisetaria

Trisetaria linearis


Litavska Socijalistička Sovjetska Republika (rus. Litovskaя Sovetskaя Socialističeskaя Respublika; lit. Lietuvos Tarybų Socialistinė Respublika) bila je kratkotrajna sovjetska republika formirana 1918. godine. Postojala je do ujedinjenja s Bjeloruskom SSR 1919. u Litavsko-bjelorusku SSR, koja je osnovana iste godine.

Povijest
Nakon što je Njemačka poražena u Prvom svjetskom ratu i potpisala primirje 11. studenoga 1918. godine, njene snage su se povukle s istočnih teritorija, koje su joj pripale Brest-litovskim mirom. Sovjetska Rusija je proglasila Brest-litovski mir ništavnim i ubrzo su snage Crvene armije upostavile vlast na upražnjenim područjima.

S ciljem da prošire svjetsku proletersku revoluciju, vojnici crvene armije su nastavili gibanje na zapad i do prosinca 1918. stigli u Litvu. Dana 8. prosinca, litavski komunisti su proglasili privremenu vladu na čelu s Vincasom Mickevičiusom-Kapsukasom, a 16. prosinca proglašena je Litavska SSR. Kapsukas se godinama borio protiv separatizma, litavske neovisnosti i domoljublja, pa zagovarao je ujedinjenje Litve s Sovjetskom Rusijom. Crvena armija je napredovala i 5. siječnja 1919. godine zauzela glavni grad Vilnius. Komunisti su do tada kontrolirali dvije trećine današnje Litve.

Između 8. i 15. veljače 1919., litavske i njemačke paravojske su zaustavile napredovanje Crvene armije. Do kraja veljače, Nijemci su pokrenuli ofenzivu u Litvi i sjevernoj Latviji. Kako bi osnažili odbranu, Sovjeti su odlučili da od Litavske SSR i Bjeloruske SSR formiraju jaču državnu zajednicu, Litvansko-bjelorusku SSR. Međutim, ovo se pokazalo bezuspješnim potezom zbog sve većeg nadiranja poljske vojske tijekom poljsko-sovjetskog rata. Sovjeti su ponovno 1920. godine pokušali da obnove sovjetsku državu u Litvi, ali su se nakon poraza kod Varšave povukli i priznali njenu neovisnost.

Izvori

Vidi još
 Litavsko-bjeloruska Sovjetska Socijalistička Republika
 Litavska SSR
 Povijest Litve

Rane republike SSSR-a
Povijest Litve


Marian Avram (n. ) este un deputat român, ales în 2012 din partea Partidului Social Democrat.

În timpului mandatului a trecut la grupul parlamentar al Partidului Național Liberal.

Vezi și
 Legislatura 2012-2016 (Camera Deputaților)
 Parlamentul României

Legături externe
 Activitatea parlamentară

Deputați români 2012-2016
Deputați români 2008-2012
Politicieni români în viață
Membri ai Partidului Național Liberal

Marian Avram


Étienne Cartier, né le  à Tours et mort le  à l'abbaye Saint-Pierre de Solesmes, est un bénédictin, historien et théoricien de l'art, moraliste, traducteur et peintre français

Biographie
Étienne Cartier est le fils d'Étienne-Jean-Baptiste Cartier et de Judith Thérèse Gaillard.

Il suit sa scolarisé à Paris, notamment au collège de Vaugirard sous l'abbé Poiloup.

En 1839, il prend part à la fondation de la Confrérie de Saint-Jean-l'Évangéliste sous l'égide du père Henri Lacordaire, qu'il assiste au collège de Sorèze de 1853 à 1861.

À Tours durant la guerre franco-allemande de 1870, il se retire l'année suivante à l'abbaye Saint-Pierre de Solesmes.

Publications
M. Larnac, par M. E. Cartier, notice lue à l'assemblée générale de l'Association des secrétaires et anciens secrétaires de la Conférence des avocats à Paris, le 21 décembre 1896 (1897)
Lumière et ténèbres, lettres à un franc-maçon (1888)
Les Moines de Solesmes. Expulsion du 6 novembre 1880 et du 22 mars 1882 (1882)
L'Art chrétien, lettres d'un solitaire (1881)
Étude sur l'art chrétien (1879)
Les sculptures de Solesmes. Nouvelle édition, augmentée d'une étude sur le plan primitif de l'église abbatiale de Saint-Pierre (1877)
L'art et la charité (1870)
Vie du R.P. Hyacinthe Besson, de l'Ordre des frères prêcheurs (1869)
Un religieux dominicain, le R.P. Hyacinthe Besson (1865)
La Question romaine (1860)
Le Bien et le Mal, tableau de M. V. Orsel, gravure de V. Vibert (1859)
Vie de fra Angelico de Fiesole, de l'ordre des Frères prêcheurs (1857)
Appel aux honnêtes gens, considérations sur le repos du dimanche pour l'homme, la famille, la société, l'industrie et le commerce (1856)
Une Nuit pendant l'inondation (1856)
Histoire des reliques de saint Thomas d'Aquin (1854)
De la Peinture encaustique des anciens et de ses véritables procédés (1845)
Examen et défense du système de Fourier (1844)
Recherches sur quelques médailles historiques du , lettre de M. Étienne Cartier fils à M. Cartier père...

Traductions
Œuvres du B. Henri Suso, de l'ordre des frères prêcheurs. Paris : Sagnier et Bray, 1852.
Vie de sainte Catherine de Sienne, par le B. Raymond de Capoue, son confesseur, suivie du supplément du B. Thomas Caffarini, et des témoignages des disciples de sainte Catherine, au procès de Venise. Paris : Sagnier et Bray, 1853 ;  éd. Paris : Librairie de  Vve Poussielgue-Rusand, 1859, 2 vol.
Lettre de sainte Catherine de Sienne. Paris : V. Dindron, 1854.
Dialogue de sainte Catherine de Sienne, suivi de ses prières recueillies par ses disciples et de son Traité de la perfection, d'après le manuscrit du Vatican. Paris : Librairie de  Vve Poussielgue-Rusand, 1855, 2 vol.
Lettres de sainte Catherine de Sienne. Paris : Librairie de  Vve Poussielgue-Rusand, 1858, 3 vol. ;  éd. Paris : Librairie Poussielgue Frères, 1886.
Conférences de Cassien sur la perfection religieuse. Paris : Librairie Poussielgue Frères, 1868, 2 vol.
Institutions de Cassien. Paris : Librairie Poussielgue Frères, 1872.
Dialogues de saint Grégoire le Grand. Paris : Librairie Poussielgue Frères, 1875.
Gesù Cristo. Con uno studio sull'arte cristiana per E. Cartier, Firenze : Tipografia della Pia casa di patronato pei minorenni, 1883.
Vie de saint Benoît, extraite des Dialogues de saint Grégoire le Grand.  éd. Solesmes : imprimerie Saint-Pierre, 1887.
L'Église et ses ennemis, paraphrase du psaume LXXIX « Qui regis Israel, intende », par Jérôme Savonarole. Paris : Librairie Poussielgue Frères, 1867.

Notes et références

Annexes

Bibliographie
Jean Béthune de Villiers, « Le Beau esthétique et l'art chrétien. Les Lettres d'un solitaire par M. É. Cartier ». Revue de l'art chrétien,  année,  série, tome III ( de la collection), avril 1885, .
Jules Didiot, « Correspondance ». Revue de l'art chrétien,  année,  série, tome III ( de la collection), octobre 1885, .
Jules Helbig, « Nécrologie. MM. É. Cartier et V. Gay ». Revue de l'art chrétien,  année,  série, tome VI ( de la collection), janvier 1888, .
Victor Guillemin, « Le Peintre franc-comtois R. P. Hyacinthe Besson, des Frères Prêcheurs. 1816-1861. Notice sur sa vie et ses ouvrages, écrite principalement d'après son biographe et son ami Étienne Cartier ». Mémoires de la Société d'émulation du Doubs, séance du 10 janvier 1891 ; tiré à part : Besançon : imprimerie Dodivers, 1891.
 Père Joachim-Joseph Berthier, père Vallée, Un peintre dominicain : l'œuvre artistique du R. P. Besson. Paris : Lethielleux et A. Marty, 1909.
Michel Prévost, « Étienne-Jean-Baptiste Cartier ». In Prévost Michel, Roman d'Amat Jean-Charles, dir., Dictionnaire de biographie française. Paris : Librairie Letouzey et Ané, 1956, t. VII, col. 1276.
Bruno Foucart, Le Renouveau de la peinture religieuse en France (1800-1860). Paris : Arthéna, 1987, .

Liens externes

Naissance en septembre 1813
Naissance à Tours
Bénédictin français
Historien de l'art français
Historien du christianisme
Théoricien de l'art
Moraliste
Traducteur français du XIXe siècle
Peintre français du XIXe siècle
Historien français du XIXe siècle
Traducteur depuis le latin vers le français
Traducteur depuis l'italien vers le français
Décès en novembre 1887
Décès à Solesmes
Décès à 74 ans

Étienne Cartier


Prosper-René Blondlot (født 3. juli 1849, død 24. november 1930) var en fransk fysiker som er bedst kendt for hans fejlagtige opdagelse af N-stråler, som senere viste sig at være en illusion.

Blondlot var født i Nancy i Frankrig, og uddannet i Nancy, Heidelberg, Zürich og Paris. Han var professor ved det naturvidenskabelige fakultet ved Nancy Universitet 1886–1910. Blondlot modtog 3 priser fra det franske videnskabernes akademi for sin forskning om konsekvenserne af Maxwells teori for elektromagnetisme.

For at vise, at en kerr-celle reagerer på et elektrisk felt indenfor mikrosekunder, brugte Blondlot i samarbejde med Ernest Bichat samme metode med et roterende spejl, som Léon Foucault tidligere havde brugt til at måle lysets hastighed. Han udviklede det roterende spejl til også at måle hastigheden af elektricitet i en elektrisk leder, idet han fotograferede gnister udsendt fra to ledere, hvor den ene var 1,8 km længere end den anden. Han fastslog derved, at hastigheden af elektricitet i en leder er meget tæt på hastigheden af lys.

I 1891 lavede Blondlot den første måling af hastigheden af radiobølger ved at måle bølgelængden ved at bruge Lecher-ledninger. Han brugte 13 forskellige frekvenser mellem 10 og 30 MHz og opnåede en gennemsnitsværdi på 297.600 km/s som er inden for 1 % af værdien for lyshastigheden. Det var en vigtig bekræftelse af James Clerk Maxwells teori om at lys er elektromagnetiske bølger ligesom radiobølger.

I 1903 offentliggjorde Blondlot, at han havde opdaget en ny type stråling, de såkaldte N-stråler. Opdagelsen fik megen opmærksom det følgende år indtil Robert W. Wood viste at fænomenet var helt subjektivt uden nogen fysisk oprindelse. Det franske videnskabernes akademi tildelte Blondlot prisen Prix Leconte på 50.000 franc i 1904. Den officielle begrundelse var dog ikke N-strålerne, men Blondlots samlede arbejder.

Kun lidt er kendt om Blondlots sidste år. William Seabrook skrev i sin biografi om Wood Doctor Wood, at Blondlot blev sindssyg og døde, antageligt som følge af N-stråle-fiaskoen. Martin Gardner har i en anden bog skrevet det samme. Men Blondlot fortsatte med at arbejde som professor i Nancy, indtil hans tidlige pensionering i 1910. Han døde 81 år gammel i 1930. Han var 54–55 år gammel under affæren med N-stråler.

Referencer

Fysikere fra Frankrig
Personer fra Nancy
Franskmænd i 1800-tallet
Franskmænd i 1900-tallet

René Blondlot


El dolor y los lamentos de Andrómaca sobre el cuerpo de Héctor es un cuadro de Jacques-Louis David inspirado en un episodio de la Ilíada, y representa a Andrómaca llorando sobre el cuerpo de su esposo: Héctor.

El rey troyano, que se describe en las fuentes clásicas como hombre enérgico y combativo contra sus enemigos, finalmente es muerto por Aquiles, y su cuerpo es recuperado por su padre, Príamo, y es velado por su familia.

El cuadro fue pintado para ser presentado como "obra de admisión" a la Real Academia de Bellas Artes. Está expuesto en el Museo del Louvre.

Véase también

 Pintura neoclásica

Referencias

Enlaces externos

Guerra de Troya en la pintura
La Ilíada en la pintura
Cuadros de Francia de los años 1780
Cuadros de 1783
Francia en 1783
Pinturas sobre la muerte
Pinturas del Museo del Louvre
Cuadros de Jacques-Louis David
Cuadros del Neoclasicismo


Makrychóri, en , est un village et un ancien dème du district régional de Larissa, en Thessalie, Grèce. Depuis 2010, il est fusionné au sein du dème de Tempé.

Selon le recensement de 2011, la population du dème compte  tandis que celle de la localité s'élève à .

Notes et références

Voir aussi

Liens externes

Village en Thessalie
Dème en Thessalie
Ancien dème en Grèce

Makrychóri (Larissa)


Drowning Pool, davulda Mike Luce, gitarist C.J. Pierce ve basçı Stevie Benton'dan oluşan 1996 çıkışlı Teksas, Dallas'lı Hard Rock, Alternatif Metal grubu.

Tarihçe

Dave Williams Dönemi (1996 - 2002)
"Mike Luce" ve gitarist C.J. Pierce'ın New Orleans'dan Dallas'a taşınıp orada bass'çı "Stevie Benton" ile tanışması ile ilk adımlarını attı. Güçlü ve karakterli vokal arayışları sonrasında "Dave Williams"ı da aralarına alan grup, kurulduktan 2 yıl sonra "Kittie" gibi gruplarla aynı sahneyi paylaşmaya başladı. Demolar kaydedip yayımlayan grubun bu şarkıları Dallas'ın en önemli radyo istasyonlarından biri olan (KEGL)'de listelere girince, grup kısa sürede Sony Müzik bünyesindeki Wind-up plak şirketi ile albüm anlaşması yapmayı başardı.

Grubun kariyerindeki ilk ve vokalist Dave Williams ile kaydettiği son albüm olan "Sinner", 2001 yılında yayınlandı. Jay Baumgardner (Papa Roach, Orgy, Coal Chamber) prodüktörlüğündeki albümde yer alan "Bodies" ve "Tear Away" isimli şarkılar sayesinde, kısa sürede çok popüler gruplar arasına isimlerini yazdırdılar.Özelikkle "Bodies" adlı parçası İkiz Kule saldırılarından sonra sık dinlenen bir parça oldu.

Başarılı vokalist Dave Williams 2002 yılında OzzyFest' turnesinde tur otobüsünde ölü bulundu.Ölüm sebebinin kalp yetmezliği olduğu açıklandı.

Jason Jones Dönemi (2003 - 2005)

Grup Dave'in ölümünden sonra bir süre ara veren grup özellikle Switched vokalisti Ben Schigel'i aralarında görmek istediklerini belirttiler fakat yoğun çabalara rağmen Schigel Drowning Pool'a katılmayı reddetti.Bunun üzerine grup 2003 yılında seçme yapmak zorunda kaldı.

Seçmelerde öne çıkan isim Dino Cazares ile çalışan Jason "Gong Jones oldu,Jason'ı aralarına alan grup 2003 yılının Aralık ayında kayıtlara başladı.Nisan ayında Desensitized'ı yayınlayıp Damageplan ve SOiL ile tura çıktılar.

Yaptığı başarılı işe rağmen Jason,"Parasını alamaması,grubun Ben Schigel'den vazgeçmemesi,grup ile arasında müzikal farklılık bulunması" nedeniyle 14 Haziran 2005 tarihinde gruptan ayrılıp Florida'lı grup AM Conspiracy'e katıldı.

Ryan McCombs Dönemi (2005 - 2011)

Memleketleri Dallas düzenlemek istedikleri konserden önce Jason'ın gruptan ayrılmasıyla şok yaşayan Drowning Pool ikinci şoku yapımcıları Wind Up Records'un grup kadrosundaki istikrarsızlığı öne sürüp anlaşmayı feshetmesiyle yaşadı.

Vokal için Dimebag Darell'ın ölümüyle dağılan Damageplan'ın vokalisti Patrick Lachman'ın adı geçmesine rağmen yeni vokalistin yakın arkadaş oldukları SOiL grubunun müziğe ara veren vokalisti Ryan McCombs olduğu açıklandı.Bu durum grubun SOiL ile arasını açılmasına neden oldu.

OzzFest'te Ryan McCombs'un vokalistliğini ilan eden grup 2005 ve 2006 yılını konserlerle geçirdi."Eleven Seven Music" ile anlaşan grup 2007 yılında Ben Schigel ve Nikki Sixx prodüktörlüğünde "Full Circle"ı yayınladı. Onu, 2009 yılında piyasaya sürülen canlı albüm Loudest Common Denominator izledi.

Stevie Benton'ın yüz kaslarında oluşan rahatsızlık 2007'deki This Is For The Soldiers Tour'un iptal edilmesine yol açtı. Ardından Know Your Enemy Tour 2008 düzenlendi. Ozzfest 2008, Crue Fest 2, Ozzfest 2010 etkinliklerinde sahne alan grup Saliva, Seether ve Korn ile tura çıktı.

Grubun adını taşıyan 4. stüdyo albümü Drowning Pool New Jersey'deki "House of Loud" stüdyolarında Kato Khandwala tarafından kaydedildi. 27 Nisan 2010'da piyasaya sürüldü. Sevendust, Dope, Five Finger Death Punch, Godsmack, Shinedown, Puddle of Mudd, My Darkest Days ve 10 Years ile tura çıktı.

2011 yılında, vokalist arayan eski grubu SOiL'in Scars albümünün yayınlamasının 10 yıldönümünü Birleşik Krallık'ta düzenlediği tura katılan Ryan McCombs ile 29 Kasım'da yollar ayrıldı. McCombs, Drowning Pool ile iki albüm çıkarabilen ilk ve tek vokalistti.

4. Vokalist Arayışları
5. albüm için materyal hazırlayan grup üyelerinden C.J. Pierce ve Mike Luce, eski Nonpoint üyeleri ile "Voodoo Corps" grubunu kurdu. Bu sırada aradığı vokalisti The Suicide Hook grubunda buldu. Son olarak Grup aralarına Jason Moreno yu aldı. Dave Williams'ın ölümünün 10. yılı için besteledikleri şarkı "In Memory Of" grubun Moreno ile kaydettiği ilk şarkı.

Stil
Dave Williams döneminde sözlerde ve grup tarzı içe kapanık, asosyallik ağırlıklı olmuştur. C.J. Pierce'ın PRS gitarından ve Mesa Boogie "Dual Rectifier"ından  çıkan, pentatonik gitar kalıpları, yoğun Wah pedal ve bilgisayar efekti kullanımı, Wah pedal ile kısa süren sololar Nu-Metal gitar partistonlar grubun müzik tarzının genel dayanağı olmuştur. Dave Williams'ın ölümünden kısa bir süre önce PRS yerini Gibson "Flying V"ye, Mesa Boogie "Dual Rectifier" ise Randall amfiye bırakmıştır. Demo dönemlerinden "Sinner"a aktarılan parçalarda Drop C (C,G,C,F,A,D) akort sistemi kullanılırken Sinner sezonunda yazılan parçalar ve grubun günümüze kadar olan parçalarında Drop B (B,F#,B,E,G#,C#) akort sistemi kullanılmıştır.

Jason Jones'un gruba katılmasıyla rock star tavırlar, seksapellik öne çıkmış, sözler bireysellikten isyankarlığa taşınmıştır. Desensitized döneminde, gitar stili büyük ölçüde değişmiştir. Powerchord ritimler öne plana çıkmış, wah kullanımı azalmış sololarla sınırlı tutulmuştur. Tarz aynı dönemde ortaya çıkan Damegeplan ile benzer olmuş(gitar partisyonları açısından) ve bu grupla tura çıkılmıştır.

Üyeler

Şimdiki üyeler
 Mike Luce - Bateri (1996 - günümüz)
 C.J. Pierce - Gitar (1996 - günümüz)
 Stevie Benton - Bas (1996 - günümüz)
 Jasen Moreno - Vokal(2012-günümüz)

Grubun eski üyeleri
 Ryan McCombs (25 Ağustos 2005 - Kasım 2011)
 Jason"Gong"Jones (Haziran 2003 - 13 Haziran 2005)
 Dave Williams (1996 - 2002) (ö. 14 Ağustos 2002)

Albümler

Stüdyo albümleri

E.P.ler ve Demolar

Tekliler

Video ve Canlı Albümler

Video Albümler

Canlı Albümler

Şarkı Görünümleri

Kaynakça

Dış bağlantılar
 Resmi Websayfası
 MySpace

Amerikalı alternatif metal grupları
Amerikalı hard rock grupları
Amerikalı nu metal grupları
1996'da kurulan müzik grupları

Drowning Pool


Vdovstvo Karoline Žašler est un film yougoslave réalisé par Matjaž Klopčič, sorti en 1976.

Synopsis
Karolina Žašler trompe son mari avec un jeune homme, ce qui finit par se savoir dans le village. Son mari, M. Žašler se suicide.

Fiche technique
 Titre : Vdovstvo Karoline Žašler
 Réalisation : Matjaž Klopčič
 Scénario : Matjaž Klopčič et Tone Partljic
 Photographie : Tomislav Pinter
 Montage : Darinka Persin
 Société de production : Viba Film
 Pays :
 Genre : Comédie dramatique
 Durée : 109 minutes
 Dates de sortie :
 :

Distribution
 Milena Zupancic : Karolina Žašler
 Miranda Caharija : la femme de Korl
 Marjeta Gregorač : Anica
 Milena Muhič : Filomena
 Zlatko Šugman : Prunk
 Polde Bibič : Žašler
 Boris Cavazza : Tenor
 Anton Petje : Korl
 Dare Ulaga : Gabrijel

Distinctions
Le film a été présenté en sélection officielle en compétition lors de Berlinale 1977.

Notes et références

Liens externes

Film yougoslave sorti en 1976
Comédie dramatique yougoslave

Vdovstvo Karoline Žašler


Olaylar
 1784 - Türkiye'nin Erzincan ilinde meydana gelen depremde, 5 bin kişi hayatını kaybetti.
 1821 - Mora İsyanı sırasında Monemvasia şehrini ele geçiren Yunanlar, 3.000 Türk'ü katlettiler.
 1829 - William Austin Burt, daktilonun ilk hali olan tipografi makinesini icat etti.
 1881 - Dünyanın en eski spor federasyonu olan Uluslararası Jimnastik Federasyonu, Belçika'nın Liège kentinde kuruldu.
 1888 - Enternasyonal marşı, ilk kez Fransa'nın Lille kentinde işçiler tarafından söylendi.
 1894 - Japon güçleri Seul Kraliyet Sarayı'nı işgal etti ve Kore Kralı'nı tahttan indirdi.
 1903 - Ford şirketi, ürettiği ilk arabanın satışını yaptı.
 1911 - İstanbul'da, Aksaray Yeşil Tulumba'da çıkan büyük yangında yaklaşık 300 ev hasar gördü.
 1911 - Mimar Muzaffer Bey'in eseri olan Hürriyet-i Ebediye Tepesi açıldı.
 1919 - Erzurum Kongresi başladı.
 1926 - Fox Film Şirketi, film şeridi üzerine ses kaydını mümkün kılan "Movietone" ses sisteminin patentini satın aldı.
 1929 - İtalya'da faşist Hükûmet, yabancı sözcüklerin kullanımını yasakladı.
 1932 - Alman mimar Hermann Jansen'in, Ankara için hazırladığı Jansen planı olarak adlandırılan nazım planı onaylandı.
 1939 - Hatay Meclisi'nin, 29 Haziran 1939'da aldığı Türkiye'ye katılma kararının ardından, Fransız Kuvvetleri Hatay Devleti'ni terk etti.
 1951 - Paris Antlaşması yürürlüğe girdi.
 1952 - Mısır'da Cemal Abdünnasır liderliğindeki Hür Subaylar Hareketi, Kral Faruk'u devirdi ve monarşiye son verdi.
 1960 - Türk Edebiyatçılar Birliği olağanüstü toplantı yaptı. Toplantıda; Peyami Safa, Samet Ağaoğlu ve Faruk Nafız Çamlıbel, 27 Mayıs Darbesi'nden önce baskı rejimi taraftarı oldukları gerekçesiyle Birlik'ten çıkarıldı.
 1961 - Nikaragua'da Sandinista Milli Özgürlük Cephesi (FSLN) kuruldu.
 1963 - Fransa, nükleer denemeleri sınırlandırmak üzere Moskova'da yapılan "Deneme Yasaklama Antlaşması"na katılmayı reddetti.
 1967 - Detroit, Michigan'da ABD tarihinin en kanlı ayaklanmalarından biri başladı. Olaylar sona erdiğinde; geride 43 ölü, 342 yaralı ve yaklaşık 1400 yanmış bina kaldı.
 1974 - Kıbrıs'ta üç günlük harekatta; 57 şehit, 184 yaralı ve 242 kayıp verildi.
 1976 - Sismik-1 araştırma gemisi (Hora), İstinye Tersanesi'nden törenle Ege Denizi'ne açıldı.
 1983 - Sri Lanka'daki Budist çoğunluk, yaklaşık 3.000 Tamili katletti. 400.000 civarında Tamil, komşu ülkelere kaçtı. Olay, Sri Lanka tarihine "Kara Temmuz" olarak geçti.
 1986 - Prens Andrew ile Sarah Ferguson evlendiler.
 1993 - Ağdam, Ermeni ayrılıkçıları tarafından işgal edildi.
 1995 - Hale-Bopp kuyruklu yıldızının keşfi.
 1996 - Aydın İdare Mahkemesi; Gökova, Yeniköy ve Yatağan termik santrallerinin çevreye zarar verdiği gerekçesiyle faaliyetlerinin durdurulması istemini kabul etti.
 2000 - Yasemin Dalkılıç, sualtı sporları; limitsiz dalışta 120, limitli değişken ağırlıkla serbest dalışta ise, 100 metre ile iki dünya rekoru kırdı.
 2005 - Mısır'ın Şarm El-Şeyh kentinin üç ayrı noktasında patlayan bombalar, 88 kişinin ölümüne yol açtı.
 2010 - One Direction grubu kuruldu.

Doğumlar
 1441 - Danjong, Joseon Krallığı'nın altıncı kralıdır (ö. 1457)
 1503 - Anna, Avusturya arşidüşesidir (ö. 1547)
 1649 - XI. Clemens, Papa (ö. 1721)
 1775 - Étienne-Louis Malus, Fransız mühendis, matematikçi ve fizikçi (ö. 1812)
 1796 - Franz Berwald, İsveçli besteci (ö. 1868)
 1821 - August Wilhelm Malm, İsveçli zoolog (ö. 1882)
 1854 - Ernest Belfort Bax, İngiliz sosyalist gazeteci ve filozof (ö. 1926)
 1856 - Bal Gangadhar Tilak, Hint bilim insanı, hukukçu, matematikçi, düşünür ve milliyetçi önder (ö. 1920)
 1870 - Frederick Alexander Macquisten, Britanyalı avukat ve politikacı (ö. 1940)
 1878 - Sadri Maksudi Arsal, Türk-Tatar devlet adamı, hukukçu, akademisyen, düşünür ve siyasetçi (ö. 1957)
 1882 - Kâzım Karabekir, Türk asker ve siyasetçi (ö. 1948)
 1884 - Emil Jannings, Alman sinema oyuncusu (ö. 1950)
 1888 - Raymond Chandler, Amerikalı yazar (ö. 1959)
 1892 - Haile Selassie, Etiyopya İmparatoru (ö. 1975)
 1894 - Alfred Kinsey, Amerikalı biyolog, entomoloji ve zooloji profesörü (ö. 1956)
 1897 - Ali Mümtaz Arolat, Türk şair (ö. 1967)
 1899 - Gustav Heinemann, Almanya'nın 3. Devlet Başkanı (ö. 1976)
 1906 - Vladimir Prelog, Hırvat-İsviçreli kimyacı ve Nobel Kimya Ödülü sahibi (ö. 1998)
 1908 - Behçet Kemal Çağlar, Türk şair (ö. 1969)
 1920 - Amalia Rodrigues, Portekizli fado şarkıcısı ve aktris (ö. 1999)
 1924 - Gazanfer Bilge, Türk güreşçi ve iş insanı (ö. 2008)
 1925 - Arif Damar, Türk şair (ö. 2010)
 1928 - Hubert Selby Jr., Amerikalı yazar (ö. 2004)
 1930 - Roger Hassenforder, Fransız profesyonel bisiklet sporcusu (ö. 2021)
 1931 - Jan Troell, İsveçli senarist ve film yapımcısı
 1933 - Richard Rogers, İtalyan mimar
 1934 - Héctor de Bourgoing, Arjantinli-Fransız eski millî futbolcu (d. 1993)
 1943 - Tony Joe White, Amerikalı rock-funk-blues müzisyeni, söz yazarı ve şarkıcı (ö. 2018)
 1950 - Namık Korhan, Kıbrıslı Türk diplomat
 1951 - Edie McClurg, Amerikalı oyuncu, komedyen ve seslendirme sanatçısı
 1953 - Kazım Akşar, Türk tiyatro ve sinema oyuncusu
 1953 - Necip Rezak, Malezya'nın altıncı başbakanı
 1953 - Ahmet Sezerel, Türk sinema oyuncusu
 1956 - Atilla Sertel, Türk gazeteci ve siyasetçi
 1956 - Nur Ger, Türk iş insanı
 1957 - Theo van Gogh, Hollandalı film yönetmeni, yapımcısı, senarist, yazar ve gazeteci (ö. 2004)
 1959 - Mauro Zuliani, İtalyan atlet
 1961 - Martin Gore, İngiliz müzisyen, söz yazarı ve besteci (Depeche Mode)
 1961 - Woody Harrelson, Amerikalı aktör ve Emmy Ödülü sahibi
 1964 - Bekir Ilıcalı, Türk iş insanı ve Erzurumspor Başkanı
 1964 - Nick Menza, Alman müzisyen ve baterist (ö. 2016)
 1965 - Slash, İngiliz gitarist (Guns N' Roses)
 1965 - Jörg Stübner, Alman eski profesyonel futbolcu (ö. 2019)
 1967 - Philip Seymour Hoffman, Amerikalı oyuncu ve Oscar Ödülü sahibi (ö. 2014)
 1968 - Gary Payton, Amerikalı basketbolcu
 1969 - Marco Bode, Alman millî futbolcu
 1970 - Charisma Carpenter, Amerikalı oyuncu
 1971 - Alison Krauss, Amerikalı bluegrass-country şarkıcısı, söz yazarı ve kemancı
 1972 - Élber Giovane, Brezilyalı futbolcu
 1972 - Élber Giovane, Brezilyalı futbolcu
 1972 - Marlon Wayans, Amerikalı oyuncu, yapımcı ve komedyen
 1972 - Suat Kılıç, Türk avukat ve siyasetçi
 1973 - Monica Lewinsky, Amerikalı kamu görevlisi ve Beyaz Saray'da eski stajyer
 1975 - Alessio Tacchinardi, İtalyan eski millî futbolcu
 1976 - Jonathan Gallant, Kanadalı gitarist (Billy Talent grubu)
 1976 - Öztürk İlmaz, Türk rock müzik şarkıcısı
 1976 - Judit Polgár, Macar satranç ustası
 1979 - Mehmet Akif Alakurt, Türk aktör
 1979 - Sotiris Kiryakos, Yunan futbolcu
 1980 - Michelle Williams, Amerikalı gospel ve R&B şarkıcısı, söz yazarı, oyuncu ve dansçı
 1981 - Susan Hoecke, Alman oyuncu
 1981 - Dmitriy Karpov, Kazak atlet
 1982 - Gökhan Ünal, Türk futbolcu
 1982 - Ömer Aysan Barış, Türk futbolcu
 1982 - Paul Wesley, Amerikalı oyuncu
 1983 - Aaron Peirsol, Amerikalı yüzücü
 1984 - Walter Gargano, Uruguaylı futbolcu
 1984 - Brandon Roy, Amerikalı basketbolcu
 1985 - Anna Maria Mühe, Alman aktris
 1987 - Alessio Cerci, İtalyan futbolcudur
 1987 - Serdar Kurtuluş, Türk futbolcu
 1987 - Julian Nagelsmann, Alman teknik direktör
 1989 - Burcu Kıratlı, Türk oyuncu
 1989 - Daniel Radcliffe, İngiliz oyuncu
 1992 - Danny Ings, İngiliz millî futbolcudur
 1992 - Konstantinos Tzortziou, Yunan e-sporcu
 1994
Takuya Kida, Japon futbolcu
Aleksandros Nikolias, Yunan futbolcu
 1996 - Danielle Bradbery, Amerikalı country müzik şarkıcısı
 1996 - David Dobrik, bir Slovak YouTuber
 1996 - Sinan Kurt, Türk asıllı Alman futbolcu

Ölümler
 1160 - Al-Fa'iz, 1154 -1160 döneminde on üçüncü Fâtımî Hâlifesi olmuştur (d. 1149)
 1373 - İsveçli Brijit, Katolik bir Aziz, Mistik ve tarikat kurucusu (d. 1303)
 1497 - Barbara Fugger, Alman iş insanı ve bankacı (d. 1419)
 1596 - Henry Carey, Kral VIII. Henry'nin Mary Boleyn'den olan oğlu (d. 1526)
 1645 - I. Mihail, Rus Çarı (d. 1596)
 1756 - Erik Brahe, İsveçli soylu kont (d. 1722)
 1757 - Domenico Scarlatti, İtalyan besteci (d. 1685)
 1802 - María Cayetana de Silva, İspanyol aristokratı ve ressam Francisco de Goya'nın eserlerinin popüler modellerinden biri (d. 1762)
 1875 - Isaac Singer, Amerikalı mucit, aktör ve iş insanı (d. 1811)
 1885 - Ulysses S. Grant, ABD'nin 18. Başkanı (d. 1822)
 1916 - William Ramsay, İskoç kimyacı ve Nobel Kimya Ödülü sahibi (d. 1852)
 1926 - Viktor Vasnetsov, Rus ressam (d. 1848)
 1932 - Alberto Santos-Dumont, Brezilyalı havacı (d. 1873)
 1941 - Kamil Akdik, Türk hattat (d. 1861)
 1942
 Adam Czerniaków, Polonyalı mühendis ve senatör (d. 1880)
 Valdemar Poulsen, Danimarkalı mühendis ve mucit (d. 1869)
 Nikola Vaptsarov, Bulgar şair (d. 1909)
 1944 - Eduard Wagner, II. Dünya Savaşı'nda olarak görev yapan Nazi Almanyası ordusu generali (d. 1894)
 1944 - Hans von Sponeck, Alman general, jimnastikçi ve futbol oyuncusu (d. 1888)
 1948 - D.W. Griffith, Amerikalı film yönetmeni (d. 1875)
 1951 - Philippe Pétain, Fransız mareşal ve Vichy Fransası'nın Başkanı (d. 1856)
 1951 - Robert Joseph Flaherty, Amerikalı film yönetmeni ve yapımcı (d. 1884)
 1955 - Cordell Hull, Tennesseeli Amerikalı politikacı (d. 1871)
 1966 - Montgomery Clift, Amerikalı aktör (d. 1920)
 1967 - Ahmet Kutsi Tecer, Türk şair, yazar ve eğitimci (d. 1901)
 1968 - Henry Hallett Dale, İngiliz farmakolog ve fizyolog (d. 1875)
 1971 - Van Heflin, Amerikalı aktör (d. 1910)
 1972 - Suat Derviş, Türk gazeteci ve yazar (d. 1903)
 1973 - Eddie Rickenbacker, I. Dünya Savaşı'nda As pilot olarak Onur madalyası almış Amerikalı (d. 1890)
 1976 - Mehmet Ertuğruloğlu, Kıbrıslı Türk siyasetçi ve diplomat
 1979 - Joseph Kessel, Fransız yazar ve gazeteci (d. 1898)
 1981 - Ivan Eklind, İsveçli futbol hakemi (d. 1905)
 1983 - Georges Auric, Fransız besteci (d. 1899)
 1989 - Cevat Dereli, Türk ressam (d. 1900)
 1989 - Donald Barthelme, Amerikalı kısa öykü ve roman yazarı (d. 1931)
 1991 - Ertan Anapa, Türk besteci ve şarkıcı (d. 1939)
 1996 - Aliki Vuyuklaki, Yunan aktris (d. 1934)
 1997 - Chūhei Nambu, Japon atlet (d. 1904)
 1999 - II. Hasan, Fas Kralı (d. 1929)
 2000 - Cenk Koray, Türk yazar ve gazeteci (d. 1944)
 2003 - Sinan Erdem, Türk voleybolcu ve Türkiye Millî Olimpiyat Komitesi Başkanı (d. 1927)
 2004 - Serge Reggiani, İtalyan-Fransız oyuncu ve şarkıcı (d. 1922)
 2007 - Ernst Otto Fischer, Alman kimyacı ve Nobel Kimya Ödülü sahibi (d. 1918)
 2007 - Zahir Şah, Afganistan Şahı (d. 1914)
 2007 - Ziya Demirel, Türk tiyatro sanatçısı ve yönetmen (d. 1919)
 2008 - Fethi Naci, Türk yazar ve eleştirmen (d. 1927)
 2011 - Amy Winehouse, İngiliz şarkıcı ve besteci (d. 1983)
 2012 - Sally Ride, Amerikalı astronot ve astrofizikçi (d. 1951)
 2013 - Rona Anderson, İskoç oyuncu (d. 1926)
 2013 - Djalma Santos, Brezilyalı futbolcu (d. 1929)
 2014 - Dora Bryan, İngiliz oyuncu (d. 1923)
 2016 - Hüseyin Altın, Türk şarkıcı ve besteci (d. 1958)
 2016 - Thorbjörn Fälldin, İsveçli politikacı (d. 1926)
 2017 - Elliott Castro, Porto Rikolu spor yorumcusu, spor tarihçisi ve yazar (d. 1949)
 2017 - John Kundla, Amerikalı eski NBA ve üniversite basketbol takımı antrenörü (d. 1916)
 2017 - Mehmet Nuri Nas, Türk Ziraat Mühendisi ve akademisyen (d. 1969)
 2017 - Bob DeMoss, Eski Amerikan futbolcusu ve çalıştırıcısı (d. 1927)
 2017 - Flo Steinberg, Amerikalı çizgi romancı ve yayımcı (d. 1939)
 2018 - Maryon Pittman Allen, Amerikalı gazeteci, yazar ve siyasetçi (d. 1925)
 2018 - Oksana Şaçko, Ukraynalı sanatçı ve aktivist (d. 1987)
 2018 - Giuseppe Tonutti, İtalyan siyasetçi (d. 1925)
 2019 - Prince Ferdinand von Bismarck, Alman avukat, iş insanı ve soylu (d. 1930)
 2019 - Gabe Khouth, Kanadalı oyuncu ve seslendirme sanatçısı (d. 1972)
 2019 - Danica McGuigan, İrlandalı aktris (d. 1986)
 2019 - Lois Wille, Amerikalı gazeteci, editör ve köşe yazarı (d. 1931)
 2020 - Lamine Bechichi, Cezayirli siyasetçi (d. 1927)
 2020 - Hassan Brijany, İsveçli aktör (d. 1961)
 2020 - Leida Rammo, Eston aktris ve tiyatro yönetmeni (d. 1924)
 2020 - Tamilla Sait kızı Rüstemova-Krastınş, Azeri kökenli Sovyet ve Rus oyuncusu ve piyanist (d. 1936)
 2020 - Jacqueline Scott, Amerikalı aktris (d. 1931)
 2020 - Stuart Wheeler, İngiliz finansçı, iş insanı, siyasetçi, aktivist ve hukukçu (d. 1935)
 2021 - Alfred Biolek, Çek asıllı Alman gösteri sanatçısı, televizyon sunucusu, yapımcı ve eğitimci (d. 1934)
 2021 - Ho-Kau Chan, Hong Kong doğumlu Çinli aktris ve opera sanatçısı (d. 1932)
 2021 - John Cornell, Avustralyalı film yapımcısı, yönetmeni, oyuncu, senarist ve iş insanı (d. 1941)
 2021 - Toshihide Maskawa, Japon Kuramsal fizikçi ve Nobel Fizik Ödülü sahibi (d. 1940)
 2021 - Steven Weinberg, Amerikalı fizikçi ve Nobel Fizik Ödülü sahibi (d. 1933)
 2022 - Boy Alano, Filipinli aktör ve eski çocuk oyuncu (d. 1941)
 2022 - Rasim Özdenören, Türk öykü ve deneme yazarı (d. 1940)

Tatiller ve özel günler
 Mısır - Devrim günü (1952)
 Libya - Devrim günü

0723
23

23 Temmuz