An art film, art cinema, or arthouse film, is typically an independent film, aimed at a niche market rather than a mass market audience. It is "intended to be a serious, artistic work, often experimental and not designed for mass appeal", "made primarily for aesthetic reasons rather than commercial profit", and containing "unconventional or highly symbolic content".

Film critics and film studies scholars typically define an art film as possessing "formal qualities that mark them as different from mainstream Hollywood films". These qualities can include (among other elements): a sense of social realism; an emphasis on the authorial expressiveness of the director; and a focus on the thoughts, dreams, or motivations of characters, as opposed to the unfolding of a clear, goal-driven story. Film scholar David Bordwell describes art cinema as "a film genre, with its own distinct conventions".

Art film producers usually present their films at special theaters (repertory cinemas or, in the U.S., art-house cinemas) and at film festivals. The term art film is much more widely used in North America, the United Kingdom, and Australia, compared to mainland Europe, where the terms auteur films and national cinema (e.g. German national cinema) are used instead. Since they are aimed at small, niche-market audiences, art films rarely acquire the financial backing that would permit the large production budgets associated with widely released blockbuster films. Art film directors make up for these constraints by creating a different type of film, one that typically uses lesser-known film actors or even amateur actors, and modest sets to make films that focus much more on developing ideas, exploring new narrative techniques, and attempting new film-making conventions.

Such films contrast sharply with mainstream blockbuster films, which are usually geared more towards linear storytelling and mainstream entertainment. Film critic Roger Ebert called Chungking Express, a critically acclaimed 1994 art film, "largely a cerebral experience" that one enjoys "because of what you know about film". That said, some art films may widen their appeal by offering certain elements of more familiar genres such as documentary or biography. For promotion, art films rely on the publicity generated from film critics' reviews; discussion of the film by arts columnists, commentators, and bloggers; and word-of-mouth promotion by audience members. Since art films have small initial investment costs, they only need to appeal to a small portion of mainstream audiences to become financially viable.

History

Antecedents: 1910–1920s

The forerunners of art films include Italian silent film L'Inferno (1911), D. W. Griffith's Intolerance (1916) and the works of Russian filmmaker Sergei Eisenstein, who influenced the development of European cinema movements for decades. Eisenstein's film Battleship Potemkin (1925) was a revolutionary propaganda film he used to test his theories of using film editing to produce the greatest emotional response from an audience. The international critical renown that Eisenstein garnered from this film enabled him to direct October as part of a grand 10th anniversary celebration of the October Revolution of 1917. He later directed The General Line in 1929.
The film by Alexander Dovzhenko Earth (1930), filmed under the influence of Eisenstein, is defined by some critics as the pinnacle of art cinema.

Art films were also influenced by films by Spanish avant-garde creators, such as Luis Buñuel and Salvador Dalí (who made L'Age d'Or in 1930), and by the French playwright and filmmaker Jean Cocteau, whose 1932 avant-garde film The Blood of a Poet uses oneiric images throughout, including spinning wire models of a human head and rotating double-sided masks. In the 1920s, film societies began advocating the notion that films could be divided into "entertainment cinema directed towards a mass audience and a serious art cinema aimed at an intellectual audience". In England, Alfred Hitchcock and Ivor Montagu formed a film society and imported films they thought were "artistic achievements", such as "Soviet films of dialectical montage, and the expressionist films of the Universum Film A.G. (UFA) studios in Germany".

Cinéma pur, a French avant-garde film movement in the 1920s and 1930s, also influenced the development of the idea of art film. The cinema pur film movement included several notable Dada artists. The Dadaists used film to transcend narrative storytelling conventions, bourgeois traditions, and conventional Aristotelian notions of time and space by creating a flexible montage of time and space.

The cinema pur movement was influenced by German "absolute" filmmakers such as Hans Richter, Walter Ruttmann and Viking Eggeling. Richter falsely claimed that his 1921 film Rhythmus 21 was the first abstract film ever created. In fact, he was preceded by the Italian Futurists Bruno Corra and Arnaldo Ginna between 1911 and 1912 (as reported in the Futurist Manifesto of Cinema), as well as by fellow German artist Walter Ruttmann, who produced Lichtspiel Opus 1 in 1920. Nevertheless, Richter's film Rhythmus 21 is considered an important early abstract film.

The first British "art cinema" was temporarily opened at the Palais de Luxe in London in 1929 by Elsie Cohen. She went on to establish a permanent location at the Academy Cinema in Oxford Street in 1931.

1930s–1950s
In the 1930s and 1940s, Hollywood films could be divided into the artistic aspirations of literary adaptations like John Ford's The Informer (1935) and Eugene O'Neill's The Long Voyage Home (1940), and the money-making "popular-genre films" such as gangster thrillers. William Siska argues that Italian neorealist films from the mid-to-late 1940s, such as Open City (1945), Paisa (1946), and Bicycle Thieves can be deemed as another "conscious art film movement".

In the late 1940s, the U.S. public's perception that Italian neorealist films and other serious European fare were different from mainstream Hollywood films was reinforced by the development of "arthouse cinemas" in major U.S. cities and college towns. After the Second World War, "...a growing segment of the American film going public was wearying of mainstream Hollywood films", and they went to the newly created art-film theaters to see "alternatives to the films playing in main-street movie palaces". Films shown in these art cinemas included "British, foreign-language, and independent American films, as well as documentaries and revivals of Hollywood classics". Films such as Rossellini's Open City and Mackendrick's Tight Little Island (Whisky Galore!), Bicycle Thieves and The Red Shoes were shown to substantial U.S. audiences.

In the late 1950s, French filmmakers began to produce films that were influenced by Italian Neorealism and classical Hollywood cinema, a style that critics called the French New Wave. Although never a formally organized movement, New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm, and their films are an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette, began as critics for the film magazine Cahiers du cinéma. Auteur theory holds that the director is the "author" of his films, with a personal signature visible from film to film.

1960s–1970s

The French New Wave movement continued into the 1960s. During the 1960s, the term "art film" began to be much more widely used in the United States than in Europe. In the U.S., the term is often defined very broadly to include foreign-language (non-English) "auteur" films, independent films, experimental films, documentaries and short films. In the 1960s, "art film" became a euphemism in the U.S. for racy Italian and French B-movies. By the 1970s, the term was used to describe sexually explicit European films with artistic structure such as the Swedish film I Am Curious (Yellow). In the U.S., the term "art film" may refer to films by modern American artists, including Andy Warhol with his 1969 film Blue Movie, but is sometimes used very loosely to refer to the broad range of films shown in repertory theaters or "art house cinemas". With this approach, a broad range of films, such as a 1960s Hitchcock film, a 1970s experimental underground film, a European auteur film, a U.S. "independent" film, and even a mainstream foreign-language film (with subtitles) might all fall under the rubric of "art house films".

1980s–2000s
By the 1980s and 1990s, the term "art film" became conflated with "independent film" in the U.S., which shares many of the same stylistic traits. Companies such as Miramax Films distributed independent films that were deemed commercially viable. When major motion-picture studios noted the niche appeal of independent films, they created special divisions dedicated to non-mainstream fare, such as the Fox Searchlight Pictures division of Twentieth Century Fox, the Focus Features division of Universal, the Sony Pictures Classics division of Sony Pictures Entertainment, and the Paramount Vantage division of Paramount. Film critics have debated whether films from these divisions can be considered "independent films", given they have financial backing from major studios.

In 2007, Professor Camille Paglia argued in her article "Art movies: R.I.P." that "[a]side from Francis Ford Coppola's Godfather series, with its deft flashbacks and gritty social realism, ...[there is not]... a single film produced over the past 35 years that is arguably of equal philosophical weight or virtuosity of execution to Bergman's The Seventh Seal or Persona". Paglia states that young people from the 2000s do not "have patience for the long, slow take that deep-think European directors once specialized in", an approach which gave "luxurious scrutiny of the tiniest facial expressions or the chilly sweep of a sterile room or bleak landscape".

According to director, producer, and distributor Roger Corman, the "1950s and 1960s was the time of the art film's greatest influence. After that, the influence waned. Hollywood absorbed the lessons of the European films and incorporated those lessons into their films." Corman states that "viewers could see something of the essence of the European art cinema in the Hollywood movies of the seventies... [and so], art film, which was never just a matter of European cinema, increasingly became an actual world cinema—albeit one that struggled to gain wide recognition". Corman notes that, "Hollywood itself has expanded, radically, its aesthetic range... because the range of subjects at hand has expanded to include the very conditions of image-making, of movie production, of the new and prismatic media-mediated experience of modernity. There's a new audience that has learned about art films at the video store." Corman states that "there is currently the possibility of a rebirth" of American art film.

Deviations from mainstream film norms
Film scholar David Bordwell outlined the academic definition of "art film" in a 1979 article entitled "The Art Cinema as a Mode of Film Practice", which contrasts art films with the mainstream films of classical Hollywood cinema. Mainstream Hollywood-style films use a clear narrative form to organize the film into a series of "causally related events taking place in space and time", with every scene driving towards a goal. The plot of mainstream films is driven by a well-defined protagonist, fleshed out with clear characters, and strengthened with "question-and-answer logic, problem-solving routines, [and] deadline plot structures". The film is then tied together with fast pacing, a musical soundtrack to cue the appropriate audience emotions, and tight, seamless editing.

In contrast, Bordwell states that "the art cinema motivates its narrative by two principles: realism and authorial expressiveness". Art films deviate from the mainstream "classical" norms of film making in that they typically deal with more episodic narrative structures with a "loosening of the chain of cause and effect".

Mainstream films also deal with moral dilemmas or identity crises, but these issues are usually resolved by the end of the film. In art films, the dilemmas are probed and investigated in a pensive fashion, but usually without a clear resolution at the end of the film.

The story in an art film often has a secondary role to character development and exploration of ideas through lengthy sequences of dialogue. If an art film has a story, it is usually a drifting sequence of vaguely defined or ambiguous episodes. There may be unexplained gaps in the film, deliberately unclear sequences, or extraneous sequences that are not related to previous scenes, which force the viewer to subjectively make their own interpretation of the film's message. Art films often "bear the marks of a distinctive visual style" and the authorial approach of the director. An art cinema film often refuses to provide a "readily answered conclusion", instead putting to the cinema viewer the task of thinking about "how is the story being told? Why tell the story in this way?"

Bordwell claims that "art cinema itself is a [film] genre, with its own distinct conventions". Film theorist Robert Stam also argues that "art film" is a film genre. He claims that a film is considered to be an art film based on artistic status in the same way film genres can be based on aspects of films such as their budgets (blockbuster films or B-movies) or their star performers (Adam Sandler films).

Art film and film criticism
There are scholars who point out that mass market films such as those produced in Hollywood appeal to a less discerning audience. This group then turns to film critics as a cultural elite that can help steer them towards films that are more thoughtful and of a higher quality. To bridge the disconnect between popular taste and high culture, these film critics are expected to explain unfamiliar concepts and make them appealing to cultivate a more discerning movie-going public. For example, a film critic can help the audience—through their reviews—think seriously about films by providing the terms of analysis of these art films. Adopting an artistic framework of film analysis and review, these film critics provide viewers with a different way to appreciate what they are watching. So when controversial themes are explored, the public will not immediately dismiss or attack the movie where they are informed by critics of the film's value such as how it depicts realism. Here, art theaters or art houses that exhibit art films are seen as "sites of cultural enlightenment" that draw critics and intellectual audiences alike. It serves as a place where these critics can experience culture and an artistic atmosphere where they can draw insights and material.

Timeline of notable films
The following list is a small, partial sample of films with "art film" qualities, compiled to give a general sense of what directors and films are considered to have "art film" characteristics. The films in this list demonstrate one or more of the characteristics of art films: a serious, non-commercial, or independently made film that is not aimed at a mass audience. Some of the films on this list are also considered to be "auteur" films, independent films, or experimental films. In some cases, critics disagree over whether a film is mainstream or not. For example, while some critics called Gus Van Sant's My Own Private Idaho (1991) an "exercise in film experimentation" of "high artistic quality", The Washington Post called it an ambitious mainstream film. Some films on this list have most of these characteristics; other films are commercially made films, produced by mainstream studios, that nevertheless bear the hallmarks of a director's "auteur" style, or which have an experimental character. The films on this list are notable either because they won major awards or critical praise from influential film critics, or because they introduced an innovative narrative or film-making technique.

1920s–1940s
In the 1920s and 1930s, filmmakers did not set out to make "art films", and film critics did not use the term "art film". However, there were films that had sophisticated aesthetic objectives, such as Carl Theodor Dreyer's The Passion of Joan of Arc (1928) and Vampyr (1932), surrealist films such as Luis Buñuel's Un chien andalou (1929) and L'Âge d'Or (1930), or even films dealing with political and current-event relevance such as Sergei Eisenstein's famed and influential masterpiece Battleship Potemkin. The U.S. film Sunrise: A Song of Two Humans (1927) by German Expressionist director F. W. Murnau uses distorted art design and groundbreaking cinematography to create an exaggerated, fairy-tale-like world rich with symbolism and imagery. Jean Renoir's film The Rules of the Game (1939) is a comedy of manners that transcends the conventions of its genre by creating a biting and tragic satire of French upper-class society in the years before WWII; a poll of critics from Sight & Sound ranked it as the fourth greatest film ever, placing it behind Vertigo, Citizen Kane and Tokyo Story.

Some of these early, artistically oriented films were financed by wealthy individuals rather than film companies, particularly in cases where the content of the film was controversial or unlikely to attract an audience. In the late 1940s, UK director Michael Powell and Emeric Pressburger made The Red Shoes (1948), a film about ballet, which stood out from mainstream-genre films of the era. In 1945, David Lean directed Brief Encounter, an adaptation of Noël Coward's play Still Life, which observes a passionate love affair between an upper-class man and a middle-class woman amidst the social and economic issues that Britain faced at the time.

1950s
In the 1950s, some of the well-known films with artistic sensibilities include La Strada (1954), a film about a young woman who is forced to go to work for a cruel and inhumane circus performer to support her family, and eventually comes to terms with her situation; Carl Theodor Dreyer's Ordet (1955), centering on a family with a lack of faith, but with a son who believes that he is Jesus Christ and convinced that he is capable of performing miracles; Federico Fellini's Nights of Cabiria (1957), which deals with a prostitute's failed attempts to find love, her suffering and rejection; Wild Strawberries (1957), by Ingmar Bergman, whose narrative concerns an elderly medical doctor, who is also a professor, whose nightmares lead him to re-evaluate his life; and The 400 Blows (1959) by François Truffaut, whose main character is a young man trying to come of age despite abuse from his parents, schoolteachers, and society, this film is the first big step in the French New Wave and for cinema, it showed that films can be made with little money, amateur actors, and a small crew. In Poland, the Khrushchev Thaw permitted some relaxation of the regime's cultural policies, and productions such as A Generation, Kanal, Ashes and Diamonds, Lotna (1954–1959), all directed by Andrzej Wajda, showed the Polish Film School style.

Asia
In India, there was an art-film movement in Bengali cinema known as "Parallel Cinema" or "Indian New Wave". This was an alternative to the mainstream commercial cinema. It was known for its serious content, realism and naturalism, with a keen eye on the social-political climate of the times. This movement is distinct from mainstream commercial cinema and began around the same time as French and Japanese New Wave. The most influential filmmakers involved in this movement were Satyajit Ray, Mrinal Sen and Ritwik Ghatak. Some of the most internationally acclaimed films made in the period were The Apu Trilogy (1955–1959), a trio of films that tell the story of a poor country boy's growth to adulthood, and Satyajit Ray's Distant Thunder (1973), which tells the story of a farmer during a famine in Bengal. Other acclaimed Bengali filmmakers involved in this movement include Rituparno Ghosh, Aparna Sen and Goutam Ghose.

Japanese filmmakers produced a number of films that broke with convention. Akira Kurosawa's Rashomon (1950), the first Japanese film to be widely screened in the West, depicts four witnesses' contradictory accounts of a rape and murder. In 1952, Kurosawa directed Ikiru, a film about a Tokyo bureaucrat struggling to find a meaning for his life. Tokyo Story (1953), by Yasujirō Ozu, explores social changes of the era by telling the story of an aging couple who travel to Tokyo to visit their grown children, but find the children are too self-absorbed to spend much time with them. Seven Samurai (1954), by Kurosawa, tells the story of a farming village that hires seven master-less samurais to combat bandits. Fires on the Plain (1959), by Kon Ichikawa, explores the Japanese experience in World War II by depicting a sick Japanese soldier struggling to stay alive. Ugetsu (1953), by Kenji Mizoguchi, is a ghost story set in the late 16th century, which tells the story of peasants whose village is in the path of an advancing army. A year later, Mizoguchi directed Sansho the Bailiff (1954), which tells the story of two aristocratic children sold into slavery; in addition to dealing with serious themes such as the loss of freedom, the film features beautiful images and long, complicated shots.

1960s
The 1960s was an important period in art film, with the release of a number of groundbreaking films giving rise to the European art cinema. Jean-Luc Godard's À bout de souffle (Breathless) (1960) used innovative visual and editing techniques such as jump cuts and hand-held camera work. Godard, a leading figure of the French New Wave, would continue to make innovative films throughout the decade, proposing a whole new style of film-making. Following the success of Breathless, Godard made two more very influential films, Contempt in 1963, which it shown his view on studio filmmaking system, beautiful long take, and film within film, and Pierrot le fou in 1965, which it is a mash of mash of crime and romance films with and his anti Hollywood style. Jules et Jim, by François Truffaut, deconstructed a complex relationship of three individuals through innovative screenwriting, editing, and camera techniques. Italian director Michelangelo Antonioni helped revolutionize filmmaking with such films as L'Avventura (1960), influential for its landscape photography and framing techniques, follows the disappearance of a young upper-class woman during a boating trip, and the subsequent search by her lover and her best friend; La Notte (1961), a complex examination of a failed marriage that dealt with issues such as anomie and sterility; Eclipse (1962), about a young woman who is unable to form a solid relationship with her boyfriend because of his materialistic nature; Red Desert (1964), his first color film, which deals with the need to adapt to the modern world; and Blowup (1966), his first English-language film, which examines issues of perception and reality as it follows a young photographer's attempt to discover whether he had photographed a murder.

Swedish director Ingmar Bergman began the 1960s with chamber pieces such as Winter Light (1963) and The Silence (1963), which deal with such themes as emotional isolation and a lack of communication. His films from the second half of the decade, such as Persona (1966), Shame (1968), and A Passion (1969), deal with the idea of film as an artifice. The intellectual and visually expressive films of Tadeusz Konwicki, such as All Souls' Day (Zaduszki, 1961) and Salto (1962), inspired discussions about war and raised existential questions on behalf of their everyman protagonists.

Federico Fellini's La Dolce Vita (1960) depicts a succession of nights and dawns in Rome as witnessed by a cynical journalist, this film is a bridge between his previous Italian neorealist style and his later surrealist style. In 1963, Fellini made 8½, an exploration of creative, marital and spiritual difficulties, filmed in black-and-white by cinematographer Gianni di Venanzo. The 1961 film Last Year at Marienbad by director Alain Resnais examines perception and reality, using grand tracking shots that became widely influential. Robert Bresson's Au Hasard Balthazar (1966) and Mouchette (1967) are notable for their naturalistic, elliptical style. Spanish director Luis Buñuel also contributed heavily to the art of film with shocking, surrealist satires such as Viridiana (1961) and The Exterminating Angel (1962).

Russian director Andrei Tarkovsky's film Andrei Rublev (1966) is a portrait of the medieval Russian icon painter of the same name. The film is also about artistic freedom and the possibility and necessity of making art for, and in the face of, a repressive authority. A cut version of the film was shown at the 1969 Cannes Film Festival, where it won the FIPRESCI prize. At the end of the decade, Stanley Kubrick's 2001: A Space Odyssey (1968) wowed audiences with its scientific realism, pioneering use of special effects, and unusual visual imagery. In 1969, Andy Warhol released Blue Movie, the first adult art film depicting explicit sex to receive wide theatrical release in the United States. According to Warhol, Blue Movie was a major influence in the making of Last Tango in Paris, an internationally controversial erotic art film, directed by Bernardo Bertolucci and released a few years after Blue Movie was made. In Soviet Armenia, Sergei Parajanov's The Color of Pomegranates, in which Georgian actress Sofiko Chiaureli plays five different characters, was banned by Soviet authorities, unavailable in the West for a long period, and praised by critic Mikhail Vartanov as "revolutionary"; and in the early 1980s, Les Cahiers du Cinéma placed the film in its top 10 list. In 1967, in Soviet Georgia, influential Georgian film director Tengiz Abuladze directed Vedreba (Entreaty), which was based on the motifs of Vaja-Pshavela's literary works, where story is told in a poetic narrative style, full of symbolic scenes with philosophical meanings. In Iran, Dariush Mehrjui's The Cow (1969), about a man who becomes insane after the death of his beloved cow, sparked the new wave of Iranian cinema.

Puppeteer Jim Henson had an arthouse success with his 1965 Oscar-nominated non-Muppet short Time Piece.

1970s
In the early 1970s, directors shocked audiences with violent films such as A Clockwork Orange (1971), Stanley Kubrick's brutal exploration of futuristic youth gangs, and Last Tango in Paris (1972), Bernardo Bertolucci's taboo-breaking, sexually-explicit and controversial film. At the same time, other directors made more introspective films, such as Andrei Tarkovsky's meditative science fiction film Solaris (1972), supposedly intended as a Soviet riposte to 2001. In 1975 and 1979 respectively, Tarkovsky directed two other films, which garnered critical acclaim overseas: The Mirror and Stalker. Terrence Malick, who directed Badlands (1973) and Days of Heaven (1978) shared many traits with Tarkovsky, such as his long, lingering shots of natural beauty, evocative imagery, and poetic narrative style.

Another feature of 1970s art films was the return to prominence of bizarre characters and imagery, which abound in the tormented, obsessed title character in German New Wave director Werner Herzog's Aguirre, the Wrath of God (1973), and in cult films such as Alejandro Jodorowsky's psychedelic The Holy Mountain (1973) about a thief and an alchemist seeking the mythical Lotus Island. The film Taxi Driver (1976), by Martin Scorsese, continues the themes that A Clockwork Orange explored: an alienated population living in a violent, decaying society. The gritty violence and seething rage of Scorsese's film contrasts other films released in the same period, such as David Lynch's dreamlike, surreal and industrial black and white classic Eraserhead (1977). In 1974, John Cassavetes offered a sharp commentary on American blue-collar life in A Woman Under the Influence, which features an eccentric housewife slowly descending into madness.

Also in the 1970s, Radley Metzger directed several adult art films, such as Barbara Broadcast (1977), which presented a surrealistic "Buñellian" atmosphere, and The Opening of Misty Beethoven (1976), based on the play Pygmalion by George Bernard Shaw (and its derivative, My Fair Lady), which was considered, according to award-winning author Toni Bentley, to be the "crown jewel" of the Golden Age of Porn, an era in modern American culture that was inaugurated by the release of Andy Warhol's Blue Movie (1969) and featured the phenomenon of "porno chic" in which adult erotic films began to obtain wide release, were publicly discussed by celebrities (such as Johnny Carson and Bob Hope) and taken seriously by film critics (such as Roger Ebert).

1980s
In 1980, director Martin Scorsese gave audiences, who had become used to the escapist blockbuster adventures of Steven Spielberg and George Lucas, the gritty, harsh realism of his film Raging Bull. In this film, actor Robert De Niro took method acting to an extreme to portray a boxer's decline from a prizewinning young fighter to an overweight, "has-been" nightclub owner. Ridley Scott's Blade Runner (1982) could also be seen as a science fiction art film, along with 2001: A Space Odyssey (1968). Blade Runner explores themes of existentialism, or what it means to be human. A box-office failure, the film became popular on the arthouse circuit as a cult oddity after the release of a "director's cut" became successful via VHS home video. In the middle of the decade, Japanese director Akira Kurosawa used realism to portray the brutal, bloody violence of Japanese samurai warfare of the 16th century in Ran (1985). Ran followed the plot of King Lear, in which an elderly king is betrayed by his children. Sergio Leone also contrasted brutal violence with emotional substance in his epic tale of mobster life in Once Upon a Time in America.

Other directors in the 1980s chose a more intellectual path, exploring philosophical and ethical issues like Andrzej Wajda's Man of Iron (1981), a critique of the Polish communist government, which won the 1981 Palme d'Or at the Cannes Film Festival. Another Polish director, Krzysztof Kieślowski, made The Decalogue for television in 1988, a film series that explores ethical issues and moral puzzles. Two of these films were released theatrically as A Short Film About Love and A Short Film About Killing. In 1989, Woody Allen made, in the words of New York Times critic Vincent Canby, his most "securely serious and funny film to date", Crimes and Misdemeanors, which involves multiple stories of people who are trying to find moral and spiritual simplicity while facing dire issues and thoughts surrounding the choices they make. French director Louis Malle chose another moral path to explore with the dramatization of his real-life childhood experiences in Au revoir, les enfants, which depicts the occupying Nazi government's deportation of French Jews to concentration camps during World War II.

Another critically praised art film from this era, Wim Wenders's road movie Paris, Texas (1984), also won the Palme d'Or.

Kieślowski was not the only director to transcend the distinction between the cinema and television. Ingmar Bergman made Fanny and Alexander (1982), which was shown on television in an extended five-hour version. In the United Kingdom, Channel 4, a new television channel, financed, in whole or in part, many films released theatrically through its Film 4 subsidiary. Wim Wenders offered another approach to life from a spiritual standpoint in his 1987 film Wings of Desire, a depiction of a "fallen angel" who lives among men, which won the Best Director Award at the Cannes Film Festival.

In 1982, experimental director Godfrey Reggio released the surprise arthouse hit Koyaanisqatsi, a film without dialogue, which emphasizes cinematography (consisting primarily of slow motion and time-lapse cinematography of cities and natural landscapes, which results in a visual tone poem) and philosophical ideology about technology and the environment.

Another approach used by directors in the 1980s was to create bizarre, surreal alternative worlds. Martin Scorsese's After Hours (1985) is a comedy-thriller that depicts a man's baffling adventures in a surreal nighttime world of chance encounters with mysterious characters. David Lynch's Blue Velvet (1986), a film noir-style thriller-mystery filled with symbolism and metaphors about polarized worlds and inhabited by distorted characters who are hidden in the seamy underworld of a small town, became surprisingly successful considering its highly disturbing subject matter. Peter Greenaway's The Cook, the Thief, His Wife & Her Lover (1989) is a fantasy/black comedy about cannibalism and extreme violence with an intellectual theme: a critique of "elite culture" in Thatcherian Britain.

According to Raphaël Bassan, in his article "The Angel: Un météore dans le ciel de l'animation", Patrick Bokanowski's The Angel, shown at the 1982 Cannes Film Festival, can be considered the beginning of contemporary animation. The characters' masks erase all human personality and give the impression of total control over the "matter" of the image and its optical composition, using distorted areas, obscure visions, metamorphoses, and synthetic objects.

In 1989, Hou Hsiao-hsien's A City of Sadness became the first Taiwanese film awarded the Golden Lion at the Venice Film Festival. The film shows the history of Taiwan through one family, and marks another step of the Taiwanese New Wave, which tends to depict realistic, down-to-earth life in both urban and rural Taiwan.

1990s
In the 1990s, directors took inspiration from the success of David Lynch's Blue Velvet (1986) and Peter Greenaway's The Cook, the Thief, His Wife & Her Lover (1989) and created films with bizarre alternative worlds and elements of surrealism. Japanese director Akira Kurosawa's Dreams (1990) depicted his imaginative reveries in a series of vignettes that range from idyllic pastoral country landscapes to horrific visions of tormented demons and a blighted post-nuclear war landscape. The Coen Brothers' Barton Fink (1991), which won the Palme d'Or at the Cannes Film Festival, features various literary allusions in an enigmatic story about a writer who encounters a range of bizarre characters, including an alcoholic, abusive novelist and a serial killer. Lost Highway (1997), from the same director as Blue Velvet, is a psychological thriller that explores fantasy worlds, bizarre time-space transformations, and mental breakdowns using surreal imagery.

Other directors in the 1990s explored philosophical issues and themes such as identity, chance, death, and existentialism. Gus Van Sant's My Own Private Idaho (1991) and Wong Kar-wai's Chungking Express (1994) explored the theme of identity. The former is an independent road movie/buddy film about two young street hustlers, which explores the theme of the search for home and identity. It was called a "high-water mark in '90s independent film", a "stark, poetic rumination", and an "exercise in film experimentation" of "high artistic quality". Chungking Express explores themes of identity, disconnection, loneliness, and isolation in the "metaphoric concrete jungle" of modern Hong Kong. Todd Haynes explored the life of a suburban housewife and her eventual death from toxic materials in the 1995 critical darling Safe.

In 1991, another important film of Edward Yang, a Taiwanese New Wave director, A Brighter Summer Day is portrayal of one normal teenager life that evacuated from China to Taiwan which affacted by political situation, school situation, and family situation that make a main protagonist murders a girl in the end. In 1992, Rebels of the Neon God, first feature film of Tsai Ming-liang, second generation of Taiwanese New Wave, it has his unique style of filmmaking like alienation, slow movement of actor (his recurring cast, Lee Kang-sheng), slow-paced, and a few dialogues.

Daryush Shokof's film Seven Servants (1996) is an original high art cinema piece about a man who strives to "unite" the world's races until his last breath. One year after Seven Servants, Abbas Kiarostami's film Taste of Cherry (1997), which won the Palme d'Or at the Cannes Film Festival, tells a similar tale with a different twist; both films are about a man trying to hire a person to bury him after he commits suicide. Seven Servants was shot in a minimalist style, with long takes, a leisurely pace, and long periods of silence. The film is also notable for its use of long shots and overhead shots to create a sense of distance between the audience and the characters. Zhang Yimou's early 1990s works such as Ju Dou (1990), Raise the Red Lantern (1991), The Story of Qiu Ju (1992) and To Live (1994) explore human emotions through poignant narratives. To Live won the Grand Jury Prize.

Several 1990s films explored existentialist-oriented themes related to life, chance, and death. Robert Altman's Short Cuts (1993) explores themes of chance, death, and infidelity by tracing 10 parallel and interwoven stories. The film, which won the Golden Lion and the Volpi Cup at the Venice Film Festival, was called a "many-sided, many mooded, dazzlingly structured eclectic jazz mural" by Chicago Tribune critic Michael Wilmington. Krzysztof Kieślowski's The Double Life of Véronique (1991) is a drama about the theme of identity and a political allegory about the East/West split in Europe; the film features stylized cinematography, an ethereal atmosphere, and unexplained supernatural elements.

Darren Aronofsky's film Pi (1998) is an "incredibly complex and ambiguous film filled with both incredible style and substance" about a paranoid mathematician's "search for peace". The film creates a David Lynch-inspired "eerie Eraserhead-like world" shot in "black-and-white, which lends a dream-like atmosphere to all of the proceedings" and explores issues such as "metaphysics and spirituality". Matthew Barney's The Cremaster Cycle (1994–2002) is a cycle of five symbolic, allegorical films that creates a self-enclosed aesthetic system, aimed to explore the process of creation. The films are filled with allusions to reproductive organs and sexual development, and use narrative models drawn from biography, mythology, and geology.

In 1997, Terrence Malick returned from a 20-year absence with The Thin Red Line, a war film that uses poetry and nature to stand apart from typical war movies. It was nominated for seven Academy Awards, including Best Picture and Best Director.

Some 1990s films mix an ethereal or surreal visual atmosphere with the exploration of philosophical issues. Sátántangó (1994), by the Hungarian director Béla Tarr, is a -hour-long film, shot in black and white, that deals with Tarr's favorite theme, inadequacy, as con man Irimias comes back to a village at an unspecified location in Hungary, presenting himself as a leader and Messiah figure to the gullible villagers. Kieslowski's Three Colors trilogy (1993–94), particularly Blue (1993) and Red (1994), deal with human relationships and how people cope with them in their day-to-day lives. The trilogy of films was called "explorations of spirituality and existentialism" that created a "truly transcendent experience". The Guardian listed Breaking the Waves (1996) as one of its top 25 arthouse films. The reviewer stated that "[a]ll the ingredients that have come to define Lars von Trier's career (and in turn, much of modern European cinema) are present here: high-wire acting, innovative visual techniques, a suffering heroine, issue-grappling drama, and a galvanising shot of controversy to make the whole thing unmissable".

2000s
Lewis Beale of Film Journal International stated that Australian director Andrew Dominik's western film The Assassination of Jesse James by the Coward Robert Ford (2007) is "a fascinating, literary-based work that succeeds as both art and genre film". Unlike the action-oriented Jesse James films of the past, Dominik's unconventional epic perhaps more accurately details the outlaw's relinquishing psyche during the final months of his life as he succumbs to the paranoia of being captured and develops a precarious friendship with his eventual assassin, Robert Ford.

In 2009, director Paul Thomas Anderson claimed that his 2002 film Punch-Drunk Love about a shy, repressed rage-aholic was "an art house Adam Sandler film", a reference to the unlikely inclusion of "frat boy" comic Sandler in the film; critic Roger Ebert claims that Punch Drunk Love "may be the key to all of the Adam Sandler films, and may liberate Sandler for a new direction in his work. He can't go on making those moronic comedies forever, can he? Who would have guessed he had such uncharted depths?"

2010s
Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives, which won the 2010 Cannes Palme d'Or, "ties together what might just be a series of beautifully shot scenes with moving and funny musings on the nature of death and reincarnation, love, loss, and karma". Weerasethakul is an independent film director, screenwriter, and film producer, who works outside the strict confines of the Thai film studio system. His films deal with dreams, nature, sexuality, including his own homosexuality, and Western perceptions of Thailand and Asia. Weerasethakul's films display a preference for unconventional narrative structures (such as placing titles/credits at the middle of a film) and for working with non-actors.

Terrence Malick's The Tree of Life (2011) was released after decades of development and won the Palme d'Or at the 2011 Cannes Film Festival; it was highly praised by critics. At the Avon Theater in Stamford, Connecticut, a message was posted about the theater's no-refund policy due to "some customer feedback and a polarized audience response" to the film. The theater stated that it "stands behind this ambitious work of art and other challenging films". Drive (2011), directed by Nicolas Winding Refn, is commonly called an arthouse action film. Also in 2011, director Lars von Trier released Melancholia, a movie dealing with depression and other mental disorders while also showing a family's reaction to an approaching planet that could collide with the Earth. The movie was well received, some claiming it to be Von Trier's masterpiece with others highlighting Kirsten Dunst's performance, the visuals, and realism depicted in the movie.

Jonathan Glazer's Under the Skin (an example of "arthouse sci-fi") was screened at the 2013 Venice Film Festival and received a theatrical release through indie studio A24 the following year. The film, starring Scarlett Johansson, follows an alien in human form as she travels around Glasgow, picking up unwary men for sex, harvesting their flesh and stripping them of their humanity. Dealing with themes such as sexuality, humanity, and objectification, the film received positive reviews and was hailed by some as a masterpiece; critic Richard Roeper described the film as "what we talk about when we talk about film as art".

This decade also saw a re-emergence of "art horror"  with the success of films like Beyond the Black Rainbow (2010), Black Swan (2010), Stoker (2013), Enemy (2013), The Babadook (2014), Only Lovers Left Alive (2014), A Girl Walks Home Alone at Night (2014), Goodnight Mommy (2014), Nightcrawler (2014), It Follows (2015), The Witch (2015), The Wailing (2016), Split (2016), the social thriller Get Out (2017), Mother! (2017), Annihilation (2018), A Quiet Place (2018), Hereditary (2018), Suspiria (2018; a remake of the 1977 film of the same name), Mandy (2018), The Nightingale (2018), The House That Jack Built (2018), Us (2019), Midsommar (2019), The Lighthouse (2019), Color Out of Space (2019) and the Academy Award for Best Picture winner Parasite (2019).

Roma (2018), is a film by Alfonso Cuarón inspired by his childhood living in 1970s Mexico. Shot in black-and-white, it deals with themes shared with Cuarón's past films, such as mortality and class. The film was distributed through Netflix, earning the streaming giant their first Academy Award nomination for Best Picture.

Arthouse animation (with Oscar-nominated titles like Song of the Sea and Loving Vincent) was also gaining momentum during this era as an alternative to mainstream animated features alongside the works of acclaimed animators Satoshi Kon, Don Hertzfeldt and Ari Folman from the previous decade.

Tom Shone said of the work of Christopher Nolan: "He has completed eleven features, [...] all ticking the boxes of studio entertainment, yet indelibly marked with the kind of personal themes and obsessions that are more traditionally the preserve of the art house: the passage of time, the failures of memory, our quirks of denial and deflection, the intimate clockwork of our interior lives, set against landscapes in which the fault lines of late industrialism meet the fissure points and paradoxes of the information age."

Criticism
Criticisms of art films include being too pretentious and self-indulgent for mainstream audiences.

LA Weekly film critic Michael Nordine cited the films Gummo (1997) as being an "art-house exploitation flick" and Amores Perros (2000) exemplifying "the art-house stereotype of featuring more dead dogs than Where the Red Fern Grows and every other book you had to read in middle school".

Related concepts

Arthouse television

Quality artistic television, a television genre or style which shares some of the same traits as art films, has been identified. Television shows, such as David Lynch's Twin Peaks and the BBC's The Singing Detective, also have "a loosening of causality, a greater emphasis on psychological or anecdotal realism, violations of classical clarity of space and time, explicit authorial comment, and ambiguity".

As with much of Lynch's other work (notably the film Blue Velvet), Twin Peaks explores the gulf between the veneer of small-town respectability and the seedier layers of life lurking beneath its surface. The show is difficult to place in a defined television genre; stylistically, it borrows the unsettling tone and supernatural premises of horror films and simultaneously offers a bizarrely comical parody of American soap operas with a campy, melodramatic presentation of the morally dubious activities of its quirky characters. The show represents an earnest moral inquiry distinguished by both weird humor and a deep vein of surrealism, incorporating highly stylized vignettes, surrealist and often inaccessible artistic images alongside the otherwise comprehensible narrative of events.

Charlie Brooker's Emmy Award-winning UK-focused Black Mirror television series explores the dark and sometimes satirical themes in modern society, particularly with regard to the unanticipated consequences of new technologies; while classified as "speculative fiction", rather than art television, it received rave reviews. HBO's The Wire might also qualify as "artistic television", as it has garnered a greater amount of critical attention from academics than most television shows receive. For example, the film theory journal Film Quarterly has featured the show on its cover.

In popular media
Art films have been part of popular culture from animated sitcoms like The Simpsons and Clone High spoofing and satirizing them to even the comedic film review webseries Brows Held High (hosted by Kyle Kallgren).

See also

 American Eccentric Cinema
 Anime
 Auteur theory
 Art rock
 Cannes Film Festival
 Cinema of Transgression
 Classical Hollywood cinema
 Criterion Collection
 Czechoslovak New Wave
 European art cinema
 Experimental film
 Extreme cinema
 Film criticism
 Film genre
 FilmStruck
 Golden Age of Television (2000s-present)
 Independent animation
 Independent film
 Independent Film Channel
 Independent Spirit Award
 International Tournee of Animation
 L.A. Rebellion
 List of directors associated with art film
Literary fiction (semi-analogous concept in the world of literature)
 Minimalist and Maximalist cinema
 Music video
 New Hollywood
 No wave cinema
 Parallel Cinema
 Slow cinema
 Souvenirs from Earth—art TV station
 Sundance Film Festival
 Surrealist cinema
 Swansea Bay Film Festival
 Television studies
 Toronto International Film Festival
 Turner Classic Movies
 Underground film
 Video essay
 Vulgar auteurism

References

External links
Brows Held High on YouTube
Top 100 Art House and International Movies – Rotten Tomatoes
The 25 best arthouse films of all time|The Guardian
10 Great Movies That Are Perfect Introductions To Arthouse Cinema – Taste of Cinema
Top 10 arthouse films of the last 10 years|Stark Insider

Aesthetics
Experimental film
Film genres
Film styles
Film theory
Independent films
Theories of aesthetics
Visual arts

Art film


Eileen May McCracken ( - ) est une botaniste, géographe et historienne de la botanique irlandaise. Elle a également écrit sur l'histoire des jardins irlandais.

Biographie
Née le 16 février 1920 à Lisburn, en Irlande, fille de Colin et Bessie Webb, McCracken fait ses études à la Friends' School Lisburn et à la Queens' University, Belfast, où elle obtient son BSc et PhD (1962) .

Le 8 avril 1944, elle épouse l'historien Leslie (JL) McCracken MRIA (1914-2008), ils ont trois enfants : Sean, Donal et Dermot. Elle déménage en Afrique du Sud en 1947, et enseigne la géographie à l'Université du Witwatersrand. Elle revient en Irlande en 1950 et vit à Dublin, Derry et Portballintrae avant de retourner en Afrique du Sud pour prendre sa retraite en 1982. De 1959 à 1982, elle possède un cottage en bord de mer à Kilcoole, dans le comté de Wicklow.

Elle écrit sur le paysage de l'Irlande depuis l'époque Tudor, sur les premières forges irlandaises, sur le commerce des pépinières irlandaises, sur les jardins botaniques de Belfast et sur les jardins botaniques nationaux irlandais de Glasnevin.

Elle a des opinions bien arrêtées sur divers sujets, notamment les droits des femmes et admire beaucoup les femmes impliquées dans la guerre d'indépendance irlandaise.

Elle est décédée à Durban en 1988. Une plaque de granit de Wicklow fixée dans le sol à l'extérieur de la maison alpine des jardins botaniques de Glasnevin se lit comme suit : "Eileen May McCracken 1920-1988 botaniste et historienne de ce jardin botanique".

Bibliographie

Références

Liens externes

Femme scientifique du XXe siècle
Professeur à l'université du Witwatersrand
Universitaire irlandais du XXe siècle
Botaniste irlandais du XXe siècle
Décès en novembre 1988
Naissance en février 1920
Décès à Durban
Naissance à Lisburn
Décès à 68 ans
Étudiant de l'université Queen's de Belfast
Géographe irlandais du XXe siècle
Historien irlandais du XXe siècle

Eileen McCracken


Gençlerbirliği Spor Kulübü, 1. Lig'de mücadele eden futbol şubesi ile tanınan dernek yapısındaki Türk spor kulübü. 14 Mart 1923'te Ankara'da kurulan kulüp, Cumhuriyet ile aynı yıl kurulması nedeniyle Cumhuriyet Takımı olarak da anılmaktadır. Forma renkleri kırmızı-siyahtır.

Ankara Sultanisi'nde okumakta olan bir grup öğrencinin girişimleriyle bir futbol kulübü olarak kurulan Gençlerbirliği, kurulduktan hemen sonra Ankara Futbol Ligi'ne katılmış ve otuz dört sezon boyunca bu ligde mücadele etmiştir. İlk ciddi başarısını 1929-30 sezonunda Ankara Futbol Ligi'nde şampiyon olarak yakalamıştır. Mücadele ettiği bu sezonlarda toplam on kez şampiyon olarak ligdeki en başarılı takım olmuştur. 1941 yılında Türkiye Futbol Şampiyonası'nda, İstanbul Futbol Ligi şampiyonu Beşiktaş takımı ile finalde karşılaşan Gençlerbirliği, rakibini 4-1 yenerek ilk kez Türkiye futbol şampiyonu olmuştur. 1946'da Final Grubu'nu kazanarak ikinci kez şampiyon olup tarihi bir başarı göstermiştir.

1959 yılında Millî Lig adıyla kurulan Süper Lig'e Ankara'dan, Hacettepe, MKE Ankaragücü ve Ankara Demirspor takımları ile birlikte katılarak, ulusal anlamda futbolun profesyonelleştiği bu organizasyonda mücadele etme hakkı kazanmıştır. Tarihi boyunca Süper Lig'de şampiyonluk elde edememiştir, ancak 1965-66 sezonunu üçüncü sırada tamamlayarak, Beşiktaş, Fenerbahçe ve Galatasaray dışında bu ligde ilk üçe girebilen ilk takım olma başarısını göstermiştir.

Süper Lig'deki en büyük başarısını, 2002-03 sezonunda ligi Beşiktaş ve Galatasaray'ın ardından üçüncü sırada tamamlayarak elde etmiştir. Ertesi sezonda UEFA Kupası'nda Blackburn Rovers, Sporting ve Parma takımlarını elemiş ancak 4. Tur'da Valencia ile eşleşen Gençlerbirliği, organizasyonda şampiyon olan bu takıma elenmiştir.

Cumhuriyet'ten önce kurulan, bir başka Ankara takımı Ankaragücü ile rekabet halindedir. Aralarında oynadıkları maçlara Ankaragücü-Gençlerbirliği derbisi veya Ankara derbisi denmektedir.

Gençlerbirliği'nin 11, 12, 13, 14, 15, 16, 17 ve 19 yaş kategorilerinde de futbol alt yapı takımları mevcuttur. Bunun dışında Hacettepe isminde bir pilot kulübü bulunmaktadır. Gençlerbirliği kulübü futbol dışında güncel olarak badminton, bocce, bowling, briç, kano ve kick boks dallarında faaliyet göstermektedir.

Kulübün genel başkanı Şubat 2017'den önce İlhan Cavcav'dı. Kulübün yirmi üçüncü başkanı olan Cavcav, 1977 senesinde başkan seçilmesine rağmen dönemin yöneticileriyle prensipler konusunda anlaşmazlığa düşmüş ve 1981 senesine kadar görevine ara verdi. 1981 senesinde tekrar başkanlık koltuğuna oturan Cavcav o tarihten bu yana otuz sekiz sene kulüp başkanlığı görevini yürüttü. Cavcav, kulüp tarihinde en uzun başkanlık yapan kişi oldu.

Tarihi

Kuruluşu

Ankara Futbol Birliği'nin 1921'de Ankara Ligi'ni oluşturması ile, Ankara'da ilk resmî futbol müsabakası 26 Ekim 1922'de Anadolu Sanatkarangücü ve Talimgâhgücü arasında oynanmıştır.

Ankara'nın ilk takımlarından birisi ise Ankara Sultanisi (diğer adıyla Ankara Erkek Lisesi) takımıdır. Futbola meraklı olan Münif Kemal (Ak)'in teşvikleriyle Ankara Sultanisi beden eğitimi hocası Ekrem Bey'in yönetiminde iddialı bir futbol takımı oluşturulmuştur. Ancak, Ekrem Bey'in bazı yetenekli oyuncuları takıma almaması Gençlerbirliği kulübünün kuruluşuna önayak olmuştur.

Takıma alınmayan öğrencilerin ayrı bir kulüp kurma girişimi, 14 Mart 1923'te "Gençlerbirliği Spor Kulübü" adı tescil ettirilerek tamamlanmıştır.

Kulüp kurulur kurulmaz Sultani takımı maça çağrılır. Yapılan maçı Gençlerbirliği 3-0 kazanınca iki kulübün birleşmesi eğilimi oluşur. Bir rivayete göre, Gençlerbirliği'ni kuran öğrenciler kırmızı-siyah Ankara gelinciklerinden bir buket yaparak hocalarının gönlünü almaya gidecekler, kulübün rengi gelinciklerin kırmızı-siyahı ile pekişecektir.

1923-24 sezonunda Ankara Sultanisi liglerden çekilmiş, artık sadece Gençlerbirliği kalmıştır. Ancak Sultani ile kulüp arasındaki gerilim bir süre daha devam edecektir.

Gençlerbirliği ilk kongresini 1925'in Mart ayında gerçekleştirir. Bu kongreden bir süre sonra, Gençlerbirliği'ne dahil olan Sultani öğrencileri Ankara Sultanisi eski müdürü Münif Kemal'i ziyaret ederek gönlünü alırlar ve kulübün başkanlığını teklif ederler. Münif Kemal Bey bu öneriyi kabul eder ve 9 yıl boyunca sürecek başkanlığının başlaması ile birlikte Sultani ile kulüp arasındaki gerginlik sona erer.

Başkanlar

Spor sezonlarına göre bugüne kadar görev yapmış Gençlerbirliği başkanları, aşağıdaki tabloda belirtilmiştir.

Renkler
Kırmızı-siyah renklere sahip Gençlerbirliği'nin bu renkleri seçmesi hakkında çeşitli rivayetler mevcuttur:

 Kulüp kurulduktan sonra ihtiyaç duyulan formalar için kumaş almaya giden öğrenciler, gittikleri dükkânda o yılların yoksunluğu içinde sadece kırmızı ve siyah renkli kumaşlar bulabilmiş, biraz da mecburiyetten ilk formalar bu renklerle dikilmiş, bunun sonucunda kulüp renkleri belirlenmiştir.
 Beden Eğitimi öğretmeni Ekrem Bey'in bazı öğrencileri Sultani takımına almaması ile Sultani'den ayrılarak kurulan kulüp, barış sağlanıp iki kulübün (Muallimler Birliği ile Genç Liseliler) birleşmesi söz konusu olduğunda, liseli öğrenciler Ankara İdadisi (Erkek Lisesi) Müdürü ve Muallimler Birliği Başkanı Münif Kemal Ak'ın gönlünü almak için ona Ankara'da oldukça yaygın olan kırmızı-siyah gelincikler götürmüşler, takım da renklerini bu olayın sonucunda bu çiçekten almıştır.

Arma

Armadaki güneş, Ankara'nın simgelerinden Hitit Güneşi'ni temsil etmektedir. Güneşi de Türk bayrağında bulunan hilali temsil etmektedir.

Futbol şubesi

Tarihçe
1923 yılında Ankara Sultanisi'nde okuyan bir grup öğrencinin, okul takımına alınmamalarına kızarak kurulan Gençlerbirliği ilk olarak Ankara Futbol Ligi'ne dahil oldu. Bu ligde mücadele ettiği sekizinci sezonda ilk defa şampiyon oldu. Daha sonra 1930-31, 1931-32 ve 1933-34 sezonlarında art arda şampiyonluklar ile adını duyurur. 1941 yılında Türkiye Futbol Şampiyonası'nda, İstanbul Futbol Ligi şampiyonu Beşiktaş takımı ile finalde karşılaşan Gençlerbirliği, rakibini 4-1 yenerek ilk kez ulusal şampiyonluk elde eder. 1946'da ikinci kez Türkiye futbol şampiyonu olma başarısını gösterir. Ankara Futbol Ligi'nde toplamda on kez şampiyon olarak ligin en başarılı takımı unvanını kazanır. 1959 yılında Millî Lig ismiyle kurulan Süper Lig'in başlamasıyla bu organizasyon bir daha düzenlenmez ve Gençlerbirliği yeni kurulan bu profesyonel ligde Ankara'yı temsil edecek dört futbol takımından birisi olur.

Lig mücadeleleri
 Süper Lig: 48 Sezon
1959-1970, 1983-1988, 1989-2018, 2019-2021
 1. Lig: 16 Sezon
1970-1979, 1980-1983, 1988-1989, 2018-2019, 2021-
 2. Lig: 1 Sezon
1979-1980

Başarıları
Kaynaklar:
 Türkiye Futbol Şampiyonası
 Şampiyonluk (2): 1941, 1946
 İkincilik (1): 1950
 1. Lig:
 Şampiyonluk (2) : 1982-83, 1988-89
 İkincilik (1): 2018-19
 Türkiye Kupası
 Şampiyonluk (2): 1987, 2001
 İkincilik (3): 2003, 2004, 2008
 Türkiye Süper Kupası
 İkincilik (1): 1987
 Başbakanlık Kupası
 İkincilik (1): 1946
 Ankara Ligi
 Şampiyonluk (10): 1929-30, 1930-31, 1931-32, 1932-33, 1934-35, 1939-40, 1940-41, 1945-46, 1949-50, 1950-51
 Ankara Şildi
 Şampiyonluk (3): 1931, 1935, 1940-41
 TSYD Kupası
 Şampiyonluk (16): 1969, 1985, 1986, 1989, 1993, 1994, 1998, 2002, 2003, 2006, 2010, 2011, 2012, 2016, 2019, 2021

2007-08 sezonunda Türkiye Kupası finaline yükselen Gençlerbirliği, normal süresi ve uzatmaları 0-0 biten karşılaşmada, Bursa'da karşılaştığı Kayserispor'a penaltı atışları sonucunda 11-10 mağlup oldu.

Avrupa Kupaları

Gençlerbirliği, Avrupa kupalarındaki ilk deneyimini 1967-68 Balkan Kupası'nda yaşadı. Ancak gruptaki 6 maçından sadece 1 beraberlik çıkarabildi. 1987'de Türkiye Kupası'nı kazanarak 1987-1988 sezonunda UEFA Kupa Galipleri Kupası'nda oynamaya hak kazandı. Bu kupada Sovyetler Birliği'nin Dinamo Minsk takımına deplasmanda 2-0, evinde 2-1 yenilerek ilk turda elendi.

1994-1995 sezonunda, Türkiye 1. Ligi'ni 5. sırada bitirerek 1995 UEFA Intertoto Kupası'nda Türkiye'yi temsil etme hakkı kazanmıştır. Mücadele ettiği 11. grupta 2 galibiyet ve 2 mağlubiyetle 3. sırada yer alarak elenmiştir.

2001'de Türkiye Kupasını kazanarak 2001-2002 sezonunda katıldığı UEFA Kupası'nın ilk turunda İsveç'in Halmstad takımıyla eşleşen Gençlerbirliği, ilk maçta Ankara'da 1-1 berabere kaldığı rakibine deplasmanda 1-0 yenildi ve kupaya erken veda etti.

Gençlerbirliği, Avrupa'daki en büyük başarısını 2003-2004 sezonunda yakaladı. UEFA Kupası'nın ilk turunda İngiltere'nin Blackburn Rovers takımını evinde 3-1 yenen Gençlerbirliği, rövanş maçında rakibiyle 1-1 berabere kalarak 2. tura geçti. 2. turda Portekiz'in Sporting takımıyla eşleşen Gençlerbirliği, evindeki ilk maçı 1-1 berabere bitirdi. Ancak, deplasmandaki rövanşı 3-0 kazanmayı başararak 3. tura çıktı. 3. turda İtalya'nın Parma takımını deplasmanda 1-0, Ankara'da 3-0 yenerek 4. tura çıktı. 4. turda İspanya'nın Valencia takımıyla eşleşti. Ankara'daki ilk maç 1-0 kazanıldı, İspanya'daki rövanş maçının normal süresi 1-0 sona erdi. Uzatma dakikalarında yediği gole karşılık veremeyen Gençlerbirliği, 2-0'lık yenilgiyle kupaya bu turda veda etti. Gençlerbirliği'nin bu turdaki rakibi Valencia UEFA kupasını kazanma başarısı gösterdi. Gençlerbirliği ise, 2003-2004 sezonunda UEFA Kupası'nı kazanan Valencia'yı yenebilen tek takım oldu.

Gençlerbirliği, 2004-2005 sezonunda sezonunda UEFA Kupası'nın 2. ön eleme turunda Hırvatistan'ın Rijeka takımıyla eşleşti. Evindeki maçı 1-0 kazanan Gençlerbirliği, rövanş maçını 2-1 kaybetmesine rağmen ilk tura çıkmayı başardı. İlk turda Yunanistan'ın Egaleo takımına deplasmanda 1-0 kaybettiği maçın rövanşında 1-1 berabere kalarak elendi.

Avrupa maçları
Kaynakça:
UEFA Kupa Galipleri Kupası:

UEFA Kupası/UEFA Avrupa Ligi:

UEFA Intertoto Kupası:

Balkan Kupası:

Hacettepe SK
Gençlerbirliği SK'nin pilot takımı olan Hacettepe SK 2021-22 sezonunda Bölgesel Amatör Lig'e düşmüştür. Takım 2022-23 sezonunda lige girmemiş isim haklarını Kalecik FK'ya devrederek kulübün 5. ismi Hacettepe 1945 SK olmuş ve Hacettepe isminin yaşatılması sağlanmıştır.

Hentbol şubesi

12 Eylül 2013 tarihinde kurulan ve Gençlerbirliği'nin Türkiye Erkekler Hentbol Süper Ligi'nde mücadele eden hentbol takımıdır. Önceki adı Ankara Hentbol İhtisas Kulübü olan ve tamamen kendi kaynaklarıyla kurulup alt liglerde mücadele etmeye başlayan takım, Gençlerbirliği'ne başvurup kulübün isim hakkını aldı. Gençlerbirliği Hentbol Takımı, 2013-2014 sezonunda Türkiye Erkekler Hentbol Süper Ligi'nde mücadele edecek 5. başkent temsilcisinden bir tanesi oldu. Ligde iki sezon devam eden takım, Gençlerbirliği'nin isim hakkını geri alması ile, 2015-16 sezonunda tekrar Ankara Hentbol İhtisas ismine dönüş yaptı.

Diğer branşlar
Gençlerbirliği Spor Kulübü bünyesinde, futbol dışında, Eylül 2022 itibarı ile etkinlik gösteren şubeler şunlardır:
 Badminton
 Bocce
 Bowling
 Briç
 Kano
 Kick boks

Stadyum ve tesisler

Eryaman Stadyumu

Şehrin merkezinde yer alan 19 Mayıs Stadyumu'nun kullanım dışı kalmasıyla beraber, Gençlerbirliği maçlarını Eryaman semtinde inşa edilen ve 28 Ocak 2019 tarihinde açılan Eryaman Stadyumu'nda oynamaktadır.

İlhan Cavcav Tesisleri

Gençlerbirliği İlhan Cavcav Tesisleri, Ankara'nın Yenimahalle ilçesine bağlı Beştepe semtinde yer alan sosyal ve antrenman tesisleridir. 23.000 metrekare alana kurulu tesiste; idari bina, kamp binası, altyapı binası, restoran, futbol okulu ve futbol sahaları yer almaktadır.

Hasan Polat Spor Tesisleri
Ankara'nın Keçiören ilçesine bağlı Etlik mahallesinde yer alan Gençlerbirliği Spor Kulübü'ne ait olan spor tesisidir. Tesiste bir adet büyük futbol sahası ve halı saha yer almaktadır. Daha önceleri Gençlerbirliği Etlik Tesisleri ismiyle faaliyet gösteren bu tesise, daha önce Gençlerbirliği Futbol Takımı'nda forma giyen eski futbolculardan Hasan Polat'ın ismi verilmiştir.

Şenol Güneş Spor Tesisi
Çankaya ilçesine bağlı Yaşamkent mahallesinde yer alan Gençlerbirliği Spor Kulübü'nün kullanımındaki spor tesisidir. Tesiste bir adet büyük futbol sahası yer almaktadır.

Yayınlar

Gençlerbirliği Dergisi
Gençlerbirliği Spor Kulübü'nün aylık resmî dergisidir. İçeriğinde futbol ağırlıklı olmak üzere Gençlerbirliği Spor Kulübü bünyesinde faaliyet gösteren branşlarla ile ilgili haberler, sporcularla röportajlar ve çeşitli makaleler yer almaktaydı, günümüzde pandemi nedeniyle bu dergi Gençlerbirliği E-Dergisi şeklinde Gençlerbirliği web sitesi bünyesinde yayınlanmaktadır.

Kaynakça

Genel
 Ankara Rüzgârı-Gençlerbirliği Tarihi, Tanıl Bora, Ankara 2003, (ISBN 975-92422-0-6) (Kulübün kuruluş ve tarihçesine dair ilgili genel bilgiler bu kitaptan alınmıştır.)
 Gençlerbirliği, Gençlerbirliği Spor Kulübü aylık resmî dergisi, nr. 22, Şubat 2007, s. 12-15.

Özel

Dış bağlantılar

Alkaralar Taraftar Sitesi

Ankara'daki spor kulüpleri
Yenimahalle
1923'te Türkiye'de kurulan oluşumlar
1923'te kurulan spor kulüpleri

Gençlerbirliği SK


ආයතනික සමාජ වගකීම (CSR,  ආයතනික විඥානය, ආයතනික පුරවැසිබව, ආයතනික කාර්ය ඵලය, හෝ තිරසාර වගකිව යුතු ව්‍යාපාරය ලෙසින්ද හැඳින්වෙයි) යනු   ව්‍යාපාර ආකෘතියට සමසම්බන්ධ කොට ඇති හා  ආයතනික ස්වරූපයක් ගන්නාවූ ස්ව-යාමනයකි.

ප්‍රවේශවීම්
ප්‍රවේශවීම්( ළඟාකර ගැනීම්)

සංස්ථාමය සමාජ වගකීම සඳහා යුරෝපීය මහාද්වීපික හා පුරාතන සම්‍භවයක් ඇති අයගේ ප්‍ර‍වේශයක් වෙනසක් සමහර විස්තර විචාරකයින් හඳුනාගෙන ඇත. යුරෝපයේදී සංස්ථාමය සමාජ වගකීම පිළිබඳ සාකච්‍ඡාව ( විමසීම ) ඉතා විෂම ජාතික වේ.

ප්‍රජා මූලික සංවර්ධන ව්‍යාපෘතිවල සංස්ථාමය සමාජ වගකීම සඳහා ප්‍ර වේශය පුළුල් ලෙස පිළිගනිමින් පවතී. මෙහදී තෙල් පදන‍ෙම් දකුණු අප්‍රිකානු මල් මිටියාවතට පත්වීම දැක්විය හැකිය. මෙහි ඔවුන් ප්‍රජාවගේ ළමුන්ට අධ්‍යයන සඳහන් වැඩිහිටියන්ට නව නිපුණතා වර්ධනය සඳහන් අධ්‍යයන මධ්‍යස්ථානයන් ස්ථාපිත කර ඇත. වෙළඳපොළ ගොඩනැගිල්ලක් හරහා ප්‍රජාව සමග සම්‍බන්ධ වීම ක්‍රමානුකූල සාදාරණ වෙළඳාම් මිලට ගැනීම සහතික කිරීම මගින් මාර්ක් සහ ස්පෙන්සර් මෙම ප්‍රජාව තුළ සක්‍රීයව කටයුතු කරයි. වැඩිහිටියන් සඳහා අධ්‍යාපන පහසුකම්‍ස්ථාපිත කිරීම මෙන්ම HIV/AIDS අධ්‍යයන වැඩසටහන් බොහෝ දුරට මීට ඇති විකල්ප ප්‍ර‍වේශ වේ.  සංස්ථාමය සමාජ වගකීම්‍වැඩසටහන්වලින් වැඩි ප්‍රමාණයක් අප්‍රිකා‍වේ  ස්ථාපිත කර ඇත. ප්‍රදේශීය සංවිධානවලට ආධාර දීම හරහා සංවර්ධනය වන රටවල දිළිඳු ප්‍රජාවන්ට උපකාර කිරීම සංස්ථාමය සමාජ වගකීමට ඇති වඩා පොදු ප්‍රවේශයකි. මෙම ප්‍ර‍වේශය ප්‍රාදේශීය පුද්ගලයින්ගේ නිපුණතා මත ගොඩනැගීම සිදු නොවීමත් අනික් අතට ප්‍රජා මූලික සංවර්ධන ව්‍යාපෘති සමාන්‍යයෙන් දිගුකල් පවතින සංවර්ධනයක් සඳහා මග පෑදීමත් නිසා බොහෝ සංවිධාන මෙම ප්‍ර‍වේශයට කැමැත්තක් නොදක්වයි.

විගණනය හා වාර්තාකරණය

හොඳ ව්‍යාපාර පුරවැසිභාවයක් පෙන්වීමට, ආයතනවලට වාර්තා සංස්ථාමය සමාජ වගකීම්‍වාර්තා කරන නිර්ණායක හා ප්‍රමිතීන් ද අතුළුව සැකසිය හැකිය.

v	ජොන් ඒල්නිංස්ටන්ගේ  Triple bottom line  වාර්තාකරණය මත පදනම්‍වන ගිණුම්‍කටයුතු පිළිබඳ AA1000 ප්‍රමිතිය.
v	ගෝලීය වාර්තාකරණය මූලික වූ අඛණ්ඩව වාර්තාකරණ නිර්ණායක
v	Verite ගේ අධීක්ෂණ නිර්ණායකයන්
v	සමාජීය ගිණුම්‍කටයුතු  පිළිබඳ ජාත්‍යයන්තර               SA 8000 ප්‍රමිතිය
v	Green Globe සහතික කිරීම, ප්‍රමිතය
v	ISO 14000 පාරිසරික කළමනාකරණ ප්‍රමිතිය
v	එක්සත් ජාතීන්ගේ ගෝලීය ගිවිසුම සමාගම්

"වර්ධනය වන සන්නි‍ෙව්‍දනය"  ආකාරයේ වාර්තාකරණයට ඉදිරිපත් වනු ලැබීය. ගිවිසු‍ෙම්‍විශ්වීය මූලධර්ම සමාගම ඉටුකිරීම / සපුරාලීම පිළිබඳ COP වාර්තාව විස්තර කරයි.
v	ගිණුම්‍කරණය හා වාර්තාකරණය සඳහා අන්තර්ජාතික ප්‍රමිති පිළිබඳ එක්සත් ජාතීන්ගේ අන්තර් රාජ්‍ය කණ්ඩායම

සාර්ථක කාර්යක්ෂමතා , සංස්ථාමය වගකීම වාර්තා කිරීම සහ සංස්ථාමය පාලනය අනාවරණය පිළිබඳ උපදෙස් ලබාදෙයි.
FTSE කණ්ඩායම

සමාගම්‍සංස්ථාමය සමාජ වගකීම ඉටුකිරීම පිළිබඳ ඇගයීමක් වන FTSE Good Index ප්‍රකාශයට පත් කිරීම.

සමාජීය හා පාරිසරික ඉටුකිරීම පිළිබඳ අර්ථවත් මැනීමක් අපහසු වුවත් සමහර ජාතීන්ට සංස්ථාමය සමාජ වගකීම්‍වාර්තාකරණය අවශ්‍ය කරයි. බෙහෝ ආයතන දැන් අඛණ්ඩව පර හිතකාමී සංවර්ධනය හා සංස්ථාමය සමාජ වගකීම්‍ගැටලු ආවරණය වන පරිදි බාහිරව විගණනය කරන ලද වාර්ෂික වාර්තා පිළියෙළ කරයි. ( Tipple Bottom Line වාර්තා )

නමුත් මෙම වාර්තාව සැකැස්මෙන් විධියෙන් හා වගකීම්‍ක්‍රම‍ෙව්‍දයන් පුළුල් ලෙස වෙනස්  වේ. ( එකම කර්මාන්තය තුළ පවා )  වි‍වේචකයින් මෙම වාර්තා බොරුවට සහාය පෑමක් පමණක් ලෙස ඉවත් කරයි. නිදසුනක් ලෙස ඒන්රන් "වාර්ෂික සංස්ථාමය වගකීම්‍වාර්තාව" හා දුම්කොළ සමාග‍ෙම් සාමාජ වාර්තා දැක්විය හැකිය.

භව්‍ය ව්‍යාපාර ප්‍රතිලාභ
සංවිධානයක ස්වභාවය  අනුව CSR  වාසියේ ප්‍රමාණය වෙනස්  ස්වරූපය ගනු ලැබේ.
මුල්‍යමය  වාසි  වලින් ඔබ්බට කිය හැකි  වාසි  පිළිබඳ  උපදෙස්  ලබා  දෙන  මුද්‍රිත  ලිපි  විශාල  සංඛ්‍යාවක්  තිබුණත් එය  සංඛ්‍යාත්මක  ලෙස  ප්‍රකාශ කිරීම   අපහසු   කාර්යයකි. (උදා- ඩේමින්ගේ ඒකක  14 - සමබර  ලකුණු  කාඩ්  පත  )  Orlizy, Schmist සහ  Rynes  සමාජ  වාතාවරණය,  ව්‍යාපාරික  කටයුතු  සිදුකරන  ආකාරය   සහ  මුදල් කටයුතු   සිදුකරන  ආකාරයන්  අතර  සම්බන්ධතාවයක්   දුටුවහ.
කෙසේ  වුවත්  යම්  ව්‍යාපාරයක්  සිය CSR  උපාය   මාර්ගයන්   වැඩි දියුණු කරන   අතරදී   කෙටිකාලීන  මුල්‍ය  වාසි   ලැබීමට   අදහස්  නොකරණු  ඇත.

යම්  සංවිධානයක  යොදා  ගන්නා  CSR  පිළිබඳ  අර්ථකතනය   එහි කොටස්කරුවන්ගේ බලපෑම, CSR  වෙනුවෙන්  පෙනීසිටින   කණ්ඩායමේ  අදහස,   පරිත්‍යාග   ලබා  ගැනීමට   ගන්නා  උත්සාහයන්  හා ස්වේච්ඡා  කණ්ඩායම්  වල  ක්‍රියාකාරිත්වය   මත   වෙනස්වේ.  CSR  යම් සංවිධානයක  මහජන සම්බන්ධතා,  ව්‍යාපාර   සංවර්ධන,  ප්‍රජා සමබන්ධතා පිළිබඳ  දෙපාර්තමේන්තුවට  ඇතුළත්  විය  හැකිය.   එසේ නොමැති  නම්  ceo වට  බලපාන   වෙනම   දෙපාර්තමේන්තුවකට  ඇතුළත්  කොට  විශේෂ  තීන්දු  දීම  සෘජුවම  මණ්ඩලයට   යැවිය  හැකිය.  සමහර  සමාගම් කණ්ඩායමක්  හෝ  වැඩසටහනක්  නොමැතිවම    CSR    ආකාරයේ  අගයන්  පමණක්  යොදා ගනිමින්  කටයුතු  කරනු  ඇත.

යම්   සමාගමක  CSR  කටයුතු  පහත  සඳහන්  උපකල්පන   එකක්  හෝ  කීපයක්   මත  රඳා පැවතිය  හැක.

මානව  සම්පත්

CSR  වැඩසටහනක්  තරඟකාරී  උපාධීධාරී ශිෂ්‍ය වෙළඳපොල අවස්ථාවකට බඳවා  ගැනීමේ හා  රඳවා  ගැනීමේ  අධාරකයක්   ලෙසද  තබාගත  හැකිය. හැකියාව  ඇති  ඉල්ලුම්කරුවන්  නිතර  ආයතනයේ   CSR   පිළිවෙත ගැන
විමසන  බැවින්  අවබෝධකරගත  හැකි  පිළිවෙතක්  තිබීම  වාසියක්  විය  හැකිය.  විශේෂයෙන්  සේවක  මණ්ඩලය  ප්‍රජා  සේවා කටයුතු,  අරමුදල්  තර
කිරීමේ  කටයුතු  හා   වැටුප්  ඉපයීම්  කටයුතු  වල  යෙදෙන  විට  ආයතනය
පිළිබඳව   අවබෝධය   වැඩි  දියුණු  කර  ගැනීමට ද   CSR  ඉවහල්වේ.

අවදානම්   කළමනාකරණය
විශාල  සමාගමක  අවදානම්  කළමනාකරණය   ඉතා   වැදගත්   උපාය  මාර්ගයකි. දශක  ගණනාවක්  තුළ  අත්කරගත්  ව්‍යාපාරික  කීර්තිය  දූෂිත විෂම  කටකතාවක්  හෝ  වාතාවරණික  හදිසි   සිදුවීමක්  නිසා  පැය කීපයකින්   බිඳ වැටිය  හැකිය. මෙවැනි  සිදුවීම් නිසා  උසාවි,  ජනමාධ්‍ය, රාජ්‍ය  පාලකයන්, ආයතනයක  අඛන්ඩ  පවත්වා  ගැනීම්  අධ්‍යයනය  කරන  නිලධාරීන්  ආදී  අංශ  වල  අනවශ්‍ය   අවධානයක්   ඇතිවේ.  " සැමවිටම  නිවැරදි  දේ  කිරීමේ "  සංස්කෘතියක්   සිය  ආයතනය    තුළ  ඇති  කර  ගැනීමෙන්  අවදානම්   පිටු  දැකිය  හැකිය.

වෙළෙඳනාම ප්‍රභේදනය

ව්‍යාපාරිකයන්  බහුලව  සිටින  වෙළඳපොලක්  සහිත  සමාගම්  නිතරම  සිය  භාණ්ඩ  හා  සේවා  සඳහා  අද්විතීය  වෙළඳාම්  තත්වයක්  පවත්වා  ගැනීමට  දැඩි  උත්සාහයක  යෙදෙති.  එමගින්  පාරිභෝගිකයාට තරඟකාරී  මනසින් යුතුව සිය නාමය  වෙන්  කොට  තබා  ගැනීමට   හැකියාවක් ලැබේ.  CSR  මඟින්   කැපීපෙනෙන   සදාචාර  අගයන්  මත පදනම්වී  ඇති  පාරිභෝගික  විශ්වාසය ගොඩ නැගීමෙහිලා  වැදගත්  භූමිකාවක්  ඉටු  කළ  හැකිය.  The Co-operative Group   සහ  The Body Shop  වැනි  සුවිසල්  වෙළඳ  නාමයන් ගොඩනැගී  ඇත්තේ  සදාචාර  අගයන්  මතය.  ව්‍යාපාරික  සේවා   ආයතනයකට  සිය  අවංකත්වය  හා   උසස්තම  සේවාව  මඟින් ඇති කරගන්නා  කීර්තිය  තුළින්  මහත්  වාසි  අත්  කර ගත  හැකිය.

විවේචනාත්මක විශ්ලේෂණය

සංස්ථාමය සමාජ වගකීම බෙහෝ බහුජාතික සංවිධානවල උපක්‍රමශීලී සැලසුම්‍ක්‍රියාවලිය තුළ ඇත. සමාජ වගකීම පසු පස ඒ හරහා පවතින මානව හා පාරිසරික වගකීම සැඟවුණු ෙච්‍තනාවක් මත ක්‍රියාත්මක  වන්නක්ද ස්ව ඇල්ම ( වාසිය) අවබෝධය නැතිනම් ව්‍යාපාරය ඉක්මවා පවතින ඇල්ම ( වාසිය ) යන්න බොහෝ විවාදයට හා වි‍වේචනයට භාජනය වී ඇත.

කොටස්කරුවන් තෘප්තිමත් කිරීමට ලාභ ලැබීමට නිෂ්පාදනයක් කිරීම හෝ සේවාවන් සැපයීමට සමාගම්‍මූලිකව වෙන වෙනම බැඳීසිටින්නේද ( වගකියන්නේද ) යන්න සමහර වි‍වේචකයින් වාද කරයි. මිල්ටන් ෆ්රයිඩ්‍මන් හා අනෙකුත් අය පවසන්නේ ( වාද කරන්නේ ) ව්‍යාපාර කාර්යයේ සමාජ වගකීම සඳහා ඉවක් නොමැති බවයි. මෙම වි‍වේචකයින් පෙන්වා දෙන්නේ සමාගම්‍නීතිය ( සංස්ථා නීතිය ) අනුව සංස්ථා‍වේ ලාභය අඩුවන ඕනෑම ක්‍රියාකාරකමක් සිදු කිරීමෙන් සංස්ථා‍වේ අධ්‍යක්ෂකවරුන් වැළකී සිටීමයි. ( ලාභය අඩු වන කටයුතු කිරීම  අධ්‍යක්ෂකවරුන්ට තහනම්‍වීමයි. )

අනෙකුත් වි‍වේචකයින්  වාද කරන්නේ හොඳ ඵලදායී ක්‍රියාමාර්ගවල සමාගම නියැලීමෙන් අනෙක් ඒවා ප්‍රතික්ෂේප කිරීමත් ඒමගින් සමාජීය වශයෙන් හා පාරිසරික වශයෙන් වගකියන සමාගමක් ලෙස තම ප්‍රතිරූපය සකසා ගැනීමත්ය. එය නිදහස්  වෙළඳ පොළට බාධාකරන නැතිනම්‍සමාගමක් ස්වාර්ථය ලුහුබැඳ යෑම මගින් වන සමාජ හා පාරිසරික හානිවල බලපෑම පාලකයාට රජයේ කාර්භාරය කල්තියා නැවැත්වීමට මාන බැලීමක් යැයි අනෙකුත් වි‍වේචකයින් තවමත් වාද කරයි.

විවාදාත්මක ව්‍යාපාරික අභිප්‍රාය ( පෙළඹුම්‍හේතු)

සමහර වි‍වේචකයින් විශ්වාස කරන්නේ සංස්ථාමය සමාජ වගකීම්‍වැඩසටහන් බොහෝ විට සංස්ථාවල ප්‍රධාන කටයුතු තුළින් ඇති වන සදාචාරමය ප්‍රශ්නවලින් පොදු මහජන අවධානය වෙනතකට හැරවීමට බොහෝ විට උත්සාහ කරන බවයි. ෙම අන්දමට චෝදනා ලබා සිටින සමාගම්‍අතර ප්‍රධානතම සංස්ථාමය සමාජ වගකීම්‍වාර්ථා සපයන බ්‍රිතාන්‍ය ඇමෙරිකානු දුම් කොළ සමාගම හා ඛනිජ තෙල් යෝධයා වන බ්‍රිතාන්‍ය ඛනිජ තෙල් සංස්ථාව වේ. මෙය එහි පාරිසරික අංග පිළිබඳ ක්‍රියාකාරකම්‍හා ඉහළ රූපසටහන් ප්‍රචාරක ව්‍යාපාර සඳහා ප්‍රසිද්ධියක් උසුලයි.

ස්වාර්ථ / ස්ව වාසිය

සමහර වි‍ෙව්‍චකයින් වැදගත් වන්නේ සමාගම්‍සමාජ ව්‍යාපෘති සිදු කරන්නේ වානිජ ප්‍රතිලාභ සඳහන් රජය පොදු මහජනතාව අතර ඔවුන්ගේ කීර්තිය වැඩිකර ගැනීමටත්ය. ඔවුන් ස්වාර්ථ මත කටයුතු කරන සංස්ථා ලාභ වැඩිකර ගැනීමට මුළුමණින්ම තැත් කිරීමට හේතු කීපයක් යෝජනා කර ඇති අතර සමස්තයක් ලෙස සමාජ ප්‍රතිලාභ දියුණු කිරීමට අපොහොසත් වේ. ඔවුන් උදාහරණ පෙන්වා දෙනවා එක් අතකින් සංස්ථාමය සමාජ වගකීම් ප්‍රතිපත්ති වර්ධනයට බොහෝ වේලා ගත කළ   පවත්වාගත හැකි සංවර්ධනයක් සඳහා කැපවුණු අනෙක් අතින් පැන නැගෙන ව්‍යාපාර ප්‍රතිපත්ති පිළිබඳ හෙළිදරව්‍කිරීම්‍වලට හාණි පැමිණිනු සමාගම්‍නැත.

උදාහරණයක් ලෙස මැක්ඩොනල්ඩ්‍සමාගම සදාචාර විරෝධී ව්‍යාපාර ප්‍රතිපත්තීන් පිළිබඳ සංස්ථාමය සමාජ වගකීම්‍ව්‍යාපාරයේ නියැලෙන්නන්ගේ දැඩි වි‍ෙව්‍චනයට ලක් වූ අතර මැක්ලිබල් නඩු‍වේදී විනිසුරු ( නඩුකාරයා)  රෝජර් බෙල් විසින් ගත් තීරණය අනුව සේවකයින්ට හොඳින් නොසැලකීම , නොමඟ යවන සුළ්‍ර ප්‍රචාරය කිරීම්‍සහ අනවශ්‍ය ලෙස සතුන්ට වද හිංසා කිරීම්‍පිළිබඳ සත්‍ය බවට ස්ථිර විය.

ෙම් හා සමානවම තෙල් සමාගමද තම සංස්ථාමය සමාජ වගකීම්‍ප්‍රතිපත්ති ඉතා ප්‍රසිද්ධ කළ සමාගමක් වූ අතර ඒ පිළිබඳ වාර්තාකරණයේද ප්‍රමුඛයෙකු විය. නමුත් 2004 වසරේදී එහි තෙල් සංචිත පිළිබඳ සාවද්‍ය වාර්තා කිරීම හේතුවෙන් දැඩි හෙළා දැකීමකට පාත්‍ර වූ අතර ඒ මගින් එහි කීර්තිනාමයට හානි වූ අතර වංචා සහගත ක්‍රියාවට දඩ නියම විය. මෙය සිදු වූ අවස්ථා‍වේ  සිට ෂෙල් පදනම ලෝකය හරහා විවිධ ව්‍යාපෘතිවලට සම්‍බන්ධ වූ අතර අප්‍රිකාව හරහා මල් හා පළතුරු වගා කරන ප්‍රජාවන් 3 න් එක්සත් රාජධානියේ මාර්ක් හා ස්පෙන්සර් සමාගමට හවුල් වීම ඇතුළත්ය.

මෙම වි‍වේචකයින් සාමාන්‍යයෙන් යෝජනා කරන්නේ සමාගම්‍සමාජීය වගකීමකින් යුතු ආකාරයට කටයුතු කරන්නේදැයි තහවුරු කිරීමට ස්වේච්ඡා පියවරවලට වඩා ආණ්ඩුව ශක්තිමත් වීම, ජාත්‍යන්තර නීති රීති අවශ්‍ය කරන බවයි.

මෙහි අන්තර් ගත අනෙකුත් විශේෂ ආකල්ප / අදහස්

	හොඳින් නීති රීති නොපවතින රටවල සමාගම්‍ඇත්තෙන්ම සේවකයින්ගේ සුභසාධනයට, පරිසරයට එතරම්‍සැලකිල්ලක් නොදක්වන අතර සේවකයින් දැඩි ලෙස වැඩෙහි යොදවමින් අඩු වැටුපට නිෂ්පාදන කටයුතු කරන ආයතනවලට ඊට අවස්ථාව ලැ‍ෙබ්.

	සමාගම්‍ඔවුන් ලබන බලපෑම සඳහා වන මුළු පිරිවැය නොගෙවයි. උදාහරණයක් ලෙසට පිරරිසිදු කිරීම්‍වැය සාමාන්‍යයෙන් සමාජය මත පැට‍වේ. මෙහි ප්‍රතිඵලයක් ලෙස සමාජ, පාරිසරික සුභසාධක වියදමෙන් සමාග‍ෙම් ලාභ ද වැඩි වේ.

References
http://en.wikipedia.org/wiki/Corporate_social_responsibility

ආයතනික සමාජ වගකීම


Ex quo Ecclesiam es una encíclica del Papa Pío VII publicada el 24 de mayo de 1800, en la que el pontífice concede una indulgencia plenaria a todos los fieles por dos semanas y la remisión de los pecados de quienes habían hecho determinadas prácticas de piedad.

En dicho documento, el Papa expresa que, debido a la agitación política y de armas por la que pasaba Europa, no había sido posible realizar el Jubileo del año 1800, época por cierto idónea no solo por el cambio de siglo, sino que también por los efectos de fascinación y fervor religioso que dicha fecha incitaba en los fieles; en efecto, no fue posible anunciar la vigilia de Navidad en 1799 debido principalmente a que la Santa Sede se encontraba vacante luego de la muerte de Pío VI, quien se encontraba exiliado en Francia por orden de Napoleón.

Referencias

Encíclicas de Pío VII
Iglesia católica en 1800
Indulgencia

Ex quo Ecclesiam


Pasqualino ist ein männlicher und weiblicher Vorname und Familienname.

Herkunft und Bedeutung
Der Name ist eine Variante des Namens Pascal, siehe dort zu Varianten und Etymologie.

Varianten
 Pasquale
 Pasqualini

Bekannte Namensträger

Familienname
 Luke Pasqualino (* 1990), englischer Schauspieler

Vorname
 Pasquale Bini (1716–1770), italienischer Geiger und Komponist
 Pasqualino De Santis (1927–1996), italienischer Kameramann
 Pasqualino Cangiullo (1900–1975), italienischer Schauspieler
 Pasqualino Brignoli (1824–1884), italienischer Operntenor
 Pasqualino Antonio LaBianca (1925–1969), US-amerikanischer Besitzer einer Supermarktkette
 Pasqualino Pat Cortina (* 1964), kanadischer Eishockeytrainer
 Pasqualino Del Fra (1929–1997) italienischer Dokumentarfilmer

Zwischenname
 Giuseppina Pasqualino di Marineo (1974–2008), italienische Aktionskünstlerin

Männlicher Vorname
Weiblicher Vorname
Familienname

Pasqualino


An Carex wui in uska species han Liliopsida nga ginhulagway ni W.M.Chu ngan Lun Kai Dai. An Carex wui in nahilalakip ha genus nga Carex, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Carex

Carex wui


The Valerianaceae Batsch, the valerian family, was a family of flowering plants that is now considered part of the Caprifoliaceae. Plants are generally herbaceous, and their foliage often has a strong, disagreeable odor. They are found native in most regions of the world except for Australia. Some species are cultivated as ornamentals or used in herbal medicine for inducing relaxation and sleep.

The genera that were placed in this family, along with some species, include:

 Centranthus
 C. ruber (red valerian, spur valerian or red spur valerian)

 Fedia
 F. cornucopiae (African valerian, horn of plenty)

 Nardostachys
 N. jatamansi (Spikenard)
 N. chinensis

 Patrinia
 Plectritis
 Valeriana
 V. dioica (marsh valerian)
 V. officinalis (garden valerian)

 Valerianella
 V. locusta (corn salad, lamb's lettuce)

References

Bell, C. D. 2004. Valerianaceae. The Tree of Life Web Project.
Bell, C. D. 2004. Preliminary phylogeny of Valerianaceae (Dipsacales) based on nuclear and chloroplast DNA sequence data. Molecular Phylogenetics & Evolution 31:340-350.
Jepson Manual Treatment for Valerianaceae Jepson Online Interchange, Jepson Flora Project.

Dipsacales
Historically recognized angiosperm families

Valerianaceae


දිශීෂ්වර් ශිව දේවාලය පිහිටියේ භුබනේස්වර්හි ය. මෙහි වන්දනාවට පාත්‍ර වන ප්‍රධාන දේවතාවා වන ශිව ලිංගය ගර්භගෘහයෙහි ස්ථාපිත වෘත්තාකාර යෝනි පීඨයක් මත තැන්පත් කොට ඇත.

විස්තරය
15වන සියවසේ දී පෞද්ගලික හිමිකරීත්වයක් යටතේ පැවති මෙම දේවාලය පිහිටා තිබුණේ නැගෙනහිරින්, බටහිරින් සහ දකුණින් පෞද්ගලික නිවහන්වලින් වටවූ පෞද්ගලික ඉඩමක ය. එයට උතුරින් මාර්ගය පිහිටා ඇත.

මෙහි ගොඩනැගීම් මාධ්‍යය ලෙස ලැටරයිට් යොදාගෙන ඇති අතර, වියළි පෙදරේරු ක්‍රම ශිල්පය සමග කාලිංග ශෛලියෙන් යුතු මෙය නිර්මානය කොට ඇත.

වර්තමාන තත්ත්වය
මෙම දේවාලය වර්තමානයේ ජරාවාස වූ තත්ත්වයෙන් පවතියි. උපරිව්‍යූහය සහ අවට ප්‍රදේශය වටා ශාක ගහනය එයට හේතුවයි. මෙහි පියස්සේ පිපිරීම් ද දැකගත හැක. X සහXI මූල්‍ය කොමිසමේ ප්‍රදානයන් අනුව ප්‍රාන්ත පුරාවිද්‍යා දෙපාර්තමේන්තුව විසින් මෙහි අලුත්වැඩියා කටයුතු සිදුකොට ඇත.

මේවාත් බලන්න
 භුබනේස්වර්හි දේවාල ලැයිස්තුව

ආශ්‍රේයයන්

ඔඩිෂාවේ ශිව දේවාල
භුබනේස්වර්හි හින්දු දේවාල
15වන සියවසේ හින්දු දේවාල

දිශීෂ්වර ශිව දේවාලය


حسن الإمام (6 مارس 1919 - 29 يناير 1988) هو مخرج مصري شهير راحل حاصل على جوائز مصرية وعالمية. رصيده في الإخراج السينمائي يصل إلى مئة واثنين فيلم. وهو يُعتبر من أهم مخرجي السينما المصرية طوال تاريخها. لُقِب بألقاب كثيرة نظرًا لنجاحاته الكبيرة في السينما المصرية منها مخرج الروائع وصانع النجوم. تم اختيار ثلاثة من أفلامه في قائمة أفضل مئة فيلم في تاريخ السينما المصرية.

الحياة المبكرة
ولد حسن الإمام في 6 مارس عام 1919 بمدينة المنصورة، وكان أبوه يعمل بالتجارة. كان حسن الإمام مثابراً ومنفتحا ومهتماً بالأحداث العامة، وخاصة بالأحداث الفنية المسرحية، بسبب انتشار المسارح في ذلك الوقت، وعدم انتشار السينما بالشكل الواسع. وكان محبا أيضا للموسيقى.

توفي والده، إثر صدمة أزمة جعلته يخسر كل ما جمع من ثروة، وكان حسن الإمام في سن السابعة عشر ذلك الوقت، فلم تكن حياته سهلة وكان في المرحلة الثانوية في ذلك الوقت وتلقّى تعليمه في مدرسة الفرير بالخرنفش.

قرر بعد ذلك دخول مجال الفن برغم عدم امتلاكه إلا موهبة الكتابة وإتقان اللغتين، الفرنسية والإنجليزية. بدأ حياته الفنية كمترجم للنصوص والمونولوجات المسرحية التي كان يدرسها بالفرنسية للمؤلف موريس شيفالييه. وكان مثله الأعلى يوسف وهبي.

اتخذه يوسف وهبي حسن الإمام مساعداً مثقفاً، بسبب إجادته اللغتين الفرنسية والإنجليزية، وعدم تكبره ورفضه للقيام بالأعمال البسيطة ثم اتجه للسينما، وعرفه بأمره كل المخرجين الكبار مثل المخرج أحمد بدرخان ونيازي مصطفى وهنري بركات (الشهير ببركات).

قرر في عام 1947 أن يخوض أول تجربة إخراج سينيمائية بإخراجه فيلم ملائكة في جهنم.

الحياة الفنية
بدأ حسن الإمام حياته الفنية في أربعينيات القرن الماضي، وعمل مساعد مخرج في عدد من الأفلام مثل «شارع محمد علي»، و«حسن وحسن»، و«الآنسة بوسة». جاءته الفرصة الأولي في الإخراج عام 1946 مع أول أفلامه «ملائكة في جهنم»، و في العام الثاني أخرج أفلام «الستات عفاريت»، و«الصيت ولا الغنى» لتأتي انطلاقته الحقيقية في بداية خمسينات القرن الماضي مع فيلم «اليتيمتين» ثم أفلام «ظلمونى الناس»، و«أنا بنت ناس»، و«زمن العجائب»، و«لن أبكي أبدا».

حققت أفلامه إيرادات خيالية جعلته يستحق أن يكون مخرج الروائع في السينما المصرية. وفي ستينات القرن الماضي قدم أفلام «الخطايا»، و«زقاق المدق»، والثلاثية الخالدة للكاتب نجيب محفوظ: «بين القصرين – قصر الشوق – السكرية»، كما قدَّم: «حب حتي العبادة»، و«إني أتهم»، و«مال ونساء»، و«الخرساء»، و«التلميذة»، و«المعجزة»، و«شفيقة القبطية»، و«الراهبة» وغيرها من الأفلام. وفى سبعينيات القرن الماضي قدَّم الإمام «حب وكبرياء»، وتخلي قليلاً عن أفلام الميلودراما ليقدم ألواناً أخرى. بعد النجاح المدوى لفيلمه «خلى بالك من زوزو» واستمراره في دور العرض لما يقرب من عام، غلب على أفلامه الطابع الغنائى والاستعراضى في تلك الفترة. قدَّم الإمام تجارب مشابهة في أفلام مثل: «حكايتى مع الزمان»، و«أميرة حبى أنا» وغيرها من الأفلام.

أخرج الإمام عمل تلفزيوني واحد هو مسلسل «صاحب الجلالة الحب»، وأخرج للإذاعة مسلسلا عن حياة «بديعة مصابني». وأخرج للمسرح مسرحية واحدة لفرقة نجيب الريحانى بعنوان «يا حلوة ما تلعبيش بالكبريت». انفرد وتميز أسلوب حسن الإمام عن غيره من أبناء جيله وقدم في ثمانينيات القرن الماضي: «عصر الحب» للكاتب نجيب محفوظ، وكان آخر أفلامه عام 1986 هو «بكرة أحلى من النهاردة».

الحياة الشخصية
تزوج حسن الإمام من السيدة نعمت الحديدي ولديه منها حسين الإمام ومودي الإمام وزينب الإمام صحفية بجريدة الأهرام.

الأفلام

روابط خارجية

مصادر

 جريدة الرياض اليومية.

أشخاص من المنصورة (مصر)
مخرجون سينمائيون مصريون
مواليد 1337 هـ
مواليد 1919
وفيات 1408 هـ
وفيات 1988

حسن الإمام


Visäte (nórdico antiguo: Víseti o Véseti) fue un vikingo de Uppland, Suecia conocido como maestro grabador de runas (erilaz) y activo a finales del .

A diferencia de otras regiones de Europa durante la Alta Edad Media, muchos escandinavos probablemente sabían leer y escribir, bien sobre hueso o madera. Visäte es conocido por su trabajo en estilo Urnes Pr3 y Pr4.  El estilo Urnes es la última fase de los estilos de zoomórfica decoración vikinga que se desarrolló durante la segunda parte del  y el comienzo del .

La piedra rúnica de Granby (U 337), la más extensa en escritura rúnica tiene la firma grabada de Visäte. Han sobrevivido otras piedras rúnicas firmadas por el mismo autor, como U 74 en Husby, U 208 en Råcksta, U 236 en Lindö, U 454 en Kumla, U 669 en Kålsta, U 862 en Säva y U Fv1946;258 en Fällbro. Rundata también le atribuye otra veintena de obras basándose en el análisis de estilo.

Galería

Referencias

Arte vikingo
Vikingos de Suecia

Visäte


Der Architekturpreis des Landes Burgenland wird alle zwei Jahre im Burgenland vergeben.

Preisträger

2002
Jury: Friedrich Achleitner, Hans Gangoly, Roland Gnaiger, Anna Popelka, Rudolf Szedenik

Preisträger:
 Feller/Vendl Architekten: Rathaus Eisenstadt
 pool Architektur ZT GmbH: Haus s32, Hornstein
 Johannes Spalt: Ausstellungspavillon Wander Bertoni, Winden am See
 Georg W. Reinberg: Inselwelt Jois
Auszeichnungen:
 Adolf Krischanitz mit Mitarbeiter Markus Grob und Mark Gilbert: Haus Sperl, Zurndorf-Friedrichshof
 Sepp Müller: Technologiezentrum Eisenstadt
 HOLODECK.at: Einfamilienhaus benthouse, Großhöflein
 Albert Weber: EMTS-Betriebsgebäude, Parndorf
 gerner gerner plus: "zuck" Bürozubau, Oberpullendorf
 Peter Schneeweis: Haus K., Unterpullendorf
 Pichler und Traupmann Architekten: Glaserei Ebner, Güssing

2004
Preisträger:
 Riepl Riepl Architekten: Fachhochschulstudiengänge Bgld GmbH, Eisenstadt
 lichtblau.wagner architekten: Pfarrzentrum Podersdorf
 Hans Gangoly: Grenzüberschreitendes Dialektinstitut Oberschützen
Auszeichnungen:
 X-plan architecture-design: Haus K, Neufeld
 LC 4: Sozialzentrum Pöttsching
 STADTGUT: Wochenendhaus "week ends in wood", Hornstein
 S+ Architekturbüro: Bundesleistungszentrum Segeln/Surfen, Neusiedl/See
 Dietmar Gasser: Weinarchiv Bildein

2006
Preisträger:
 Pichler und Traupmann Architekten: Esterhazy Büros, Eisenstadt
 Fritz Brandlhofer: Wohn- und Geschäftshaus, Eisenstadt
 Loudon und Habeler: EFH Schneeberger, Schneeberger
 ARTEC Architekten: Haus B-B und Haus S, Bocksdorf
Auszeichnungen:
 Otmar Hasler: Weingut Renner, Gols
 Halbritter u. Halbritter, Halbritter u. Hillerbrand: Seerestaurant Mole West
 Fritz Brandlhofer: Reihenhausanlage, Eisenstadt
 PUPUR.ARCHITEKTUR: Haus Job (Marienapotheke), Eisenstadt
 Pichler und Traupmann Architekten: Weingut Schützenhof, Deutsch-Schützen

2008
Preisträger:
 Wolfgang Feyferlik & Susanne Fritzer: Ordination, Mattersburg
 ATELIER KEMPE THILL architects and planers: Franz Liszt Konzerthaus, Raiding
 Dietmar Gasser: Weingut Pfneisl, Klein Mutschen
Auszeichnungen:
 PPAG architects ztgmbh, Anna Popelka, Georg Poduschka: Haus PA 1, Zurndorf-Friedrichshof
 Architekten Halbritter & Hillerbrand: Kindergarten Zemendorf
 Architekturbüro AllesWirdGut: Revitalisierung Schloss Lackenbach; Büro für Landschaftsgestaltung 3 : 0 - Freiraumgestaltung des Schlosshofes
 wgdrei (Maida Coric, Albert Erjavec, Christian Reschreiter, Katharina Volger, Andreas Jaklin, Matthias Gumhalter): minimal housing - deLux, Kukmirn

2010
Preisträger:
 Klaus-Jürgen Bauer mit Peter Baldinger: Café Maskaron im Schloss Esterházy
 gaupenraub +/- (Alexander Hagner, Ulrike Schartner): Eiermuseum Wander Bertoni
 polar÷ (Margot Fürtsch-Loos, Siegfried Loos): Wohnbauprojekt Wulkaprodersdorf
Auszeichnungen:
 Architects Collective (Kurt Sattler, Richard Klinger, Andreas Frauscher): Obstbau Leeb
 pointner | pointner (Helmut Pointner, Herbert Pointner): Haus Putz
 Loudon & Habeler (Michael Loudon, Josef Habeler): Haus S.
 Halbritter & Hillerbrand (Herbert Halbritter, Heidemarie Hillerbrand): Kindergarten Kalvarienberg

2012
Jury: Friedrich Achleitner, Gerhard Steixner, Margot Fürtsch-Loos, Otmar Hasler, Hannes Klein

Preisträger:
 propeller z: Weingut Heinrich, Gols
 Looping Architecture: Forum Limbach
Auszeichnungen:
 gerner°gerner plus: pöt - Einfamilienhaus Zubau, Pöttelsdorf
 Martin Mostböck: My Cousins House, Oberpullendorf
 Adolf Krischanitz: Atelierhaus - Wirtschaftsgebäude Sperl, Zurndorf
 ARGE Solid architecture und k2architecture.at: BRG Neusiedl am See

2014
Preisträger:
 m2architekten: Umbau und Dachgeschossausbau EFH in Markt St. Martin
 Claudia Wimberger, Christian Schremmer, 3:0 Landschaftsarchitektur: Patchwork - Garten und Haus in Deutschkreutz
 Irmgard Frank: Studio B/F, Jennersdorf
 heri&salli: Office off! Bürogebäude, Steinberg-Dörfl

2016
Preisträger:
 Purpur Architektur: Streckhof, Klingenbach
 Doris Dockner: Kirche von Neuhaus in der Wart
 Henke Schreieck Architekten: Einfamilienhaus, Buchschachen

2020
Preisträger:
 Architekt Juri Troy: den Streckhof mit Schnapsbrennerei, Weingraben
 Solid Architecture (Christina Horner, Christoph Hinterleitner, Tibor Tarcay): Sport- und Kulturhalle Neutal
 Architekten Anna Wickenhauser und Dietmar Gasser in Kooperation mit Albert Kirchengast und Karl Schreiner: Neugestaltung des Hauptplatzes und Rochusplatzes, Stadtschlaining

Weblinks
 Architekturpreis des Landes Burgenland

Einzelnachweise

Architekturpreis (Österreich)
Auszeichnung (Burgenland)
Kultur (Burgenland)
Erstverleihung 2002

Architekturpreis des Landes Burgenland


Christopher Rebrassé (født den 2. oktober 1985 i Colombes i Frankrig) er en fransk professionel bokser, der havde den Europæiske supermellemvægttitel i 2014.

Professionel karriere
Rebrassé fik sin professionelle debut den 25. november 2006 mod Arnold Gond, som også debuterede. Deres kamp sluttede uafgjort efter fire omgange. I sin tredje kamp, den 23. marts 2007, tabte Rebrassé på point til Jean Marc Ismael efter seks omgange. Rebrassé forblev ubesejret i sine næste femten kampe indtil den 12. marts 2011, da han tabte en kamp over 10 omgange med enstemmig afgørelse [UD] til Rachid Jkitou. Dette blev efterfølgende til en sejr i en kamp over seks omgange mod Parfait Tindani den 15. april.

Den 23. november 2012 vandt Rebrassé sit første store regionale mesterskab - den ledige European Union supermellemvægtstitel ved at besejre Andrea Di Luisa via teknisk knockout i 7. omgang. I sin næste kamp, den 8. juni 2013, udfordrede Rebrassé om den ledige europæiske supermellemvægtstitel, men hans kamp mod Mouhamed Ali Ndiaye sluttede i en kontroversiel uafgjort. I deres EBU rematch den 22. marts 2014 vandt Rebrassé ovennævnte titel ved at stoppe Ndiaye i 4. omgang.

I sit første forsvar af titlen, den 20. september 2014, tabte Rebrassé en enstemmig afgørelse til George Groves på sidstnævntes hjemmebane i Storbritannien.

Den ledige WBC Silver supermellemvægttitel var også på spil. Rebrassé rejste til Storbritannien igen den 26. juni 2015, denne gang for at møde ubesejrede Callum Smith om en ny chance for at vinde den ledige WBC Silver super-mellemvægtstitel. Smith vandt en massiv enstemmig afgørelse.

Efter dette tabte han på en split decision til Rocky Fielding om den WBC's internationale titel den 2. april i Echo Arena i Liverpool i England og den 11. november 2017 i Frankrig til Hadillah Mohoumadi om den europæiske supermellemvægtstitel.

Referencer

Boksere fra Frankrig

Christopher Rebrassé


Antonia Cósmica Orellana Guarello (Santiago, ), plus connue sous l'hypocoristique  de Toti Orellana, est une journaliste, militante féministe et femme politique chilienne. Elle est
ministre de la Femme et de l'Égalité de genre depuis le .

Elle est également l'une des membres fondatrice du parti Convergence sociale. Elle fait des études de journalisme à l'Université du Chili où elle participe au mouvement étudiant de 2011 au sein d'organisations comme Gauche Libertaire et Mouvement Soleil. Elle est l'une des principales conseillères du président élu, Gabriel Boric.

Le , elle est nommée future ministre de la Femme et de l'Égalité des genres par Gabriel Boric, poste qu'elle occupe à partir du 11 mars 2022.

Biographie

Études et carrière professionnelle
Elle étudie au lycée Tajamar de Providencia et en 2008 commence à étudier le journalisme à l'Université du Chili en se spécialisant en gestion des médias. En 2012 elle fait partie de l'École de Communication Populaire et elle journaliste pour le journal en ligne  et pour le rectorat de l'Université du Chili. En 2015, elle fait partie du projet de la neuvième campagne de prévention du réseau chilien contre la violence envers les femmes intitulée Attention : le sexisme tue !. Elle est présente dans ce réseau jusqu'en 2020.

En 2017 elle est consultante interne du Programme des Nations unies pour le développement.

En 2020, avec Marcela Sandoval, elle remet à la haute commissaire de l'ONU, Dubravka Simunovic, le rapport de suivi sur la violence contre les femmes au Chili pendant la pandémie de Covid-19.

Carrière politique
En 2006, pendant ses études dans le secondaire, elle est représentante de l'assemblée coordinatrice des étudiants du secondaire pour l'équipe de communications du bloc social pour l'éducation.

En 2017, elle fait partie de l'équipe préparant le programme de la candidature présidentielle de Beatriz Sánchez, sur les politiques de genre. Elle milite au sein de diverses organisations comme Gauche Libertaire et le Mouvement Soleil, et en 2019 elle est l'une des fondatrices du parti Convergence Sociale (CS).  Elle est également coordinatrice de la coalition de gauche du Front large (FA) pour l'initiative de loi pour la parité du processus constituant en 2020 et la coordinatrice de l'articulation de femmes d'opposition et de la campagne « Unies pour  l'Approbation » 2020.

En 2020 elle est candidate à la Convention Constitutionnelle pour le district  au sein de la coalition Approbation dignité, mais n'est pas élue. Après l'élection, elle devient coordinatrice de genre dans l'équipe de campagne présidentielle de Gabriel Boric, et l'accompagnant dans différents événements de la campagne.

Le 21 janvier 2022, le président élu Gabriel Boric a annoncé qu'elle sera la future ministre de la Femme et de l'Égalité des genres.

Historique Électoral

Élections constituantes chiliennes de 2021

 Élections constituantes chiliennes de 2021, district 10 (La Granja (Chili), Macul, Ñuñoa, Providencia (Chili), San Joaquín et Santiago)

Références

Féministe chilienne
Étudiant de l'université du Chili
Journaliste chilien
Naissance en décembre 1989
Ministre chilienne
Ministre chilien des Femmes
Ministre du gouvernement Boric

Antonia Orellana


Biyotit (K(Mg, Fe)3AlSi3O10(F, OH)2), mika ailesinin koyu renkli demirce zengin üyesidir. Diğer mikalar gibi levha yapısına sahiptir. Biyotit siyah parlak görünüşe sahiptir, bu onu diğer ferromagnezyen minerallerden ayırmaya yardım eder. Hornblend gibi biyotit de granit gibi kıtasal kayaçların bileşenidir.Biyotit 1998 yılına kadar mineral parçası olarak görülmüş fakat 1998 yılında Uluslararası Mineral Birliği tarafından mineral grubu olarak adlandırılmıştır. Biyotit terimi hala arazide bulunup analiz edilmemiş koyu renkli mika parçalarını tanımlamada kullanılmaktadır.Biyotit ismi 1847 yılında Fransız fizikçi Jean Baptiste Biot'un anısına ve yaptığı çalışmalara ithafen J.F.L Hausmann tarafından verilmiştir.Biyotit grubun üyeleri levha silikat minerallerdir. Demir,magnezyum,silikon,alüminyum,oksijen,ve hidrojen elementleri bir araya gelerek potasyum iyon bağlarıyla birbirlerine zayıf bir şekilde bağlanırlar. "Demir Mika" terimi bazen demir yönünden zengin biyotitler için kullanılır bazı durumlarda dolgun mika yapılı hematitlerde de kullanılır. Biyotit bazı durumlarda "Siyah Mika" olarak da adlandırılır.

Optik özellikleri
İnce kesitte biyotit, değişik yönlerden bakıldığı zaman farklı renkler taşıma özelliği gösterir orta ve kuvvetli pleokroizm ile orta derecede rahatlama ve koyu yeşilimsi kahverengi veya kahverengi renk gözükür.Biyotit, derin iç rengi ile kısmen maskelenebilen yüksek çift kırılığa sahiptir.Çapraz polarize ışık altında biyotit, bölünme hatlarına yaklaşık olarak paralel sönme sergiler ve karakteristik kuş gözü sönme özelliğine sahip olabilir, ince bölümün taşlanması sırasında mineralin esnek lamellerinin bozulmasından kaynaklanan benekli bir görünüm içerir.İnce kesitte biyotitin bazal kesitleri tipik olarak yaklaşık altıgen şeklindedir ve genellikle çapraz polarize ışık altında eş yönlü görünür<.

 Renk: İnce kesitte çok belirgin kahverengi, içeriğindeki titanyum ve demir miktarına bağlı olarak, kırmızımsı kahverengi, mavimsi veya yeşilimsi kahverengi. Pleokroyik değildir.
 Şekil: Levhamsı.
 Dilinim: Çok iyi gelişmiştir Dilinim izlerine göre paralel sönme gösterir.
 Sönme Açısı: Zaman zaman iki,üç veya 5 derecelik eğik sönme gösterir.
 Çift Kırma: Üçüncü diznin başından dördüncü dizinin sonuna dek değişen çift kırma renkleri (Güçlü çok güçlü çift kırma)
 Bozunma: Gözlenir

Diğer özellikleri
Diğer mika mineralleri gibi biyotit de son derece mükemmel bir bazal bölünmeye sahiptir. Ve kolayca dökülebilen esnek tabakalardan veya lamellerden oluşur.Açık bir bazal pinacoid sonlandırmalı prizma biçiminde olan kristallere sahip bir monoklinik kristal sistemine sahiptir.

Bir  kristal oluşturmak için dört prizma yüzü ve iki pinacoid yüzü vardır. Bölünme ve tabakalar nedeniyle kolayca görülmese de kırık ve düzensizdir.

Yeşilimsi kahverengiye veya siyaha ve hatta yıprandığında sarı renkli görünür.Şeffaf ya da opak olabilir, camsı veya inci parlaklığına ve gri-beyaz bir çizgiye sahiptirler.

Biyotit kristalleri büyük parçalarda bulunduğunda, bunlara "kitap" denir, çünkü birçok sayfalık kitaplara benzerler. Biyotitin rengi genellikle siyahtır ve mineral sertliği 2.5-3 ölçeği sertliğine sahiptir.Biyotit hem asit hem de alkali sulu çözeltilerde çözünür, düşük pH'da en yüksek çözünme oranlarına sahiptir.Bununla birlikte, biyotit çözünmesi, bazal yüzeylere göre 45 ila 132 kat daha hızlı reaksiyon gösteren kristal kenar yüzeyleri ile oldukça anizotropiktir.

Oluşumu
Biyotit grubun üyeleri,çeşitli magmatik ve metamorfik kayaçlarda bulunur. Örneğin, İtalya'da bulunan Vezüv Yanardağı'nın lavaları biyotit içermektedir. Granitte bulunan biyotitte volkanik eşi olan riyolitten daha az magnezyum bulunur. Biyotitler bazı lamprafitlerde gerekli bir fenokristaldir. Biyotitler bazen büyük bölünebilir kristallerde özellikle pegmatit yataklarında bulunur. Biyotitler bazen,ortak değişiklik değerlerine sahip olan kloritlerle birlikte bulunur. Biyotitler baskı ve ısıya dayanıklılardır. Kayıtlara geçen en büyük biyotit oluşumu 7 metrekare ile Iveland,Norveç'te bulunmuştur.

Kullanımı
Biyotit, kayaçların yaşlarını potasyum-argon tarihleme veya argon-argon tarihleme ile sınırlamak için yaygın olarak kullanılmaktadır . Çünkü , argon , yüksek sıcaklıklarda, biyotit kristal yapısından kolayca kaçar, bu yöntemler, çok sayıda kayalar minimum yaş sağlayabilir. Biyotit, metamorfik kayaçların sıcaklık geçmişlerini değerlendirmede de yararlıdır, çünkü demir ve magnezyum biyotit ve garnet arasında bölünmesi sıcaklığa duyarlıdır.

Potasyum mineralleri

Biyotit


La Coupe du Kazakhstan 1998-1999 est la  édition de la Coupe du Kazakhstan depuis l'indépendance du pays. Elle prend place du  au .

Cette édition concerne exclusivement les quatorze clubs de la première division 1998.

La compétition est remportée par le Kaysar-Hurricane Kyzylorda qui l'emporte face au Vostok-Altyn Öskemen à l'issue de la finale pour gagner sa première coupe nationale. Ce succès permet au Kaysar-Hurricane de se qualifier pour la Coupe d'Asie des vainqueurs de coupe 1999-2000.

Premier tour
Les matchs aller sont joués entre le 6 et le 29 mai 1998 et les matchs retour entre le 28 mai et le 15 juillet suivant. Le Vostok-Ädil Öskemen et le Naryne Oural sont directement qualifiés pour le tour suivant.

Quarts de finale
Les matchs aller sont joués entre le 28 mai et le 29 juillet 1998 et les matchs retour entre le 24 juillet et le 22 octobre 1998.

Demi-finales
Les matchs aller sont joués le 4 mai et le 6 juin 1999 et les matchs retour le 17 juin et le 12 juillet suivants.

Finale
La finale de cette édition oppose le Kaysar-Hurricane Kyzylorda au Vostok-Altyn Öskemen. Le Kaysar-Hurricane dispute à cette occasion sa deuxième finale de coupe, s'étant incliné lors de l'édition 1992 et l'édition précédente. Le Vostok-Altyn atteint quant à lui ce stade pour la troisième fois, l'ayant emporté en 1994 mais restant sur une défaite lors de la saison 1996-1997.

La rencontre est disputée le 16 juillet 1999 au stade central d'Almaty. Après une première mi-temps vierge, l'ouverture du score intervient finalement à la  de jeu lorsque Marat Esmuratov donne l'avantage au Kaysar-Hurricane. Le Vostok-Altyn réagît cependant moins de deux minutes plus tard par l'intermédiaire d'Aleksandr Antropov qui remet les deux équipes à égalité. Aucun autre but n'est inscrit par la suite, que ce soit dans le temps réglementaire ou au cours de la prolongation qui s'ensuit, poussant les protagonistes à se départager lors de la séance des tirs au but. Celle-ci tourne à l'avantage du Kaysar-Hurricane qui l'emporte sur le score de 2-0, l'ensemble des tireurs du Vostok-Altyn ratant leurs tirs respectifs pour permettre aux Kyzylordiens de décrocher leur première coupe nationale.

Notes et références

Liens externes
  Site officiel
  Coupe du Kazakhstan 1998-1999 sur le site de la RSSSF

1998-1999
Sport au Kazakhstan en 1998
Sport au Kazakhstan en 1999
Kazakhstan

Coupe du Kazakhstan de football 1998-1999