La Dolce Vita (; Italian for "the sweet life" or "the good life") is a 1960 satirical comedy-drama film directed and co-written (with Ennio Flaiano, Tullio Pinelli and Brunello Rondi) by Federico Fellini. The film stars Marcello Mastroianni as Marcello Rubini, a tabloid journalist who, over seven days and nights, journeys through the "sweet life" of Rome in a fruitless search for love and happiness. The screenplay, written by Fellini and three other screenwriters, can be divided into a prologue, seven major episodes interrupted by an intermezzo, and an epilogue, according to the most common interpretation.

Released in Italy on 5 February 1960, La Dolce Vita was both a critical success and worldwide commercial hit, despite censorship in some regions. It won the Palme d'Or at the 1960 Cannes Film Festival and the Academy Award for Best Costumes. It was nominated for three more Oscars, including Best Director for Federico Fellini, and Best Original Screenplay. Its success proved a watershed moment for Italian cinema and European cinema-at-large, and it has come to be regarded as a masterpiece of Italian cinema and one of the greatest films of all time.

In 2008, the film was included on the Italian Ministry of Cultural Heritage's 100 Italian films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978."

Plot

Prologue
1st Day Sequence: A helicopter transports a statue of Christ over an ancient Roman aqueduct outside Rome while a second, Marcello Rubini's news helicopter, follows it into the city. The news helicopter is momentarily sidetracked by a group of bikini-clad women sunbathing on the rooftop of a high-rise apartment building. Hovering above, Marcello uses gestures to elicit phone numbers from them but fails in his attempt. He then shrugs and continues following the statue to Saint Peter's Square.

Episode 1
1st Night Sequence: Marcello meets Maddalena by chance in an exclusive nightclub. A beautiful and wealthy heiress, Maddalena is tired of Rome, while Marcello finds it suits him. They make love in the bedroom of a prostitute whom they had given a ride home in Maddalena's Cadillac.

1st Dawn Sequence: Marcello returns to his apartment to find that his fiancée, Emma, has overdosed. On the way to the hospital, he declares his everlasting love to her and again as she lies in a semiconscious state in the emergency room. While waiting frantically for her recovery, however, he tries to make a phone call to Maddalena.

Episode 2
2nd Day Sequence: That day, he goes on assignment for the arrival of Sylvia, a famous Swedish-American actress, at Ciampino airport where she is met by a horde of news reporters.

During Sylvia's press conference, Marcello calls home to ensure Emma has taken her medication while reassuring her that he is not alone with Sylvia. After the film star confidently replies to the barrage of journalists' questions, her boyfriend Robert enters the room late and drunk.  Marcello casually recommends to Sylvia's producer that she be taken on a tour of St Peter's.

Inside St Peter's dome, a news reporter complains that Sylvia is "an elevator" because none of them can match her energetic climb up the numerous flights of stairs. Inspired, Marcello maneuvers forward to be alone with her when they finally reach the balcony overlooking St. Peter's Square.

2nd Night Sequence: That evening, the infatuated Marcello dances with Sylvia in the Baths of Caracalla. Sylvia's natural sensuality triggers raucous partying while Robert, her bored fiancé, draws caricatures and reads a newspaper. His humiliating remark to her causes Sylvia to leave the group, eagerly followed by Marcello and his paparazzi colleagues. Finding themselves alone, Marcello and Sylvia spend the rest of the evening in the alleys of Rome, where they wade into the Trevi Fountain.

2nd Dawn Sequence: Like a magic spell that has suddenly been broken, dawn arrives at the very moment Sylvia playfully "anoints" Marcello's head with fountain water. They drive back to Sylvia's hotel to find an enraged Robert waiting for her in his car. Robert slaps Sylvia, orders her to go to bed, and then assaults Marcello, who takes it in stride.

Episode 3
3rd Day Sequence: Marcello meets Steiner, his distinguished intellectual friend, inside a church. Steiner shows off his book of Sanskrit grammar. The two go up to play the organ, offering up a jazz piece for the watching priest before playing Bach.

Episode 4
3rd Day Sequence: Late afternoon, Marcello, his photographer friend Paparazzo, and Emma drive to the outskirts of Rome to cover the story of the purported sighting of the Madonna by two children. Although the Catholic Church is officially skeptical, a huge crowd of devotees and reporters gathers at the site.

3rd Night Sequence: That night, the event is broadcast over Italian radio and television. Emma prays to the Virgin Mary to be given sole possession of Marcello's heart. Blindly following the two children from corner to corner in a downpour, the crowd tears a small tree apart for its branches and leaves said to have sheltered the Madonna.

3rd Dawn Sequence: The gathering ends at dawn with the crowd mourning a sick child, a pilgrim brought by his mother to be healed, but trampled to death in the melee.

Episode 3b
4th Night Sequence: One evening, Marcello and Emma attend a gathering at Steiner's luxurious home, where they are introduced to a group of intellectuals who recite poetry, strum the guitar, offer philosophical ideas, and listen to sounds of nature recorded on tape. The British poet Iris Tree, whose poetry Marcello has read and admired, recommends that Marcello avoid the "prisons" of commitment: "Stay free, available, like me.  Never get married.  Never choose.  Even in love, it's better to be chosen." Emma appears enchanted with Steiner's home and children, telling Marcello that one day he will have a home like Steiner's, but he turns away moodily.

Outside on the terrace, Marcello confesses to Steiner his admiration for all he stands for, but Steiner admits he is torn between the security that a materialistic life affords and his longing for a more spiritual albeit insecure way of life. Steiner philosophizes about the need for love in the world and fears what his children may grow up to face one day.

Intermezzo
5th Day Sequence: Marcello spends the afternoon working on his novel at a seaside restaurant, where he meets Paola, a young waitress from Perugia playing Perez Prado's cha-cha "Patricia" on the jukebox and then humming its tune. He asks her if she has a boyfriend, then describes her as an angel in Umbrian paintings.

Episode 5
5th Night Sequence: Marcello meets his father visiting Rome on the Via Veneto. With Paparazzo, they go to the "Cha-Cha" Club, where Marcello introduces his father to Fanny, a beautiful dancer and one of his past girlfriends (he had promised to get her picture in the paper but failed to do it). Fanny takes a liking to his father. Marcello tells Paparazzo that as a child he had never seen much of his father, who would spend weeks away from home. Fanny invites Marcello's father back to her flat, and two other dancers invite the two younger men to go with them.  Marcello leaves the others when they get to the dancers' neighborhood. Fanny comes out of her house, upset that Marcello's father has become ill.

5th Dawn Sequence: Marcello's father has suffered what seems to be a mild heart attack. Marcello wants him to stay with him in Rome so they can get to know each other, but his father, weakened, wants to go home and gets in a taxi to catch the first train to Cesena. He leaves Marcello forlorn, on the street, watching the taxi leave.

Episode 6
6th Night Sequence: Marcello, Nico, and other friends meet on the Via Veneto and are driven to a castle owned by aristocrats at Bassano di Sutri outside Rome. There is already a party long in progress, and the party-goers are bleary-eyed and intoxicated. By chance, Marcello meets Maddalena again. The two of them explore a suite of ruins annexed to the castle. Maddalena seats Marcello in a vast room and then closets herself in another room connected by an echo chamber. As a disembodied voice, Maddalena asks him to marry her; Marcello professes his love for her, avoiding answering her proposal. Another man kisses and embraces Maddalena, who loses interest in Marcello. He rejoins the group, and eventually spends the night with Jane, a British artist and heiress.

6th Dawn Sequence: Burnt out and bleary-eyed, the group returns at dawn to the main section of the castle, to be met by the matriarch of the castle, who is on her way to mass, accompanied by priests in a procession.

Episode 3c
7th Night Sequence: Marcello and Emma are alone in his sports car on an isolated road. Emma starts an argument by professing her love and tries to get out of the car; Marcello pleads with her not to get out. Emma says that Marcello will never find another woman who loves him the way she does. Marcello becomes enraged, telling her that he cannot live with her smothering, maternal love. He now wants her to get out of the car, but she refuses.  With some violence (a bite from her and a slap from him), he throws her out of the car and drives off, leaving her alone on a deserted road at night. Hours later, Emma hears his car returning as she picks flowers by the roadside. She gets into the car with neither of them saying a word.

7th Dawn Sequence: Marcello and Emma are asleep in bed, tenderly intertwined; Marcello receives a phone call. He rushes to the Steiners' apartment and learns that Steiner has killed his two children and himself.

8th Day Sequence: After waiting with the police for Steiner's wife to return home, he meets her outside to break the terrible news while the paparazzi swarm around her snapping pictures.

Episode 7
8th Night Sequence: An unspecified amount of time later, an older Marcello—now with gray in his hair—and a group of partygoers break into a Fregene beach house owned by Riccardo, a friend of Marcello's. Many of the men are homosexual. Marcello is mocked for abandoning literature and reporting to become a publicity agent. To celebrate her recent divorce from Riccardo, Nadia performs a striptease to Perez Prado's cha-cha "Patricia". Riccardo shows up at the house and tells the partiers to leave. The drunken Marcello attempts to provoke the other partygoers into an orgy. However, their inebriation causes the party to descend into mayhem, with Marcello riding a young woman crawling on her hands and knees and throwing pillow feathers around the room.

Epilogue
8th Dawn Sequence: The party proceeds to the beach at dawn where they find a modern-day leviathan, a bloated, sea ray-like creature, caught in the fishermen's nets. In his stupor, Marcello comments on how its eyes stare even in death.

9th Day Sequence: Paola, the adolescent waitress from the seaside restaurant in Fregene, calls to Marcello from across an estuary, but the words they exchange are lost on the wind, drowned out by the crashing waves. He signals his inability to understand what she is saying or interpret her gestures. He shrugs and returns to the partygoers; one of the women joins him and they hold hands as they walk away from the beach. In a long final close-up, Paola waves to Marcello and then stands watching him with an enigmatic smile.

Cast

 Marcello Mastroianni as Marcello Rubini
 Anita Ekberg as Sylvia Rank
 Anouk Aimée as Maddalena
 Yvonne Furneaux as Emma
 Lex Barker as Robert
 Magali Noël as Fanny
 Alain Cuny as Steiner
 Nadia Gray as Nadia
 Jacques Sernas as Divo
 Laura Betti as Laura
 Walter Santesso as Paparazzo
 Valeria Ciangottini as Paola
 Riccardo Garrone as Riccardo
 Annibale Ninchi as Marcello's father
 Ida Galli as Debutante of the Year
 Audrey McDonald as Jane
 Alain Dijon as Frankie Stout
 Enzo Cerusico as News Photographer
 Giò Stajano as Pierone
 Giulio Questi as Don Giulio Mascalchi
 Sondra Lee as Ballerina
 Dominot as Drag Queen
 Ferdinand Guillaume as Pagliaccio
 Oretta Fiume as Lisa
 Harriet White Medin as Edna
 John Francis Lane as John
 Umberto Orsini as man in Shades
 Archie Savage as Dancer
 Nico as herself
 Adriano Celentano as himself
 Iris Tree as herself
 Desmond O'Grady as himself

Production

Costumes
In various interviews, Fellini said that the film's initial inspiration was the fashionable ladies' sack dress because of what the dress could hide beneath it. Brunello Rondi, Fellini's co-screenwriter and long-time collaborator, confirmed this view explaining that "the fashion of women's sack dresses which possessed that sense of luxurious butterflying out around a body that might be physically beautiful but not morally so; these sack dresses struck Fellini because they rendered a woman very gorgeous who could, instead, be a skeleton of squalor and solitude inside."

Writing
Credit for the creation of Steiner, the intellectual who commits suicide after shooting his two children, goes to co-screenwriter Tullio Pinelli. Having gone to school with Italian novelist Cesare Pavese, Pinelli had closely followed the writer's career and felt that his over-intellectualism had become emotionally sterile, leading to his suicide in a Turin hotel in 1950. This idea of a "burnt-out existence" is carried over to Steiner in the party episode where the sounds of nature are not to be experienced first-hand by himself and his guests but in the virtual world of tape recordings.

The "false miracle" alludes to the 1958 investigation discounting the claims of two children to have been visited by the Madonna in a farm at Maratta Alta, near Terni. The "dead sea monster" alludes to the Montesi affair, in which the dead body of 21 year old Wilma Montesi was discovered on a beach in April 1953.

Casting
La Dolce Vita marks the first collaboration between Fellini and Mastroianni. On November 4, 1977 in an interview on The Dick Cavett Show, Mastroianni recalled their first encounter. According to Mastroianni, Fellini told him that the producer wanted Paul Newman for the lead role, but that Fellini considered Newman too beautiful, while Mastroianni was "the face of normal." Mastroianni, somewhat embarrassed, requested to read the script before agreeing to the role:I said, "Well, ok, I would like to read the script please." He [Fellini] said, "Why not? Ennio, come with the script"...I opened the script and there was nothing written...blank pages...then I saw a sketch of the sea and a man swimming with an enormous...[Mastroianni indicates a large phallus]...and around his element there was a dance of mermaids. I became green, red, yellow. I said, "Well, it seems very interesting...Where do I sign? And that's how I met Fellini."

Filming
Most of the film was shot at the Cinecittà Studios in Rome. Set designer Piero Gherardi created over eighty locations, including the Via Veneto, the dome of Saint Peter's with the staircase leading up to it, and various nightclubs. However, other sequences were shot on location such as the party at the aristocrats' castle filmed in the real Bassano di Sutri palace north of Rome. (Some of the servants, waiters, and guests were played by real aristocrats.) Fellini combined constructed sets with location shots, depending on script requirements—a real location often "gave birth to the modified scene and, consequently, the newly constructed set." The film's last scenes where the monster fish is pulled out of the sea and Marcello waves goodbye to Paola (the teenage "Umbrian angel") were shot on location at Passo Oscuro, a small resort town situated on the Italian coast 30 kilometers from Rome.

Fellini scrapped a major sequence that would have involved the relationship of Marcello with Dolores, an older writer living in a tower, to be played by 1930s Academy Award-winning actress Luise Rainer. If the director's dealings with Rainer "who used to involve Fellini in futile discussion" were problematic, biographer Kezich argues that while rewriting the screenplay, the Dolores character grew "hyperbolic" and Fellini decided to jettison "the entire story line."

The scene in the Trevi Fountain was shot over a week in winter: in March according to the BBC, in late January according to Anita Ekberg. Fellini claimed that Ekberg stood in the cold water in her dress for hours without any trouble while Mastroianni had to wear a wetsuit beneath his clothes - to no avail. It was only after the actor "polished off a bottle of vodka" and "was completely pissed" that Fellini could shoot the scene.

Paparazzo

The character of Paparazzo, the news photographer (Walter Santesso), was inspired by photojournalist Tazio Secchiaroli and is the origin of the word paparazzi, used in many languages to describe intrusive photographers. As to the origin of the character's name itself, Fellini scholar Peter Bondanella argues that although "it is indeed an Italian family name, the word is probably a corruption of the word papataceo, a large and bothersome mosquito. Ennio Flaiano, the film's co-screenwriter and creator of Paparazzo, reports that he took the name from a character in a novel by George Gissing." Gissing's character, Signor Paparazzo, is found in his travel book, By the Ionian Sea (1901).

Themes, motifs and structure
Marcello is a journalist in Rome during the late 1950s who covers tabloid news of movie stars, religious visions and the self-indulgent aristocracy while searching for a more meaningful way of life. Marcello faces the existential struggle of having to choose between two lives, depicted by journalism and literature. Marcello leads a lifestyle of excess, fame and pleasure amongst Rome's thriving popular culture, depicting the confusion and frequency with which Marcello gets distracted by women and power. A more sensitive Marcello aspires to become a writer, of leading an intellectual life amongst the elites, the poets, writers and philosophers of the time. Marcello eventually chooses neither journalism, nor literature. Thematically he opted for the life of excess and popularity by officially becoming a publicity agent.

The theme of the film "is predominantly café society, the diverse and glittery world rebuilt upon the ruins and poverty" of the Italian postwar period. In the opening sequence, a plaster statue of Jesus the Labourer suspended by cables from a helicopter, flies past the ruins of an ancient Roman aqueduct. The statue is being taken to the Pope at the Vatican. Journalist Marcello and a photographer named Paparazzo follow in a second helicopter. The symbolism of Jesus, arms outstretched as if blessing all of Rome as it flies overhead, is soon replaced by the profane life and neo-modern architecture of the "new" Rome, founded on the economic miracle of the late 1950s. (Much of this was filmed in Cinecittà or in EUR, the Mussolini-style area south of Rome.) The delivery of the statue is the first of many scenes placing religious icons in the midst of characters demonstrating their "modern" morality, influenced by the booming economy and the emerging mass-consumer life.

Seven episodes
The most common interpretation of the film is a mosaic, its parts linked by the protagonist, Marcello Rubini, a journalist. The seven episodes are:

 Marcello's evening with the heiress Maddalena (Anouk Aimée)
 His long, frustrating night with the American actress Sylvia (Anita Ekberg) that ends in the Trevi fountain at dawn
 His reunion with the intellectual Steiner (Alain Cuny) their relationship is divided into three sequences spread over the film: a) the encounter, b) Steiner's party and c) Steiner's tragedy
 The fake miracle
 His father's visit/Steiner's Party
 The aristocrat's party/Steiner's tragedy
 The "orgy" at the beach house

Interrupting the seven episodes is the restaurant sequence with the angelic Paola; they are framed by a prologue (Jesus over Rome) and epilogue (the monster fish) giving the film its innovative and symmetrically symbolic structure. The evocations are: seven deadly sins, seven sacraments, seven virtues, seven days of creation. Other critics disagree, Peter Bondanella argues that "any critic of La Dolce Vita not mesmerized by the magic number seven will find it almost impossible to organize the numerous sequences on a strictly numerological basis".

An aesthetic of disparity
The critic Robert Richardson suggests that the originality of La Dolce Vita lies in a new form of film narrative that mines "an aesthetic of disparity". Abandoning traditional plot and conventional "character development", Fellini and co-screenwriters Ennio Flaiano and Tullio Pinelli forged a cinematic narrative that rejected continuity, unnecessary explanations and narrative logic in favour of seven non-linear encounters between Marcello, a kind of Dantesque Pilgrim and an underworld of 120 characters. The encounters build up a cumulative impression on the viewer that finds resolution in an "overpowering sense of the disparity between what life has been or could be, and what it actually is".

In a device used earlier in his films, Fellini orders the disparate succession of sequences as movements from evening to dawn. Also employed as an ordering device is the image of a downward spiral that Marcello sets in motion when descending the first of several staircases (including ladders) that open and close episodes. The upshot is that the film's aesthetic form, rather than its content, embodies the theme of Rome as a moral wasteland.

Critical reception

Writing for L'Espresso, the Italian novelist Alberto Moravia highlighted the film's variations in tone,

In Filmcritica XI, Italian poet and film director Pier Paolo Pasolini argued that "La Dolce Vita was too important to be discussed as one would normally discuss a film.

Jacques Doniol-Valcroze, film critic and co-founder of Cahiers du cinéma, felt that

The New York Times film critic Bosley Crowther praised Fellini's

Roger Ebert considered La Dolce Vita as Fellini's best film, as well as his favorite film of all, and listed it consistently in his top ten films for the Sight & Sound Greatest Films poll every ten years. Ebert's first review for the film, published in October 1961, was nearly the first film review he wrote, before he began his career as a film critic in 1967. The film was a touchstone for Ebert, as his perspective on the movie and his life evolved over time, summarized in his 1997 Great Movie review:

Kevin Thomas of Los Angeles Times wrote

Praising Fellini's direction he wrote

Review aggregator website Rotten Tomatoes gives the film a 95% approval score based on 81 reviews, with an average rating of 9.10/10. The consensus states: "An epic, breathtakingly stylish cinematic landmark, La Dolce Vita remains riveting in spite of—or perhaps because of—its sprawling length". On Metacritic, the film has a 95/100 rating based on 13 critics, indicating "universal acclaim".

Box office
The film was a big hit in Europe with 13,617,148 admissions in Italy and 2,956,094 admissions in France, for a combined  tickets sold in both countries. The film had the second most admissions for an Italian film behind War and Peace and was one of the top 10 most watched films in Italy.

The film earned $6 million in rentals in the United States and Canada in its original release and was the highest-grossing foreign language film at the US box office. The film was re-released in North America in 1966 by American International Pictures and earned $1.5 million in rentals. The total gross was $19,516,348.

Censorship
Perceived by the Catholic Church as a parody of the second coming of Jesus, the opening scene and the film were condemned by the Vatican newspaper L'Osservatore Romano in 1960. Subject to widespread censorship, the film was banned in Spain, until the death of Franco in 1975. Umberto Tupini, the Minister of Culture of the Tambroni government censored it and other "shameful films". In Portugal, the film took ten years to pass through its censors and be released in the country (this was due to the censorship that the country suffered during the years of Estado Novo).

Awards and recognition
The New York Times described La Dolce Vita as "one of the most widely seen and acclaimed European movies of the 1960s". It was nominated for four Academy Awards, and won one for Best Costume Design: Black-and-White. La Dolce Vita also earned the Palme d'Or (Golden Palm) at the 1960 Cannes Film Festival. The film won best foreign language film award at New York Film Critics Circle awards and National Board of Review awards. It was also nominated for a BAFTA award in best film from any source category.

Entertainment Weekly voted it the 6th Greatest film of all time in 1999. The Village Voice ranked the film at number 112 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. The film was included in "The New York Times Guide to the Best 1,000 Movies Ever Made" in 2002. In 2010, the film was ranked #11 in Empire magazine's "The 100 Best Films of World Cinema". In the British Film Institute's 2002 Sight & Sound polls of the greatest films ever made, La Dolce Vita ranked 24th in critics' poll and 14th in directors' poll. In the 2012 version of the list La Dolce Vita ranked 39th in critics' poll and 37th in directors' poll. In January 2002, the film was voted at No. 28 on the list of the "Top 100 Essential Films of All Time" by the National Society of Film Critics. The film was Voted at No. 59 on the list of "100 Greatest Films" by the prominent French magazine Cahiers du cinéma in 2008. In 2007, the film was ranked at No. 19 by The Guardian's readers poll on the list of "40 greatest foreign films of all time". In 2010, The Guardian ranked the film 23rd in its list of 25 greatest arthouse films. In 2016, The Hollywood Reporter ranked the film 2nd among 69 counted winners of the Palme d'Or to date, concluding "What's eternal is Fellini's melancholy realization that behind modern-day sin, redemption, distraction and the come-hither facade of the sweet life, there lurks only emptiness." The film ranked 10th in BBC's 2018 list of The 100 greatest foreign language films voted by 209 film critics from 43 countries around the world. In 2021 the film was ranked at No. 6 on Time Out magazine's list of The 100 best movies of all time.

In popular culture
 One of the characters, Paparazzo, is the inspiration for the popular metonym "paparazzi", a word for intrusive photojournalists.
Totò, Peppino e... la dolce vita is a 1961 Italian film parodying Fellini's and shot on the same sets.
 In Pietro Germi's Divorce Italian Style (1961), Daniela Rocca chooses to flee the little town with her lover Leopoldo Trieste the night her husband, Marcello Mastroianni, their relatives and neighbors are all at the opening screening of La Dolce Vita. In a packed cinema hall, an ecstatic audience watches Anita Ekberg performing her famous rock'n'roll dance.
 Tributes to Fellini in the "Director's Cut" of Cinema Paradiso (1988) include a helicopter suspending a statue of Jesus over the city and scenes in which the Trevi Fountain is used as a backdrop while Toto, the main character, grows up to be a famous film director.
 The German film Good bye Lenin (2003) also includes a reference to the scene of Jesus suspended over the city of Rome, replacing it with a statue of Lenin being carried over East Berlin after the fall of the Berlin wall.
 The 1964 Bob Dylan song "Motorpsycho Nightmare" contains a reference to the film with the lyrics, "Then in comes his daughter whose name was Rita, she looked like she stepped out of La Dolce Vita."
 In Ettore Scola's movie We All Loved Each Other So Much (1974), the accidental meeting between former lovers Stefania Sandrelli and Nino Manfredi takes place during the filming of the Fontana di Trevi scene with Fellini and Mastroianni acting as themselves.
 In Sofia Coppola's film Lost in Translation (2003), Kelly's interview for LIT resembles Sylvia's interview scenes in La Dolce Vita. Charlotte and Bob later meet in the middle of the night and watch the famous Trevi Fountain sequence while drinking sake. Coppola said, "I saw that movie on TV when I was in Japan. It's not plot-driven, it's about them wandering around. And there was something with the Japanese subtitles and them speaking Italian—it had a truly enchanting quality".
 The Italian film The Great Beauty (2013) features a former writer who wanders through the parties of the Roman high society trying to decide what to do with his life.
 The song "Froot" by Welsh singer Marina and the Diamonds mentions the line "living la dolce vita" as a reference to the film.
 The 2019 Ferrari Roma uses the slogan "la nuova Dolce Vita" as a reference to the film.
The 2003 film Under the Tuscan Sun has a female character wading into the Trevi Fountain to reenact the scene from La Dolce Vita with the landlord of an Italian villa.
 In The Sopranos 2004 episode titled, "Marco Polo", Bobby enters Junior's room to find him watching La Dolce Vita. Junior references the opening scene, in which the statue of Jesus is flown across Rome by helicopter, with the comment: "You could tell it was a dummy!"

Notes

References

Bibliography
 Bondanella, Peter (1978). Federico Fellini: Essays in Criticism. New York: Oxford University Press
 Bondanella, Peter (1992). The Cinema of Federico Fellini. Princeton: Princeton University Press.
 Costantini, Costanzo (ed.)(1994). Fellini on Fellini. London: Faber and Faber.
 Fava, Claudio, and Aldo Vigano (1985). The Films of Federico Fellini. New York: Citadel Press.
 Fellini, Federico (1976). Fellini on Fellini. London: Eyre Methuen.
 —, and Damian Pettigrew (2003). I'm a Born Liar: A Fellini Lexicon. New York: Harry N. Abrams, Inc.
 Kezich, Tullio (2006). Federico Fellini: His Life and Work. New York: Faber and Faber.

Further reading
  Costa, Antonio (2010). Federico Fellini. 'La dolce vita'. Lindau: collana Universale film.
  Fellini, Federico, and Joseph-Marie Lo Duca (1960). La dolce vita. Paris: Jean-Jacques Pauvert Editeur.
 Kezich, Tullio (2005). "Federico Fellini and the Making of 'La Dolce Vita. in Cineaste, Volume 31, no. 1, 2005, pp. 8–14.
  — (1960). 'La Dolce Vita' di Federico Fellini. Bologna: Cappelli editore, collana Fellini Federico: dal soggetto al Film, 1960.
  — (1996). Su 'La Dolce Vita' con Federico Fellini. Venice: Marsilio.
 Ricciardi, Alessia  (2000). "The Spleen of Rome: Mourning Modernism in Fellini's 'La Dolce Vita. in Modernism/Modernity, Volume 7, no. 2, 2000, pp. 201–219.

External links

 La Dolce Vita text  by Roger Ebert.
 La dolce vita: Tuxedos at Dawn an essay by Gary Giddins at the Criterion Collection

1960 films
1960 comedy-drama films
1960s Italian-language films
Censored films
Films about journalists
Films about tabloid journalism
Films directed by Federico Fellini
Films produced by Angelo Rizzoli
Films scored by Nino Rota
Films set in Rome
Films shot in Rome
Films that won the Best Costume Design Academy Award
Films with screenplays by Federico Fellini
French black-and-white films
French comedy-drama films
Italian black-and-white films
Italian comedy-drama films
Murder–suicide in films
Palme d'Or winners
Marian apparitions in film
1960s Italian films
1960s French films

La Dolce Vita


The associate minister of national defence () is a member of the Canadian cabinet who is responsible for various files within the defence department as assigned by the prime minister or defence minister.

The position was created in 1940 during World War II under the War Measures Act along with the creation of a minister of defence for air and a minister of defence for naval services. These positions lapsed with the end of the war. The position of associate minister of defence was recreated in 1953 when the National Defence Act was amended to provide for the appointment in peacetime.

This post remained vacant under Prime Ministers Pierre Trudeau, Joe Clark and John Turner. Brian Mulroney revived the position but it was abolished under Kim Campbell when she decreased the size of the cabinet from 35 to 24 ministers. The post was also not used under Jean Chrétien.

This position reappeared on December 12, 2003, when Paul Martin chose his first cabinet and named Albina Guarnieri as the associate minister of national defence and minister of state for civil preparedness, and the portfolio passed to Mauril Bélanger in a subsequent reshuffle. Stephen Harper did not name anyone to the position until his May 18, 2011 reshuffle, when Julian Fantino was appointed to the portfolio. The position was left vacant by Harper in the July 15, 2013 cabinet shuffle.

Since forming government in 2015, Justin Trudeau has appointed the minister of veterans affairs as associate minister of national defence.

List of associate ministers of national defence

Cadieux and Hellyer were later appointed as minister of national defence.

References

Department of National Defence (Canada)
National Defence, Associate

Associate Minister of National Defence


البشير زرق العيون (1912 - 18 جانفي 1999)، سياسي ومناضل وطني تونسي كان يعد من أقرب المقربين من الرئيس الحبيب بورقيبة. ولد عام 1912 في جربة ميدون واشتغل في التجارة في العاصمة. إنضم إلى المقاومة السرية منذ أواسط الثلاثينات وفي 19 جويلية 1940 حكمت عليه سلطات الحماية بالإعدام شنقا ثم بعد الاستئناف بالأشغال الشاقة مدى الحياة في 9 جانفي 1941. كان بشير زرق العيون المؤسس الرئيسي للجنة المقاومة داخل الحزب الحر الدستوري الجديد كما تزعم منظمة اليد السوداء التي قامت بعدة عمليات مضادة لمنظمة اليد الحمراء الفرنسية. ساهم بعد إمضاء اتفاقيات الاستقلال الداخلي ضمن «لجان اليقظة» صحبة محجوب بن علي وحسن بن عبد العزيز بترجيح الكفة لصالح الزعيم بورقيبة في صراعه ضد صالح بن يوسف رغم القرابة العائلية التي كانت تجمعه مع هذا الأخير. بعد الاستقلال تولى زرق العيون لسنوات طويلة رئاسة المجلس الاستشاري للمقاومين وأنتخب عضوا في مجلس الأمة سنوات 1959، 1964، 1969، 1974 عن دائرة تونس الأولى، كما أصبح عضوا في اللجنة المركزية والديوان السياسي للحزب الاشتراكي الدستوري. لعب عام 1961 دورا هاما إلى جانب وزير الداخلية الطيب المهيري في التخطيط لاغتيال صالح بن يوسف في ألمانيا. كان عام 1970 أحد أعضاء هيئة المحكمة العليا التي حكمت على الوزير السابق أحمد بن صالح ب10 سنوات أشغالا شاقة. رغم عدم توليه لأي حقيبة وزارية كان لزرق العيون وزن في المنظومة البورقيبية يتجاوز صلوحيات المناصب التي أسندت إليه، وكان يعد أحد رجال الخفاء للرئيس الراحل وأحد أعوانه الأكثر وثوقا.

سياسيو الحزب الاشتراكي الدستوري
سياسيو الحزب الحر الدستوري الجديد
مشرعون تونسيون
مواليد 1912
مواليد في جربة
وفيات 1419 هـ
وفيات 1999

البشير زرق العيون


Cel de-al șaptelea sezon al talent show-ului Vocea României a debutat la Pro TV pe 8 septembrie 2017 și a luat sfârșit pe 15 decembrie 2017. Tudor Chirilă, Loredana Groza și Smiley au revenit ca antrenori, iar Adrian Despot l-a înlocuit pe Marius Moga.

Câștigătoarea sezonului a fost Ana Munteanu, din echipa Smiley, aceasta fiind prima ocazie cu care a câștigat un concurent originar din Republica Moldova. De asemenea, la 16 ani, Munteanu a devenit cea mai tânără câștigătoare a competiției.

Preselecții

Înscrierile pentru cel de-al șaptelea sezon au început în decembrie 2016, iar preselecțiile au avut loc în primăvara anului 2017, în următoarele localități:
 18 și 19 februarie 2017 – Hotel IBIS Gara de Nord, București
 21 mai 2017 – Hotel Intercontinental, Iași
 28 mai 2017 – Hotel Golden Tulip Ana Dome, Cluj-Napoca
 4 iunie 2017 – Hotel NH, Timișoara

Preselecțiile au avut rolul de a selecta concurenții care urmau să participe la etapa audițiilor pe nevăzute, filmată la sfârșitul lunii iulie la studiourile Kentauros din Ștefăneștii de Jos.

Particularitățile sezonului

 Există 3 etape: audițiile pe nevăzute, confruntările și spectacolele live.
 La sfârșitul fiecărei audiții, chiar și în cazul în care concurentul nu a mers mai departe, s-au întors toate cele 4 scaune.
 Antrenorii au format echipe de câte 14 concurenți, din care 7 și-au câștigat confruntările.
 Antrenorii au putut fura câte un concurent pierzător la confruntări, astfel că echipele au fost aduse la 8 concurenți. Odată furați, concurenții nu au avut locul asigurat, ci puteau fi înlocuiți în orice moment până la finalul etapei.
 La finalul etapei confruntărilor, nu a avut loc proba cântecului decisiv.
 Nu a existat etapa knockouturilor.
 Fiecare antrenor a avut dreptul de a promova 8 concurenți la etapa spectacolelor live.
 Au existat 5 spectacole live.
 În primele 2 spectacole live, au concurat jumătate din concurenții din fiecare echipă, iar eliminările s-au făcut prin decizia antrenorului, fără o probă suplimentară.
 În semifinală, s-a ales câte un finalist din fiecare echipă, pe baza votului public.

Echipe

Audiții pe nevăzute

Episodul 1 (8 septembrie)
Primul dintre cele șapte episoade cuprinzând audiții pe nevăzute a fost difuzat pe 8 septembrie 2017.

Episodul 2 (10 septembrie)
Al doilea episod a fost difuzat pe 10 septembrie 2017.

Episodul 3 (15 septembrie)
Al treilea episod a fost difuzat pe 15 septembrie 2017.

Episodul 4 (22 septembrie)
Al patrulea episod a fost difuzat pe 22 septembrie 2017.

Episodul 5 (29 septembrie)
Al cincilea episod a fost difuzat pe 29 septembrie 2017.

Episodul 6 (6 octombrie)
Al șaselea episod a fost difuzat pe 6 octombrie 2017.

Episodul 7 (13 octombrie)
Al șaptelea episod a fost difuzat pe 13 octombrie 2017.

Confruntări (20, 27 octombrie; 3, 10 noiembrie)
După audițiile pe nevăzute, fiecare antrenor a avut câte 14 concurenți pentru etapa confruntărilor, care a fost difuzată pe 20 octombrie, 27 octombrie, 3 noiembrie și 10 noiembrie 2017. Antrenorii și-au redus numărul de concurenți la jumătate și au "furat" câte un concurent fiecare din celelalte echipe. Concurenții furați au putut fi schimbați cu alții de mai multe ori până la finalul etapei.

Spectacole live
În urma confruntărilor, au rămas câte 8 concurenți în fiecare echipă. Cei 32 au concurat în spectacolele live, care au început la 17 noiembrie 2017. Pe parcursul acestora, publicul și-a putut vota concurenții preferați prin SMS sau printr-un vot online pe situl oficial al competiției.

Săptămâna 1: primii 32, partea I (17 noiembrie)
Primul spectacol live a avut loc pe 17 noiembrie 2017. În cadrul acestuia, au concurat câte 4 concurenți din fiecare echipă. Regula ediției a fost următoarea: din fiecare echipă se salvează favoritul publicului și încă un concurent ales de antrenor.

Săptămâna 2: primii 32, partea a II-a (24 noiembrie)
Al doilea spectacol live a avut loc pe 24 noiembrie 2017. În cadrul acestuia, au concurat câte 4 concurenți din fiecare echipă. Regula ediției a fost aceeași ca la episodul precedent.

Săptămâna 3: primii 16 (1 decembrie)
Al treilea spectacol live a avut loc pe 1 decembrie 2017. În cadrul acestuia, au participat toți cei 16 concurenți rămași, iar eliminările s-au făcut după aceeași regulă ca în episoadele precedente.

Săptămâna 4: semifinala (8 decembrie)
Semifinala a fost transmisă în direct pe 8 decembrie 2017. În cadrul acesteia, au concurat ultimii 2 concurenți rămași în fiecare echipă, interpretând fiecare câte două piese — una solo și una împreună cu antrenorul și celălalt concurent din echipa lui. Finalista fiecărei echipe a fost aleasă numai de către public.

Săptămâna 5: finala (15 decembrie)
Finala a fost transmisă în direct pe 15 decembrie 2017. Fiecare concurentă a interpretat câte trei piese: una solo, una împreună cu antrenorul și una împreună cu un invitat special. Numai votul publicului a decis care dintre concurentele calificate din semifinală a obținut marele premiu.

Tabelele eliminărilor

Combinat

Pe echipe

Audiențe

Referințe

Vocea României
Sezoane de televiziune din 2017

Vocea României (sezonul 7)


Glisin (kısaltılmışı Gly ya da G) formülü NH2CH2COOH olan apolar bir aminoasittir. Glisin kodonları GGU, GGC, GGA, GGG cf. genetik koddur. Yapısal olarak proteinlerde bulunan 20 aminoasit arasında en basit olanıdır. Yan zinciri sadece bir hidrojen atomundan ibarettir. Glisindeki α-karbon atomu da bir hidrojene bağlı olduğu için, glisin optik olarak aktif değildir, diğer bir deyişle optik izomeri bulunmamaktadır.

Özellikleri
Yan zincirinin olmamasından dolayı iki polipeptid ana zincirinin (veya aynı polipeptid segmentinin) birbirlerina oldukça yakınlaşabilecekleri bölümleri oluştururlar. Ayrıca glisin, diğer amino asitlerden çok daha fazla esnektir, bu sayede ana zincirin hareket ettiği ve hatta kırıldığı bölümlerdir.

Glisin en küçük aminoasit olması nedeniyle diğer aminoasitlerin sığamadığı birçok yere sığabilmektedir. Örnek olarak, kollajen heliksinin içinde aminoasitlerden sadece glisin bulunabilmektedir.

Glisin, evrimsel olarak bazı proteinlerin belli pozisyonlarında sürekli olarak korunmuştur (örnek olarak, sitokrom c, myoglobin ve hemoglobin). Çünkü glisini daha büyük bir aminoasitle değiştiren mutasyonlar bu proteinlerin yapısını tamamen bozmaktadırlar.

Glisin renksiz, tatlımsı kristal bir katıdır. Proteinler genellikle az sayıda glisin yapıtaşı içermektedir. Üçte biri glisinden oluşan kollajen ise bir istisnadır.

Tarihi

Glisin 1820 yılında, Henri Braconnot tarafından jelatinin sülfürik asit içerisinde kaynatılmasıyla keşfedildi.

Ticari Üretimi ve Kullanımı
Glisin endüstriyel olarak kloroasetik asitin amonyakla reaksiyonundan üretilmektedir:
ClCH2COOH + 2 NH3 → H2NCH2COOH + NH4Cl
Yılda yaklaşık 15 milyon kg  glisin bu şekilde üretilmektedir.

Amerika  (GEO Specialty Chemicals, Inc.) ve Japonya (Showa Denko firması)'da, glisin Strecker amino asit sentezi yoluyla üretilmektedir.

Glisinin pKA değeri 2.35 ile 9.78 arasında olur. pH 9.78 üstünde ise glisinin büyük bölümü anyonik amin (H2NCH2CO2-) şeklindedir.   pH 2.35 altında, glisin çözeltisi çoğunlukla katyonik karboksilik asit (H3N+CH2CO2H) içerir.  Glisinin izoelektrik noktası 6.06 dır.

Glisin çözelti halinde zwitter iyon halinde bulunur. Bu halde iken, Gasteiger yük yöntemi kullanılarak belirlenmiş farklı atomlardaki kısmi yükler şu şekilde verilmiştir: N (+0.2358), H (N atomuna bağlı) (+0.1964), alfa-C (+0.001853), H (alfa-C atomuna bağlı) (+0.08799), karbonil C (+0.085) ve karbonil O (-0.5445).

Kimyasal hammadde
Glisin, çeşitli kimyasal ürünlerin sentezinde kullanılan bir ara üründür.  Glifosat etkili maddeli herbisit üretiminde kullanılır. Glifosat, yabancı otları öldürmeye yarayan seçici olmayan sistemik bir herbisittir. Özellikle tohumlu ve çok yıllık ya da kesilmiş ağaçların toprak altında kalan bölümünü kurutmak için bir orman herbisiti olarak kullanılır.  Glifosat, ilk olarak Roundup ticari markası altında Monsanto tarafından satıldı ise de artık patent altında olmadığı için birçok firma tarafından piyasaya sunulmaktadır.

Fizyolojik fonksiyonları
Glisin, merkezi sinir sisteminde, özellikle omurilik, beyin kökü ve retinada olmak üzere inhibitör (sinir iletişimini engelleyici) bir nörotransmiterdir. Nöronlar üzerindeki glisin reseptörleri glisin tarafından uyarıldığında, nöronun içine iyonotropik reseptörler vasıtasıyla Cl- akışı gerçeklesir. Negatif yüklü iyonların nöron içerisinde birikmesi inhibitör postsinaptik potansiyele neden olur. Nöronun uyarılması daha da zorlaşır. Strychnine iyonotropik glisin reseptörleri üzerinde etkili bir antagonisttir.
Glisin insan vücudundaki hücreler tarafından fizyolojik ihtiyaçları karşılayacak miktarda sentezlenebildiği için beslenme yoluyla dışarıdan alımı şart değildir.

Yer aldığı metabolik olaylar
 Safra tuzu sentezi
 Pürin sentezi
 Hippurat sentezi (Sodyum benzoat ile oluşturduğu yapı)
 Sarkozin
(N-metil glisin) sentezi
 Kreatin sentezi
 Porfirin sentezi
 Glutatyon sentezi

Metabolik bozuklukları
Glisinüri Plazma glisin düzeyi normal glisinin yanı sıra prolin ve hidroksiprolinin renal tübüler geri emilimi bozuktur.

Primer hiperoksalüri Glisinin glioksalata oksidasyonunda artış bulunur ve glioksalat katabolizması bozulduğundan oksalata oksidasyon artar.Oksalat taşı, tekrarlayıcı idrar yolu enfeksiyonları, renal yetersizlik, hipertansiyon gözlenir.

Hiperglisinemi Glisin yıkımında yer alan glisin yarılma enzim yapılarındaki hataya bağlı olarak görülen kalıtsal bir hastalıktır. Zeka geriliği ve nöbetler ile tanınır. Propiyonik asidemili hastalarda gözlenir. Non-ketotik hiperglisinemi de denir. Tedavide sodyum benzoat kullanılır.

Kaynakça

Apolar aminoasitler
Nörotransmitterler
Tat arttırıcıları

Glisin


International Exhibition Centre (, , Dansk Det internationale udstillingscenter) i Kyiv er det største udstillingscenter i Ukraine. Beliggende i den vestlige del af Livoberezhna microdistrict, åbnede centeret i oktober 2002, og lederen af centret siden dets opførelse var Anatoly Tkachenko.

Den 9. september 2016 blev International Exhibition Centre udvalgt som værtssted for den 62. Eurovision Song Contest i 2017.

Historie
Idéen bag byggeriet var Viktor Tkachenko, forhenværende direktør for Palace of Sports. Nuværende direktør for centret er den ukrainske arkitekt Yanush Wig, der har designet centret, og Eduard Safronov var leder af konstruktionen.

Arkitektur
Centret kombinerer tre pavilloner i ét enkelt arkitektonisk ensemble med et samlet areal på 58.000 km², hvoraf 28.018 m² er til udstillinger. Komplekset har en kongreshal og fjorten konferencelokaler med en kapacitet på 90-600 pladser, mødelokaler, værelser til opbevaring af værdigenstande og våben, caféer og fast food-restauranter, badeværelser, toiletter og aircondition.

Forbindelser med offentlige transportmidler
Livoberezhna Metro station ( Sviatoshynsko-Brovarska Linje) ligger blot 10 minutters gang fra spillestedets indgang.

Henvisninger

Eksterne links

 Officiel hjemmeside

Bygninger, konstruktioner og anlæg i Kyiv

International Exhibition Centre


Bacak, omurgalılarda alt üyelerin her birine verilen ad.

Hayvanların hareket etmek amacıyla yararlandıkları, çoğunlukla eklemli uzantılara da "bacak" adı verilir ve en yalın biçimi eklembacaklılarda görülür.

Bölümleri
Omurgalıların bacakları, ortada dizkapağının böldüğü iki parçadan oluşur. Kalçadan dize kadar uzanan bölüme "uyluk", dizden ayak bileğine kadar uzanan bölümeyse "baldır" adı verilir. Uyluk iskeletini uyluk kemiği (femur), baldır iskeletiniyse iç yanda bulunan kaval kemiği (tibia) ile dış yanda yer alan kamış/baldır kemiği (fibula) oluşturur. Kaval kemiği de, kamış kemiği de ayak eklemiyle birleşir.

İnsan bacak oranları

İdeal bacak için bazı kas ve kemik çıkıntılarının yumuşak bir şekilde belli olması arzulanır. Bacaklar tüp şeklinde homojen yapılar değildir. Silindirik biçimine rağmen çok sayıda kas ve kemik girinti çıkıntılarına sahiptir.  İdeal bir bacakta baldır çevresi 33–36 cm olmalıdır. Baldır iç yüzü bacak dışına göre daha az kavisli olmalı, bacağın uzunluğu kişinin boyunun dörtte biri kadar olmalı, baldır çevresinin en fazla olduğu yerin ölçüsü bacak uzunluğunu dörtte üçü kadar olmalı, baldır ortasının çevre ölçüsü ise en geniş yerin yaklaşık yarısı kadar olmalıdır. Bacak uzunluğu üst beden uzunluğunun 1.4 katı olması ideal diğer bir orandır.

Hareketi
İnsan dahil bütün memelilerde, bacağın alt ve üst parçalarını birbirinden diz kapağı kemiği (patella) ayırır. Bacağı öne doğru güçlü kalça kası, geriye doğru da bacak kası hareket ettirir. Bacak kasının kirişleri dizin altından, bacağın alt parçasına, aşil kirişi de, baldır kaslarından ayağa kadar uzanır.

Dış bağlantılar

 bacak oranları

Alt ekstremite
Hayvan anatomisi

Bacak


පේමතෝ ජායතී සෝකෝ නාටකය මහචාර්‍ය පන්ඩිත එදිරිවීර සරච්චන්ද්‍රයන් විසින් 1961දි තම ජිවිතයේ සත්‍ය සිතුවිමක් චිත්ත රූපයට ගනිමින්  ධර්මකීර්ති හිමි විසින් රචිත සද්ධර්මලංකාරයේ ස්වර්ණතිලකා  කතා වස්තුව මුලාශය වශයෙන් ගෙන තම බිරිද උපමාවට ගනිමින් ඒ බවයේ රචනා කරන ලදි.තාමා උද්දාල යැයි සිතු එතුමා ස්වර්ණතිලකාවන් තම බිරිද ලෙස සිතා මෙම නාට්‍ය දෙනෙත් කදුලින් තෙත් කරමින් ස්වර්ණතිලකා කතා වස්තුව අධ්‍යනය කරමින් එකී ජීවිතය තම ස්වර්ණතිලකාවන් තම සිත තුල මවාගෙන ජාතක කතාවේ සිටින ස්වර්ණතිලකා තම බිරිද සේ සිතු එදිරිවීරයන් තම නාට්‍යයේ ස්වර්ණතිලකා මුලාශයයේ ස්වර්ණතිලකා ට වඩා ගුනයහපත් ස්ත්‍රියක යැයි ප්‍රේක්ෂකයන්ට දැනවිම සදහා අතිත කතාවේ සිදූ වූ දියණියක සහ මවක අභයගිරිය විහාරය ට මල් පූජා කිරීමට ගොස් මෑණියන් මල් අස්න පිරිසිදු කිරීම සඳහා පැන් ගෙන ඒමට අවස්ථාවේ අපිරිසිදු මල් අස්නේ දියනිය විසින් මල් පුජා කර තම සිතේ තිබුනු පාර්තනා ද කියා නිම කල සිටියදි ( පැහැපත් ශරීරයේ රැස් විහිදෙන සිරුරක්,දුටු දුටු පුරුෂයන් කාමයෙන් අන්ධ විම ) අපිරිසිදු මල් අස්නෙ මල් පූජා කර ඇතිබව දුටු මෑණියන් දිනයට ඡන්ද යාල වාදයෙන් බැන වැදීමත්දින විසින් මවට දණ්ඩක වගේ ම බැන වැදීමත් හෙතුවෙන් වර්තමානනේ එම දියනිය චණ්ඩාල කුරේ උපත ලැබීම,චණ්ඩාල කුළයේනායක චණ්ඩාලපුතුට නින්දා අපහාස කොට බැන වැදීම,උද්දාල සොයා යන අතරතුරදී රජ කුමාරවරු පස්දෙනෙක් කාමයෙන් අන්ධ කොට ඝාතනය කිරීම වැනි ධර්මකීර්ති හිමියන් විසින් චෝදනා කර කර ප්‍රතික්ෂේප කෙරුනු මූලාශය සඳහා ස්වර්ණතිලකා එදිරිවීර සරච්චන්ද්‍රයන් විසින් තමාගේ බිරිදට උපමාකොට සානුකම්පිත දෘෂ්ටි කෝණයකින්  ස්වර්ණතිලකා දෙස ප්‍රේක්ෂකයා වෙත සමිප කරවිමට උසහ දරා ඇත.එය සාර්තක උත්සහයකි මන්ද මගේ පෙම්වතිය හා මා ස්වර්ණතිලකා මා විසින් ද සමානකර සිතයි. එදිරිවිරයන් තම බිරිද සමාන කර අයුරින් මාද මා උද්දාල වශයෙනුත් ඇය ස්වර්ණතිලකා වශයෙනුත් චිත්ත රූපය මවාගෙන සිටි.

ප්‍රේමතී ජායතී සෝකෝ

ප්‍රේමතෝ ජායතී භයං

ප්‍රේමතෝ විප්පමුත්තස්ස

නත්ථි සෝකෝ කුතෝ භයං

පියතෝ ජායතී සෝකෝ

පියතෝ ජායතී භයං

ප්‍රිය තෝ විප්පමුත්තස්ස

නත්ථි සෝකෝ කුතෝ භයං

රතියා ජායතී සෝකෝ

රතියා ජායතී භයං

රතියා විප්පමුත්තස්ස

නත්ථි සෝකෝ කුතෝ භයං

මෙම ගාටයේ සියලු චරිත ගායකයන් විතරයි ඉදිරිපත් කරයි (සියලු චරිත ගායක භූමිකා නිරුපනය)

• සූත්‍රධාර

• ගායකයො

• උද්දාල

• ස්වර්ණතිලකා

• අග්නිදත්ත

• දප්පුල

• පිංගල

• සැඩොල් බමුණා

• ශිෂ්‍යයෝ (මෙම නාට්‍යයේ පාත්‍ර වර්ගයා මෙසේය)

පේමතෝ ජායතී සෝ කෝ - 1969


Ronglan Station (Ronglan stasjon) er en jernbanestation på Nordlandsbanen, der ligger ved bebyggelsen Ronglan i Levanger kommune i Norge. Stationen består af to spor, en perron med et læskur og en tidligere stationsbygning.

Stationen åbnede 29. oktober 1902, da banen blev forlænget fra Stjørdal til Levanger. Stationen blev fjernstyret 9. januar 1977 og gjort ubemandet 1. april 1979.

Stationsbygningen blev opført i 1902 efter tegninger af Paul Due og er udført med en stueetage i sten og førstesal i træ. Den er nu solgt fra.

Litteratur

Eksterne henvisninger

Stationer på Nordlandsbanen
Jernbanestationer i Trøndelag
Etableret i 1902

Ronglan Station


مايكل ستيوارت  (6 نوفمبر 1906 - 13 مارس 1990) كان سياسي بريطاني.

المهنة
كان مايكل ستيوارت من عام 1945 حتى عام 1955 عضوا في مجلس العموم لمنطقة "فولهام الشرقية"، وبين عامي 1955 حتى عام 1979 لفولهام. أصبح مايكل عام 1968 وزيرا للخارجية وبقي في هذا المنصب إلى غاية عام 1970.

روابط خارجية

مراجع

أشخاص متعلمون في مستشفى المسيح
أشخاص من بروملي
أعضاء الجمعية الفابية
أعضاء برلمان المملكة المتحدة 1945–50
أعضاء برلمان المملكة المتحدة 1950–51
أعضاء برلمان المملكة المتحدة 1951–55
أعضاء برلمان المملكة المتحدة 1955–59
أعضاء برلمان المملكة المتحدة 1959–64
أعضاء برلمان المملكة المتحدة 1964–66
أعضاء برلمان المملكة المتحدة 1966–70
أعضاء برلمان المملكة المتحدة 1970–74
أعضاء برلمان المملكة المتحدة 1974
أعضاء برلمان المملكة المتحدة 1974–79
أعضاء مجلس الشورى البريطاني
أفراد عسكريون من كينت
خريجو كلية سانت جون (أوكسفورد)
شخصيات الجيش البريطاني في الحرب العالمية الثانية
معلمو مدارس إنجليز
معلمو مدارس من سومرست
معلمو مدارس من لندن
مواليد 1906
نواب حزب العمال البريطاني عن الدوائر الانتخابية الإنجليزية
وزراء الدولة للتعليم (المملكة المتحدة)
وزراء خارجية بريطانيا
وزراء دولة بريطانيون
وفيات 1990

مايكل ستيوارت


Die Liste der denkmalgeschützten Objekte in Uhorské enthält die zwei nach slowakischen Denkmalschutzvorschriften geschützten Objekte in der Gemeinde Uhorské im Okres Poltár.

Denkmäler

Legende

Einzelnachweise

!
Uhorske


Arıca, Samsun ilinin Vezirköprü ilçesine bağlı bir mahalledir.

Nüfus

Vezirköprü'nün mahalleleri

Arıca, Vezirköprü


Ovo je popis likova serije Moj mali poni: Prijateljstvo je čarolija, animirane televizijske serije iz četvrte iteracije Hasbrove franšize Moj mali poni. Glavne likove serije razvila je Lauren Faust, i htjela ih je napraviti zanimljivijima od prijašnjih iteracija. Likovi imaju mnogo obožavatelja, uključujući "bronije" i "pegazsestre", odrasle obožavatelje. Likovi serije se također pojavljuju u mnogim drugim medijima, kao stripovima, videoigri Gamelofta, knjigama, dugometražnom filmu, i spin-off franšizi My Little Pony: Equestria Girls, u kojoj se glavni likovi pojavljuju kao ljudi, te spin-off seriji My Little Pony: Pony Life.

Ovaj popis će koristiti lokalizirana imena iz sinkronizacije studija Novi Mediji, s engleskim imenima (koja se također koriste u sinkronizaciji studija Livada Produkcija i Project 6) u zagradama.

Glavni likovi

Princeza Iskra Sumrak (Twilight Sparkle)

 Glasovi:
 Engleski: Tara Strong (dijalozi), Rebecca Shoichet (pjesme)
 Hrvatski:
 Demo: Jelena Majić
 HTV 2: Katarina Perica Kirin (dijalozi), Andrea Baković (jedna pjesma), Tina Bukić (ostale pjesme)
 RTL Kockica: Monika Berberović (dijalozi), Vida Manestar (pjesme)

Princeza Iskra Sumrak je glavni lik serije. Njezin element sklada je čarolija. Kada je bila ždrebica, pohađala je Školu darovanih jednoroga Princeze Celestije zbog njenih sjajnih čarobnih moći. Kada je narastla, živjela je u Canterlotu i nastavila pručavati magiju i Equestrijinu povijest. Jednog dana ju je Princeza Celestia poslala u Ponijevo (Ranije Ponigrad, Ponyville) gdje je upoznala pet novih ponija. Prije nego što ih je upoznala, Iskra se nije voljela družiti s prijateljima, ali su joj Ponigrađanke pokazale čaroliju prijateljstva. Zbog njih je odlučila preseliti se u Ponijevo i Celestiji slati pisma o lekcijama iz prijateljstva. U trećoj sezoni su joj narastla krila i proglašena je princezom prijateljstva. U četvrtoj sezoni dobila je svoj dvorac. U devetoj sezoni je postala najnovija vrhovna vladarica Equestrije.

Piko (Spike)
 Glasovi:
 Engleski: Cathy Weseluck
 Hrvatski:
 Demo: Aleksandra Naumov
 HRT2: Adnan Prohić i Zdravko Valentin (neke epizode)
 RTL Kockica: Sandra Hrenar
Piko je mladi zmaj čije je jaje magijom otvorila Iskra Sumrak. Od kada je bio beba, bio je odan Iskri i ostatak svojih života ostali su najbolji prijatelji. S njom se uselio u Ponijevo, i vladao Equestrijom uz nju. S vatrenim dahom Princezi Celestiji šalje Iskrina pisma. Od kada ju je upoznao bio je zaljubljen u Ljubicu. U drugoj sezoni je objašnjeno da kada dobiva mnogo darova, postaje veči, snažniji i strašniji. U osmoj sezoni su mu narastla krila.

Roza Slatki (Pinkie Pie)
 Glasovi:
 Engleski: Andrea Libman (dijalozi), Shannon Chan-Kent (pjesme)
 Hrvatski:
 Demo: Sandra Hrenar
 HRT2: Andrea Baković
 RTL Kockica: Kristina Habuš (dijalozi, pjesme u S1 i 5), Vida Manestar (pjesme u S4)
Roza Slatki je uzbuđeni zemaljski poni koji voli zabavu, slatkiše, plesanje i pjevanje. Ona predtsvalja element smijeha. Roza je u početku trebala biti bijeli pegaz sa žutom grivom zvan "Surprise". Inspiracija za njen originalni dizajn bio je žutogrivi bijeli pegaz iz generacije 1 imena Surprise. Od svih glavnih likova je Roza pjevala najviše puta. Kada je bila ždrebica, živjela je sa svojom obitelji u kamenolomu. Preselila se u Ponijevo kad je narastla i dobila posao u slastičarnici "Slatki kutak". Kada su se Iskra i Piko uselili u Ponijevo, napravila im je zabavu. Griva joj je napuhana, ali se ispuše kada je tužna. U epizodi "Pinkie Pride" upozna Cheesea Sandwicha, ponija koji je organizator zabava baš kao i ona. U početku se nisu slagali, ali bi im se prijateljstvo razvilo, te bi se oženili u devetoj sezoni i imali sina Li'l Cheesea.

Ivka (Applejack)
 Glasovi:
 Engleski: Ashleigh Ball
 Hrvatski:
 Demo: Sanja Hrenar
 HRT2: Jasna Odorčić (do S1E19), ??? (ostatak serije), Andrea Baković (pjesme)
 RTL Kockica: Mia Krajcar
Ivka je farmerica koja radi na Slatkom jabučnjaku (engl. Sweet Apple Acres) s mlađom sestrom, starijim bratom, i starom bakom. Svakih 100 mjeseci, na ranču se održava okupljanje obitelji Jabuka (Apple). Ona predstavlja element iskrenosti. Ivku je inspirirala Applejack, poni iz prve generacije. Ivka je uvijek smirena i pametna, ali zna biti tvrdoglava i kada je uvjerena da ima pravo, nikoga ne sluša. U zadnjoj epizodi serije, "The Last Problem", implicirano je da se udala za Dugu Jurić nekoliko godina nakon serije. Scenarist Josh Haber je rekao da je moguće, ali nije potvrdio. Ashleigh Ball je rekla da su Ivkin južnoamerički naglasak inspirirale pjevačice kao Miley Cyrus, Dolly Parton, i Reba McEntire.

Duga Jurić (Rainbow Dash)
 Glasovi:
 Engleski: Ashleigh Ball
 Hrvatski:
 Demo: Danijela Večerinović
 HRT2: Matilda Sorić (S1), ??? (do S2E21), Katarina Perica Kirin (od S2E21), Andrea Baković (pjesme)
 RTL Kockica: Mima Karaula (S1), Sanja Crljen (S4, 5)
Duga Jurić je pegaz koji voli sportove. Ona predstavlja element lojalnosti. Dugu je inspirirao pegaz Firefly iz prve generacije, što se može vidjeti u koncepcijskim skicama. Duga je član vremenske ophodnje Ponijeva, gdje miče oblake i mijenja vrijeme s ostalim pegazima. U epizodi "Newbie Dash" se pridružuje omiljenom sportskom timu, Letećim strijelama (engl. Wonderbolts). Implicirano je da se udala za Ivku na kraju serije. Ona je jedini glavni lik kojem se glas sasvim promijenio u drugoj hrvatskoj sinkronizaciji. Zašto joj je Mima Karaula samo davala glas u prvoj sezoni se ne zna.

Ljubica (Rarity)
 Glasovi
 Engleski: Tabitha St. Germain (dijalozi), Kazumi Evans (vokal)
 Hrvatski:
 Demo: Vanda Winter
 HRT2: Matilda Sorić (S1), ??? (do S2E21), Katarina Perica Kirin (od S2E21), Andrea Baković (pjesme)
 RTL Kockica: Anja Nigović (sve osim pjevanja u S5E14), Vida Manestar (pjevanje u S5E14)
Ljubica je jednorog koji radi u Ponijevoskom butiku Vrtuljak, i također je vlasnica butika Canterlot Carousel i manehattanskog butika Rarity For You. Ona predstavlja element darežljivosti. Ljubica voli dragulje, i zna kako baciti čini kojim može pronači drago kamenje. Također je talentirana i uspješna krojačica, modna dizajnerica, i vlasnica butika. Uz to je pjevačica u a cappella grupi Poni Tonovi. Inspiracija za njezin izgled bili su poniji iz prve generacije, Glory i Sparkler. Također je izgled njenog repa inspirirala kosa lika Margaret Wade iz Vragolastog Denisa. Lauren Faust rekla je da je največa inspiracija za Ljubicu bila Audrey Hepburn.

Plahuljica (Fluttershy)
 Glasovi
 Engleski: Andrea Libman
 Hrvatski:
 Demo: Ivana Hajder
 HRT2: Tina Bukić (dijalozi i pjesme), Andrea Baković (neke pjesme)
 RTL Kockica: Anabela Barić
Plahuljica je sramežljivi pegaz koji voli životinje i živi u kolibi van Ponijeva gdje pazi na svakakve ptice, zečeve, medvjede, kopitare, i više. Ona predstavlja element dobrote. Iako je jako sramežljiva i tiha, kada je ljuta ili ima loš dan, zna biti jako nasilna, bezobrazna, i glasna. U seriji pokušava učiti biti što stroža i ozbiljnija. Inspiracija za njen dizajn bio je poni iz prve generacije, Posey. Neka imena koja joj je Lauren Faust mislila dati su "Summer Azure (kratica Summer)", "Spring Blossoms", "Petalwing" i "Meadowbrook". Plahuljica zna koristiti "pogled"; vještina kojom može smiriti čak i najdivljija stvorenja samo sa strogim izrazom lica. Lauren Faust je rekla da je inspiracija za "pogled" bila slična stvar koju bi radila njena majka.

Kraljevska obitelj

Glavni

 Princeza Celestia (engl.: Nicole Oliver, HRT2: Andrea Baković, RTLK: Rajana Radosavljev (dijalog), Mirta Zečević i Vida Manestar (vokal)) – Alikorn, Bivša vladarica Equestrije, Iskrina učiteljica i upravljačica Sunca. Dizajn joj je inspirirala kobila iz prve generacije imena Majesty. Prvobitno je bila kraljica, ali je Hasbro zamolio Lauren Faust da ju pretvori princezu jer "djeca smatraju da su kraljice zle" i "princeze prodaju više igračaka". Kathleen Barr, glas sporednog lika Trixie, imala je audiciju za ulogu Celestije. Kasnije je Nicole Oliver dobila ulogu. Kad postane zla, pretvori se u "Daybreaker".

 Princeza Luna (engl.: Tabitha St. Germain (dijalog), Kazumi Evans i Aloma Steele (vokal), HRT2: Katarina Perica Kirin, RTLK: Mirta Zečević, Sanja Crljen, Vida Manestar) – Alikorn, Bivša su-vladarica Equestrije, Celestijina mlađa sestra i upravljačica Mjeseca. Kad postane zla, pretvori se u Crnu Princezu (engl.: Nightmare / Night Mare Moon, RTLK: Tamnoroga. Prvobitna imena bila su Selena i Discord (ime antagonista koji se pojavljuje kasnije)).

 Princeza Mi Amore Kadenca (Princeza Mi Amore Cadenza "Cadance") (engl.: Britt McKillip, HRT2: Andrea Baković, RTLK: Mirta Zečević) – Alikorn, vladarica Kristalnog Carstva, supruga Branimira i majka Flurry Heart, čarobnica ljubavi. Rođena je pegaz, i rog joj je narastao kad je bila mala i porazila zlu Prismiju.

 Princ Branimir (Shining Armor) (engl.: Andrew Francis, HRT2: Zdravko Valentin) – Jednorog, Vladar Kristalnog Carstva, suprug Kadence i otac Flurry Heart. Vođa kraljevske straže Canterlota. Njegov debi je bio na kraju druge sezone, nakon što je Lauren Faut napustila seriju, ali je ona izmislila njegov lik.

 Beba Flurry Heart (također navedena kao Princeza Flurry Heart, Tabitha St. Germain) – Alikorn, ždrebica Branimira i Princeze Kadence. Jako močna čarobnica koja se ne može kontrolirati.

Sporedni

 Princ Ždrijebac (Princ Blueblood)

 Princ Rutherford

 Zmajska gospodarica Ember

 Thorax

 Princeza Skystar i Kraljica Novo

 Princeza Amore

Osvajačice znakića/biljega

 Cvjetka (Apple Bloom)
 Skakutalo (Scootaloo)
 Bela (Sweetie Belle)
 Babs Seed
 Grifon Gabby

Obitelji i ljubimci

Obitelj Sumrak (Sparkle)

Obitelj Slatki (Pie)

Obitelj Jabuka (Apple)

Obitelj Pear

Obitelj Jurić (Dash)

Ljubičina obitelj

Obitelj Shy

Obitelj Kolačić (Cake)

Obitelj Rich

Obitelj Skakutala

Obitelji Hooffield i McColt

Ostali ljubimci

Mladih šest

 Gallus
 Silverstream i Terramar
 Smolder
 Yona
 Sandbar
 Ocellus

Antagonisti

Glavni

Reformirani

Sporedni

Slavni

Magične munje (Čudesne/Leteće strijele)

Fizičari

Stupovi stare Equestrije

Likovi po medijima

Roba

Knjige

Stripovi

Equestria Girls
Ovaj dio članka je za likove iz Equestrije koji se također pojavljuju u ljudskom svijetu. Za likove iz ljudskog svijeta koji se također pojavljuju u Equestriji, pogledatje My Little Pony: Equestria Girls#Likovi.

Film

Pony Life

Ostali važni likovi

Stvorenja

Likovi koji nisu poniji

Ostali sporedni likovi

Ždrijebad

Neživi likovi

Pozadinski likovi

Izvori

Izmišljeni likovi
Moj mali poni: Prijateljstvo je čarolija

Popis likova serije Moj mali poni: Prijateljstvo je čarolija


Antalya il sınırları Alanya ilçesi yakınlarındaki antik kent. Bölge halkı arasında Aytap olarak bilinmektedir.

İotape, Alanya'nın 33 kilometre doğusunda, Gazipaşa yolu üzerinde Akdeniz kıyısındadır. Bir Kilikya kıyı şehri olan İotape'nin adı M.S. 38-72 yılları arasında yaşamış Kommagene Kralı IV. Antiochus'un karısı Iotape'den gelmektedir.

Roma İmparatorları Trajan'dan Valerian'a kadar antik çağda kent kendi adına sikke bastırmıştır. Denize doğru uzanan yüksekçe bir burun, kentin akropolü konumundadır. Sular, bu bölüme bir kale görüntüsü vermektedir. Kentin yapıları büyük ölçüde tahrip olmuştur. Akropolün karaya bağlandığı vadide Liman Caddesi vardır. Caddenin iki yanında üç basamaktan oluşan krepis bulunduğu ve bunların arasında yer yer heykeller olduğu kaidelerden anlaşılmaktadır. Heykellerin yazıtları, kentin başarılı sporcularından ve hayırsever insanlarından söz etmektedir. Akropolün doğusundaki koyda üç nefli, dikdörtgen planlı bir bazilika vardır. Kentteki tek nefli küçük kilise kalıntısında ise Hagios Georgios Stratelates'in betimlendiği fresko izleri görülmektedir.

Kentin ayakta kalabilen en belirgin yapısı hamamdır. Hamama ait kanalizasyon sistemi günümüze kadar korunmuştur. Günümüzde antik kentin ortasından geçen Antalya-Mersin karayolunun güneyinde 8 metreye 12.5 metre boyutunda bir tapınak kalıntısı vardır. Kentin doğu ve kuzey tepelerindeki nekropolde anıt mezarların yanı sıra tonoz örtülü küçük mezar yapıları da yer almaktadır. Sit alanı olan kentin sırtları güzel manzaraya sahip oluşu nedeniyle yoğun yapılaşma tehdidi altındadır.

İotape (Aytap) kenti ören yerine ücretsiz girilir ve yaklaşık iki saatte gezilebilir. Antik liman kalıntılarının bulunduğu küçük koy, özellikle yaz aylarında Alanya'dan hareket eden guletlerin uğrak yeridir. Antik kentin güneyinde denize girilebilecek bir de kumsal bulunmaktadır.

Kaynakça

Dış bağlantılar
 Alanya TV
 T.C. Kültür ve Turizm Bakanlığı
 Alaturka.info
 Gelarabul iotape antik kenti sayfası

Antalya ilindeki arkeolojik sitler
Alanya
Türkiye'deki antik kentler

Iotape


Yenikent, Türkiye'nin İç Anadolu Bölgesi'ndeki Aksaray ilinin Merkez ilçesine bağlı bir beldedir. 2022 nüfus sayımına göre belde nüfusu 5.366'dır. Beldenin ortalama yüksekliği 1.020 metredir.

Tarihçe
Beldenin adı, 1912 yılı kayıtlarında Amarat olarak geçmektedir.

Coğrafya
Belde, Aksaray il merkezine 27 km uzaklıktadır.

Nüfus

Yönetim

Belediye başkanlığı

Kaynakça

Dış bağlantılar

Aksaray merkez belde ve köyleri

Yenikent, Aksaray


Blick aus dem Arbeitszimmer von Le Gras (französischer Titel La cour du domaine du Gras "Der Hof des Gutshofes von Le Gras" oder Point de vue du Gras "Ansicht von Le Gras") ist die erste erfolgreich aufgenommene und erhaltene Fotografie der Welt. Sie wurde 1826 von Joseph Nicéphore Niépce im französischen Saint-Loup-de-Varennes hergestellt. Das Foto zeigt den Blick aus dem Arbeitszimmer von Niépces Gutshof Le Gras. Von der linken Seite her sieht ein Betrachter zunächst den Rahmen des Fensterflügels, das turmartige Taubenhaus des Gutshofs, weiter entfernt einen Baum, ein kleines Gebäude mit Pultdach und schließlich einen turmförmigen Kamin, wahrscheinlich vom Backhaus.

Nicéphore Niépce erstellte das Foto mit Hilfe einer Camera obscura. Diese fokussierte auf eine mit in Lavendelöl gelöstem Naturasphalt bestrichene Zinnplatte von 20 cm × 25 cm Größe. Die Asphaltmischung härtete je nach Belichtungsgrad heller oder dunkler aus. Nach acht Stunden Belichtungszeit konnte die Platte mittels einer Mischung aus Lavendelöl und Petroleum ausgewaschen und das Foto dadurch fixiert werden. Ein optischer Effekt der langen Belichtungszeit ergab sich darin, dass die Gebäude auf dem Bild beidseitig keinen Schattenwurf erzeugten.

Niépce versuchte für die von ihm Heliografie benannte Methode das öffentliche Interesse zu gewinnen und reiste nach London, um sein Foto der Royal Society vorzustellen. Dies misslang, und Niépce übergab das Bild dem britischen Botaniker Francis Bauer. Später ging es in den Besitz von Henry Baden Pritchard über. Letztmals wurde das Werk 1898 öffentlich ausgestellt und geriet danach in Vergessenheit.

1952 erwarb Helmut Gernsheim das Foto, und mit Hilfe von Spezialisten von Kodak wurde erstmals eine Kopie hergestellt.

1963 schließlich erwarb die University of Texas die Platte von Gernsheim. Seither wird sie in Austin im Harry Ransom Center der Universität ausgestellt.

Wegen der großen Empfindlichkeit – das Foto wird sauerstofffrei in einer mit Edelgas gefüllten Box präsentiert – wird das Foto prinzipiell nicht verliehen. Eine Ausnahme wurde für die Ausstellung Die Geburtsstunde der Fotografie gemacht, in deren Rahmen es von September 2012 bis Januar 2013 in Mannheim zu sehen war, da sich hier in den Reiss-Engelhorn-Museen der andere Teil der Sammlung Gernsheims befindet.

La table servie
Roland Barthes zeigt in der spanischen Ausgabe seines Buches La Chambre claire (La cámara lúcida, Paidós, Barcelona 1989) ein schon auf das Jahr 1822 datiertes Bild, Table prête oder La table servie "Gedeckter Tisch", das von Niépce stammen soll und einen frisch gedeckten Tisch erkennen lässt. Weitere Untersuchungen bestätigten zwar die Autorenschaft von Niépce, identifizierten das Bild aber als Physautotype (ein fotografischer Prozess auf der Basis von Lavendelöl, den Niépce mit Daguerre entwickelte) aus dem Jahr 1832.

Siehe auch
 Geschichte und Entwicklung der Fotografie

Weblinks

 The Niépce Heliograph. In: hrc.utexas.edu. Harry Ransom Center.

Einzelnachweise

Geschichte der Fotografie
Foto

Blick aus dem Arbeitszimmer von Le Gras


O Apple Bank for Savings é um banco de poupança com sede em Manhasset, Nova Iorque, e que opera na área metropolitana de Nova Iorque.

História
A empresa foi fundada em 1863 como Harlem Savings Bank por um grupo de comerciantes locais como um banco de poupança mútua baseado na comunidade. O Harlem na época era uma vila suburbana - não fazia parte da cidade de Nova Iorque até 1873 - e a primeira localização do banco na 3ª Avenida, entre as ruas 125 e 126, era cercada por fazendas e lotes subdesenvolvidos. Em 1869, o banco mudou-se para um prédio de construção própria na 3ª Avenida com a Rua 124.

Em 1907, o banco mudou sua sede para 124 E. 125th St.

Em 1932, logo após a Grande Depressão, o banco adquiriu o Commonwealth Savings Bank e suas duas agências. As filiais estavam na 157th Street e 180th Street em Washington Heights, Manhattan. Em 1933, o banco retirou o segundo 'a' de seu nome para combinar com a ortografia agora padrão do nome do bairro: Harlem.

Em 1966, o banco abriu uma filial em Manhasset, Nova Iorque, em Long Island, à medida que o crescimento da população se deslocava para os subúrbios. Em 1968, o banco mudou sua sede do Harlem para a 42nd Street.

Em 1981, em um acordo organizado pela Federal Deposit Insurance Corporation que incluía uma doação de US$ 160 milhões da agência, o banco adquiriu a problemática Central Savings Bank. Criado como o German Savings Bank em 1858, o Central Savings Bank contou com Daniel F. Tiemann, então prefeito de Nova Iorque, como membro fundador e operou no prédio da Cooper Union antes de se mudar para um local na 14th Street e 4th Avenue em 1864. A aquisição deu ao banco mais sete filiais, incluindo o Apple Bank Building na 2112 Broadway (entre West 73rd e West 74th Streets), um marco histórico designado por York e Sawyer no estilo Palazzo da arquitetura Renaissance Revival, também como duas filiais no condado de Nassau em Long Island.

Na década de 1970 e início de 1980, o banco continuou a se expandir para os subúrbios fora da cidade de Nova Iorque. Para refletir sua expansão geográfica, o banco mudou seu nome para Apple Bank em maio de 1983.

Em 1985, o banco passou de um banco de poupança mútua para uma empresa pública, vendendo 4,6 milhões de ações por US$ 53,5 milhões em uma oferta pública inicial.

Em 31 de dezembro de 1986, o banco adquiriu o Eastern Savings Bank, obtendo três agências no Bronx, duas em Westchester e duas em Long Island.

Em 1989, o banco adquiriu o Sag Harbor Savings Bank e suas cinco agências por US$ 29,5 milhões. O Sag Harbor Savings Bank foi fundado em 1860 em Sag Harbor, Nova Iorque, para fornecer serviços financeiros para a indústria baleeira.

Em 1990, Stanley Stahl, o desenvolvedor do 277 Park Avenue, adquiriu o banco por US$ 174 milhões. O preço de compra estava bem abaixo do valor contábil do banco e o banco inicialmente rejeitou a oferta e adotou uma pílula venenosa para evitar a aquisição. Stahl lutou contra a pílula de veneno. Os acionistas apoiaram a fusão depois que o preço das ações caiu durante a recessão do início da década de 1990.

Em 1991, William J. Laraia tornou-se presidente e CEO do banco. Laraia reduziu a carteira de crédito comercial e cortou custos significativamente.

Em 1994, Alan Shamoon tornou-se o CEO do banco.

Em agosto de 1999, Stahl morreu e a propriedade do banco passou para trusts.

Em 20 de abril de 2013, o Apple Bank adquiriu 29 agências e as contas de depósito e serviços relacionados do Emigrant Savings Bank. Essa aquisição deu à Apple um total de 77 filiais na grande Nova Iorque e cerca de US$ 13 bilhões em ativos.

Em maio de 2015, o banco abriu uma filial em Jackson Heights, Queens.

Em junho de 2015, o banco abriu uma segunda agência em Bay Ridge, Brooklyn, na 426 86th Street.

Em outubro de 2015, o banco abriu uma agência em Monsey, Nova Iorque.

Em abril de 2016, Steven C. Bush tornou-se presidente, presidente e diretor executivo do banco.

Em fevereiro de 2021, o Apple Bank foi multado em US$ 12,5 milhões pela Federal Deposit Insurance Corporation por violações da Lei de Sigilo Bancário relacionada a controles antilavagem de dinheiro.

Ligações externas

Bancos fundados em 1863

Apple Bank for Savings


Klaus Herdepe (né le  à Solingen) est un historien allemand, auteur et éditeur de plusieurs ouvrages historiques.

Biographie
Herdepe est né dans la ville montagneuse de Solingen et y grandit pendant ses premières années avant de déménager à Wuppertal. Il termine ses études d'histoire, d'histoire de l'art et de sciences politiques aux universités de Cologne et de Dortmund en 1998 avec sa thèse La question constitutionnelle prussienne 1848, dont la version révisée est publiée sous forme de livre en 2002.

Herpede est secrétaire du , la plus grande société allemande d'histoire régionale, jusqu'en , et est parfois rédacteur en chef du .

Travaux
 Zeitschrift des Bergischen Geschichtsvereins. Band 99, 1999–2001. Herausgegeben von Klaus Herdepe,  und Ralf Stremmel, Neustadt/a.d. Aisch 2003.
 Klaus Herdepe: Die preußische Verfassungsfrage 1848. Neuried 2002 .
 Klaus Herdepe: Heinrich Kamp. In: Bergisch-märkische Unternehmer der Frühindustrialisierung. Hrsg. von Ralf Stremmel, Münster 2004, S. 299–318.
 Zeitschrift des Bergischen Geschichtsvereins. Band 100. Herausgegeben von Jörg Engelbrecht, Klaus Herdepe, Jürgen Stohlmann, Neustadt/a.d.Aisch 2006.
 Stefan Ehrenpreis, Klaus Herdepe: Der Dreißigjährige Krieg im Herzogtum Berg und in seinen Nachbarregionen. Schmidt, Neustadt an der Aisch 2002 .
 Franz Gruß, Klaus Herdepe: Geschichte des Bergischen Landes. Neu bearbeitet von Klaus Herdepe, Overath 2007 .
 Klaus Herdepe: Landesgeschichte und Denkmalschutz im Internet. In: . Nr. 4, 2003, S. 101–117.

Liens externes

Historien allemand
Naissance en mai 1965
Naissance à Solingen

Klaus Herdepe


Onthophagus rugicollis é uma espécie de inseto do género Onthophagus, família Scarabaeidae, ordem Coleoptera.

Foi descrita cientificamente por Harold em 1880.

Referências

Ligações externas

rugicollis
Coleópteros descritos em 1880

Onthophagus rugicollis


Meganthropus is an extinct genus of non-hominin hominid ape, known from the Pleistocene of Indonesia. It is known from a series of large jaw and skull fragments found at the Sangiran site near Surakarta in Central Java, Indonesia, alongside several isolated teeth. The genus has a long and convoluted taxonomic history. The original fossils were ascribed to a new species, Meganthropus palaeojavanicus, and for a long time was considered invalid, with the genus name being used as an informal name for the fossils.

In the mid-2000s the taxonomy and phylogeny for the specimens were uncertain, and most paleoanthropologists considered them related to Homo erectus in some way. However, the names Homo palaeojavanicus and even Australopithecus palaeojavanicus were used as well, indicating the classification uncertainty.

After the discovery of a robust skull in Swartkrans in 1948 (SK48), the name Meganthropus africanus was briefly applied. However, that specimen is now formally known as Paranthropus robustus and the earlier name is a junior synonym.  (Some of these finds were accompanied by evidence of tool use similar to that of Homo erectus. This is the reason Meganthropus is often linked with that species as H. e. palaeojavanicus.)  In 2019, a study of tooth morphology found Meganthropus a valid genus of non-hominin hominid ape, most closely related to Lufengpithecus.

Fossil finds
The number of fossil finds has been relatively small, and it is a distinct possibility that they are a paraphyletic assemblage. Due to this, they will be discussed in detail separately.

Meganthropus A/Sangiran 6
This large jaw fragment was first found in 1941 by Gustav von Koenigswald. Koenigswald was captured by the Japanese in World War II, but managed to send a cast of the jaw to Franz Weidenreich. Weidenreich described and named the specimen in 1945, and was struck by its size, as it was the largest hominid jaw then known. The jaw was roughly the same height as a gorilla's, but had a different form. Whereas in anthropoids the mandible has its greatest height at the symphysis, that is, where the two rami of the lower jaw meet, this is not the case in Sangiran 6, where the greatest height is seen at about the position of the first molar (M1).

Weidenreich considered acromegalic gigantism, but ruled it out for not having typical features such as an exaggerated chin and small teeth compared to the jaw's size. Weidenreich never made a direct size estimate of the hominid it came from, but said it was 2/3 the size of Gigantopithecus, which was twice as large as a gorilla, which would make it somewhere around 8 feet (2.44 m) tall and approximately 400 to 600 lbs (181 – 272 kg) if scaled on the same proportions as a robust man or erect hominid. In his book Apes, Giants, and Man, Weidenreich states the following:

The jawbone was apparently used in part of Grover Krantz's skull reconstruction, which was only  tall.

Meganthropus B/Sangiran 8
This was another jaw fragment described by Marks in 1953. It was around the same size and shape as the original mandible, but it was also severely damaged. Recent work by a Japanese/Indonesian team repaired the fossil, which was an adult, and showed it to be smaller than known specimens of H. erectus. Curiously, the specimen did retain several traits unique to the first mandibular find and not known in H. erectus. No size estimates have been made yet.

Meganthropus C/Sangiran 33/BK 7905
This jaw fragment was discovered in 1979, and has some characteristics in common with previous
mandible finds. Its connection with Meganthropus appears to be the most tenuous out of the mandibular discoveries.

Meganthropus D
This mandible and ramus was acquired by Sartono in 1993, and has been dated to between 1.4 and 0.9 million years ago. The ramus portion is badly damaged, but the mandible fragment appears relatively unharmed, although details of the teeth have been lost. It is slightly smaller than Meganthropus A and very similar in shape. Sartono, Tyler, and Krantz agreed that Meganthropus A and D were very likely to be representations of the same species, whatever it turns out to be.

Meganthropus I/Sangiran 27
Tyler described this specimen as being a nearly complete but crushed cranium within the size limit of Meganthropus and outside the (assumed) limit of H. erectus. The specimen was unusual for having a double temporal ridge (sagittal crest), which almost meets at the top of the cranium, and a heavily thickened nuchal ridge.

Meganthropus II/Sangiran 31
This skull fragment was first described by Sartono in 1982. Tyler's analysis came to the conclusion that it was out of the normal range of H. erectus. The cranium was deeper, lower vaulted, and wider than any specimen previously recovered.  It had the same double sagittal crest or double temporal ridge with a cranial capacity of around 800–1000cc.  Since its presentation at the AAPA meeting in 1993, Tyler's reconstruction of Sangiran 31 has been accepted by most authorities.

As with most fossils it was heavily damaged, but given the completeness of the post facial cranium the chances of error in its reconstruction are very small. Tyler's accepted reconstruction of Sangiran 31 shows a double temporal ridge.  The temporal muscles extend to the top of the parietal where they almost join. There are no other Homo erectus specimens that exhibit this trait. Krantz's reconstruction of Sangiran 31 as a giant Homo habilis has been found to be dubious at best.

Meganthropus III
This is another fossil with only tenuous ties to Meganthropus. It is what seems to be the posterior part of a hominid cranium, measuring about 10 to 7 cm. It has been described by Tyler (1996), who found that the occipital angle of the whole cranium must have been at about 120°, which according to him would be out of the known range of Homo erectus, the latter having a much more angled occiput. His interpretation of the cranial fragment was, however, questioned by other authorities, to include doubts that the fragment was actually the part of a skull that Tyler had thought it to be.

Scientific interpretation

H. erectus
The majority of paleoanthropologists considered the Meganthropus fossil remains as falling within the variation of H. erectus. As Kaifu et al. (2005) note: "If we take the conservative standpoint that all earlier Homo populations that are sufficiently derived from African early Homo belong to H. erectus, the Grenzbank/Sangiran group is allocated to a primitive group of this species." However some argue that the Meganthropus fossils warrant a separate species or H. erectus subspecies, proposing the names H. palaeojavanicus or H. e. palaeojavanicus based on their overall primitiveness, such as low cranial capacity (Tyler, 2001). Against this view, Wolpoff (1999) argued for strong similarities between earlier and later Javanese fossils and no species nor subspecies distinction.

Australopithecine
Robinson (1953) first suggested that Meganthropus (based on the Sangiran 6 mandibular fragment) could be a Southeast Asian representative of robust australopithecines. A similar theory was proposed by Krantz (1975) who argued that Sangiran 6 is: "entirely outside the possible size range of Homo erectus and should be classed as Australopithecus africanus" (i.e. gracile as opposed to robust australopithecine). According to Koenigswald (1973) both robust and gracile australopithecine traits can be found in Sangiran 6:  "In certain respects the lower jaw of Meganthropus combines characteristics of A. africanus (premolars) with those of A. robustus (size)."

A study by Orban-Segebarth & Procureur (1983) of the Sangiran 6 mandible also concluded: "Asiatic Meganthropus 'Sangiran 6' has marked australopithecoid traits" but Kramer and Konigsberg (1994) challenge this view. According to Cartmill and Smith (2009): "there is no compelling reason to remove any of the 'Meganthropus' specimens from H. erectus".

Non-hominin hominid
The concept of a "mystery ape" most closely related to Lufengpithecus in the Javan Pleistocene was first raised by Russell Ciochon in 2009, though he still considered Meganthropus conspecific with H. erectus. A detailed analysis of tooth morphology published in 2019 found that it is a valid distinct genus of non-hominin hominid ape, distinguished from the contemporaneous Pongo and Homo by numerous characters, and again being most similar to Lufengpithecus, thus satisfying the criteria for the "mystery ape". ''Pithecanthropus dubius'' was found to be a junior synonym.

See also
 Island gigantism
 Gigantopithecus
 Morotopithecus

Sources

 Krantz, G. S. (1975). "An explanation for the diastema of Javan erectus Skull IV". In: Paleoanthropology, Morphology and Paleoecology. La Hague: Mouton, 361-372.

References

External links
Krantz's Skull Reconstruction
Rex Gilroy's site on alleged Australian finds
 Human Timeline (Interactive) – Smithsonian, National Museum of Natural History (August 2016).

Hominin fossils
Pleistocene primates
History of Java
Prehistoric Indonesia
Subspecies

Meganthropus


La microrregión de Pelotas es una de las microrregiones del estado brasileño de Río Grande de Sur perteneciente a la mesorregión del Sudeste Rio-Grandense. Su población fue estimada en 2005 por el IBGE en 501.328 habitantes y está dividida en diez municipios. Posee un área total de 10.316,601 km².

Municipios
 Arroio do Padre
 Canguçu
 Capão do Leão
 Cerrito
 Cristal
 Morro Redondo
 Pedro Osório
 Pelotas
 São Lourenço do Sul
 Turuçu

Microrregiones de Río Grande del Sur

Microrregión de Pelotas


The Hart–Scott–Rodino Antitrust Improvements Act of 1976 (Public Law 94-435, known commonly as the HSR Act) is a set of amendments to the antitrust laws of the United States, principally the Clayton Antitrust Act. The HSR Act was signed into law by president Gerald R. Ford on September 30, 1976. The context in which the HSR Act is usually cited is , title II of the original law. The HSR Act is named after senators Philip Hart and Hugh Scott and representative Peter W. Rodino.

The HSR Act provides that parties must not complete certain mergers, acquisitions or transfers of securities or assets, including grants of executive compensation, until they have made a detailed filing with the U.S. Federal Trade Commission and Department of Justice and waited for those agencies to determine that the transaction will not adversely affect U.S. commerce under the antitrust laws. While parties can carry out due diligence and plan for post-merger integration, they may not take any steps to integrate operations, such as an acquiring party obtaining operational control of the acquired party.

Pre-merger notification and filing fee
The Act provides that before certain mergers, tender offers or other acquisition transactions (including certain grants of executive compensation) can be completed, both parties must file a "notification and report form" with the Federal Trade Commission and the Assistant Attorney General in charge of the Antitrust Division of the Department of Justice. The parties then must wait a certain period, usually 30 days (15 days for all-cash tender offers or bankruptcy sales) during which time those regulatory agencies may request further information in order to help them assess whether the proposed transaction violates the antitrust laws of the United States or could cause an anti-competitive effect in the parties' markets. The filing is not made public, but the agencies may disclose some information about the transaction, especially in the case of publicly announced transactions.

Failure to file the form carries a civil penalty of up to $41,484 per day against the parties, their officers, directors or partners, and the agencies may obtain an order requiring an acquirer to divest assets or securities acquired in violation of the Act. It is also unlawful to complete the transaction during the waiting period, and the same penalties apply. Although the waiting period is generally 30 days (15 days if the transaction is an all-cash tender offer or a bankruptcy sale), the regulators may request additional time to review additional information and the filing parties may request that the waiting period for a particular transaction be terminated early ("early termination"). Early terminations are made public in the Federal Register and posted on the Federal Trade Commission website. Some types of transactions are afforded the special treatment of shorter waiting periods.

When the notification is required
The filing requirement is triggered only if the value of the transaction and, in some cases, the size of the parties, exceeds certain dollar thresholds, which are adjusted periodically under the Act. For the purpose of determining the "size of the parties", one assesses the size of the party's ultimate parent entity and all subsidiaries of that entity. The general rule is that a filing is required if three tests are met:
 (1) the transaction affects U.S. commerce;
 (2) either
 (a) one of the parties has annual sales or total assets of $151.7 million or more (: in 2012 this threshold amount began increasing periodically under the law), and the other party has sales or assets of $15.2 million or more (: this amount adjusts periodically) (where an acquired person is not engaged in manufacturing, only its total assets, not its sales, are counted, unless its sales are over $151.7 million); or
 (b) the amount of stock the acquirer has is valued at $272.8 million or more (: amount adjusts periodically) at any time; and
 (3) the value of the securities or assets of the other party held by the acquirer after the transaction is $68.2 million or more (: amount adjusts periodically). The 2018 rules raise this amount to US$84.4 million
There is also a rule prohibiting "interlocking directorates", that is, it prohibits a person from serving on the board of directors of competing companies valued at over a certain size (this amount was $27.7 million in 2012); but does not apply if the two companies have annual sales in competition with each other of less than $2.7 million.

The rules are somewhat overlapping, but all transactions where the acquiring person will hold an aggregate amount of securities and/or assets of $272.8 million or more () require a filing. Also, all transactions worth more than $68.2 million require a filing if one of the parties is worth at least $13.6 million, the other is worth at least $136.4 million and the total amount of assets now owned by the acquirer reaches $272.8 million. If an entity is not sure if the filing requirements apply to it, it can make a request of the Justice Department to determine if it is. Some assets are not counted, generally assets that do not produce income. For example, if one of the parties involved in the transaction is a natural person, for the purposes of determining whether they reach the asset trigger, the value of their primary residence and car are not counted, but the value of a second home that was rented out would be. There are certain exceptions on transaction reporting for usual and customary transactions: such as an airline purchasing planes and certain real estate purchases. An example was given that a merger of two corporations each having a net asset value of $99 million would not require a filing.

In transactions where either the FTC or the Antitrust Division believes there may be significant anti-competitive consequences, either agency may require that the parties submit more background information by means of the second request process.

Amount of the filing fee
The firm that is making the proposed acquisition is required to pay a substantial filing fee when making its filing; the amount of the fee is tied to the size of the transaction,  the fee was $45,000 for transactions of at least $78.2 million but less than $156.3 million; $125,000 for transactions of $156.3 million to $781.5 million; and $280,000 for transactions over $781.5 million. The filing fee covers additional transactions, during a period of up to five years after the original transaction, that do not exceed the next threshold. There are also filing requirements based on the percentage of acquisition, at 25% of a company worth $1.36 billion, or 50% of a company where the amount held by the acquirer will be worth at least $68.2 million. However, once 50% or more of the target has been acquired, or the amount of acquisitions reported exceeded $682.1 million, no further reports are required to be filed.

Parens patriae actions

Title III of the Act allows attorneys general of states to sue companies in federal court for monetary damages under antitrust laws as parens patriae, on behalf of their citizens. Previously, there was no practicable way for large numbers of individual persons harmed by such anticompetitive activities as small overcharges per person, to sue for damages; it was too costly. Congress sought to remedy that problem with this statute. Title III is in substance the original bill introduced in the House of Representatives by congressman Peter W. Rodino; the other titles of the Act were added as the bill was amended during congressional deliberations.

The effectiveness of the parens patriae provision of HSR was greatly weakened by the Supreme Court's Illinois Brick decision, which substantially limited damages relief to direct purchasers, making consumer indirect purchasers unable to sue. Accordingly, wholesalers or retailers might be able to sue in federal court in a price-fixing case, even though they passed overcharges on to ultimate consumers, but the consumer purchasers could not; yet, the parens patriae provision in HSR is directed at vindicating the right of those very victims. To some extent, however, this effect was mitigated by the availability of state law and congressional passage of the Class Action Fairness Act of 2005 (CAFA), under which class actions can be removed from state court to federal court but state parens patriae actions cannot. Consequently, state attorneys general can pursue price-fixing cases on behalf of the state's consumers under state law in state courts.

Effectiveness
Peter Rodino commented in 2002 on the 25th anniversary of the legislation, "the legislation absolutely has transformed merger enforcement. Competition, as well as the consumer, has benefitted." The Federal Trade Commission's Deputy Director stated that implementation of the Act "has been instrumental in detecting transactions that have been the subject of numerous enforcement actions and [it] continues to do its job well".

See also

 Merger Filing Fee Modernization Act of 2021
 United States antitrust law

References

External links
Federal Trade Commission web page on HSR pre-merger notification program
Early termination notices
 Hart–Scott–Rodino Antitrust Improvements Act of 1976 as enacted (details) in the US Statutes at Large
 Antitrust Civil Process Act as amended (PDF/details) in the GPO Statute Compilations collection
 Clayton Act as amended (PDF/details) in the GPO Statute Compilations collection

1976 in American law
94th United States Congress
United States antitrust law
United States federal antitrust legislation
United States federal legislation articles without infoboxes


Bos palaesondaicus vivió en el Pleistoceno en Java (Indonesia) y pertenece a la subfamilia Bovinae. Fue descrito por el paleontólogo holandés Eugène Dubois en 1908. El holotipo de Bos palaesondaicus es un cráneo del yacimiento de Trinil. Esta especie es probablemente el ancestro del banteng (Bos javanicus).

Referencias

Enlaces externos

palaesondaicus
Mamíferos del Pleistoceno
Mamíferos extintos de Asia

Bos palaesondaicus


IMF Smart Education es una escuela de negocios española ubicada en Madrid y que fue fundada en 2001 con la denominación de Instituto Madrileño de Formación.

Desarrollo

Denominación
Fue fundada en 2001 como Instituto Madrileño de Formación y en 2016 cambió su denominación social a IMF Business School. En 2021 redefinió su marca pasando a usar la denominación IMF Smart Education.

Estudios
Ofrece formación en áreas como dirección y gestión empresarial, energías renovables, estudio del medio ambiente, calidad, recursos humanos, prevención de riesgos laborales y marketing. Imparte modalidades de estudio presencial, a distancia, online presencial y blended learning.

Acreditaciones, partenariados y membresías

Acreditaciones
IMF Smart Education cuenta con las siguientes acreditaciones:
 Reconocido por la Dirección General de Universidades de la Comunidad Autónoma de Madrid.
 Acreditación de la AACSB (Association to Advance Collegiate Schools of Business), que reconoce la calidad de sus programas de formación a escala internacional.
 Sello de calidad EFQM 500+ acreditado por el Club de la Excelencia. Únicamente 32 entidades españolas en el ámbito de la formación habían alcanzado este nivel de desempeño, el máximo posible en el momento de la concesión.
 Marca de Garantía Madrid Excelente.
 Sus programas de grado y postgrado oficiales se encuentran reconocidos por el Ministerio de Educación y la ANECA.

Membresías
 Asociación de MBA (AMBA), la asociación internacional con sede en Londres que acredita las maestrías internacionales en administración de empresas.
 Miembro afiliado de la UNWTO - Organización Mundial de Turismo.
 Miembro de la Asociación Española de Escuelas de Negocios (AEEN).
 Asociación Nacional de Centros de e-learning y a Distancia (ANCED).

Partners
 Acuerdo de cooperación con la Organización de Estados Americanos (OEA).
Acuerdo con Deloitte (más de 1300 alumnos formados en ciberseguridad).

Sedes
La sede principal del IMF se encuentra en Madrid, hasta 2016 estuvo en los bajos del Palacio del Príncipe de Anglona, y desde entonces se encuentra en la calle Bernardino Obregón, 25 y 30. Posee varias delegaciones, una en Portugal y dos en Latinoamérica, distribuidas de la siguiente manera:

Desde 2018 forma parte del grupo ESESA IMF, la principal Escuela de Negocios de la ciudad de Málaga, que imparte algunos de sus másteres en modalidad presencial y semipresencial (ciberseguridad, big data, marketing digital y marketing turístico).

A principios de 2022 incorporó los centros de FP del Grupo Educativo Giorgeta en Valencia.

Áreas de estudio y metodología
El IMF dicta cursos y posgrados en 8 grandes áreas temáticas:
 Prevención, Calidad, Medio Ambiente, Gestión Integral, Energías Renovables, Desarrollo Sostenible y Seguridad Alimentaria.
 Empresariales, emprendimiento, economía y finanzas (incluye numerosas especialidades de MBA).
 Marketing y Comercial.
 Ingeniería y Tecnología, especialmente en ciberseguridad y big data.
 Ciencias Sociales y Jurídicas.
 Salud y Educación.
 Idiomas.
 Ofimática.

Modalidades
La institución trabaja con varios métodos de estudio: online, presencial y semipresencial (una combinación de las anteriores).

Otros servicios
El IMF cuenta con un centro de formación específicamente destinado a la consolidación de cualificaciones profesionales con miras a la reintegración de desempleados al mercado laboral.

Convenios con otras universidades
La escuela ofrece varias maestrías oficiales universitarias válidas en todo el Espacio Europeo de Educación Superior (acordes con el marco del Plan Bolonia) gracias al acuerdo con el Instituto de Ciencias Empresariales IMF, centro adscrito a la Universidad Camilo José Cela de Madrid (España). Asimismo, ese acuerdo permite a los alumnos cursar sus estudios de acuerdo al sistema oficial de créditos europeo conocido como ECTS (European Credit Transfer System).

IMF Smart Education también mantiene acuerdos directos con la Universidad de Nebrija (másteres oficiales de abogacía o prevención y compliance, y también másteres propios), con la Universidad Católica de Ávila (UCAV) y con la Universidad del Atlántico Medio.

En el ámbito internacional mantiene acuerdos directos con la Universidad Hemisferios (Ecuador) y con la Universidad San Gregorio de Portoviejo (Ecuador) para la impartición de títulos universitarios online oficiales.

Anteriormente ha impartido numerosos programas con la Universidad San Pablo CEU en posgrados orientados a todas las áreas de conocimiento en las que IMF trabaja.

Colaboración con empresas
IMF también colabora con empresas españolas del grupo que conforman el IBEX 35. En la actualidad mantiene acuerdos de colaboración académica con Deloitte e Indra.

Cifras clave
 900 cursos.
  referencias bibliográficas en su biblioteca virtual.
  alumnos formados, de 109 países distintos.

Enlaces externos
 Sitio web de IMF Smart Education
 Perfil de IMF Smart Education en Twitter
 Perfil de IMF Smart Education en Facebook
 Perfil de IMF Smart Education en LinkedIn
 Perfil de IMF Smart Education en Instagram
 Canal de IMF Business School en Telegram
 Canal de IMF en YouTube

Referencias

Escuelas de negocios de España
Educación en la Comunidad de Madrid
Organizaciones fundadas en 2001
Universidades a distancia

IMF International Business School