Come On Over is the third studio album by Canadian singer Shania Twain. Mercury Records in North America released it on November 4, 1997. Similar to her work on its predecessor, The Woman in Me (1995), Twain entirely collaborated with producer and then-husband Robert John "Mutt" Lange. With both having busy schedules, they often wrote apart and later intertwined their ideas. Twain wanted to improve her songwriting skills and write a conversational album reflecting her personality and beliefs. The resulting songs explore themes of romance and female empowerment, addressed with humor.

Produced by Lange, Come On Over is a country pop album with pop and rock influences. The songs contain country instrumentation such as acoustic guitars, fiddles, and pedal steel, in addition to rock riffs and electric guitars. She released an international version on February 16, 1998, with a pop-oriented production that toned down the country instrumentation. Then Twain embarked on the Come On Over Tour, which ran from May 1998 to December 1999. The album spawned 12 singles, including three U.S. Billboard Hot 100 top-ten singles: "You're Still the One", "From This Moment On" and "That Don't Impress Me Much."

Come On Over received mixed reviews from music critics. Some appreciated the album's crossover appeal and country-pop experimentation, while others criticized the lyrics and questioned its country music categorization. At the 41st Annual Grammy Awards in 1999, Come On Over was nominated for Album of the Year and Best Country Album.

The album reached number two on the U.S. Billboard 200 chart, while topping the charts in multiple countries, including Australia, Canada, and the UK. With sales of over 40 million copies worldwide, Come On Over was recognized by Guinness World Records as the biggest-selling studio album of all time by a solo female artist. It is the best-selling country album in the U.S., and was certified 20× platinum by the Recording Industry Association of America (RIAA) in 2004. Retrospectively, music journalists praised the album for revolutionizing country music, both musically and visually, and discussed its influence on subsequent country artists.

Background
Canadian singer Shania Twain signed to U.S. label Mercury Nashville Records in 1991, and released her eponymous debut studio album in April 1993. It was a commercial failure, reaching number 67 on the U.S. Top Country Albums chart and selling just over 100,000 copies. However, the music video for the album's lead single, "What Made You Say That," and Twain's singing voice attracted the interest of Zambian record producer Robert John "Mutt" Lange. The two collaborated on songwriting via phone calls, and met for the first time at the Nashville Fan Fair festival in June 1993. Soon after, they established a romantic relationship and wedded in December 1993. Together they worked on Twain's second studio album, The Woman in Me. They released it in 1995, and it represented Twain's break with the conventional country music formula to experiment with a rock-influenced country pop sound.

It sold over 10 million copies, surpassing Patsy Cline's Greatest Hits (1967) as the best-selling female country album of all time, and establishing Twain as a sensation on the country music scene. The Woman in Me spawned four number-one singles on the U.S. Hot Country Songs chart and won Album of the Year and Best Country Album at the 31st Academy of Country Music Awards and the 38th Annual Grammy Awards, respectively. Despite the commercial success, Twain refused to embark on a tour to support it. Her risky decision sparked criticism and speculation from Nashville industry experts that she was a manufactured artist with no ability to perform live. Twain cited a lack of logistical support, her reluctance to sing cover songs due to not having enough powerful music, and also a desire to take time off and focus on writing songs for her next album. A concert tour, she suggested, would have distracted her from improving her songwriting.

Writing

As with The Woman in Me, Twain and Lange composed all of the songs on Come On Over. They crafted material for the album "sporadically" as early as 1994, including "You've Got a Way." Twain composed the lyrics at Michael Bolton's New Jersey home, while Lange worked on Bolton's 1995 greatest hits compilation. Due to Twain's busy promotional schedule for The Woman in Me, she and Lange often worked separately, and then later amalgamated the parts. Twain documented her ideas on devices she carried with her at all times. She wrote rough drafts of music and lyrics in a notebook, and recorded bits of melodies on a small tape recorder or a MiniDisc. She explained, "We write everywhere. When we're driving to the grocery store we write. Sometimes, I come up with a melody when we're in the car and if I didn't bring the tape deck, I have to sing it all the way home so I don't forget it. When I get home I run to the tape deck to record it." Twain's longtime friend, Hélène Bolduc, noted how the singer perpetually observed others. She then wrote these observations in her notebook, and later referred to them while composing or when coming up with a title.

When Twain and Lange wrote together, it was typically after they had spent significant time in each other's company. The couple found it difficult to compose music after being separated for a long time. Rather than scheduling time for songwriting, they waited for it to surface gradually. The pair wrote much of the material when they were relaxed, almost bored, because that was when the process felt most natural. While Twain concentrated on the concepts and themes, Lange worked on the music and arrangements. Conceiving Come On Over as a conversational album, Twain incorporated common phrases used in everyday language into her songwriting. As a result of the positive response to The Woman in Me, she also felt "freer and more comfortable" to continue writing songs that expressed her personal beliefs and attitudes. "People seemed to like hearing my perspective from a woman's point of view," she said, "and they seemed to like a sense of humour, so it seemed natural to continue on with that."

Production and recording

Twain and Lange began the recording process for Come On Over in late 1996. Before recording, Lange called session drummer Paul Leim and played him every song, singing and accompanying himself on guitar. Wanting to capture "a real fun Motown feel," Lange had several conversations with audio engineer Jeff Balding, singing and detailing the musical direction. Balding added, "A lot of thought went into it before we came into the studio to do the tracks." All tracks were recorded over three weeks at Masterfonics Tracking Room in Nashville, Tennessee. Finding the right location to place the drum kit was one challenging task, and they tested several locations. Leim recorded the drums for most songs in a room with a stone floor, and walls made of reflective rock faces. He recorded the ballads in "small 'dead booths.'" Joe Chemay played electric and fretless bass, Biff Watson played acoustic and nylon-string guitar, and Twain sang scratch vocals. Steppenwolf member Larry Byrom played the slide guitar tracks, and then recorded them at the GBT Studio. Olle Romo programmed the music at Sven Studios in Mamaroneck, New York. Twain and Lange recorded the background vocals in Toronto at the Glenn Gould Studio, and later returned to Masterfonics for overdubs.

Whilst having a specific vision for the sound of the songs, Lange also left room for the musicians to come up with their own touches. Recalling the recording of "You've Got a Way," Chemay remarked: "The fretless bass allowed me to slide and make gradual note and pitch changes. I had quite a lot of input on that song." For the fiddle recording, both Twain and Lange were of the opinion that the instruments did not sound "big enough." Thus, Lange brought in four fiddle players: Rob Hajacos, Joe Spivey, Glen Duncan, and Aubrey Haynie. They played the exact same part in unison. Additional engineer Bob Bullock noted that this technique made the instruments sound big without being cluttered, creating a different effect than "simply doubling or tripling a part by the same player." For some songs they placed microphones six to eight inches from each fiddle. For other songs, all four fiddle players stood in a semicircle, using two Neumann KM 582 microphones. After recording was finished, Mike Shipley mixed Come On Over using a SSL 9000 J console. Glenn Meadows at Masterfonics mastered the album with a SADiE's Apogee UV22 plug-in.

Musical style
Music critics debated the album's genre. Most categorized Come On Over as country pop. Christopher O'Connor of MTV News and Miriam Longino of The Atlanta Constitution remarked that the songs combined country music instruments, such as fiddles, pedal steel, and acoustic guitars, with radio-friendly pop hooks. Pitchforks Allison Hussey stated that "fiddles are the key element in transmitting Come On Overs country core," but the "smeared edges of [Twain and Lange's] production [...] master the illusion of genre." Others argued that the album's production leaned more toward pop and adult contemporary music than country. Twain described Come On Over as a diverse and upbeat album that equally combined elements of country, pop, and rock music. Many critics noted rock influences in the album's instrumentation.

According to Jon Pareles of The New York Times, the verses on Come On Over contained "a big, blunt rock beat," while the choruses were country, with fiddles and pedal steel guitars. The album's opening track, "Man! I Feel Like a Woman!," uses twang vocal delivery, synthesized strings, and electric guitar, which some journalists compared to Norman Greenbaum's "Spirit in the Sky" (1969). Described as a "country-pop-metal mix," "Love Gets Me Every Time" blends steel and "funky" electric guitars with fiddle and pedal steel. "Honey, I'm Home" is an uptempo country rock track featuring bluesy fiddles, guitars, and drums. It incorporates a stomp-clap rhythm which some critics found similar to Queen's "We Will Rock You" (1977). "If You Wanna Touch Her, Ask!" and "Black Eyes, Blue Tears" are guitar-driven songs; the former is a blues rock song, while the latter features grunge pop influences.

"I Won't Leave You Lonely" is a "European-flavored" song with juxtaposed accordions and pedal steel. The rhythm guitar track has been noted for its similarities to the Police's "Every Breath You Take" (1983). On "Rock This Country!," Twain sings over "pounding" beats, power chords, electric guitars, and fiddles. Some critics described other tracks with more uptempo productions, such as "Don't Be Stupid (You Know I Love You)" and "That Don't Impress Me Much," as dance-able country pop numbers. In addition to an electronic Caribbean beat, the mandolin and accordion-led Latin percussion on the title track create a Cajun sound. Among the ballads on the album, "From This Moment On" combines country and rock elements. The piano-based "You're Still the One" features breathy vocals and instrumentation from guitar, organ, and mandolin. The closing track "You've Got a Way" is a Spanish guitar-driven ballad with "gentle" drums.

Lyrics and themes
Thematically and lyrically, Twain and Lange focused on accentuating the positive. Thus, Twain omitted personal details and focused on entertaining her listeners. "People ask me, 'What do you want people to get from your music?' And I say, 'I want them to be entertained.' That's really the bottom line. I'm not sending out some subliminal message or trying to change the consciousness of people." The songs on Come On Over reflect Twain's concerns, interests, and day-to-day preoccupations. She conveyed her personality through "witty" and "sassy" lyrics, as per Lange's encouragement, and she approached her topics with humor. She sourced many of the titles' pert puns, exclamation marks, and double entendres from Lange. According to music industry executive Ralph Simon "[Lange] was always the master of the double entendre; if ever there is some sexual ambiguity in the lyric, it's down to [him]." The album's predominant themes were love and romantic relationships. "I'm Holdin' On to Love (To Save My Life)" contains references to horoscopes, the internet, psychiatrists, and Dr. Ruth as "superficial crutches" to save one's life rather than love. In "Don't Be Stupid (You Know I Love You)," Twain reassures a jealous and possessive partner.

"From This Moment On" is a duet with country singer Bryan White. Twain originally wrote the song with another artist in mind, hoping to pitch it to a "powerhouse" vocalist like Céline Dion. However, Lange convinced Twain to record it, although she initially felt uncomfortable singing a power ballad. "When" used metaphors and scenarios of an idealistic world to describe a broken relationship. Twain said it was her favorite song lyrically: "I love the whole concept. It's a neat way of saying 'never' about a relationship. Like saying 'when hell freezes over' without saying that." The "wry, chiding" humorous lyrics of "Whatever You Do! Don't!" find a vulnerable Twain "falling head over heels for a guy who seems to do everything just right." In "You're Still the One," she celebrates a successful relationship that has prevailed despite turmoil, hardships, and criticism. The lyrics were inspired by her marriage to her then-husband Lange, and the people who considered their relationship unlikely to succeed. The tongue-in-cheek "That Don't Impress Me Much" depicts her indifferent attitude toward self-absorbed men who emphasize material things, intelligence, or physical beauty, rather than personality and heart. In "I Won't Leave You Lonely," Twain added verses in French and Spanish to broaden the song's universal appeal.

Apart from romance, Come On Over explores women's issues and experiences. "Man! I Feel Like a Woman!" is a self-celebratory song about female empowerment, hedonism, and women's liberty. "If You Wanna Touch Her, Ask!" explores themes of sexual consent and respecting a woman's personal space. Twain said the song was inspired by awkward feelings she experienced in her adolescence due to her physical development. However, she decided to write it from a positive perspective and sing about how to sensitively approach a woman. Twain narrates the role reversal song "Honey, I'm Home" from the perspective of a working woman coming home after a difficult day and demanding that her partner take care of her. The song drew some comparisons to Dolly Parton's "9 to 5" (1980). "Black Eyes, Blue Tears" is about domestic abuse and depicts a woman leaving a physically abusive relationship, with lyrics such as "I'd rather die standing than live on my knees, begging please." Twain wrote this from an optimistic perspective, and associated the song's theme with the 1991 American film Thelma & Louise. "I wanted to show that there's life after abuse, as opposed to doom and destruction."

Packaging and release
Twain originally wanted to title the album No Inhibitions, but opted for Come On Over because she considered the title track one of her favorites and appreciated its inviting nature. She released the album in North America on November 4, 1997, through Mercury Records. With 16 songs and a running time of slightly over an hour, Come On Over distinguished itself by deviating from the traditional standard of "cheap, short" country albums, typically consisting of only 10-12 tracks and a duration of under 35-40 minutes. George Holz designed the red and white cover artwork. It depicted Twain in a "come-hither pose," wearing a red shirt and holding her hands over her head.

When the album was complete, Lange spent four months remixing it for international release. He removed country elements from the songs to achieve a "universal" pop-oriented sound. He made the snare drums, fiddles, and pedal steel more subtle, and replaced them with pop beats, drum loops, keyboards, and synthesizers. 15 songs underwent sonic changes, with the exception of "Rock This Country!" which remained in its original version. For "From This Moment On," Twain sang solo. She also recorded two new versions, one in collaboration with Brazilian duo Chitãozinho & Xororó, and another with Irish singer Ronan Keating. However, these versions of "From This Moment On" were never released.

Twain and Lange released the international version of Come On Over in continental Europe on February 16, 1998, with a different track order and new artwork. The cover showed Twain with tousled hair, wearing a sleeveless silver gown, and turning toward the camera. They released a special edition in Australia in 1998 featuring a live version of "(If You're Not in It for Love) I'm Outta Here!" and dance mixes for "Love Gets Me Every Time" and "Don't Be Stupid (You Know I Love You)." The Australian tour edition included a second disc. It contained an additional single mix of "God Bless the Child" (1996), a live medley of "Home Ain't Where His Heart Is (Anymore)," "The Woman in Me (Needs the Man in You)" (1995), and "You've Got a Way," and the original country version of "From This Moment On."

In 1999 they issued a revised international edition of Come On Over. It included the pop radio mixes of "You're Still the One" and "From This Moment On," the Notting Hill remix of "You've Got a Way," and the "UK dance mix" of "That Don't Impress Me Much." They released this version in the U.S. on November 23, 1999, after the singles' success on pop radio. In Japan, they released a limited edition 10 days earlier. It featured both a radio edit and the album version of "You're Still the One," as well as a "Mach 3 remix" of "Love Gets Me Every Time." They released a version on increasingly popular vinyl on December 2, 2016. They offered a special edition of Come On Over digitally on December 4, 2022. This included two live versions of "You're Still the One" with Elton John and Chris Martin, and a live version of "Party for Two" (2004) with Nick Jonas.

In July 2023, during the Queen of Me Tour, Twain announced Come On Over: Diamond Edition, to celebrate the album's 25th anniversary, released on August 25, 2023.

Promotion

Mercury implemented an extensive promotional campaign for Come On Over. To market it, Twain performed "Love Gets Me Every Time" at the 1997 Country Music Association Awards and held album signing sessions in the U.S. at the Mall of America in Bloomington, Minnesota, and in Canada at the Southcentre Mall in Calgary. She appeared on a series of American television shows, including The Tonight Show with Jay Leno, Live with Regis and Kathie Lee, Late Night with David Letterman, and Good Morning America. For the international release in Europe, she conducted press interviews and performed "You're Still the One" on The National Lottery Live in the U.K. On February 26, 1998, Twain appeared on TNN's Prime Time Country. She sang songs from both The Woman In Me and Come On Over, and then Gary Chapman interviewed her. In March 1998, Twain embarked on a promotional tour in Australia. She appeared on Midday, Hey Hey It's Saturday Night, and performed at the Australian Grand Prix concert in Melbourne.

At the VH1 Divas concert on April 14, 1998, she sang "Man! I Feel Like a Woman!" and "You're Still the One." In September 1998, Twain became the first female country singer to appear on the cover of Rolling Stone magazine since Dolly Parton in 1980. She also performed at award shows, including the Canadian Country Music Awards, Country Music Association Awards, and Billboard Music Awards. Promotion continued throughout 1999, with Twain appearing again on The Tonight Show with Jay Leno and Prime Time Country. On February 24, 1999, Twain sang "Man! I Feel Like a Woman!" at the 41st Grammy Awards ceremony. She returned to the U.K. in July and September 1999 to perform at Capital Radio's Party in the Park and Top of the Pops, respectively. At the 1999 Country Music Association Awards, Twain performed "Come On Over." In the U.K., a Top of the Pops 2 special aired on BBC Two on December 8, 1999, where Twain sang "Man! I Feel Like a Woman!" and "That Don't Impress Me Much," among other songs.

Singles
Out of the album's 16 songs, 12 were released as singles. In North America, promoters pushed Come On Over as a country album, while internationally categorizing it as pop. Promoters serviced the first two singles, "Love Gets Me Every Time" and "Don't Be Stupid (You Know I Love You)," only to country radio stations and both peaked within the top 40 of the U.S. Billboard Hot 100. The former was a five-week number one on the Hot Country Songs charts, while the latter was a top-ten hit on the same. "You're Still the One" had a crossover release to U.S. pop radio on January 13, 1998, and was the first single the team released in Europe on February 2, 1998. In addition to reaching number-one in Australia and on the U.S. Hot Country Songs chart, the song peaked at number two on the U.S. Billboard Hot 100, at number seven on the Canadian RPM Top Singles chart, and at number 10 on the UK Singles Chart. Mercury relied on a crossover marketing strategy for the following singles, sending songs to pop stations only after they achieved success on country stations. On May 4, 1998, Twain and Lange's team released "From This Moment On" to U.S. country stations as the fourth single, and it peaked at number six on the U.S. Hot Country Songs chart. They later serviced it to U.S. pop stations on August 25, 1998, and it peaked within the top 10 in Australia, the U.K., and the U.S.

"When" had a limited release in Europe on June 1, 1998. Twain released the original version of "That Don't Impress Me Much" to U.S. country stations on December 7, 1998, and released a dance remix to U.S. pop stations on February 23, 1999. It was the album's most successful single internationally, topping the charts in Ireland, New Zealand, and Norway. It achieved top 10 positions in other territories, including Australia, Canada, Germany, Spain, the U.K., and the U.S. "You've Got a Way" and "Man! I Feel Like a Woman!" had crossover releases to U.S. pop stations throughout 1999, and peaked at numbers 49 and 23 respectively on the U.S. Billboard Hot 100. The promoters also serviced  more singles to U.S. country stations: "Honey, I'm Home" (August 10, 1998), "Come On Over" (September 7, 1999), "Rock This Country!" (January 10, 2000), and "I'm Holdin' On to Love (To Save My Life)" (July 2000). All songs peaked within the top 30 of the U.S. Hot Country Songs chart, with "Honey, I'm Home" at number one and "Come On Over" at number six. They released a dance remix of "Don't Be Stupid (You Know I Love You)" as the album's final single in Europe on February 7, 2000.

Touring

To further promote the album, Twain embarked on the Come On Over Tour, her first as a headliner. It kicked off in Sudbury, Northern Ontario, on May 29, 1998, and concluded in West Palm Beach, Florida, on December 5, 1999. Outside North America, the Come On Over Tour visited Australia, Ireland, and the U.K. It grossed over $70 million from 165 shows and received generally positive reviews. Music critics appreciated Twain's energetic performances as she refuted those earlier accusations of being unable to sing live, and they praised the show's production. The tour visited Reunion Arena in Dallas, Texas, on September 12, 1998, and DirecTV broadcast it live. A CBS TV special titled Shania Twain's Winter Break premiered on March 3, 1999. Filmmakers documented the tour on January 15 and 16, 1999, at the Bayfront Park Amphitheater in Miami, Florida. Elton John joined Twain on stage to sing a medley of "You're Still the One" and "Something About the Way You Look Tonight" (1997). Backstreet Boys also appeared at the concert, singing "From This Moment On" alongside Twain. CBS taped a second TV special at Texas Stadium, and it aired on Thanksgiving Day, November 25, 1999.

Critical reception

As noted earlier, Come On Over received mixed reviews from music critics. Those who were complimentary applauded it for exploring the limits of country music. Stephen Thomas Erlewine from AllMusic remarked that Come On Over transcended boundaries due to its rock-oriented production, writing that despite the relative absence of country elements, Twain "sticks to what she does best, which is countrified mainstream pop." Billboard's Paul Verna similarly stated that "country's traditions are being reinvented and redefined," calling Come On Over "the future of power pop merging with country." Some critics, however, took issue with the album's genre classification as country. Robert Christgau asserted that Come On Over "has nothing to do with country," and Jeffrey Lee Puckett of The Courier-Journal felt that "[it] sounds more like a pop singer flirting with country." The Tennessean's Tom Roland added that the array of rock references hardly made the album sound country. Conversely, J. D. Considine of Entertainment Weekly cited the country chorus on "Honey, I'm Home" as an example of how "superficial Twain's rock trappings are," concluding that "Lange has no need to countrify every arrangement for credibility's sake."

Reviews in the Dayton Daily News, The Philadelphia Inquirer, the Vancouver Sun, and The Washington Post praised the album's mainstream appeal and catchy melodies, and touted Lange's production. Other reviews from The Atlanta Journal-Constitution, the Austin American-Statesman, the New York Daily News, and Q were negative, dismissing the album as "unforgivably bland," forgettable, and uninspired. Twain's lyrical content drew criticism for lacking depth, and some called it "predictable" (the Los Angeles Times) and "cliched" (the Springfield News-Leader). Hussey opined that Twain avoided controversy and was "the first to insist that her songs are meant to be fun, and it is OK to enjoy them on those terms alone." In the Miami Herald, Howard Cohen disliked the album's "lazy" production and "insipid" lyrics, but complimented the international version for removing "the forced country instrumentation" and revealing "the finely crafted pop it really is." The Sydney Morning Heralds Mary Tartaglione and The Guardian's Adam Sweeting were critical, deeming the international version's production "overly polished" and "manufactured."

Accolades
At the 1998 Canadian Country Music Association Awards, Come On Over won Album of the Year and was declared the Top Selling Album. It was nominated for Album of the Year at the 33rd Academy of Country Music Awards, the 1998 Country Music Association Awards, and the 1998 Juno Awards. The album received further nominations for Favorite Pop/Rock Album and Favorite Country Album at the 26th American Music Awards. At the 41st Annual Grammy Awards in 1999, Come On Over was nominated for Album of the Year and Best Country Album, and its single "You're Still the One" won Best Female Country Vocal Performance and Best Country Song. The following year, at the 42nd Annual Grammy Awards, "Man! I Feel Like a Woman!" won Best Female Country Vocal Performance, and "Come On Over" won Best Country Song.

Commercial performance
In 2015, Guinness World Records recognized Come On Over as the biggest-selling studio album by a female solo artist, with over 40 million copies sold worldwide. It remains the best-selling country album, the best-selling album by a Canadian artist, and the world's third best-selling album of all time.

Americas
In Canada, Come On Over debuted at number one on the Canadian Albums Chart with first-week sales of 51,840 copies. Twain became the first country artist to debut at number one since the introduction of the Nielsen SoundScan system for tracking album sales. The album spent five weeks atop the chart. By December 2014 it had sold 1.94 million copies, making it the best-selling album since the advent of the Nielsen SoundScan in Canada in 1995. Music Canada (MC) certified Come On Over double diamond for shipments of two million units. In the U.S., Come On Over debuted at number two on the Billboard 200 chart for November 22, 1997, with first-week sales of 172,000 copies. Mase's debut studio album Harlem World, which sold 3,000 more copies than Come On Over, held it off from reaching the top spot. The album remained second behind Barbra Streisand's Higher Ground, selling 170,000 units in the second week.

Come On Over experienced its highest weekly sales during Christmas week 1999, selling 355,000 copies, and remaining on the Billboard 200 chart for a total of 151 weeks. It spent 50 weeks at number one on the U.S. Top Country Albums chart, breaking the record for the longest-running number-one album. It was the fourth best-selling album of both 1998 and 1999 in the U.S., selling 4.9 million and 5.62 million copies, respectively. By October 2019, the album had sold 15.73 million pure copies in the U.S. It is the best-selling country album and the second best-selling album in the U.S. since Nielsen SoundScan tracking began in 1991, behind Metallica's 1991 self-titled album. The Recording Industry Association of America (RIAA) certified the album 20× platinum (double diamond), denoting 20 million units shipped. In Latin America, Come On Over was certified gold in Brazil, Mexico, and Uruguay and platinum in Argentina.

Europe and Oceania
The album topped the pancontinental European Top 100 Albums chart for two consecutive weeks. The International Federation of the Phonographic Industry (IFPI) certified it 7× platinum in 2001, denoting sales of seven million copies across Europe. Come On Over was a sleeper success in the U.K. In the week ending March 21, 1998, the album debuted at number 15 on the Albums Chart. After a year and a half of fluctuating on the chart, it climbed to number one in its 74th week, with sales of 57,000 copies. The best sales week was the one ending December 25, 1999, with 278,000 copies sold. Come On Over spent 11 weeks at number one and was the best-selling album of 1999 in the U.K. with sales of 2.2 million copies. The British Phonographic Industry (BPI) certified it 11× platinum and sold 3.51 million copies by January 2023, making it the 15th best-selling album in the U.K. of all time. Across Europe, Come On Over reached number one in Belgium (Flanders), Denmark, Iceland, Ireland, the Netherlands, Norway, and Scotland. It received multi-platinum certifications in Belgium, Sweden, Switzerland (3× platinum), the Netherlands (5× platinum), Norway (6× platinum), and Denmark (7× platinum).

In Australia, Come On Over topped the Australian Albums Chart for 20 weeks and was the best-selling album of 1999 in the country. By December 1999, the album had sold one million units in Australia. It was certified 25× platinum by the Australian Recording Industry Association (ARIA) for earning over 1.75 million album-equivalent units in the nation. The album spent 23 weeks at number one on the New Zealand Albums Chart and received a 21× platinum certification from Recorded Music NZ (RMNZ) for shipments of over 315,000 units.

Legacy and influence

In a March 1999 article in the Ottawa Citizen, Lynn Saxberg wrote that Come On Over "pushed new country as far as it will go" and "may be remembered as [...] the epitome of the pop-rock influence on country music." Ron Corbett from the same publication considered Twain's crossover success to be the first of its kind: "In Nashville, they say the streets are littered with the bones of artists who tried to cross over to pop, only to end up killing their careers. Ms. Twain may turn out to be the exception." In retrospect, journalists hailed Twain as the pioneer of 1990s country-pop crossovers and observed the impact of Come On Over in country music. Alex Hopper of American Songwriter considered the album to be Twain's magnum opus and said that its country-pop crossovers "were something entirely new upon their release." In Jocelyn R. Neal's 2013 book Country Music: A Cultural and Stylistic History, Neal acknowledged Twain as the driving force behind the "major stylistic shift in country music toward country-pop."

Larry Delaney of Country Music News said that the album introduced country music to a large and new audience of young listeners. Writing for Wide Open Country, Bobbie Jean Sawyer applauded the album for being "a benchmark moment for country music." He noted its impact on female country artists "less concerned with a strict adherence to genre and more concerned with being true to themselves," including Kelsea Ballerini, Maren Morris, Carly Pearce, Carrie Underwood, and Taylor Swift. Taylor Weatherby of Billboard called Come On Over "a brilliant fusion of country, pop and rock that it quickly solidified Twain's legacy." Alison Hussey of Pitchfork observed how the album's success "changed Nashville forever" and redefined the categorization of country music. According to her, Twain set a new standard of country-pop crossovers, recognizing her influence on subsequent careers of Bomshel, Rascal Flatts, Faith Hill, and Underwood.

Pandora music analyst Kevin Seal pointed out that the "euphoric quality" of the songs had a "huge effect on Nashville production" and shaped the sound of upcoming country productions. Medium's Glenn Peoples likewise dubbed the music "ahead of its time." He cited Underwood's "All-American Girl" (2007) and "Good Girl" (2012) as songs "that would work well on Come On Over," referring to the female empowerment theme of the former and the instrumentation of the latter. The Independent's Roisin O'Connor linked the "winking, sarcastic tone" of "That Don't Impress Me Much" to Taylor Swift's music, specifically citing "We Are Never Ever Getting Back Together" (2012) and "Blank Space" (2014), and concluding, "Without Shania, there likely wouldn't be a Taylor." In 2021, Swift thanked Twain on the video-sharing service TikTok for eradicating the misconception that "country girls can't go to pop." Twain told Billboard that the risk she took by exploring her diversity inspired female country artists like Swift and Miranda Lambert to be confident in being "artistically expressive and unique."

Journalists have noted that Twain's image and fashion throughout the album cycle altered the public's perception of country music's visual representation. Some have credited the visual aspect of Twain's music videos, which benefited from heavy airplay on stations such as CMT, MTV, and VH1, as conveying a message that "country music doesn't have to look like just one thing." Peoples described Twain's music videos as "visually stunning, mixing glamour, romanticism, and often vibrant colors." National Post's Jeff Breithaupt accredited the success of Come On Over to the marketing strategy of "slow roll-outs of hit singles and expensive videos," and compared it to Michael Jackson's Thriller (1982). Other journalists commented that a vast audience of "underseen, under-engaged" female listeners who identified with its female empowerment themes embraced it. O'Connor cited "Black Eyes, Blue Tears" and "If You Wanna Touch Her, Ask!" for their timely relevance in light of the #MeToo movement, calling the album "an overlooked feminist masterpiece."

Consequence ranked Come On Over as the ninth-best album of 1997, and praised it for pushing the boundaries of country music. Rolling Stone included it in their 2020 revised list of the 500 Greatest Albums of All Time, at number 300. The same publication later placed the album at number eight in its 2022 list of the "100 Greatest Country Albums of All Time." Editor Natalie Weiner found the songs "addictive," and commended both the "wild creativity" and Twain and Lange's "dangerously sharp commercial instincts," as well as their "fearless embrace of an audience too often overlooked by country music: women." In their ranking of the "150 Greatest Albums Made by Women," NPR listed Come On Over at number 89. Ann Powers opined that the album's sonic innovations were "forward thinking," revolutionizing the country genre.

Track listing

Notes:
All editions of the album following its initial North American release include alternate pop-oriented mixes of all of the album's tracks, except for "Rock This Country!".

Personnel
Credits are adapted from the album's liner notes.

Musicians

 Paul Leim – drums (all tracks)
 Joe Chemay – bass guitar, fretless bass (all tracks)
 Biff Watson – acoustic guitar, nylon-string guitar, electric guitar, rhythm guitar (all tracks)
 Dann Huff – electric guitar, rhythm guitar, guitar textures, talk box, electric 12-string guitar, wah-wah guitar, six-string bass, electric sitar (all tracks), guitar solo (track 1, 2, 5, 11, 13)
 Brent Mason – electric guitar licks (track 1–4, 7, 8, 11–13, 15), guitar solo (track 3, 7, 12)
 Michael Omartian – acoustic piano (track 5, 9)
 John Hobbs – acoustic piano (track 14), wurlitzer (track 1, 9), organ (track 10)
 John Jarvis – acoustic piano (track 2, 3, 10, 13), wurlitzer (track 4)
 Arthur Stead – organ (track 6, 7, 9), synthesizer (track 5, 16), acoustic piano (track 6)
 Paul Franklin – pedal steel (track 1–4, 7, 11–13, 15), "cosmic steel" (track 8), steel solo (track 8)
 Bruce Bouton – pedal steel (track 8, 10), steel solo (track 10), lap steel (track 9), lap steel solo (track 9)
 John Hughey – pedal steel (track 5, 6, 14)
 Joey Miskulin – accordion (track 6, 14)
 Larry Franklin – fiddle (track 4, 6, 8, 11, 15)
 Rob Hajacos – fiddle (track 3, 13)
 Stuart Duncan – fiddle (track 1)
 Larry Byrom – slide guitar (track 1, 11)
 Carl Marsh – strings, string arrangements (track 5)
 David Hamilton – strings, string arrangements (track 5)

"Bow Bros." gang fiddles on tracks 1, 3, 4, 8, 11, 13, 15 performed by Rob Hajacos, Joe Spivey, Glen Duncan, and Aubrey Haynie.

Production

 Shania Twain – vocals (all tracks)
 Robert John "Mutt" Lange – background vocals, producer (all tracks), remixing (track 1 on the Special Asia edition)
 Bryan White – duet vocals (track 5)
 Olle Romo – programming, Pro Tools, sequencing, editing, "that extra Swedish swing" (all tracks), engineer, additional engineer, mixing (track 4, 10, 13, 15 on international edition), remixing (track 6 on the Australian Tour and Special Asia editions)
 James Somberg – assistant programming
 Jay Alvarez – assistant programming
 Bjorn Thorsrud – pre-production programming
 Glenn Meadows – mastering
 Jeff Balding – engineer, additional engineer
 Mark Hagen – assistant engineer
 Bob Bullock – additional engineer
 Tim Waters – assistant engineer
 Mike Carroll – additional engineer
 Mark Stewart – assistant engineer
 Brian Tankersley – additional engineer, remixing (track 5 on the Australian Tour edition)
 Sandy Jenkins – assistant engineer
 Rob DeGroff – additional engineer, technical maintenance
 Mike Shipley – mixing (all tracks on standard edition, track 1–3, 5–9, 11, 12, 14 on international edition)
 George Holz – cover photography, colored photography
 Stacey Martin – hair, make-up
 Jamie Kimmelman – stylist
 Gus Phillipas – black and white photography
 Howard Fugler – hair
 Susan Sterling – make-up
 Wayne Scot Lukas – stylist

Charts

Weekly charts

Year-end charts

Decade-end charts

All-time charts

Certifications and sales

Release history

See also
 List of best-selling albums
 List of best-selling albums by country
 List of best-selling albums by women
 List of best-selling albums in Australia
 List of best-selling albums in Belgium
 List of best-selling albums in Canada
 List of best-selling albums in Europe
 List of best-selling albums in New Zealand
 List of best-selling albums in the United Kingdom
 List of best-selling albums in the United States
 List of best-selling albums in the United States of the Nielsen SoundScan era
 List of diamond-certified albums in Canada

Notes

References

Bibliography

1997 albums
Shania Twain albums
Mercury Nashville albums
Albums produced by Robert John "Mutt" Lange
Canadian Country Music Association Album of the Year albums
Canadian Country Music Association Top Selling Album albums

Come On Over


Tolín, tolín, tolán es el segundo álbum de estudio de la cantante e intérprete chilena Charo Cofré, lanzado en 1972 por el sello discográfico IRT.

La letra de todas las canciones es de la escritora María de la Luz Uribe, mientras que la portada del álbum en su edición original de 1972 fue ilustrada por el marido de Uribe, Fernando Krahn.

Reversión

En 2005 el microprograma infantil chileno Tikitiklip realizó una reversión del disco completo para una serie de doce videoclips animados, interpretado por el dúo Miranda y Tobar.

Reedición

En 2022, con motivo de los cincuenta años del lanzamiento, el sello chileno Monophone publicó una reedición del vinilo gatefold con las ilustraciones originales de Fernando Krahn.

Lista de canciones

Referencias

Álbumes de 1972
Álbumes de IRT
Álbumes en español
Álbumes de Chile de 1972

Tolín, tolín, tolán


Hacker  er en dansk familiefilm fra 2019. Filmen er instrueret af Poul Berg og havde premiere den 28. marts 2019.

Medvirkende
 Rumle Kærså som Benjamin
 Josephine Højbjerg som Savannah
 Signe Egholm Olsen som Anna
 Esben Dalgaard Andersen som Peter

Referencer

Eksterne henvisninger

Familiefilm fra Danmark
Danske film fra 2019

Hacker (film fra 2019)


An Aponogeton natans in uska species han Liliopsida nga syahan ginhulagway ni Carl von Linné, ngan ginhatag han pagkayana nga asya nga ngaran ni Adolf Engler och Kurt Krause. An Aponogeton natans in nahilalakip ha genus nga Aponogeton, ngan familia nga Aponogetonaceae. Ginklasipika han IUCN an species komo diri gud kababarak-an. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Aponogeton

Aponogeton natans


الفيروسات التاجية  هي فيروسات اٍيجابية ذات حمض نووي ريبوزي أحادي السلسلة (27-31 كيلو قاعدة)، 120 - 160 نانومتر بشكل يشبه الإكليل أو التاج. الغلاف مكون من بروتينات سكرية بنيوية (خاصة بالفيروس) S و M.

تضم عائلة الفيروسات الإكليلية أجناس هي:
 جنس فيروس تاجي؛ الأنواع: فيروس التهاب القصبات المعدي.
 جنس فيروس الثور؛ الأنواع: فيروس الثور الخيلي.

مراجع

عائلات فيروسية
فيروسات إيجابية ذات الرنا أحادي السلسلة
تاجية

فيروسات تاجية


Le système avoirdupois ( /ˌ æ v ər d ə p ɔɪ z, Æ ˌ v w ɑːr dj u p w ɑː / ;  abrégé avdp. )  est un système de mesure des poids qui utilise les livres et les onces comme unités. Il a été utilisé pour la première fois au  ap. J.-C. et a été mis à jour en 1959.

En 1959, par accord international, les définitions de la livre et de l'once sont devenues standardisées dans les pays qui utilisent la livre comme unité de masse. L'International Avoirdupois Pound est alors créée. C'est le système de poids utilisé aux États-Unis et, à des degrés divers, dans la vie quotidienne au Royaume-Uni, au Canada, en Nouvelle-Zélande, en Australie et dans certaines autres anciennes colonies britanniques, malgré leur adoption officielle du système métrique.

Les attributs généraux du système de poids avoirdupois ont été développés à l'origine pour le commerce international de la laine à la fin du Moyen Âge. Il était historiquement basé sur une livre physique standardisée ou un « poids prototype » qui pouvait être divisé en 16 onces. Il y avait un certain nombre de mesures de masse concurrentes, et le fait que la livre avoirdupois avait trois nombres pairs comme diviseurs (la moitié et la moitié et la moitié encore) a peut-être été la cause d'une grande partie de sa popularité, de sorte que le système l'a emporté sur les systèmes à 12 ou 10 ou 15 subdivisions. L'utilisation de ce système non officiel s'est progressivement stabilisée  et a évolué, avec seulement de légers changements dans l'étalon de référence ou dans la masse réelle du prototype.

Au fil du temps, le désir de ne pas utiliser trop de systèmes de mesure différents a permis l'établissement de « relations de valeur », avec d'autres produits mesurés et vendus au poids tels que les marchandises en vrac (grains, minerais, lin) et les métaux fondus; ainsi, le système avoirdupois devint progressivement une norme acceptée dans une grande partie de l'Europe.

En Angleterre,  autorisa son utilisation comme étalon, et la reine  agit à trois reprises pour faire respecter une norme commune, établissant ainsi ce qui devint le système impérial des poids et mesures. À la fin du , divers gouvernements ont agi pour redéfinir leurs normes de base sur une base scientifique et établir des rapports entre les mesures avoirdupois locales et les normes internationales du système métrique SI.  Les actions en justice de ces divers gouvernements ont été conçues de manière indépendante et n'ont donc pas toujours choisi les mêmes ratios par rapport aux unités métriques pour chaque unité avoirdupois. Le résultat de ceci était, après ces normalisations, les mesures du même nom avaient souvent des valeurs reconnues légèrement différentes dans différentes régions (bien que la livre soit généralement restée très similaire). De nos jours, cela est évident dans la petite différence entre les livres sterling coutumières des États-Unis et les livres impériales britanniques.

Un système alternatif de masse, le système troy, est généralement utilisé pour les matériaux précieux. La définition moderne de la livre avoirdupois (1 lb) est exactement  kilogramme.

Étymologie
Le mot avoirdupois vient de l'anglo-normand «  », littéralement "marchandises de poids", désigne des marchandises qui étaient vendues en vrac et qui étaient pesées sur de grandes balances. Le terme a ensuite désigné le système particulier d'unités utilisées pour peser de telles marchandises. L'orthographe incohérente à travers l'histoire a laissé de nombreuses variantes du terme, telles que  et  . (Le  normand est devenu le  parisien. Au  de a été remplacé par du . )

Bien que le mot avoir pouvait être à la fois un verbe et un nom, il était utilisé comme nom - signifiant un bien - au 16 siècle pour différencier un bien vendu par articles ( avoir de prix ) d'un bien vendu par son poids ( avoir de pois/poids ).

L'orthographe actuelle du dernier mot est poids dans l'orthographe française standard actuelle, mais le mot avoirdupois est resté tel quel dans l'anglosphère.

Histoire
L'essor de l'utilisation du système de mesure correspond à la recrudescence du commerce durant le Haut Moyen Âge après les premières croisades, lorsque l'Europe connaît une croissance des villes, passe du chaos des seigneurs de la guerre au commerce à longue distance, et commence des foires annuelles, des tournois et le commerce, par terre et par mer. Il existe deux hypothèses majeures concernant les origines du système avoirdupois. L'hypothèse la plus ancienne est qu'elle serait originaire de France.  Une hypothèse plus récente est qu'elle est basée sur le système de poids de Florence.

On pense que le système de poids avoirdupois est entré en vigueur en Angleterre vers 1300. Il était à l'origine utilisé pour peser la laine. Au début du , plusieurs autres systèmes de poids spécialisés ont été utilisés, y compris le système de poids de la Ligue hanséatique avec une livre de 16 onces de  grains et une marque de 8 onces. Cependant, le système de poids principal, utilisé pour la monnaie et pour un usage quotidien, était basé sur la livre tour de 12 onces de  grains. Du  jusqu'à la fin du , la base des systèmes, la livre avoirdupois, le prototype de la livre internationale d'aujourd'hui était également connue sous le nom de livre de laine ou livre de laine avoirdupois.

La première version connue du système de poids avoirdupois avait les unités suivantes : une livre de  grains, une pierre de 14 livres, un sac de laine de 26 pierres, une once de livre, et enfin, l'once a été divisée en 16 "parties".

La première occurrence connue du mot « avoirdupois » (ou une variante de celui-ci) en Angleterre provient d'un document intitulé Tractatus de Ponderibus et Mensuris (« Traité des poids et mesures »). Ce document est répertorié dans les premiers livres de lois sous le titre 31 Edward I du 2 février 1303. Des livres de lois plus récents la classent parmi les lois de date incertaine . Les érudits pensent aujourd'hui qu'il a probablement été écrit entre 1266 et 1303.  Initialement un mémorandum royal, il a finalement pris force de loi et a été reconnu comme une loi par le roi Henri VIII et la reine Elizabeth I.

Il a été abrogé par la Loi sur les poids et mesures de 1824 . Dans le Tractatus, le mot « avoirdupois » ne fait pas référence à un système de poids, mais à une classe de marchandises, en particulier des marchandises lourdes vendues au poids, par opposition aux marchandises vendues au volume, au nombre ou à une autre méthode. Comme il est rédigé en français anglo-normand, ce document n'est pas la première occurrence du mot dans la langue anglaise.

Vers une uniformité des mesures
Pendant le règne d' (r. 1327-1377), trois développements majeurs se produisent. Premièrement, une loi connue sous le nom de 14 o Edward III. st. 1. Casquette. 12 (1340) "Des boisseaux et des poids seront fabriqués et envoyés dans chaque comté."

Le deuxième développement majeur est le statut 25 o Edward III. st. 5. Casquette. 9. (1350) "Le poids de l'Auncel sera éteint, et la pesée sera faite par une balance égale."

Le troisième développement est un ensemble de poids en bronze du  au Westgate Museum de Winchester, en Angleterre. Les poids sont en coupures de 7 livres (correspondant à une unité connue sous le nom de pince ou pince à laine), 14 livres (pierre), 56 livres (4 pierres) et 91 livres ( sac ou sac de laine). Le poids de 91 livres aurait été commandé par  en conjonction avec la loi de 1350, tandis que les autres poids auraient été commandés en conjonction avec les lois de 1340. Le poids de 56 livres a été utilisé comme étalon de référence jusqu'en 1588.

Un décret d' rendit obligatoire les poids avoirdupois.

En 1588, la reine  augmenta le poids de la livre avoirdupois à  grains et ajouta le grain de Troie au système de poids avoirdupois. Avant 1588, la "partie" ( ) était la plus petite unité du système de poids avoirdupois. Au , la "partie" est rebaptisée "drachme".

Formes originales
Ce sont les unités dans leurs formes originales françaises anglo-normandes

Unités post-élisabéthaines
Au Royaume-Uni, 14 livres avoirdupois équivalent à une pierre. Le quart, le quintal et la tonne sont respectivement égaux à 28 lb, 112 lb et 2 240 lb pour que les masses soient facilement converties entre elles et la pierre. Voici les unités de la version britannique ou impériale du système avoirdupois :

Remarque : La forme plurielle de la pierre unitaire est soit pierre soit pierres, mais la pierre est le plus souvent utilisée.

Système coutumier américain
Les 13 colonies britanniques d'Amérique du Nord ont utilisé le système avoirdupois, mais ont continué à utiliser le système britannique tel qu'il était, sans l'évolution qui se produisait en Grande-Bretagne dans l'utilisation de l'unité de pierre. En 1824, il y avait une nouvelle législation historique sur les poids et mesures au Royaume-Uni que les États-Unis n'ont pas adoptée.

Aux États-Unis, les quarts, les quintaux et les tonnes restent définis comme 25, 100 et  respectivement. Le quart est désormais quasiment inutilisé, tout comme le quintal hors agriculture et matières premières. Si la désambiguïsation est nécessaire, alors ils sont appelés les plus petites unités « courtes » aux États-Unis, par opposition aux plus grandes unités « longues » britanniques. Les grains sont utilisés dans le monde entier pour mesurer les charges de poudre à canon et de poudre sans fumée. Historiquement, le dram a également été utilisé dans le monde entier pour mesurer les charges de poudre à canon, en particulier pour les fusils de chasse et les gros fusils à poudre noire.

Articles connexes
 Système des apothicaires
 Anciennes unités de mesure françaises
 Système d'unités impériales
 Unités de mesure américaines
 Balance

Notes et références

Notes

Citations

Sources

Liens externes

 Un poids standard en bronze Edward III de 14 lb (1327-1377)
 Un poids standard en bronze Edward III de 91 lb (1/4 sac) (1327-1377)

Unité de masse
Pages avec des traductions non relues

Système avoirdupois


Eco Austria – Institut für Wirtschaftsforschung ist ein 2011 gegründetes Wirtschaftsforschungsinstitut mit Sitz in Wien. Das Institut betreibt insbesondere Evaluation von wirtschafts- und sozialpolitischen Maßnahmen auf nationaler und internationaler Ebene. Ziel des Instituts ist es, mit evidenzbasierter Wirtschaftsforschung eine Grundlage für Entscheidungen in Politik und Wirtschaft sowie für eine wissenschaftlich fundierte öffentliche Debatte zu liefern.

Geschichte, Organisation und Finanzierung
Das Institut wurde 2011 mit Unterstützung der Industriellenvereinigung (IV) in der Rechtsform eines gemeinnützigen Vereins gegründet. Die Industriellenvereinigung trug zunächst zu dem jährlichen Budget mit 300.000 Euro bei, die in der Folge laut Finanzierungsplan abgeschmolzen wurden. Mittlerweile tragen auch das Bundesministerium für Finanzen und Unternehmen zur Basisfinanzierung bei, die knapp 40 Prozent der Einnahmen ausmachen. Mehr als 60 Prozent des Jahresbudgets generiert das Forschungsinstitut über kompetitiv vergebene Forschungsmittel, z. B. aus dem Jubiläumsfonds der Österreichischen Nationalbank, und über Auftragsforschung insbesondere im öffentlichen Interesse. Zu den Auftraggebern zählen unter anderem Bundesministerien, Landesregierungen sowie die Europäische Kommission.

Die Gründung erregte gewisses Aufsehen, weil es damit neben WIFO und IHS ein weiteres Wirtschaftsforschungsinstitut gibt. Besonders zwischen WIFO und dem damaligen Präsidenten der Industriellenvereinigung, Veit Sorger, gab es Unstimmigkeiten. Sorger kürzte dem WIFO die finanzielle Zuwendung der Industriellenvereinigung von 250.000 Euro auf 100.000 Euro jährlich und gründete mit EcoAustria ein weiteres Institut.

Ehrenamtlicher Präsident des Vereins ist Clemens Wallner. Er folgte auf Karl Sevelda, den ehemaligen Vorstandsvorsitzenden der Raiffeisen Bank International. Sevelda folgte 2017 auf Josef Moser, nachdem dieser das Amt des Bundesministers für Verfassung, Reformen, Deregulierung und Justiz der Republik Österreich übernommen hatte. Gründungspräsidentin von EcoAustria war Gabriele Zuna-Kratky, Generaldirektorin des Technischen Museums Wien.

Institutsleitung

 2011–2016: Ulrich Schuh, wechselte in das Bundesministerium für Digitalisierung und Wirtschaftsstandort
 2017 bis Mai 2020: Tobias Thomas, wechselte anschließend als fachstatistischer Leiter zu Statistik Austria
 seit November 2020: Monika Köppl-Turyna

Forschungsschwerpunkte
Das Forschungsprogramm von EcoAustria fokussiert insbesondere auf die ex-ante und ex-post Evaluation von wirtschafts- und sozialpolitischen Maßnahmen auf nationaler und internationaler Ebene. Hierzu verwendet das Institut verschiedenste Methoden der Wirtschaftswissenschaften, die insbesondere das allgemeine dynamische Gleichgewichtsmodell PuMA ("Public Policy Model for Austria and other European countries") von EcoAustria, ein Generationenkontenmodell, Effizienz- und Wirkungsanalysen, sowie ökonometrisch geschätzte Regional- und Außenhandelsmodelle umfassen.

Publikationen
Die Ergebnisse der Forschung von EcoAustria werden immer wieder von den Medien aufgegriffen, so zum Beispiel am aktuellen Rand zu den ökonomischen und fiskalischen Folgewirkungen der Migration, zur Nachhaltigkeit der öffentlichen Finanzen, zur Pflegefinanzierung, zum Außenhandelskonflikt zwischen Donald Trump und dem Rest der Welt und zu den ökonomischen und fiskalischen Effekten der Nordautobahn.

Weblinks
 Offizielle Website

Einzelnachweise

Wirtschaftsforschungsinstitut
Wirtschaft (Österreich)
Verein (Wien)
Forschungsinstitut in Österreich
Landstraße (Wien)
Gegründet 2011
Non-Profit-Organisation

EcoAustria


Livsforsikringsagenten er en stumfilm fra 1919 instrueret af Lau Lauritzen Sr. efter manuskript af Lau Lauritzen Sr., A.V. Olsen.

Handling

Referencer

Eksterne henvisninger

Film instrueret af Lau Lauritzen Sr.
Stumfilm fra Danmark
Danske film fra 1919

Livsforsikringsagenten


Al-Malik al-Muzaffar Saif ad-Din Haddschi (I.) ibn Muhammad (; * 1332; † 1347 in Kairo) war 1346–1347 Sultan der Mamluken in Ägypten.

Nach der Absetzung seines Halbbruders al-Kamil Schaban wurde Haddschi im September 1346 zum Sultan proklamiert und nahm den königlichen Titel "al-Malik al-Muzaffar" an. Der erst vierzehnjährige Sultan liebte Polo, die Folter und das Spielen mit Brieftauben. Er bevorzugte die Gesellschaft von Ringern aus der Unterschicht und Brieftauben-Züchtern anstatt die seiner hochrangigen Emire. Als ihm eine Delegation von Emiren seine schlechte Regentschaft vorwarf, soll er, so erzählt eine Geschichte, vor ihren Augen einige Tauben geschlachtet und dann gemeint haben, dass er mit all jenen Untertanen ähnlich verfahren würde, die ihm Schwierigkeiten machen sollten.

Der Aufstieg des auf Finanzverwaltung spezialisierten Emirs Ghurlu setzte sich unter Haddschis Herrschaft fort und wahrscheinlich erkaufte sich der Sultan auf seinen Rat hin die Loyalität der königlichen Mamluken um den Eunuchen-Kommandeur as-Sahrati. Außerdem drängte Ghurlu den Sultan, die Zahl seiner eigenen Mamluken durch den Kauf tscherkessischer Sklaven zu erhöhen (Ghurlu selbst war Tscherkesse). Ghurlus Bestrebungen, alle Macht in seinen Händen zu konzentrieren und gleichzeitig eventuell gefährliche Rivalen zu beseitigen, brachten die mächtigen Emire unter der Führung des Vize-Regenten Ariqtai an-Nasiri gegen ihn auf. Er wurde seines Amtes enthoben und während eines Gebets ermordet.

Sultan Haddschi I. überlebte seinen Günstling Ghurlu nicht lange: Gerüchte über eine bevorstehende, durch den Sultan geplante "Säuberung" bewegten die führenden Emire abermals zum Aufruhr und schließlich zur Ermordung al-Muzaffar Haddschis im Dezember 1347. Ihm folgte ein weiterer Sohn Sultan an-Nasir Muhammads I. auf den Thron – der durch seinen grandiosen Moscheebau in Kairo berühmt gewordene an-Nasir al-Hasan.

Literatur

 Robert Irwin: The Middle East in the Middle Ages. The Early Mamluk Sultanate 1250–1382. ACLS History E Book Project, New York NY 2008, ISBN 978-1-59740-466-2, S. 134.

Sultan (Ägypten)
Sultan (Damaskus)
Herrscher (14. Jahrhundert)
Bahri-Mamluk
Geboren 1332
Gestorben 1347
Mann

Al-Muzaffar Haddschi I.


An Brachiaria arrecta in uska species han Liliopsida nga syahan ginhulagway ni Théophile Alexis Durand ngan Schinz, ngan ginhatag han pagkayana nga asya nga ngaran ni Sydney Margaret Stent. An Brachiaria arrecta in nahilalakip ha genus nga Brachiaria, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Brachiaria

Brachiaria arrecta


Gustav von Alvensleben (30 de septiembre de 1803 - 30 de junio de 1881) fue un general prusiano.

Biografía

Gustav von Alvensleben nació en Eichenbarleben y se alistó en el Ejército prusiano en 1821.

Alvensleben sirvió en el Regimiento n.º 1 de la Guardia del Kaiser Alexander. En 1849, Alvensleben fue jefe de las fuerzas prusianas contra la insurrección en Baden y, en 1850, fue ascendido a jefe del VIII Cuerpo de Ejército.

Alvensleben fue nombrado gobernador militar de la provincia del Rin y de la provincia de Westfalia en 1854 y asistente personal de Guillermo I de Alemania en 1861. En este cargo, firmó la Convención Alvensleben con el Imperio ruso para coordinar la política rusa y prusiana a lo largo del Levantamiento de Enero en Polonia.

Sirvió en el cuartel general real en la guerra austro-prusiana de 1866 y lideró las negociaciones de paz con Jorge V de Hannover. El 30 de octubre de 1866, tomó el mando del IV Cuerpo de Ejército. En 1868, Alvensleben fue ascendido a General de Infantería y comandó el IV Cuerpo en las batallas de Beaumont y Sedán durante la guerra franco-prusiana.

Se retiró el 10 de octubre de 1872 y falleció el 30 de junio de 1881 en Gernrode, Sajonia-Anhalt.

Honores

Referencias

Generales de Prusia
Personas de la guerra austro-prusiana
Militares alemanes de la guerra franco-prusiana
Militares de Prusia del siglo XIX
Condecorados con la Cruz de Comendador de la Orden imperial de Leopoldo
Grandes cruces de la Orden de la Corona de Roble
Personas de la Provincia de Sajonia
Gustav

Gustav von Alvensleben


Güzelyurt, Zonguldak ilinin Devrek ilçesine bağlı bir köydür.

Tarihçe
Daha önceleri Gürbüzler köyüne bağlı bir mahalle iken buradan ayrılarak köy statüsü kazandı.

Coğrafya
Köy, Zonguldak il merkezine 66 km, Devrek ilçe merkezine 11 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Devrek belde ve köyleri

Güzelyurt, Devrek


Die Proteste nach den russischen Präsidentschaftswahlen 2012, nach den Kommunalwahlen im März 2012 sowie nach der Inauguration Wladimir Putins zum Präsidenten am 6. Mai 2012 sind Demonstrationen gegen mutmaßliche Wahlfälschungen bei den Präsidentschaftswahlen vom 6. März 2012 in Russland. Sie begannen im März 2012 und führten zu den – zusammen mit den Protesten nach den Parlamentswahlen ab Dezember 2011 – größten Protestkundgebungen in der jüngeren Geschichte des Landes. Die Polizei reagierte auf allen Kundgebungen mit Großaufgeboten.

Proteste nach den Kommunalwahlen in Russland im März 2012

Astrachan
In Astrachan wurde am 6. März 2012 der Kandidat von Einiges Russland, Michail Stoljarow, zum Bürgermeister gewählt. Sein Gegenkandidat war Oleg Schein von Gerechtes Russland. Mutmaßlich war diese Bürgermeisterwahl massiv gefälscht, sogar die Zentrale Russische Wahlbehörde unter der Leitung von Wladimir Tschurow gestand Dutzende von "prozeduralen Fehlern" ein. Dutzende von Verletzungen des gesetzlichen Prozederes wurden von den im Zusammenhang mit der Präsidentschaftswahl installierten Webkameras festgehalten, andere von Wahlbeobachtern mit ihren Digitalkameras und Diktiergeräten.

Als Reaktion auf die massiven Unregelmäßigkeiten trat Kandidat Oleg Schein in einen Hungerstreik, der mehrere Wochen dauerte. Nach einiger Zeit wurde der Kampf Oleg Scheins um gerechte und faire Wahlen in Astrachan von den politischen Akteuren der Opposition in Moskau aufgenommen, die zuerst mehrere Unterstützungskundgebungen in Moskau organisierten und schließlich Mitte April 2012 nach Astrachan reisten, um Oleg Schein in seinem Kampf zu unterstützen. Zu denjenigen, die nach Astrachan reisten, zählten Roman Dobrochotow, Alexei Nawalni, Ksenia Sobtschak, Danila Lindele, Gennadi Gudkow und andere.

Am 15. April fand die größte Demonstration in Astrachan seit mehr als 15 Jahren statt, über 10.000 Bürger Astrachans sowie mehrere Hundert aus anderen Städten Russlands angereiste Personen spazierten in einer Kundgebung durch die Stadt. Oleg Schein erreichte in der Folge, dass der Leiter der Wahlbehörde, Tschurow, gemeinsam mit ihm die Videoaufzeichnungen, die die Fälschungen beweisen sollten, ansah. Tschurow sah jedoch trotz Verstößen gegen das Wahlgesetz keine Gründe, die die Aufhebung der Wahl rechtfertigen würden. Schein beendete Ende April seinen Hungerstreik und erstattete in Astrachan Anzeige.

Lermontow
Im südrussischen Lermontow kam es bereits Mitte bis Ende Februar 2012 zu Protesten gegen die Kommunalwahlen, da Dutzende von Kandidaten nicht zur Wahl zugelassen wurden. Zeitweise befanden sich mehr als 50 Personen im Hungerstreik.

Proteste vor und nach der Amtseinführung Putins im Mai 2012

Nach der Amtseinführung Putins im Mai 2012 kam es erneut zu massiven Protesten im Zentrum von Moskau.
Am Tag vor der Amtseinführung am 6. Mai 2012 fanden zwei bewilligte Kundgebungen in Moskau statt, die unter der Losung "Wir lassen den Hochstapler nicht in den Kreml" stand. Es versammelten sich Zehntausende Demonstranten; allerdings wurden zahlreiche Teilnehmer nicht zum Versammlungsplatz – dem Bolotnaja-Platz in Moskau – gelassen. In der Folge kam es zu – wahrscheinlich von regimetreuen Provokateuren inszenierten – Ausschreitungen der OMON-Sondereinheiten, nachdem einzelne "Demonstranten" versucht hatten, das Großaufgebot der OMON, die den Zugang zur Großen Steinernen Brücke verbarrikadierten, um keine Demonstranten in die Nähe des Kremls zu lassen, anzugreifen.

Als Reaktion auf die brutale Reaktion der Polizeieinheiten kam es ab dem Tag der Amtseinsetzung Putins zu spontanen Kundgebungen, Versammlungen sowie Spaziergängen ohne politische Losungen. Seit dem 7. Mai marschierten hunderte Personen nächtelang durch Moskau, oft verfolgt von OMON-Einheiten. Zeitweise ließen sie sich auf dem Platz Staraja ploschtschad (Alter Platz) in Kitai-Gorod nieder und übernachteten dort auf Campingmatratzen in Schlafsäcken. Nach einiger Zeit gesellten sich auch Alexei Nawalni und Sergei Udalzow zu den Protestlern. Diese wurden jedoch von der Polizei verhaftet und wegen "Widersetzung gegen die Staatsgewalt" zu 15 Tagen Haft verurteilt. Die Szene der Protestler verlagerte sich unterdessen zu den Tschistyje Prudy. Auch unter dem Eindruck der "Occupy"-Bewegung wurde die Besetzung des Tschistyje-Prudy-Parkes im Umkreis des Denkmals für den kasachischen Dichter Abaj angekündigt – "OccupyAbai". Nächtelang übernachteten hunderte Protestler im Tschistyje-Prudy-Park. Die organisatorische Leitung des Protestlagers übernahm Ilja Jaschin. Es wurden offene Seminare über Demokratie, Bürgerbewegung und Zivilgesellschaft, aber auch Tango-Kurse und Foto-Workshops mit prominenten Bloggern und Fotografen durchgeführt. Über alle Veranstaltungen und Einzelheiten wurde in Echtzeit auf Twitter informiert.

Am 13. Mai 2012 fand ein vom Schriftsteller Boris Akunin initiierter Kontroll-Spaziergang statt. Dabei versammelten sich Schriftsteller um abzuklären, ob es die Versammlungsfreiheit zulässt, ohne politische Losungen und Plakate frei durch ihre eigene Stadt, Moskau, zu spazieren. Ljudmila Ulitskaja, Leonid Zorin, Dmitri Bykow und andere schlossen sich dem Spaziergang an. Überraschenderweise gesellten sich über 10.000 Teilnehmer dem Marsch an; gemeinsam marschierten sie vom Puschkin-Denkmal auf dem Puschkin-Platz bis zum Gribojedow-Denkmal im Tschistye-Prudy-Park, wo sie sich mit den Teilnehmern von "Occupy-Abai" trafen.

Prozesse und Verurteilungen
Insgesamt 29 Personen wurden zu langjährigen Gefängnisstrafen oder Lagerhaft verurteilt. Beobachter nannten den Prozess gegen die Anführer einen Politprozess, der Verteidiger nannte ihn einen "Schauprozess".

Siehe auch
 Putin muss gehen

Weblinks

Einzelnachweise

Politik (Russische Föderation)
Politik 2012
Demonstration
Konflikt 2012
Russische Geschichte (21. Jahrhundert)

ru:Акции протеста против фальсификации выборов в России (2011—2012)


(26973) Lála, denumire internațională (26973) Lala, este un asteroid din centura principală de asteroizi.

Descriere
26973 Lála este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Observatorul din Ondřejov de Marek Wolf și Petr Pravec. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,70 ua, o excentricitate de 0,09 și o înclinație de 4,6° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 26001-27000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1997
Centura de asteroizi
Asteroizi cu nume de oameni

26973 Lála


Mazelov (deutsch Maselow, früher Mazalow) ist eine Gemeinde in Tschechien. Sie liegt acht Kilometer nordnordwestlich von Lomnice nad Lužnicí in Südböhmen und gehört zum Okres České Budějovice.

Geographie

Mazelov liegt beiderseits des Baches Mazelovský potok am Fuße der Lischauer Schwelle im Landstrich Pšeničná Blata am Rande des Wittingauer Beckens. Östlich befinden sich die Teiche Záblatský rybník und Stržka, im Südosten der Krčín sowie südlich der Velký mazelovský rybník und Malý mazelovský rybník. Gegen Süden erstreckt sich das Waldgebiet Velechvínské polesí. Im Nordosten erhebt sich der Nad Drážkami (436 m). Südlich befinden sich am Bach Dubenský potok die Wüstungen Žďár und Ovčín; gegen Südwesten liegt sich die Wüstung Provod.

Nachbarorte sind Neplachov und Dynín im Norden, Lhota und Lhotský Dvůr im Nordosten, Záblatí im Osten, Lomnice nad Lužnicí, Smržov und Dolní Slověnice im Südosten, Hůrky, Hrutov und Velechvín im Süden, Kolný, Lhotice, Chotýčany, U nádraží und Mazelovský Háj im Südwesten, Pazderna, Hrobárna und Ševětín im Westen sowie U Prokšů, Na Jednotě, Gebrovna, Švamberk und Drahotěšice im Nordwesten.

Geschichte
Die erste schriftliche Erwähnung des zur Herrschaft Wittingau gehörigen Dorfes erfolgte im Jahre 1446 in einer Urkunde Ulrichs II. von Rosenberg. Im Jahre 1840 bestand Mazalow aus 40 Häusern mit 350 Einwohnern. Im Dorf bestanden eine Kapelle und eine von der Gemeinde unterhaltene Privatschule. Pfarrort war Schewetin. Bis zur Mitte des 19. Jahrhunderts blieb das Dorf immer der Herrschaft Wittingau untertänig.

Nach der Aufhebung der Patrimonialherrschaften bildete Mazalov / Mazalow ab 1850 eine Gemeinde Ševětín in der Bezirkshauptmannschaft Třeboň/Wittingau. Zwischen dem 19. und 20. Jahrhundert erfolgte eine Umgestaltung des Ortsbildes, bei der die hölzernen Gehöfte durch schmuckvolle Giebelhöfe im Bauernbarockstil ersetzt wurden. Im Jahre 1910 hatte Mazalov / Mazalov 402 tschechischsprachige Einwohner. Seit 1924 führt die Gemeinde den Namen Mazelov. Mit Beginn des Jahres 1961 wurde die Gemeinde im Zuge der Aufhebung des Okres Třeboň dem Okres České Budějovice zugeordnet. Am 14. Juni 1964 erfolgte die Eingemeindung nach Ševětín. Nach einem Referendum löste sich Mazelov zum 24. November 1990 wieder von Ševětín los. Der historische Ortskern von Mazelov ist seit 1995 ein ländliches Denkmalschutzgebiet.

Gemeindegliederung
Für die Gemeinde Mazelov sind keine Ortsteile ausgewiesen.

Sehenswürdigkeiten
 Neobarocke Kapelle der Jungfrau Maria auf dem Dorfplatz, geschaffen 1862–1865
 Ensemble von Giebelhöfen mit Speicher im Blatastil des südböhmischen Bauernbarock
 Naturschutzgebiet Záblatské louky, östlich des Dorfes

Weblinks

Einzelnachweise

Ersterwähnung 1446

Mazelov


Anton Eichhorn (* 9. Mai 1809 in Pissau bei Seeburg, (Ermland); † 27. Februar 1869 in Frauenburg) war ein deutscher Theologe, Kirchenhistoriker und Kirchenrechtler.

Leben
Anton Eichhorn besuchte von 1821 bis 1828 zuerst das Progymnasium in Rößel und dann das Gymnasium zu Braunsberg. Von Herbst 1828 an studierte er bis 1831 am Lyceum Hosianum in Braunsberg Philosophie und Theologie. Nachdem er im Juni 1832 zum Priester geweiht worden war, wurde er Kaplan in Elbing. Um sich auf das Lehramt vorzubereiten, setzte er seit Herbst 1834 mit Hilfe eines staatlichen Stipendiums seine Studien an der Universität Berlin fort, wo er bis Juni 1836 die Fächer Philologie und Philosophie belegte. Sein Studium in Berlin schloss er mit der Promotion ab. Von Juli 1836 bis April 1838 war er Religionslehrer am Gymnasium von Braunsberg. Er wurde dann als Professor für Theologie an das Lyceum Hosianum berufen. Dieses Lehramt bekleidete er sechs Jahre lang. Seit 1844 war er Professor für Kirchengeschichte und Kirchenrecht. Für die Periode 1851–1854 wurde er zum Rektor der Lehranstalt gewählt. 1851 ernannte ihn der Papst zum ermländischen Domherrn; er verblieb jedoch bis zum Ende des Wintersemesters zugleich in seinem Lehramt. Im März 1852 siedelte er nach Frauenburg über. Im Januar 1862 trat er als Geistlicher Rat in das Generalvikariat ein und war von Mai 1865 bis zum am 16. August 1867 erfolgten Tod des Bischofs Geritz dessen Generalvikar. Seit April 1867 war er Domdechant.

Eichhorn gründete 1856 mit dem Domvikar Carl Peter Woelky, mit dem Bischöflichen Sekretär und Archivar des Bistumsarchivs, Martin Saage, sowie mit Franz Beckmann, Andreas Thiel (später Bischof von Ermland) und Joseph Bender den Historischen Verein für Ermland, dessen Zeitschrift er seither als Vereinspräsident herausgab. Im Jahr 1848 nahm er als Abgeordneter des Kreises Braunsberg an der Nationalversammlung in Berlin teil. Er war Ritter des Roten Adlerordens 4. Klasse.

1850 war er Mitglied des Volkshauses des Erfurter Unionsparlaments.

Schriften
 Der ermländische Bischof und Cardinal Stanislaus Hosius. Band 1: Von seiner Geburt bis zur Erlangung der Cardinalswürde. Mainz 1854 (Volltext).
 Geschichte der ermländischen Bischofswahlen. In: Zeitschrift für die Geschichte und Alterthumskunde Ermlands. Band 1, Jahrgang 1858–1860, Mainz 1860, S. 93–190 (Volltext), S. 269–383 (Volltext) und S. 460–600 (Volltext); Band 2, Jahrgang 1861–1863, Mainz 1863, S. 1–177 (Volltext), S. 396–465 (Volltext), S. 610–631 (Volltext) und S. 632–639 (Volltext).
 Der im geheimen Archiv des Domcapitels in Frauenburg in Schieblade S. Nro. 1 befindliche Codex, kritisch untersucht. In: Zeitschrift für die Geschichte und Alterthumskunde Ermlands. Band 1, Jahrgang 1858–1860, Mainz 1860, S. 190–200 (Volltext).
 Die Preußische Stiftung in Rom. In: Zeitschrift für die Geschichte und Alterthumskunde Ermlands. Band 2, Jahrgang 1861–1863, Mainz 1863, S. 271–319 (Volltext).
 Bischof Simon Rudnicki's Kampf um die St. Nicolai-Pfarrkirche in Elbing. In: Zeitschrift für die Geschichte und Alterthumskunde Ermlands. Band 2, Jahrgang 1861–1863, Mainz 1863, S. 471–552 (Volltext).
 Die Weihbischöfe Ermlands. In: Zeitschrift für die Geschichte und Alterthumskunde Ermlands. Band 3, Jahrgang 1864–1866, Braunsberg 1866, S. 139–165 (Volltext).
 Die Ausführung der Bulle "De salute animarum" in den einzelnen Diözesen des Preußischen Staates durch den Fürstbischof von Ermland, Prinz Joseph von Hohenzollern. In: Zeitschrift für die Geschichte und Alterthumskunde Ermlands. Band 5, Jahrgang 1870–1874, S. 1–130.

Literatur
 Eichhorn, Anton. In: Joseph Bender, Hrsg.: Geschichte der philosophischen und theologischen Studien in Ermland. Festschrift des Königl. Lyceums Hosianum zu Braunsberg zu seiner fünfzigjährigen Jubelfeier, sowie zur Erinnerung an das vierhundertjährige Bestehen der Hosianischen Anstalten überhaupt, Braunsberg 1868, S. 167–168.
 Andreas Thiel: Leben des Domdekan Dr. Anton Eichhorn (gest. den 27. Februar 1869). In: Zeitschrift für die Geschichte und Alterthumskunde Ermlands. Band 4 (Jahrgang 1867–1859), Braunsberg 1869, S. 737–656.
 Jochen Lengemann: Das Deutsche Parlament (Erfurter Unionsparlament) von 1850. Ein Handbuch: Mitglieder, Amtsträger, Lebensdaten, Fraktionen (= Veröffentlichungen der Historischen Kommission für Thüringen. Große Reihe Bd. 6). Urban & Fischer, München 2000, ISBN 3-437-31128-X, S. 130–131.

Einzelnachweise

Römisch-katholischer Theologe (19. Jahrhundert)
Römisch-katholischer Geistlicher (19. Jahrhundert)
Geistlicher Rat
Mitglied des Volkshauses des Erfurter Unionsparlaments
Historiker
Hochschullehrer (Braunsberg)
Träger des Roten Adlerordens 4. Klasse
Generalvikar
Geboren 1809
Gestorben 1869
Mann

Anton Eichhorn


පුර්ව ඓතිහාසික යකඩ යුගය

	ඓතිහාසික වාර්තා අනුව නගරයේ ආරම්භය ක්‍රි.පු 5 වන සියවසේ පමණ සිදුවී ඇතැයි සදහන් වෙයි. එහෙත් පුරාවිද්‍යා දත්ත අනුව එය ක්‍රි.පු. 10 වෙනි ශත වර්ෂය දක්වා දිවයයි. පුරාවිද්‍යාත්මක කැණිම් වලින් මනුෂ්‍යවාසය පිළිබද කරැණු හෙලිවන නමුදු ක්‍රි.පු. 5 වන සියවසෙන් එපිට (ප්‍රාග් ඓතිහාසික) කාලය පිළිබදව සාක්ෂි ඇත්තේ ඉතා සුළු වශයෙනි.

	අනුරාධපුරයේ  කරන ලද වැඩිදුර කැණිම් වලදී නගරය හෝ නගරය අසල ප්‍රාග් ඓතිහාසික ජනාවාසයන් පැවතුන බව අනාවරණය වී ඇත. ක්‍රි.පු. 900 - 600 අතර කාල පරාසය තුල ප්‍රාග් ඓතිහාසික යකඩ යුගයේ, යකඩ තාක්ෂණය, කුඹල් කර්මාන්තය, අශ්වයින්, ගෘහාශ්‍රිත ගවයින්,  වී වගාව පිළිබද ලකුණු පෙනෙන්නට තිබේ.  ක්‍රි.පු. 700 - 700 වකවානුවේ අනුරාධපුරයේ ජනාවාස හෙක්ටයාර් 50 ක පමණ ප්‍රමාණයක් දක්වා වර්ධනය වී ඇත. වයඹින් හා ඊසාන  දිගින් ප්‍රාධාන වරායන් තිබීමත් වාරි පහසුකම් සහිත සරැ සාර භූමියක් නගරය වටා තිබීමත් හේතුවෙන් නගරය සුභ කටයුතු වලදී ආරක්ෂිත විය.  ආක්‍රමණිකයන්ගෙන් බේරීමට ස්වාභාවික රැකවරණය සලසමින් නගරය ඝණ වනාන්තරයෙන් වට වී තිබුණි.

ඓතිහාසික මුල් යුගය
	ක්‍රි.පු. 500 - 250 අතර කාල සීමාව වංශකථා අනුව අධ්‍යනය කර තිබේ. මෙම කාල සීමාවේ පණ්ඩුකාභය රජු ද්වාරයන්, වාණිජ මධ්‍යස්ථාන ආදී අංග ඇතුලත් කරමින්  ක්‍රමවත් නගර සැළසුම් කළේය. නගරය වර්ග කි.මී 1 ක පමාණයක පැතිර තිබු අතර එය මාහාද්වීපය තුල එකල ඒ වර්ගයේ විශාලතම නගර වලින් එකක් ලෙස සැළකුනි.

 ඉතිහාසය
යුගය අනුව ඉතිහාසය

පුර්ව ඓතිහාසික යකඩ යුගය


Mijagual est la capitale de la paroisse civile de Palacio Fajardo de la municipalité de Rojas dans l'État de Barinas au Venezuela.

Notes et références

Localité dans l'État de Barinas

Mijagual


The Chuvash people ( ,  ;  ; ), plural: , ;   ) are a Turkic ethnic group, a branch of the Onogurs, native to an area stretching from the Volga-Ural region to Siberia. Most of them live in Chuvashia and the surrounding areas, although Chuvash communities occur throughout the Russian Federation. They speak Chuvash, a unique Turkic language that diverged from other languages in the family more than a millennium ago. Among the Chuvash believers, the majority are Eastern Orthodox Christians.

Etymology
There is no universally accepted etymology of the word Chuvash, but there are three main theories. The popular theory accepted by Chuvash people suggests that Chuvash is a Shaz-Turkic adaptation of Lir-Turkic Suvar (Sabir people), an ethnonym of people that are widely considered to be the ancestors of modern Chuvash people. Compare Lir-Turkic Chuvash: huran to Shaz-Turkic Tatar: qazan ('cauldron').

One theory suggests that the word Chuvash may be derived from Common Turkic jăvaš ('friendly', 'peaceful'), as opposed to şarmăs ('warlike'). Another theory is that the word is derived from the Tabghach, an early medieval Xianbei clan and founders of the Northern Wei dynasty in China.

The Old Turkic name Tabghach (Tuoba in Mandarin) was used by some Inner Asian peoples to refer to China long after this dynasty. Gerard Clauson has shown that through regular sound changes, the clan name Tabghach may have transformed to the ethnonym Chuvash.

Language

The Chuvash language is a member of the Turkic language family and is the only Oghur Turkic language that survives. It's spoken in Chuvashia and nearby regions along the middle course of the Volga River, in the central part of European Russia. Chuvash is the sole living representative of Volga Bulgar language. It is considered to share a linguistic connection with the Khazar language in Oghuric languages, which itself constitutes a significantly divergent principal group.

Since the surviving literary records for the non-Chuvash members of Oghuric are scant, the exact position of Chuvash within the Oghuric family cannot be determined. Oghuric languages are so divergent that they were not easily recognized as Turkic. Some scholars suggest Hunnish had strong ties with Bulgar and to modern Chuvash and refer to this extended grouping as separate Hunno-Bulgar languages.

Italian historian and philologist Igor de Rachewiltz noted a significant distinction of the Chuvash language from other Turkic languages. According to him, the Chuvash language does not share certain common characteristics with Turkic languages to such a degree that some scholars consider it an independent Onoguric (Bulgharic) family similar to Uralic and Turkic languages. Turkic classification of Chuvash was seen as a compromise solution for the classification purposes.

Chuvash language is agglutinative in the structure of grammar, phonetically it is synharmonic. In this respect, it's almost no different from other Turkic and Uralic languages. Oghuric family is distinguished from the rest of the Turkic family by sound changes and it has a special place. Distinct character of Chuvash and its relation with Finnic languages formerly led some scholars to think Chuvash is a Uralic language. Conversely, other scholars were regard it as an Oghuric language significantly influenced by Finnic languages.

Tatar language and the neighboring Mari language influenced the Chuvash language. Russian loans are also notable. Chuvash language has two to three dialects.  Phenotypically, there is no particular differences among the Chuvash, as more Caucasoid or more Mongoloid phenotypes can be found among all subgroups.

The subdivision of the Chuvash people are as below:
 Virjal (, 'upper')
 Anat jenchi (, 'mid-lower')
 Anatri (, 'lower')
 Hirti (, 'steppe') (this is a sub-group that is recognized by some researchers)

History
Origins

There are two rival schools of thought on the origin of the Chuvash people. One is that they originated from a mixing between the Suar and Sabir tribes of Volga Bulgaria and also, according to some research, mixing with Volga Finns. The other is that Chuvash may have descendant from the Khazars, based on linguistic and ancestral connections.

The closest ancestors of the Chuvash people seem to be the Volga Bulgars. Throughout history, they have experienced significant infusion and influence, not only from Russian and Turkic peoples but also from neighboring Finnic tribes with whom they were persistently and mistakenly identified for centuries.

Ancestors of Chuvash people, the Sabirs are believed to have come from Western Siberia, they lived there at least the end of the third millennium BC. They were skilled in warfare, used siege machinery, had a large army (including women) and were boatbuilders.

They were also referred to as Huns, a title applied to various Eurasian nomadic tribes in the Pontic-Caspian Steppe during late antiquity. Sabirs led incursions into Transcaucasia in the , but quickly began serving as soldiers and mercenaries during the Byzantine-Sasanian Wars on both sides. Their alliance with the Byzantines laid the basis for the later Khazar-Byzantine alliance.

Early History

In the early first century AD the Bulgars started moving west through Zhetysu and the steppes of modern-day Kazakhstan, reaching the North Caucasus in the 2nd to 3rd centuries AD. There they established several states (Old Bulgaria on the Black Sea coast and the Suar Duchy in modern-day Dagestan). Old Bulgaria broke up in the second half of the 7th century after a series of successful Khazar invasions.

Sabirs who were a tribe within the Khazar Khanate, subsequently undertook a migration to the Volga-Kama region along with other Oghuric tribes, ultimately founded the Volga Bulgaria, which eventually became extremely wealthy: its capital then being the 4th-largest city in the world.

Shortly after that, another state founded by Sabirs in Caucasus known as Suar Principality was forced to become a vassal state of Khazaria. About half a century later, the Suars took part in the Arab–Khazar wars of 732–737. The adoption of Islam in the early tenth century in Volga Bulgaria led to most of its people embracing that religion.

After the Mongols destroyed Volga Bulgaria in 1236, the Golden Horde kept control of the region until its slow dissolution from  1438. The Kazan Khanate then became the new authority of the region and of the Chuvash. The modern name "Chuvash" began to appear in records starting from the sixteenth century from Russian and other foreign sources.

In 1552, the Russians conquered the Kazan Khanate and its territories. The Chuvash, required to pay yasak, gradually became dispossessed of much of their land. Many Chuvash who traditionally engaged in agriculture were forced to become bonded laborers in the timber industry or to work in barges due to growing poverty. The subsequent centuries saw the Christianization and Russification of the Chuvash. During this period, most Chuvash converted to Orthodox Christianity, but the Tsars never achieved their complete Russification.

After conversion, Russian Historian Vasily Nikitich Tatishchev personally visited the lands of Volga Bulgaria and wrote his travel in 1768 claim that Bulgars also migrated to Bashkortostan and North of Kazan (i.e. modern-day Chuvashia).

Modern History
The eighteenth and nineteenth centuries saw the revival of Chuvash culture and the publication of many educational, literary, and linguistic works, along with the establishment of schools and other programs. The Chuvash language began to be used in local schools, and a special written script for the Chuvash language was created in 1871.

On June 24, 1920, the Bolshevik government of the RSFSR established the Chuvash Autonomous Region; it became the Chuvash Autonomous Soviet Socialist Republic on April 21, 1925. Around this time Chuvash nationalism grew, but the Soviet authorities attempted to suppress nationalist movements by re-drawing the borders of the republic, leaving many Chuvash living in neighboring republics or in Russian districts. During most of the Soviet period of 1917–1991, the Chuvash were subjected to Russification campaigns and propaganda.

The Chuvash language vanished from educational and public use. In 1989, another Chuvash cultural revival began - partly in response to these changes. Soon the Chuvash language once again came into use in educational, public, and political life. , schools in the Chuvash Republic and in areas outside that have large Chuvash populations teach the Chuvash language and culture. Chuvash people around Russia also have media available to them in their local communities.

Genetics
Physical anthropologists using the racial frameworks of the early 20th century saw the Chuvash as a mixed Finno-Ugric and Turkic people. An autosomal analysis (2015) detected an indication of Oghur and possibly Bulgar ancestry in modern Chuvash. These Oghur and Bulgar tribes brought the Chuvash language with them. Another study found some Finno-Ugric components in Chuvash people. In 2017 a full genome study found Chuvash largely show a Finno-Ugric genetic component despite having a common Turkic component with Bashkir and Tatar peoples. This study supported elite domination hypothesis among Volga Turkic populations.

A genomic research found that Chuvashes have a linear relationship between Northeastern Europe and Western Siberia. Volga-Ural Turkic peoples (including Chuvashes, Tatars, and Bashkirs) displayed membership in the k5 cluster, which contained the Uralic populations. However, most of the time, the Volga Turkic peoples showed a higher combined presence of the "eastern components" k6 and k8 than did their geographic neighbors. In comparison with their neighbors, Chuvash has a foremost in the sharply increased frequency of haplogroups E and J which led geneticists to see the uniqueness of the gene pool. These haplogroups are typical to Near East and Caucasus.

Culture
They speak the Chuvash language and have some pre-Christian traditions. The Chuvash have specific patterns used in embroidery, which is found in their traditional clothing. Many people also use the Russian and Tatar language, Spoken in Chuvashia and nearby regions along the middle course of the Volga River, in the central part of European Russia.

Religion

Most Chuvash people are Eastern Orthodox Christians and belong to the Russian Orthodox Church while a minority are Sunni Muslims or practitioners of Vattisen Yaly. After the Russian subjugation of the Chuvash in the 16th century, a campaign of Christianization began. However, most Chuvash did not convert until the mid-19th century. The Chuvash retain some pre-Christian and pre-Islamic shamanism traditions in their cultural activities.

A minority of Chuvash may have been exposed to Islam as early as the Volga Bulgaria era but most of those Chuvash likely converted during the Golden Horde period. An inscription dated at 1307 indicates that some Chuvash were converted to Islam, and religious terms occur in Chuvash in the form of Tatar loanwords. However, sources do not specify the practices of the Chuvash during this period. Some Chuvash who converted to Christianity following the Russian conquest converted to Islam during the 19th and early 20th century.

Parallel pray in the shrines called  and sacrifice geese there. One of the main shrines is located in the town of Bilyarsk. Vattisen Yaly is a contemporary revival of the ethnic religion of the Chuvash people.

See also

 List of Chuvashes
 Chuvash National Congress
 Chuvash National Museum
 Chuvash national symbols
 Chuvash State Academic Song and Dance Ensemble
 Chuvash Wikipedia
 ChuvashTet
 Turkic peoples
 Bulgarism
 Society for the study of the native land

References

External links
 Photos of the Chuvash people

Ethnic groups in Kazakhstan
Ethnic groups in Russia
Ethnic groups in Ukraine
Ethnic groups in Uzbekistan
Turkic peoples of Europe

Chuvash people


Triphyllus bicolor, le Mycétophage bicolor, est une espèce d'insectes coléoptères de la famille des Mycetophagidae et du genre Triphyllus dont il est l'espèce-type. Ce petit coléoptère bombé caractérisé par sa surface dorsale bicolore vit dans les forêts européennes où il se nourrit du champignon Fistuline hépatique, la langue de bœuf.

Description
Le Mycétophage bicolor a un corps ovale allongé, fortement bombé et mesurant de  de long. Il est facilement reconnaissable à sa surface dorsale bicolore, les élytres étant colorées de brun jaunâtre à brun roussâtre, avec une large bande transversale brun sombre qui s'étend plus étroitement vers l'arrière. Ce caractère est la plupart du temps bien tranché mais peut parfois être estompé. L'ensemble est brillant, uniformément perforé partout et couvert d'une fine et longue pubescence dorée et dressée. Les pattes sont marron pâle et les antennes sont marron plus foncé. Sa tête possède de petits yeux bombés, un clypeus fortement creusé et un large labrum tronqué. Elle est munie d'antennes courtes, brun sombre, composée de 11 segments, n'atteignant pas la bordure arrière du pronotum et ornées d'une massue bien marquée à 3 segments. Son pronotum est en forme de moitié de disque et ne présente pas de petites dépressions latérales comme chez la majorité des Mycetophagidae. Ses pattes sont brunes et longues, les tibias lisses étant à peine visibles. Sa formule tarsale est 4-4-4 chez la femelle et 3-4-4 chez le mâle,  caractéristiques typiques des Mycétophilidae. Leurs griffes sont longues, minces et lisses.

Écologie et distribution

Le Mycétophage bicolor est une espèce nocturne active du printemps à l'automne qui se rencontre principalement dans les forêts anciennes comportant des arbres matures à différents stades de décomposition. Il vit à proximité du bois des arbres à feuilles caduques envahis par des champignons lignivores, préférentiellement les Chênes, le Châtaignier et le Hêtre envahis par la Fistuline hépatique. L'accouplement a lieu au printemps à la sortie de l'hivernation, la nuit, dans l'écorce ou sur des champignons ; les femelles pondent dans les fructifications peu de temps après ; celles-ci coïncidant d'ailleurs avec la période d'émergence de l'insecte. Des larves ont également été élevées depuis des sporophores du Polypore soufré et des imagos ont été récoltés sur la Pleurote en huître, la Pleurote de l'Orme et le Satyre puant. Les larves se développent à l'intérieur du champignon au printemps et au début de l'été et, lorsqu'elles sont complètement développées, quittent le substrat pour se nymphoser dans le sol. Les adultes de la nouvelle génération apparaissent fin d'été, début d'automne où ils sont généralement actifs pendant un certain temps avant d'hiverner dans le sol sous les troncs d'arbres hôtes ou sous leur écorce.

Cette espèce peu commune mais largement répandue est présente dans la plupart des pays européens de l'Écosse à la Russie et de la Suède à la Grèce ainsi qu'en Asie Mineure dont la Turquie mais elle est absente d'Afrique du Nord. En France, elle est probablement présente sur l'ensemble de la métropole y compris la Corse et est déterminante des ZNIEFF. Elle est également référencée en Suisse et en Belgique.

Références

Liens externes

Mycetophagidae
Espèce de Coléoptères (nom scientifique)
Insecte mycophage

Triphyllus bicolor


Bayağı atmaca (Accipiter nisus), atmacagiller (Accipitridae) familyasından bir atmaca türü. Bazı bölgelerde kırgı da denir.

Koyu kurşuni ve kahverengi tüylü olup, göğsü beyaz kahverengi çizgilidir. Kısa, yuvarlanmış kanatlı, yelpaze gibi açılan uzun kuyruklu olduğundan ağaçlar arasında rahatlıkla manevra yaparak avını takip eder. Kıvrık, kısa gagalı olup, ince, uzun, yırtıcı pençeleri ile fare, kuş ve sincapları kapar.

Bodur ağaçlıklı ormanlarda barınır. Çit ve yol kenarlarında gündüz avlanır. Ağaçlar üzerinde yuva kurar. Yuvasının içini saç, kıl ve kök püskülleri ile döşer. Senede 3-5 yumurta yumurtlar. Erkeği dişisinden küçüktür. Eşlerin her ikisi de yavrularına yiyecek taşırlar. Türkiye'de yaşayanları, kış mevsiminde Kuzey Afrika ve Hindistan'a göç ederler.

Kaynakça

Dış bağlantılar

Atmacagiller
Türkiye'deki kuşlar
Türkiye'de tehlikedeki türler
Göçmen kuşlar
Doğancılık
Carl Linnaeus tarafından adlandırılmış taksonlar

Bayağı atmaca


Liga Sfântă (1495), cunoscută în istorie și sub numele de Liga venețiană, a fost o coaliție a oponenților hegemoniei  Franței în Italia, constituită la inițiativa papei Alexandru al VI-lea la 31 martie 1495. Această alianță grupa Republica Venețiană, Ducatul Milanului, Statele Papale, Sfântul Imperiu Romano-German și Regatul Aragonului.

În condițiile în care regele Carol al VIII-lea al Franței invadase Italia, mărșăluind rapid spre sudul peninsulei și cucerind Napoli, principatele feudale italiene au realizat pericolul ce le pândea, acela de a-și pierde complet autonomia și au încercat să treacă peste disensiunile tradiționale dintre ele.
La sfârșitul secolului al XV-lea, Italia, divizată din punct de vedere politic, devenise victima rivalitățile dintre monarhiile vecine cu ea, a căror putere economică și militară era în creștere, și care râvneau la bogățiile peninsulei. În acel moment, doar cinci state italiene mai aveau o importanță majoră: Veneția, Milano, Florența, Statele Papale și Regatul Neapolelui. Aceste state mențineau un echilibru precar între ele, dar ambițiile exagerate ale conducătorilor acestora au dus la conflicte armate în care au ajuns să apeleze la ajutoare străine, cu rezultatul că Italia a devenit prada ambițiilor francezilor, germanilor și spaniolilor. Invazia franceză din 1494 a dus la o perioadă de conflicte armate aproape permanente, întrerupte de scurte armistiții, perioadă cunoscută în istorie sub numele de Războaiele Italiene.

Carol al VIII-lea, aflat la Napoli (pe care îl cucerise în februarie 1495), fiind înștiințat de constituirea Sfintei Ligi, a realizat pericolul de a fi blocat în sudul peninsulei și a părăsit orașul pe 20 mai 1495, lăsându-l pe contele Gilbert de Montpensier, în calitate de vicerege, cu o parte din trupe. S-a îndreptat spre nord, cu intenția de a-și croi drum spre Franța, înfruntând armatele Ligii. Bătălia decisivă s-a dat la , în Lombardia, pe 6 iulie 1495. Deși forțele Ligii erau superioare numeric celor franceze, bătălia s-a încheiat indecis, ambele tabere clamându-și victoria. Pe termen scurt, francezii au fost mai câștigați, Carol al VIII-lea continuându-și nestingherit drumul spre Franța, după ce i-a plătit și i-a demobilizat pe mercenarii săi elvețieni. Pe termen mai lung Liga și-a atins scopul: acela de a-i alunga pe francezi din peninsulă, iar o armată spaniolă, sub comanda lui Gonzalvo de Córdoba a recucerit orașul Napoli.

Liga s-a dizolvat după semnarea armistițiului de la Alcalá de Henares între Franța, Spania și Sfântul Imperiu Romano-German, la 24 noiembrie 1497. Războaiele care au măcinat însă Italia timp de peste o jumătate de secol, erau abia la început, urmând noi alianțe, noi trădări și noi suferințe pentru localnicii rămași la cheremul armatelor străine care își disputau sferele de influență.

Bibliografie
 Peter N. Stearns (ed.), The Encyclopedia of World History, 6th Edition, Boston: Houghton Mifflin Company, 2001. ISBN 0-39565-237-5.
 Edgar Quinet, Revoluțiile din Italia, în Opere alese, vol. I, traducere Angela Cismaș, Editura Minerva, București, 1983.

Alianțe militare din secolul al XV-lea
Anii 1490 în Europa

Liga Sfântă (1495)


Trap je vrsta glazbe koja je nastala tijekom 1990-ih godina u južnom dijelu Sjedinjenih Američkih Država.

Tipični instrumenti su bubanj, sintesajzer i udaraljke.

Karakteristike
Trap glazba je definirana svojom zlokobnom, sumornom i odlučnim tekstom koji varira prema izvođaču. Tekstovi pjesama se najčešće rade o teškome životu.
Na njemu je istaknut zvuk tijekom sredine i kasnih 2000-ih.
siromaštvu, nasilju i oštroga iskustva u gradskom okruženju. Ritam glazbe uglavnom iznosi oko 140 BPM.

Povijest
Pojam "Trap" se odnosi na mjesto gdje se droga nabavlja i preprodaje te kako je teško pobjeći iz takvog života. Izraz je nastao u Atlanti, (Georgia), gdje su reperi Cool Breeze, Dungeon Family, Outkast, Goodie Mob i Ghetto Mafia bili neki od prvih koji koriste termin "Trap" u svojoj glazbi. Tijekom ranih, do sredine 2000-ih, ta se glazba počela pojavljivati kao žanr nakon brojnih uspjeha niza albuma i singlova s tekstovima koji je pokrivao teme o životu, bavljenje drogom i "borbu za uspjeh".

Poznatiji glazbenici
Među najpoznatijim stranim trap glazbenicima i skupinama su: Goodie Mob, Three 6 Mafia, Outkast, Kanye West, Lil Wayne, Gucci Mane, T-Pain, Wiz Khalifa, Drake, ASAP Mob, Chief Keef, Lil Durk, Waka Flocka Flame, Lil Reese, Travis Scott, Future, Young Thug, Post Malone, Rae Sremmurd, Migos, 21 Savage, Fetty Wap, Lil Yacthy, Lil Uzi Vert, Kodak Black, Denzel Curry, XXXTentacion, Ski Mask the Slump God, Smokepurpp, Lil Pump, 6ix9ine, Trippie Redd, Juice Wrld, Lil Xan, Cardi B, Playboi Carti, A-Boogie Wit Da Hoodie, NAV, Gunna, Lil Baby, Tory Lanez, Lil Skies, Lil Gnar, Roddy Richh, DaBaby, Pop Smoke, Lil Nas X, Lil Tjay, Don Toliver, YoungBoy Never Broke Again, Polo G, King Von, Lil Tecca, Lil Mosey, NLE Choppa, G Herbo, Fivio Foreign, 42 Dugg, KSI, The Kid Laroi, 24kGoldn, Central Cee, Moneybagg Yo, $not, Lil Loaded, Scorey, Yeat, Nardo Wick te drugi.

Neki od poznatijih domaćih i regionalnih trap glazbenika i skupina su: Relja, Rasta, Corona, Rimski, Jala Brat, Buba Corelli, Senidah, KUKU$, High5, Cvija, Coby, Fox, Klinac, Devito, Breskvica, Voyage, Grše, z+++, Dino Blunt, Ružno Pače, Sjena, BUNTAI, 30Zona, Hiljson Mandela, Ba$ha, Podočnjaci i Baks.

Napomena: Na listi su navedeni i glazbenici čija glazba sadrži određene elemente Trap glazbe.

Izvori

Glazbeni žanrovi

Trap (glazba)


An Briza marcowiczii in uska species han Liliopsida nga ginhulagway ni Jurij Nikolajevitj Voronov. An Briza marcowiczii in nahilalakip ha genus nga Briza, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Briza

Briza marcowiczii


Roðablágresi (fræðiheiti: Geranium ibericum) er jurt af blágresisætt. Það verður um 40 sm hátt og blómstrar í júlí - ágúst Líkist nokkuð diskablágresi. Það er ættuð frá N-Íran, Kákasus og Tyrklandi.

Tilvísanir

Blágresisætt

Roðablágresi


An Kyllinga exigua in uska species han Liliopsida nga ginhulagway ni Johann Otto Boeckeler. An Kyllinga exigua in nahilalakip ha genus nga Kyllinga, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Kyllinga

Kyllinga exigua