The New Kingdom, also referred to as the Egyptian Empire, was the ancient Egyptian nation between the 16th century BC and the 11th century BC. This period of ancient Egyptian history covers the Eighteenth Dynasty, the Nineteenth Dynasty, and the Twentieth Dynasty. Through radiocarbon dating, the establishment of the New Kingdom has been placed between 1570 BC and 1544 BC. The New Kingdom followed the Second Intermediate Period and was succeeded by the Third Intermediate Period. It was the most prosperous time for the Egyptian people and marked the peak of Egypt's power.

In 1845, the concept of a "New Kingdom" as one of three "golden ages" was coined by German scholar Baron von Bunsen; the original definition would evolve significantly throughout the 19th and 20th centuries. The later part of this period, under the Nineteenth Dynasty (1295–1189 BC) and the Twentieth Dynasty (1189–1069 BC), is also known as the Ramesside period. It is named after the eleven pharaohs who took the name Ramesses, after Ramesses I, the founder of the Nineteenth Dynasty.

Possibly as a result of the foreign rule of the Hyksos during the Second Intermediate Period, the New Kingdom saw a historic expansion into the Levant, thus marking Egypt's greatest territorial extent. Similarly, in response to attacks by the Kushites, who led raids into Egypt during the Second Intermediate Period, the rulers of the New Kingdom felt compelled to expand far into Nubia and to hold wider territories in the Near East, particularly on the Levantine frontier.

History

Rise

The Eighteenth Dynasty included some of Egypt's most famous kings, including Ahmose I, Hatshepsut, Thutmose III, Amenhotep III, Akhenaten, and Tutankhamun.

Ahmose I is viewed to be the founder of the eighteenth dynasty. He continued the campaigns of his father Seqenenre Tao and of Kamose against the Hyksos until he reunified the country once more. Ahmose would then continue to campaign in the Levant, the home of the Hyksos, to prevent any future invasions on Egypt.

Ahmose was followed by Amenhotep I, who campaigned in Nubia and was followed by Thutmose I. Thutmose I campaigned in the Levant and reached as far as the Euphrates, thus becoming the first pharaoh to cross the river. During this campaign, the Syrian princes declared allegiance to Thutmose. However, after he returned, they discontinued tribute and began fortifying against future incursions.

Hatshepsut was one of the most powerful pharaohs of this dynasty. She was the daughter of Thutmose I and the royal wife of Thutmose II. Upon the death of her husband, she ruled jointly with his son by a minor wife, Thutmose III, who had ascended to the throne as a child of about two years of age, but eventually she ruled in her own right as king. Hatshepsut built extensively in the Karnak temple in Luxor and throughout all of Egypt and she re-established the trade networks that had been disrupted during the Hyksos rule of Lower Egypt during the Second Intermediate Period, thereby building the wealth of the Eighteenth Dynasty. She oversaw the preparations and funding for a mission to the Land of Punt. After her death, having gained valuable experience heading up the military for Hatshepsut, Thutmose III assumed rule.

Thutmose III expanded Egypt's army and wielded it with great success to consolidate the empire created by his predecessors. This resulted in a peak in Egypt's power and wealth during the reign of Amenhotep III. The term pharaoh, originally the name of the king's palace, became a form of address for the person who was king during his reign (–1425 BC).

Widely considered a military genius by historians, Thutmose III conducted at least 16 campaigns in 20 years. He was an active expansionist ruler. He is recorded to have captured 350 cities during his rule and conquered much of the Near East from the Euphrates to Nubia during seventeen known military campaigns. He was the first pharaoh after Thutmose I to cross the Euphrates, doing so during his campaign against Mitanni. He continued north through the territory belonging to the still unconquered cities of Aleppo and Carchemish and quickly crossed the Euphrates in his boats, taking the Mitannian king entirely by surprise.

The wealthiest of all the kings of this dynasty is Amenhotep III, who built the Luxor Temple, the Precinct of Monthu at Karnak and his massive Morturary Temple. Amenhotep III also built the Malkata palace, the largest built in Egypt.

One of the best-known eighteenth dynasty pharaohs is Amenhotep IV, who changed his name to Akhenaten in honour of the Aten, a representation of the Egyptian god, Ra. His worship of the Aten as his personal deity is often interpreted as history's first instance of monotheism. Akhenaten's wife, Nefertiti, contributed a great deal to his new direction in the Egyptian religion. Nefertiti was bold enough to perform rituals to Aten. Akhenaten's religious fervour is cited as the reason why he and his wife were subsequently written out of Egyptian history. Under his reign, in the fourteenth century BC, Egyptian art flourished in a distinctive new style (see Amarna Period).

By the end of the Eighteenth Dynasty, Egypt's status had changed radically. Aided by Akhenaten's apparent lack of interest in international affairs, the Hittites had gradually extended their influence into the Levant to become a major power in international politics—a power that both Seti I and his son Ramesses II would confront during the nineteenth Dynasty.

The last two members of the Eighteenth Dynasty—Ay and Horemheb—became rulers from the ranks of officials in the royal court, although Ay might also have been the maternal uncle of Akhenaten and a fellow descendant of Yuya and Tjuyu.

Ay may have married the widowed Great Royal Wife and young half-sister of Tutankhamun, Ankhesenamun, in order to obtain power; she did not live long afterward. Ay then married Tey, who originally, had been wet-nurse to Nefertiti.

Ay's reign was short. His successor was Horemheb, a general during the reign of Tutankhamun, whom the pharaoh may have intended as his successor in the event that he had no surviving children, which came to pass. Horemheb may have taken the throne away from Ay in a coup d'état. Although Ay's son or stepson Nakhtmin was named as his father or stepfather's Crown Prince, Nakhtmin seems to have died during the reign of Ay, leaving the opportunity for Horemheb to claim the throne next.

Horemheb also died without surviving children, having appointed his vizier, Pa-ra-mes-su, as his heir. This vizier ascended the throne in 1292 BC as Ramesses I, and was the first pharaoh of the Nineteenth Dynasty.

Height of power

The Nineteenth Dynasty was founded by the Vizier Ramesses I, whom the last ruler of the eighteenth dynasty, Pharaoh Horemheb, had chosen as his successor. His brief reign marked a transition period between the reign of Horemheb and the powerful pharaohs of this dynasty, in particular, his son Seti I and grandson Ramesses II, who would bring Egypt to new heights of imperial power.

Seti I fought a series of wars in western Asia, Libya, and Nubia in the first decade of his reign. The main source for knowledge of Seti's military activities are his battle scenes on the north exterior wall of the Karnak Hypostyle Hall, along with several royal stelas with inscriptions mentioning battles in Canaan and Nubia. The greatest achievement of Seti I's foreign policy was the capture of the Syrian town of Kadesh and neighboring territory of Amurru from the Hittite Empire. Egypt had not held Kadesh since the time of Akhenaten. Seti I was successful in defeating a Hittite army that tried to defend the town and erected a victory stela at the site which has been found by archaeologists. Kadesh, however, soon reverted to Hittite control because the Egyptians did not or could not maintain a permanent military occupation of Kadesh and Amurru which were close to the Hittite homelands.

Ramesses II sought to recover territories in the Levant that had been held by the 18th Dynasty. In his second year, before confronting the Hittites, Ramesses II had to deal with a raid by the Sherden sea people whom he defeated and incorporated into his army. His campaigns against the Hittites culminated in the Battle of Kadesh, where he led Egyptian armies against those of the Hittite king Muwatalli II. Ramesses was caught in history's first recorded military ambush, although he was able to rally his troops and turn the tide of battle against the Hittites thanks to the arrival of the Ne'arin (possibly mercenaries in the employ of Egypt). The outcome of the battle was undecided, with both sides claiming victory at their home front, and ultimately resulting in a peace treaty between the two nations.
He campaigned later in the Levant capturing Edom and Moab. New kingdom Egyptian stelae from this period have been found in Jordan. Later, Egyptians conquered Qatna and Tunip where a statue of Ramses II was erected. Thus he recaptured Qadesh and northern Amurru. Nevertheless, like Seti I, he found that he could not permanently hold territory so far from base and after years of conflict, a peace treaty was concluded between the two nations. Egypt was able to obtain wealth and stability under the rule of Ramesses, for more than half a century. His immediate successors continued the military campaigns, although an increasingly troubled court—which at one point put a usurper (Amenmesse) on the throne—made it increasingly difficult for a pharaoh to effectively retain control of the territories.

Ramesses II built extensively throughout Egypt and Nubia, and his cartouches are prominently displayed, even in buildings that he did not construct. There are accounts of his honor hewn on stone, statues, and the remains of palaces and temples—most notably the Ramesseum in western Thebes and the rock temples of Abu Simbel. He covered the land from the Delta to Nubia with buildings in a way no king before him had. He also founded a new capital city in the Delta during his reign, called Pi-Ramesses. It previously had served as a summer palace during the reign of Seti I.

Ramesses II constructed many large monuments, including the archaeological complex of Abu Simbel, and the Mortuary temple known as the Ramesseum. He built on a monumental scale to ensure that his legacy would survive the ravages of time. Ramesses used art as a means of propaganda for his victories over foreigners, which are depicted on numerous temple reliefs. Ramesses II erected more colossal statues of himself than any other pharaoh, and also usurped many existing statues by inscribing his own cartouche on them.

Ramesses II was also famed for the huge number of children he sired by his various wives and concubines; the tomb he built for his sons (many of whom he outlived) in the Valley of the Kings has proven to be the largest funerary complex in Egypt.

Downfall

The immediate successors of Ramesses II continued the military campaigns although an increasingly troubled court complicated matters. He was succeeded by his son Merneptah and then by Merneptah's son Seti II. Seti II's right to the throne seems to have been disputed by his half-brother Amenmesse, who may have temporarily ruled from Thebes.

Upon his death, Seti II's son Siptah, who may have been afflicted with poliomyelitis during his life, was appointed to the throne by Bay, a chancellor and a West Asian commoner who served as vizier behind the scenes. Siptah died early and throne was assumed by Twosret, who was the royal wife of his father and, possibly, his uncle Amenmesse's sister.

A period of anarchy at the end of Twosret's short reign saw the enthronement of Setnakhte, establishing the Twentieth Dynasty.

Final years

The last "great" pharaoh from the New Kingdom is widely considered to be Ramesses III, a Twentieth Dynasty pharaoh who reigned several decades after Ramesses II.

In the eighth year of his reign, the Sea Peoples invaded Egypt by land and sea. Ramesses III defeated them in two great land and sea battles (the Battle of Djahy and the Battle of the Delta). He incorporated them as subject peoples and is thought to have settled them in Southern Canaan, although there is evidence that they forced their way into Canaan. Their presence in Canaan may have contributed to the formation of new states, such as Philistia, in this region after the collapse of the Egyptian Empire (In the reign of Ramses III himself, Egyptian presence in the Levant is still attested as far as Byblos). He later was compelled to fight invading Libyan tribesmen in two major campaigns in Egypt's Western Delta in his sixth year and eleventh year respectively.

The heavy cost of this warfare slowly drained Egypt's treasury and contributed to the gradual decline of the Egyptian Empire in Asia. The severity of the difficulties is indicated by the fact that the first known labour strike in recorded history occurred during the twenty-ninth year of Ramesses III's reign. At that time, the food rations for Egypt's favoured and elite royal tomb-builders and artisans in the village of Deir el Medina could not be provisioned. Air pollution limited the amount of sunlight penetrating the atmosphere, affecting agricultural production and arresting global tree growth for almost two full decades, until 1140 BC. One proposed cause is the Hekla 3 eruption of the Hekla volcano in Iceland, but the dating of this remains disputed.

Decline into the Third Intermediate Period
Ramesses III's death was followed by years of bickering among his heirs. Three of his sons ascended the throne successively as Ramesses IV, Rameses VI, and Rameses VIII. Egypt was increasingly beset by droughts, below-normal flooding of the Nile, famine, civil unrest, and corruption of officials. The power of the last pharaoh of the dynasty, Ramesses XI, grew so weak that in the south the High Priests of Amun at Thebes became the de facto rulers of Upper Egypt, and Smendes controlled Lower Egypt in the north, even before Rameses XI's death. Smendes eventually founded the twenty-first dynasty at Tanis.

Gallery

See also
 History of ancient Egypt

References

Further reading
 Bierbrier, M. L. The Late New Kingdom In Egypt, C. 1300-664 B.C.: A Genealogical and Chronological Investigation. Warminster, England: Aris & Phillips, 1975.
 Freed, Rita A., Yvonne Markowitz, and Sue H. d'Auria, eds. Pharaohs of the Sun: Akhenaten, Nefertiti, Tutankhamun. London: Thames & Hudson, 1999.
 Freed, Rita E. Egypt's Golden Age: The Art of Living In the New Kingdom, 1558-1085 B.C. Boston: Museum of Fine Arts, 1981.
 Kemp, Barry J. The City of Akhenaten and Nefertiti: Amarna and Its People. London: Thames & Hudson, 2012.
 Morkot, Robert. A Short History of New Kingdom Egypt. London: Tauris, 2015.
 Radner, Karen. State Correspondence In the Ancient World: From New Kingdom Egypt to the Roman Empire. New York: Oxford University Press, 2014.
 Redford, Donald B. Egypt and Canaan In the New Kingdom. Beʾer Sheva: Ben Gurion University of the Negev Press, 1990.
 Sadek, Ashraf I. Popular Religion In Egypt During the New Kingdom. Hildesheim: Gerstenberg, 1987.
 Spalinger, Anthony John. War In Ancient Egypt: The New Kingdom. Malden, MA: Blackwell Pub., 2005.
 Thomas, Angela P. Akhenaten's Egypt. Shire Egyptology 10. Princes Risborough, UK: Shire, 1988.
 Tyldesley, Joyce A. Egypt's Golden Empire: The Age of the New Kingdom. London: Headline Book Pub., 2001.
 Wood, Jonathan. R. and Hsu Yi-Ting, An Archaeometallurgical Explanation for the Disappearance of Egyptian and Near Eastern Cobalt-Blue Glass at the end of the Late Bronze Age, Internet Archaeology 52, 2019. Internet Archaeology

External links

 Scientific tool for converting calendar dates mentioned in Greek and Demotic Papyri from Egypt into Julian dates.
 Middle East on the Matrix: Egypt, The New Kingdom—Photographs of many of the historic sites dating from the New Kingdom
 New Kingdom of Egypt - Aldokkan

States and territories established in the 16th century BC
States and territories disestablished in the 11th century BC
Former kingdoms
2nd millennium BC in Egypt
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Former empires

New Kingdom of Egypt


غلوتوفكا  هي مدينة في مقاطعة أوليانوفسك أوبلاست في روسيا.

مراجع

مدن مقاطعة أوليانوفسك

غلوتوفكا (ولجانوفسك)


A Cruz de Jerusalém (também conhecida como "cruz quíntupla" ou "cruz-e-cruzes") é uma cruz heráldica e uma variante da cruz cristã que consiste em uma grande cruz cercada por quatro cruzes gregas menores, uma em cada quadrante. Foi usado como emblema e brasão de armas do Reino de Jerusalém desde a década de 1280.

Existem variantes para o desenho, também conhecido como "cruz de Jerusalém", com as quatro cruzes também na forma de cruzes potentes, ou inversamente com a cruz central, também na forma de uma cruz grega simples. Não deve ser confundida com a cruz de Lorraine, que também foi chamada de "cruz de Jerusalém".

Origem

Enquanto o símbolo da cruz quíntupla parece ter origem no século 11, sua associação com o Reino de Jerusalém data da segunda metade do século 13.

O simbolismo da cruz quíntupla é dado de várias maneiras como as Cinco Chagas de Cristo, Cristo e os quatro evangelistas, ou Cristo e os quatro cantos do mundo. O simbolismo das cinco cruzes representando as Cinco Chagas é registrado pela primeira vez no contexto da consagração da Igreja de St. Brelade sob o patrocínio de Roberto da Normandia (antes de 1035); as cruzes estão gravadas na pedra do altar da igreja.

Os "cruz-e-cruzetas" ou centavos Tealby cunhados sob Henrique II da Inglaterra durante 1158-1180 têm a "cruz de Jerusalém" no anverso, com os quatro crosslets representados como decussados (diagonal). Desenhos cruzados semelhantes no anverso das moedas remontam pelo menos ao período anglo-saxão.

Como as armas do Reino de Jerusalém, o desenho é tradicionalmente atribuído ao próprio Godofredo de Bulhão. Não foi usado, no entanto, pelos governantes cristãos de Jerusalém durante o século XII. Um brasão simples de ou, uma cruz argent é documentado por Matthew Paris como as armas de John de Brienne, que havia sido rei de Jerusalém durante 1210-1212, após a morte de John em 1237.

O emblema usado nos selos dos governantes de Jerusalém durante o século XII era uma representação simplificada da própria cidade, mostrando a torre de Davi entre o Domo da Rocha e o Santo Sepulcro, cercada pelas muralhas da cidade. Moedas cunhadas sob Henrique I (r. 1192–1197) mostram uma cruz com quatro pontos nos quatro quartos, mas a cruz de Jerusalém propriamente dita aparece apenas em uma moeda cunhada sob João II (r. 1284/5).

Mais ou menos na mesma época, a cruz de Jerusalém em ouro sobre fundo de prata aparece como o brasão de armas do Reino de Jerusalém em heráldicos antigos, como o Rolo de Camden. As armas do rei de Jerusalém apresentavam ouro sobre prata (no caso de John de Brienne, prata sobre ouro), um metal sobre outro metal, e assim quebravam a regra heráldica da tintura; isso foi justificado pelo fato de Jerusalém ser tão sagrada que estava acima das regras comuns. O ouro e a prata também estavam ligados ao Salmos 68,13, que menciona uma "pomba coberta de prata e suas penas de ouro amarelo".

A Gelre Armorial (século XIV) atribui aos "imperadores de Constantinopla" (o Império Latino) uma variante da cruz de Jerusalém com as quatro cruzetas inscritas em círculos. Filipe de Courtenay, que detinha o título de imperador latino de Constantinopla de 1273 a 1283 (embora Constantinopla tivesse sido reconquistada pelo Império Bizantino em 1261) usou uma forma estendida da cruz de Jerusalém, onde cada uma das quatro cruzetas era cercada por quatro crosslets menores (uma "cruz de Jerusalém das cruzes de Jerusalém").

Heráldica Clássica
Na heráldica medieval tardia, a cruz dos cruzados foi usada para vários estados dos cruzados. O Livro de Todos os Reinos, do século XIV, usa-o como bandeira de Sebasteia. Mais ou menos ao mesmo tempo, o gráfico Pizzigano o usa como a bandeira de Tbilisi (com base no último exemplo, a cruz do cruzado foi adotada como bandeira da Geórgia em 2004).

Carlo Maggi, um nobre veneziano que visitou Jerusalém e foi feito cavaleiro da Ordem do Santo Sepulcro no início da década de 1570, incluiu a cruz de Jerusalém em seu brasão.

Há uma tradição historiográfica de que Pedro, o Grande, hasteou uma bandeira com uma variante da cruz de Jerusalém em sua campanha no Mar Branco em 1693.

Uso moderno
Um estandarte com uma variação da cruz de Jerusalém foi usado na proclamação da Revolução no Monte Pelion Anthimos Gazis em maio de 1821 na Guerra da Independência Grega.

A papal Ordem do Santo Sepulcro tem como emblema a cruz de Jerusalém, em vermelho, que também é usada nas armas do Guardião da Terra Santa, chefe dos frades franciscanos que servem nos santos lugares cristãos de Jerusalém, e cujo trabalho é apoiado pela Ordem.

Quando Alberto, Príncipe de Gales (mais tarde Rei Eduardo VII), visitou Jerusalém em 1862, ele tinha uma cruz de Jerusalém tatuada em seu braço. O imperador alemão Wilhelm II visitou Jerusalém em 1898 e concedeu a Ordem do Santo Sepulcro (Cruz Memorial de Jerusalém) em forma de cruz de Jerusalém para aqueles que o acompanharam na inauguração da Igreja Luterana do Redentor, Jerusalém.

No início do século XX, a cruz de Jerusalém também passou a ser usada como símbolo da evangelização mundial no protestantismo. Um desenho derivado conhecido como "Cruz de Serviço da Igreja Episcopal" foi usado pela primeira vez durante a Primeira Guerra Mundial pela Igreja Episcopal Anglicana nos Estados Unidos. A cruz de Jerusalém foi escolhida como emblema do Deutscher Evangelischer Kirchentag (Congresso da Igreja Evangélica Alemã) na década de 1950, desde a década de 1960 apresentada de forma simplificada onde a potente Cruz central é substituída por uma simples cruz grega.

A bandeira moderna da Geórgia foi introduzida em 2004 com base na bandeira de Tbilisi mostrada no gráfico Pizzigano.

A Cruz de Jerusalém também é o símbolo do Kairos, um retiro jesuíta de quatro dias que é realizado para jovens em escolas secundárias e paróquias em todo o mundo. As quatro cruzes são usadas para simbolizar o lema do retiro "Viva o quarto".

O conjunto de caracteres Unicode tem um caractere ☩, U+2629 CROSS OF JERUSALEM na tabela Miscellaneous Symbols. No entanto, o glifo associado a esse caractere de acordo com a ficha de personagem Unicode oficial é mostrado como uma simples cruz potente, e não uma cruz de Jerusalém.

Superfícies seletivas em frequência
A cruz de Jerusalém é frequentemente usada na aplicação seletiva de frequência na superfície. A cruz de Jerusalém é uma escolha atraente para o elemento periódico porque tal torna a superfície seletiva de frequência menos sensível ao ângulo de incidência.

Leitura adicional

 Alferes Civil de Jerusalém

Referências

Tipos de cruz
Catolicismo

Cruz de Jerusalém


Impression management is a conscious or subconscious process in which people attempt to influence the perceptions of other people about a person, object or event by regulating and controlling information in social interaction. It was first conceptualized by Erving Goffman in 1959 in The Presentation of Self in Everyday Life, and then was expanded upon in 1967.

Impression management behaviors include accounts (providing "explanations for a negative event to escape disapproval"), excuses (denying "responsibility for negative outcomes"), and opinion conformity ("speak(ing) or behav(ing) in ways consistent with the target"), along with many others. By utilizing such behaviors, those who partake in impression management are able to control others' perception of them or events pertaining to them. Impression management is possible in nearly any situation, such as in sports (wearing flashy clothes or trying to impress fans with their skills), or on social media (only sharing positive posts). Impression management can be used with either benevolent or malicious intent.

Impression management is usually used synonymously with self-presentation, in which a person tries to influence the perception of their image. The notion of impression management was first applied to face-to-face communication, but then was expanded to apply to computer-mediated communication. The concept of impression management is applicable to academic fields of study such as psychology and sociology as well as practical fields such as corporate communication and media.

Background
The foundation and the defining principles of impression management were created by Erving Goffman in The Presentation of Self in Everyday Life. Impression management theory states that one tries to alter one's perception according to one's goals. In other words, the theory is about how individuals wish to present themselves, but in a way that satisfies their needs and goals. Goffman "proposed to focus on how people in daily work situations present themselves and, in so doing, what they are doing to others", and he was "particularly interested in how a person guides and controls how others form an impression of them and what a person may or may not do while performing before them".

Theory

Motives
A range of factors that govern impression management can be identified. It can be stated that impression management becomes necessary whenever there exists a kind of social situation, whether real or imaginary. Logically, the awareness of being a potential subject of monitoring is also crucial. Furthermore, the characteristics of a given social situation are important. Specifically, the surrounding cultural norms determine the appropriateness of particular nonverbal behaviours. The actions have to be appropriate to the targets, and within that culture, so that the kind of audience as well as the relation to the audience influences the way impression management is realized. A person's goals are another factor governing the ways and strategies of impression management. This refers to the content of an assertion, which also leads to distinct ways of presentation of aspects of the self. The degree of self-efficacy describes whether a person is convinced that it is possible to convey the intended impression.

A new study finds that, all other things being equal, people are more likely to pay attention to faces that have been associated with negative gossip than those with neutral or positive associations.
The study contributes to a body of work showing that far from being objective, human perceptions are shaped by unconscious brain processes that determine what they "choose" to see or ignore—even before they  become aware of it. The findings also add to the idea that the brain evolved to be particularly sensitive to "bad guys" or cheaters—fellow humans who undermine social life by deception, theft or other non-cooperative behavior.

There are many methods behind self-presentation, including self disclosure (identifying what makes you "you" to another person), managing appearances (trying to fit in), ingratiation, aligning actions (making one's actions seem appealing or understandable), and alter-casting (imposing identities on other people). Maintaining a version of self-presentation that is generally considered to be attractive can help to increase one's social capital, and this method is commonly implemented by individuals at networking events. These self-presentation methods can also be used on the corporate level as impression management.

Self-presentation

Self-presentation is conveying information about oneself – or an image of oneself – to others. There are two types and motivations of self-presentation:
 presentation meant to match one's own self-image, and
 presentation meant to match audience expectations and preferences.

Self-presentation is expressive. Individuals construct an image of themselves to claim personal identity, and present themselves in a manner that is consistent with that image. If they feel like it is restricted, they often exhibit reactance or become defiant – try to assert their freedom against those who would seek to curtail self-presentation expressiveness. An example of this dynamic is someone who grew up with extremely strict or controlling parental figures. The child in this situation may feel that their identity and emotions have been suppressed, which may cause them to behave negatively towards others.

 Boasting – Millon notes that in self-presentation individuals are challenged to balance boasting against discrediting themselves via excessive self-promotion or being caught and being proven wrong. Individuals often have limited ability to perceive how their efforts impact their acceptance and likeability by others.
 Flattery – flattery or praise to increase social attractiveness
 Intimidation – aggressively showing anger to get others to hear and obey one's demands.

Self-presentation can be either defensive or assertive strategies (also described as protective versus acquisitive). Whereas defensive strategies include behaviours like avoidance of threatening situations or means of self-handicapping, assertive strategies refer to more active behaviour like the verbal idealisation of the self, the use of status symbols or similar practices.

These strategies play important roles in one's maintenance of self-esteem. One's self-esteem is affected by their evaluation of their own performance and their perception of how others react to their performance. As a result, people actively portray impressions that will elicit self-esteem enhancing reactions from others.

In 2019, as filtered photos are perceived as deceptive by users, PlentyOfFish along with other dating sites have started to ban filtered images.

Social interaction
Goffman argued in his 1967 book, Interaction ritual, that people participate in social interactions by performing a "line", or "pattern of verbal and nonverbal acts", which is created and maintained by both the performer and the audience. By enacting a line effectively, the person gains positive social value, which is also called "face". The success of a social interaction will depend on whether the performer has the ability to maintain face. As a result, a person is required to display a kind of character by becoming "someone who can be relied upon to maintain himself as an interactant, poised for communication, and to act so that others do not endanger themselves by presenting themselves as interactants to him". Goffman analyses how a human being in "ordinary work situations presents himself and his activity to others, the ways in which he guides and controls the impression they form of him, and the kinds of things he may and may not do while sustaining his performance before them".

When Goffman turned to focus on people physically presented in a social interaction, the "social dimension of impression management certainly extends beyond the specific place and time of engagement in the organization". Impression management is "a social activity that has individual and community implications". We call it "pride" when a person displays a good showing from duty to himself, while we call it "honor" when he "does so because of duty to wider social units, and receives support from these duties in doing so".

Another approach to moral standards that Goffman pursues is the notion of "rules of conduct", which "can be partially understood as obligations or moral constraints". These rules may be substantive (involving laws, morality, and ethics) or ceremonial (involving etiquette). Rules of conduct play an important role when a relationship "is asymmetrical and the expectations of one person toward another are hierarchical."

Dramaturgical analogy
Goffman presented impression management dramaturgically, explaining the motivations behind complex human performances within a social setting based on a play metaphor. Goffman's work incorporates aspects of a symbolic interactionist perspective, emphasizing a qualitative analysis of the interactive nature of the communication process. Impression management requires the physical presence of others. Performers who seek certain ends in their interest, must "work to adapt their behavior in such a way as to give off the correct impression to a particular audience" and "implicitly ask that the audience take their performance seriously". Goffman proposed that while among other people individual would always strive to control the impression that others form of him or her so that to achieve individual or social goals.

The actor, shaped by the environment and target audience, sees interaction as a performance. The objective of the performance is to provide the audience with an impression consistent with the desired goals of the actor. Thus, impression management is also highly dependent on the situation. In addition to these goals, individuals differ in responses from the interactive environment, some may be non-responsive to an audience's reactions while others actively respond to audience reactions in order to elicit positive results. These differences in response towards the environment and target audience are called self-monitoring. Another factor in impression management is self-verification, the act of conforming the audience to the person's self-concept.

The audience can be real or imaginary. IM style norms, part of the mental programming received through socialization, are so fundamental that we usually do not notice our expectations of them. While an actor (speaker) tries to project a desired image, an audience (listener) might attribute a resonant or discordant image. An example is provided by situations in which embarrassment occurs and threatens the image of a participant.

Goffman proposes that performers "can use dramaturgical discipline as a defense to ensure that the 'show' goes on without interruption." Goffman contends that dramaturgical discipline includes:
 coping with dramaturgical contingencies;
 demonstrating intellectual and emotional involvement;
 remembering one's part and not committing unmeant gestures or faux pas;
 not giving away secrets involuntarily;
 covering up inappropriate behavior on the part of teammates on the spur of the moment;
 offering plausible reasons or deep apologies for disruptive events;
 maintaining self-control (for example, speaking briefly and modestly);
 suppressing emotions to private problems; and
 suppressing spontaneous feelings.

Manipulation and ethics
In business, "managing impressions" normally "involves someone trying to control the image that a significant stakeholder has of them". The ethics of impression management has been hotly debated on whether we should see it as an effective self-revelation or as cynical manipulation. Some people insist that impression management can reveal a truer version of the self by adopting the strategy of being transparent. Because transparency "can be provided so easily and because it produces information of value to the audience, it changes the nature of impression management from being cynically manipulative to being a kind of useful adaptation".

Virtue signalling is used within groups to criticize their own members for valuing outward appearance over substantive action (having a real or permanent, rather than apparent or temporary, existence).

Psychological manipulation is a type of social influence that aims to change the behavior or perception of others through abusive, deceptive, or underhanded tactics. By advancing the interests of the manipulator, often at another's expense, such methods could be considered exploitative, abusive, devious, and deceptive.  The process of manipulation involves bringing an unknowing victim under the domination of the manipulator, often using deception, and using the victim to serve their own purposes.

Machiavellianism is a term that some social and personality psychologists use to describe a person's tendency to be unemotional, and therefore able to detach him or herself from conventional morality and hence to deceive and manipulate others. (See also Machiavellianism in the workplace.)

Lying constitutes a force that is destructive and can manipulate an environment allowing them to be narcissistic human beings. A person's mind can be manipulated into believing those antics are true as though it relates to being solely deceptive and unethical. Theories show manipulation can cause a huge effect on the dynamic of one's relationship. The emotions of a person can stem from a trait that is mistrustful, triggering one's attitude and character to misbehave disapprovingly. Relationships with a positive force can provide a greater exchange whereas with relationships having poor moral values, the chances of the connection will be based on detachment and disengagement. Dark personalities and manipulation are within the same entity. It will intervene between a person's attainable goal if their perspective is only focused on self-centeredness. The personality entices a range of erratic behaviors that will corrupt the mind into practicing violent acts resulting in a rage of anger and physical harm.

Application

Face-to-face communication

Self, social identity and social interaction
The social psychologist, Edward E. Jones, brought the study of impression management to the field of psychology during the 1960s and extended it to include people's attempts to control others' impression of their personal characteristics. His work sparked an increased attention towards impression management as a fundamental interpersonal process.

The concept of self is important to the theory of impression management as the images people have of themselves shape and are shaped by social interactions. Our self-concept develops from social experience early in life. Schlenker (1980) further suggests that children anticipate the effect that their behaviours will have on others and how others will evaluate them. They control the impressions they might form on others, and in doing so they control the outcomes they obtain from social interactions.

Social identity refers to how people are defined and regarded in social interactions. Individuals use impression management strategies to influence the social identity they project to others. The identity that people establish influences their behaviour in front of others, others' treatment of them and the outcomes they receive. Therefore, in their attempts to influence the impressions others form of themselves, a person plays an important role in affecting his social outcomes.

Social interaction is the process by which we act and react to those around us. In a nutshell, social interaction includes those acts people perform toward each other and the responses they give in return. The most basic function of self-presentation is to define the nature of a social situation (Goffman, 1959). Most social interactions are very role governed. Each person has a role to play, and the interaction proceeds smoothly when these roles are enacted effectively. People also strive to create impressions of themselves in the minds of others in order to gain material and social rewards (or avoid material and social punishments).

Cross-cultural communication
Understanding how one's impression management behavior might be interpreted by others can also serve as the basis for smoother interactions and as a means for solving some of the most insidious communication problems among individuals of different racial/ethnic and gender backgrounds (Sanaria, 2016).

"People are sensitive to how they are seen by others and use many forms of impression management to compel others to react to them in the ways they wish" (Giddens, 2005, p. 142). An example of this concept is easily illustrated through cultural differences. Different cultures have diverse thoughts and opinions on what is considered beautiful or attractive. For example, Americans tend to find tan skin attractive, but in Indonesian culture, pale skin is more desirable. It is also argued that Women in India use different impression management strategies as compared to women in western cultures (Sanaria, 2016).

Another illustration of how people attempt to control how others perceive them is portrayed through the clothing they wear. A person who is in a leadership position strives to be respected and in order to control and maintain the impression. This illustration can also be adapted for a cultural scenario. The clothing people choose to wear says a great deal about the person and the culture they represent. For example, most Americans are not overly concerned with conservative clothing. Most Americans are content with tee shirts, shorts, and showing skin. The exact opposite is true on the other side of the world. "Indonesians are both modest and conservative in their attire" (Cole, 1997, p. 77).

People shape their identity through sharing photos on social media platforms. The ability to modify photos by certain technologies, such as Photoshop, helps achieve their idealized images.

Companies use cross-cultural training (CCT) to facilitate effective cross-cultural interaction. CCT can be defined as any procedure used to increase an individual's ability to cope with and work in a foreign environment. Training employees in culturally consistent and specific impression management (IM) techniques provide the avenue for the employee to consciously switch from an automatic, home culture IM mode to an IM mode that is culturally appropriate and acceptable. Second, training in IM reduces the uncertainty of interaction with FNs and increases employee's ability to cope by reducing unexpected events.

Team-working in hospital wards
Impression management theory can also be used in health communication. It can be used to explore how professionals 'present' themselves when interacting on hospital wards and also how they employ front stage and backstage settings in their collaborative work.

In the hospital wards, Goffman's front stage and backstage performances are divided into 'planned' and 'ad hoc' rather than 'official' and 'unofficial' interactions.

 Planned front stage is the structured collaborative activities such as ward rounds and care conferences which took place in the presence of patients and/or carers.
 Ad hoc front stage is the unstructured or unplanned interprofessional interactions that took place in front of patients/carers or directly involved patients/carers.
 Planned backstage is the structured Multidisciplinary Team Meeting (MDT) in which professionals gathered in a private area of the ward, in the absence of patients, to discuss management plans for patients under their care.
 Ad hoc backstage is the use of corridors and other ward spaces for quick conversations between professionals in the absence of patients/carers.
 Offstage is the social activities between and among professional groups/individuals outside of the hospital context.

Results show that interprofessional interactions in this setting are often based less on planned front stage activities than on ad hoc backstage activities. While the former may, at times, help create and maintain an appearance of collaborative interprofessional 'teamwork', conveying a sense of professional togetherness in front of patients and their families, they often serve little functional practice. These findings have implications for designing ways to improve interprofessional practice on acute hospital wards where there is no clearly defined interprofessional team, but rather a loose configuration of professionals working together in a collaborative manner around a particular patient. In such settings, interventions that aim to improve both ad hoc as well as planned forms of communication may be more successful than those intended to only improve planned communication.

Computer-mediated communication
The hyperpersonal model of computer-mediated communication (CMC) posits that users exploit the technological aspects of CMC in order to enhance the messages they construct to manage impressions and facilitate desired relationships. The most interesting aspect of the advent of CMC is how it reveals basic elements of interpersonal communication, bringing into focus fundamental processes that occur as people meet and develop relationships relying on typed messages as the primary mechanism of expression. "Physical features such as one's appearance and voice provide much of the information on which people base first impressions face-to-face, but such features are often unavailable in CMC. Various perspectives on CMC have suggested that the lack of nonverbal cues diminishes CMC's ability to foster impression formation and management, or argued impressions develop nevertheless, relying on language and content cues. One approach that describes the way that CMC's technical capacities work in concert with users' impression development intentions is the hyperpersonal model of CMC (Walther, 1996). As receivers, CMC users idealize partners based on the circumstances or message elements that suggest minimal similarity or desirability. As senders, CMC users selectively self-present, revealing attitudes and aspects of the self in a controlled and socially desirable fashion. The CMC channel facilitates editing, discretion, and convenience, and the ability to tune out environmental distractions and re-allocate cognitive resources in order to further enhance one's message composition. Finally, CMC may create dynamic feedback loops wherein the exaggerated expectancies are confirmed and reciprocated through mutual interaction via the bias-prone communication processes identified above."

According to O'Sullivan's (2000) impression management model of communication channels, individuals will prefer to use mediated channels rather than face-to-face conversation in face-threatening situations. Within his model, this trend is due to the channel features that allow for control over exchanged social information. The present paper extends O'Sullivan's model by explicating information control as a media affordance, arising from channel features and social skills, that enables an individual to regulate and restrict the flow of social information in an interaction, and present a scale to measure it. One dimension of the information control scale, expressive information control, positively predicted channel preference for recalled face-threatening situations. This effect remained after controlling for social anxiousness and power relations in relationships. O'Sullivan's model argues that some communication channels may help individuals manage this struggle and therefore be more preferred as those situations arise. It was based on an assumption that channels with features that allow fewer social cues, such as reduced nonverbal information or slower exchange of messages, invariably afford an individual with an ability to better manage the flow of a complex, ambiguous, or potentially difficult conversations. Individuals manage what information about them is known, or isn't known, to control other's impression of them. Anyone who has given the bathroom a quick cleaning when they anticipate the arrival of their mother-in-law (or date) has managed their impression. For an example from information and communication technology use, inviting someone to view a person's Webpage before a face-to-face meeting may predispose them to view the person a certain way when they actually meet.

Corporate brand
The impression management perspective offers potential insight into how corporate stories could build the corporate brand, by influencing the impressions that stakeholders form of the organization. The link between themes and elements of corporate stories and IM strategies/behaviours indicates that these elements will influence audiences' perceptions of the corporate brand.

Corporate storytelling
Corporate storytelling is suggested to help demonstrate the importance of the corporate brand to internal and external stakeholders, and create a position for the company against competitors, as well as help a firm to bond with its employees (Roper and Fill, 2012). The corporate reputation is defined as a stakeholder's perception of the organization (Brown et al., 2006), and Dowling (2006) suggests that if the story causes stakeholders to perceive the organization as more authentic, distinctive, expert, sincere, powerful, and likeable, then it is likely that this will enhance the overall corporate reputation.

Impression management theory is a relevant perspective to explore the use of corporate stories in building the corporate brand. The corporate branding literature notes that interactions with brand communications enable stakeholders to form an impression of the organization (Abratt and Keyn, 2012), and this indicates that IM theory could also therefore bring insight into the use of corporate stories as a form of communication to build the corporate brand. Exploring the IM strategies/behaviors evident in corporate stories can indicate the potential for corporate stories to influence the impressions that audiences form of the corporate brand.

Corporate document
Firms use more subtle forms of influencing outsiders' impressions of firm performance and prospects, namely by manipulating the content and presentation of information in corporate documents with the purpose of "distort[ing] readers" perceptions of corporate achievements" [Godfrey et al., 2003, p. 96]. In the accounting literature this is referred to as impression management. The opportunity for impression management in corporate reports is increasing. Narrative disclosures have become longer and more sophisticated over the last few years. This growing importance of descriptive sections in corporate documents provides firms with the opportunity to overcome information asymmetries by presenting more detailed information and explanation, thereby increasing their decision-usefulness. However, they also offer an opportunity for presenting financial performance and prospects in the best possible light, thus having the opposite effect. In addition to the increased opportunity for opportunistic discretionary disclosure choices, impression management is also facilitated in that corporate narratives are largely unregulated.

Media
The medium of communication influences the actions taken in impression management. Self-efficacy can differ according to the fact whether the trial to convince somebody is made through face-to-face-interaction or by means of an e-mail. Communication via devices like telephone, e-mail or chat is governed by technical restrictions, so that the way people express personal features etc. can be changed. This often shows how far people will go.

The affordances of a certain medium also influence the way a user self-presents. Communication via a professional medium such as e-mail would result in professional self-presentation. The individual would use greetings, correct spelling, grammar and capitalization as well as scholastic language. Personal communication mediums such as text-messaging would result in a casual self-presentation where the user shortens words, includes emojis and selfies and uses less academic language.

Another example of impression management theory in play is present in today's world of social media. Users are able to create a profile and share whatever they like with their friends, family, or the world. Users can choose to omit negative life events and highlight positive events if they so please.

Profiles on social networking sites
Social media usage among American adults grew from 5% in 2005 to 69% in 2018. Facebook is the most popular social media platform, followed by Instagram, LinkedIn, and Twitter.

Social networking users will employ protective self-presentations for image management. Users will use subtractive and repudiate strategies to maintain a desired image. Subtractive strategy is used to untag an undesirable photo on Social Networking Sites. In addition to un-tagging their name, some users will request the photo to be removed entirely. Repudiate strategy is used when a friend posts an undesirable comment about the user. In response to an undesired post, users may add another wall post as an innocence defense. Michael Stefanone states that "self-esteem maintenance is an important motivation for strategic self-presentation online." Outside evaluations of their physical appearance, competence, and approval from others determines how social media users respond to pictures and wall posts. Unsuccessful self-presentation online can lead to rejection and criticism from social groups. Social media users are motivated to actively participate in SNS from a desire to manage their online image.

Online social media presence often varies with respect to users' age, gender, and body weight. While men and women tend to use social media in comparable degrees, both uses and capabilities vary depending on individual preferences as well perceptions of power or dominance. In terms of performance, men tend to display characteristics associated with masculinity as well as more commanding language styles. In much the same way, women tend to present feminine self-depictions and engage in more supportive language.

With respect to usage across age variances, many children develop digital and social media literacy skills around 7 or 8 and begin to form online social relationships via virtual environments designed for their age group. The years between thirteen and fifteen demonstrate high social media usage that begins to become more balanced with offline interactions as teens learn to navigate both their online and in-person identities which may often diverge from one another.

Social media platforms often provide a great degree of social capital during the college years and later. College students are motivated to use Facebook for impression management, self-expression, entertainment, communication and relationship maintenance. College students sometimes rely on Facebook to build a favorable online identity, which contributes to greater satisfaction with campus life. In building an online persona, college students sometimes engage in identity manipulation, including altering personality and appearance, to increase their self-esteem and appear more attractive to peers. Since risky behavior is frequently deemed attractive by peers, college students often use their social media profiles to gain approval by highlighting instances of risky behavior, like alcohol use and unhealthy eating. Users present risky behavior as signs of achievement, fun, and sociability, participating in a form of impression management aimed at building recognition and acceptance among peers.  During middle adulthood, users tend to display greater levels of confidence and mastery in their social media connections while older adults tend to use social media for educational and supportive purposes. These myriad factors influence how users will form and communicate their online personas. In addition to that, TikTok has made an influence on college students and adults to create their own self-image on a social media platform. The positivity of this is that college students and adults are using this to create their own brand for business purposes and for entertainment purposes. This gives them a chance to seek the desires of stardom and build an audience for revenue.  Media fatigue is a negative effect that is caused by the conveyance of social media presence. Social anxiety stems from low-self esteem which causes a strain of stress in one's self-identity that is perceived in the media limelight for targeted audiences.

According to Marwick, social profiles create implications such as "context collapse" for presenting oneself to the audience. The concept of 'context collapse' suggests that social technologies make it difficult to vary self-presentation based on environment or audience. "Large sites such as Facebook and Twitter group friends, family members, coworkers, and acquaintances together under the umbrella term 'friends'." In a way, this context collapse is aided by a notion of performativity as characterized by Judith Butler.

Political impression management
Impression management is also influential in the political spectrum. "Political impression management" was coined in 1972 by sociologist Peter M. Hall, who defined the term as the art of marking a candidate look electable and capable (Hall, 1972). This is due in part to the importance of "presidential" candidates—appearance, image, and narrative are a key part of a campaign and thus impression management has always been a huge part of winning an election (Katz 2016). Social media has evolved to be part of the political process, thus political impression management is becoming more challenging as the online image of the candidate often now lies in the hands of the voters themselves.

The evolution of social media has increased the way in which political campaigns are targeting voters and how influential impression management is when discussing political issues and campaigns. Political campaigns continue to use social media as a way to promote their campaigns and share information about who they are to make sure to lead the conversation about their political platform. Research has shown that political campaigns must create clear profiles for each candidate in order to convey the right message to potential voters.

Impression Management in the Workplace
In professional settings, impression management is usually primarily focused on appearing competent, but also involves constructing and displaying an image of oneself that others find socially desirable and believably authentic. The process includes a give and take; the person managing their impression receives feedback as the people around them interact with the self they are presenting and respond, either favorably or negatively. Research has shown impression management to be impactful in the workplace because the perceptions co-workers form of one another shape their relationships and indirectly influence their ability to function well as teams and achieve goals together.

In their research on impression management among leaders, Peck and Hogue define "impression management as conscious or unconscious, authentic or inauthentic, goal-directed behavior individuals engage in to influence the impression others form of them in social interactions." Using those three dimensions, labelled "automatic" vs. "controlled", "authentic" vs. "inauthentic", and "pro-self" vs. "pro-social", Peck and Hogue formed a typology of eight impression management archetypes. They suggest that while no one archetype stands out as the sole correct or ideal way to practice impression management as a leader, types rooted in authenticity and pro-social goals, rather than self-focused goals, create the most positive perceptions among followers.

Workplace leaders that are publicly visible, such as CEOs, also perform impression management with regard to stakeholders outside their organizations. In a study comparing online profiles of North American and European CEOs, research showed that while education was referenced similarly in both groups, profiles of European CEOs tended to be more professionally focused, while North American CEO profiles often referenced the CEO's public life outside business dealings, including social and political stances and involvement.

On a smaller scale, many individuals choose to participate in professional impression management beyond the sphere of their own workplace. This may take place through informal networking (either face-to-face or using computer-mediated communication) or channels built to connect professionals, such as professional associations, or job-related social media sites, like LinkedIn.

Implications
Impression management can distort the results of empirical research that relies on interviews and surveys, a phenomenon commonly referred to as "social desirability bias". Impression management theory nevertheless constitutes a field of research on its own.
When it comes to practical questions concerning public relations and the way organizations should handle their public image, the assumptions provided by impression management theory can also provide a framework.

An examination of different impression management strategies acted out by individuals who were facing criminal trials where the trial outcomes could range from a death sentence, life in prison or acquittal has been reported in the forensic literature.
The Perri and Lichtenwald article examined female psychopathic killers, whom as a group were highly motivated to manage the impression that attorneys, judges, mental health professions and ultimately, a jury had of the murderers and the murder they committed. It provides legal case illustrations of the murderers combining and/or switching from one impression management strategy such as ingratiation or supplication to another as they worked towards their goal of diminishing or eliminating any accountability for the murders they committed.

Since the 1990s, researchers in the area of sport and exercise psychology have studied self-presentation.  Concern about how one is perceived has been found to be relevant to the study of athletic performance.  For example, anxiety may be produced when an athlete is in the presence of spectators.  Self-presentational concerns have also been found to be relevant to exercise.  For example, the concerns may elicit motivation to exercise.

More recent research investigating the effects of impression management on social behaviour showed that social behaviours (e.g. eating) can serve to convey a desired impression to others and enhance one's self-image. Research on eating has shown that people tend to eat less when they believe that they are being observed by others.

See also

 Calculating Visions: Kennedy, Johnson, and Civil Rights (book)
 Character mask
 Dramaturgy (sociology)
 First impression (psychology)
 Ingratiation
 Instagram's impact on people
 Online identity management
 On the Internet, nobody knows you're a dog
 Personal branding
 Register (sociolinguistics)
 Reputation capital
 Reputation management
 Self-monitoring theory
 Self-verification theory
 Signalling (economics)
 Spin (public relations)
 Superficial charm
 Stigma management

Footnotes

References

 Barnhart, Adam (1994), Erving Goffman: The Presentation of Self in Everyday Life

 Goffman, Erving (2006), Wir alle spielen Theater: Die Selbstdarstellung im Alltag, Piper, Munich.
 Dillard, Courtney et al. (2000), Impression Management and the use of procedures at the Ritz-Carlton: Moral standards and dramaturgical discipline, Communication Studies, 51.
 Döring, Nicola (1999), Sozialpsychologie des Internet: Die Bedeutung des Internet für Kommunikationsprozesse, Identitäten, soziale Beziehungen und Gruppen Hogrefe, Goettingen.
 Felson, Richard B (1984): An Interactionist Approach to Aggression, in: Tedeschi, James T. (Ed.), Impression Management Theory and Social Psychological Research Academic Press, New York.
 Sanaria, A. D. (2016). A conceptual framework for understanding the impression management strategies used by women in Indian organizations. South Asian Journal of Human Resources Management, 3(1), 25–39. https://doi.org/10.1177/2322093716631118
Hall, Peter (1972). "A Symbolic Interactionist Analysis of Politics." Sociological Inquiry 42.3-4: 35-75
 Hass, Glen R. (1981), Presentational Strategies, and the Social Expression of Attitudes: Impression management within Limits, in: Tedeschi, James T. (Ed.): Impression Management Theory and Social Psychological Research, Academic Press, New York.

Humphreys, A. (2016). Social media: Enduring principles. Oxford: Oxford University Press.
 Katz, Nathan (2016). "Impression Management, Super PACs and the 2012 Republican Primary." Symbolic Interaction 39.2: 175–95.

 Tedeschi, James T.; Riess, Marc (1984), Identities, the Phenomenal Self, and Laboratory Research, in: Tedeschi, James T. (Ed.): Impression Management Theory and Social Psychological Research, Academic Press, New York.
 Smith, Greg (2006), Erving Goffman, Routledge, New York.
 Rui, J. and M. A. Stefanone (2013). Strategic Management of Other-Provided Information Online: Personality and Network Variables. System Sciences (HICSS), 2013 46th Hawaii International Conference on.

Self
Social influence
Sociology of technology
Reputation management
Majority–minority relations

Impression management


تشوهاتشي نينوميا (20 يونيو 1866 - 8 إبريل 1936) كان رائداً في الطيران الياباني. في عام 1891، صمم "كاراسو - غاتا موكي هيكوكي" ("نموذج طائرة من نوع الغراب ")، ووفقاً للبعض قام بالتحليق بها أيضاً. في عام 1893 قام بتصميم طائرة أخرى، "تاماموشي - غاتا هيكوكي" ("جوهرة الخنفساء من النوع الطائر").

نشأته
ولد في ياواتاهاما - أورا، في مقاطعة أوا، ولاية ايو (الآن تسمى ياواتاهاما، اهيمه)، وكان الابن الرابع لوالده التاجر. عندما كان في الثانية عشر من عمره، توفي والده. لذلك بحث تشوهاتشي لنفسه على وظيفة. وبينما كان يعمل في مكتب للطباعة ومخزن للأدوية، وغيرها، تعلّم الفيزياء والكيمياء. كما أنه كان خبيرا في صنع الطائرات الورقية. وكان يبيعها لكسب المال لشراء الكتب.

فكرة الطيران
في عام 1887 تم تجنيد تشوهاتشي في الجيش الياباني الإمبراطوري. في نوفمبر 1889، خلال بعض المناورات، رأى الغربان تحلق ولاحظ أنها لم تكن ترفرف. وبالتالي قام بتطوير فكرة الطائرات ذات الأجنحة الثابتة.

صمم تشوهاتشي نموذجه الأول، «كاراسو - غاتا موكي هيكوكي» ، («نموذج طائرة من نوع الغراب»). وهذا النموذج كان أول نموذج لطائرة في اليابان. كانت الطائرة أحادية السطح، مع أجنحة تمتد لـ 45 سنتيمترا. وكان الجناح ذا زاوية ثنائية السطح. وكان شريط مطاطي يقود المروحة النهازة ذات الأربع شفرات، المستوحاة من المروحية الخيزرانية. النموذج كان مجهزا بموازن أفقي على الذيل، وموازن رأسي على الأنف (المقدمة). كان له ثلاث عجلات كمعدات للهبوط. في 29 نيسان / أبريل 1891 النموذج قطع 3 أمتار وبعد ذلك أقلع وطار 10 أمتار. في اليوم التالي، حلق النموذج حوالي 36 مترا بالإطلاق اليدوي.

كان نموذجه الثاني «تماموشي - غاتا هيكوكي» ، «جوهرة الخنفساء من النوع الطائر»)، قادراً على حمل الإنسان وكان الإنسان يستطيع توجيهه. وكانت الطائرة ذات سطحين وبدون ذيل. وكان الجناح السفلي أصغر من العلوي، وكان متحركاً: للسيطرة على السطح. وكان النموذج أيضاً مجهزاً بمروحة انتهازية ذات أربع شفرات. ولكن فشل تشوهاتشي في جذب اهتمام الجيش. وخلال تلك الفترة صمم نماذج مصغرة (جناحيها: 2 متر) في أكتوبر 1893.

خدم تشوهاتشي في أول حرب صينية يابانية كمسعف في المعارك. بعد الحرب، تقاعد من الجيش وعمل في شركة أدوية. وقرر بتطوير آلة طيران بنفسه. حتى أصبح مدير فرعٍ في عام 1906، حيث ركد تطويره لها لنقص الاموال. وخلال هذه الفترة، نجح الأخوان رايت بالطيران. لكن تشوهاتشي لم يسمع بتلك الأخبار. وقام ببناء هيكل «نموذج تاماموشي» وخطط بتزويده بمحرك على البنزين ذا 12 حصانا. ولكن، في عام 1907 أو 1908، علم بنجاحات الطيران بمركبات ثقيلة تحمل الإنسان في كلّ من أوروبا وأميركا. يأس تشوهاتشي وتوقف عن تطوير نماذجه.

هناك رأيين حول «نموذج تاماموشي». الأول يصرّ على أن هذا النموذج كان من الممكن أن يطير إذا ما اكتمل. والآخر يدعي أن هذا النموذج كان ثقيلا جدا على الطيران. في عام 1991 نسخة طبق الأصل من «نموذج تماموشي» ولكن مع بعض التعديلات التي حسّنت استقراره وثباته، قامت بأول رحلة طيران من 50 مترا (136 قدما)

المراحل الأخيرة من حياته
ركّز على عمله في الشركة الدوائية.

وفي عام 1921 اعترف الجنرال الملازم يوشينوري شيراكاوا بقيمة خطط وتطويرات تشوهاتشي. في عام 1922 أثنى الجيش عليه. وأيضاً أثنى عليه كل من الوزير أداتشي كينزو (في 1925)، والأمير كوني كيونيوشي (في 1926). في عام 1927، مُنح وسام عسكري.

في سنواته الأخيرة، أصبح كانوشيّ (كاهن من الشنتو) الذي يصلي على القتلى الذين لقوا مصرعهم في حوادث الطيران.

توفي تشوهاتشي بسرطان المعدة في 8 نيسان 1936.

المراجع

وانظر أيضا
 كويتشي يوكيتا
 ريويتشي يازو

وصلات خارجية
 صورة من نموذج 1/10th من Chūhachi Ninomiya في الطائرة ناصعات نوع (يقودها ربيع التوازن) عرض في متحف النقل الحديثة
  http://www.city.yawatahama.ehime.jp/02shoukai/06_paionia/01_chuuhachi/01_dare/dare.htm

أشخاص من إهيمه (محافظة)
رواد الطيران
مخترعون يابانيون
مواليد 1866
مواليد في ياواتاهاما (إهيمه)
وفيات 1936
وفيات بسبب سرطان المعدة

تشوهاتشي نينوميا


Healed by Metal sedamnaesti je studijski album njemačkog heavy metal-sastava Grave Digger. Diskografska kuća Napalm Records objavila ga je 13. siječnja 2017. Prvi je album na kojem se pojavio klavijaturist Marcus Kniep. Za pjesme "Call for War" i "Healed by Metal" snimljeni su spotovi.

Popis pjesama

Zasluge

 Grave Digger

 Chris Boltendahl – vokal, produkcija, koncept naslovnice
 Stefan Arnold – bubnjevi
 Jens Becker – bas-gitara
 Axel "Ironfinger" Ritt – gitara, produkcija, snimanje (gitara)
 Marcus Kniep – klavijature

 Dodatni glazbenici

 Hacky Hackman – prateći vokal
 Frank Konrad – prateći vokal
 Andreas von Lipinski – prateći vokal

 Ostalo osoblje

 Gyula Havencsák – grafički dizajn, naslovnica albuma
 Jörg Umbreit – produkcija, inženjer zvuka, snimanje, miks, mastering
 Jens Howorka – fotografije

Izvori

Albumi sastava Grave Digger
Albumi iz 2017.

Healed by Metal


El llorón turdino (Schiffornis turdina), también denominado saltarín mirlo (en Colombia) o shifornis de ala parda (en Perú), es una especie de ave paseriforme perteneciente al género Schiffornis integrado en la familia Tityridae. Es nativo de América del Sur.

Distribución y hábitat
Se distribuye en Venezuela, Surinam, Guayana francesa, Colombia, Ecuador, Perú, Bolivia y Brasil.
Vive en el estrato inferior del bosque húmedo y en matorrales altos, hasta los 1700 m de altitud.

Descripción

Mide entre 15,5 y 17 cm de longitud y pesa en promedio 35 g. El dorso es de color castaño oliváceo, con las alas y cola más brillantes y de tono rojizo. La garganta y el pecho son de color oliva brillante, a menudo con un tinte ocráceo. A veces la garganta es más pálida por debajo y la región posterior entre oliva grisáceo y café oliva opaco. El pico es negruzco con  la base de la mandíbula gris. Las patas son gris plomizo.<ref name=ECR>Elizondo, Luis Humberto (2000) Schiffornis turdina  (Wied, 1831) (Tordo-saltarín); Especies de Costa Rica. INBio.</ref>

 Alimentación
Se alimenta principalmente de insectos, que captura en vuelos cortos, tras detectar sus presas posado en ramas a 1 o 2 m de altura del suelo. Consume también larvas y frutos.

 Reproducción
La hembra, sin ayuda del macho, construye el nido, a una altura de 1 a 1,5 m sobre una palma espinosa, un nudo de bejucos, en una epífita pequeña o en la concavidad de algún tronco partido, que recubre con hojas secas. Pone 2 huevos amarillentos o crema, con manchas color marrón, negro o lila.

 Sistemática
 Descripción original
La especie S. turdina fue descrita por primera vez por el naturalita alemán Maximilian zu Wied-Neuwied en 1831 bajo el nombre científico Muscicapa turdina; localidad tipo «Bahía, Brasil».

 Taxonomía
Este género ha sido tradicionalmente colocado en la familia Pipridae; la Propuesta N° 313 al South American Classification Committee (SACC), siguiendo los estudios de filogenia molecular de Ohlson et al. (2007), aprobó la adopción de la nueva familia Tityridae, incluyendo el presente y otros géneros.
Las anteriormente subespecies S. turdina olivacea, S. turdina veraepacis, S. turdina aenea y S. turdina stenorhyncha fueron divididas de S. turdina y elevadas a especies plenas siguiendo los estudios moleculares y sonogramas de Nyári, A (2007) y los estudios complementares de variación geográfica de voces, localidades tipo e itens prioritarios de Donegan et al (2011). La propuesta N° 505 al South American Classification Committee (SACC) fue aprobada en octubre de 2011, con dichos cambios taxonómicos.

La subespecie amazonum es tratada como especie plena por el Comité Brasileño de Registros Ornitológicos (CBRO), pero no así por otras clasificaciones.

 Subespecies
Según la clasificación del Congreso Ornitológico Internacional (IOC) (Versión 6.1, 2016) y Clements Checklist v.2015, se reconocen 5 subespecies, con su correspondiente distribución geográfica:

 Grupo monotípico amazonum:
 Schiffornis turdina amazonum (, 1861) - tierras bajas desde el extremo este de Colombia y sur de Venezuela hacia el sur hasta el este de Ecuador, este del Perú y noroeste y oeste de Brasil (al este hasta el río Negro y noroeste de Mato Grosso).

 Grupo politípico turdina:
 Schiffornis turdina wallacii (, 1867) - Surinam, Guayana francesa y Amazonia oriental brasileña (bajo río Negro al este hasta Amapá y, al sur del río Amazonas, desde el río Tapajós  y bajo río Teles Pires al este hasta Maranhão).
 Schiffornis turdina steinbachi , 1928 - sureste del Perú y norte de Bolivia.
 Schiffornis turdina intermedia  1954 - este de Brasil (Paraíba, Pernambuco, Alagoas).
 Schiffornis turdina turdina (, 1831) - sureste de Brasil (sur de Bahía al sur hasta Espírito Santo).

 Referencias

 Enlaces externos

 Videos, fotos y sonidos de Schiffornis turdina en The Internet Bird Collection.
 Sonidos y mapa de distribución de Schiffornis turdina en xeno-canto.
 Fotos y sonidos de Schiffornis turdina en Wikiaves.
 Thrush-like Schiffornis photo gallery VIREO Fotos  greglasley''.

turdina
Aves de América del Sur
Animales descritos en 1831
Taxones descritos por Maximilian zu Wied-Neuwied

Schiffornis turdina


A competição do salto em distância feminino no Campeonato Mundial de Atletismo de 2022 foi realizada no estádio Hayward Field, em Eugene, nos Estados Unidos, nos dias 23 e 24 de julho de 2022.

Recordes
Antes da competição, os recordes eram os seguintes:

Medalhistas

Tempo de qualificação

Calendário

Resultados

Qualificação
Qualificação: 6,75 m (Q) ou as 12 melhores performances (q).

Final
A final ocorreu dia 24 de julho às 17:50.

Ligações externas

 Site da World Athletics

Campeonato Mundial de Atletismo de 2022

Campeonato Mundial de Atletismo de 2022 - Salto em distância feminino


Die Snookerweltmeisterschaft 1948 war ein Turnier, das in der Leicester Square Hall in London, England ausgetragen wurde.

Im Finale standen sich erneut der Schotte Walter Donaldson und der Engländer Fred Davis gegenüber. Anders als im Vorjahr konnte Davis mit einem Sieg von 84:61 den ersten von acht Weltmeistertiteln erobern.

Das höchste Break, mit 109 Punkten, erzielte ebenfalls Davis.

Hauptrunde

Qualifikation

Anmerkungen
 *1 kl = kampflos gewonnen

Einzelnachweise

1948
Snookerveranstaltung 1948
Billardturnier in London
Sportveranstaltung in der City of Westminster

Snookerweltmeisterschaft 1948


El XXXII Campeonato Mundial de Halterofilia se celebró en Múnich (RFA) entre el 12 y el 16 de octubre de 1955 bajo la organización de la Federación Internacional de Halterofilia (IWF) y la Federación Alemana de Halterofilia.

En el evento participaron 108 halterófilos de 25 federaciones nacionales afiliadas a la IWF.

Medallistas

Medallero

Enlaces externos
Resultados en la pág. web Lift Up .

1955
Halterofilia en 1955

Campeonato Mundial de Halterofilia de 1955


Cyanastrum, biljni rod iz porodice Tecophilaeaceae, dio reda Asparagales. Postoje tri priznate vrste trajnica (geofiti s lukovicom) iz tropske Afrike (Nigerija, Kamerun, DR Kongo, Republika Kongo, Ekvatorijalna Gvineja, Gabon, Tanzanija, Mozambik, Zambija)

Rod je opisan 1891.

Vrste
 Cyanastrum cordifolium Oliv.
 Cyanastrum goetzeanum Engl.
 Cyanastrum johnstonii Baker in D.Oliver & auct. suc. (eds.)

Sinonimi
 Schoenlandia Cornu

Izvori

Tecophilaeaceae

Cyanastrum


Moonglow Records war ein amerikanisches Musiklabel, das vor allem für seine Veröffentlichungen der frühen Righteous Brothers bekannt wurde.

Albert van Hoogten, seit Anfang der 1950er Jahre Inhaber des belgischen Plattenlabels Ronnex Records, schickte Mitte der 1950er seinen Bruder Rene Jan nach New York, um dort Moonglow Records zu gründen. Rene Jan änderte dafür seinen für Amerikaner schwer auszusprechenden Namen zu "Ray Maxwell". Die New Yorker Phase des Labels dauerte nur kurz und sah einige Wiederveröffentlichungen von Sammy Masters and His Rocking Rhythm aus dessen Single-Diskografie auf 4-Star Records von 1958.

Maxwell zog 1961 nach Los Angeles, wo er das Label wieder aufleben ließ. Vom belgischen Mutterunternehmen war dann keine Rede mehr. Maxwell war Labelchef, Präsident, Produzent und Supervisor sowie Verleger mit "Ray Maxwell Music" in einer Person. Das erste Dutzend Single-Veröffentlichungen blieb aber von der Käuferschaft weitgehend ignoriert. Mit Moonglow 214 erschien schließlich eine Single der von Smash Records zu Moonglow gewechselten Paramours, bei denen die noch unbekannten Bill Medley and Bobby Hatfield ihren Blue-Eyed Soul sangen. Kurz darauf verließen die beiden die Band, um als The Righteous Brothers zu veröffentlichen. Auf Moonglow 215 erschien die Bill-Medley-Komposition Little Latin Lupe Lu, welche im Mai 1963 den 49. Platz der amerikanischen Pop-Charts erreichte. Medley erinnert sich, dass die anschließende Tour zur Promotion der Hit-Single dem Verkauf eher schadete, weil dadurch viele auf schwarze Musiker spezialisierte DJs erst erkannt hätten, dass die Brothers weiß waren. Nach jeweils einer Single als Solo-Künstler kam die Folgesingle der Righteous Brothers My Babe im September 1963 auf Platz 75 der Charts. Die dritte Single Koko Joe verfehlte die Hitparade. Ab 1963 übernahm Atco Records den Vertrieb des Labels.

Für den europäischen und speziell den belgischen Markt veröffentlichten Moonglow Records jeweils eine eigene Single-Serie. Erstere vertrieb eine Vielzahl bekannter amerikanischer R&B-, Rock-'n'-Roll- und Soul-Künstler In Belgien erschienen vor allem deutsche und flämische Schlager.

Mit Right Now! erschien die erste von insgesamt vier LPs der Righteous Brothers auf Moonglow. Zu dieser Zeit wurde Phil Spector auf das Duo aufmerksam und im September 1964 einigten sich Spector und Maxwell auf eine Zusammenarbeit: Spector übernahm die Brothers unter Vertrag, während Maxwell das Recht für die Veröffentlichungen im Ausland behielt. Im gleichen Jahr erschien der Nummer-eins-Hit You've Lost That Lovin' Feelin' und kurz darauf weitere Hits wie Just Once In My Life oder die Unchained Melody auf Spectors Label Philles Records. Moonglow Records reagierte, in dem sie die erfolglosen Alben der Righteous Brothers der vergangenen Jahre wiederveröffentlichte und damit nachträglich Profit aus deren Erfolg schlugen. Da Moonglow aber außer dem Katalog der Righteous Brothers kaum Material vorzuweisen hatte, wurde dieser bis 1966 durch Wiederausgaben ausgeschlachtet. Immerhin hatte sich Moonglow so viel Renommée erarbeitet, dass einige neue Künstler unter Vertrag genommen werden konnten. 1967 erschien mit Moonglow 5026 die letzte Single, bevor Maxwell seine Masterbänder an Verve Records verkaufte.

LP-Diskografie
 1001 – The Righteous Brothers – Right Now!
 1002 – The Righteous Brothers – Some Blue Eyed Soul
 1003 – The Righteous Brothers – This Is New
 1004 – The Righteous Brothers – Best Of The Righteous Brothers

Weblinks
 Labelgeschichte mit LP-Diskografie
 US-Diskografie
 EU-Single Diskografie

Einzelnachweise

Pop-Label
Soul-Label
Independent-Label
Musiklabel (Los Angeles)

Moonglow Records


Professor ZoBell's arbejdsmetode er en dokumentarfilm fra 1952 instrueret af Hakon Mielche.

Handling
En af Galathea-ekspeditionens opgaver var at undersøge bakterielivet på de store havdybder. Professor ZoBell fra Californien viser, hvorledes det lykkedes ham at bevise, at der findes bakterier, som lever på bunden af Filippinergraven under et tryk af 1000 atmosfærer.

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 1952
Film fra Galathea 2

Professor ZoBell's arbejdsmetode


Simulacron-3 (publicat sub titlul Counterfeit World în Marea Britanie) este un roman științifico-fantastic scris de Daniel F. Galouye. A fost publicat la 1 ianuarie 1964 de către editura Bantam . Romanul a fost adaptat ca Welt am Draht (1973), Etajul 13  (1999)  sau  ca piesa de teatru World of Wires (2012). Simulacron-3 este printre primele opere literare care descriu o realitate virtuală.

Prezentare

Simulacron 3 este povestea unui oraș virtual (simulator total de mediu) pentru cercetarea pieței, dezvoltat de un om de știință pentru a reduce nevoia de sondaje de opinie. Simularea urbană generată de calculator este atât de bine programată încât, deși locuitorii au propria lor conștiință, ei nu știu, cu excepția unuia, că sunt doar impulsuri electronice într-un computer.

Omul de știință care a creat simulatorul, Hannon Fuller, moare într-un mod misterios și un coleg, Morton Lynch, dispare. Protagonistul, Douglas Hall, este împreună cu Lynch când acesta dispare, iar Hall încearcă să-și înăbușe nebunia. Pe măsură ce timpul și evenimentele se desfășoară, el descoperă progresiv ca nici lumea sa nu este (probabil) "reala" și ar putea fi doar o simulare generată de calculator.

Lucrări similare
În literatură, povestea lui Frederik Pohl "The Tunnel under the World" ("Tunelul de sub lume", 1955) se ocupă de teme precum filosofia și critica satirică a cercetării de piață, deși în povestirea lui Pohl realitatea simulată descrisă este mecanică, un model la scară complicat în care conștiința locuitorilor se află într-un computer, în loc să fie doar electronică. Povestea lui Philip K. Dick "Time Out of Joint" ("Timpul dezarticulat", 1959) prezintă un om care nu știe că își trăiește viața într-un oraș simulat fizic până când schimbările în realitatea lui (aparentă) încep să se manifeste.

Trilogia de filme Matrix (1999) descrie o lume în care oamenii nu sunt conștienți de faptul că lumea care conține mințile lor este o realitate virtuală simulacru.

The Plagiarist (2011) de Hugh Howey este o povestire care se ocupă de teme și idei similare.

Ecranizări
Romanul a fost adaptat de mai multe ori: ca filmul german de televiziune în două părți Welt am Draht (1973) (Lumea pe un fir), de Rainer Werner Fassbinder, film care a "rămas în mod rezonabil credincios cărții lui Galouye," ca filmul The Thirteenth Floor (Etajul 13, 1999) regia Josef Rusnak și ca piesa de teatru World of Wires (Lumea pe un fir, 2012) regizată de Jay Scheib.

Note

Legături externe

 The Simulation Argument

Vezi și
Ipoteza simulării
Realitate simulată
Realitate simulată în ficțiune
1964 în literatură
1964 în științifico-fantastic (fr) (de)

Romane din 1964
Romane americane
Romane științifico-fantastice
Romane de Daniel F. Galouye
Realitate virtuală în ficțiune

Simulacron-3


Grand Royal by MeMu er en dansk restaurant, beliggende i centrum af Vejle. Den har siden februar 2018 været tildelt én stjerne i Michelinguiden. Me|Mu blev åbnet i sommeren 2014.

Historie
Ægteparret Michael Munk og Mette Derdau åbnede i sommeren 2014 restauranten i Vissingsgade i Vejle. I april 2016 flyttede restauranten til større lokaler i Orla Lehmannsgade. I sommeren 2017 blev restauranten delt op i en bistro- og gourmetdel. Gourmetrestauranten blev åbnet i kælderen på adressen Torvegade 9.

Den 19. februar 2018 blev Me|Mu for første gang tildelt én stjerne i Michelinguiden.

Referencer

Eksterne henvisninger
 Me|Mu's officielle hjemmeside

Virksomheder i Vejle
Danske restauranter med Michelin-stjerne
Danske virksomheder etableret i 2014

Grand Royal by MeMu


De Frégeville est un nom de famille de la noblesse française qui peut faire référence à :

 Charles Louis Joseph de Gau de Frégeville (1762-1841), général et homme politique français ;
 Jean-Henri-Guy-Nicolas de Frégeville, marquis de Grandval (1748-1805), officier général et législateur français.

Patronyme français

De Frégeville


Valentino er et italiensk modehus, der blev grundlagt i 1960 af Valentino Garavani og er en del af Valentino Fashion Group, der igen er ejet af staten Qatar igennem Mayhoola for Investments S.P.C. efter et køb på 700 mio. euro i 2012. Siden oktober 2008 har den kreative direktør været Pier Paolo Piccioli. Alessandra Facchinetti var kreativ designer fra 2007-2008. Virksomhedens hovedkvarter ligger i Milano, men den kreative afdeling er placeret i Rom.

Den internationale debut skete i 1962 i Firenze. Valentino har sæligt fremstillet brudekjoler, og har bl.a. designet til Elizabeth Taylor, Anne Hathaway, Jennifer Lopez, Courtney Cox, Sophie Hunter og Prinsesse Madeleine af Sverige.

Referencer

Eksterne henvisninger

Beklædningsvirksomheder fra Italien
Etableret i 1960

Valentino (modehus)


==රංගනය==
සනත් ගුණතිලක
සබීතා පෙරේරා
රන්ජන් රාමනායක
ඩිලානි අබේවර්ධන
සනෝජා බිබිලේ
ෆ්‍රෙඩී සිල්වා
විල්සන් කරුණාරත්න
මර්වින් ජයතුංග
තිලක් සමරවීර
බන්දු සමරසිංහ
රෙක්ස් කොඩිප්පිලි
තලතා ගුණසේකර
මාක් සැම්සන්
තිලක් කුමාර රත්නායක
මානෙල් චන්ද්‍රලතා
ටෙඩී විද්‍යාලංකාර
අරුණ ශාන්ති
ජයලත් ප්‍රනන්දු
ගීතාල් පෙරේරා
සුනිල්සෝම පීරිස්
චතුර පෙරේරා
ජස්ටින් ෆොන්සේකා
දොන් ගයි
රජිත රුද්‍රිගු
කීත් රංග
සුදේශ් වසන්ත කුමාර පීරිස්
අනිල් ජයසිංහ
රංජිත් පෙරේරා
මහේෂ් ජයසිංහ
ටිරොන් මයිකල්
සුමිත් විද්‍යාලංකාර
ලයිනි ක්‍රොසටි
ඩැනී සමරවීර
සැන්ඩෝ ඛාන්
රාජු ගමගේ
ආනන්ද මල්දෙනිය
කාන්ති ෆොන්සේකා
නන්දාමාලි සමරසිංහ
නිහාල් ජයවර්ධන
ලසන්ත ප්‍රේමරත්න

ගීතයන්
ගීත ප්‍රබන්ධය - අජන්තා රණසිංහ, හේමසිරි හල්පිට, ආනන්ද එස්. විජේසිරි, සෝමපාල ලීලානන්ද

තව්තිසා දෙව්පුරේ - ඇන්ජලින් ගුණතිලක
මේ මල් පොකුරේ ඔබ සුවඳයි - වික්ටර් විජයන්ත, මායා දමයන්ති පෙරේරා
වෙන්නම් මඟුල් දොහේ - අනුර සේනානායක, ග්‍රේෂන් ආනන්ද, වික්ටර් විජයන්ත
මේ නෙත් අගින් - ග්‍රේෂන් ආනන්ද, ලතා වල්පොල
ඕ බියුටිෆුල් - ෆ්‍රෙඩී සිල්වා, මරියසෙල් ගුණතිලක
ආදරේ සාගරේ - ග්‍රේෂන් ආනන්ද, අනුර සේනානායක, වික්ටර් විජයන්ත

නිෂ්පාදනය
සහාය අධ්‍යක්ෂණය - ලයනල් පඬුවාවල
සහාය - නිමල් නාකන්දල, ෂෙල්ටන් කොස්තා, එම්.ඇරෆන්, එම්. ආරියරත්න, ඊ. එම්. අස්මින්
අංග රචනය - එස්. සේල්වරාජා
කලා අධ්‍යක්ෂණය - ලයනල් සිල්වා
සහාය - ප්‍රසන්න
සටන් අධ්‍යක්ෂණය - ටෙඩී විද්‍යාලංකාර
නැටුම් අධ්‍යක්ෂණය - මල්ලිකා කීර්ති, මොහාන් කුමාර්
ශබ්ද පරිපාලනය, දෙබස් පටිගත කිරීම, ශබ්ද මිශ්‍රණය - ලයනල් ගුණරත්න
ශබ්ද සහාය - උපාලි අරම්පොල, ඩී. එච්. ජයමාන්න, ඩබ්. ඩී. පොඩිරත්න, රංජිත් පෙරේරා, පී. ජයවීර, සුනිල් උපාලි, නන්ද කුමාර
රසායනාගාර පාලක - ඒ. අයි. ජොහාර්, එස්. ගමගේ
රසායනාගාර සහාය - තිලක් ෆොන්සේකා, ශාන්ත අත්තනායක, ටයිටස් සමරවීර, කේ. ආර්. ජයවර්ධන, රේමන් පෙරේරා, එච්. මුනිදාස
රසායනාගාර කටයුතු - හොංකොං කලර් මූවී ලැබ්
සම්බන්ධීකරණ - ඩිල් ෆිල්ම්ස්
සැකසුම - සරසවි චිත්‍රාගාරය, ටී. කේ. චිත්‍රාගාරය
අතිරේක කැමරා ක්‍රියාකරවීම - බන්දුල කුරේ
කැමරා උපකරණ සහ සංස්කරණ මැදිරිය - සිනෙක්විප් සර්විස්, නාවල
අතිරේක ශබ්ද - ඩග්ලස් විජේකෝන්, ලෙස්ලි ප්‍රේමසිරි
වර්ණ දළ සේයාපට පිරියෙදුම් යෙදීම - ජාතික චිත්‍රපට සංස්ථා රසායනාගාරය
පොලිස් නිල ඇඳුම් සැපයුම - ශ්‍රීනාත් මල්දෙනිය
දළ සේයාපට සැකසීම - උපාලි අමරතුංග
වෙඩි පිපිරවීම - කරුණාදාස අතුරුගිරිය
කොණ්ඩා සැකසුම - ලලිත් ධර්මවර්ධන
සහාය- අසංක හෙට්ටිආරච්චි
පසුබිම් සංගීතය පටිගත කිරීම - නාමල් ප්‍රනාන්දු
නිශ්චල ඡායාරූප - එම්. ඒ. ගෆූර්
නාමාවලිය - ලයනල් දොඩම්ගොඩ

සිංහයන්ගෙත් සිංහයා


පළමුව බුදුන් වැඳ

දෙවනුව දෙසු දහම් වැඳ

මහ සඟ රුවන් වැඳ

පටන්ගනිමුව ගණදෙවිඳු වැඳ

ගණපති සුරන් වැඳ

ගුරුවර පහත් බැස වැඳ

දෙගුරුන් නැමී වැඳ

ඉඳුව වනගොත් දී පොතට වැඳ

බුත් සරණා වදනින්

දහම් සරණා වදනින්

සඟ සරණා වදනින්

මෙතුන් සරණා වදනින්

සම්මා සම්බුත් සරණා වදනින්

නව ලොව්තුරු දම් සරණා වදනින්

පිවිතුරු සව් සඟ සරණා වදනින්

පැවතුම් මේ තුන් සරණා වදනින්

උතුමා නිති බුත් සරණා වදනින්

ප‍වරා සදහම් සරණා වදනින්

සෙත දා යළි සඟ සරණා වදනින්

උවදුරු හැර තුන් සරණා වදනින්

ස්වස්ති විභූෂණ කමලා වදනින්

සිඬමලඞ්කෘත විමලා වදනින්

අතුලිත මුනිවර චරණා වදනින්

ආභා භාසුර කිරණා වදනින්

ඉහ කුල පූජිත චරණා වදනින්

ඊශ නිශාකර භරණා වදනින්

උමා වධූපත් මහිමා වදනින්

ඌරු මනෝහර ජඞ්ඝා වදනින්

සෘණජ නයනා මෘතයා වදනින්

සෲකල්පායන කිරණා වදනින්

ඏකුල සන්තති භුවනා වදනින්

ඐපති මිහිපති මහිමා වදනින්

ඒක බාහු බල ජිතයා වදනින්

ඓරාවණ පූජිතයා වදනින්

ඕෂ්ට්‍ර මනෝහර ජඞ්ඝා වදනින්

ඖපගවස්මීකෘතයා වදනින්

අංප්‍රෙඩිත විධි කුසලා වදනින්

අඃකි අක්ෂර ෂෝඩශ වදනින්

සිඬම් වේවා ගණපති වදනින්

අස්තු නමෝජන තිලකා වදනින්

අගරජ සුරරජ මුනිරජ වදනින්

මුතුහර ගෙළදම් දම්රජ වදනින්

උරදා නේනය මුනි සුත වදනින්

සිළුමින් සිතුමින් තිසරණ වදනින්

ක ඛ ග ඝ ඞා ච ඡ ජ ඣ ඤා වදනින්

ට ඨ ඩ ඪ ණා ත ථ ද ධ නා වදනින්

ප ඵ බ භ මා ය ර ල ව ශ ෂ වදනින්

සහළා අං ඉති සිඬිරස්තු වදනින්

අ වන පටන් අං වන්නට වදනින්

දැනෙන සොළස සොරකුරු පෙළ වදනින්

ක යන එපස් වග යානව වදනින්

මෙ වන සුතිස් දනු හසකුරු වදනින්

එක් සොර පස්වග යරලව සතරා

ශ ෂ ස හ එකකුරු ළයනෙක අකුරා

සුරුවත් සමහරු නොදනිත් ඉඳුරා

සෝඩියෙ බරකුරු දැනගන් සපුරා

කණ්ටජ සත අහ ක වගය වදනින්

තාලුජ සත ඉය ච වගය වදනින්

මුර්‍ධජ සත රළ ට වගය වදනින්

දන්තජ සත ලස ත වගය වදනින්

ඕෂ්ඨජ සය ඌ ප වගය වදනින්

තාලුජ කණ්ටජ ඒ කුරු වදනින්

කණ්ටජ ඕෂ්ඨජ ඕ කුරු වදනින්

දන්තජ ඕෂ්ඨජ වෝ කුරු වදනින්

මුදුනය දසනය උපදින් කුරටා

යෙදු තාලුජය ද සෙසකුරු වලටා

ලදු අග මැද දිව දිනු තැන් ලෙසටා

හඳුනව කරණය කී ලෙස කුරටා

මේ ලෙස කුරු උපදින තැන් දනුවා

ආ ලෙස අකුරට කරණය දනුවා

වූ ලෙස ඒකජ දිජකුරු දනුවා

කී ලෙස ගරුකය ලහුකය දනුවා

එක්වූ අකුරට පෙරකුරු නිතිනා

වක්වූ ගුරු දිගුබව දනු නැණිනා

දැක්වූ නොම වන සිටි එක් මතිනා

දැක්වූ පෙර ඉසි ලුහු යයි දැනෙනා

එකමත ලුහුයයි දැන කියමින්නේ

යුගමත දිගුයයි ගුරු පවසන්නේ

වෙනමත තුනෙකින් පුලුත කියන්නේ

අඩමත දැනගන් හසකුරයන්නේ

අවනය ආදී ඒකජ අකුරු

එවනය ආදී දනු දිජ නම් අකුරු

දෙවන කවග සහ ලහුකය අකුරු

එයිනැර සෙසුකුරු ගරුකය අකුරු

ගනිමින් පස්වග පළමු දෙවනකුර

සමඟින් සයනු ද අගොසය කිව් පෙර

ළයනන් තව සෙසුකුරුයයි ගොසකුර

දැන්ගන් මේ ලෙස සෝඩියෙ දෙයකුර

ගොසකුරු නොම ගොසකුරු යන දෙවගෙකි

තොසවන දනිතය සිතිලය දෙවගෙකි

නිසසය නිසිතය යනකුරු දෙවගෙකි

බස පෙර ඇති සෝඩියෙකුරු දෙවගෙකි

පස්වග යුග සිව් දනිතය දන්නේ

එම වගවල එක තුන පවසන්නේ

නොවළඟ සිතිලය දැන කියමින්නේ

මෙම වගකුරු පෙළ තෝරා දෙන්නේ

සිතරා එකකට යාදී නවකුරු

නොහැරා දනු එක් පාදී පසකුරු

විතරා සොර එක් එක් සුන් දෙයකුරු

සපුරා දැනගන් සෝඩියෙ සිවුකුරු

පනසෙක සොර සහ හස දෙවගින්නේ

එහි එක එක හසකුරු සදමින්නේ

සොළොසෙක සොර ලූ කල ගණනින්නේ

නොව සැක පන්සිය සැටකුරු දන්නේ

සෝඩිය සූතිස් පිල්ලම කාදී

ලූ කල සොරයන් සොළොසක් ආදී

ගණනින් පන්සිය සැටෙකින් සුසැදී

අකුරෙන් සතළිස් සතරක් බේදී

පෙර හසපර සොර සද නොව වෙනසක්

කර වියරණ විදි දැන ඇති විලසක්

කුරු හස එකකට වැඩිවිය සොළොසක්

තිර කුරු මඟ දැනුමට වැනි දිවැසක්

සෝඩිය පටන් ගෙන වන පොත් කරව දැනා

පිල්ලම් කියා අල්පිල් අකුරු දැනගෙනා

ලියා අකුරු වැල්ලේ ගෙඩි නොකා දැනා

ඇණවුම් සකස්කඩ සකසේ ඉගෙන ගෙනා

තිබූ තැනෙක සොර සතුරන් ගත නොහෙනා

එසැඬ මනාවත් වතුරෙන් වල නොහෙනා

කෝප වුවත් රජ මැතිඳුන් ගත නොහෙනා

උගත මනා සිල්පයමයි මතු රැකෙනා

අල්ලට සිඟාවත් රස නැති කැවිලි කකා

වල් කොළ බිම අතුට නිඳි නොලැබ දුක් තකා

කල් ගිය වැරළි ඇඳ දැලි කුණෙන් වකා

ඇල්මෙන් අකුරු උගනිව් ඉදිරි වැඩ තකා

කසේ සැමිටි වේවැල් ඉරටු ගෙන අතේ

ඇසේ කඳුළු අකුරට ගිය කලට ගතේ

බසේ මියුරු ගෙපලති දෙගුරු සවනතේ

දසේ පසේ ගෙඩි දෙති පිටට එක රතේ

වේවැල් කෝටු නාරන් සියඹලා අතු

කිතුල් පොල් ඉරටු වැල් කසඹිලිය අතු

මෙහැම ඉපල් මගෙ දෑසට නොපෑ යුතු

පමා නොවී එමි අකුරට මෙයින් මතු

පොල් ඉරට්ටේ අණ තදකර ගතිම්මා

ඉන් ඔළ මොළ ගමකට සිත නොයම්මා

දැන් නිසලව ඉඳ අකුරුත් කියම්මා

ඉන් අප දඟ ගේක ලූ දැය අම්මා

අම්මොයි කියා ගෑ සියොලඟ තෙල් රුවට

යම්මොයි කියා යති අකුරට ගුරුන් ගෙට

බම්මොයි කියා බස් තෙපලති විටින් විට

අම්මොයි කියා කීවත් ගුරු දෙතෙයි බැට

රුප්පා වල ඉඳ කෙළිනා දවස් දැඩී

තැප්පා සේ ම ගිනි උසුලද්ද මැඩි මැඩී

අප්පා උකුල ඉඳ තෙපලන බස් ම දැඩී

අප්පා බලා උන්නත් වළකී ද ගෙඩී

ගණදෙවි කෝවිල පිරිබඩලන්නේ

දත මැද පිරුවට ඇඳ පේවන්නේ

කළ කී දේ මට සාදා දෙන්නේ

පින් ඇති ගණදෙවි නුවණක් දෙන්නේ

කිරි දී වෙඬරු ද පස්ගෝ රසිනා

උඳු මුං තල මෑ කරලින් සොබනා

මේ නම් කැවුමෙන් නිති පුද ලබනා

දෙන් මට නුවණක් ගණදෙවි යෙහෙනා

අඹ දඹ ඇටඹ ද කරඹ ද පුදමී

ඔළු පළු ලාළු ද ගිවුළු ද පුදමී

අතිරස අග්ගල අක්සුණු පුදමී

ගණදෙවි නුවණක් දෙමි පා වඳිමී

පුදා විලඳ අතිරස කිරිබත් සකුරූ

සදා මල් බුලත් පුවකුත් ලා කපුරූ

විදා වතක් සොඳ අඳවා ගුරු ඇදුරූ

මෙ දැන කළෝතින් වැඩ වෙයි සව් ඉසුරූ

පුදම් මම ඔබට පස් පඬුරෙන් ම සරා

අඹ දඹ කෙසෙල් පල වැළයෙන් ම තටුපුරා

ගොම පිරිබඩ මල් පහනින් ම සිත් පුරා

දෙවන් මට නුවණ ගණදෙවි පින් පුරා

වැඳලා දෙවියන් පොත අරගන්නේ

යැදලා ගුරුනුත් සිත නොතළන්නේ

සකලා සිල්පය මට සැදෙන්නේ

දැකලා ගණදෙවි නුවණක් දෙන්නේ

සොඳින් බැබළි ගජමූණෙකි පත්මේ

තෙදින් විදුරු චිත්නා නුවණැත්මේ

යෙහෙන් නැඟුණ මී වාහන යුත්මේ

වඳිම් එගණදෙවි සිපද පත්මේ

සුදු දළ ගජ සොඬ මූණෙකි පත්මේ

සුදු මීමකු නැඟෙමින් වැඩ ගත්මේ

සොඳ උමයංගන ඉසුරුගෙ පුත්මේ

වඳිනෙමි ගණදෙවි පිරිපද පත්මේ

අකුළාගෙන සොඬ ගජතකු වැන්නේ

නෙරවා කන්පොතු සුළු කුළු වැන්නේ

සියලඟ ගෝමර මල්පෙති වැන්නේ

පින් ඇති ගණදෙවි නුවණක් දෙන්නේ

අඹ ගෙඩියක් උදෙසා තම චිත්තේ

ලොබ කොට දිව ගොස් දළ බිඳ ගත්තේ

එබට ම මම දැන් ගැති වෙමි නිත්තේ

සුබ නුවණක් කිම දෙනවා නැත්තේ

නුවණ මෙමට දෙන සොඳ උමයංගා

සිව් සැට බරණින් සැදි සිව ලිංගා

පුදනෙමි අක් සුණු ගෙන ආ ලංගා

දෙන් මට ගණදෙවි නුවණ නොසංගා

පුරුදු කරන සව් සත නම පුරුදූ

පසිඳු ව නුවණක් ලබනට ඔබඳූ

ගිරිඳු ඉසුරු හට දා කර එ වැදූ

ගණිඳුන් සිරිපද නමදිම් පසිඳූ

රන් වන් අංකුස සුරතින් ගෙන නිති

බුන් දත් සිව් අත් ගජ මූණක් ඇති

තුන් නෙත් නන්දන කරවන වික්මැති

දෙන් දැන් නුවණක් ගණපති පින් ඇති

මන් මද ගජ කුඹු වත අත දික් කළ

පුන් සඳ මෙන් සිරි උදුළෙව් පුත් කළ

කන් තල මිණිරැසු ගණපති පින් කළ

දෙන් මට නුවණක් සමුදුර මෙන් රළ

මූෂික වාහන මෝදක හස්තම්

චාමර කර්‍ණ විලම්බිත සූත්‍රම්

වාමන රූප මහේස්වර පුත්‍රම්

වි ඝන විනායක පාද නමස්ත්‍රම්

අවනත සුරගණ විකලිත චරණම්

ඝටතට විගලිත මද ජල මුදිතම්

විකසිත කර රුහ කරතල කමලම්

ප්‍රණචිත ශිව සුත ගණපති මභයම්

කුඞ්කුම වර්ණ චතුර් භුජ යුක්තම්

නාග මුඛම් මකුටඞ්කිත ශුණ්ඩම්

අංකුශ පාශක හස්ත සුපාදම්

වග්නි දෘශං ගණ නාථස්‍ය රූපම්

සූරිය කුල ඇති ඉරු දෙවියන්නේ

පෑවිය අණසක ලොව පවතින්නේ

කාරිය සිතුවා සාදා දෙන්නේ

සූරිය දෙවියනි නුවණක් දෙන්නේ

බබළා උදය ගිරි මුඳුනෙන් වඩින්නේ

නොවළා අඳුරු බිඳ ලොව එළි කරන්නේ

දැකලා සියලු රෝදුක් දුරු කරන්නේ

මෙකලා සොඳින් ඉරුදෙවි මා රකින්නේ

සීතා පති රජුමෙන් ගුණ උත්තම

බීතා ජනයන් දුරු කර නිත්තම

ඈතා පිරිපත හරිමිනි නිත්තම

නාතා සාමිනි රකු මා නිත්තම

මෙන් දිඩ ගිරි සිරි පිරි සිරි ලත්තම

තුන් තුඩ තුනි යස ගොස කර නිත්තම

මන් මැඬ මරු මතු බුදුවන උත්තම

සෙන්කඩ ගල සුරිඳුන් වඳු නිත්තම

ලොව සෙත් කර වන පත්තිනි සඳිනේ

සළඹක් අරගෙන සලු සලවමිනේ

වෙනසක් නොසිතා මගෙ ගුරු වරුනේ

ආසිරි නුවණක් දී මා රකිනේ

මන් ලෙස නමදිම් සරණත කර පෙම

නන් ලෙඩ රෝදුක් පිරිපත දුර දම

දැන් මෙ වදන් කවි කියමි බොලඳ මම

දෙන් මට නුවණක් සුරිඳු කතරගම

මූදු අසල් බඩ සිටිනා එ නුවරෙකී

ඉස බැඳි ඔටුන්නෙන් සැදුණේ රජවරුවෙකී

දෙපා පියුම් පෙති සුරතට රනෙන් වැකී

ඇඳින ගොසින් වඳු දෙවුරජ මේ ලෙස කී

තැඹිලි තඹුනෙල් නවසි බෝදිලි තල් කිතුල් ඉඳි කැන් මනා

ලේනතැරි දෝතළු පුවක් වලු කදලි සුවඳෙල් සමගිනා

ලබු පුසුල් නාරන් දොඩම් අඹ රසැති වැළ වරකා ගෙනා

තෙදැති ගණපති නුවණ දෙන් මට පුදම් මේ හැම සිතු මෙනා

තානු තරුණ අරුණ කිරණ බරණින් යස තේජනේ

බානු අසුර අසුරන් යුද ඔද වැඩි ගිරි රාජනේ

මූණු සයෙකි අත් දොළසකි මයුරා පිට වාහනේ

රූණු රටේ පිහිටි කන්ද කදිර දේව රාජනේ

බල වර්දන තුඟු පාබල සිරිනුත් ගිරි රාජනේ

නැගි දුර්ජන අසුරන් දප බිඳ හැරි සිහ රාජනේ

තොස වර්දන මූණු සයෙකි නැඟි සිකිනිඳු වාහනේ

ජයවරදන නුවර පිහිටි කදිර දේව රාජනේ

සිද්ද රන් දුනු තදව ගනිමින් එරන් හීයක් අරගෙනා

සද්ද වූ ලෙස ගොසය කරවා මඟුල් පෙරහැරයෙන් යනා

යුද්ද වූ තද රොසින් දස හිස් රාවණා බිඳ ජය ගෙනා

ඇද්ද තව මට වෙනින් පිහිටක් කතරගම සුරිඳුන් විනා

කතරගම පුර පවර යස තෙද විහිදුවන දිවයුරාණන්

සකල සිරිලක දෙවි නරන් හට පැවත එන සොමි සඳානන්

පඳුරුලන කෙත් ගොයම් විලසට නුවණ මට දෙන රජාණන්

ඇදුරු රිපඳුරු පදට ගුරු මට කතරගම දෙවි රජාණන්

කදිරනේ කළ බරණිනේ තුනු සැරසුණේ පිරි සුවඳිනේ

තෙදණිනේ මිණි දුනු ගෙනේ අත පොළමිනේ විදුලිය මෙනේ

විදිරනේ සැර එකතිනේ සැඩ අසුරනේ දප මඬිමිනේ

කදිරනේ දෙවි උතුමනේ සව් සිරි දෙනේ රකු මා දැනේ

කතරනේ රුවි බබළමින් සිට සුසැට බරණින් සිරි සරා

අතරනේ දුනු රැගෙන නිතියෙන් මයුර වාහන පිවිතුරා

කොතරනේ රන් මාලිගාවට වැඩම කරවා විසිතුරා

කතරනේ දෙවි සරණිනේ මට නුවණ ගෙන දෙන් පින් පුරා

රූනු රට කදිරා පුරාදිප මූණු සය ඇති දෙව් රජාණෙනි

ආනු බාවෙන් මෙමට සිල්පය සිද්ද කර දෙන සමුදුරාණෙනි

බානු තෙදබල සව් සතුන් හට එළිය කර දුන් සොමි සඳාණෙනි

දී නුවණ සිරි දිනෙන් දින රකු කතරගම පුර දෙවි රජාණෙනි

සයුර මෙන් රැළ නෙපුද පෙරහර ඉසුරුවන විමනේ සුරන්

පතුර වන තද තෙදින් අදිපති මෙ සිරිලක හිමි දෙවි නරන්

නිතර සෙත් දී බලා දිවසින් නොයෙක් රෝදුක් දුරු කරන්

පතර යසසිරි නුවණ දෙන් මට කදිර පුර දෙව් රජුනි දැන්

ඈත කප් කෙළ ගණන් බුදුබව පතා විවරණ ලදින් සහ තුට

වීත රාගත් එර්දි නුවණත් ආයුවර්දන කරන හැම විට

පාත තොටගමු විහාරේ වැඩ සිටින දෙවියනි දහම් සිහිකොට

දෝත මුදුනේ තබා වැන්දෙමි නාත දෙව් රජ නුවණ දෙන් මට

සිද්ද කිහිරැලි සමන් බොක්සැල් විභීෂණ සිව් වරම් රජ නිති

සිද්ද මහබඹු ශක්‍ර ඉසිවර කතරගම දෙවියනුත් සිතරුති

සිද්ද පත්තිනි දොළහ දෙවියෝ භද්‍රකාලී දේවි ගණ පති

සිද්ද සිරිලක මෙ හැම දෙවියෝ මෙ මට ආසිරි දිගා දෙත් නිති

දිලුත් දිමුතු රවි මෙන් තෙද පරසිදු මුළු සක්වළ වට

මලුත් පහන් සමග පඬුරු පුද ලැබ වැජඹෙන සහ තුට

නිලුත් රතිනි සුදින් දිලෙන රන් කොත් කැලුමෙන් හැම විට

අලුත් නුවර පුල්වන් දෙවි රජුනි නුවණ දෙවන් මෙ මට

තුන්තරා වැඩ මුනිඳු ගඟ පැන් සනහමින් රැඳි කැලණියේ

ගංතරා අස වීදි දෙපසේ පිළිම ගෙවලින් ගිහිණියේ

ඉන්පුරා ලූ දාතු දළදා දාගබෙයි සිරි පැමිණියේ

ඉන්පුරා ඔබ වෙහෙර වැන්දෙමි නුවණ දෙන් දෙවි කැලණියේ

සතත හරි හර විතත මුනි යුධ මේඛලා ගිරි ශෝභනම්

සවත ශිව ශිව රූප නිර්‍මල වහ්නි ශෝභන සන්නිභම්

උභය රිවිකුල මේරු සිංහල ධාරි නිර්මිත ධාරිණම්

ධරණි ධර ධර භවති භව භව නාරසිංහ රා නාරණම්

වදන් කවි පොදු එන හෝඩිය


Binnenmaas es un antiguo municipio de la provincia de Holanda Meridional al oeste de Países Bajos. Cubre un área de 54,91 km², de los que 4,57 km² corresponden a la superficie ocupada por el agua. En marzo de 2014 tenía una población de 28.648 habitantes.

El actual municipio surge el 1 de enero de 2007 por la incorporación de 's-Gravendeel a Binnenmaas, municipio que se había formado el 1 de enero de 1984 por la fusión de los anteriores municipios Puttershoek, Maasdam, Mijnsheerenland, Westmaas, y Heinenoord.

Los núcleos de población que forman el actual municipio son: Blaaksedijk, 's-Gravendeel, Goidschalxoord, Greup, Heinenoord, Maasdam, Puttershoek y Westmaas, además de algunas aldeas y poblaciones menores.

Referencias

Enlaces externos

 Sitio web oficial

Hoeksche Waard
Antiguos municipios de la provincia de Holanda Meridional

Binnenmaas


ليتل بين  برج ساعة معدني مصغر يشابه برج ساعة بيغ بين في لندن. يتواجد عند تقاطع شارعي فوكسول بريدج وفيكتوريا ستريت في منطقة ويستمنستر في مركز العاصمة البريطانية لندن. تم نصب ساعة ليتل بين في موقعها عام 1892م لكنها أزيلت عام 1964م ثم أعيد نصبها ثانيةً عام 1981م.

مراجع

لندن في 1892
أبراج ساعات
أبراج ساعة في المملكة المتحدة
مبان ومنشآت اكتملت في 1892
مبان ومنشآت في لندن
معالم أثرية ونصب تذكارية في لندن
مواقع جذب سياحي في مدينة وستمنستر
أبراج اكتملت في 1892

ليتل بن