Persian literature comprises oral compositions and written texts in the Persian language and is one of the world's oldest literatures. It spans over two-and-a-half millennia. Its sources have been within Greater Iran including present-day Iran, Iraq, Afghanistan, the Caucasus, and Turkey, regions of Central Asia (such as Tajikistan), South Asia and the Balkans where the Persian language has historically been either the native or official language. For example, Rumi, one of the best-loved Persian poets, born in Balkh (in modern-day Afghanistan) or Wakhsh (in modern-day Tajikistan), wrote in Persian and lived in Konya (in modern-day Turkey), at that time the capital of the Seljuks in Anatolia. The Ghaznavids conquered large territories in Central and South Asia and adopted Persian as their court language. There is thus Persian literature from Iran, Mesopotamia, Azerbaijan, the wider Caucasus, Turkey, Pakistan, Bangladesh, India, Tajikistan and other parts of Central Asia, as well as the Balkans. Not all Persian literature is written in Persian, as some consider works written by ethnic Persians or Iranians in other languages, such as Greek and Arabic, to be included. At the same time, not all literature written in Persian is written by ethnic Persians or Iranians, as Turkic, Caucasian, Indic and Slavic poets and writers have also used the Persian language in the environment of Persianate cultures.

Described as one of the great literatures of humanity, including Goethe's assessment of it as one of the four main bodies of world literature, Persian literature has its roots in surviving works of Middle Persian and Old Persian, the latter of which dates back as far as 522 BCE, the date of the earliest surviving Achaemenid inscription, the Behistun Inscription. The bulk of surviving Persian literature, however, comes from the times following the Muslim conquest of Persia c. 650 CE. After the Abbasids came to power (750 CE), the Iranians became the scribes and bureaucrats of the Islamic Caliphate and, increasingly, also its writers and poets. The New Persian language literature arose and flourished in Khorasan and Transoxiana because of political reasons, early Iranian dynasties of post-Islamic Iran such as the Tahirids and Samanids being based in Khorasan.

Persian poets such as Ferdowsi, Saadi, Hafiz, Attar, Nezami, Rumi and Omar Khayyam are also known in the West and have influenced the literature of many countries.

Classical Persian literature

Pre-Islamic Persian literature

Very few literary works of Achaemenid Iran have survived, partly due to the destruction of the library at Persepolis. Most of what remains consists of the royal inscriptions of Achaemenid kings, particularly Darius I (522–486 BC) and his son Xerxes. Many Zoroastrian writings were destroyed in the Islamic conquest of Iran in the 7th century. The Parsis who fled to India, however, took with them some of the books of the Zoroastrian canon, including some of the Avesta and ancient commentaries (Zend) thereof. Some works of Sassanid geography and travel also survived, albeit in Arabic translations.

No single text devoted to literary criticism has survived from pre-Islamic Iran. However, some essays in Pahlavi, such as "Ayin-e name nebeshtan" (Principles of Writing Book) and "Bab-e edteda'I-ye" (Kalileh o Demneh), have been considered as literary criticism (Zarrinkoub, 1959).

Some researchers have quoted the Sho'ubiyye as asserting that the pre-Islamic Iranians had books on eloquence, such as 'Karvand'. No trace remains of such books. There are some indications that some among the Persian elite were familiar with Greek rhetoric and literary criticism (Zarrinkoub, 1947).

Persian literature of the medieval and pre-modern periods

While initially overshadowed by Arabic during the Umayyad and early Abbasid caliphates, New Persian soon became a literary language again of the Central Asian and West Asian lands. The rebirth of the language in its new form is often accredited to Ferdowsi, Unsuri, Daqiqi, Rudaki, and their generation, as they used pre-Islamic nationalism as a conduit to revive the language and customs of ancient Iran.

Poetry

So strong is the Persian inclination to versifying everyday expressions that one can encounter poetry in almost every classical work, whether from Persian literature, science, or metaphysics. In short, the ability to write in verse form was a pre-requisite for any scholar. For example, almost half of Avicenna's medical writings are in verse.

Works of the early era of Persian poetry are characterized by strong court patronage, an extravagance of panegyrics, and what is known as  "exalted in style". The tradition of royal patronage began perhaps under the Sassanid era and carried over through the Abbasid and Samanid courts into every major Iranian dynasty. The Qasida was perhaps the most famous form of panegyric used, though quatrains such as those in Omar Khayyam's Ruba'iyyat are also widely popular.

Khorasani style, whose followers mostly were associated with Greater Khorasan, is characterized by its supercilious diction, dignified tone, and relatively literate language. The chief representatives of this lyricism are Asjadi, Farrukhi Sistani, Unsuri, and Manuchehri. Panegyric masters such as Rudaki were known for their love of nature, their verses abounding with evocative descriptions.

Through these courts and system of patronage emerged the epic style of poetry, with Ferdowsi's Shahnama at the apex. By glorifying the Iranian historical past in heroic and elevated verses, he and other notables such as Daqiqi and Asadi Tusi presented the "Ajam" with a source of pride and inspiration that has helped preserve a sense of identity for the Iranian people over the ages. Ferdowsi set a model to be followed by a host of other poets later on.

The 13th century marks the ascendancy of lyric poetry with the consequent development of the ghazal into a major verse form, as well as the rise of mystical and Sufi poetry. This style is often called Araqi (Iraqi) style (Araq-e-Ajam) and is known by its emotional lyric qualities, rich meters, and the relative simplicity of its language. Emotional romantic poetry was not something new, however, as works such as Vis o Ramin by As'ad Gorgani, and Yusof o Zoleikha by Am'aq Bokharai exemplify. Poets such as Sana'i and Attar (who ostensibly inspired Rumi), Khaqani Shirvani, Anvari, and Nizami, were highly respected ghazal writers. However, the elite of this school are Rumi, Saadi, and Hafiz Shirazi.

Regarding the tradition of Persian love poetry during the Safavid era, Persian historian Ehsan Yarshater notes, "As a rule, the beloved is not a woman, but a young man. In the early centuries of Islam, the raids into Central Asia produced many young slaves. Slaves were also bought or received as gifts. They were made to serve as pages at court or in the households of the affluent, or as soldiers and bodyguards. Young men, slaves or not, also, served wine at banquets and receptions, and the more gifted among them could play music and maintain a cultivated conversation. It was love toward young pages, soldiers, or novices in trades and professions which was the subject of lyrical introductions to panegyrics from the beginning of Persian poetry, and of the ghazal. " During the same Safavid era, many subjects of the Iranian Safavids were patrons of Persian poetry, such as Teimuraz I of Kakheti.

In the didactic genre one can mention Sanai's Hadiqat-ul-Haqiqah (Garden of Truth) as well as Nizami's Makhzan-ul-Asrār (Treasury of Secrets). Some of Attar's works also belong to this genre as do the major works of Rumi, although some tend to classify these in the lyrical type due to their mystical and emotional qualities. In addition, some tend to group Naser Khosrow's works in this style as well; however true gems of this genre are two books by Saadi, a heavyweight of Persian literature, the Bustan and the Gulistan.

After the 15th century, the Indian style of Persian poetry (sometimes also called Isfahani or Safavi styles) took over. This style has its roots in the Timurid era and produced the likes of Amir Khosrow Dehlavi, and Bhai Nand Lal Goya.

Prose writings
The most significant prose writings of this era are Nizami Arudhi Samarqandi's "Chahār Maqāleh" as well as Zahiriddin Nasr Muhammad Aufi's anecdote compendium Jawami ul-Hikayat.
Shams al-Mo'ali Abol-hasan Ghaboos ibn Wushmgir's famous work, the Qabus nama (A Mirror for Princes), is a highly esteemed Belles-lettres work of Persian literature. Also highly regarded is Siyasatnama, by Nizam al-Mulk, a famous Persian vizier. Kelileh va Demneh, translated from Indian folk tales, can also be mentioned in this category. It is seen as a collection of adages in Persian literary studies and thus does not convey folkloric notions.

Biographies, hagiographies, and historical works
Among the major historical and biographical works in classical Persian, one can mention Abolfazl Beyhaghi's famous Tarikh-i Beyhaqi, Lubab ul-Albab of Zahiriddin Nasr Muhammad Aufi (which has been regarded as a reliable chronological source by many experts), as well as Ata-Malik Juvayni's famous Tarikh-i Jahangushay-i Juvaini (which spans the Mongolid and Ilkhanid era of Iran). Attar's Tazkerat-ol-Owliya ("Biographies of the Saints") is also a detailed account of Sufi mystics, which is referenced by many subsequent authors and considered a significant work in mystical hagiography.

Literary criticism

The oldest surviving work of Persian literary criticism after the Islamic conquest of Persia is Muqaddame-ye Shahname-ye Abu Mansuri, which was written during the Samanid period. The work deals with the myths and legends of Shahnameh and is considered the oldest surviving example of Persian prose. It also shows an attempt by the authors to evaluate literary works critically.

Storytelling
One Thousand and One Nights () is a medieval folk tale collection which tells the story of Scheherazade ( Šahrzād), a Sassanid queen who must relate a series of stories to her malevolent husband, King Shahryar ( Šahryār), to delay her execution. The stories are told over a period of one thousand and one nights, and every night she ends the story with a suspenseful situation, forcing the King to keep her alive for another day. The individual stories were created over several centuries, by many people from a number of different lands.

The nucleus of the collection is formed by a Pahlavi Sassanid Persian book called Hazār Afsānah (, Thousand Myths), a collection of ancient Indian and Persian folk tales.

During the reign of the Abbasid Caliph Harun al-Rashid in the 8th century, Baghdad had become an important cosmopolitan city. Merchants from Persia, China, India, Africa, and Europe were all found in Baghdad. During this time, many of the stories that were originally folk stories are thought to have been collected orally over many years and later compiled into a single book. The compiler and 9th-century translator into Arabic is reputedly the storyteller Abu Abd-Allah Muhammad el-Gahshigar. The frame story of Shahrzad seems to have been added in the 14th century.

Persian dictionaries
The biggest Persian dictionary is Dehkhoda Dictionary (16 volumes) by
Ali-Akbar Dehkhoda. It is the largest comprehensive Persian dictionary ever published, comprising 16 volumes (more than 27,000 pages). It is published by the Tehran University Press (UTP) under the supervision of the Dehkhoda Dictionary Institute and was first published in 1931. It traces the historical development of the Persian language, providing a comprehensive resource to scholars and academic researchers, as well as describing usage in its many variations throughout the world.
He names 200 Persian lexicographical works in his dictionary, the earliest, Farhang-i Oim () and Farhang-i Menakhtay (), from the late Sassanid era of the 3rd-7th century.

The most widely used Persian lexicons in the Middle Ages were those of  Abu Hafs Sughdi  () and Asadi Tusi (), written in 1092.

The production of Persian dictionaries declined in Iran after the 14th century, while it simultaneously grew in the Indian subcontinent and Ottoman Turkey, regions that were increasingly becoming Persianized. Only 4 dictionaries of Persian were compiled in Iran between the 10th and 19th centuries, while more than 66 were produced in India. Significant dictionaries from India include the Farhang-e Ghavvas, Sharafnama-ye Ebrahimi, Farhang-i Jahangiri, and Burhan-i Qati. Unlike the Persian dictionaries of India, most dictionaries from Ottoman Turkey are bilingual (Persian-Turkish). Some significant dictionaries of the era are Oqnum-e Ajam, Loghat-e Ne'matallah, and Lesan al-Ajam.

Also highly regarded in the contemporary Persian literature lexical corpus are the works of Dr. Mohammad Moin. The first volume of Moin Dictionary was published in 1963.

In 1645, Christian Ravius completed a Persian-Latin dictionary, printed at Leiden. This was followed by John Richardson's two-volume Oxford edition (1777) and Gladwin-Malda's (1770) Persian-English Dictionaries, Scharif and S. Peters' Persian-Russian Dictionary (1869), and 30 other Persian lexicographical translations through the 1950s.

Currently, English-Persian dictionaries of Manouchehr Aryanpour and Soleiman Haim are widely used in Iran.

The influence of Persian literature on world literature

Sufi literature
Some of Persia's best-beloved medieval poets were Sufis, and their poetry was, and is, widely read by Sufis from Morocco to Indonesia. Rumi, in particular, is renowned both as a poet and as the founder of a widespread Sufi order. Hafez, too, is hugely admired in both East and West, and he was inspired by Sufism if he was not actually a Sufi himself.  The themes and styles of this kind of devotional poetry have been widely imitated by many Sufi and non-Sufi poets. See also the article on Sufi poetry.

Many notable texts in Persian mystic literature are not poems, yet highly read and regarded. Among those are Kimiya-yi sa'ādat, Asrar al-Tawhid and Kashf ul Mahjoob.

Georgian literature

Beginning in the early 16th century, Persian traditions had a large impact on the Georgian ruling elites, which in turn resulted in Persian influence on Georgian art, architecture, and literature. This cultural influence lasted until the arrival of the Russians.

Jamshid Sh. Giunashvili remarks on the connection of Georgian culture with that of the Persian literary work Shahnameh:

Farmanfarmaian in the Journal of Persianate Studies:

Asia Minor

Despite that Asia Minor (or Anatolia) had been ruled various times prior to the Middle Ages by various Persian-speaking dynasties originating in Iran, the language lost its traditional foothold there with the demise of the Sassanian Empire. Centuries later however, the practise and usage in the region would be strongly revived. A branch of the Seljuks, the Sultanate of Rum, took Persian language, art and letters to Anatolia. They adopted Persian language as the official language of the empire. The Ottomans, which can "roughly" be seen as their eventual successors, took this tradition over. Persian was the official court language of the empire, and for some time, the official language of the empire. The educated and noble class of the Ottoman Empire all spoke Persian, such as sultan Selim I, despite being Safavid Iran's archrival and a staunch opposer of Shia Islam. It was a major literary language in the empire. Some of the noted earlier Persian literature works during the Ottoman rule are Idris Bidlisi's Hasht Bihisht, which begun in 1502 and covered the reign of the first eight Ottoman rulers, and the Salim-Namah, a glorification of Selim I. After a period of several centuries, Ottoman Turkish (which was highly Persianised itself) had developed towards a fully accepted language of literature, which was even able to satisfy the demands of a scientific presentation. However, the number of Persian and Arabic loanwords contained in those works increased at times up to 88%. The Ottomans produced thousands of Persian literary works throughout their century long lifespan.

South Asia

With the emergence of the Ghaznavids and their successors such as the Ghurids, Timurids and Mughal Empire, Persian culture and its literature gradually moved into South Asia too. In general, from its earliest days, Persian literature and language was imported into the subcontinent by culturally Persianised Turkic and Afghan dynasties. Persian became the language of the nobility, literary circles, and the royal Mughal courts for hundreds of years. In the early 19th century, Hindustani replaced it.

Under the Mughal Empire during the 16th century, the official language of the Indian subcontinent became Persian. Only in 1832 did the British army force the South Asia to begin conducting business in English. (Clawson, p.  6) Persian poetry in fact flourished in these regions while post-Safavid Iranian literature stagnated. Dehkhoda and other scholars of the 20th century, for example, largely based their works on the detailed lexicography produced in India, using compilations such as Ghazi khan Badr Muhammad Dehlavi's Adat al-Fudhala (), Ibrahim Ghavamuddin Farughi's Farhang-i Ibrahimi (), and particularly Muhammad Padshah's Farhang-i Anandraj ().

Balkans

Persian learning was also widespread in the Ottoman-held Balkans (Rumelia), with a range of cities being famed for their long-standing traditions in the study of Persian and its classics, amongst them Saraybosna (modern Sarajevo, Bosnia and Herzegovina), Mostar (also in Bosnia and Herzegovina), and Vardar Yenicesi (or Yenice-i Vardar, now Giannitsa, in the northern part of Greece).

Vardar Yenicesi differed from other localities in the Balkans insofar as that it was a town where Persian was also widely spoken. However, the Persian of Vardar Yenicesi and throughout the rest of the Ottoman-held Balkans was different from formal Persian both in accent and vocabulary. The difference was apparent to such a degree that the Ottomans referred to it as "Rumelian Persian" (Rumili Farsisi). As learned people such as students, scholars and literati often frequented Vardar Yenicesi, it soon became the site of a flourishing Persianate linguistic and literary culture. The 16th-century Ottoman Aşık Çelebi (died 1572), who hailed from Prizren in modern-day Kosovo, was galvanized by the abundant Persian-speaking and Persian-writing communities of Vardar Yenicesi, and he referred to the city as a "hotbed of Persian".

Many Ottoman Persianists who established a career in the Ottoman capital of Constantinople (modern-day Istanbul) pursued early Persian training in Saraybosna, amongst them Ahmed Sudi.

Western literature

Persian literature was little known in the West before the 18-19th century. It became much better known following the publication of several translations from the works of late medieval Persian poets, and it inspired works by various Western poets and writers.

German literature
 In 1819, Goethe published his West-östlicher Divan, a collection of lyric poems inspired by a German translation of Hafiz (1326–1390).
 The German essayist and philosopher Nietzsche was the author of the book Thus Spoke Zarathustra (1883–1885), referring to the ancient Persian prophet Zoroaster (c. 1700 BCE).

English literature
 A selection from Ferdowsi's Shahnameh (935–1020) was published in 1832 by James Atkinson, a physician employed by the British East India Company.
 A portion of this abridgment was later versified by the British poet Matthew Arnold in his 1853 Rustam and Sohrab.
 The American poet Ralph Waldo Emerson was another admirer of Persian poetry. He published several essays in 1876 that discuss Persian poetry: Letters and Social Aims, From the Persian of Hafiz, and Ghaselle.

Perhaps the most popular Persian poet of the 19th and early 20th centuries was Omar Khayyam (1048–1123), whose Rubaiyat was freely translated by Edward Fitzgerald in 1859. Khayyam is esteemed more as a scientist than a poet in his native Persia, but in Fitzgerald's rendering, he became one of the most quoted poets in English. Khayyam's line, "A loaf of bread, a jug of wine, and thou", is known to many who could not say who wrote it, or where:

The Persian poet and mystic Rumi (1207–1273) (known as Molana in Iran, Afghanistan and Tajikistan, and as Mevlana in Turkey), has attracted a large following in the late 20th and early 21st centuries. Popularizing translations by Coleman Barks have presented Rumi as a New Age sage. There are also a number of more literary translations by scholars such as A. J. Arberry.

The classical poets (Hafiz, Saadi, Khayyam, Rumi, Nizami and Ferdowsi) are now widely known in English and can be read in various translations. Other works of Persian literature are untranslated and little known.

Swedish literature
During the last century, numerous works of classical Persian literature have been translated into Swedish by baron Eric Hermelin. He translated works by, among others, Farid al-Din Attar, Rumi, Ferdowsi, Omar Khayyam, Saadi and Sanai. Influenced by the writings of the Swedish mystic Emanuel Swedenborg, he was especially attracted to the religious or Sufi aspects of classical Persian poetry. His translations have had a great impact on numerous modern Swedish writers, among them Karl Wennberg, Willy Kyrklund and Gunnar Ekelöf. More recently classical authors such as Hafez, Rumi, Araqi and Nizami Aruzi have been rendered into Swedish by the Iranist Ashk Dahlén, who has published several essays on the development of Persian literature. Excerpts from Ferdowsi's Shahnameh has also been translated into Swedish prose by Namdar Nasser and Anja Malmberg.

Italian literature
During the last century, numerous works of classical and modern Persian literature have been translated into Italian by Alessandro Bausani (Nizami, Rumi, Iqbal, Khayyam), Carlo Saccone ('Attar, Sana'i, Hafiz, Nasir-i Khusraw, Nizami, Ahmad Ghazali, Ansari of Herat, Sa'di, Ayené), Angelo Piemontese (Amir Khusraw Dihlavi), Pio Filippani-Ronconi (Nasir-i Khusraw, Sa'di), Riccardo Zipoli (Kay Ka'us, Bidil), Maurizio Pistoso (Nizam al-Mulk), Giorgio Vercellin (Nizami 'Aruzi), Giovanni Maria D'Erme ('Ubayd Zakani, Hafiz), Sergio Foti (Suhrawardi, Rumi, Jami), Rita Bargigli (Sa'di, Farrukhi, Manuchehri, 'Unsuri), Nahid Norozi (Sohrab Sepehri, Khwaju of Kerman, Ahmad Shamlu), Faezeh Mardani (Forugh Farrokhzad, Abbas Kiarostami). A complete translation of Firdawsi's Shah-nama was made by Italo Pizzi in the 19th century.

Contemporary Persian literature

History

In the 19th century, Persian literature experienced dramatic change and entered a new era. The beginning of this change was exemplified by an incident in the mid-19th century at the court of Nasereddin Shah, when the reform-minded prime minister, Amir Kabir, chastised the poet Habibollah Qa'ani Shirazi for "lying" in a panegyric qasida written in Kabir's honor. Kabir saw poetry in general and the type of poetry that had developed during the Qajar period as detrimental to "progress" and "modernization" in Iranian society, which he believed was in dire need of change. Such concerns were also expressed by others such as Fath-'Ali Akhundzadeh, Mirza Aqa Khan Kermani, and Mirza Malkom Khan. Khan also addressed a need for a change in Persian poetry in literary terms as well, always linking it to social concerns.

The new Persian literary movement cannot be understood without an understanding of the intellectual movements among Iranian philosophical circles. Given the social and political climate of Persia (Iran) in the late 19th and early 20th centuries, which led to the Persian Constitutional Revolution of 1906–1911, the idea that change in poetry was necessary became widespread. Many argued that Persian poetry should reflect the realities of a country in transition. This idea was propagated by notable literary figures such as Ali-Akbar Dehkhoda and Abolqasem Aref, who challenged the traditional system of Persian poetry in terms of introducing new content and experimentation with rhetoric, lexico-semantics, and structure. Dehkhoda, for instance, used a lesser-known traditional form, the mosammat, to elegize the execution of a revolutionary journalist. 'Aref employed the ghazal, "the most central genre within the lyrical tradition" (p.  88), to write his "Payam-e Azadi" (Message of Freedom).

Some researchers argue that the notion of "sociopolitical ramifications of esthaetic changes" led to the idea of poets "as social leaders trying the limits and possibilities of social change".

An important movement in modern Persian literature centered on the question of modernization and Westernization and whether these terms are synonymous when describing the evolution of Iranian society. It can be argued that almost all advocates of modernism in Persian literature, from Akhundzadeh, Kermani, and Malkom Khan to Dehkhoda, Aref, Bahar, and Taqi Rafat, were inspired by developments and changes that had occurred in Western, particularly European, literatures. Such inspirations did not mean blindly copying Western models but, rather, adapting aspects of Western literature and changing them to fit the needs of Iranian culture.

Following the pioneering works of Ahmad Kasravi, Sadeq Hedayat and many others, the Iranian wave of comparative literature and literary criticism reached a symbolic crest with the emergence of Abdolhossein Zarrinkoub, Shahrokh Meskoob, Houshang Golshiri and Ebrahim Golestan.

In Afghanistan
Persian literature in Afghanistan has also experienced a dramatic change during the last century. At the beginning of the 20th century, Afghanistan was confronted with economic and social change, which sparked a new approach to literature. In 1911, Mahmud Tarzi, who came back to Afghanistan after years of exile in Turkey and was influential in government circles, started a fortnightly publication named Saraj'ul Akhbar. Saraj was not the first such publication in the country, but in the field of journalism and literature it launched a new period of change and modernization. Saraj not only played an important role in journalism, it also gave new life to literature as a whole and opened the way for poetry to explore new avenues of expression through which personal thoughts took on a more social colour.

In 1930 (1309 AH), after months of cultural stagnation, a group of writers founded the Herat Literary Circle. A year later, another group calling itself the Kabul Literary Circle was founded in the capital. Both groups published regular magazines dedicated to culture and Persian literature. Both, especially the Kabul publication, had little success in becoming venues for modern Persian poetry and writing. In time, the Kabul publication turned into a stronghold for traditional writers and poets, and modernism in Dari literature was pushed to the fringes of social and cultural life.

Two of the most prominent classical poets in Afghanistan at the time were Abdul Haq Betab and Khalil Ullah Khalili. Betab received the honorary title Malek ul Shoara (King of Poets). Khalili was drawn toward the Khorasan style of poetry instead of the usual Hendi style. He was also interested in modern poetry and wrote a few poems in a more modern style with new aspects of thought and meaning. In 1318 (AH), after two poems by Nima Youshij titled "Gharab" and "Ghoghnus" were published, Khalili wrote a poem under the name "Sorude Kuhestan" or "The Song of the Mountain" in the same rhyming pattern as Nima and sent it to the Kabul Literary Circle. The traditionalists in Kabul refused to publish it because it was not written in the traditional rhyme. They criticized Khalili for modernizing his style.

Very gradually new styles found their way into literature and literary circles despite the efforts of traditionalists. The first book of new poems was published in the year 1957 (1336 AH), and in 1962 (1341 AH), a collection of modern Persian (Dari) poetry was published in Kabul. The first group to write poems in the new style consisted of Mahmud Farani, Baregh Shafi'i, Solayman Layeq, Sohail, Ayeneh and a few others. Later, Vasef Bakhtari, Asadullah Habib and Latif Nazemi, and others joined the group. Each had his own share in modernizing Persian poetry in Afghanistan. Other notable figures include Leila Sarahat Roshani, Sayed Elan Bahar, Parwin Pazwak, and Qahar Asi. Poets like Mayakovsky, Yase Nien and Lahouti (an Iranian poet living in exile in Russia) exerted a special influence on the Persian poets in Afghanistan. The influence of Iranians (e.g. Farrokhi Yazdi and Ahmad Shamlou) on the newly established Afghan prose and poetry, especially in the second half of the 20th century, must also be taken into consideration.

Prominent novelists and short story writers from Afghanistan include Akram Osman, known especially for Real Men Keep Their Word (مرداره قول اس), written in part in Kabuli dialect, and Rahnaward Zaryab. Some prominent writers from Afghanistan like Asef Soltanzadeh, Reza Ebrahimi, Ameneh Mohammadi, and Abbas Jafari grew up in Iran and were influenced by Iranian writers and teachers.

In Tajikistan
The new poetry in Tajikistan is mostly concerned with the way of life of people and is revolutionary. From the 1950s until the advent of new poetry in France, Asia and Latin America, the impact of the modernization drive was strong. In the 1960s, modern Iranian poetry and that of Mohammad Iqbal Lahouri made a profound impression in Tajik poetry. This period is probably the richest and most prolific period for the development of themes and forms in Persian poetry in Tajikistan. Some Tajik poets were mere imitators, and one can easily see the traits of foreign poets in their work. Only two or three poets were able to digest the foreign poetry and compose original poetry. In Tajikistan, the format and pictorial aspects of short stories and novels were taken from Russian and other European literature. Some of Tajikistan's prominent names in Persian literature are Golrokhsar Safi Eva, Mo'men Ghena'at, Farzaneh Khojandi, Bozor Sobir, and Layeq Shir-Ali.

Play
Among the best-known playwrights are:
 Bahram Beyzai
 Akbar Radi
 Gholam-Hossein Sa'edi
 Esmaeel Khalaj
 Ali Nassirian
 Mirza Aqa Tabrizi
 Bijan Mofid

Novel
Well-known novelists include:

 Mohammad-Ali Jamalzadeh
 Sadeq Hedayat
 Sadeq Chubak
 Gholam-Hossein Sa'edi
 Ahmad Mahmoud
 Jalal Al-e-Ahmad
 Simin Daneshvar
 Bozorg Alavi
 Ebrahim Golestan
 Bahman Sholevar
 Mahmoud Dowlatabadi
 Bahram Sadeghi
 Ghazaleh Alizadeh
 Bahman Forsi
 Houshang Golshiri
 Reza Baraheni
 Abbas Maroufi
 Reza Ghassemi
 Zoya Pirzad
 Shahriyar Mandanipour
 Abutorab Khosravi
 Nazi Safavi

Satire

 Dehkhoda
 Iraj Mirza
 Kioumars Saberi Foumani
 Obeid Zakani
 Ebrahim Nabavi
 Hadi Khorsandi
 Bibi Khatoon Astarabadi
 Javad Alizadeh
 Emran Salahi

Literary criticism
Pioneers of Persian literary criticism in 19th century include Mirza Fath `Ali Akhundzade, Mirza Malkom Khan, Mirza `Abd al-Rahim Talebof and Zeyn al-`Abedin Maraghe`i.

Prominent 20th century critics include:

 Jamshid Behnam
 Allameh Dehkhoda
 Badiozzaman Forouzanfar
 Mohammad-Taqi Bahar
 Jalal Homaei
 Mohammad Moin
 Saeed Nafisi
 Parviz Natel-Khanlari
 Sadeq Hedayat
 Ahmad Kasravi.
 Abdolhossein Zarrinkoub
 Shahrokh Meskoob
Ali Abdolrezaei

Saeed Nafisi analyzed and edited several critical works. He is well known for his works on Rudaki and Sufi literature. Parviz Natel-Khanlari and Gholamhossein Yousefi, who belong to Nafisi's generation, were also involved in modern literature and critical writings. Natel-Khanlari is distinguished by the simplicity of his style. He did not follow the traditionalists, nor did he advocate the new. Instead, his approach accommodated the entire spectrum of creativity and expression in Persian literature. Another critic, Ahmad Kasravi, an experienced authority on literature, attacked the writers and poets whose works served despotism.

Contemporary Persian literary criticism reached its maturity after Sadeq Hedayat, Ebrahim Golestan, Houshang Golshiri, Abdolhossein Zarrinkoub and Shahrokh Meskoob. Among these figures, Zarrinkoub held academic positions and had a reputation not only among the intelligentsia but also in academia. Besides his significant contribution to the maturity of Persian language and literature, Zarrinkoub boosted comparative literature and Persian literary criticism. Zarrinkoub's Serr e Ney is a critical and comparative analysis of Rumi's Masnavi. In turn, Shahrokh Meskoob worked on Ferdowsi's Shahnameh, using the principles of modern literary criticism.

Mohammad Taghi Bahar's main contribution to this field is his book called Sabk Shenasi (Stylistics). It is a pioneering work on the practice of Persian literary historiography and the emergence and development of Persian literature as a distinct institution in the early part of the 20th century. It contends that the exemplary status of Sabk-shinasi rests on the recognition of its disciplinary or institutional achievements. It further contends that, rather than a text on Persian 'stylistics', Sabk-shinasi is a vast history of Persian literary prose, and, as such, is a significant intervention in Persian literary historiography.

Jalal Homaei, Badiozzaman Forouzanfar and his student, Mohammad Reza Shafiei-Kadkani, are other notable figures who have edited a number of prominent literary works.

Critical analysis of Jami's works has been carried out by Ala Khan Afsahzad. His classic book won the prestigious award of Iran's Year Best book in the year 2000.

Persian short stories

Historically, the modern Persian short story has undergone three stages of development: a formative period, a period of consolidation and growth, and a period of diversity.

Period of diversity
In this period, the influence of the western literature on the Iranian writers and authors is obvious. The new and modern approaches to writing is introduced and several genres have developed specially in the field of short story. The most popular trends are toward post-modern methods and speculative fiction.

Poetry
Notable Persian poets, modern and classical, include Mehdi Akhavan-Sales, Simin Behbahani, Forough Farrokhzad, Mohammad Zohari, Bijan Jalali, Mina Assadi, Siavash Kasraie, Fereydoon Moshiri, Nader Naderpour, Sohrab Sepehri, Mohammad-Reza Shafiei-Kadkani, Ahmad Shamlou, Nima Yushij, Houshang Ebtehaj, Mirzadeh Eshghi (classical), Mohammad Taghi Bahar (classical), Aref Ghazvini (classical), Ahmad NikTalab (new classic), Parvin Etesami (classical), Shahriar (classical) and, Ali Abdolrezaei (Post Modernism and New Post Modernism), Babak NikTalab (Children's poetry).

Classical Persian poetry in modern times
A few notable classical poets have arisen since the 19th century, among whom Mohammad Taghi Bahar and Parvin Etesami have been most celebrated. Mohammad Taghi Bahar had the title "king of poets" and had a significant role in the emergence and development of Persian literature as a distinct institution in the early part of the 20th century. The theme of his poems was the social and political situation of Iran.

Parvin Etesami may be called the greatest Persian woman poet writing in the classical style. One of her remarkable series, called Mast va Hoshyar (The Drunk and the Sober), won admiration from many of those involved in romantic poetry.

Modern Persian poetry
Nima Yushij is considered the father of modern Persian poetry, introducing many techniques and forms to differentiate the modern from the old. Nevertheless, the credit for popularizing this new literary form within a country and culture solidly based on a thousand years of classical poetry goes to his few disciples such as Ahmad Shamlou, who adopted Nima's methods and tried new techniques of modern poetry.

The transformation brought about by Nima Youshij, who freed Persian poetry from the fetters of prosodic measures, was a turning point in a long literary tradition. It broadened the perception and thinking of the poets that came after him. Nima offered a different understanding of the principles of classical poetry. His artistry was not confined to removing the need for a fixed-length hemistich and dispensing with the tradition of rhyming but focused on a broader structure and function based on a contemporary understanding of human and social existence. His aim in renovating poetry was to commit it to a "natural identity" and to achieve a modern discipline in the mind and linguistic performance of the poet.

Nima held that the formal technique dominating classical poetry interfered with its vitality, vigor and progress. Although he accepted some of its aesthetic properties and extended them in his poetry, he never ceased to widen his poetic experience by emphasizing the "natural order" of this art. What Nima Youshij founded in contemporary poetry, his successor Ahmad Shamlou continued.

The Sepid poem (which translates to white poem), which draws its sources from this poet, avoided the compulsory rules which had entered the Nimai' school of poetry and adopted a freer structure. This allowed a more direct relationship between the poet and his or her emotional roots. In previous poetry, the qualities of the poet's vision as well as the span of the subject could only be expressed in general terms and were subsumed by the formal limitations imposed on poetic expression.

Nima's poetry transgressed these limitations. It relied on the natural function inherent within poetry itself to portray the poet's solidarity with life and the wide world surrounding him or her in specific and unambiguous details and scenes. Sepid poetry continues the poetic vision as Nima expressed it and avoids the contrived rules imposed on its creation. However, its most distinct difference with Nimai' poetry is to move away from the rhythms it employed. Nima Youshij paid attention to an overall harmonious rhyming and created many experimental examples to achieve this end.

Ahmad Shamlu discovered the inner characteristics of poetry and its manifestation in the literary creations of classical masters as well as the Nimai' experience. He offered an individual approach. By distancing himself from the obligations imposed by older poetry and some of the limitations that had entered the Nimai' poem, he recognized the role of prose and music hidden in the language. In the structure of Sepid poetry, in contrast to the prosodic and Nimai' rules, the poem is written in more "natural" words and incorporates a prose-like process without losing its poetic distinction.
Sepid poetry is a developing branch of Nimai' poetry built upon Nima Youshij's innovations. Nima thought that any change in the construction and the tools of a poet's expression is conditional on his/her knowledge of the world and a revolutionized outlook. Sepid poetry could not take root outside this teaching and its application.

According to Simin Behbahani, Sepid poetry did not receive general acceptance before Bijan Jalali's works. He is considered the founder of Sepid poetry according to Behbahani.
Behbahani herself used the "Char Pareh" style of Nima, and subsequently turned to ghazal, a free-flowing poetry style similar to the Western sonnet. Simin Behbahani contributed to a historic development in the form of the ghazal, as she added theatrical subjects, and daily events and conversations into her poetry. She has expanded the range of traditional Persian verse forms and produced some of the most significant works of Persian literature in the 20th century.

A reluctant follower of Nima Yushij, Mehdi Akhavan-Sales published his Organ (1951) to support contentions against Nima Yushij's groundbreaking endeavors. In Persian poetry, Mehdi Akhavan Sales has established a bridge between the Khorassani and Nima Schools. The critics consider Mehdi Akhavan Sales as one of the best contemporary Persian poets. He is one of the pioneers of free verse (new style poetry) in Persian literature, particularly of modern style epics. It was his ambition, for a long time, to introduce a fresh style to Persian poetry.

Forough Farrokhzad is important in the literary history of Iran for three reasons. First, she was among the first generation to embrace the new style of poetry, pioneered by Nima Yushij during the 1920s, which demanded that poets experiment with rhyme, imagery, and the individual voice. Second, she was the first modern Iranian woman to graphically articulate private sexual landscapes from a woman's perspective. Finally, she transcended her own literary role and experimented with acting, painting, and documentary film-making.

Fereydoon Moshiri is best known as conciliator of classical Persian poetry with the New Poetry initiated by Nima Yooshij. One of the major contributions of Moshiri's poetry, according to some observers, is the broadening of the social and geographical scope of modern Persian literature.

A poet of the last generation before the Islamic Revolution worthy of mention is Mohammad-Reza Shafiei-Kadkani (M. Sereshk). Though he is from Khorassan and sways between allegiance to Nima Youshij and Akhavan Saless, in his poetry he shows the influences of Hafiz and Mowlavi. He uses simple, lyrical language and is mostly inspired by the political atmosphere. He is the most successful of those poets who in the past four decades have tried hard to find a synthesis between the two models of Ahmad Shamloo and Nima Youshij.

In the twenty-first century, a new generation of Iranian poets continues to work in the New Poetry style and now attracts an international audience thanks to efforts to translate their works. Éditions Bruno Doucey published a selection of forty-eight poems by Garus Abdolmalekian entitled Our Fists under the Table (2012), translated into French by Farideh Rava. Other notable names are poet and publisher Babak Abazari (1984–2015), who died under mysterious circumstances in January 2015, and emerging young poet Milad Khanmirzaei.

Post Modern Persian poetry

In 1990s a progressive evolution called Postmodern Ghazal begun in the Persian poetry leading to the modern poetry that changed the balancing principle of rhythm and rhyme of the traditional Persian poetry, as did in the Free Verse poetry following the rhythm of natural speech. Now, the center of the attention was language alone, and not only rhythm was absent but the charm of language leads it to be the main axle pushing the Persian poetry forward. The three most talked about poets of the Post Modern Poetry in Iran are Reza Barahani, Ali Abdolrezaei and Ali Babachahi. Among them Ali Abdolrezaei enjoyed a wider admissibility due to the new language he expressed which prevailed in that period. Of these poets Reza Barahani's "Butterflies" (or Addressed to Butterflies), Ali Abdolrezaei's "Paris in Renault", "So Sermon of Society", "Shinema" and "Mothurt", and Ali Babachahi's "The Soft Rain is Me" belong to this genre.

Children's poetry
In the contemporary period, the growth and manifestation of children's poetry in Persian language and literature increased and in this period we see the emergence of prominent poets such as Mahmoud Kianoosh and Abbas Yamini Sharif in young poetry and Babak Niktalab in adolescent poetry.

Persian literature awards
 Sadegh Hedayat Award
 National Ferdowsi Prize
 Houshang Golshiri Award
 Bijan Jalali Award
 Iran's Annual Book Prize
 Martyr Avini Literary Award
 Mehrgan Adab Prize
 Parvin Etesami Award
 Yalda Literary Award
 Isfahan Literary Award
 Persian Speculative Art and Literature Award
 Jalal Al-e Ahmad Literary Awards
 Golden Pen Awards
 Lois Roth Persian Translation Prize
 Jaleh Esfahani Poetry Award

Authors and poets

See also

 Academy of Persian Language and Literature
 Persian Poetics (a source of translations of Persian poetry in English)
 Diwan (poetry) (includes description of symbols)
 Takhallus (pen name)

Notes

References

Sources

Further reading

 Aryanpur, Manoochehr. A History of Persian Literature. Tehran: Kayhan Press, 1973
 Chopra, R.M., "Eminent Poetesses of Persian", Iran Society, Kolkata, 2010.
 Chopra, R.M., "The Rise Growth And Decline of Indo-Persian Literature", 2012, published by Iran Culture House, New Delhi and Iran Society, Kolkata. Revised edition published in 2013.
 Zellem, Edward.
 Clawson, Patrick. Eternal Iran. Macmillan, 2005. .
 Browne, E.G. Literary History of Persia 1998. .
 Browne, Edward G. Islamic Medicine. 2002.
 Rypka, Jan. History of Iranian Literature. Reidel Publishing Company, 1968. . .
 Schimmel, Annemarie (1992). A Two-colored Brocade: The Imagery of Persian Poetry. University of North Carolina Press, USA. .
 Tikku, G.L. Persian Poetry in Kashmir. 1971.
 Walker, Benjamin. Persian Pageant: A Cultural History of Iran.  Calcutta: Arya Press, 1950.
 Zellem, Edward.
 Chopra, R.M., "Great Poets of Classical Persian", 2014, Sparrow Publication, Kolkata, .

External links

 National Committee for the Expansion of the Persian Language and Literature (شورای گسترش زبان و ادبیات فارسی)
 The Packard Humanities Institute: Persian Literature in Translation (currently down) (latest archived version)
 Persian literature at Encyclopædia Britannica
 Persian Literature & Poetry at parstimes.com

Literature
History of literature
Iranic literature
Persian-language literature
Literature by ethnicity
Literature by language
Arts in Iran

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දළ විශ්ලේෂණය

ගිණුම්කරණ පර්යේෂණ ගෙනයනු ලැබූයේ ශාස්ත්‍රීය පර්යේෂණයන්ගෙන්
සහා ගණකාධිකාරිවරුන් පුහුණු කිරීම මඟිනි. ශාස්ත්‍රීය ගිණුම්කරණ
පර්යේෂණ විද්‍යාත්මක ක්‍රමවේදය භාවිතා කරමින් ගිණුම්කරණ
වෘත්තීයයෙහි සියලුම අංශ පිළිබඳව තොරතුරු ඉදිරිපත් කරයි. මූල්‍ය තොරතුරු, පර්යේෂණ, සහ පරිඝනක අනුරුපනය ආදි විවිධ මූලාශ්‍ර මගින් සාධක මේ සඳහා භාවිතා කරයි.

පුහුණුවන ගණකාධිවරුන්ගේ ගවේෂණ බෙහෙවින් අවදානය යොමුකරන්නේ එක් සේවාදායකුගේ සහා කුඩා සේවාදායක කණ්ඩායමකගේ ක්ෂනික
ගැටලු විසඳිම හා සම්බන්ධ වීම පිළිබඳවයි. නව ගිණුම්කරණ හෝ විගණකාධිකරණ ප්‍රමිති
ක්‍රියාවට නැංවීම මත තීරන ගැනීම,මූල්‍ය වර්තා වල අසාමාන්‍ය ගනුදෙනු ඉදිරිපත් කිරිම,සහා සේවාදායකයන් මත ගොඩනැගෙන නව බදු නීතී
මගින් ඇතිවෙන ගැටුම් මේ සඳහා උදාහරණ වශයෙන් දැක්විය හැක.

ගිණුම්කරණ පර්යේෂණ ගෙනයනු ලබන්නේ standard-setting bodies
වැනි සංවිධාන මඟිනි.උදාහරණයක් වශයෙන් අන්තර්ජාතික ගිණුම්කරණ ප්‍රමිත මණ්ඩලය විසින් ඇතැම් ප්‍රකාශනයන් සඳහා ගවේෂණ ව්‍යාපෘතින්
ආරම්භ කරනු ලබයි. ඒවායේ තීරණ ක්‍රියාකාරී න්‍යාය පත්‍රය සඳහා ඉදිරිපත් කරනවාද යන්න ඉහත ගවේෂණ ව්‍යාපෘතින්ගේ ප්‍රතිපල මඟින් දැනුම් දෙනු ලබයි.

ගිණුම්කරණ පර්යේෂණ ඉතිහාසය

ගිණුම්කරණ පර්යේෂණ ඉකුත් දශකයන් අතරතුර අර්තාන්විත වෙනස්වීම් වලට භාජනය වෙමින් පවතී. 1950 ගිණුම්කරණ ප්‍රජාව පිහිටවනු ලැබුයේ
සමාජ විද්‍යාප්‍රජාවේ PHD සුදුසුකම් සහා
පර්යේෂන වාර්ථාවන්හි වුවමනා සැළකිල්ලට ගනිමිනි
සහා 1970 මැද භාගයේ මූල්‍ය, ආර්ථික,සහා වෙනත් ප්‍රතිෂ්ඨාපිත අධ්‍යාපනික විනය නිතීන් භාවිතා කරමින්
ප්‍රාමාණික පර්යේෂණයන්ගෙන්
තාත්වික පර්යේෂණ වෙත මාරු වීමක් දක්නට ලැබිනි.

අධ්‍යාපනික පරීක්ෂණ සහ ගිණුම්කරණ භාවිතයන්

අධ්‍යාපනික ගවේෂණ භාවිතයන් සඳහා දක්වන දායකත්වය

අධ්‍යාපනික ගිණුම්කරණ ගවෙෂණ භාවිතයන් සඳහා දක්වන දායකත්වයෙහි තක්සේරු කරන ලද වර්තමාන ගිණුම්කරණ භාවිතයන්, නව භාවිතයන්හි වර්ධනයන්
සහා විශ්වවිද්‍යාල අධ්‍යයන පරිපාටියන්හි වර්ධනයන් යනාදිය අන්තර්ගත වේ.

  "පවතින ප්‍රතිපත්තිය,අරමුණ සඳහා උචිත වන විස්තාරය දක්වා තුලනය කිරිමට සහා ව්‍යාපාරික, ආර්ථික හා සමාජමය වුවමනාවන්
       ආමන්ත්‍රණය සඳහා නව භාවිතයන් වර්ධනය කිරිම අධ්‍යාපනික ගවේෂණ සතු වැදගත් කාර්යභාරයකි. මෙලෙස අනාගත පරපුර දැනුවත්
       වන හා ඔවුනට වැදගත් යැයි සළකන සිද්ධි වලට බලපෑම් ඇතිකරමින්ද අධ්‍යාපනික ගවේෂණයන්, විශ්වව්ද්‍යාල ඉගැන්විම් අධ්‍යයන පරිපාටි සඳහා දැනුවත් කිරීමක් සිදුකරයි."

අවස්ථාතැන්පතුකරුවන් සැබවින්ම,ගණකාධිවරුන් සපයන තොරතුරු භාවිතයට ගන්නේද කෙසේද යන්න පිළිබඳව මනාව තේරුම් ගැනිම,
වංචා අවදානම් තක්සේරු කිරීමට හා අනාගත වෘත්තියයෙහි දිශාව සඳහා පූර්ව ශාස්ත්‍රීය අධ්‍යයනයන්හි දායකත්වයක් තිබීම, සහා ගිණුම්කරණ ප්‍රමිත වල වෙනස්වීමේ බලපෑම උදාහරණ වශයෙන් ගත හැක.

ගිණුම්කරණ ප්‍රජාවේ හා භාවිතයේ පවතින පරතරය

ශාස්ත්‍රීය සහා ගිණුම්කරණ වෘත්තිමය ප්‍රජාව තුල බෙදීමක් නැතහොත් පරතරයක් ඇති බව, නුතන ගිණුම්කරණ සාහිත්‍යය ඇතුළු නොයෙක් ප්‍රකාශනයන් ප්‍රකාශ කර ඇත. භාවිතයන් වැඩි දියුණු කරනවාට වැඩියෙන්
ඔවුන්ගේම වාග්ව්‍යවහාරය කථා කිරීම සහා පර්යේෂන පළ කිරිම සඳහා ඉලක්ක කිරිම පිළිබඳව විභජනය කරනු ලැබු ආකාරය ශාස්ත්‍රීය විචාරණයට ඇතුළත් කිරීමට යෝජනා කර ඇත.ඒවාගේම
යථා තත්වයට අනුව වෙනස් වීම් වලට යටත් නොවිම සහ දත්ත අනාවරනය කිරීමට පසුබට වීම පුහුනුවන ගණකාධිකාරින්ගේ පැවත්ම විමර්ශනය කිරීමට බලපායි.

ගණකාධිකරුවන්ව පුහුනු කිරීමට වඩාත් විශිෂ්ට ක්‍රියාමාර්ගය ලෙස පුළුල් අධ්‍යාපනික හෝ තාක්ෂනික පුහුණුව පමනක්ද යන්න, ගිණුම්කරණ ප්‍රජාව සහා භාවිතය අතර බෙදීම තුලින් ප්‍රථමව
මධ්‍යාස්ත කර ඇත.පුහුනුවන ගණකාධිකරුවන් වෘත්තිමය සුදුසුකම් සහා තාක්ෂනික කුසලතාහි අවධාරනය නඩත්තු කරනු
ලැබු අතරතුර ගිණුම්කරණ වෘත්තිමය ප්‍රජාව, සමාජ විද්‍යා ප්‍රජාවේ වුවමනා භාර ගැනීම හේතුවෙන් 1950 සිට ගිණුම්කරණ ප්‍රජාව සහා භාවිතයන් තවදුරටත් බෙදීමේ වර්ධනයක් සිදුවිය.

එක් පැතිකඩක් ලෙස ගිණුම්කරණ ප්‍රජාව සහා භාවිතය, විභජනය සඳහා යෝජනා කර ඇති විවිධ සාධකයන්හි එකිනෙකට වෙනස් වු කුසලතා හා වුවමනාවන් අගය කරයි.
ශාස්ත්‍රීය පර්යේෂණ ව්‍යාපාර වල සහා පොදු ආර්ථිකයන්හි මුලික අසමත් වීම් තවත් එක් දෘෂ්ටි සාධකයකයන් වන අතරතුර එක් දෘෂ්ටියක් වනුයේ
වෘත්තිමය පර්යේෂණ කියවීම් පුහුනුවේ ඇති අඩුපාඩුව වඩාත් පැටලිලි සහගත හෝ වඩාත් විසන්ධිගත හෝ දෙකින් කොයික නමුත් බොහෝ
ප්‍රයෝජනවත් වු තොරතුරු නිෂ්ප්‍රභා කිරීමට පුහුනුවන ගණකාධිකරුවන්ට මඟ පෙන්වන බවයි.

ශාස්ත්‍රීය ගිණුම්කරණ පර්යේෂණයන්හි විවිධ ආකාර

කාලීන ක්ෂේත්‍ර

මූල්‍ය ගිණුමකරණය, කළමනාමරණ ගිණුමකරණය, විගණකාධිකරනය, බදුකරණය, පාලනය,සහා ගිණුම්කරණ තොරතුරු පද්ධති පර්යේෂණ යනාදි සම්බන්ධිත මාතෘකා ඇතුළත්ව
ශාස්ත්‍රීය ගිණුම්කරණ පර්යේෂණයන් ඉතා පුළුල් පරාසයක් ආවරණය කරයි.

මූල්‍ය ගිණුම්කරණ පර්යේෂණ

මූල්‍ය ගිණුම්කරණය සහා මූල්‍ය වෙළඳපළවල් විභාග කිරීම ඒවාගේම ගිණුම්කරණ තොරතුරු සහා ප්‍රාග්ධන වෙළඳපළ ගිණුම්කරණ තොරතුරුහි බාහිර පරිශ්‍රීලකයන් තීරණ ගැනීම අතර තිබෙන සම්බන්ඳතාවය කෙරිහි අවධානය මෙහිදි යොමු කරයි.කළමණාකාර ගිණුම්කරණ පර්යේෂණ

ගිණුම්කරණ තොරතුරු සහා අභ්‍යන්තර ගිණුම්කරණ තොරතුරු පරිශ්‍රීලකයන් අතර ඇති සම්බන්ඳතාවය පිළිබඳව අවධානය යොමු කරයි. සම්පත් බෙදා වෙන් කිරීම පිළිබඳව විභාග කිරීම සහා ව්‍යාපාරය තුලින්ම තීරණ ගැනීම උදාහරණ වශයෙන් ගත හැක.

විගණන පර්යේෂන

මූල්‍ය වාර්තාකරනය පිළිබඳ විගණකාධිකරුගේ තීරණ ගැනීම සහා විගණකාධිකරණයේ ප්‍රතිඑල ඇතුළුව විගණන ශ්‍රිත පිළිබඳ අධ්‍යයනය කිරීමයි.බදුකරණ පර්යේෂන

බදු අනාවරණයන් සහා බදු ගෙවන්නාගේ තීරණ ගැනීම පිළිබඳව වෙළඳපළ දක්වන ප්‍රතිචාරය සහා ගිණුම්කරණ තොරතුරු, බදු අධිකාරියන් අතර ඇති සම්බන්ඳතාවය
ආශ්‍රිත පැනනඟින බදුකරණ ගැටළු මෙහිදි අධ්‍යනය කරයි.

පාලනබල පර්යේෂන

සංවිධාන වල සමස්ත ඒකාබද්ධ කළමනාකරණය පිළිබඳව මෙහිදි අධ්‍යනය කරයි.ගිණුම්කරණ තොරතුරු පද්ධති පර්යේෂන

පද්ධති ආරක්ෂණය සහා ශාස්ත්‍රය නිර්මාණය යනාදි ගිණුම්කරණ තොරතුරු පද්ධති ආශ්‍රිත ගැටලු මෙහිදි අධ්‍යනය කරයි.

ක්‍රමවේද

ශාස්ත්‍රීය ගිණුම්කරණ පර්යේෂණයන් ක්‍රමවේද මඟින් ලේඛනාත්මක, පරීක්ෂාණාත්මක සහා විශ්ලේෂණාත්මක අධ්‍යනයන් බවට වර්ගකල හැක.

ලේඛනාත්මක පර්යේෂණ

පර්යේෂණකරුවන් රැස් කල දත්ත ඇතුළුව සුරක්ෂිතාගාරයන්ගෙන් අරමුණුගත දත්ත රැස් කිරීම පරීක්ෂා කිරීම මෙහිදි සිදුවේ.පරීක්ෂණාත්මක පර්යේෂණ

පරීක්ෂණකරුවා විෂය මාතෘකාවන් සඳහා පරිපාලනමය පිළියම් යෙදීම මඟින් දත්ත රැස් කිරීම පිළිබඳව මෙහිදි පරීක්ෂා කරයි.

'''විශ්ලේෂණාත්මක පර්යේෂණ

රූපාත්මක නිරූපකරණ න්‍යාය පනත හෝ ගණිතමය කොන්දේසි මඟින් අදහස් ඉදිරිපත් කිරීම පදනම් කරගනිමින් පරීක්ෂා කිරීම මෙහිදි සිදුවේ.

අමතර කියවීම්

තාත්වික ගිණුම්කරණය

ගිණුම්කරණ පර්යේෂණ


Rostov, or Rostov-on-Don, is a city in Rostov Oblast, Russia.

Rostov may also refer to:

Place name

Rostov Oblast
Rostov Oblast - a federal subject of Russia
Rostov constituency (Rostov Oblast)

in Yaroslavl Oblast
Rostov, Yaroslavl Oblast - a town
Rostov-Yaroslavski - a railway station in Rostov (Yaroslavl Oblast, Russia)
Rostov constituency (Yaroslavl Oblast)

Surname
Nikolay Rostov - a character in Leo Tolstoy's novel War and Peace
Petya Rostov - a character in Leo Tolstoy's novel War and Peace

See also
FC Rostov - a Russian association football club from Rostov-on-Don, Russia
Rostov Arena - an association football stadium in Rostov-on-Don, Russia
Rostovsky (disambiguation)
Rostow

Rostov (disambiguation)


Constantin Staib né le 31 août 1995 à Münster, est un joueur de hockey sur gazon allemand qui joue comme milieu de terrain ou attaquant pour le Hamburger Polo Club et l'équipe nationale allemande.

Carrière

Club
Constantin Staib joue comme attaquant pour le club allemand Hamburger Polo Club. Avant son passage au Hamburger Polo Club, Staib a joué pour Club an der Alster jusqu'en 2018.

International
En 2015, Staib a fait ses débuts internationaux pour l'Allemagne lors d'un test match contre l'Afrique du Sud au Cap. La même année, il remporte sa première médaille avec l'Allemagne à l'Euro 2015 à Londres, terminant à la deuxième place.

Depuis ses débuts, Staib fait régulièrement partie de l'équipe nationale, remportant notamment le bronze au Champions Trophy 2016. La dernière apparition de Staib pour l'Allemagne a eu lieu lors de la première Ligue professionnelle en 2019. Le 28 mai 2021, il a été nommé dans l'équipe pour l'Euro 2021 et les Jeux olympiques d'été de 2020.

Références

Liens externes

Joueur allemand de hockey sur gazon
Naissance à Münster
Naissance en août 1995
Joueur de hockey sur gazon aux Jeux olympiques d'été de 2020

Constantin Staib


Parc national des Cévennes eller Nationalpark Cévennes er en af Frankrigs ti nationalparker, der samtidig er verdensarvsområde (2011) og biosfærereservat (1985). Den ligger i den sydlige del af landet i bjergområdet Cévennes regionen Occitanie.

Parkens forvaltning ligger i byen Florac, og den omfatter hovedsageligt områder i Departementerne Lozère og Gard samt mindre dele i Ardèche og Aveyron. Nationalparken har et kerneareal på 937 km², men sammen med perifere zoner et samlet areal på 3.213 km². Den blev oprettet i 1970, og har omkring 800.000 besøgende om året.

Geografi
Parken omfater adskillige bjerge og plateauer, including: Mont Lozère, Mont Aigoual, Causse Méjean. Mont Lozère er den højeste top i området og er 1.699 meter over havet.

Eksterne kilder og henvisninger

 Officiel website

Nationalparker i Frankrig
Provence-Alpes-Côte d'Azur

Parc national des Cévennes


Jan Claas Behrends (* 5. Dezember 1969 in Bremen) ist ein deutscher Historiker und Hochschullehrer. Seine Forschungsschwerpunkte sind die Zeitgeschichte Osteuropas, Stadtgeschichte, europäische Diktaturen, Gewaltforschung und die post-sowjetische Zeit. Er hat die Professur "Diktatur und Demokratie – Deutschland und Osteuropa von 1914 bis zur Gegenwart" an der Europa-Universität Viadrina in Frankfurt (Oder) inne und forscht außerdem am Leibniz-Zentrum für Zeithistorische Forschung in Potsdam.

Leben
Nach dem Studium der Geschichte, Literaturwissenschaft und Philosophie an der Freien Universität Berlin, der Humboldt-Universität zu Berlin, der University of Wisconsin und der Moskauer Lomonossow-Universität promovierte er bei Christoph Kleßmann an der Universität Potsdam mit dem Thema "Die erfundene Freundschaft: Propaganda für die Sowjetunion in Polen und in der DDR". Von 2005 bis 2011 arbeitete er als Historiker am Wissenschaftszentrum Berlin für Sozialforschung (WZB). Von 2005 bis 2019 war er Lehrbeauftragter für neueste und osteuropäische Geschichte an der FU Berlin sowie der HU Berlin. Im Jahr 2007 war Behrends Fedor-Lynen-Stipendiat der Alexander-von-Humboldt-Stiftung an der University of Chicago.

Seit April 2011 ist er am Leibniz-Zentrum für Zeithistorische Forschung (ZZF) in Potsdam als wissenschaftlicher Mitarbeiter tätig, von 2011 bis 2015 als Projektleiter des internationalen Forschungsnetzwerkes Violence and State Legitimacy in Late Socialism, das durch die Wissenschaftsgemeinschaft Gottfried Wilhelm Leibniz gefördert wurde. Seit 2019 leitet Behrends am ZZF das internationale Forschungsnetzwerk Legacies of Communism, das sich in historischer Perspektive mit der autoritären Entwicklung osteuropäischer und post-sowjetischer Gesellschaften nach dem Ende der kommunistischen Diktaturen beschäftigt.

Im März 2022 wurde Behrends auf eine Sonderprofessur an der Europa-Universität Viadrina in Frankfurt an der Oder berufen. Am 16. Mai 2022 hielt er dort seine Antrittsvorlesung über Das Ende der postsowjetischen Epoche oder die Bedeutung der 1990er Jahre für das 21. Jahrhundert, in der er den russischen Angriff auf die Ukraine vom 24. Februar 2022 als historische Zäsur, nicht aber als "Zeitenwende" charakterisierte.

Behrends ist mit Aufsätzen zu Fragen von Propaganda und Öffentlichkeit in Diktaturen, zur Legitimation von Staatlichkeit im 20. Jahrhundert, zum Metropolenvergleich und zur Gewalt in Osteuropa hervorgetreten. Verstärkt seit der Annexion der Krim 2014 beschäftigt er sich mit dem Krieg in der Ukraine und der Krise des russischen Staates seit dem Putschversuch von 1993, den er als Stichdatum für den Beginn des autoritären Umbaus in Russland begreift. Im November 2022 gehörte er zusammen mit 70 anderen prominenten Schriftstellern und Intellektuellen zu den Unterzeichnern des Aufrufs "Der Ukraine helfen, diesen Kriegswinter zu überstehen!"

Er ist Gastautor der Wochenzeitung "Die Zeit" und Autor beim Gemeinschaftsblog Salonkolumnisten.

Audios
 Wehrhafte Demokratie Historiker: "Demokratie ist eine Ordnung, die wir jeden Tag leben müssen",  24.47 Minuten Audio-Version, Jan Claas Behrends im Gespräch mit Marcus Pindur, Deutschlandfunk Kulturfragen. Debatten und Dokumente 8. Januar 2023

Mitgliedschaften
 Association for Slavic, East European, and Eurasian Studies (ASEEES)
 Deutschen Gesellschaft für Osteuropakunde (DGO)
 Geschichtsforum beim SPD Parteivorstand
 Memorial Deutschland
 Deutschen Historikerverbandes

Publikationen (Auswahl)

Als Autor
 Die erfundene Freundschaft: Propaganda für die Sowjetunion in Polen und in der DDR (= Zeithistorische Studien. Band 32). Böhlau, Köln/Weimar/Wien 2006, ISBN 3-412-23005-7. (Digitalisat auf zeitgeschichte-digital.de.)
 Moskau und Chicago als Metropolen der Moderne: Sozialer Konflikt und gesellschaftliche Integration 1870–1914. WZB, Berlin 2007.
 Politische Führung in der Diktatur. In: Aus Politik und Zeitgeschichte (APuZ) 2–3/2010.
 Diktatur: Moderne Gewaltherrschaft zwischen Leviathan und Behemoth. In: Docupedia-Zeitgeschichte, 2012.
 Post-Sowjetische Lebenswelten. Metropol, Berlin 2021.

Als Herausgeber
 mit Gábor T. Rittersporn und Malte Rolf: Sphären von Öffentlichkeit in Gesellschaften sowjetischen Typs. Zwischen partei-staatlicher Selbstinszenierung und kirchlichen Gegenwelten (= Komparatistische Bibliothek. Bd. 11). Peter Lang, Frankfurt am Main 2003.
 mit Thomas Lindenberger und Patrice G. Poutrus: Fremde und Fremd-Sein in der DDR. Zu historischen Ursachen der Fremdenfeindlichkeit in Ostdeutschland. Metropol, Berlin 2003. (Digitalisate einzelner Beiträge auf zeitgeschichte-digital.de.)
 mit Arfon Rees, Bálazs Apor und Polly Jones: The Leader Cult in Communist Dictatorships. Stalin and the Eastern Bloc. Palgrave, Basingstoke/New York 2004.
 mit Árpád von Klimó und Patrice G. Poutrus: Antiamerikanismus im 20. Jahrhundert. Studien zu West- und Osteuropa (= Studien zur Politik- und Gesellschaftsgeschichte. Bd. 68). Dietz, Bonn 2005.
 mit Martin Kohlrausch: Races to Modernity. Metropolitan Aspirations in Eastern Europe, 1890–1940. Central European University Press, Budapest/New York 2014.
 mit Thomas Lindenberger: Underground Publishing and the Public Sphere. Transnational Perspectives (= Wiener Studien zur Zeitgeschichte. Bd. 6). Lit Verlag, Wien 2014.
 mit Vera Dubina und Andrej Sorokin: Povsednevnaja žizn' pri socializme. Nemeckie i rossiiskie podchody (Alltagsleben im Sozialismus. Deutsche und russische Annäherungen.) ROSSPEN, Moskau 2015.
 Nationalities Papers 43, 5 (2015) Special Issue: War, Violence, and the Military during Late Socialism and Transition
 mit Thomas Lindenberger und Nikolaus Katzer: 100 Jahre Roter Oktober. Zur Weltgeschichte der Russischen Revolution. Ch. Links, Berlin 2017.
 The Return to War and Violence. Case Studies on the USSR, Russia and Yugoslavia, 1979–2014. Routledge: London, New York 2017.
 mit Jürgen Danyel: Grenzgänger und Brückenbauer: Zeitgeschichte durch den Eisernen Vorhang. Wallstein: Göttingen 2019.

Weblinks
 Jan C. Behrends auf der Website des Zentrums für Zeithistorische Forschung Potsdam
 Jan C. Behrends auf Academia.edu
 Beiträge von Jan C. Behrends auf H-Soz-u-Kult

Einzelnachweise

Neuzeithistoriker
Person (Zentrum für Zeithistorische Forschung)
Hochschullehrer (Europa-Universität Viadrina)
SPD-Mitglied
Deutscher
Geboren 1969
Mann

Jan C. Behrends


Wolfgang Clement (d. 7 Temmuz 1940, Bochum - ö. 27 Eylül 2020, Bonn), Sosyal Demokrat Parti mensubu Alman siyasetçi. 1998-2002 yılları arasında Kuzey Ren-Vestfalya eyaletinin başbakanlığını yaptı. 2002-2005 yılları arasında federal ekonomi bakanlığını yürüttü. Aktif siyasete ara verdiğini açıkladıktan sonra özellikle enerji sektöründe faaliyet gösteren kuruluşların yönetim kurullarında görev almaktadır.

1940 doğumlular
Bochum doğumlular
Almanya çalışma bakanları
2020 yılında ölenler
Akciğer kanserinden ölenler
Bonn'da ölenler

Wolfgang Clement


Mercyful Fate je prvi EP danskog heavy metal sastava Mercyful Fate. Poznatiji je kao Nuns Have No Fun, "prvi album" i "EP". Sadrži četiri pjesme snimljene u studiju Stone u Roosendaalu u Nizozemskoj u rujnu 1982., a 8. studenoga iste godine objavila ga je diskografska kuća Rave-On Records.

Popis pjesama

Osoblje

 Mercyful Fate

 King Diamond – vokal
 Hank Shermann – gitara
 Michael Denner – gitara
 Timi Grabber – bas-gitara
 Kim Ruzz – bubnjevi

 Ostalo osoblje

 Ole Bang – fotografije
 André Verhuysen – fotografije
 Jac. Hustinx – miks, produkcija
 Willem Steentjes – inženjer zvuka
 Olé Poulsen – grafički dizajn

Izvori

Albumi sastava Mercyful Fate
Albumi iz 1982.

Mercyful Fate (EP)


Una mujer como yo es el noveno disco de estudio de la cantante sevillana Pastora Soler. Su lanzamiento se llevó a cabo el 18 de octubre de 2011. Está producido por Pablo Pinilla. El álbum entró en el puesto 3 de los cien discos más vendidos en España, convirtiéndose en la entrada más exitosa de la sevillana en su etapa con la discográfica Warner. El 26 de marzo de 2012 se publica una reedición del álbum que incluye los temas que Pastora interpretó en la gala de elección de canción para Eurovisión 2012, incluyendo la versión definitiva con los arreglos finales de Quédate conmigo.

Listado de canciones
 Me despido de ti - 3:40
 Demasiado amor - 3:56
 Tu vida es tu vida - 3:37
 No me da miedo - 3:55
 El mundo entre mis manos - 3:21
 Una mujer como yo - 4:10
 Vamos - 3:32
 Yo no te pido la luna - 4:16
 Que no muera el amor - 3:20
 Cantaré - 3:35
 Soy de ti - 3:50
 A ti - 4:20
 Quédate conmigo (Eurovisión) (sólo en la reedición 2012) - 3:04
 Tu vida es tu vida (versión dance) (sólo en la reedición 2012) - 3:34
 Ahora o nunca (Eurovisión) (sólo en la reedición 2012) - 3:00

Referencias

Álbumes de 2011
Álbumes en español
Álbumes de Pastor Soler

Una mujer como yo


La dicyclovérine, également connue sous le nom dicyclomine, est un médicament utilisé pour traiter les spasmes intestinaux tels que ceux qui surviennent dans le syndrome du côlon irritable.

Les effets secondaires courants comprennent la bouche sèche, la vision floue, la faiblesse, la somnolence et les étourdissements . Les effets secondaires graves peuvent inclure une psychose et des problèmes respiratoires chez l'enfant. L'utilisation pendant la grossesse semble être sans danger tandis que l'utilisation pendant l'allaitement n'est pas recommandée.

La dicyclovérine a été approuvée pour  l'usage médical aux États-Unis en 1950.

Utilisations médicales
La dicyclomine est utilisée pour le traitement symptomatique du syndrome du côlon irritable, en particulier l'hypermotilité, chez l'adulte.

Références

Liens externes

Antagoniste des récepteurs muscariniques
Ester carboxylique
Spasmolytique
Composé diéthylaminé

Dicyclovérine


{{Infobox Navire
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  | légende           = Sustain et USS Nantahala en 1972 à Rhodes Island
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  | constructeur      =	Everett-Pacific Shipbuilding & Dry Dock Company
  | chantier          =Everett
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  | équipage          = 4 officiers, 139 marins
  | longueur          =
  | largeur           =
  | tirant d'eau      =  (à vide)
  | tirant d'air      =
  | déplacement       =
  | propulsion         =
  | puissance         =
  | port d'attache    =
}}

LUSS Sustain (AFDM-7) (ancien YFD-63, est une cale sèche flottante auxiliaire moyenne de classe AFDM-3 construite en 1945 et exploitée par l'US Navy.

 Construction et carrière
Le YFD-63 a été construit au  à Everett en 1945. Le cargo  a remorqué YFD-63 d'Everett pour  à Alameda, le 23 janvier 1945. Elle est mise en service plus tard en 1945 après sa livraison à la Marine le  janvier. Le  août 1946, la cale sèche a été renommée AFDM-7.

Le 28 octobre 1950, la cale sèche est mise en bail commercial. En 1956, lAFDM-7 a été remorqué à travers le canal de Panama et loué à Alabama Drydock and Shipbuilding Company (ADDSCO.

En octobre 1971, l'USNavy rachète la cale sèche à la fin du bail. L'AFDM-7 est réparé et réaménagé par le génie militaire des Seabees à Davisville (Rhode Island), en janvier 1972. Elle stationne à Melville, dans le Rhode Island, de juin 1972 à 1974. En décembre 1972, l' est mis en cale sèche sur l'AFDM-7. Remorqué à Norfolk en avril 1974 et y stationne jusqu'en 1997.
Le 7 juin 1979, la cale sèche a finalement été nommée Sustain.

En 1984, le destroyer USS Arthur W. Radford (DD-968) a ensuite subi des essais en mer et des réparations à l'intérieur de Sustain. Du 4 septembre au 9 octobre 1984, l'USS Ainsworth (FF-1090) a terminé les travaux à l'intérieur de Sustain à Norfolk.

Le destroyer USS Kidd (DDG-993) est retourné à Norfolk et y a effectué une mise en cale sèche, y restant pendant plus d'une semaine pour la mise en œuvre du système de séquençage opérationnel du système de combat le 4 juin 1990.

Sustain a été mis hors service le  août 1997 et loué à Atlantic Marine and Dry Dock, Inc., Jacksonville le 30 novembre 1999.

La cale sèche a rompu le câble de remorquage lors d'une tempête au large du cap Hatteras le 14 janvier 2000 et a dérivé sur 300 milles dans le Gulf Stream jusqu'à ce qu'elle soit prise sous contrôle par l'équipe de sauvetage et remorquée aux Bermudes. Enfin arrivé à Jacksonville le 24 février 2000. Sustain a été rayé du Naval Vessel Register le 30 janvier 2007 et vendu plus tard à Atlantic Marine le 29 février 2008.

En mai 2010, Atlantic Marine a été acquise par BAE Systems renommé . La cale sèche a pu accueillir l'USS Nitze (DDG-94) en 2014. Le 29 mars 2019, le Littoral combat ship USS Detroitv(LCs-7) a été mis en cale sèche pour des réparations à l'intérieur de l'ancien Sustain.

Décoration
   American Campaign Medal
   Asiatic-Pacific Campaign Medal
   World War II Victory Medal
   National Defense Service Medal
   Philippine Liberation Medal
   Meritorious Unit Commendation

Voir aussi

Notes et références

Liens externes
 Resourceful (AFDM-5) - Site NavSource Online
 Floating Docks (AFDB, AFDM, AFDL, ARD, ARDM, YFD) - Shipbuilder Site

Liens connexes
 Liste des navires auxiliaires de l'United States Navy
 Théâtre du Pacifique de la Seconde Guerre mondiale

Auxiliary Floating Drydock de l'US Navy
Bateau lancé en 1945
Navire construit dans l'État de Washington
Navire auxiliaire de l'US Navy de la guerre froide

USS Sustain (AFDM-7)


FC Metz, Fransa'nın köklü bir futbol takımıdır. Fransa liginde de 10 yıl içinde 1 şampiyonluğu vardır.

Tarihçe
1932 yılında kurulmuş olan FC Metz, 1933 yılında Fransa'da Ligue 2'ye çıkmış, ardından 1935 yılında bu ligden Ligue 1'e çıkmaya hak kazanmıştır. II. Dünya Savaşı'ndan sonra 1950 yılında Ligue 1'den düşmüştür. Ligue 2'de Olympique Lyonnais'in arkasından 2. olmuştur ve tekrar Ligue 1'e dönmüştür. 1958 yılında sondan ikinci olarak tekrar Ligue 2'ye düşmüştür. 1961 yılında tekrar Ligue 1'e çıksa da aynı yıl yeniden düşmüştür.

Takım Kadrosu

Eski Teknik Direktörler

 George Kimpton (?-?)
 Ted Maghner (1937-38)
Paul Thomas (1938-39)
 Peter Fabian (1940-41)
 Charles Fosset (1944-45)
 Bep Bakhuys (1945-46)
 François Odry (1946)
 Ted Maghner (1946-47)
 Nicolas Hibst (1947)
 Charles Fosset (1947-49)
 Oscar Saggiero (1949-50)
 Ignace Kowalczyk (1950)
 Emile Veinante (1950-51)
 Elie Rous (1951-52)
 Émile Rummelhardt (1952-55)
 André Watrin (1955)
 Jacques Favre (1955-58)
 Marcel Tomazover (1958)
 Désiré Koranyi (1958-59)
 Robert Lacoste (1959)
 Jules Nagy (1959-63)
 Jacques Favre (1963-66)

 Max Schirschin (1966-67)
 Max Schirschin ve  René Fuchs (1967-68)
 Pierre Flamion (1968-70)
 René Fuchs (1970-71)
 Jacques Favre ve Robert Zvunka (1971-72)
 René Vernier (1972-75)
 Georges Huart (1975-78)
 Marc Rastoll (1978-79)
 Marc Rastoll ve Jean Snella (1979-80)
 Henryk Kasperczak (1980-84)
 Marcel Husson (1984-89)
 Henri Depireux (1989 - Aralık 89)
 Joël Muller (Aralık 1989 - Aralık 2000)
 Albert Cartier (Aralık 2000 - 2 Ocak)
 Francis De Taddeo (Ocak 2002)
 Gilbert Gress (Ocak 2002-02)
 Jean Fernandez (2002-05)
 Joël Muller (2005-06)
 Francis De Taddeo (2006-07)
 Yvon Pouliquen (2007-10)
 Joël Muller (2010)
 Dominique Bijotat (2010-)

Başarıları
 Ligue 2
 Şampiyon (2): 1934-35, 2006-07
 Coupe de France
 Şampiyon (2): 1984, 1988
 İkinci (1): 1938
 Coupe de la Ligue
 Şampiyon (2): 1986, 1996
 İkinci (1): 1999

Kaynakça

Dış bağlantılar

Metz
FC
FC Metz
1932'de kurulan futbol kulüpleri

FC Metz


Naum Veqilharxhi (* 6. Dezember 1797 in Bredh bei Vithkuq, Kreis Korça; † 1846 in Istanbul) war ein albanischer Anwalt, Gelehrter und politischer Aktivist. Er gilt als erster Vertreter der albanischen Nationalbewegung Rilindja, weil er in seinen Schriften die Fremdherrschaft durch das Osmanische Reich anprangerte und dazu aufrief, mittels einer eigenen modernen Schriftsprache die Ideen eines albanischen nationalen Erwachens zu verbreiten.

Leben
Naum Veqilharxhi wurde als Naum Panajot Haxhi Llazar Bredhi 1797 im südostalbanischen Dorf Bredh bei Vithkuq in der Region von Korça geboren. Veqilharxhi absolvierte seine Studien in Rumänien, wohin er 1819 nach der Zerstörung seines Heimatdorfes Vithkuq ausgewandert war. Im Jahr 1821 nahm er dort an einem Aufstand gegen das Osmanische Reich teil (so genannter Walachischer Aufstand). Später war er als Anwalt in Brăila tätig, wo er vermutlich bis zu seinem Lebensende lebte. Veqilharxhi wurde – vermutlich von orthodoxen Griechen – 1846 in Istanbul vergiftet.

Politisches Wirken
Veqilharxhi leistete Pionierarbeit bei der Herausbildung des Bewusstseins für eine moderne albanische Schriftsprache. Er galt vielen Intellektuellen und Politikern mit nationalistischen Ideen als Vorbild.

Im Jahre 1836 gab Veqilharxhi einen Rundbrief heraus, der sich an alle wohlhabenden orthodoxen Albaner richtete. In diesem Rundbrief wird die kulturelle Rückständigkeit des albanischen Volkes beklagt, deren Ursache die türkische Fremdherrschaft sein soll. Zur Überwindung dieser Zustände forderte er die Schaffung einer modernen albanischen Schriftsprache und die Verbreitung von kulturellem Schriftgut in albanischer Sprache. Eine weitere politische Schrift von Veqilharxhi war ein offener Brief an seinen Neffen, der in Wien studierte, aus dem Jahre 1846.

Bereits seit dem Jahre 1824 oder 1825 arbeitete Veqilharxhi an einem Alphabet, welches er im Jahre 1844 in einem acht Seiten umfassenden Büchlein mit dem Titel Evëtori Shqip Fort i Shkurtër (Albanisches Alphabet kurz und einprägsam) veröffentlichte. Die zweite Auflage im Jahre 1845 umfasste 48 Seiten und wurde unter dem Titel Faré i ri abétor shqip per djélm nismetore (Ganz neues Lehrbuch zum Erlernen der Albanischen Schrift) veröffentlicht.

Das Vithkuq-Alphabet

Naum Veqilharxhi versuchte das von ihm entwickelte Alphabet so religiös und politisch neutral wie möglich zu gestalten, indem er die einzelnen Buchstaben losgelöst von ihren Entsprechungen in der arabischen, lateinischen oder griechischen Schrift gestaltete. Dabei konnte es die einzelnen Laute der albanischen Sprache nahezu perfekt wiedergeben; unzureichend war lediglich die Wiedergabe der Digraphen "gj", "rr", "xh" sowie "zh".

Heute wird das Alphabet oft als Vithkuq-Alphabet bezeichnet. Bereits im Jahre 1854 erwähnte der Albanologe Johann Georg von Hahn das Alphabet von Naum Veqilharxhi in seiner Schrift Albanesische Studien als Schrift von Büthakukje. Eine genaue Darstellung lieferte Carl Faulmann in Das Buch der Schrift im Jahre 1880 als Schrift Büthakukye's.

Schriften

 Rundbrief an alle wohlhabenden orthodoxen Albaner. (1836)
 Evëtori Shqip Fort i Shkurtër. (1844)
 Faré i ri abétor shqip per djélm nismetore. (1845)
 Offener Brief an seinen Neffen in Wien (1846)

Literatur
 Robert Elsie: Historical Dictionary of Albania. Second Edition. Toronto and Plymouth 2010: Scarecrow Press. ISBN 978-0-8108-6188-6.
 Carl Faulmann: Das Buch der Schrift. Enthaltend die Schriftzeichen und Alphabete aller Zeiten und aller Völker des Erdkreises. Verlag der kaiserlich königlichen Staatsdruckerei. Wien 1878, 2. verm. und verb. Aufl. 1880. Digitalisat
 Johann Georg von Hahn: Albanesische Studien. 1854. Digitalisat

Fußnoten

Rilindja
Autor
Literatur (19. Jahrhundert)
Literatur (Albanisch)
Pädagoge (19. Jahrhundert)
Albaner
Geboren 1797
Gestorben 1846
Mann

Naum Veqilharxhi


Muxagata, Portekiz'de Vila Nova de Foz Côa belediyesine bağlı olan, 27,36 km² yüzölçümüne sahip, 403 nüfuslu (2001) bir bucaktır.

Portekiz'in freguesiaları
Vila Nova de Foz Côa

Muxagata (Vila Nova de Foz Côa)


Hymenocallis latifolia) es una especie de planta bulbosa geófita perteneciente a  la familia de las amarilidáceas. Es originaria de Norteamérica en Florida y el Caribe.

Descripción
Es una planta con bulbo no rizomatoso, que forma numerosos bulbillos, ampliándolos con la edad. Hojas perennes, hacia el exterior y numerosas, arqueadas. Inflorescencias con 9-15 flores, abriendo secuencialmente, fragantes, de color verde el tubo del perianto, los tépalos se extienden casi horizontalmente, recurvados distalmente, de color blanco, y  corona blanca con ojos verdes pequeños. El fruto en cápsulas subglobosas con semillas obovoides. Tiene un número cromosomático de 2n = 46, 70.

Distribución y hábitat
La floración se produce en verano, en las dunas costeras, las crestas de arena, los bordes de terrenos inundados, en los manglares del sur de península de la Florida.

Taxonomía
Hymenocallis latifolia fue descrita por (Mill.) M.Roem. y publicado en Familiarum Naturalium Regni Vegetabilis Monographicae 4: 168, en el año 1847.
Etimología
Hymenocallis: nombre genérico que proviene del griego y significa "membrana hermosa", aludiendo a la corona estaminal que caracteriza al género.

latifolia: epíteto latino que significa "con hoja grande".

Sinonimia

 Pancratium latifolium Mill., Gard. Dict. ed. 8: 8 (1768). Basionym.
 Chrysiphiala latifolia (Mill.) Ker Gawl., Bot. Reg. 7: t. 778 (1821).
 Pancratium expansum Sims, Bot. Mag. 44: t. 1941 (1817).
 Hymenocallis expansa (Sims) Herb., Appendix: 44 (1821).
 Pancratium patens Delile, Trans. Hort. Soc. London 6: 87 (1826), nom. illeg.
 Hymenocallis caymanensis Herb., Amaryllidaceae: 614 (1837).
 Hymenocallis deleuilii auct., Rev. Hort. 1894: 218 (1894).
 Hymenocallis collieri Small, Man. S.E. Fl.: 322 (1933).
 Hymenocallis keyensis Small, Man. S.E. Fl.: 322 (1933).
 Hymenocallis kimballiae Small, Man. S.E. Fl.: 323 (1933).
 Pancratium caymanense (Herb.) Alain, Brittonia 20: 149 (1968).

Referencias

Enlaces externos

 Familiarum Naturalium Regni Vegetabilis Synopses Monographicae seu Enumeratio Omnium Plantarum hucusque Detectarum Secundum Ordines Naturales, Genera et Sepcies Digestarum, Additas Diagnosibus, Synonymis, Novarumque vel Minus Cognitarum Descriptionibus Curante M. J. Roemer. Fasc. i [-iv]... Vimarieae [Weimar] 4:168.  1847

 : H. latifolia.

latifolia
Plantas bulbosas
Flora del Caribe
Plantas descritas en 1847
Plantas descritas por Miller
Plantas descritas por M.Roem.

Hymenocallis latifolia


Almindelig springabe (Callicebus moloch) er en art i slægten springaber blandt vestaberne. Den lever i sumpområder og oversvømmet tropisk skov i Brasiliens amazonområde.

Beskrivelse
Kropslængden er 27-43 cm og den buskede hale 35-55 cm. Den almindelige springabe er brunlig på ryggen og orange på undersiden, mens ansigtet er mørkt. Den bevæger sig med langsomme bevægelser i den nedre del af kronetaget. Han og hun danner stabile par, der lige før dagslys "synger" i duet sammen. Ungerne forbliver hos forældrene i op til tre år. Den seneste unge bæres i det første år på ryggen af hannen, der også deler sin føde med den.

Noter

Eksterne henvisninger

Pelsaber

Almindelig springabe


La  a du Tour de France 1935 s'est déroulée le lundi .

Il s'agit d'une demi-étape qui relient Belfort (Territoire de Belfort) à Genève (Suisse), au terme d'un parcours de .

Le Français Maurice Archambaud gagne l'étape tandis que le Belge Romain Maes conserve la tête du classement général.

À l'issue de la demi-étape, six coureurs sont éliminés et 78 coureurs restent qualifiés pour la demi-étape suivante disputée sous la forme d'un contre-la-montre.

Parcours

Le départ est donné à 4h30 du matin à Belfort les cents premiers kilomètres sont relativement plats, puis, les coureurs empruntent les cols de la Lemme, de la Savine (Jura) puis de la Faucille (Ain), tous trois situés dans le massif du Jura. L'arrivée est jugée au vélodrome de Genève.

Déroulement de la course

Six coureurs abandonnent dans la première partie de l'étape, les Espagnols Federico Ezquerra, Mariano Cañardo, Vicente Trueba, et les touristes-routiers Pierre Janvier,  Paul-René Corallini et  Sezny Le Roux.

Après la descente du col de la Faucille, le Français Maurice Archambaud s'échappe d'un groupe constitué de 37 coureurs, et l'emporte en solitaire sur le vélodrome de Genève (Suisse). Les Belges Edgard De Caluwé, deuxième, puis Gustave Danneels, troisième, terminent détachés du peloton.

Classements

Classement de l'étape

Classement général à l'issue de l'étape

Challenge international

Notes et références

Notes

Références

Voir aussi

Bibliographie

Articles connexes

 05a
Étape du Tour de France dans le Territoire de Belfort
Étape du Tour de France dans le Doubs
Étape du Tour de France dans le département du Jura
Étape du Tour de France dans l'Ain
Étape du Tour de France en Suisse
Événement sportif à Genève
Étape du Tour de France à Belfort

5e étape a du Tour de France 1935


Stagiarii (în ) este un roman științifico-fantastic din 1962 scris de Arkadi și Boris Strugațki. Prezintă unele legături cu viitoarea serie de romane care formează Universul Amiază. Este ultimul roman Hard science fiction al fraților  Strugațki.

Prezentare

 Timpul acțiunii : viitorul apropiat, începutul secolului XXI .
 Locul : Sistemul Solar.
 Structura socială : comunismul victorios

Previziuni astronomice

În roman, autorii au prezis existența inelelor la toate planetele uriașe. În momentul scrierii, erau cunoscute numai inelele lui Saturn, dar textul prezintă afirmații specifice despre prezența inelelor și la planetele Jupiter (inele descoperite în 1979), Uranus (inele descoperite în 1977) și Neptun (inele descoperite în 1989).

Referințe și note

Vezi și
 1962 în științifico-fantastic

Legături externe
 http://rusf.ru/abs

Romane științifico-fantastice
Romane de Arkadi și Boris Strugațki
Romane din 1962
1962 în științifico-fantastic
Universul Amiază
Hard science fiction
Saturn în ficțiune

Stagiarii


Heiligenbauer ist ein Gemeindeteil von Lautrach im Landkreis Unterallgäu, Bayern. Heiligenbauer ist eine Einöde und hatte 1987 drei Einwohner.

Baudenkmal
In die amtliche Denkmalliste ist das 1796 erbaute Bauernhaus, ein zweigeschossiger Mittertennbau mit Satteldach, eingetragen.

Geographie
Das landwirtschaftliche Anwesen befindet sich zwischen Lautrach und Legau, westlich von Maria Steinbach.

Weblinks

Einzelnachweise

Ort im Landkreis Unterallgäu
Ort in Oberschwaben
Lautrach
Baudenkmal in Lautrach
Einzelsiedlung

Heiligenbauer


رأس كانافيرال (من الإسبانية: Cañaveral كانيافيرال) (كاب كانافيرال Cape Canaveral) جزء في مقاطعة بريفارد في فلوريدا، الولايات المتّحدة الأميريكية ، هو منذ عام 1950، المركز الرئيسي للأنشطة الفضائية للولايات المتحدة. وقاعدة القوات الجوية بكيب كنافيرال ِ. تُطلق جميع المركبات الفضائية المأهولة الأمريكيةِ من هذه المنطقة. وهي شرق جزيرة ميريت المطلة على المحيط الأطلسي. يفصل بين القاعدتين نهر الموز، من وجهة نظر جغرافية هو شناخ ضيق يقع على المحيط الأطلسي، قبالة ساحل ولاية فلوريدا.

في عام 1964 أطلق على المنطقة بأكملها كيب كينيدي تشريفا للرئيس الأميركي جون ف. كينيدي الذي بدأ برنامج أبولو بغرض إنزال رائد فضاء أمريكي على سطح القمر وعودته سالما إلى الأرض قبيل نهاية عقد الستينيات من القرن الماضى. اغتيل بعدها جون كينيدي، ولكن بعد عشر سنوات، وبعد العديد من الاحتجاجات، بدأ يشار إليه مرة أخرى بكاب كانافيرال وبقي اسم كنيدي فقط اسما ل مركز كينيدي للفضاء تحت إدارة وكالة ناسا الفضائية.

أعلام

 فرانسيس سكوبي
 غريغ شو
 كريستا ماك أوليف
 جريجوري جارفيس
 مايكل سميث

مراجع

وصلات خارجية
 رأس كانافيرال في جوجل خرائط

انظر أيضا
 منتزه إبكوت سنتر في أورلاندو [فلوريدا]
 مملكة السحر في أورلاندو

أراضي رأسية في فلوريدا
تضاريس مقاطعة بريفارد (فلوريدا)
شواطئ فلوريدا
شواطئ مقاطعة بريفارد (فلوريدا)
فلوريدا
قاعدة كيب كانافيرال للقوات الجوية
مركز كنيدي للفضاء
مواقع جذب سياحي في مقاطعة بريفارد (فلوريدا)

رأس كانافيرال


Año Nuevo Purépecha o Año Nuevo Tarasco es la fiesta que celebra el inicio de un nuevo año. La fecha en que se realiza esta celebración depende del tipo de calendario azteca, y la más común es la noche del 1 de febrero del calendario gregoriano, y solo celebra algunas comunidades purépechas en México.

Historia
En la actualidad, la celebración de Año Nuevo Purépecha es una principal festividad en comunidades purépechas. Se prenden las velas de ocote durante la última noche (víspera del Año Nuevo correspondiente al 1 de febrero), siendo acompañadas con los más grandes eventos de pirotecnia, música y cánticos. Algunos de los eventos más importantes se centran en Chilchota, Conguripo, Jarácuaro, Cherán y Tzintzuntzán.

Véase también
 Año nuevo mexicano

Referencias

Nochevieja
Fiestas de febrero
Fiestas de Michoacán
Pueblo purépecha

Año nuevo purépecha


Cartea șoaptelor (în armeană: Շշուկների մատյան) este un roman scris în intervalul 2003 – 2008 de Varujan Vosganian, scriitor și om politic român de origine armeană. Cartea a fost publicată în editura Polirom în 2009, fiind desemnată Cartea anului din partea revistei România Literară. Ea este considerată una dintre cărțile de referință ale secolului al XX-lea, fiind deja tradusă în 15 limbi. Cartea șoaptelor a fost propusă pentru Premiul Nobel pentru Literatură de trei ori din partea Uniunii Scriitorilor din Armenia (2013, 2014, 2015) și de două ori din partea Asociației scriitorilor de limbă ebraică din Israel și Uniunea Scriitorilor din România (2014, 2015). În octombrie 2016, Varujan Vosganian și Cartea șoaptelor au fost răsplătiți cu marele Premiu Angelus, Premiul Cititorilor Natalia Gorbanevskaia și Premiul pentru Cea Mai Bună Traducere.

În urma inițiativei Festivalului Internațional de Literatură Berlin și Lepsiushaus Potsdam (care au socotit Cartea șoaptelor cartea-simbol a luptei împotriva crimei de genocid), în data de 21 aprilie 2015, a fost organizată o Zi mondială a lecturii, pentru omagierea victimelor Genocidului împotriva armenilor din Imperiul Otoman. Inițiativa a fost susținută de sute de oameni de cultură din întreaga lume, printre care Herta Müller, Mario Vargas Llosa, Orhan Pamuk, Noam Chomsky, John M. Coetzee, Elif Shafak și mulți alții. În peste o sută de orașe din cca 40 de țări au fost prezentate pagini scrise de câteva dintre cele mai importante personalități ale culturii armene din ultimul secol. Un rol central l-a avut Cartea șoaptelor, din care au fost prezentate capitolele șapte și opt în 21 limbi.

Personajele principale
Vosganian povestește: "Personajele din carte au existat iar evenimente descrise s-au petrecut într-adevăr. Traducătorul meu spaniol, Joaquin Garrigos, a vrut să se convingă de asta și atunci l-am dus în cimitirul armenesc din Focșani unde, cu cartea în mână, a căutat - și a găsit - pe cruci numele personajelor din carte, inclusiv vestitul cavou unde bătrânii armeni ai copilăriei mele se adunau ca să vorbească despre abdicarea regelui Mihai, despre înăbușirea revoltei lui Imre Nagy din Ungaria sau despre uciderea lui Kennedy."

Personajele principale sunt:
 Garabet Vosganian – bunicul patern al autorului, care socotea că cea mai importantă este iertarea
 Setrak Melichian – bunicul matern al autorului, care socotea că cel mai bine e să uiți
 Misak Torlakian – justițiar armean, care socotea că răzbunarea este o datorie a fiecărui supraviețuitor al genocidului
 Sahag Șeitanian – cumnatul lui Garabet Vosganian și nașul de botez al autorului, una dintre figurile cele mai tragice ale romanului
 Hartin Fringhian – om de afaceri, supranumit Regele zahărului

Conținutul
Cartea șoaptelor nu este o carte de memorii căci aducerile aminte din paginile ei nu sunt amintirile autorului. Este mai degrabă, biografia secolului al douăzecilea povestită de trăitorii ei. Se găsesc în Cartea șoaptelor mai toate maladiile secolului aceluia: războaiele mondiale, genocidul, totalitarismele de orice fel, lagărele de concentrare, gropile comune, exodul și apatrizii, ideologia utilizată ca instrument al autorității și căutarea zadarnică de sine. Este într-adevăr, vorba de tragedia poporului armean, dar este vorba și de tragedia altor popoare, este vorba de tragedia tuturor celor care au suferit istoria, în loc să o trăiască.

Cartea șoaptelor începe într-un registru pitoresc, pe o străduță armenească din Focșaniul anilor '50 ai secolului trecut, printre aburii cafelei proaspăt prăjite și miresmele din cămara bunicii Arșaluis, printre bucoavnele și fotografiile bunicului Garabet. "Bătrânii armeni ai copilăriei" lui Varujan Vosganian nu au de istorisit întâmplări delectabile, ci fapte de-a dreptul neliniștitoare. Povestind, ei încearcă să se despovăreze de o traumă – a lor și a predecesorilor.

Traducerile și lansările
Cartea șoaptelor a fost tradusă în 16 limbi. Lansările cărții cu participarea autorului au avut loc în numeroase orașe ale lumii, precum Buenos Aires, Bogota, Bruxelles, Praga, Leipzig, Haga, Vatican, Roma, Padova, Madrid, Barcelona, Valencia, Zaragoza, Sevilia, Granada, Cracovia, Sofia, Plovdiv, Varna, Ruse, Tehran, Tel Aviv, Erevan etc., și câteva zeci de orașe ale României.

 "El libro de los susurros", Editura Pre – Textos (2010), traducere de Joaquin Garrigos în limba spaniolă a romanului "Cartea șoaptelor"
 "Il libro dei sussurri", Editura Kellerdi Rovereto Trento (2011), traducere de Anita Natascia Bernacchia în limba italiană a romanului "Cartea șoaptelor"
 "Șșukneri Matian", Editura Uniunii Scriitorilor din Armenia (2012), traducere de Sergiu Selian în limba armeană a romanului "Cartea șoaptelor"
 "Sefer Halehishot", Editura Hakibbutz Hameuchad (2012), traducere de Any Shilon în limba ebraică a romanului "Cartea șoaptelor"
 "Le livre des chuchotements", Editions des Syrtes (2013), traducere de Laure Hinckel și Marily Le Nir în limba franceză a romanului "Cartea șoaptelor"
 "Viskningarnas bok", Editura 2244 (2013), traducere de Inger Johansson în limba suedeză a romanului "Cartea șoaptelor"
 "Buch des Flüsterns", Editura Zsolnay Verlag (2013), traducere de Ernest Wichner în limba germană a romanului "Cartea șoaptelor"
 "Proșepnata kniga", Editura Avangard Print (2013), traducere de Vanina Bojikova în limba bulgară a romanului "Cartea șoaptelor"
 "Suttogások könyve", Editura Orpheusz (2014), traducere de Zsolt Karácsony în limba maghiară a romanului "Cartea șoaptelor"
 "Șșukneri Matian", Editura Antares (2014, a II-a ediție), traducere de Sergiu Selian în limba armeană a romanului "Cartea șoaptelor"
 "Buch des Flüsterns", Editura Büchergilde Gutemberg (2015, a II-a ediție), traducere de Ernest Wichner în limba germană a romanului "Cartea șoaptelor"
 "Livro dos Sussuros", Ediție digitală (2015), traducere de Dan Caragea în limba portugheză a romanului "Cartea șoaptelor"
 "Pecipeci name", Editura Ketabe Miamak (2015), traducere de Garoon Sarkisean în limba persană a romanului "Cartea șoaptelor"
 "Księga szeptów", Editura Książkowe Klimaty (2015), traducere de Joanna Kornaś-Warwas în limba poloneză a romanului "Cartea șoaptelor"
 "Het boek der fluisteringen", Editura Uitgeverij Pegasus (2015), traducere de Jan Willem Bos în limba neerlandeză a romanului "Cartea șoaptelor"
 "Kniha šepotů", Editura Havran (2016), traducere de Jarmila Horakova în limba cehă a romanului "Cartea șoaptelor"
 "Hviskingenes bok", Editura Bokvennen (2017), traducere de Steinar Lone în limba norvegiană a romanului "Cartea șoaptelor"
 "Knjiga šapata", Editura Sandorf (2017), traducere de Ana Brnardic Oproiu și Adrian Oproiu în limba croată a romanului "Cartea șoaptelor"
 "The Book of Whispers", Editura Yale University Press (2017), traducere de Alistair Ian Blyth în limba engleză a romanului "Cartea șoaptelor"

Receptare

Iată unele bucăți ale recenziilor de peste 1000 de pagini, apărute în presa internațională despre Cartea șoaptelor:

 Estandarte (Spania) - Cartea șoaptelor este una dintre cărțile poate cele mai importante ale literaturii europene din utimii ani.
 Editorial Pre-Textos (Spania) - Cititorul se găsește în fața unui roman care a avut un succes extraordinar și care este, în același timp, document istoric, poem în proză, fantezie și realitate cutremurătoare. Poate că, într-o bună zi, se va considera incompletă o istorie a secolului XX care nu va include în conținutul său pagini din Cartea șoaptelor.
 Revista de Arte y Ensayo Madrid en Marco (Spania) - Vosganian se arată cervantesc în a construi o "istorie de istorii" dacă nu un "roman de romane", cum a fost Don Quijote. Cartea șoaptelor este o carte unică, care se citeste, dacă nu se ascultă de-a dreptul, cu vocea șoptită a protagoniștilor săi.
 Frankfurter Allgemeine Zeitung (Germania) - Cartea șoaptelor este un roman magnific care aparține literaturii universale, fiind, probabil, una dintre cărțile de referință ale secolului XXI, atât de minunată încât îți taie rasuflarea.
 Suddeutsche Zeitung (Germania) - Varujan Vosganian este un autor autentic, un povestitor excepțional care istorisește saga unui popor persecutat de atâtea generații, până în zilele noastre.
 Der Spiegel (Germania) - Cartea șoaptelor este pentru spațiul est-european echivalentul Veacului de singurătate al lui Gabriel Garcia Marquez."
 La Nacional (Chile) - Cartea șoaptelor este foarte frumoasă, un gest estetic superior, sublim.
 El Nacional (Venezuela) - Varujan Vosganian este, înainte de toate, un scriitor care a primit moștenirea unei memorii făcute din moarte și supraviețuire.
 La Nacion (Argentina) - Cartea șoaptelor este o operă foarte bine scrisă. Autorul întruchipează poporul armean printr-o tragică și complexă epopee.

Printre cititorii cărții a fost președintele Columbiei, Juan Manuel Santos, care a mulțumit public pentru faptul că romanul l-a inspirat în dialogul cu gherilele FARC.

Premii
 Premiul "Cartea anului 2009" pentru romanul "Cartea șoaptelor" acordat de revista "România literară" (2009)
 Premiul "Cea mai buna proză a anului", revista Convorbiri Literare (2009)
 Premiul "Ion Creanga" al Academiei Romane (2009)
 Premiul "Cea mai buna proză a anului" pentru romanul "Cartea șoaptelor", revista literară Viața Românească (2010)
 Premiul "Cea mai buna proză a anului" și "Premiul cititorilor" pentru romanul "Cartea șoaptelor", revista "Observatorul cultural" (2010)
 Premiul "Cea mai buna proză a anului" pentru romanul "Cartea șoaptelor", revista literară Argeș (2010)
 Trofeul Mihail Sebastian pentru romanul "Cartea șoaptelor" și Premiul "Tristan Tzara" pentru poezie, conferit de revista multiculturală Niram Art în colaborare cu ICR Madrid (2010)
 Marele Premiu ANGELUS, Premiul Cititorilor "Natalia Gorbanevskaia" și Premiul pentru "Cea Mai Buna Traducere", în cadrul Galei Premiului Literar al Europei Centrale ANGELUS (2016)

Referințe

Legături externe
 Pagina oficială a cărții - www.carteasoaptelor.ro
 Blogul autorului - www.vosganian.ro
 Filmul Calea șoaptelor
 Filmul Când moartea întârzie să apară, care are la bază, ca scenariu, un fragment din Cartea șoaptelor: Hartin Fringhian și testamentul său sunt personajele principale ale acestei povești.
 Spectacolul Staipelochian (Campania Rampa)
 Articolul Șoaptele cărții și proza d-lui Varujan Vosganian
 Articolul Varujan Vosganian, între "cartea șoaptelor" și "cartea plângerilor"
 El libro de los susurros

Cărți din 2009

Cartea șoaptelor


Crkva Pohođenja Blažene Djevice Marije u Mariji Gorici
Crkva Pohoda Blažene Djevice Marije u Banjoj Luci
Crkva Pohoda Blažene Djevice Marije u Garešnici
Crkva Pohođenja Marijina u Cirkveni
Crkva Porođenja BDM u Grabovcu
Crkva Porođenja BDM u Zavojanima

Crkva Pohođenja Blažene Djevice Marije


Petra Zieger (née le  à Erfurt) est une chanteuse allemande.

Biographie
Petra est la fille du cycliste est-allemand Bruno Zieger. Après avoir terminé un apprentissage de tailleur pour femmes, Petra Zieger va à l'école de musique du district d'Erfurt, puis étudie le chant à la Hochschule für Musik Franz Liszt Weimar. À partir de 1976, elle apparaît en tant que soliste avec l'Orchestre de danse d'Erfurt et chante dans un big band d'Erfurt. Petra Zieger rencontre alors Peter Taudte, le batteur du groupe, qui deviendra son compagnon et manager qu'elle épousera en .

Lorsque Taudte devient le batteur du groupe de rock Phonoclecs en 1980, il insiste pour que Zieger soit la chanteuse. Elle fait sa première apparition à la télévision avec une reprise de Checkered Love de Kim Wilde. En 1981, Zieger remporte un prix au Goldener Rathausmann Schlager Festival à Dresde et a son premier succès avec Schmusen auf dem Flur.

Deux ans plus tard, Burkhard Lasch les emmène à Berlin et fonde avec eux le groupe "Petra Zieger & Smokings". Le , Petra Zieger & Smokings fait sa première apparition à la télévision dans l'émission jeunesse rund. La première tournée en RDA suit en 1983. La même année, elle remporte le Silbernen Bong. Le premier album Traumzeit sort en 1984. Il est un succès comme les singles qui en sont issus. En 1985, elle quitte les Smokings, qui poursuivent leur carrière en tant que Smokings Rockshow. Depuis lors, Petra Zieger apparaît sous le nom de "Petra Zieger & Band".

Petra Zieger chante en allemand. Au milieu des années 1980, elle crée sa musique rock en RDA avec de nouveaux éléments de spectacle et consolide ainsi son style de « rock lady ». Elle consolide le style rock accrocheur avec le LP Katzen bei Nacht en 1986. Peter Taudte compose les morceaux de Petra Zieger depuis le début des années 1990. Les textes sont écrits par plusieurs auteurs tels que Michael Sellin ou Pe Werner.

Après la chute du mur, Petra Zieger peut capitaliser sur ses succès. Elle a l'un de ses plus grands succès en 1989-1990 avec la chanson Das Eis taut, qui fait référence à la réunification allemande. S'ensuit une invitation aux États-Unis, où elle chante devant  spectateurs à Philadelphie.

En 2006, Zieger et Taudte fondent le label "P2P music" basé à Berlin. Le style de musique rock de Petra Zieger se complète de ballades et de chansons. En 2007, la ballade Ich vermiss Dich sort. Zieger est alors invité par Jose Carreras à participer à son gala de charité de l'ARD à Leipzig. En 2008, commence la tournée 25 Jahre Petra Zieger & Band – live on tour. La même année, Zieger aest invitée au gala de la cérémonie de remise des prix Goldene Henne en 2008 au Friedrichstadt-Palast de Berlin, où elle chante un titre dans la partie spectacle.

À partir de 2008, Petra Zieger apparaît à plusieurs reprises lors d'événements électoraux de la CDU pour Angela Merkel. Lors de l'élection présidentielle allemande de 2010 le 30 juin 2010 à Berlin, elle est membre de l'Assemblée fédérale choisie par la CDU. Zieger soutient la chancelière Angela Merkel lors des élections fédérales allemandes de 2013.

Discographie
Albums
 1984 : Petra Zieger & Smokings : Traumzeit (Amiga)
 1987 : Katzen bei Nacht (Amiga)
 1989 : Das Eis taut (Amiga)
 1991 : Das Eis taut – My Heart Beats (Stop Records/Ariola)
 1992 : Lust (Polydor)
 1992 : Wolkenkinder (compilation)
 1994 : Alles Drin
 1997 : Küss mich
 1997 : Unverwüstlich
 1998 : Petra Zieger – Best (compilation, BMG)
 2002 : Mit mir
 2003 : Die größten Hits
 2004 : Das Eis taut – Die größten Hits (double album avec DVD Das Eis taut)
 2007 : Nimm mich (P2P music)
 2008 : Petra Zieger & Band - 25 Jahre on tour (double album, Sony/BMG)
 2013 : Glück : Das Beste aus 30 Jahren (Sony Music)

Singles
 1990 : Das Eis taut inkl. Club Edit Mix
 1992 : Kußgenie
 1992 : Lust
 1994 : Alles drin
 1994 : Es ist nie zu spät
 1994 : Warum
 1994 : Kinder der Welt
 1997 : Küss mich
 2000 : Lass mich Deine Geisel sein
 2001 : Nimm es wie ein Mann, Spätes Glück (ZETT Records)
 2002 : Sommer
 2006 : Berührung
 2006 : Zuversicht / Alles geht im Kreis
 2007 : Ich vermiss Dich (P2P music)
 2009 : Wie beim ersten Mal (P2P music)

Notes et références

Liens externes

Chanteuse allemande du XXe siècle
Chanteuse allemande du XXIe siècle
Chanteuse de rock
Naissance en mars 1959
Naissance à Erfurt

Petra Zieger


لا كانيادا فلينتريدج  هي إحدى مدن مقاطعة لوس أنجليس، كاليفورنيا. تم إعطاءها لقب مدينة في 30 نوفمبر، 1976.

المناخ
يظهر الجدول التالي التغييرات المناخية على مدار السنة للا كانيادا فلينتريدج:

أعلام

 كين أندرسون
 هانز ليبمان
 ميخائيل غوتليب
 جولي حايك
 فرانكلين توماس

مراجع

أماكن مأهولة أسست في 1976
تأسيسات سنة 1976 في كاليفورنيا
مدن كاليفورنيا
مدن لوس أنجلوس (كاليفورنيا)

لا كانيادا فلينتريدج (كاليفورنيا)

لا كانيادا فلينتريدج (كاليفورنيا)


Die India Open 1979 im Badminton fanden Ende November 1979 in Kalkutta statt.

Finalergebnisse

Weblinks
 http://newspapers.nl.sg/Digitised/Page/straitstimes19791129.1.33.aspx

1979
Badminton 1979
Badmintonwettbewerb in Kalkutta

India Open 1979


Headed for Infinity, 2005 çıkışlı Oforia albümü.

Şarkı listesi
 "Northern Lights"
 "Beams of the Light"
 "Headed for Infinity"
 "High Gear"
 "Anti Gravity"
 "Sirius"
 "Machines Job"
 "Cyber Hiker"
 "Substance"

2005 albümleri
Oforia albümleri

Headed for Infinity