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HL ▁appearance , ▁on ▁December ▁ 1 , ▁ 2 0 0 5 ▁against ▁the ▁Ed mont on ▁Oil ers , ▁he ▁played ▁ 3 ▁minutes ▁without ▁facing ▁a ▁shot . ▁▁ ▁During ▁the ▁ 2 0 0 6 – 0 7 ▁season , ▁Mc V ic ar ▁played ▁in ▁the ▁E CH L ▁with ▁the ▁Utah ▁G ri zz l ies , ▁and ▁during ▁the ▁ 2 0 0 7 - 2 0 0 8 ▁season ▁he ▁played ▁in ▁the ▁CH L ▁with ▁the ▁Arizona ▁Sund ogs . ▁He ▁signed ▁with ▁Tot em po ▁H v I K ▁for ▁the ▁ 2 0 0 8 – 0 9 ▁season . ▁His ▁last ▁season ▁was ▁spent ▁in ▁Germany . ▁ ▁Post - play ing ▁career ▁After ▁ret iring ▁Mc V ic ar ▁moved ▁to ▁R egin a , ▁S ask at che wan , ▁with ▁his ▁wife ▁La ur ie ▁and ▁two ▁children , ▁Luc an ▁and ▁Liv . ▁He ▁took ▁up ▁a ▁position ▁as ▁a ▁certified ▁financial ▁pl anner ▁and ▁stock bro ker ▁with ▁Edward ▁Jones ▁Invest ments . ▁ ▁Career ▁statistics ▁ ▁Regular ▁season ▁and ▁play offs ▁ ▁See ▁also ▁List ▁of ▁players ▁who ▁played ▁only ▁one ▁game ▁in ▁the ▁N HL ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁ ▁Category : 1 9 8 2 ▁birth s ▁Category : L iving ▁people ▁Category : A rizona ▁Sund ogs ▁players ▁Category : Br andon ▁Whe at ▁Kings ▁players ▁Category : Can ad ian ▁exp atri ate ▁ice ▁hockey ▁players ▁in ▁the |
▁United ▁States ▁Category : Can ad ian ▁ice ▁hockey ▁go alt enders ▁Category : Col umb ia ▁In fer no ▁players ▁Category : El m ira ▁Jack als ▁( E CH L ) ▁players ▁Category : I ce ▁hockey ▁people ▁from ▁the ▁North west ▁Terr itories ▁Category : Man it oba ▁Mo ose ▁players ▁Category : People ▁from ▁Hay ▁River ▁Category : Ut ah ▁G ri zz l ies ▁( E CH L ) ▁players ▁Category : V ancouver ▁Can ucks ▁draft ▁picks ▁Category : V ancouver ▁Can ucks ▁players ▁Category : V ict oria ▁Sal mon ▁Kings ▁players <0x0A> </s> ▁Friedrich - M är ker - Pre is ▁is ▁a ▁B av arian ▁prize ▁given ▁to ▁essay ists . ▁It ▁is ▁named ▁after ▁the ▁essay ist ▁Friedrich ▁Mär ker . ▁ ▁Since ▁ 1 9 8 6 , ▁the ▁award ▁has ▁been ▁given ▁annually ▁by ▁the ▁Mün ch ner ▁St ift ung ▁zur ▁För der ung ▁des ▁Sch rif tt ums ▁of ▁Mun ich . ▁The ▁prize ▁as ▁of ▁ 2 0 1 1 ▁is ▁ 4 0 0 0 ▁€ . ▁In ▁addition , ▁the ▁foundation ▁awards ▁the ▁silver ▁pen ▁" for ▁outstanding ▁contributions ▁to ▁the ▁teaching ▁and ▁disse min ation ▁of ▁literature ." ▁ ▁W inners ▁of ▁the ▁Friedrich - M är ker ▁Pre is ▁▁ 1 9 8 9 ▁Carl ▁Amer y ▁ 1 9 9 0 ▁Har ald ▁We in rich ▁▁ 1 9 9 1 ▁Rein hold ▁Ba um gart ▁▁ 1 9 9 2 ▁Eva ▁H |
esse ▁▁ 1 9 9 3 ▁Karl ▁He inz ▁K ram berg ▁▁ 1 9 9 4 ▁W iel and ▁Sch m ied ▁▁ 1 9 9 5 ▁R üd iger ▁Sa fr ans ki ▁▁ 1 9 9 6 ▁Christ oph ▁Die ck mann ▁ 1 9 9 7 ▁Hans ▁Krieg er ▁ 2 0 0 0 ▁Peter ▁Sl ot erd ijk ▁ 2 0 0 1 ▁Peter ▁von ▁Matt ▁ 2 0 0 2 ▁An ita ▁Al bus ▁ ▁Category : L iter ary ▁awards ▁of ▁B av aria <0x0A> </s> ▁Sach a ▁B ri quet ▁( 1 9 3 0 – 2 0 1 0 ) ▁was ▁a ▁French ▁actor , ▁born ▁in ▁Ne u illy - sur - Se ine . ▁ ▁Se lected ▁film ography ▁▁ ▁The ▁En igma ▁of ▁the ▁Fol ies - B erg ere ▁( 1 9 5 9 ) ▁ ▁Thank ▁You , ▁N ater cia ▁( 1 9 6 3 ) ▁ ▁La ▁v enge ance ▁du ▁ser pent ▁à ▁pl umes ▁( 1 9 8 4 ), ▁directed ▁by ▁G ér ard ▁O ury , ▁with ▁Col u che ▁and ▁Jos iane ▁Bal ask o ▁ ▁See ▁also ▁ ▁L ' Î le ▁aux ▁enf ants ▁ ▁Ex ternal ▁links ▁▁▁▁ ▁Category : 1 9 3 0 ▁birth s ▁Category : 2 0 1 0 ▁deaths ▁Category : People ▁from ▁Ne u illy - sur - Se ine ▁Category : F rench ▁male ▁stage ▁actors ▁Category : F rench ▁male ▁film ▁actors |
▁Category : F rench ▁male ▁television ▁actors <0x0A> </s> ▁Par que ▁is ▁one ▁the ▁ 4 0 ▁sub bar rios ▁in ▁Bar rio ▁Sant ur ce ▁in ▁the ▁municip ality ▁of ▁San ▁Juan , ▁Puerto ▁Rico . ▁It ▁is ▁located ▁between ▁Cond ado ▁and ▁Ocean ▁Park . ▁ ▁According ▁to ▁the ▁ 2 0 0 0 ▁United ▁States ▁Census , ▁Par que ▁has ▁a ▁population ▁of ▁▁ 3 , 2 5 1 ▁people ▁on ▁an ▁area ▁of ▁ 0 . 3 0 km ². ▁ ▁In ▁the ▁east , ▁the ▁boundary ▁to ▁Ocean ▁Park ▁is ▁formed ▁by ▁Cal le ▁María ▁Moz co ▁( nor thern ▁part ) ▁and ▁Cal le ▁Santa ▁Ana . ▁In ▁the ▁west , ▁the ▁boundary ▁to ▁Cond ado ▁is ▁marked ▁by ▁De ▁Diego ▁Avenue ▁and ▁its ▁straight ▁extension ▁towards ▁the ▁Atlantic ▁coast . ▁The ▁boundary ▁runs ▁along ▁but ▁does ▁not ▁include ▁Cal le ▁Lo í za . ▁In ▁the ▁north ▁is ▁the ▁coast ▁of ▁the ▁Atlantic ▁Ocean . ▁ ▁Re ferences ▁▁▁ ▁Category : S ant ur ce , ▁San ▁Juan , ▁Puerto ▁Rico ▁Category : M unicip ality ▁of ▁San ▁Juan <0x0A> </s> ▁The ▁cinema ▁of ▁Slov ak ia ▁en compass es ▁a ▁range ▁of ▁themes ▁and ▁styles ▁typical ▁of ▁European ▁cinema . ▁Yet ▁there ▁are ▁a ▁certain ▁number ▁of ▁recur ring ▁themes ▁that ▁are ▁visible ▁in ▁the ▁majority ▁of ▁the ▁important ▁works . ▁These ▁include ▁rural ▁settings , ▁folk ▁traditions , ▁and ▁car n ival . ▁Even ▁in ▁the ▁field ▁of ▁experimental ▁film - making , |
▁there ▁is ▁frequently ▁a ▁celebration ▁of ▁nature ▁and ▁tradition , ▁as ▁for ▁example ▁in ▁Du š an ▁Han ák ' s ▁Pictures ▁of ▁the ▁Old ▁World ▁( Ob razy ▁star ého ▁sv eta , ▁ 1 9 7 2 ). ▁The ▁same ▁applies ▁to ▁block b usters ▁like ▁Jur aj ▁Jak ub isk o ' s ▁A ▁Th ous and - Year ▁Old ▁Be e ▁( T is í cro č ná ▁v č ela , ▁ 1 9 8 3 ). ▁The ▁percentage ▁of ▁comed ies , ▁adventures , ▁musical s , ▁sc i - fi ▁films ▁and ▁similar ▁gen res ▁has ▁been ▁low ▁by ▁comparison ▁to ▁dram as ▁and ▁historical ▁films ▁that ▁used ▁to ▁include ▁a ▁notable ▁subset ▁of ▁social ▁comment aries ▁on ▁events ▁from ▁the ▁decade ▁or ▁two ▁preced ing ▁the ▁film . ▁One ▁of ▁them , ▁J án ▁K ad ár ' s ▁and ▁El mar ▁Kl os ' ▁The ▁Shop ▁on ▁Main ▁Street ▁( Ob chod ▁na ▁kor ze , ▁ 1 9 6 5 ), ▁gave ▁Slov ak ▁( as ▁well ▁as ▁Czech ▁and ▁generally ▁Czech os lov ak ) ▁film making ▁its ▁first ▁Oscar . ▁Children ' s ▁films ▁were ▁a ▁per ennial ▁genre ▁from ▁the ▁ 1 9 6 0 s ▁through ▁the ▁ 1 9 8 0 s ▁produced ▁mainly ▁as ▁low - bud get ▁films ▁by ▁Slov ak ▁Television ▁Br at isl ava . ▁The ▁themes ▁of ▁recent ▁films ▁have ▁been ▁mostly ▁contemporary . ▁ ▁The ▁center ▁of ▁Slov ak ▁film making ▁has |
▁been ▁the ▁Kol iba ▁studio ▁( wh ose ▁formal ▁name ▁changed ▁several ▁times ) ▁in ▁Br at isl ava . ▁Some ▁films ▁con ceived ▁at ▁the ▁Barr and ov ▁Studios ▁in ▁Pr ague ▁have ▁had ▁Slov ak ▁themes , ▁actors , ▁directors , ▁and ▁occasionally ▁language , ▁while ▁Pr ague - based ▁film makers ▁and ▁actors ▁have ▁sometimes ▁worked ▁in ▁Slov ak ia . ▁In ▁line ▁with ▁Slov ak , ▁Hung arian , ▁and ▁Czech ▁hist ories , ▁their ▁past ▁sharing ▁of ▁the ▁Kingdom ▁of ▁Hung ary ▁and ▁Czech os lov ak ia , ▁there ▁is ▁early ▁overlap ▁between ▁Slov ak ▁and ▁Hung arian ▁film , ▁and ▁later ▁between ▁Slov ak ▁and ▁Czech ▁film . ▁Some ▁films ▁are ▁easily ▁sorted ▁out ▁as ▁one ▁or ▁the ▁other , ▁some ▁films ▁belong ▁meaning fully ▁to ▁more ▁than ▁one ▁national ▁cinema . ▁ ▁Some ▁ 3 5 0 ▁Slov ak ▁feature ▁films ▁have ▁been ▁made ▁in ▁the ▁history ▁of ▁Slov ak ▁cinema . ▁It ▁has ▁produced ▁some ▁notable ▁cin em atic ▁works ▁that ▁have ▁been ▁well ▁received ▁by ▁critics , ▁as ▁well ▁as ▁some ▁domestic ▁block b usters . ▁In ▁recent ▁years , ▁Slov ak ▁films ▁have ▁often ▁been ▁made ▁by ▁working ▁( wh olly ▁or ▁partly ) ▁with ▁foreign ▁production ▁companies . ▁J oint ▁Slov ak ▁and ▁Czech ▁projects ▁have ▁been ▁particularly ▁common . ▁The ▁Slov ak ▁film ▁industry ▁has ▁been ▁dog ged ▁by ▁lack ▁of ▁money ▁intens ified ▁by ▁the ▁country ' s ▁small ▁audience ▁( 2 . 9 – 5 . 4 ▁million |
▁inhabitants ), ▁which ▁transl ates ▁to ▁the ▁films ' ▁limited ▁potential ▁for ▁primary , ▁domestic ▁revenue . ▁ ▁History ▁ ▁Early ▁ 2 0 th ▁century ▁ ▁A ▁Slov ak - the med ▁drama , ▁Snow drop ▁from ▁the ▁Tat ras ▁( S ně žen ka ▁z ▁Tat ier , ▁dir . ▁Ol af ▁Lar us - R ace k , ▁ 1 9 1 9 ), ▁about ▁a ▁mat uring ▁girl ▁looking ▁for ▁her ▁place ▁in ▁a ▁city ▁appeared ▁within ▁months ▁of ▁the ▁creation ▁of ▁Czech os lov ak ia . ▁The ▁first ▁Slov ak ▁full - length ▁feature ▁movie ▁was ▁Jar oslav ▁S ia ke ľ ' s ▁J á no ší k ▁of ▁ 1 9 2 1 . ▁It ▁placed ▁Slov ak ▁film making ▁among ▁the ▁first ▁ten ▁cin em as ▁in ▁the ▁world ▁to ▁produce ▁such ▁a ▁film . ▁Other ▁feature ▁films ▁were ▁released ▁early ▁on , ▁but ▁the ▁absence ▁of ▁a ▁permanent ▁local ▁studio ▁and ▁the ▁competition ▁from ▁the ▁emerging ▁con gl omer ate ▁of ▁stud ios ▁and ▁distribut ors ▁( AB ▁Studio , ▁later ▁Barr and ov ) ▁in ▁nearby ▁Pr ague ▁proved ▁da unting . ▁An ▁early ▁international ▁recognition ▁came ▁from ▁the ▁International ▁Ven ice ▁Film ▁Festival ▁for ▁Kar ol ▁P lic ka ' s ▁The ▁Earth ▁S ings ▁( Z em ▁sp ie va , ▁ 1 9 3 3 ). < ref > Sources ▁sometimes ▁speak ▁of ▁specific ▁pri zes ▁for ▁this ▁and ▁the ▁other ▁two ▁Czech os lov ak ▁films ▁at ▁the |
▁festival , ▁but ▁the ▁recognition ▁actually ▁was ▁a ▁joint ▁honor able ▁mention ▁for ▁the ▁collection ▁of ▁films ▁from ▁Czech os lov ak ia ▁at ▁the ▁festival ▁which ▁was ▁then ▁called ▁Esp os izione ▁Intern az ionale ▁d ' Ar te ▁Cin emat ograf ica . ▁[ http :// www . lab ien n ale . org / en / cin ema / history / ▁" History ." ▁La ▁B ien n ale ▁di ▁Venez ia .] </ ref > ▁Martin ▁F ri č ' s ▁J á no ší k ▁of ▁ 1 9 3 5 ▁was ▁released ▁internation ally , ▁including ▁in ▁Italy ▁and ▁Germany , ▁and ▁was ▁shown ▁in ▁Slov ak - American ▁communities ▁until ▁the ▁ 1 9 5 0 s . ▁ ▁The ▁first ▁Department ▁of ▁Film ▁in ▁Czech os lov ak ia ▁( pro bably ▁the ▁third ▁such ▁department ▁in ▁Europe ) ▁was ▁opened ▁at ▁the ▁School ▁of ▁Industrial ▁Arts ▁in ▁Br at isl ava ▁in ▁ 1 9 3 8 , ▁headed ▁by ▁P lic ka ▁and ▁with ▁the ▁future ▁Oscar - winning ▁director ▁J án ▁K ad ár ▁among ▁the ▁students , ▁but ▁it ▁was ▁closed ▁after ▁Slov ak ia ' s ▁independence ▁in ▁ 1 9 3 9 . ▁ ▁The ▁ 1 9 4 0 s ▁The ▁authorities ▁set ▁up ▁the ▁short - film ▁studio ▁N ást up ▁(" M uster "), ▁the ▁pre cursor ▁of ▁the ▁Kol iba ▁Studio , ▁to ▁produce ▁news re els ▁during ▁World ▁War ▁II , ▁but ▁it ▁made |
▁no ▁feature ▁films ▁during ▁that ▁period . ▁Although ▁with ▁a ▁substantial ▁post - war ▁make over ▁and ▁change ▁of ▁name , ▁the ▁studio ▁continued ▁its ▁production ▁after ▁Czech os lov ak ia ▁was ▁partly ▁re const ituted ▁in ▁ 1 9 4 5 , ▁and ▁the ▁feature ▁film ▁industry ▁began ▁to ▁take ▁off . ▁During ▁a ▁brief ▁period ▁after ▁the ▁war , ▁the ▁Commun ists ▁had ▁not ▁yet ▁gained ▁full ▁control , ▁allowing ▁one ▁or ▁two ▁interesting ▁films ▁to ▁ ▁be ▁made ▁in ▁the ▁Central ▁European ▁countries , ▁including ▁Pa ľ o ▁B iel ik ' s ▁Wol ves ' ▁L airs ▁( V l č ie ▁d ier y , ▁ 1 9 4 8 ) ▁in ▁Slov ak ia . ▁The ▁Communist ▁Party , ▁which ▁valued ▁the ▁propaganda ▁potential ▁of ▁cinema , ▁took ▁power ▁in ▁Czech os lov ak ia ▁in ▁the ▁coup ▁d ' ét at ▁of ▁ 1 9 4 8 . ▁ ▁The ▁ 1 9 5 0 s ▁Within ▁a ▁few ▁years , ▁film ▁production ▁was ▁heavily ▁controlled ▁by ▁the ▁state ▁and ▁films ▁were ▁not ▁allowed ▁to ▁und ermine ▁Stalin ism . ▁Psych olog ising ▁was ▁frowned ▁upon ▁and ▁characters ▁became ▁card board ▁cut - outs ▁sub serv ient ▁to ▁political ▁ide als . ▁A ▁dominant ▁feature ▁of ▁film ▁poet ics ▁of ▁this ▁period ▁was ▁des cript ive - symbol ic ▁st yl ization . ▁Even ▁the ▁titles ▁of ▁films ▁like ▁Dam ▁( P rie hr ada , ▁Pa ľ o ▁B iel ik , ▁ 1 |
9 5 0 ), ▁Young ▁He arts ▁( M lad é ▁s rd cia , ▁V á cl av ▁K ub á sek , ▁ 1 9 5 2 ), ▁and ▁Ham lets ▁Have ▁Start ed ▁Off ▁( L azy ▁sa ▁p oh li , ▁Pa ľ o ▁B iel ik , ▁ 1 9 5 2 ) ▁were ▁designed ▁to ▁represent ▁social ▁and ▁societ al ▁change . ▁The ▁title ▁of ▁The ▁Str ug gle ▁Will ▁End ▁Tom orrow ▁( B oj ▁sa ▁sk on č í ▁zaj tra , ▁M iro sl av ▁C ik án , ▁ 1 9 5 1 ) ▁symbol ized ▁the ▁irre vers ibility ▁of ▁what ▁was ▁shown ▁to ▁be ▁the ▁progress ▁of ▁the ▁working ▁class . ▁The ▁name ▁of ▁the ▁leading ▁character ▁in ▁Kath y ▁( K at ka , ▁J án ▁K ad ár , ▁ 1 9 4 9 ) ▁was ▁popular ▁at ▁the ▁time , ▁and ▁so ▁her ▁" as cent " ▁to ▁an ▁industrial ▁labor er ▁was ▁laid ▁out ▁as ▁a ▁better ▁future ▁for ▁thousands ▁of ▁young ▁women . ▁ ▁Unlike ▁their ▁colleagues ▁in ▁Pr ague ▁and ▁neighbor ing ▁countries ▁in ▁the ▁first ▁years ▁after ▁the ▁Communist ▁take o vers , ▁the ▁Slov ak ▁directors ▁of ▁development ▁were ▁consistently ▁unable ▁to ▁" me et ▁the ▁plan " ▁outlined ▁by ▁the ▁Communist ▁Party ▁and ▁were ▁un successful ▁in ▁draft ing ▁the ▁required ▁number ▁of ▁social ist - real ist ▁projects , ▁which ▁affected ▁the ▁number ▁of ▁films ▁passed ▁for ▁production ▁although ▁the ▁money |
▁for ▁them ▁would ▁have ▁been ▁made ▁available ▁by ▁the ▁authorities . ▁Most ▁of ▁the ▁resulting ▁films ▁were ▁neither ▁popular ▁nor ▁crit ically ▁ac claimed . ▁Ex ceptions ▁among ▁the ▁former ▁included ▁Josef ▁Mach ' s ▁fol kl oric ▁musical ▁Native ▁Country ▁( R od ná ▁z em , ▁ 1 9 5 3 ) ▁with ▁ticket ▁sales , ▁relative ▁to ▁population , ▁among ▁the ▁highest ▁in ▁Slov ak ▁film making . ▁Ac ross ▁the ▁Communist - r ul ed ▁part ▁of ▁Central ▁Europe , ▁there ▁was ▁a ▁recognition ▁that ▁for ▁an ▁active ▁and ▁popular ▁film ▁industry ▁to ▁exist , ▁film - makers ▁should ▁be ▁given ▁more ▁control ▁of ▁production . ▁This ▁process ▁acceler ated ▁towards ▁the ▁end ▁of ▁the ▁ 1 9 5 0 s . ▁ ▁The ▁ 1 9 6 0 s ▁According ▁to ▁a ▁ 1 9 9 0 s ▁poll ▁of ▁film ▁specialists , ▁five ▁of ▁the ▁ten ▁best ▁Slov ak ▁films ▁were ▁made ▁in ▁the ▁ 1 9 6 0 s . ▁As ▁in ▁neighbour ing ▁countries , ▁the ▁early ▁ 1 9 6 0 s ▁saw ▁the ▁fru ition ▁of ▁the ▁policy ▁of ▁relaxation , ▁which ▁mixed ▁power fully ▁with ▁external ▁cin em atic ▁influences ▁such ▁as ▁Italian ▁Ne ore al ism ▁and ▁the ▁French ▁New ▁W ave ▁to ▁produce ▁Slov ak ia ' s ▁first ▁international ▁film ▁success es . ▁Although ▁there ▁were ▁isolated ▁successful ▁feature ▁films ▁from ▁Slov ak ia ▁leading ▁up ▁to ▁the ▁ 1 9 6 0 s , ▁the ▁first ▁Slov ak |
▁film ▁to ▁make ▁a ▁well - mark ed ▁international ▁impact ▁was ▁not ▁produced ▁until ▁ 1 9 6 2 ▁— ▁Š te fan ▁U her ' s ▁The ▁Sun ▁in ▁a ▁Net ▁( S ln ko ▁v ▁s iet i ). ▁It ▁is ▁frequently ▁thought ▁of ▁as ▁an ▁aesthetic ▁pre cursor ▁to ▁the ▁Czech os lov ak ▁New ▁W ave , ▁which ▁emerged ▁over ▁the ▁following ▁years . ▁Its ▁op aque ▁symbol ism ▁and ▁anti - prop ag and ist ▁themes ▁caused ▁it ▁to ▁be ▁harsh ly ▁critic ized ▁by ▁the ▁First ▁Secretary ▁of ▁the ▁Communist ▁Party ▁of ▁Slov ak ia . ▁ ▁Another ▁important ▁work ▁from ▁this ▁time ▁was ▁Peter ▁Sol an ' s ▁The ▁Box er ▁and ▁Death ▁( Box er ▁a ▁sm r ť , ▁ 1 9 6 2 ), ▁which ▁was ▁set ▁in ▁a ▁Nazi ▁concentration ▁camp ▁and ▁directly ▁tack led ▁the ▁Hol oca ust . ▁The ▁Box er ▁and ▁Death ▁was ▁one ▁of ▁a ▁series ▁of ▁Czech os lov ak ▁films ▁from ▁the ▁ 1 9 6 0 s ▁that ▁looked ▁back ▁at ▁the ▁moral ▁d ile mm as ▁of ▁ordinary ▁people ▁caught ▁up ▁in ▁the ▁Second ▁World ▁War ▁and ▁encouraged ▁viewers ▁to ▁re - evalu ate ▁their ▁responses ▁to ▁the ▁war . ▁Many ▁of ▁these ▁films ▁chose ▁the ▁Hol oca ust ▁as ▁their ▁focus , ▁and ▁Slov ak ▁director ▁J án ▁K ad ár , ▁co - direct ing ▁with ▁frequent ▁collabor ator , ▁Czech ▁director ▁El mar ▁Kl os , ▁achieved ▁a ▁major ▁international ▁success |
▁in ▁this ▁genre ▁with ▁the ▁Czech - produ ced , ▁Slov ak - language ▁The ▁Shop ▁on ▁Main ▁Street ▁( Ob chod ▁na ▁kor ze ), ▁which ▁won ▁a ▁Special ▁M ention ▁when ▁it ▁played ▁at ▁the ▁Cann es ▁Film ▁Festival ▁in ▁ 1 9 6 5 ▁and ▁went ▁on ▁to ▁win ▁the ▁Oscar ▁for ▁Best ▁Foreign - Language ▁Film ▁the ▁following ▁year . ▁ ▁The ▁Czech ▁feature ▁The ▁C rem ator ▁( Sp al ova č ▁m rt vol , ▁ 1 9 6 8 ), ▁Slov ak - born ▁Jur aj ▁Herz ' s ▁gro tes que ▁black ▁comedy ▁about ▁the ▁social ▁context ▁of ▁the ▁Final ▁Solution , ▁is ▁a ▁cult ▁film ▁in ▁both ▁the ▁Czech ▁and ▁Slov ak ▁republic s ▁and ▁has ▁an ▁increasing ▁reputation ▁internation ally . ▁Herz ▁is ▁a ▁concentration ▁camp ▁surviv or , ▁but ▁he ▁never ▁made ▁a ▁film ▁directly ▁addressing ▁that ▁experience . ▁ ▁The ▁second ▁half ▁of ▁the ▁decade ▁saw ▁the ▁emer gence ▁of ▁a ▁new ▁generation ▁of ▁directors . ▁Three ▁of ▁their ▁films ▁were ▁still ▁ranked ▁among ▁the ▁ten ▁best ▁Slov ak ▁films ▁in ▁a ▁poll ▁of ▁film ▁academ ics ▁and ▁critics ▁in ▁the ▁late ▁ 1 9 9 0 s ▁that ▁also ▁listed ▁The ▁Sun ▁in ▁a ▁Net ▁and ▁The ▁Shop ▁on ▁Main ▁Street . ▁By ▁comparison ▁to ▁earlier ▁Slov ak ▁films , ▁the ▁three ▁leaned ▁towards ▁avant - gar de ▁film making ▁and ▁were ▁consequ ently ▁more ▁successful ▁in ▁art ▁houses ▁than ▁in ▁wide ▁release : ▁Jur aj ▁Jak ub isk o |
' s ▁two ▁features ▁Des er ters ▁and ▁Pil gr ims ▁( Z be h ov ia ▁a ▁p ú tn ici , ▁ 1 9 6 8 ) ▁and ▁Bird ies , ▁Or ph ans ▁and ▁F ools ▁( V t á č kov ia , ▁si ro ty ▁a ▁bl áz ni , ▁ 1 9 6 9 ) ▁and ▁Du š an ▁Han ák ' s ▁ 3 2 2 ▁( the ▁code ▁for ▁cancer ▁in ▁medical ▁records ▁of ▁diseases , ▁ 1 9 6 9 ). ▁ ▁The ▁ 1 9 7 0 s ▁Following ▁the ▁Soviet - led ▁invasion ▁of ▁Czech os lov ak ia ▁in ▁ 1 9 6 8 , ▁firm ▁government ▁control ▁was ▁reg ained ▁over ▁the ▁film ▁industry . ▁Almost ▁all ▁of ▁the ▁major ▁Slov ak ▁directors ▁initially ▁found ▁it ▁more ▁difficult ▁to ▁work . ▁Du š an ▁Han ák ' s ▁ ▁ac claimed ▁feature - length ▁documentary ▁Pictures ▁of ▁the ▁Old ▁World ▁( Ob razy ▁star ého ▁sv eta , ▁ 1 9 7 2 ) ▁sought ▁a ▁possible ▁refuge ▁in ▁a ▁topic ▁sufficiently ▁removed ▁from ▁big ▁politics ▁to ▁survive ▁on ▁the ▁marg ins ▁of ▁official ▁production ▁and ▁yet , ▁executed ▁with ▁a ▁fin esse ▁that ▁gave ▁it ▁a ▁wide ▁international ▁appeal . ▁It ▁visited ▁remote , ▁trapped ▁places ▁in ▁order ▁to ▁med itate ▁on ▁what ▁lies ▁hidden ▁beneath ▁the ▁concept ▁of ▁" an ▁authentic ▁life ". ▁An ▁eleg iac ▁work ▁whose ▁images ▁could ▁apply ▁to ▁App al ach ia ▁or ▁any |
▁other ▁poor ▁region , ▁Pictures ▁of ▁the ▁Old ▁World ▁still ▁off ended ▁the ▁authorities ▁and ▁the ▁distribution ▁was ▁stopped ▁two ▁days ▁after ▁its ▁limited ▁release . ▁ ▁Despite ▁the ▁circumstances , ▁only ▁one ▁film , ▁Martin ▁Holl ý ▁Jr .' s ▁F ever ▁( Hor ú č ka , ▁ 1 9 7 5 ), ▁was ▁produced ▁to ▁advance ▁the ▁Communist ▁Party ' s ▁co erc ively ▁negative ▁view ▁of ▁the ▁unpre ced ented ▁relaxation ▁of ▁commun ism ▁in ▁ 1 9 6 8 . ▁Du š an ▁Han ák ▁was ▁able ▁to ▁make ▁his ▁poet ically ▁realistic ▁Ros y ▁Dream s ▁( R u ž ové ▁s ny , ▁ 1 9 7 6 ), ▁the ▁first ▁Central ▁European ▁feature ▁film ▁with ▁the ▁Roma ▁at ▁the ▁core ▁of ▁the ▁story ▁and ▁a ▁singular ▁creative ▁achievement ▁of ▁the ▁decade . ▁Popular ▁entertainment ▁was ▁briefly ▁served ▁by ▁Martin ▁ Ť ap ák ' s ▁P ach o , ▁the ▁Highway man ▁of ▁Hy be ▁( P ach o , ▁hy b ský ▁z bo j ní k , ▁ 1 9 7 6 ), ▁a ▁spo of ▁on ▁the ▁legend ▁of ▁J á no ší k ▁that ▁had ▁already ▁appeared ▁in ▁several ▁Slov ak ▁and ▁Polish ▁film ▁versions . ▁Government ▁control ▁was ▁generally ▁greater ▁in ▁the ▁Federal ▁Capital ▁of ▁Pr ague ▁than ▁it ▁was ▁in ▁Br at isl ava , ▁Slov ak ▁Capital , ▁so ▁some ▁directors ▁from ▁Pr ague ▁made ▁films ▁in ▁Slov ak ▁part ▁of ▁the ▁feder ation ▁to ▁avoid ▁restrictions ▁on |
▁film - making ▁in ▁the ▁Czech ▁part , ▁including ▁Jur aj ▁Herz ▁( return ing ▁to ▁his ▁native ▁country ) ▁and ▁Jan ▁Š v ank ma jer . ▁ ▁The ▁ 1 9 8 0 s ▁The ▁more ▁relaxed ▁conditions ▁became ▁apparent ▁in ▁the ▁ 1 9 8 0 s ▁when ▁Slov ak ia ▁had ▁perhaps ▁its ▁most ▁successful ▁film - making ▁period , ▁and ▁ac claimed ▁directors ▁from ▁the ▁ 1 9 6 0 s ▁who ▁had ▁been ▁able ▁to ▁make ▁only ▁short ▁films ▁( J ur aj ▁Jak ub isk o ) ▁or ▁only ▁an ▁occasional ▁feature ▁( Du š an ▁Han ák ) ▁returned ▁with ▁important ▁and ▁mature ▁works . ▁High lights ▁from ▁this ▁period ▁include ▁Han ák ' s ▁I ▁Love , ▁You ▁Love ▁( J a ▁mil uj em , ▁ty ▁mil uje š , ▁ 1 9 8 9 ), ▁Jak ub isk o ' s ▁A ▁Th ous and - Year ▁Old ▁Be e ▁( T is í cro č ná ▁v č ela , ▁ 1 9 8 3 ), ▁U her ' s ▁She ▁G raz ed ▁H ors es ▁on ▁Con crete , ▁A K A ▁A ▁T icket ▁to ▁Heaven ▁( P á sl a ▁k one ▁na ▁bet ó ne , ▁ 1 9 8 2 ), ▁Martin ▁Holl ý ' s ▁Sign um ▁La ud is ▁( 1 9 8 0 ), ▁Z oro ▁Z á hon ' s ▁The ▁Assistant ▁( P om oc ní k , ▁ 1 |
9 8 2 ) ▁and ▁Du š an ▁Rap o š ' s ▁A ▁F ount ain ▁for ▁Susan ▁( Font á na ▁pre ▁Z uz an u , ▁ 1 9 8 6 ). ▁This ▁streak ▁of ▁successful ▁film - making ▁is ▁all ▁the ▁more ▁remarkable ▁given ▁that ▁in ▁other ▁Communist ▁countries ▁the ▁ 1 9 8 0 s , ▁especially ▁the ▁late ▁' 8 0 s , ▁were ▁generally ▁speaking ▁a ▁fall ow ▁time , ▁particularly ▁in ▁the ▁Czech ▁Republic . ▁ ▁The ▁ 1 9 9 0 s ▁In ▁contrast ▁to ▁the ▁ 1 9 8 0 s , ▁the ▁decade ▁following ▁ 1 9 9 0 ▁was ▁one ▁of ▁the ▁worst ▁in ▁the ▁history ▁of ▁Slov ak ▁cinema . ▁Only ▁a ▁few ▁full - length ▁feature ▁films ▁were ▁produced ▁in ▁this ▁period ▁( 3 6 ▁films ▁with ▁major ▁Slov ak ▁participation ▁between ▁ 1 9 9 2 ▁and ▁ 2 0 0 2 ) ▁and ▁interest ▁in ▁domestic ▁films ▁practically ▁vanished . ▁The ▁reasons ▁for ▁this ▁were ▁a ▁desperate ▁lack ▁of ▁money ▁in ▁Slov ak ▁culture ▁as ▁a ▁result ▁of ▁the ▁transformation ▁of ▁Slov ak ia ' s ▁economy ▁following ▁the ▁Vel vet ▁Revolution , ▁the ▁decrease ▁in ▁potential ▁audience ▁by ▁the ▁split ▁of ▁Czech os lov ak ia ▁in ▁ 1 9 9 3 , ▁and ▁a ▁sharp ▁decrease ▁in ▁the ▁previous ▁high ▁subs id ies ▁for ▁culture ▁and ▁film ▁provided ▁by ▁the ▁Communist ▁government . ▁Iron ically , ▁the ▁work ▁of ▁the ▁only ▁major ▁Slov ak ▁director |
▁to ▁emerge ▁in ▁this ▁period , ▁Martin ▁Š ul í k , ▁has ▁been ▁more ▁popular ▁internation ally , ▁and ▁particularly ▁in ▁the ▁Czech ▁Republic ▁and ▁Poland , ▁than ▁in ▁his ▁native ▁country . ▁ ▁Also , ▁under ▁Prime ▁Minister ▁Vlad im ír ▁Me č iar , ▁the ▁Kol iba ▁Film ▁Studio ▁was ▁priv at ized ▁in ▁ 1 9 9 5 ▁and ▁within ▁two ▁years ▁Me č iar ' s ▁children ▁are ▁said ▁to ▁have ▁held ▁an ▁ 8 0 % ▁stake ▁in ▁the ▁company . ▁Al leg ations ▁of ▁asset ▁stri pping ▁and ▁fraud ▁dog ged ▁the ▁company , ▁and ▁after ▁Me č iar ▁was ▁voted ▁out ▁of ▁office ▁in ▁ 1 9 9 8 ▁the ▁Ministry ▁of ▁Culture ▁su ed ▁Kol iba ▁to ▁recover ▁money ▁given ▁to ▁make ▁feature ▁films ▁that ▁were ▁not ▁produced , ▁one ▁of ▁a ▁number ▁of ▁suits ▁launched ▁by ▁the ▁post - Me č iar ▁government ▁in ▁relation ▁to ▁companies ▁that ▁had ▁been ▁priv at ized ▁by ▁Me č iar . ▁The ▁legal ▁action ▁dragged ▁on ▁through ▁the ▁early ▁ 2 0 0 0 s ▁and ▁did ▁nothing ▁to ▁clar ify ▁the ▁position ▁of ▁Kol iba , ▁effectively ▁prolong ing ▁the ▁st agn ation ▁and ▁leaving ▁the ▁stud ios ▁dil ap id ated ▁and ▁in ▁dis rep air . ▁ ▁Nevertheless , ▁the ▁Slov ak ▁film ▁industry ▁did ▁not ▁completely ▁gr ind ▁to ▁a ▁halt ▁and ▁important ▁post - Comm un ist ▁era ▁films ▁include ▁Š ul í k ' s ▁Everything ▁I ▁Like ▁( V |
š et ko ▁č o ▁m am ▁r ád , ▁ 1 9 9 2 ), ▁and ▁The ▁Garden ▁( Z á hr ada , ▁ 1 9 9 5 ), ▁both ▁l yr ical ▁films ▁that ▁dep ict ▁tense ▁father - son ▁relationships , ▁and ▁V l ado ▁Bal co ' s ▁Rivers ▁of ▁Bab ylon ▁( 1 9 9 8 ), ▁which ▁is ▁sometimes ▁interpreted ▁as ▁a ▁critical ▁alleg ory ▁of ▁Me č iar ' s ▁rise ▁to ▁power . ▁Jur aj ▁Jak ub isk o , ▁working ▁in ▁Pr ague , ▁made ▁An ▁ambig uous ▁report ▁about ▁the ▁end ▁of ▁the ▁world ▁( Ne jas ná ▁z pr á va ▁o ▁kon ci ▁sv ě ta , ▁ 1 9 9 7 ), ▁at ▁the ▁time ▁the ▁most ▁expensive ▁film ▁ever ▁made ▁in ▁the ▁Czech ▁Republic . ▁ ▁The ▁cin emat ographer ▁Martin ▁Š tr ba ▁has ▁also ▁been ▁highly ▁successful ▁in ▁this ▁period , ▁being ▁respected ▁in ▁both ▁the ▁Czech ▁and ▁Slov ak ▁republic s . ▁He ▁collabor ates ▁regularly ▁with ▁Martin ▁Š ul í k ▁and ▁the ▁Czech ▁director ▁Vlad im ír ▁Mich á le k ▁and ▁has ▁also ▁worked ▁with ▁the ▁Czech ▁New ▁W ave ▁icon ▁V ě ra ▁Ch y til ová . ▁ ▁In ▁ 1 9 9 9 , ▁an ▁international ▁film ▁festival ▁was ▁started ▁in ▁Br at isl ava ▁in ▁an ▁attempt ▁to ▁foster ▁a ▁better ▁environment ▁for ▁making ▁feature ▁films ▁and ▁larger ▁appreciation ▁among ▁Slov ak ▁audiences . ▁ ▁Questions ▁over ▁national |
▁origin ▁Given ▁that ▁in ▁the ▁periods ▁from ▁the ▁invention ▁of ▁film ▁in ▁ 1 8 9 6 ▁to ▁ 1 9 3 8 ▁and ▁from ▁ 1 9 4 5 ▁to ▁ 1 9 9 2 ▁Slov ak ia ▁did ▁not ▁exist ▁as ▁an ▁independent ▁country , ▁there ▁has ▁been ▁some ▁controversy ▁over ▁the ▁n aming ▁of ▁certain ▁films ▁as ▁specifically ▁either ▁Slov ak ▁or ▁Czech . ▁Although ▁the ▁Czech ▁and ▁Slov ak ▁hal ves ▁of ▁Czech os lov ak ia ▁each ▁had ▁separate ▁languages , ▁they ▁were ▁close ▁enough ▁for ▁film ▁talent ▁to ▁move ▁freely ▁between ▁the ▁two ▁republic s . ▁As ▁a ▁result , ▁during ▁the ▁Czech os lov ak ▁period ▁— ▁and ▁even ▁after ▁it ▁— ▁a ▁number ▁of ▁Slov ak ▁directors ▁made ▁Czech - language ▁films ▁in ▁Pr ague , ▁including ▁Jur aj ▁Herz ▁and ▁Jur aj ▁Jak ub isk o . ▁ ▁Part icular ly ▁intense ▁debate ▁a rose ▁in ▁the ▁ 1 9 9 0 s ▁around ▁the ▁Oscar - winning ▁The ▁Shop ▁on ▁Main ▁Street , ▁which ▁was ▁joint ly ▁directed ▁by ▁one ▁Budapest - born ▁Jewish ▁Slov ak ▁director ▁( J án ▁K ad ár ) ▁and ▁one ▁Czech ▁director ▁( El mar ▁Kl os ), ▁based ▁on ▁a ▁short ▁story ▁written ▁in ▁Czech ▁by ▁Jewish ▁Slov ak ▁author ▁Lad isl av ▁G ros man , ▁fin anced ▁by ▁the ▁central ▁authorities ▁through ▁the ▁films ▁studio ▁at ▁Pr ague ▁and ▁shot ▁on ▁location ▁in ▁Slov ak ia ▁in ▁the ▁Slov ak ▁language ▁with ▁Slov ak |
▁actors . ▁Czech s ▁generally ▁consider ▁the ▁film ▁to ▁be ▁Czech ▁( while ▁they ▁see ▁the ▁theme ▁as ▁Slov ak ) ▁on ▁the ▁basis ▁of ▁the ▁film ' s ▁studio ▁and ▁the ▁home ▁of ▁its ▁directors ; ▁Slov aks ▁generally ▁consider ▁the ▁film ▁to ▁be ▁Slov ak ▁on ▁the ▁basis ▁of ▁its ▁language , ▁themes , ▁and ▁film ing ▁locations , ▁but ▁some ▁see ▁it ▁as ▁Czech ▁because ▁the ▁sound ▁stage ▁was ▁at ▁and ▁the ▁cent r ally - d istributed ▁government ▁funding ▁was ▁channel ed ▁through ▁the ▁Barr and ov ▁Film ▁Studio ▁in ▁Pr ague . ▁ ▁Not able ▁films ▁ ▁Soul ▁at ▁Peace ▁( P ok oj ▁v ▁du š i , ▁ 2 0 0 9 , ▁Vlad im ír ▁B alk o ) ▁ ▁Bl ind ▁L oves ▁( S le p é ▁l á sky , ▁ 2 0 0 8 , ▁Jur aj ▁Le hot ský ) ▁ ▁Bath ory ▁( B ath ory ▁ 2 0 0 8 , ▁Jur aj ▁Jak ub isk o ) ▁ ▁The ▁Garden ▁( Z á hr ada , ▁ 1 9 9 5 , ▁Martin ▁Š ul í k ) ▁ ▁Paper ▁He ads ▁( P ap ier ové ▁h l avy , ▁ 1 9 9 5 , ▁Du š an ▁Han ák ) ▁ ▁S itting ▁on ▁a ▁Branch , ▁Enjoy ing ▁M ys elf ▁( S ed ím ▁na ▁kon á ri ▁a ▁je ▁mi ▁do bre , ▁ 1 9 8 9 , ▁Jur aj |
▁Jak ub isk o ) ▁ ▁The ▁Mill ennial ▁Be e ▁( T is í cro č ná ▁v č ela , ▁ 1 9 8 3 , ▁Jur aj ▁Jak ub isk o ) ▁ ▁She ▁G raz ed ▁H ors es ▁on ▁Con crete ▁( P á sl a ▁k one ▁na ▁bet ó ne , ▁ 1 9 8 2 , ▁Š te fan ▁U her ) ▁ ▁Night ▁R iders ▁( No ční ▁j az d ci , ▁ 1 9 8 1 , ▁Martin ▁Holl ý ) ▁ ▁I ▁Love , ▁You ▁Love ▁( J a ▁mil uj em , ▁ty ▁mil uje š , ▁ 1 9 8 0 / 1 9 8 8 , ▁Du š an ▁Han ák ) ▁ ▁Ros y ▁Dream s ▁( R u ž ové ▁s ny , ▁ 1 9 7 7 , ▁Du š an ▁Han ák ) ▁ ▁Pictures ▁of ▁the ▁Old ▁World ▁( Ob razy ▁star ého ▁sv eta , ▁ 1 9 7 2 , ▁Du š an ▁Han ák ) ▁ ▁E den ▁and ▁After ▁( E den ▁a ▁pot om , ▁L ' E den ▁et ▁après , ▁ 1 9 7 0 , ▁Al ain ▁Rob be - Gr illet ) ▁ ▁Bird s , ▁Or ph ans ▁and ▁F ools ▁( V t á č kov ia , ▁si ro ty ▁a ▁bl áz ni , ▁ 1 9 6 9 , ▁Jur aj ▁Jak ub isk o ) ▁▁ 3 2 |
2 ▁( 3 2 2 , ▁ 1 9 6 9 , ▁Du š an ▁Han ák ) ▁ ▁Des er ters ▁and ▁Pil gr ims ▁( AK A ▁The ▁Des er ters ▁and ▁the ▁Nom ads ; ▁Z be h ov ia ▁a ▁p ú tn ici , ▁ 1 9 6 8 , ▁Jur aj ▁Jak ub isk o ) ▁ ▁The ▁Shop ▁on ▁Main ▁Street ▁( Ob chod ▁na ▁kor ze , ▁ 1 9 6 5 , ▁J án ▁K ad ár , ▁El mar ▁Kl os ) ▁ ▁The ▁Sun ▁in ▁a ▁Net ▁( S ln ko ▁v ▁s iet i , ▁ 1 9 6 3 , ▁Š te fan ▁U her ) ▁ ▁Wol ves ' ▁L airs ▁( V l č ie ▁d ier y , ▁ 1 9 4 8 , ▁Pa ľ o ▁B iel ik ) ▁ ▁The ▁Earth ▁S ings ▁( Z em ▁sp ie va , ▁ 1 9 3 3 , ▁Kar ol ▁P lic ka ) ▁ ▁J á no ší k ▁( 1 9 2 1 , ▁Jar oslav ▁Jerry ▁S ia ke ľ ) ▁ ▁Direct ors ▁ ▁Act ors ▁and ▁actress es ▁ ▁Mich al ▁Do č ol om ansk ý ▁J ank o ▁K ron er ▁J oz ef ▁K ron er ▁Mar i án ▁Lab uda ▁Tat iana ▁P au hof ová ▁Em ília ▁V á š á ry ová ▁Mag dal é na ▁V á š á ry ová ▁ ▁See ▁also |
▁ ▁Cin ema ▁of ▁the ▁world ▁ ▁List ▁of ▁Slov ak ▁films ▁ ▁Further ▁reading ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁Slov ak ▁Film ▁Institute ▁Slov ak ▁Movie ▁Database ▁Martin ▁V ot r uba , ▁ed . ▁K ino K ult ura , ▁Special ▁Issue ▁ 3 : ▁Slov ak ▁Cin ema . ▁International ▁Film ▁Festival ▁Br at isl ava ▁Art ▁Film ▁Fest , ▁T ren č ians ke ▁Te pl ice ▁International ▁Festival ▁of ▁Mountain ▁Films , ▁Pop rad ▁Cin ema View . sk , ▁popular ▁Slov ak ▁film ▁magazine ▁Slov ak ▁Film ▁Sum mar ies ▁and ▁Cl ips , ▁Slov ak ▁Studies ▁Program , ▁University ▁of ▁Pittsburgh . ▁Movie Man ia ▁- ▁World ▁of ▁Films ▁for ▁you ▁ ▁Category : C in ema ▁of ▁Slov ak ia <0x0A> </s> ▁The ▁J ish ix ia ▁Dam ▁is ▁a ▁concrete ▁face ▁rock - fill ▁emb ank ment ▁dam ▁on ▁the ▁Yellow ▁River ▁in ▁Q ing h ai ▁Province , ▁China . ▁It ▁is ▁ ▁tall ▁and ▁down stream ▁from ▁the ▁G ong box ia ▁Dam . ▁The ▁purpose ▁of ▁the ▁dam ▁is ▁hydro elect ric ▁power ▁generation ▁and ▁flood ▁control . ▁The ▁dam ▁supports ▁a ▁power ▁station ▁with ▁ 3 ▁x ▁ 3 4 0 ▁M W ▁Francis ▁turb ines ▁for ▁a ▁total ▁installed ▁capacity ▁of ▁ 1 , 0 2 0 ▁M W . ▁Construction ▁on ▁the ▁dam ▁began ▁in ▁ 2 0 0 5 ▁and ▁the ▁river ▁was ▁di verted ▁in ▁March ▁ 2 0 0 7 . ▁The ▁first |
▁generator ▁was ▁operational ▁in ▁mid - 2 0 1 0 ▁and ▁the ▁rest ▁by ▁the ▁end ▁of ▁the ▁year . ▁ ▁See ▁also ▁▁▁ ▁List ▁of ▁power ▁stations ▁in ▁China ▁ ▁Re ferences ▁ ▁Category : H ydro elect ric ▁power ▁stations ▁in ▁Q ing h ai ▁Category : D ams ▁in ▁China ▁Category : D ams ▁on ▁the ▁Yellow ▁River ▁Category : Con crete - face ▁rock - fill ▁dam s ▁Category : D ams ▁completed ▁in ▁ 2 0 0 5 <0x0A> </s> ▁Ad i ▁Sh ank ar ach ary a ▁( S ansk rit : ▁ आ द ि ▁ श <0xE0> <0xA4> <0x99> ् क र ा च ा र ् य <0xE0> <0xA4> <0x83> ▁) ▁was ▁an ▁early ▁ 8 th ▁century ▁Indian ▁philos opher ▁and ▁the olog ian ▁who ▁consolid ated ▁the ▁doctrine ▁of ▁Adv ait a ▁V ed anta . ▁ ▁He ▁is ▁cred ited ▁with ▁un ifying ▁and ▁establishing ▁the ▁main ▁current s ▁of ▁thought ▁in ▁Hindu ism . ▁ ▁His ▁works ▁in ▁S ansk rit ▁discuss ▁the ▁unity ▁of ▁the ▁ Ā t man ▁and ▁N ir g una ▁Bra h man ▁" bra h man ▁without ▁attributes ". ▁He ▁wrote ▁cop ious ▁comment aries ▁on ▁the ▁V ed ic ▁canon ▁( B rah ma ▁S ut ras , ▁Pr incipal ▁U pan ish ads ▁and ▁Bh ag av ad ▁G ita ) ▁in ▁support ▁of ▁his ▁thesis . ▁His ▁works ▁elaborate ▁on ▁ideas ▁found ▁in ▁the ▁U pan ish ads . ▁Sh ank |
ara ' s ▁publications ▁critic ised ▁the ▁rit ually - oriented ▁M ī m ā ṃ s ā ▁school ▁of ▁Hindu ism . ▁He ▁also ▁explained ▁the ▁key ▁difference ▁between ▁Hindu ism ▁and ▁Budd h ism , ▁stating ▁that ▁Hindu ism ▁as serts ▁" Ā t man ▁( S oul , ▁Self ) ▁exists ", ▁while ▁Budd h ism ▁as serts ▁that ▁there ▁is ▁" no ▁Soul , ▁no ▁Self ". ▁ ▁Sh ank ara ▁trav elled ▁across ▁the ▁Indian ▁sub contin ent ▁to ▁propag ate ▁his ▁philosophy ▁through ▁disc ourses ▁and ▁deb ates ▁with ▁other ▁think ers . ▁He ▁established ▁the ▁importance ▁of ▁mon astic ▁life ▁as ▁san ction ed ▁in ▁the ▁U pan ish ads ▁and ▁Bra h ma ▁S ut ra , ▁in ▁a ▁time ▁when ▁the ▁M ī m ā ṃ s ā ▁school ▁established ▁strict ▁ritual ism ▁and ▁ridic ul ed ▁mon astic ism . ▁He ▁is ▁reput ed ▁to ▁have ▁founded ▁four ▁math as ▁(" mon aster ies "), ▁which ▁helped ▁in ▁the ▁historical ▁development , ▁rev ival ▁and ▁spread ▁of ▁Adv ait a ▁V ed anta ▁of ▁which ▁he ▁is ▁known ▁as ▁the ▁greatest ▁rev ival ist . ▁Ad i ▁Sh ank ara ▁is ▁believed ▁to ▁be ▁the ▁organ iser ▁of ▁the ▁D ash an ami ▁mon astic ▁order ▁and ▁un ified ▁the ▁Shan m ata ▁tradition ▁of ▁worship . ▁ ▁Biography ▁ ▁S ources ▁There ▁are ▁at ▁least ▁fourteen ▁different ▁known ▁bi ograph ies ▁of ▁Ad i ▁Sh ank ara ' s ▁life . ▁Many |
▁of ▁these ▁are ▁called ▁the ▁Ś ank ara ▁V ij aya , ▁while ▁some ▁are ▁called ▁G ur uv ij aya , ▁S ank ar ab hy ud aya ▁and ▁Sh ank ar ac ary ac ar ita . ▁Of ▁these , ▁the ▁Br hat - S ank ara - V ij aya ▁by ▁C its uk ha ▁is ▁the ▁oldest ▁h agi ography ▁but ▁only ▁available ▁in ▁ex cer pts , ▁while ▁S ank ar ad ig v ij aya ▁by ▁V id yar anya ▁and ▁S ank ar av ij aya ▁by ▁An and ag iri ▁are ▁the ▁most ▁cited . ▁Other ▁significant ▁bi ograph ies ▁are ▁the ▁ ▁( of ▁M ā dh ava , ▁c . ▁ 1 4 th ▁century ), ▁the ▁ ▁( of ▁C id vil ā sa , ▁c . ▁between ▁the ▁ 1 5 th ▁and ▁ 1 7 th ▁centuries ), ▁and ▁the ▁ ▁( of ▁the ▁Ker ala ▁region , ▁ext ant ▁from ▁c . ▁the ▁ 1 7 th ▁century ). ▁These , ▁as ▁well ▁as ▁other ▁bi ographical ▁works ▁on ▁Sh ank ara , ▁were ▁written ▁many ▁centuries ▁to ▁a ▁thousand ▁years ▁after ▁Sh ank ara ' s ▁death , ▁in ▁S ansk rit ▁and ▁non - S ansk rit ▁languages , ▁and ▁the ▁bi ograph ies ▁are ▁filled ▁with ▁leg ends ▁and ▁fiction , ▁often ▁mut ually ▁contrad ict ory . ▁ ▁Sch ol ars ▁note ▁that ▁one ▁of ▁the ▁most ▁cited ▁Sh ank ara ▁h agi ograph ies |
, ▁An and ag iri ' s , ▁includes ▁stories ▁and ▁leg ends ▁about ▁histor ically ▁different ▁people , ▁but ▁all ▁bearing ▁the ▁same ▁name ▁of ▁Sri ▁Sh ank ar ac ary a ▁or ▁also ▁referred ▁to ▁as ▁Sh ank ara ▁but ▁likely ▁meaning ▁more ▁ancient ▁scholars ▁with ▁names ▁such ▁as ▁V id ya - s ank ara , ▁S ank ara - m is ra ▁and ▁S ank ara - n anda . ▁Some ▁bi ograph ies ▁are ▁probably ▁for ger ies ▁by ▁those ▁who ▁sought ▁to ▁create ▁a ▁historical ▁basis ▁for ▁their ▁rit uals ▁or ▁theories . ▁ ▁Ad i ▁Sh ank ara ▁died ▁in ▁the ▁thirty ▁third ▁year ▁of ▁his ▁life , ▁and ▁reliable ▁information ▁on ▁his ▁actual ▁life ▁is ▁sc ant y . ▁ ▁Birth - dates ▁ ▁The ▁S ring eri ▁records ▁state ▁that ▁Sh ank ara ▁was ▁born ▁in ▁the ▁ 1 4 th ▁year ▁of ▁the ▁reign ▁of ▁" V ik ram Ad ity a ", ▁but ▁it ▁is ▁un clear ▁as ▁to ▁which ▁king ▁this ▁name ▁refers . ▁Though ▁some ▁researchers ▁identify ▁the ▁name ▁with ▁Chand r agu pt a ▁II ▁( 4 th ▁century ▁CE ), ▁modern ▁scholarship ▁accepts ▁the ▁Vik ram Ad ity a ▁as ▁being ▁from ▁the ▁Ch al uk ya ▁dyn asty ▁of ▁Bad ami , ▁most ▁likely ▁Vik ram ad ity a ▁II ▁( 7 3 3 – 7 4 6 ▁CE ), ▁ ▁Several ▁different ▁dates ▁have ▁been ▁proposed ▁for ▁Sh ank ara : ▁▁ 5 0 9 – |
4 7 7 ▁B CE : ▁This ▁dating , ▁is ▁based ▁on ▁records ▁of ▁the ▁heads ▁of ▁the ▁Sh ank ara ' s ▁card inal ▁institutions ▁s ▁at ▁D var aka ▁P ith a , ▁the ▁G ov ard h ana ▁math a ▁and ▁Bad ri ▁and ▁the ▁K anch i ▁Pe eth am . ▁According ▁to ▁their ▁records , ▁these ▁monaster ies ▁were ▁founded ▁in ▁K ali ▁ 2 5 9 3 ▁( 5 0 9 ▁B CE ) ▁by ▁a ▁person ▁named ▁Ad i ▁Sh ank ara . ▁The ▁success ive ▁heads ▁of ▁the ▁K anch i ▁and ▁all ▁other ▁major ▁Hindu ▁Adv ait a ▁tradition ▁monaster ies ▁have ▁been ▁called ▁Sh ank ar ach ary a ▁leading ▁to ▁some ▁confusion , ▁discre p ancies ▁and ▁schol arly ▁disput es . ▁The ▁chron ology ▁stated ▁in ▁K anch i ▁math a ▁texts ▁recogn izes ▁five ▁major ▁Sh ank ar as : ▁Ad i , ▁K ri pa , ▁U jj val a , ▁Mu ka ▁and ▁Ab hin ava . ▁According ▁to ▁the ▁K anch i ▁math a ▁tradition , ▁it ▁is ▁" Ab hin ava ▁Sh ank ara " ▁that ▁western ▁scholarship ▁recogn izes ▁as ▁the ▁Adv ait a ▁scholar ▁Sh ank ara , ▁while ▁the ▁monaster y ▁continues ▁to ▁recognize ▁its ▁ 5 0 9 ▁B CE ▁chron ology . ▁▁ 4 4 – 1 2 ▁B CE : ▁the ▁comment ator ▁An and ag iri ▁believed ▁he ▁was ▁born ▁at ▁Ch id amb aram ▁in ▁ 4 4 |
▁B CE ▁and ▁died ▁in ▁ 1 2 ▁B CE . ▁▁ 6 th ▁century ▁CE : ▁Tel ang ▁placed ▁him ▁in ▁this ▁century . ▁Sir ▁R . G . ▁B hand ark ar ▁believed ▁he ▁was ▁born ▁in ▁ 6 8 0 ▁CE . ▁▁ ▁CE : ▁Late ▁ 2 0 th - century ▁and ▁early ▁ 2 1 st - century ▁scholarship ▁tends ▁to ▁place ▁Sh ank ara ' s ▁life ▁of ▁ 3 2 ▁years ▁in ▁the ▁first ▁half ▁of ▁the ▁ 8 th ▁century . ▁According ▁to ▁the ▁Ind ologist ▁and ▁Asian ▁Relig ions ▁scholar ▁John ▁K oll er , ▁there ▁is ▁considerable ▁controversy ▁regarding ▁the ▁dates ▁of ▁Sh ank ara ▁– ▁widely ▁regarded ▁as ▁one ▁of ▁India ' s ▁greatest ▁think ers , ▁and ▁" the ▁best ▁recent ▁scholarship ▁arg ues ▁that ▁he ▁was ▁born ▁in ▁ 7 0 0 ▁and ▁died ▁in ▁ 7 5 0 ▁CE ". ▁▁ 7 8 8 – 8 2 0 ▁CE : ▁This ▁was ▁proposed ▁by ▁early ▁ 2 0 th ▁scholars ▁and ▁was ▁custom arily ▁accepted ▁by ▁scholars ▁such ▁as ▁Max ▁M üll er , ▁Mac don nel , ▁Path ok , ▁De ussen ▁and ▁Rad h ak r ish na . ▁The ▁date ▁ 7 8 8 – 8 2 0 ▁is ▁also ▁among ▁those ▁considered ▁acceptable ▁by ▁Sw ami ▁T ap asy an anda , ▁though ▁he ▁raises ▁a ▁number ▁of ▁questions . ▁Though ▁the ▁ 7 8 8 – 8 2 0 ▁CE ▁dates ▁are ▁widespread ▁in |
▁ 2 0 th - century ▁publications , ▁recent ▁scholarship ▁has ▁questioned ▁the ▁ 7 8 8 – 8 2 0 ▁CE ▁dates . ▁▁ 8 0 5 – 8 9 7 ▁CE : ▁Ven k ites w ara ▁not ▁only ▁places ▁Sh ank ara ▁later ▁than ▁most , ▁but ▁also ▁had ▁the ▁opinion ▁that ▁it ▁would ▁not ▁have ▁been ▁possible ▁for ▁him ▁to ▁have ▁achieved ▁all ▁the ▁works ▁ap port ioned ▁to ▁him , ▁and ▁has ▁him ▁live ▁nin ety ▁two ▁years . ▁ ▁The ▁popular ly - accept ed ▁dating ▁places ▁Sh ank ara ▁to ▁be ▁a ▁scholar ▁from ▁the ▁first ▁half ▁of ▁the ▁ 8 th ▁century ▁CE . ▁ ▁Life ▁ ▁Sh ank ara ▁was ▁born ▁in ▁the ▁southern ▁Indian ▁state ▁of ▁Ker ala , ▁according ▁to ▁the ▁oldest ▁bi ograph ies , ▁in ▁a ▁village ▁named ▁Kal adi ▁sometimes ▁sp elled ▁as ▁Kal ati ▁or ▁Kar ati . ▁He ▁was ▁born ▁to ▁N amb ud iri ▁Bra h min ▁parents . ▁His ▁parents ▁were ▁an ▁aged , ▁child less , ▁couple ▁who ▁led ▁a ▁dev out ▁life ▁of ▁service ▁to ▁the ▁poor . ▁They ▁named ▁their ▁child ▁Sh ank ara , ▁meaning ▁" g iver ▁of ▁prosper ity ". ▁His ▁father ▁died ▁while ▁Sh ank ara ▁was ▁very ▁young . ▁Sh ank ara ' s ▁, ▁the ▁init iation ▁into ▁student - life , ▁had ▁to ▁be ▁delayed ▁due ▁to ▁the ▁death ▁of ▁his ▁father , ▁and ▁was ▁then ▁performed ▁by ▁his ▁mother . ▁ ▁Sh ank ara |
' s ▁h agi ography ▁describe ▁him ▁as ▁someone ▁who ▁was ▁attracted ▁to ▁the ▁life ▁of ▁S anny asa ▁( her mit ) ▁from ▁early ▁childhood . ▁His ▁mother ▁dis appro ved . ▁A ▁story , ▁found ▁in ▁all ▁h agi ograph ies , ▁describe ▁Sh ank ara ▁at ▁age ▁eight ▁going ▁to ▁a ▁river ▁with ▁his ▁mother , ▁S iv atar aka , ▁to ▁bat he , ▁and ▁where ▁he ▁is ▁caught ▁by ▁a ▁cro cod ile . ▁Sh ank ara ▁called ▁out ▁to ▁his ▁mother ▁to ▁give ▁him ▁permission ▁to ▁become ▁a ▁S anny as in ▁or ▁else ▁the ▁cro cod ile ▁will ▁kill ▁him . ▁The ▁mother ▁agrees , ▁Sh ank ara ▁is ▁freed ▁and ▁leaves ▁his ▁home ▁for ▁education . ▁He ▁reaches ▁a ▁Sa iv ite ▁sanct uary ▁along ▁a ▁river ▁in ▁a ▁north - cent ral ▁state ▁of ▁India , ▁and ▁becomes ▁the ▁disc iple ▁of ▁a ▁teacher ▁named ▁G ov inda ▁Bh ag av at p ada . ▁The ▁stories ▁in ▁various ▁h agi ograph ies ▁diver ge ▁in ▁details ▁about ▁the ▁first ▁meeting ▁between ▁Sh ank ara ▁and ▁his ▁G uru , ▁where ▁they ▁met , ▁as ▁well ▁as ▁what ▁happened ▁later . ▁Several ▁texts ▁suggest ▁Sh ank ara ▁school ing ▁with ▁G ov ind ap ada ▁happened ▁along ▁the ▁river ▁N arm ada ▁in ▁Om ka resh war , ▁a ▁few ▁place ▁it ▁along ▁river ▁G anges ▁in ▁K ashi ▁( Var an asi ) ▁as ▁well ▁as ▁Bad ari ▁( Bad rin ath ▁in |
▁the ▁H imal ay as ). ▁ ▁The ▁bi ograph ies ▁vary ▁in ▁their ▁description ▁of ▁where ▁he ▁went , ▁who ▁he ▁met ▁and ▁deb ated ▁and ▁many ▁other ▁details ▁of ▁his ▁life . ▁Most ▁mention ▁Sh ank ara ▁studying ▁the ▁V ed as , ▁U pan ish ads ▁and ▁Bra h mas ut ra ▁with ▁G ov ind ap ada , ▁and ▁Sh ank ara ▁author ing ▁several ▁key ▁works ▁in ▁his ▁youth , ▁while ▁he ▁was ▁studying ▁with ▁his ▁teacher . ▁It ▁is ▁with ▁his ▁teacher ▁G ov inda , ▁that ▁Sh ank ara ▁studied ▁G aud ap adi ya ▁Kar ika , ▁as ▁G ov inda ▁was ▁himself ▁taught ▁by ▁G aud ap ada . ▁Most ▁also ▁mention ▁a ▁meeting ▁with ▁scholars ▁of ▁the ▁M im am sa ▁school ▁of ▁Hindu ism ▁namely ▁Kum ar ila ▁and ▁Pr ab h ak ara , ▁as ▁well ▁as ▁Mand ana ▁and ▁various ▁Budd h ists , ▁in ▁Sh astr arth ▁( an ▁Indian ▁tradition ▁of ▁public ▁philosoph ical ▁deb ates ▁attended ▁by ▁large ▁number ▁of ▁people , ▁sometimes ▁with ▁royal ty ). ▁There after , ▁the ▁bi ograph ies ▁about ▁Sh ank ara ▁vary ▁significantly . ▁Different ▁and ▁widely ▁incons istent ▁accounts ▁of ▁his ▁life ▁include ▁diverse ▁jour neys , ▁pil gr images , ▁public ▁deb ates , ▁installation ▁of ▁y an tras ▁and ▁ling as , ▁as ▁well ▁as ▁the ▁founding ▁of ▁mon astic ▁centers ▁in ▁north , ▁east , ▁west ▁and ▁south ▁India . ▁ ▁Philosoph ical ▁tour ▁and ▁dis |
ciples ▁While ▁the ▁details ▁and ▁chron ology ▁vary , ▁most ▁bi ograph ies ▁mention ▁that ▁Sh ank ara ▁traveled ▁widely ▁within ▁India , ▁Gu jar at ▁to ▁Beng al , ▁and ▁participating ▁in ▁public ▁philosoph ical ▁deb ates ▁with ▁different ▁orth odox ▁schools ▁of ▁Hindu ▁philosophy , ▁as ▁well ▁as ▁heter odox ▁traditions ▁such ▁as ▁Budd h ists , ▁J ains , ▁Ar hat as , ▁S aug at as , ▁and ▁Car v ak as . ▁During ▁his ▁tours , ▁he ▁is ▁cred ited ▁with ▁starting ▁several ▁Math a ▁( mon aster ies ), ▁however ▁this ▁is ▁uncertain . ▁Ten ▁mon astic ▁orders ▁in ▁different ▁parts ▁of ▁India ▁are ▁generally ▁attributed ▁to ▁Sh ank ara ' s ▁travel - in sp ired ▁S anny as in ▁schools , ▁each ▁with ▁Adv ait a ▁not ions , ▁of ▁which ▁four ▁have ▁continued ▁in ▁his ▁tradition : ▁B har ati ▁( S ring eri ), ▁Sar as v ati ▁( K anch i ), ▁T irth a ▁and ▁As ram in ▁( D var aka ). ▁Other ▁monaster ies ▁that ▁record ▁Sh ank ara ' s ▁visit ▁include ▁G iri , ▁P uri , ▁V ana , ▁Ar anya , ▁Par v ata ▁and ▁S ag ara ▁– ▁all ▁names ▁trace able ▁to ▁Ash r ama ▁system ▁in ▁Hindu ism ▁and ▁V ed ic ▁literature . ▁ ▁Sh ank ara ▁had ▁a ▁number ▁of ▁disc iple ▁scholars ▁during ▁his ▁travels , ▁including ▁Pad map ada ▁( also ▁called ▁San and ana , ▁associated ▁with |
▁the ▁text ▁At ma - b od ha ), ▁S ures h var a , ▁T oth aka , ▁C its uk ha , ▁Pr th ivid h ara , ▁C id vil as ay ati , ▁Bod hend ra , ▁Bra hm end ra , ▁Sad an anda ▁and ▁others , ▁who ▁auth ored ▁their ▁own ▁literature ▁on ▁Sh ank ara ▁and ▁Adv ait a ▁V ed anta . ▁ ▁Death ▁Ad i ▁S ank ara ▁is ▁believed ▁to ▁have ▁died ▁aged ▁ 3 2 , ▁at ▁K ed arn ath ▁in ▁the ▁northern ▁Indian ▁state ▁of ▁U tt ar ak hand , ▁a ▁Hindu ▁pil gr image ▁site ▁in ▁the ▁H imal ay as . ▁Text s ▁say ▁that ▁he ▁was ▁last ▁seen ▁by ▁his ▁dis ciples ▁behind ▁the ▁K ed arn ath ▁temple , ▁walking ▁in ▁the ▁H imal ay as ▁until ▁he ▁was ▁not ▁tr aced . ▁Some ▁texts ▁locate ▁his ▁death ▁in ▁alternate ▁locations ▁such ▁as ▁K anch ip ur am ▁( T amil ▁Nad u ) ▁and ▁somewhere ▁in ▁the ▁state ▁of ▁Ker ala . ▁ ▁Works ▁ ▁Ad i ▁Sh ank ara ' s ▁works ▁are ▁the ▁foundation ▁of ▁Adv ait a ▁V ed anta ▁school ▁of ▁Hindu ism , ▁and ▁his ▁doctrine , ▁states ▁S eng aku ▁May eda , ▁" has ▁been ▁the ▁source ▁from ▁which ▁the ▁main ▁current s ▁of ▁modern ▁Indian ▁thought ▁are ▁derived ". ▁Over ▁ 3 0 0 ▁texts ▁are ▁attributed ▁to ▁his ▁name , ▁including ▁comment aries ▁( B |
h ā ṣ ya ), ▁original ▁philosoph ical ▁expos itions ▁( Pr ak ara ṇ a ▁gran tha ) ▁and ▁poetry ▁( St ot ra ). ▁However ▁most ▁of ▁these ▁are ▁not ▁authentic ▁works ▁of ▁Sh ank ara ▁and ▁are ▁likely ▁to ▁be ▁by ▁his ▁adm ir ers ▁or ▁scholars ▁whose ▁name ▁was ▁also ▁Sh ank ar ach ary a . ▁P iant elli ▁has ▁published ▁a ▁complete ▁list ▁of ▁works ▁attributed ▁to ▁Ad i ▁S ank ara , ▁along ▁with ▁issues ▁of ▁authentic ity ▁for ▁most . ▁ ▁Aut hentic ▁works ▁ ▁Sh ank ara ▁is ▁most ▁known ▁for ▁his ▁systematic ▁reviews ▁and ▁comment aries ▁( B has y as ) ▁on ▁ancient ▁Indian ▁texts . ▁Sh ank ara ' s ▁master piece ▁of ▁comment ary ▁is ▁the ▁Bra h mas ut rab has ya ▁( liter ally , ▁comment ary ▁on ▁Bra h ma ▁S ut ra ), ▁a ▁fundamental ▁text ▁of ▁the ▁V ed anta ▁school ▁of ▁Hindu ism . ▁ ▁His ▁comment aries ▁on ▁ten ▁M uk h ya ▁( pr incipal ) ▁U pan ish ads ▁are ▁also ▁considered ▁authentic ▁by ▁scholars , ▁and ▁these ▁are : ▁B has ya ▁on ▁the ▁B ri had ar any aka ▁U pan ish ad , ▁the ▁Chand og ya ▁U pan ish ad , ▁the ▁A it are ya ▁U pan ish ad , ▁the ▁Ta itt iri ya ▁U pan ish ad , ▁the ▁K ena ▁U pan ish ad , ▁the ▁I sha ▁U pan ish ad , |
▁the ▁Kath a ▁U pan ish ad , ▁the ▁M und aka ▁U pan ish ad , ▁the ▁Pr ash na ▁U pan ish ad , ▁and ▁the ▁Mand uk ya ▁U pan ish ad . ▁Of ▁these , ▁the ▁comment ary ▁on ▁Mand uk ya , ▁is ▁actually ▁a ▁comment ary ▁on ▁Mad uk ya - K ar ik as ▁by ▁G aud ap ada . ▁ ▁Other ▁authentic ▁works ▁of ▁Sh ank ara ▁include ▁comment aries ▁on ▁the ▁Bh ag av ad ▁G ita ▁( part ▁of ▁his ▁Pr as th ana ▁T ray i ▁B has ya ). ▁His ▁Viv ar ana ▁( ter ti ary ▁notes ) ▁on ▁the ▁comment ary ▁by ▁V ed avy asa ▁on ▁Y og as ut ras ▁as ▁well ▁as ▁those ▁on ▁Ap ast amba ▁D har ma - s ũ tras ▁( Ad hy at ama - p atal a - b has ya ) ▁are ▁accepted ▁by ▁scholars ▁as ▁authentic ▁works ▁of ▁Sh ank ara . ▁Among ▁the ▁St ot ra ▁( po etic ▁works ), ▁the ▁Dak sin am urt i ▁St ot ra , ▁the ▁Bh aj ag ov inda ▁St ot ra , ▁the ▁S ivan andal ah ari , ▁the ▁Car p ata - pan jar ika , ▁the ▁Vis nu - sat pad i , ▁the ▁Har im ide , ▁the ▁Das a - sh l oki , ▁and ▁the ▁Kr ish na - st aka ▁are ▁likely ▁to ▁be ▁authentic . ▁ ▁Sh ank ara ▁also |
▁auth ored ▁Up ades as ah as ri , ▁his ▁most ▁important ▁original ▁philosoph ical ▁work . ▁Of ▁other ▁original ▁Pr ak ar anas ▁( प ् र क र ण , ▁mon ograph s , ▁treat ise ), ▁seventy ▁six ▁works ▁are ▁attributed ▁to ▁Sh ank ara . ▁Modern ▁era ▁Indian ▁scholars ▁such ▁as ▁Bel val kar ▁as ▁well ▁as ▁Up ad hy aya ▁accept ▁five ▁and ▁thirty ▁nine ▁works ▁respectively ▁as ▁authentic . ▁ ▁Sh ank ara ' s ▁st ot ras ▁considered ▁authentic ▁include ▁those ▁dedicated ▁to ▁Kr ish na ▁( V a ish nav ism ) ▁and ▁one ▁to ▁Sh iva ▁( Sh a iv ism ) ▁– ▁often ▁considered ▁two ▁different ▁sect s ▁within ▁Hindu ism . ▁Sch ol ars ▁suggest ▁that ▁these ▁st ot ra ▁are ▁not ▁sect arian , ▁but ▁essentially ▁Adv ait ic ▁and ▁reach ▁for ▁a ▁un ified ▁universal ▁view ▁of ▁V ed anta . ▁ ▁Sh ank ara ' s ▁comment ary ▁on ▁the ▁Bra h ma ▁S ut ras ▁is ▁the ▁oldest ▁surviving . ▁However , ▁in ▁that ▁comment ary , ▁he ▁ment ions ▁older ▁comment aries ▁like ▁those ▁of ▁Dr av ida , ▁B har tr pr ap anch a ▁and ▁others ▁which ▁are ▁either ▁lost ▁or ▁yet ▁to ▁be ▁found . ▁ ▁Works ▁of ▁doubt ful ▁authentic ity ▁or ▁not ▁authentic ▁ ▁Comment aries ▁on ▁N ris im ha - P ur v at at apan i ya ▁and ▁Sh ves h v at ara ▁U pan ish ads ▁are |
▁attributed ▁to ▁Sh ank ara , ▁but ▁their ▁authentic ity ▁is ▁highly ▁doubt ful . ▁Similarly , ▁comment aries ▁ ▁on ▁several ▁early ▁and ▁later ▁U pan ish ads ▁attributed ▁to ▁Sh ank ara ▁are ▁rejected ▁by ▁scholars ▁to ▁be ▁his ▁works , ▁and ▁are ▁likely ▁works ▁of ▁later ▁scholars ; ▁these ▁include : ▁Ka ush it aki ▁U pan ish ad , ▁M ait ri ▁U pan ish ad , ▁Ka ival ya ▁U pan ish ad , ▁Param ah am sa ▁U pan ish ad , ▁Sak at ay ana ▁U pan ish ad , ▁Mand ala ▁Bra h man a ▁U pan ish ad , ▁Mah a ▁Nar ay ana ▁U pan ish ad , ▁G op al at apan i ya ▁U pan ish ad . ▁However , ▁in ▁Bra h mas ut ra - B has ya , ▁Sh ank ara ▁c ites ▁some ▁of ▁these ▁U pan ish ads ▁as ▁he ▁develop s ▁his ▁arguments , ▁but ▁the ▁historical ▁notes ▁left ▁by ▁his ▁companions ▁and ▁dis ciples , ▁along ▁with ▁major ▁differences ▁in ▁style ▁and ▁the ▁content ▁of ▁the ▁comment aries ▁on ▁later ▁U pan ish ad ▁have ▁led ▁scholars ▁to ▁conclude ▁that ▁the ▁comment aries ▁on ▁later ▁U pan ish ads ▁were ▁not ▁Sh ank ara ' s ▁work . ▁ ▁The ▁authentic ity ▁of ▁Sh ank ara ▁being ▁the ▁author ▁of ▁ ▁has ▁been ▁questioned , ▁though ▁it ▁is ▁" so ▁closely ▁inter w oven ▁into ▁the ▁spiritual ▁heritage ▁of ▁Sh ank ara ▁that ▁any |
▁analysis ▁of ▁his ▁perspective ▁which ▁fails ▁to ▁consider ▁[ this ▁work ] ▁would ▁be ▁in complete ." ▁According ▁to ▁Gr imes , ▁" mod ern ▁scholars ▁tend ▁to ▁reject ▁its ▁authentic ity ▁as ▁a ▁work ▁by ▁Sh ank ara ," ▁while ▁" tr ad itional ists ▁tend ▁to ▁accept ▁it ." ▁Nevertheless , ▁does ▁Gr imes ▁argue ▁that ▁" there ▁is ▁still ▁a ▁likelihood ▁that ▁Ś a ṅ k ara ▁is ▁the ▁author ▁of ▁the ▁V ive k ac ū ḍ ā ma ṇ i ," ▁ ▁noting ▁that ▁" it ▁diff ers ▁in ▁certain ▁respect s ▁from ▁his ▁other ▁works ▁in ▁that ▁it ▁addresses ▁itself ▁to ▁a ▁different ▁audience ▁and ▁has ▁a ▁different ▁emphasis ▁and ▁purpose ." ▁ ▁A par ok sha ▁An ub uti ▁and ▁At m ab od ha ▁are ▁also ▁attributed ▁to ▁Sh ank ara , ▁as ▁his ▁original ▁philosoph ical ▁treat ises , ▁but ▁this ▁is ▁doubt ful . ▁Paul ▁H acker ▁has ▁also ▁expressed ▁some ▁reserv ations ▁that ▁the ▁comp end ium ▁Sar va - d ars ana - s idd h anta ▁S ang ra ha ▁was ▁completely ▁auth ored ▁by ▁Sh ank ara , ▁because ▁of ▁difference ▁in ▁style ▁and ▁them atic ▁incons ist encies ▁in ▁parts . ▁Similarly , ▁Gay atri - b has ya ▁is ▁doubt ful ▁to ▁be ▁Sh ank ara ' s ▁work . ▁Other ▁comment aries ▁that ▁are ▁highly ▁unlikely ▁to ▁be ▁Sh ank ara ' s ▁work ▁include ▁those ▁on ▁U tt ar ag ita , ▁S iva - |
g ita , ▁Bra h ma - g ita , ▁L al ita - sh as ran ama , ▁S uta - sam h ita ▁and ▁Sand h ya - b has ya . ▁The ▁comment ary ▁on ▁the ▁Tan tr ic ▁work ▁L al ita - tr is ati - b has ya ▁attributed ▁to ▁Sh ank ara ▁is ▁also ▁un aut hentic . ▁ ▁Sh ank ara ▁is ▁widely ▁cred ited ▁with ▁comment aries ▁on ▁other ▁script ural ▁works , ▁such ▁as ▁the ▁V ish nu ▁sa has ran ā ma ▁and ▁the ▁S ā n ats uj ā ti ya , ▁but ▁both ▁these ▁are ▁considered ▁ap oc ry ph al ▁by ▁scholars ▁who ▁have ▁expressed ▁doubts . ▁H ast am al aki ya - b has ya ▁is ▁also ▁widely ▁believed ▁in ▁India ▁to ▁be ▁Sh ank ara ' s ▁work ▁and ▁it ▁is ▁included ▁in ▁Sam ata - ed ition ▁of ▁Sh ank ara ' s ▁works , ▁but ▁some ▁scholars ▁consider ▁it ▁to ▁be ▁the ▁work ▁of ▁Sh ank ara ' s ▁student . ▁ ▁The mes ▁Using ▁ideas ▁in ▁ancient ▁Indian ▁texts , ▁Sh ank ara ▁system at ized ▁the ▁foundation ▁for ▁Adv ait a ▁V ed anta ▁in ▁ 8 th ▁century ▁CE , ▁one ▁of ▁the ▁six ▁orth odox ▁schools ▁of ▁Hindu ism ▁founded ▁many ▁centuries ▁earlier ▁by ▁Bad ar ay ana . ▁His ▁them atic ▁focus ▁extended ▁beyond ▁met aph ys ics ▁and ▁s ot eri ology , ▁and ▁he ▁laid ▁a ▁strong |
▁emphasis ▁on ▁Pr aman as , ▁that ▁is ▁ep ist em ology ▁or ▁" me ans ▁to ▁gain ▁knowledge , ▁reasoning ▁methods ▁that ▁empower ▁one ▁to ▁gain ▁reliable ▁knowledge ". ▁An ant an and ▁R amb ach an , ▁for ▁example , ▁summar izes ▁the ▁widely ▁held ▁view ▁on ▁one ▁aspect ▁of ▁Sh ank ara ' s ▁ep ist em ology ▁before ▁crit iqu ing ▁it ▁as ▁follows , ▁ ▁S eng aku ▁May eda ▁con curs , ▁adding ▁Sh ank ara ▁maintained ▁the ▁need ▁for ▁object ivity ▁in ▁the ▁process ▁of ▁gaining ▁knowledge ▁( v ast ut an tra ), ▁and ▁considered ▁subject ive ▁opinions ▁( pur ush atan tra ) ▁and ▁inj un ctions ▁in ▁Ś r uti ▁( cod an atan tra ) ▁as ▁secondary . ▁May eda ▁c ites ▁Sh ank ara ' s ▁explicit ▁statements ▁emphas izing ▁ep ist em ology ▁( pr am ana - j anya ) ▁in ▁section ▁ 1 . 1 8 . 1 3 3 ▁of ▁Up ades as ah as ri ▁and ▁section ▁ 1 . 1 . 4 ▁of ▁Bra h mas ut ra - b has ya . ▁According ▁to ▁Michael ▁Com ans ▁( aka ▁Vas ude v ach ary a ), ▁Sh ank ara ▁considered ▁perception ▁and ▁in ference ▁as ▁a ▁primary ▁most ▁reliable ▁ep ist emic ▁means , ▁and ▁where ▁these ▁means ▁to ▁knowledge ▁help ▁one ▁gain ▁" what ▁is ▁beneficial ▁and ▁to ▁avoid ▁what ▁is ▁harmful ", ▁there ▁is ▁no ▁need ▁for ▁or ▁wisdom ▁in ▁referring ▁to |
▁the ▁script ures . ▁In ▁certain ▁matters ▁related ▁to ▁met aph ys ics ▁and ▁eth ics , ▁says ▁Sh ank ara , ▁the ▁testimony ▁and ▁wisdom ▁in ▁script ures ▁such ▁as ▁the ▁V ed as ▁and ▁the ▁U pan ish ads ▁become ▁important . ▁ ▁Sh ank ara ▁caut ioned ▁against ▁ch erry p icking ▁a ▁phrase ▁or ▁verse ▁out ▁of ▁context ▁from ▁V ed ic ▁literature , ▁and ▁remarks ▁in ▁the ▁opening ▁chapter ▁of ▁his ▁Bra h mas ut ra - B has ya ▁that ▁the ▁An v aya ▁( theme ▁or ▁pur port ) ▁of ▁any ▁treat ise ▁can ▁only ▁be ▁correctly ▁understood ▁if ▁one ▁att ends ▁to ▁the ▁Sam an v ay at ▁Tat p ary a ▁L ing a , ▁that ▁is ▁six ▁characteristics ▁of ▁the ▁text ▁under ▁consideration : ▁( 1 ) ▁the ▁common ▁in ▁Up ak r ama ▁( int ro duct ory ▁statement ) ▁and ▁Up as am h ara ▁( con cl usions ); ▁( 2 ) ▁Ab hy asa ▁( message ▁repeated ); ▁( 3 ) ▁Ap ur v ata ▁( unique ▁proposition ▁or ▁novel ty ); ▁( 4 ) ▁Ph ala ▁( f ruit ▁or ▁result ▁derived ); ▁( 5 ) ▁Ar th av ada ▁( expl ained ▁meaning , ▁praised ▁point ) ▁and ▁( 6 ) ▁Yu kt i ▁( ver ifiable ▁reasoning ). ▁While ▁this ▁method ology ▁has ▁roots ▁in ▁the ▁theoretical ▁works ▁of ▁Ny aya ▁school ▁of ▁Hindu ism , ▁Sh ank ara ▁consolid ated ▁and ▁applied ▁it ▁with ▁his |
▁unique ▁ex e get ical ▁method ▁called ▁An v aya - V y at ire ka , ▁which ▁states ▁that ▁for ▁proper ▁understanding ▁one ▁must ▁" accept ▁only ▁mean ings ▁that ▁are ▁compatible ▁with ▁all ▁characteristics " ▁and ▁" ex clude ▁mean ings ▁that ▁are ▁in compatible ▁with ▁any ". ▁ ▁H acker ▁and ▁Phillips ▁note ▁that ▁this ▁insight ▁into ▁rules ▁of ▁reasoning ▁and ▁hier arch ical ▁emphasis ▁on ▁ep ist emic ▁steps ▁is ▁" d oubt lessly ▁the ▁suggestion " ▁of ▁Sh ank ara ▁in ▁Bra h ma - s ut ra , ▁an ▁insight ▁that ▁flowers ▁in ▁the ▁works ▁of ▁his ▁companion ▁and ▁disc iple ▁Pad map ada . ▁Mer rell - W ol ff ▁states ▁that ▁Sh ank ara ▁accepts ▁V ed as ▁and ▁U pan ish ads ▁as ▁a ▁source ▁of ▁knowledge ▁as ▁he ▁develop s ▁his ▁philosoph ical ▁the ses , ▁yet ▁he ▁never ▁rest s ▁his ▁case ▁on ▁the ▁ancient ▁texts , ▁rather ▁proves ▁each ▁thesis , ▁point ▁by ▁point ▁using ▁pr aman as ▁( ep ist em ology ), ▁reason ▁and ▁experience . ▁ ▁Sh ank ara , ▁in ▁his ▁text ▁Up ades as ah as ri , ▁discour ages ▁ritual ▁worship ▁such ▁as ▁ob l ations ▁to ▁Dev a ▁( God ), ▁because ▁that ▁assumes ▁the ▁Self ▁within ▁is ▁different ▁from ▁the ▁Bra h man . ▁The ▁" do ctrine ▁of ▁difference " ▁is ▁wrong , ▁as serts ▁Sh ank ara , ▁because , ▁" he ▁who ▁knows ▁the ▁Bra h man ▁is ▁one ▁and |
▁he ▁is ▁another , ▁does ▁not ▁know ▁Bra h man ". ▁However , ▁Sh ank ara ▁also ▁as serts ▁that ▁Self - know ledge ▁is ▁realized ▁when ▁one ' s ▁mind ▁is ▁pur ified ▁by ▁an ▁ethical ▁life ▁that ▁observ es ▁Y amas ▁such ▁as ▁Ah im sa ▁( non - in j ury , ▁non - vi olence ▁to ▁others ▁in ▁body , ▁mind ▁and ▁thoughts ) ▁and ▁N iy amas . ▁R it uals ▁and ▁r ites ▁such ▁as ▁y aj na ▁( a ▁fire ▁ritual ), ▁as serts ▁Sh ank ara , ▁can ▁help ▁draw ▁and ▁prepare ▁the ▁mind ▁for ▁the ▁journey ▁to ▁Self - know ledge . ▁He ▁emphas izes ▁the ▁need ▁for ▁eth ics ▁such ▁as ▁Ak rod ha ▁and ▁Y amas ▁during ▁Bra hm ach ary a , ▁stating ▁the ▁lack ▁of ▁eth ics ▁as ▁causes ▁that ▁prevent ▁students ▁from ▁att aining ▁knowledge . ▁ ▁Sh ank ara ▁has ▁been ▁described ▁as ▁influenced ▁by ▁Sha iv ism ▁and ▁Sh akt ism . ▁However , ▁his ▁works ▁and ▁philosophy ▁suggest ▁greater ▁overlap ▁with ▁Va ish nav ism , ▁influence ▁of ▁Y oga ▁school ▁of ▁Hindu ism , ▁but ▁most ▁distinct ly ▁his ▁Adv ait in ▁conv ictions ▁with ▁a ▁mon istic ▁view ▁of ▁spiritual ity . ▁ ▁Philosoph y ▁and ▁practice ▁ ▁Know ledge ▁of ▁Bra h man ▁ ▁Sh ank ara ▁system at ised ▁the ▁works ▁of ▁preced ing ▁philosoph ers . ▁His ▁system ▁marks ▁a ▁turn ▁from ▁real ism ▁to ▁ideal ism . ▁His ▁Adv ait |
a ▁(" non - du al ism ") ▁interpretation ▁of ▁the ▁s r uti ▁post ulates ▁the ▁identity ▁of ▁the ▁Self ▁( Ā t man ) ▁and ▁the ▁Wh ole ▁( B rah man ). ▁According ▁to ▁Sh ank ara , ▁the ▁one ▁un changing ▁entity ▁( B rah man ) ▁alone ▁is ▁real , ▁while ▁changing ▁entities ▁do ▁not ▁have ▁absolute ▁existence . ▁The ▁key ▁source ▁texts ▁for ▁this ▁interpretation , ▁as ▁for ▁all ▁schools ▁of ▁, ▁are ▁the ▁Pr as than at ray i – the ▁canonical ▁texts ▁consisting ▁of ▁the ▁U pan ish ads , ▁the ▁Bh ag av ad ▁G ita ▁and ▁the ▁Bra h ma ▁S ut ras . ▁ ▁Practice ▁ ▁Adv ait a ▁V ed anta ▁is ▁based ▁on ▁ ▁(" script ures "), ▁y u kt i ▁(" reason ") ▁and ▁an ub h ava ▁(" exper ient ial ▁knowledge "), ▁and ▁a ided ▁by ▁k arm as ▁(" sp irit ual ▁practices "). ▁Starting ▁from ▁childhood , ▁when ▁learning ▁has ▁to ▁start , ▁the ▁philosophy ▁has ▁to ▁be ▁a ▁way ▁of ▁life . ▁Sh ank ara ' s ▁primary ▁objective ▁was ▁to ▁understand ▁and ▁explain ▁how ▁m ok sha ▁is ▁achie v able ▁in ▁this ▁life , ▁what ▁it ▁is ▁means ▁to ▁be ▁liber ated , ▁free ▁and ▁a ▁J ivan mu k ta . ▁His ▁philosoph ical ▁thesis ▁was ▁that ▁j ivan mu kt i ▁is ▁self - real ization , ▁the ▁awareness ▁of ▁On eness ▁of ▁Self ▁and ▁the ▁Universal ▁Spirit ▁called |
▁Bra h man . ▁ ▁Sh ank ara ▁considered ▁the ▁pur ity ▁and ▁stead iness ▁of ▁mind ▁achieved ▁in ▁Y oga ▁as ▁an ▁aid ▁to ▁gaining ▁m ok sha ▁knowledge , ▁but ▁such ▁y og ic ▁state ▁of ▁mind ▁cannot ▁in ▁itself ▁give ▁rise ▁to ▁such ▁knowledge . ▁To ▁Sh ank ara , ▁that ▁knowledge ▁of ▁Bra h man ▁spring s ▁only ▁from ▁in quiry ▁into ▁the ▁teach ings ▁of ▁the ▁U pan ish ads . ▁The ▁method ▁of ▁yoga , ▁encouraged ▁in ▁Sh ank ara ' s ▁teach ings ▁notes ▁Com ans , ▁includes ▁withdrawal ▁of ▁mind ▁from ▁sense ▁objects ▁as ▁in ▁Pat anj ali ' s ▁system , ▁but ▁it ▁is ▁not ▁complete ▁thought ▁supp ression , ▁instead ▁it ▁is ▁a ▁" med itative ▁exercise ▁of ▁withdrawal ▁from ▁the ▁particular ▁and ▁identification ▁with ▁the ▁universal , ▁leading ▁to ▁contempl ation ▁of ▁ones elf ▁as ▁the ▁most ▁universal , ▁namely , ▁Con scious ness ". ▁Desc rib ing ▁Sh ank ara ' s ▁style ▁of ▁y og ic ▁practice , ▁Com ans ▁writes : ▁ ▁the ▁type ▁of ▁yoga ▁which ▁S ank ara ▁presents ▁here ▁is ▁a ▁method ▁of ▁mer ging , ▁as ▁it ▁were , ▁the ▁particular ▁( vis esa ) ▁into ▁the ▁general ▁( sam anya ). ▁For ▁example , ▁diverse ▁sounds ▁are ▁merged ▁in ▁the ▁sense ▁of ▁hearing , ▁which ▁has ▁greater ▁gener ality ▁in so far ▁as ▁the ▁sense ▁of ▁hearing ▁is ▁the ▁loc us ▁of ▁all ▁sounds . ▁The ▁sense ▁of ▁hearing ▁is ▁merged ▁into ▁the ▁mind |
, ▁whose ▁nature ▁consists ▁of ▁thinking ▁about ▁things , ▁and ▁the ▁mind ▁is ▁in ▁turn ▁merged ▁into ▁the ▁intellect , ▁which ▁S ank ara ▁then ▁says ▁is ▁made ▁into ▁' m ere ▁cogn ition ' ▁( v ijn an am atra ); ▁that ▁is , ▁all ▁particular ▁cogn itions ▁resolve ▁into ▁their ▁universal , ▁which ▁is ▁cogn ition ▁as ▁such , ▁thought ▁without ▁any ▁particular ▁object . ▁And ▁that ▁in ▁turn ▁is ▁merged ▁into ▁its ▁universal , ▁mere ▁Con scious ness ▁( p raj na fn agh ana ), ▁upon ▁which ▁everything ▁previously ▁referred ▁to ▁ultimately ▁depends . ▁▁ ▁Sh ank ara ▁rejected ▁those ▁yoga ▁system ▁variations ▁that ▁suggest ▁complete ▁thought ▁supp ression ▁leads ▁to ▁liber ation , ▁as ▁well ▁the ▁view ▁that ▁the ▁Sh r ut is ▁teach ▁liber ation ▁as ▁something ▁apart ▁from ▁the ▁knowledge ▁of ▁the ▁on eness ▁of ▁the ▁Self . ▁Know ledge ▁alone ▁and ▁insights ▁relating ▁to ▁true ▁nature ▁of ▁things , ▁taught ▁Sh ank ara , ▁is ▁what ▁liber ates . ▁He ▁placed ▁great ▁emphasis ▁on ▁the ▁study ▁of ▁the ▁U pan is ads , ▁emphas izing ▁them ▁as ▁necessary ▁and ▁sufficient ▁means ▁to ▁gain ▁Self - li ber ating ▁knowledge . ▁S ank ara ▁also ▁emphas ized ▁the ▁need ▁for ▁and ▁the ▁role ▁of ▁G uru ▁( A ch ary a , ▁teacher ) ▁for ▁such ▁knowledge . ▁ ▁Sh ank ara ' s ▁V ed anta ▁and ▁Mah ay ana ▁Budd h ism ▁ ▁Sh ank ara ' s ▁V ed anta ▁shows ▁similar ities |
▁with ▁Mah ay ana ▁Budd h ism ; ▁opponents ▁have ▁even ▁accused ▁Sh ank ara ▁of ▁being ▁a ▁" crypto - B udd hist ," ▁a ▁qual ification ▁which ▁is ▁rejected ▁by ▁the ▁Adv ait a ▁V ed anta ▁tradition , ▁given ▁the ▁differences ▁between ▁these ▁two ▁schools . ▁According ▁to ▁Sh ank ara , ▁a ▁major ▁difference ▁between ▁Adv ait a ▁and ▁Mah ay ana ▁Budd h ism ▁are ▁their ▁views ▁on ▁At man ▁and ▁Bra h man . ▁According ▁to ▁both ▁L oy ▁and ▁Jay at ille ke , ▁more ▁differences ▁can ▁be ▁disc ern ed . ▁ ▁D if ferences ▁ ▁At man ▁According ▁to ▁Sh ank ara , ▁Hindu ism ▁believes ▁in ▁the ▁existence ▁of ▁At man , ▁while ▁Budd h ism ▁den ies ▁this . ▁Sh ank ara , ▁c iting ▁Kath a ▁U pan ish ad , ▁assert ed ▁that ▁the ▁Hindu ▁U pan ish ad ▁starts ▁with ▁stating ▁its ▁objective ▁as ▁ ▁Budd h ists ▁and ▁L ok ā y at as , ▁wrote ▁Sh ank ara , ▁assert ▁that ▁soul ▁does ▁not ▁exist . ▁ ▁There ▁are ▁also ▁differences ▁in ▁the ▁understanding ▁of ▁what ▁" li ber ation " ▁means . ▁N ir v ana , ▁a ▁term ▁more ▁often ▁used ▁in ▁Budd h ism , ▁is ▁the ▁liber ating ▁realization ▁and ▁acceptance ▁that ▁there ▁is ▁no ▁Self ▁( an at man ). ▁M ok sha , ▁a ▁term ▁more ▁common ▁in ▁Hindu ism , ▁is ▁liber ating ▁realization ▁and ▁acceptance ▁of ▁Self ▁and ▁Universal |
▁Soul , ▁the ▁consciousness ▁of ▁one ' s ▁On eness ▁with ▁all ▁existence ▁and ▁understanding ▁the ▁whole ▁universe ▁as ▁the ▁Self . ▁ ▁Log ic ▁versus ▁revel ation ▁St cher bat sky ▁in ▁ 1 9 2 7 ▁critic ized ▁Sh ank ara ▁for ▁demanding ▁the ▁use ▁of ▁logic ▁from ▁Mad hy am ika ▁Budd h ists , ▁while ▁himself ▁resort ing ▁to ▁revel ation ▁as ▁a ▁source ▁of ▁knowledge . ▁Sir car ▁in ▁ 1 9 3 3 ▁offered ▁a ▁different ▁perspective ▁and ▁stated , ▁" S ank ara ▁recogn izes ▁the ▁value ▁of ▁the ▁law ▁of ▁contr ar iety ▁and ▁self - al ien ation ▁from ▁the ▁stand point ▁of ▁ideal istic ▁logic ; ▁and ▁it ▁has ▁consequ ently ▁been ▁possible ▁for ▁him ▁to ▁integrate ▁appearance ▁with ▁reality ." ▁ ▁Recent ▁scholarship ▁states ▁that ▁Sh ank ara ' s ▁arguments ▁on ▁revel ation ▁are ▁about ▁apt a ▁vac ana ▁( S ansk rit : ▁ आ प ् त व च न , ▁say ings ▁of ▁the ▁wise , ▁re lying ▁on ▁word , ▁testimony ▁of ▁past ▁or ▁present ▁reliable ▁experts ). ▁It ▁is ▁part ▁of ▁his ▁and ▁Adv ait a ▁V ed anta ' s ▁ep ist em ological ▁foundation . ▁Adv ait a ▁V ed anta ▁school ▁considers ▁such ▁testimony ▁ep ist em ically ▁valid ▁assert ing ▁that ▁a ▁human ▁being ▁needs ▁to ▁know ▁numerous ▁facts , ▁and ▁with ▁the ▁limited ▁time ▁and ▁energy ▁available , ▁he ▁can ▁learn ▁only ▁a ▁fraction ▁of ▁those ▁facts ▁and ▁truth s ▁directly |
. ▁Sh ank ara ▁considered ▁the ▁teach ings ▁in ▁the ▁V ed as ▁and ▁U pan ish ads ▁as ▁apt a ▁vac ana ▁and ▁a ▁valid ▁source ▁of ▁knowledge . ▁He ▁suggests ▁the ▁importance ▁of ▁teacher - dis c iple ▁relationship ▁on ▁combining ▁logic ▁and ▁revel ation ▁to ▁att ain ▁m ok sha ▁in ▁his ▁text ▁Up ades has ah as ri . ▁An ant an and ▁R amb ach an ▁and ▁others ▁state ▁Sh ank ara ▁method ology ▁did ▁not ▁rely ▁exclusively ▁on ▁V ed ic ▁statements , ▁but ▁included ▁a ▁range ▁of ▁logical ▁methods , ▁reasoning ▁method ology ▁and ▁pr aman as . ▁ ▁Similar ities ▁ ▁Despite ▁Sh ank ara ' s ▁criticism ▁of ▁certain ▁schools ▁of ▁Mah ay ana ▁Budd h ism , ▁Sh ank ara ' s ▁philosophy ▁shows ▁strong ▁similar ities ▁with ▁the ▁Mah ay ana ▁Budd hist ▁philosophy ▁which ▁he ▁attacks . ▁According ▁to ▁S . N . ▁Das gu pt a , ▁ ▁According ▁to ▁M ud gal , ▁Sh ank ara ' s ▁Adv ait a ▁and ▁the ▁Budd hist ▁Mad hy am aka ▁view ▁of ▁ultimate ▁reality ▁are ▁compatible ▁because ▁they ▁are ▁both ▁transc end ental , ▁ind esc rib able , ▁non - du al ▁and ▁only ▁arrived ▁at ▁through ▁a ▁via ▁neg ativa ▁( net i ▁net i ). ▁M ud gal ▁concl udes ▁therefore ▁that ▁ ▁Historical ▁and ▁cultural ▁impact ▁ ▁Historical ▁context ▁ ▁Sh ank ara ▁lived ▁in ▁the ▁time ▁of ▁the ▁great ▁" L ate ▁classical ▁Hindu ism |
", ▁which ▁lasted ▁from ▁ 6 5 0 ▁till ▁ 1 1 0 0 ▁CE . ▁This ▁era ▁was ▁one ▁of ▁political ▁inst ability ▁that ▁followed ▁the ▁Gu pt a ▁dyn asty ▁and ▁King ▁Har sha ▁of ▁the ▁ 7 th ▁century ▁CE . ▁It ▁was ▁a ▁time ▁of ▁social ▁and ▁cultural ▁change ▁as ▁the ▁ideas ▁of ▁Budd h ism , ▁J ain ism , ▁Islam ▁and ▁various ▁traditions ▁within ▁Hindu ism ▁were ▁competing ▁for ▁members . ▁Budd h ism ▁in ▁particular ▁had ▁emerged ▁as ▁a ▁powerful ▁influence ▁in ▁India ' s ▁spiritual ▁traditions ▁in ▁the ▁first ▁ 7 0 0 ▁years ▁of ▁the ▁ 1 st ▁mill enn ium ▁CE . ▁Sh ank ara , ▁and ▁his ▁contempor aries , ▁made ▁a ▁significant ▁contribution ▁in ▁understanding ▁Budd h ism ▁and ▁the ▁ancient ▁V ed ic ▁traditions , ▁then ▁transform ing ▁the ▁ext ant ▁ideas , ▁particularly ▁reform ing ▁the ▁V ed anta ▁tradition ▁of ▁Hindu ism , ▁making ▁it ▁India ' s ▁most ▁important ▁tradition ▁for ▁more ▁than ▁a ▁thousand ▁years . ▁ ▁In flu ence ▁on ▁Hindu ism ▁ ▁Sh ank ara ▁has ▁an ▁un par alle ll ed ▁status ▁in ▁the ▁tradition ▁of ▁Adv ait a ▁V ed anta . ▁He ▁trav elled ▁all ▁over ▁India ▁to ▁help ▁restore ▁the ▁study ▁of ▁the ▁V ed as . ▁His ▁teach ings ▁and ▁tradition ▁form ▁the ▁basis ▁of ▁Smart ism ▁and ▁have ▁influenced ▁Sant ▁Mat ▁line ages . ▁ ▁He ▁introduced ▁the ▁ ▁form ▁of ▁worship , ▁the ▁simultane ous ▁worship ▁of |
▁five ▁de ities – ▁G anes ha , ▁S ury a , ▁V ish nu , ▁Sh iva ▁and ▁Dev i . ▁Sh ank ara ▁explained ▁that ▁all ▁de ities ▁were ▁but ▁different ▁forms ▁of ▁the ▁one ▁Bra h man , ▁the ▁invisible ▁Supreme ▁Being . ▁ ▁Bened ict ▁Ash ley ▁credits ▁Ad i ▁Sh ank ara ▁for ▁un ifying ▁two ▁seemingly ▁dispar ate ▁philosoph ical ▁do ctr ines ▁in ▁Hindu ism , ▁namely ▁At man ▁and ▁Bra h man . ▁Isa eva ▁states ▁Sh ank ara ' s ▁influence ▁included ▁reform ing ▁Hindu ism , ▁founding ▁monaster ies , ▁ed ifying ▁dis ciples , ▁disput ing ▁opponents ▁and ▁engaging ▁in ▁philosoph ic ▁activity ▁that , ▁in ▁the ▁eyes ▁of ▁Indian ▁tradition , ▁help ▁rev ive ▁" the ▁orth odox ▁idea ▁of ▁the ▁unity ▁of ▁all ▁beings " ▁and ▁V ed anta ▁thought . ▁ ▁Prior ▁to ▁Sh ank ara , ▁views ▁similar ▁to ▁his ▁already ▁existed , ▁but ▁did ▁not ▁occup y ▁a ▁dominant ▁position ▁within ▁the ▁V ed anta . ▁According ▁to ▁Nak am ura , ▁it ▁was ▁only ▁after ▁Sh ank ara ▁that ▁" the ▁the olog ians ▁of ▁the ▁various ▁sect s ▁of ▁Hindu ism ▁utilized ▁V ed anta ▁philosophy ▁to ▁a ▁greater ▁or ▁lesser ▁degree ▁to ▁form ▁the ▁basis ▁of ▁their ▁do ctr ines ," ▁where by ▁" its ▁theoretical ▁influence ▁upon ▁the ▁whole ▁of ▁Indian ▁society ▁became ▁final ▁and ▁definit ive ." ▁ ▁Crit ical ▁assessment ▁ ▁Some ▁scholars ▁doubt ▁Sh ank ara ' s ▁early |
▁influence ▁in ▁India . ▁The ▁Budd hist ▁scholar ▁Richard ▁E . ▁King ▁states , ▁ ▁According ▁to ▁King ▁and ▁R ood ur mun , ▁until ▁the ▁ 1 0 th ▁century ▁Sh ank ara ▁was ▁overs h adow ed ▁by ▁his ▁older ▁contemporary ▁Mand ana - M is ra , ▁the ▁latter ▁considered ▁to ▁be ▁the ▁major ▁representative ▁of ▁Adv ait a . ▁Other ▁scholars ▁state ▁that ▁the ▁historical ▁records ▁for ▁this ▁period ▁are ▁un clear , ▁and ▁little ▁reliable ▁information ▁is ▁known ▁about ▁the ▁various ▁contempor aries ▁and ▁dis ciples ▁of ▁Sh ank ara . ▁For ▁example , ▁Adv ait a ▁tradition ▁holds ▁that ▁Mand ana - M is ra ▁is ▁the ▁same ▁person ▁as ▁S ures var a , ▁a ▁name ▁he ▁adopted ▁after ▁he ▁became ▁a ▁disc iple ▁of ▁Sh ank ara ▁after ▁a ▁public ▁debate ▁which ▁Sh ank ara ▁won . ▁ ▁Some ▁scholars ▁state ▁that ▁Ma ṇ ḍ ana - M i ś ra ▁and ▁Sure ś var a ▁must ▁have ▁been ▁two ▁different ▁scholars , ▁because ▁their ▁scholarship ▁is ▁quite ▁different . ▁Other ▁scholars , ▁on ▁the ▁other ▁hand , ▁state ▁that ▁Mand ana - M i ś ra ▁and ▁Sh ank ara ▁do ▁share ▁views , ▁because ▁both ▁emphas ize ▁that ▁Bra h man - At man ▁can ▁not ▁be ▁directly ▁perceived , ▁rather ▁it ▁is ▁discovered ▁and ▁defined ▁through ▁elim ination ▁of ▁division ▁( du ality ) ▁of ▁any ▁kind . ▁The ▁Self - real ization ▁( S oul - know ledge ), ▁suggest ▁both |
▁Mand ana ▁Mis ra ▁and ▁Sh ank ara , ▁can ▁be ▁described ▁cat aph atically ▁( pos itive ▁liber ation , ▁freedom ▁through ▁knowledge , ▁j ivan mu kt i ▁m ok sha ) ▁as ▁well ▁as ▁ap oph atically ▁( rem oval ▁of ▁ignorance , ▁neg ation ▁of ▁dual ity , ▁neg ation ▁of ▁division ▁between ▁people ▁or ▁souls ▁or ▁spirit - m atter ). ▁While ▁both ▁share ▁core ▁prem ises , ▁states ▁Isa eva , ▁they ▁differ ▁in ▁several ▁ways , ▁with ▁Mand ana ▁Mis ra ▁holding ▁V ed ic ▁knowledge ▁as ▁an ▁absolute ▁and ▁end ▁in ▁itself , ▁while ▁Sh ank ara ▁holds ▁V ed ic ▁knowledge ▁and ▁all ▁religious ▁r ites ▁as ▁subs idi ary ▁and ▁means ▁to ▁the ▁human ▁long ing ▁for ▁" li ber ation , ▁freedom ▁and ▁m ok sha ". ▁ ▁Several ▁scholars ▁suggest ▁that ▁the ▁historical ▁fame ▁and ▁cultural ▁influence ▁of ▁Sh ank ara ▁grew ▁centuries ▁later , ▁particularly ▁during ▁the ▁era ▁of ▁Muslim ▁invas ions ▁and ▁consequ ent ▁devast ation ▁of ▁India . ▁Many ▁of ▁Sh ank ara ' s ▁bi ograph ies ▁were ▁created ▁and ▁published ▁in ▁and ▁after ▁ 1 4 th ▁century , ▁such ▁as ▁the ▁widely ▁cited ▁V id yar anya ' s ▁Ś ank ara - v ij aya . ▁V id yar anya , ▁also ▁known ▁as ▁Mad h ava , ▁who ▁was ▁the ▁ 1 2 th ▁Jag ad g uru ▁of ▁the ▁Ś ring eri ▁Ś ar ada ▁P ī th am ▁from ▁ 1 |
3 8 0 ▁to ▁ 1 3 8 6 , ▁inspired ▁the ▁re - cre ation ▁of ▁the ▁Hindu ▁V ij ay an ag ara ▁Empire ▁of ▁South ▁India ▁in ▁response ▁to ▁the ▁devast ation ▁caused ▁by ▁the ▁Islamic ▁Delhi ▁S ultan ate . ▁He ▁and ▁his ▁brothers , ▁suggest ▁Paul ▁H acker ▁and ▁other ▁scholars , ▁wrote ▁about ▁Ś ank ara ▁as ▁well ▁as ▁extensive ▁Adv ait ic ▁comment aries ▁on ▁V ed as ▁and ▁D har ma . ▁V id yar anya ▁was ▁a ▁minister ▁in ▁V ij ay an ag ara ▁Empire ▁and ▁enjoyed ▁royal ▁support , ▁and ▁his ▁spons orship ▁and ▁method ical ▁efforts ▁helped ▁establish ▁Sh ank ara ▁as ▁a ▁rally ing ▁symbol ▁of ▁values , ▁and ▁helped ▁spread ▁historical ▁and ▁cultural ▁influence ▁of ▁Sh ank ara ' s ▁V ed anta ▁philosoph ies . ▁V id yar anya ▁also ▁helped ▁establish ▁monaster ies ▁( math as ) ▁to ▁expand ▁the ▁cultural ▁influence ▁of ▁Sh ank ara . ▁It ▁may ▁be ▁these ▁circumstances , ▁suggest ▁scholars , ▁that ▁grew ▁and ▁cred ited ▁Sh ank ara ▁for ▁various ▁Hindu ▁fest ive ▁traditions ▁such ▁as ▁the ▁K umb h ▁M ela ▁– ▁one ▁of ▁the ▁world ' s ▁largest ▁periodic ▁religious ▁pil gr images . ▁ ▁Math as ▁ ▁Sh ank ara ▁is ▁regarded ▁as ▁the ▁founder ▁of ▁the ▁ ▁of ▁Hindu ▁mon astic ism ▁and ▁ ▁of ▁Smart a ▁tradition . ▁He ▁un ified ▁the ▁the istic ▁sect s ▁into ▁a ▁common ▁framework ▁of ▁Shan m ata ▁system . |
▁Adv ait a ▁V ed anta ▁is , ▁at ▁least ▁in ▁the ▁west , ▁primarily ▁known ▁as ▁a ▁philosoph ical ▁system . ▁But ▁it ▁is ▁also ▁a ▁tradition ▁of ▁ren unci ation . ▁Philosoph y ▁and ▁ren unci ation ▁are ▁closely ▁related : ▁ ▁Sh ank ara , ▁himself ▁considered ▁to ▁be ▁an ▁inc arn ation ▁of ▁Sh iva , ▁established ▁the ▁D ash an ami ▁Sam pr ad aya , ▁organ izing ▁a ▁section ▁of ▁the ▁Ek ad and i ▁mon ks ▁under ▁an ▁u mbre lla ▁group ing ▁of ▁ten ▁names . ▁Several ▁other ▁Hindu ▁mon astic ▁and ▁Ek ad and i ▁traditions ▁remained ▁outside ▁the ▁organisation ▁of ▁the ▁Das an ā m is . ▁ ▁Ad i ▁S ank ara ▁organ ised ▁the ▁Hindu ▁mon ks ▁of ▁these ▁ten ▁sect s ▁or ▁names ▁under ▁four ▁ ▁( S ansk rit : ▁) ▁( mon aster ies ), ▁with ▁the ▁headquarters ▁at ▁D v ā r ak ā ▁in ▁the ▁West , ▁Jag ann ath a ▁P uri ▁in ▁the ▁East , ▁S ring eri ▁in ▁the ▁South ▁and ▁Bad rik ash r ama ▁in ▁the ▁North . ▁Each ▁math ▁was ▁headed ▁by ▁one ▁of ▁his ▁four ▁main ▁dis ciples , ▁who ▁each ▁continues ▁the ▁V ed anta ▁Sam pr ad aya . ▁ ▁Yet , ▁according ▁to ▁Pand ey , ▁these ▁Math as ▁were ▁not ▁established ▁by ▁Sh ank ara ▁himself , ▁but ▁were ▁originally ▁as hr ams ▁established ▁by ▁V ib h ā ņ d aka ▁and ▁his ▁son |
▁ <0xC5> <0x96> ș ya ś <0xC5> <0x97> ng a . ▁Sh ank ara ▁inherited ▁the ▁as hr ams ▁at ▁D v ā r ak ā ▁and ▁S ring eri , ▁and ▁shifted ▁the ▁as hr am ▁at ▁Ś <0xC5> <0x97> ng aver ap ura ▁to ▁Bad ar ik ā ś r ama , ▁and ▁the ▁as hr am ▁at ▁Ang ade ś a ▁to ▁Jag ann ā tha ▁Pur ī . ▁ ▁The ▁adv ait a ▁sam pr ad aya ▁is ▁not ▁a ▁Sa iva ▁sect , ▁despite ▁the ▁historical ▁links ▁with ▁Sha iv ism : ▁ ▁Nevertheless , ▁contemporary ▁S ank ar ac ary as ▁have ▁more ▁influence ▁among ▁Sa iva ▁communities ▁than ▁among ▁V ais n ava ▁communities . ▁The ▁greatest ▁influence ▁of ▁the ▁g ur us ▁of ▁the ▁adv ait a ▁tradition ▁has ▁been ▁among ▁followers ▁of ▁the ▁S mar tha ▁Trad ition , ▁who ▁integrate ▁the ▁domestic ▁V ed ic ▁ritual ▁with ▁dev ot ional ▁aspects ▁of ▁Hindu ism . ▁ ▁According ▁to ▁Nak am ura , ▁these ▁math as ▁contributed ▁to ▁the ▁influence ▁of ▁Sh ank ara , ▁which ▁was ▁" due ▁to ▁institutional ▁factors ". ▁The ▁math as ▁which ▁he ▁built ▁exist ▁until ▁today , ▁and ▁preserve ▁the ▁teach ings ▁and ▁influence ▁of ▁Sh ank ara , ▁" while ▁the ▁writ ings ▁of ▁other ▁scholars ▁before ▁him ▁came ▁to ▁be ▁forgotten ▁with ▁the ▁passage ▁of ▁time ". ▁ ▁The ▁table ▁below ▁gives ▁an ▁overview ▁of ▁the ▁four ▁Am n aya ▁Math as ▁founded ▁by ▁Sh ank |
ara , ▁and ▁their ▁details . ▁ ▁Smart a ▁Trad ition ▁ ▁Trad itionally , ▁Sh ank ara ▁is ▁regarded ▁as ▁the ▁greatest ▁teacher ▁and ▁reform er ▁of ▁the ▁Smart a . ▁ ▁According ▁to ▁Alf ▁Hil te beit el , ▁Sh ank ara ▁established ▁the ▁non du al ist ▁interpretation ▁of ▁the ▁U pan ish ads ▁as ▁the ▁touch stone ▁of ▁a ▁rev ived ▁smart a ▁tradition : ▁ ▁Film ▁ ▁In ▁ 1 9 7 7 ▁Jag ad g uru ▁A ad is ank aran , ▁a ▁Mal ay al am ▁film ▁directed ▁by ▁P . ▁Bh ask aran ▁was ▁released ▁in ▁which ▁M ural i ▁Moh an ▁plays ▁the ▁role ▁of ▁Adult ▁A adi ▁S ank aran ▁and ▁Master ▁R ag hu ▁plays ▁childhood . ▁ ▁In ▁ 1 9 8 3 ▁a ▁film ▁directed ▁by ▁G . V . ▁I yer ▁named ▁Ad i ▁Sh ank ar ach ary a ▁was ▁premier ed , ▁the ▁first ▁film ▁ever ▁made ▁entirely ▁in ▁S ansk rit ▁language ▁in ▁which ▁all ▁of ▁Ad i ▁Sh ank ar ach ary a ' s ▁works ▁were ▁compiled . ▁The ▁movie ▁received ▁the ▁Indian ▁National ▁Film ▁Awards ▁for ▁Best ▁Film , ▁Best ▁Screen play , ▁Best ▁Cin emat ography ▁and ▁Best ▁A udi ography . ▁ ▁See ▁also ▁▁ ▁Sw ami ▁V ive kan anda ▁▁▁▁▁▁▁▁▁▁▁▁▁▁ ▁ ▁Ad i ▁Sh ri ▁G au ḍ ap ā d ā ch ā ry a ▁ ▁J n ana ▁Y oga ▁ ▁U pan ish ads ▁ ▁Sh |
ri ▁G aud ap ad ach ary a ▁Math ▁ ▁Sh ri ▁G ov inda ▁Bh ag av at pad ach ary a ▁ ▁V air ag ya ▁ ▁V ive k ach ud am ani ▁ ▁Sound ary a ▁L ah ari ▁ ▁Sh ivan anda ▁L ah ari ▁ ▁Self - conscious ness ▁( V ed anta ) ▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁ ▁▁▁▁ ▁G ov ard han ▁Pe eth am ▁( E ast ), ▁P uri , ▁Od isha ▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁ ▁ ▁D w ark a ▁Shar ada ▁Pe eth am ▁( West ), ▁D w ark a , ▁Gu jar at ▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁ ▁▁ ▁J y ot ir math ▁Pe eth am ▁( N orth ), ▁J y ot ir math , ▁Bad rik ash ram , ▁U tt ar ak hand ▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁ ▁▁ ▁Sh ri ▁S ring eri ▁Shar ada ▁Pe eth am ▁( South ), ▁S ring eri , ▁K arn at aka ▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁ ▁ ▁Sh ri ▁K anch i ▁Kam ak oti ▁Pe eth am , ▁K anch ip ur am , ▁T amil ▁Nad u ▁ ▁Notes ▁ ▁Re ferences ▁ ▁S ources ▁ ▁Print ed ▁sources ▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁ ▁▁▁ ▁Some ▁ed itions ▁spell ▁the ▁author ▁Is ay eva . ▁ ▁Web - sources ▁ ▁Further ▁reading ▁▁▁ ▁M ish ra , ▁Param es hw ar ▁N ath ▁( 2 0 0 3 ), ▁" E ra ▁of ▁Ad i ▁Sh ank ar ach ary a ▁ 5 0 7 B . C . – 4 7 5 ▁B . C |
.", ▁How rah ▁Sam sk rit i ▁R ak sh ak ▁Par ish ad , ▁West ▁Beng al . ▁ ▁M ish ra , ▁Param es hw ar ▁N ath , ▁" A mit ▁Kal rek ha ", ▁ 3 ▁vol s . ▁( in ▁Hind i ), ▁How rah ▁Sam sk rit i ▁R ak sh ak ▁Par ish ad , ▁West ▁Beng al . ▁ ▁Success ion ▁of ▁Sh ank ar ach ary as ▁( a ▁chron ology ) ▁( from ▁G aud ap ada ▁on wards ) ▁▁▁ ▁Frank ▁Wh aling ▁( 1 9 7 9 ), ▁Ś ank ara ▁and ▁Budd h ism , ▁Journal ▁of ▁Indian ▁Philosoph y , ▁Vol . ▁ 7 , ▁No . ▁ 1 , ▁pp . 1 – 4 2 ▁ ▁" S ri ▁Sh ank ar ach ary a ▁in ▁Camb od ia .. ?" ▁by ▁S . ▁S rik anta ▁S ast ri ▁▁▁▁▁▁▁ ▁A ▁Question ing ▁Appro ach : ▁Learning ▁from ▁S ank ara ' s ▁Ped agog ic ▁Techn iques , ▁Jac qu eline ▁H irst , ▁Cont emporary ▁Education ▁Dialog ue , ▁Vol . ▁ 2 , ▁No . ▁ 2 , ▁pp . 1 3 7 – 1 6 9 ▁ ▁Ex ternal ▁links ▁▁▁▁▁▁▁▁ ▁Maj ors ▁works ▁of ▁Ad i ▁S ank ara ▁Vol umes ▁ 1 – 2 0 , ▁( S ansk rit ▁and ▁English ▁Trans l ations ) ▁ ▁A ▁Note ▁on ▁the ▁date ▁of ▁S ank ara ▁( Ad i |
▁S ank ar ach ary a ) ▁by ▁S . ▁S rik anta ▁S ast ri ▁ ▁* ▁Category : 7 8 8 ▁birth s ▁Category : 8 2 0 ▁deaths ▁Category : 9 th - century ▁Indian ▁mon ks ▁Category : 9 th - century ▁Indian ▁philosoph ers ▁Category : 9 th - century ▁Indian ▁writers ▁Category : Adv ait in ▁philosoph ers ▁Category : An c ient ▁Indian ▁philosoph ers ▁Category : An c ient ▁Indian ▁writers ▁Category : E p ist em ologists ▁Category : Found ers ▁of ▁relig ions ▁Category : H ind u ▁a ch ary as ▁Category : H ind u ▁myst ics ▁Category : H ind u ▁philosoph ers ▁Category : H ind u ▁reform ers ▁Category : History ▁of ▁Ker ala ▁Category : I de al ists ▁Category : Ind ian ▁Hindu ▁mission aries ▁Category : Ind ian ▁Hindu ▁mon ks ▁Category : Ind ian ▁Hindu ▁religious ▁leaders ▁Category : Ind ian ▁Hind us ▁Category : Ind ian ▁male ▁writers ▁Category : Ind ian ▁spiritual ▁teachers ▁Category : Ind ian ▁spiritual ▁writers ▁Category : Ind ian ▁y og is ▁Category : K er ala ▁academ ics ▁Category : Med ieval ▁Hindu ▁religious ▁leaders ▁Category : Met aph ys icians ▁Category : M oral ▁philosoph ers ▁Category : O nt ologists ▁Category : P ant he ists ▁Category : People ▁from ▁Ern ak ul am ▁district ▁Category : Phil osoph ers ▁of ▁mind ▁Category : Phil osoph ers ▁of ▁religion ▁Category : S ansk rit ▁writers |
▁Category : Sch ol ars ▁from ▁Ker ala ▁Category : Sp irit ual ▁teachers ▁Category : Writ ers ▁from ▁Ker ala <0x0A> </s> ▁Leon ides ▁Sara o ▁Vir ata ▁( Apr il ▁ 2 2 , ▁ 1 9 1 8 ▁– ▁July ▁ 1 4 , ▁ 1 9 7 6 ) ▁was ▁a ▁Filip ino ▁econom ist . ▁ ▁During ▁his ▁lifetime , ▁he ▁served ▁as ▁executive ▁officer ▁of ▁various ▁government ▁and ▁private ▁companies ▁in ▁the ▁country . ▁ ▁He ▁was ▁appointed ▁the ▁Secretary ▁of ▁the ▁Department ▁of ▁Commerce ▁and ▁Industry ▁from ▁ 1 9 6 9 - 1 9 7 0 ▁and ▁then ▁Chairman ▁of ▁the ▁Development ▁Bank ▁of ▁the ▁Philippines ▁from ▁ 1 9 7 0 ▁till ▁his ▁death ▁in ▁ 1 9 7 6 . ▁ ▁He ▁h ailed ▁from ▁the ▁city ▁of ▁Im us ▁in ▁Cav ite ▁province . ▁ ▁Early ▁life ▁and ▁education ▁▁ ▁Leon ides ▁Sara o ▁Vir ata ▁was ▁born ▁on ▁April ▁ 2 2 , ▁ 1 9 1 8 ▁in ▁Br gy . ▁Medic ion ▁II , ▁Im us , ▁Cav ite ▁to ▁Luis ▁Vir ata ▁and ▁Ag ap ita ▁Sara o . ▁According ▁to ▁family ▁members , ▁the ▁original ▁family ▁name ▁was ▁B aut ista . ▁ ▁S omet ime ▁during ▁the ▁ 1 8 9 6 ▁Philipp ine ▁revolution , ▁a ▁fore bear ▁changed ▁the ▁surn ame ▁to ▁Vir ata , ▁taking ▁the ▁name ▁of ▁the ▁character ▁King ▁Vir ata ▁from ▁the ▁Indian ▁epic ▁Mah ab har ata . ▁His |
▁elder ▁half - bro ther , ▁Dr . ▁En rique ▁Top acio ▁Vir ata ▁( who ▁married ▁Leon or ▁A gu inal do , ▁daughter ▁of ▁Gen . ▁Bal dom ero ▁A gu inal do ) ▁was ▁the ▁father ▁of ▁Ces ar ▁Vir ata , ▁the ▁former ▁Prime ▁Minister ▁of ▁the ▁Philippines . ▁Vir ata ▁was ▁also ▁a ▁relative ▁of ▁Leon ardo ▁S . ▁Sara o , ▁an ▁autom otive ▁designer ▁and ▁founder ▁of ▁Sara o ▁Mot ors , ▁the ▁maker ▁of ▁je ep neys ▁known ▁internation ally ▁as ▁a ▁symbol ▁of ▁Filip ino ▁culture . ▁ ▁Vir ata ▁obtained ▁his ▁Law ▁degree ▁in ▁ 1 9 4 0 ▁and ▁Business ▁Administration ▁degree , ▁cum ▁la ude , ▁in ▁ 1 9 4 1 , ▁both ▁courses ▁from ▁the ▁University ▁of ▁the ▁Philippines . ▁He ▁did ▁graduate ▁work ▁at ▁the ▁Harvard ▁University , ▁the ▁University ▁of ▁Chicago , ▁and ▁North western ▁University . ▁ ▁Career ▁▁ ▁Vir ata ▁was ▁in ▁the ▁United ▁States ▁when ▁the ▁Philipp ine ▁Commonwealth ▁was ▁evac uated ▁to ▁America ▁because ▁of ▁the ▁r aging ▁war ▁in ▁the ▁Pacific . ▁From ▁ 1 9 4 6 ▁to ▁ 1 9 4 8 , ▁he ▁worked ▁as ▁an ▁officer ▁of ▁the ▁Philipp ine ▁Emb assy ▁in ▁the ▁US . ▁After ▁the ▁war , ▁the ▁task ▁of ▁direct ing ▁the ▁economic ▁research ▁of ▁the ▁newly ▁organized ▁Central ▁Bank ▁of ▁the ▁Philippines ▁in ▁ 1 9 4 9 ▁fell ▁on ▁him . ▁Sub sequently , ▁he ▁was ▁appointed ▁as ▁the ▁bank ’ s |
▁deputy ▁governor ▁and ▁later , ▁as ▁a ▁member ▁of ▁the ▁Mon etary ▁Board . ▁ ▁In ▁various ▁United ▁Nations ▁con ferences ▁on ▁finance , ▁trade , ▁industry ▁and ▁economics ; ▁Vir ata ▁served ▁in ▁different ▁capac ities . ▁ ▁He ▁was ▁the ▁adv iser ▁to ▁the ▁Philipp ine ▁delegate ▁to ▁the ▁International ▁Mon etary ▁Fund ▁Conference ▁at ▁Washington , ▁DC ▁in ▁ 1 9 4 9 ▁and ▁to ▁the ▁International ▁Mon etary ▁Fund ▁and ▁International ▁Bank ▁Conference ▁at ▁Paris , ▁France ▁in ▁ 1 9 5 0 . ▁ ▁He ▁was ▁a ▁delegate ▁of ▁the ▁Philippines ▁to ▁the ▁Conference ▁of ▁the ▁Consult ative ▁Committee ▁in ▁Economic ▁Development ▁in ▁Sout heast ▁Asia ▁under ▁the ▁Col om bo ▁plan ▁in ▁C ey lon ▁in ▁ 1 9 5 7 . ▁ ▁In ▁ 1 9 5 2 , ▁he ▁left ▁the ▁government ▁service ▁and ▁joined ▁the ▁Philipp ine ▁American ▁Life ▁and ▁General ▁Insurance ▁Company ▁as ▁financial ▁vice - pres ident ▁and ▁vice - chair man ▁of ▁its ▁investment ▁committee . ▁Soon , ▁he ▁was ▁accord ed ▁the ▁same ▁respect ▁he ▁earned ▁during ▁his ▁service ▁with ▁the ▁government . ▁He ▁was ▁elected ▁either ▁as ▁chairman , ▁president ▁or ▁board ▁member ▁of ▁various ▁companies ▁involved ▁in ▁insurance , ▁food ▁processing , ▁marketing , ▁oil ▁exploration , ▁p ly wood ▁manufact ure , ▁logging , ▁text ile , ▁meat ▁packing , ▁glass ▁making , ▁oil ▁ref ining , ▁banking , ▁tele commun ications , ▁etc . ▁His ▁leadership ▁in ▁business ▁and ▁industry ▁reached ▁its ▁peak ▁when ▁he ▁was |
▁elected ▁president ▁of ▁the ▁Philipp ine ▁Chamber ▁of ▁Indust ries ▁and ▁the ▁Management ▁Association ▁of ▁the ▁Philippines . ▁ ▁He ▁was ▁also ▁attributed ▁to ▁the ▁successful ▁transfer ▁of ▁the ▁Man ila ▁Electric ▁Company ▁to ▁Filip ino ▁control ▁from ▁General ▁Public ▁Util ities ▁of ▁the ▁United ▁States , ▁and ▁the ▁Filip in ization ▁of ▁the ▁Philipp ine ▁Long ▁D istance ▁Tele phone ▁Company . ▁ ▁He ▁became ▁a ▁member ▁of ▁the ▁J oint ▁Legisl ative ▁Executive ▁Tax ▁Commission ▁in ▁ 1 9 6 6 . ▁From ▁ 1 9 6 9 ▁to ▁ 1 9 7 0 , ▁President ▁Mar cos ▁appointed ▁him ▁as ▁Secretary ▁of ▁the ▁Department ▁of ▁Commerce ▁and ▁Industry ▁( now ▁the ▁Department ▁of ▁Trade ▁and ▁Industry ). ▁In ▁ 1 9 7 0 , ▁he ▁was ▁appointed ▁chairman ▁of ▁the ▁Development ▁Bank ▁of ▁the ▁Philippines . ▁ ▁Upon ▁assuming ▁his ▁position ▁as ▁Chairman ▁of ▁D BP , ▁he ▁ordered ▁the ▁investigation ▁of ▁several ▁major ▁firms ▁that ▁failed ▁to ▁pay ▁the ▁D BP ▁millions ▁of ▁pes os ▁in ▁over due ▁obligations . ▁ ▁Because ▁of ▁this , ▁he ▁was ▁considered ▁as ▁one ▁of ▁the ▁radical ▁chair men ▁the ▁D BP ▁ever ▁had . ▁ ▁Also ▁as ▁head ▁of ▁the ▁D BP , ▁he ▁helped ▁agricultural ▁and ▁industrial ▁enter prises ▁through ▁sound ▁financing ▁schemes . ▁He ▁was ▁also ▁responsible ▁for ▁orient ing ▁the ▁institutional ▁objective ▁of ▁development ▁to ▁the ▁countryside ▁to ▁ins ure ▁that ▁the ▁rural ▁people ▁would ▁enjoy ▁the ▁benefits ▁of ▁economic ▁growth . ▁ ▁Death ▁▁ ▁On ▁July ▁ 1 |
4 , ▁ 1 9 7 6 , ▁Chairman ▁Vir ata ▁died ▁in ▁Houston , ▁Texas , ▁where ▁he ▁was ▁treated ▁of ▁a ▁ling ering ▁illness , ▁leaving ▁his ▁wife ▁the ▁former ▁Marie ▁Ther esa ▁“ Be be ” ▁Gall ardo ▁L amm og lia , ▁and ▁two ▁children , ▁Luis ▁Juan ▁Vir ata ▁( mar ried ▁Elizabeth ▁Tor res ▁Cu - Un ji eng ) ▁and ▁Giov anna ▁“ V anna ” ▁Vir ata . ▁ ▁J V ▁de ▁O camp o ▁assumed ▁Vir ata ’ s ▁un finished ▁term ▁at ▁the ▁D BP . ▁In ▁hon oring ▁Vir ata , ▁Chairman ▁de ▁O camp o ▁said : ▁“ In ▁the ▁death ▁of ▁Chairman ▁Leon ides ▁Vir ata , ▁we ▁have ▁lost ▁a ▁este emed ▁leader ▁in ▁the ▁country ’ s ▁economic ▁life . ▁He ▁was ▁a ▁force ▁in ▁our ▁development ▁direction …. ▁Chairman ▁Vir ata ▁was ▁an ▁artic ulate ▁exponent ▁of ▁an ▁economic ▁strategy ▁designed ▁to ▁improve ▁the ▁quality ▁of ▁life ▁of ▁our ▁people ▁and ▁he ▁gave ▁of ▁himself ▁liber ally ▁to ▁this ▁purs uits ▁toward ▁the ▁end . ▁Short ly ▁before ▁his ▁death , ▁he ▁sought ▁to ▁give ▁deeper ▁and ▁massive ▁meaning ▁to ▁the ▁D BP ’ s ▁countryside ▁development ▁program ▁which ▁he ▁himself ▁initiated ▁in ▁line ▁with ▁national ▁policy .” ▁ ▁Hon ors ▁and ▁awards ▁▁▁ ▁In ▁ 1 9 6 3 , ▁the ▁Philipp ine ▁Women ' s ▁University ▁awarded ▁him ▁an ▁honor ary ▁doctor ate ▁degree . ▁ ▁In ▁recognition ▁of ▁his ▁long ▁and ▁distinguished ▁service ▁to |
▁the ▁country ▁in ▁the ▁fields ▁of ▁banking , ▁finance , ▁trade ▁and ▁industry , ▁which ▁sp anned ▁a ▁period ▁of ▁ 3 3 ▁years , ▁President ▁Mar cos ▁post hum ously ▁con ferred ▁on ▁him ▁the ▁President ial ▁Mer it ▁Medal . ▁ ▁The ▁Leon ides ▁S . ▁Vir ata ▁Memorial ▁School ▁( LS V MS ) ▁in ▁Pal aw an ▁was ▁named ▁after ▁him . ▁ ▁Re ferences ▁ ▁Category : 1 9 1 8 ▁birth s ▁Category : 1 9 7 6 ▁deaths ▁Category : People ▁from ▁Im us ▁Category : Fil ip ino ▁business people ▁Category : Secret aries ▁of ▁Trade ▁and ▁Industry ▁of ▁the ▁Philippines ▁Category : Mar cos ▁Administration ▁cabinet ▁members <0x0A> </s> ▁Ham ad ▁G an ay em ▁( , ▁; ▁born ▁ 8 ▁July ▁ 1 9 8 7 ) ▁is ▁an ▁Arab - Is rael i ▁professional ▁football ▁( soc cer ) ▁player ▁who ▁plays ▁for ▁M acc abi ▁Tam ra . ▁ ▁Re ferences ▁ ▁Foot notes ▁ ▁Category : 1 9 8 7 ▁birth s ▁Category : L iving ▁people ▁Category : Ar ab ▁citizens ▁of ▁Israel ▁Category : Ar ab - Is rael i ▁football ers ▁Category : Is rael i ▁football ers ▁Category : Associ ation ▁football ▁mid field ers ▁Category : B ne i ▁Sak hn in ▁F . C . ▁players ▁Category : Sh ab ab ▁Al - K hal il ▁SC ▁players ▁Category : H ap o el ▁I ks al ▁F . C . ▁players ▁Category : |
M acc abi ▁Iron i ▁Tam ra ▁F . C . ▁players ▁Category : M acc ab iah ▁Games ▁medal ists ▁in ▁football ▁Category : M acc ab iah ▁Games ▁gold ▁medal ists ▁for ▁Israel ▁Category : Is rael i ▁Premier ▁League ▁players ▁Category : L iga ▁Le um it ▁players ▁Category : People ▁from ▁Sak hn in ▁Category : Foot ball ▁players ▁from ▁Sak hn in <0x0A> </s> ▁Princess ▁in ▁the ▁Palace ▁is ▁a ▁Philipp ine ▁television ▁drama ▁comedy ▁series ▁broadcast ▁by ▁G MA ▁Network . ▁Direct ed ▁by ▁Mike ▁T uv iera , ▁it ▁stars ▁Ry zza ▁M ae ▁D izon , ▁A iza ▁Seg uer ra , ▁and ▁E ula ▁Val de z . ▁It ▁premier ed ▁on ▁September ▁ 2 1 , ▁ 2 0 1 5 ▁replacing ▁The ▁Ry zza ▁M ae ▁Show ▁and ▁worldwide ▁on ▁G MA ▁Pin oy ▁TV . ▁The ▁series ▁concluded ▁on ▁June ▁ 1 0 , ▁ 2 0 1 6 ▁with ▁a ▁total ▁of ▁ 1 8 7 ▁episodes . ▁It ▁was ▁replaced ▁by ▁Cal le ▁S iet e ▁in ▁its ▁times lot . ▁ ▁Prem ise ▁Princess ▁Cruz , ▁is ▁found ▁following ▁an ▁accident ▁and ▁adopted ▁by ▁Leon ora ▁Clar issa ▁Jac into , ▁the ▁President ▁of ▁the ▁Philippines . ▁ ▁Cast ▁and ▁characters ▁ ▁Lead ▁cast ▁ ▁Ry zza ▁M ae ▁D izon ▁as ▁Princess ▁Cruz ▁/ ▁Princess ▁Jac into ▁ ▁A iza ▁Seg uer ra ▁as ▁Joseph ine ▁" Jo ey " ▁David ▁ ▁E ula ▁Val de z |
▁as ▁Leon ora ▁Clar issa ▁" Le ona " ▁Jac into - G on z aga ▁ ▁Support ing ▁cast ▁Christian ▁Vas que z ▁as ▁Oliver ▁Gon z aga ▁Allen ▁D izon ▁az ▁Ale j andro ▁' Le jan ' ▁Dom ing ue z ▁Marc ▁Ab aya ▁as ▁Raf ael ▁Jac into ▁Ci ara ▁S otto ▁as ▁D aph ne ▁Jac into ▁Ces ▁Q ues ada ▁as ▁N an ay ▁L uz ▁Boot s ▁An son - R oa ▁as ▁Victor ina ▁Jac into ▁Kit kat ▁as ▁Port ia ▁Rock y ▁Sal umb ides ▁as ▁Samuel ▁Mig gy ▁Jim enez ▁as ▁Jo aqu in ▁Jac into ▁L ian ne ▁Valent in ▁as ▁Karen ▁Ha iley ▁Lim ▁as ▁T ara ▁Jo ey ▁Par as ▁as ▁Georg ina ▁Vel oso ▁Vincent ▁de ▁Jesus ▁as ▁K w ini ▁ ▁D ante ▁River o ▁as ▁Thomas ▁" Tom as " ▁Cruz ▁L ito ▁Leg as pi ▁as ▁Manuel ▁Gon z aga ▁ ▁Rec ur ring ▁cast ▁Neil ▁Pere z ▁as ▁Tim ote o ▁del os ▁Sant os ▁K iko ▁E str ada ▁as ▁I k ot ▁Cast ro ▁Andrea ▁del ▁Ros ario ▁as ▁Diana ▁Mar que z ▁ ▁Gab by ▁E igen mann ▁as ▁Ren ato ▁L ui ▁Man ans ala ▁as ▁L ola ▁Sen en ▁Pat ani ▁Da ño ▁as ▁Lily ▁Rod j un ▁Cruz ▁as ▁Kenn eth ▁ ▁V ale en ▁Mont en eg ro ▁as ▁G wen ▁D izon ▁Nad ine ▁Sam onte ▁as ▁Jud y ▁Cruz ▁Maine ▁M endo za ▁as ▁Elizabeth ▁" |
El ize " ▁Ric ardo ▁Ch anda ▁Rom ero ▁as ▁P ilar ▁Buen av ent ura ▁A fi ▁Africa ▁as ▁T we ety ▁ ▁Gu est ▁cast ▁Mon a ▁Louise ▁Re y ▁as ▁Clara ▁Y ass i ▁Press man ▁as ▁Per la ▁ ▁R hen ▁Esc a ño ▁as ▁young ▁Leon ora ▁Mos ang ▁as ▁Jac qu eline ▁Flo res ▁Kat ig b ak - V ander b ilt ▁Lu igi ▁Fernando ▁as ▁Senator ▁Ram os ▁Andrea ▁Sig rid ▁as ▁Karen ' s ▁Te acher ▁Ch ing g oy ▁Al on zo ▁as ▁Senator ▁Carlos ▁Jac into ▁Jenny ▁Miller ▁as ▁Ms . ▁Cord ova ▁Kate ▁Lap uz ▁as ▁Val erie ▁T eng co ▁G ille th ▁Sand ico ▁as ▁Els ie ▁T oby ▁Ale jar ▁as ▁Miguel ▁K iel ▁Rodr igue z ▁as ▁Francis ▁Band illa ▁Jan vier ▁Daily ▁as ▁A to ▁ ▁Rat ings ▁According ▁to ▁A GB ▁N iel sen ▁Philippines ' ▁M ega ▁Man ila ▁household ▁television ▁ratings , ▁the ▁pilot ▁episode ▁of ▁Princess ▁in ▁the ▁Palace ▁earned ▁an ▁ 1 8 . 9 % ▁rating . ▁While ▁the ▁final ▁episode ▁scored ▁a ▁ 1 2 . 4 % ▁rating . ▁ ▁Acc ol ades ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁▁▁ ▁Category : G MA ▁Network ▁drama ▁series ▁Category : Phil ipp ine ▁drama ▁television ▁series ▁Category : Phil ipp ine ▁political ▁television ▁series ▁Category : 2 0 1 5 ▁Philipp ine ▁television ▁series ▁debut s ▁Category : 2 0 1 6 ▁Philipp ine ▁television ▁series ▁end ings |
▁Category : Tele vision ▁shows ▁set ▁in ▁Man ila ▁Category : Tele vision ▁series ▁by ▁T A PE ▁Inc . ▁Category : Fil ip ino - language ▁television ▁programs <0x0A> </s> ▁Bro č ice ▁ ▁is ▁a ▁village ▁in ▁Cro at ia . ▁ ▁Re ferences ▁ ▁Category : Pop ulated ▁places ▁in ▁S is ak - M oslav ina ▁County <0x0A> </s> ▁Steve ▁Al aim o ▁( born ▁December ▁ 6 , ▁ 1 9 3 9 ) ▁is ▁an ▁American ▁singer ▁who ▁was ▁a ▁teen ▁id ol ▁in ▁the ▁early ▁ 1 9 6 0 s . ▁He ▁later ▁became ▁record ▁producer ▁and ▁label ▁owner , ▁but ▁he ▁is ▁perhaps ▁best ▁known ▁for ▁hosting ▁and ▁co - produ cing ▁Dick ▁Clark ' s ▁Where ▁the ▁Action ▁Is ▁in ▁the ▁late ▁ 1 9 6 0 s . ▁ ▁He ▁had ▁nine ▁singles ▁chart ▁in ▁the ▁Bill board ▁Hot ▁ 1 0 0 ▁without ▁once ▁reaching ▁the ▁Top ▁ 4 0 ▁in ▁his ▁career , ▁the ▁most ▁by ▁any ▁artist . ▁ ▁Early ▁years ▁and ▁the ▁Red co ats ▁Al aim o ▁was ▁born ▁in ▁O ma ha , ▁Neb r aska , ▁and ▁moved ▁to ▁Roche ster , ▁New ▁York , ▁at ▁the ▁age ▁of ▁five . ▁He ▁entered ▁the ▁music ▁business ▁during ▁his ▁time ▁as ▁a ▁pre - med ▁student ▁at ▁the ▁ ▁University ▁of ▁Miami , ▁joining ▁his ▁cousin ' s ▁instrumental ▁rock ▁band ▁the ▁Red co ats , ▁becoming ▁the ▁guitar ist , ▁and ▁eventually , ▁the ▁singer |
. ▁The ▁Red co ats ▁consisted ▁of ▁Jim ▁Al aim o ▁on ▁rhythm ▁guitar , ▁Brad ▁Sh api ro ▁on ▁bass , ▁and ▁Jim ▁" Ch ris " ▁Christ y ▁on ▁drums . ▁After ▁playing ▁a ▁S ock ▁hop ▁held ▁by ▁local ▁disc ▁j ockey ▁Bob ▁Green ▁and ▁label ▁owner ▁Henry ▁Stone , ▁the ▁band ▁earned ▁a ▁record ▁deal ▁with ▁Stone ' s ▁Mar lin ▁Records . ▁In ▁ 1 9 5 9 , ▁" I ▁Want ▁You ▁To ▁Love ▁Me " ▁became ▁a ▁regional ▁hit ▁for ▁the ▁band . ▁Green ▁became ▁Al aim o ' s ▁manager , ▁ultimately ▁giving ▁up ▁the ▁role ▁to ▁Stone . ▁That ▁same ▁year , ▁Dick ▁Clark ' s ▁Car avan ▁of ▁Stars ▁came ▁to ▁Miami ▁needing ▁a ▁band ▁to ▁back ▁up ▁artists , ▁so ▁the ▁Red co ats ▁became ▁that ▁band . ▁ ▁S olo ▁career ▁The ▁Red co ats ▁broke ▁up ▁in ▁ 1 9 6 0 , ▁and ▁under ▁Stone ' s ▁tut el age , ▁Al aim o ▁became ▁a ▁" blue - eyed ▁soul ▁singer " ▁with ▁an ▁all ▁African - American ▁back - up ▁band . ▁Al aim o ▁and ▁the ▁group ▁became ▁the ▁house ▁band ▁for ▁a ▁local ▁club ▁known ▁as ▁Ed an ▁Roc . ▁Despite ▁his ▁rising ▁local ▁fame , ▁he ▁released ▁two ▁solo ▁albums ▁that ▁didn ' t ▁earn ▁him ▁the ▁national ▁spot light . ▁During ▁this ▁time , ▁Stone ▁put ▁Al aim o ▁to ▁work ▁as ▁a ▁promotion ▁man ▁for ▁Stone ' s ▁T one ▁D istribut |
ors , ▁which ▁acqu ainted ▁him ▁with ▁the ▁music ▁industry ▁at ▁large . ▁ ▁National ▁recording ▁career ▁Through ▁his ▁promotion ▁job , ▁Al aim o ▁landed ▁his ▁first ▁major ▁record ▁deal ▁with ▁Check er ▁Records , ▁a ▁subs idi ary ▁of ▁Che ss ▁Records , ▁in ▁ 1 9 6 1 . ▁There , ▁he ▁struck ▁a ▁minor ▁amount ▁of ▁gold ▁in ▁ 1 9 6 3 ▁with ▁his ▁single ▁" Every ▁Day ▁I ▁Have ▁to ▁Cry ," ▁written ▁by ▁Mus cle ▁Sh o als ▁singer - s ong writer ▁Arthur ▁Alexander . ▁The ▁record ▁pe aked ▁at ▁Number ▁ 4 6 ▁on ▁Bill board ''' s ▁Hot ▁ 1 0 0 . ▁The ▁song ▁was ▁a ▁top - five ▁hit ▁in ▁Miami , ▁on ▁local ▁radio ▁stations ▁W Q AM ▁and ▁W FUN . ▁Later ▁that ▁year , ▁Al aim o ▁left ▁Check er ▁for ▁Imperial ▁Records , ▁and ▁ABC ▁Records , ▁but ▁the ▁fame ▁of ▁his ▁recording ▁career ▁would ▁soon ▁be ▁e cl ips ed . ▁ ▁TV ▁host : ▁Where ▁the ▁Action ▁Is ▁Dick ▁Clark ▁proposed ▁to ▁hire ▁the ▁Red co ats ▁again ▁for ▁his ▁music ▁program ▁Where ▁the ▁Action ▁Is , ▁but ▁the ▁group ▁had ▁broken ▁up . ▁Instead , ▁Clark ▁hired ▁Al aim o ▁as ▁host ▁and ▁music ▁director . ▁Al aim o ▁took ▁the ▁opportunity ▁to ▁promote ▁his ▁own ▁records ▁on - air ; ▁however , ▁he ▁rarely ▁had ▁time ▁to ▁record ▁new ▁songs . ▁Al aim o ▁would ▁also ▁become ▁co - produ cer ▁of ▁the |
▁program , ▁which ▁lasted ▁from ▁ 1 9 6 5 ▁to ▁ 1 9 6 7 . ▁ ▁Music ▁production ▁and ▁acting ▁After ▁the ▁show ' s ▁end , ▁Al aim o ▁signed ▁with ▁Atlantic ▁Records / At co ▁Records . ▁In ▁the ▁mid - 1 9 6 0 s , ▁he ▁began ▁producing ▁music ▁for ▁groups ▁such ▁as ▁Sam ▁& ▁Dave , ▁Harold ▁Mel vin ▁& ▁the ▁Bl uen otes , ▁and ▁The ▁ 3 1 st ▁of ▁February . ▁Al aim o ▁bought ▁partial ▁song writing ▁credits ▁to ▁some ▁of ▁Greg g ▁All man ' s ▁songs ▁recorded ▁with ▁the ▁ 3 1 st ▁of ▁February . ▁This ▁became ▁a ▁very ▁fert ile ▁period , ▁with ▁Al aim o ▁producing ▁many ▁hit ▁records . ▁He ▁also ▁briefly ▁tried ▁his ▁hand ▁at ▁acting ▁during ▁this ▁time , ▁appearing ▁in ▁four ▁feature ▁films , ▁such ▁as ▁ 1 9 6 7 ' s ▁Wild ▁Reb els ▁and ▁ 1 9 7 0 ' s ▁explo itation ▁crime ▁drama ▁The ▁N aked ▁Z oo , ▁star ring ▁R ita ▁Hay worth . ▁Most ▁of ▁his ▁films ▁became ▁forgotten ▁f od der , ▁although ▁Wild ▁Reb els ▁received ▁renew ed ▁interest ▁after ▁being ▁featured ▁in ▁an ▁episode ▁of ▁TV ' s ▁Myst ery ▁Science ▁Theater ▁ 3 0 0 0 . ▁ ▁T K ▁Records ▁In ▁ 1 9 6 9 , ▁Henry ▁Stone ▁reun ited ▁with ▁Al aim o , ▁who ▁set ▁up ▁Al ston ▁Records ▁as ▁an ▁out let ▁for ▁Al aim o |
' s ▁music . ▁Al aim o ▁quit ▁performing ▁to ▁focus ▁on ▁running ▁a ▁record ▁label . ▁In ▁ 1 9 7 2 , ▁Tim my ▁Thomas ▁hit ▁with ▁" Why ▁Can ' t ▁We ▁Live ▁Together " ▁for ▁Stone ' s ▁Gl ade ▁Records , ▁which ▁released ▁the ▁single ▁in ▁partnership ▁with ▁Atlantic ▁Records . ▁Stone ▁then ▁consolid ated ▁many ▁of ▁his ▁labels ▁under ▁the ▁T K ▁Records ▁u mbre lla ▁with ▁Al aim o ▁in ▁ 1 9 7 3 , ▁releasing ▁records ▁independent ▁of ▁the ▁major ▁label ▁system . ▁In ▁ 1 9 7 4 , ▁Harry ▁Wayne ▁Case y ▁and ▁Rick ▁Fin ch ▁presented ▁a ▁demo ▁to ▁Stone ▁and ▁Al aim o , ▁and ▁they ▁advised ▁having ▁George ▁McC ra e ▁sing ▁the ▁final ▁version . ▁The ▁song , ▁" R ock ▁Your ▁Baby ", ▁chart ed ▁as ▁a ▁number - one ▁single ▁in ▁ 1 9 7 4 . ▁Short ly ▁afterward , ▁the ▁business ▁partnership ▁of ▁Case y , ▁Fin ch , ▁Al aim o ▁and ▁Stone ▁would ▁achieve ▁their ▁greatest ▁commercial ▁success ▁with ▁the ▁hey day ▁of ▁K C ▁& ▁the ▁Sun shine ▁Band . ▁ ▁Vision ▁Records ▁T K ▁Records ▁closed ▁in ▁ 1 9 8 1 , ▁forcing ▁Henry ▁Stone ▁to ▁seek ▁out ▁Morris ▁Lev y ▁for ▁financial ▁relief ▁and ▁for ging ▁a ▁new ▁partnership . ▁Al aim o , ▁ed ged ▁out ▁of ▁the ▁deal , ▁had ▁fallen ▁on ▁hard ▁times . ▁In ▁ 1 9 8 7 , ▁Al aim o ▁was |
▁back ▁on ▁his ▁feet , ▁forming ▁Vision ▁Records ▁with ▁engineering ▁producers ▁Ron ▁and ▁Howard ▁Albert . ▁Vision ▁specialized ▁in ▁top - not ch ▁record ings ▁for ▁stars ▁who ▁had ▁once ▁gr aced ▁Criteria ▁Studios ▁during ▁the ▁ 1 9 7 0 s . ▁The ▁label ▁also ▁d ab bled ▁in ▁the ▁production ▁and ▁promotion ▁of ▁Miami ▁Bass ▁records , ▁including ▁artists ▁such ▁as ▁Beat master ▁Clay ▁D . ▁ ▁Disc ography ▁ ▁Studio ▁albums ▁ 1 9 6 1 : ▁Tw ist ▁with ▁Steve ▁Al aim o 1 9 6 2 : ▁M ashed ▁Pot atoes 1 9 6 3 : ▁Every ▁Day ▁I ▁Have ▁to ▁Cry 1 9 6 3 : ▁Steve ▁Al aim o 1 9 6 5 : ▁Star ring ▁Steve ▁Al aim o 1 9 6 5 : ▁Where ▁the ▁Action ▁Is 1 9 6 6 : ▁Steve ▁Al aim o ▁S ings ▁and ▁Sw ings Comp ilation ▁albums ▁ 1 9 9 6 : ▁H its ▁and ▁R ar ities 1 9 9 7 : ▁Anth ology 2 0 0 5 : ▁ 5 0 s - 7 0 s Sing les Cast ▁Your ▁F ate ▁to ▁the ▁Wind ▁pe aked ▁at ▁# 2 2 ▁on ▁Bill board ' s ▁Adult ▁Cont emporary ▁Chart ▁When ▁My ▁Little ▁Girl ▁Is ▁Sm iling '' ▁pe aked ▁at ▁# 2 7 ▁on ▁Bill board ' s ▁Adult ▁Cont emporary ▁Chart ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁M cl ane ▁& ▁W ong ' s ▁Steve ▁Al aim o ▁Bio ▁A |
▁collection ▁of ▁rare ▁Red co ats ▁singles ▁and ▁live ▁performances ▁Steve ▁Al aim o ▁Bio ▁at ▁Audio ▁Vision ▁stud ios ▁ ▁Category : 1 9 3 9 ▁birth s ▁Category : Mus icians ▁from ▁O ma ha , ▁Neb r aska ▁Category : L iving ▁people ▁Category : American ▁male ▁sing ers ▁Category : Im per ial ▁Records ▁artists ▁Category : Mus icians ▁from ▁Roche ster , ▁New ▁York ▁Category : Univers ity ▁of ▁Miami ▁al umn i ▁Category : Checker ▁Records ▁artists <0x0A> </s> ▁Kn ut ange ▁( L orr aine ▁Fran con ian : ▁K né ité ng en / K né ité ng ; ▁) ▁is ▁a ▁commune ▁in ▁the ▁Mos elle ▁department ▁in ▁Grand ▁Est ▁in ▁north - e astern ▁France . ▁ ▁See ▁also ▁▁ ▁Commun es ▁of ▁the ▁Mos elle ▁department ▁ ▁Category : Comm unes ▁of ▁Mos elle ▁( de part ment ) <0x0A> </s> ▁Ric ardo ▁Wayne ▁Gard ner ▁( born ▁ 2 5 ▁September ▁ 1 9 7 8 ), ▁commonly ▁known ▁as ▁B ib i , ▁is ▁a ▁retired ▁Jama ican ▁football er . ▁He ▁works ▁as ▁assistant ▁coach ▁at ▁Port more ▁United . ▁A ▁left ▁w inger , ▁he ▁could ▁also ▁play ▁in ▁the ▁centre ▁of ▁mid field ▁or ▁at ▁left ▁wing back . ▁He ▁last ▁played ▁for ▁Bol ton ▁W ander ers ▁in ▁May ▁ 2 0 1 2 , ▁completing ▁a ▁ 1 4 - year ▁spell ▁at ▁the ▁club , ▁of ▁which ▁ 1 1 ▁were ▁spent ▁in ▁the |
▁Premier ▁League . ▁Gard ner ▁earned ▁ 1 1 1 ▁caps ▁for ▁the ▁Jama ica ▁national ▁football ▁team , ▁scoring ▁ 9 ▁goals ▁and ▁playing ▁at ▁four ▁CON C AC AF ▁Gold ▁Cup s ▁and ▁the ▁ 1 9 9 8 ▁FIFA ▁World ▁Cup . ▁ ▁Play ing ▁career ▁ ▁Club ▁career ▁ ▁Early ▁career ▁Born ▁in ▁Saint ▁Andrew , ▁Jama ica , ▁Gard ner ▁began ▁his ▁professional ▁career ▁with ▁Har bour ▁View , ▁where ▁he ▁debut ed ▁as ▁a ▁st arter ▁at ▁the ▁age ▁of ▁only ▁ 1 4 ▁years . ▁He ▁also , ▁representing ▁Wol mer ' s ▁Boys ' ▁High ▁School , ▁dominated ▁the ▁local ▁high ▁school ▁football ▁le agues ▁and ▁was ▁considered ▁outstanding . ▁His ▁performances ▁for ▁Jama ica ▁during ▁the ▁ 1 9 9 8 ▁World ▁Cup ▁attracted ▁English ▁First ▁Division ▁side ▁Bol ton ▁W ander ers ▁to ▁offer ▁Har bour ▁View ▁£ 1 ▁million ▁for ▁his ▁services . ▁ ▁Bol ton ▁W ander ers ▁Gard ner ▁immediately ▁established ▁himself ▁a ▁place ▁in ▁the ▁first ▁team ▁for ▁Bol ton . ▁He ▁came ▁on ▁as ▁a ▁substitute ▁to ▁make ▁his ▁debut ▁against ▁Hart le pool ▁in ▁the ▁League ▁Cup ▁on ▁ 2 5 ▁August ▁ 1 9 9 8 , ▁and ▁made ▁his ▁league ▁debut ▁as ▁a ▁substitute ▁again ▁against ▁West ▁B rom wich ▁Alb ion ▁on ▁ 8 ▁September ▁ 1 9 9 8 . ▁In ▁this ▁game , ▁Bol ton ▁were ▁reduced ▁to ▁ 1 0 ▁men ▁after ▁the ▁sending ▁off ▁of ▁Gu ð ni ▁Berg sson |
▁shortly ▁after ▁Gard ner ▁came ▁on , ▁but ▁he ▁scored ▁a ▁late ▁winner ▁to ▁give ▁his ▁team ▁a ▁memorable ▁ 3 – 2 ▁victory ▁over ▁West ▁B rom . ▁He ▁made ▁ 2 2 ▁appearances , ▁half ▁of ▁them ▁starts , ▁in ▁his ▁first ▁year ▁while ▁scoring ▁three ▁goals . ▁In ▁his ▁second ▁season , ▁ 1 9 9 9 – 2 0 0 0 , ▁he ▁established ▁a ▁place ▁in ▁the ▁starting ▁eleven , ▁starting ▁ 2 3 ▁of ▁ 2 6 ▁games , ▁that ▁he ▁has ▁held ▁on ▁to ▁since . ▁Although ▁Gard ner ▁suffered ▁a ▁cru ci ate ▁lig ament ▁injury ▁that ▁took ▁him ▁out ▁of ▁action ▁at ▁the ▁end ▁of ▁the ▁season , ▁he ▁made ▁a ▁full ▁recovery , ▁and ▁was ▁able ▁to ▁return ▁to ▁the ▁starting ▁line - up ▁in ▁ 2 0 0 0 – 0 1 ▁( sc oring ▁in ▁the ▁ 2 0 0 1 ▁Division ▁One ▁Play ▁off ▁Final ), ▁playing ▁with ▁the ▁promoted ▁Bol ton ▁in ▁the ▁Premier ▁League . ▁Due ▁to ▁a ▁knee ▁injury , ▁Gard ner ▁did ▁not ▁make ▁his ▁first ▁appearance ▁in ▁the ▁ 2 0 0 6 – 0 7 ▁season ▁until ▁December . ▁ ▁In ▁November ▁ 2 0 0 7 , ▁he ▁scored ▁his ▁first ▁goal ▁at ▁club ▁level ▁in ▁nearly ▁five ▁years ▁when ▁he ▁opened ▁the ▁scoring ▁in ▁Bol ton ' s ▁ 2 – 2 ▁draw ▁against ▁German ▁gi ants ▁Bay ern ▁Mun ich ▁at ▁the ▁All ian z ▁Arena ▁in ▁the ▁UEFA ▁Cup ▁group |
▁stage . ▁A ▁year ▁later ▁after ▁being ▁moved ▁from ▁a ▁wing - back ▁role ▁back ▁into ▁mid field ▁he ▁scored ▁in ▁the ▁W ander ers ▁ 2 – 0 ▁win ▁over ▁local ▁riv als ▁Manchester ▁City . ▁ ▁Gard ner ▁made ▁his ▁ 4 0 0 th ▁appearance ▁for ▁Bol ton ▁in ▁a ▁ 3 – 0 ▁defeat ▁to ▁F ul ham ▁on ▁ 2 7 ▁April ▁ 2 0 1 1 . ▁On ▁ 2 4 ▁May ▁ 2 0 1 1 , ▁he ▁was ▁in ▁discussions ▁to ▁extend ▁his ▁Bol ton ▁contract ▁into ▁a ▁four teenth ▁year . ▁Gard ner ▁rejected ▁a ▁move ▁to ▁West ▁Ham ▁United ▁favour ing ▁to ▁sign ▁a ▁new ▁one - year ▁contract ▁at ▁Bol ton , ▁which ▁he ▁signed ▁on ▁ 5 ▁August . ▁He ▁made ▁four ▁league ▁appearances ▁at ▁the ▁beginning ▁of ▁the ▁next ▁season ▁but ▁was ▁sent ▁off ▁for ▁two ▁book able ▁off ences ▁in ▁Bol ton ' s ▁ 3 – 1 ▁defeat ▁at ▁Sw anse a ▁City ▁on ▁ 2 9 ▁October ▁ ▁and ▁then ▁suffered ▁an ▁injury , ▁making ▁no ▁further ▁appearances ▁that ▁year . ▁ ▁At ▁the ▁close ▁of ▁the ▁January ▁ 2 0 1 2 ▁transfer ▁window , ▁he ▁wasn ' t ▁named ▁in ▁Bol ton ' s ▁twenty ▁five ▁man ▁Premier ▁League ▁squad ▁for ▁the ▁second ▁half ▁of ▁the ▁season ▁meaning ▁he ▁would ▁play ▁no ▁further ▁part ▁in ▁the ▁league ▁campaign . ▁It ▁was ▁later ▁revealed ▁that ▁he ▁had ▁been ▁om itted ▁due ▁to ▁having ▁had ▁an ▁operation |
▁on ▁his ▁knee ▁that ▁the ▁Bol ton ▁medical ▁staff ▁could ▁not ▁guarantee ▁he ▁would ▁recover ▁from ▁in ▁time ▁to ▁play ▁again ▁that ▁season . ▁It ▁was ▁announced ▁on ▁ 1 8 ▁May ▁ 2 0 1 2 ▁that ▁Ric ardo ▁had ▁left ▁the ▁club ▁in ▁line ▁with ▁the ▁exp iration ▁of ▁his ▁contract . ▁At ▁the ▁time , ▁Gard ner ▁was ▁the ▁second ▁longest ▁serving ▁foreign ▁player ▁in ▁Premier ▁League ▁history ▁after ▁serving ▁fourteen ▁years ▁at ▁Bol ton , ▁only ▁beaten ▁by ▁his ▁former ▁Bol ton ▁team mate ▁J uss i ▁J ä ä sk el ä inen . ▁ ▁Prest on ▁North ▁End ▁( lo an ) ▁On ▁ 8 ▁March ▁ 2 0 1 1 , ▁Gard ner ▁went ▁to ▁Prest on ▁North ▁End ▁on ▁an ▁emergency ▁one - month ▁loan ▁as ▁cover ▁for ▁Phil ▁Brown ' s ▁side . ▁Bol ton ▁manager ▁Owen ▁C oyle ▁said ▁it ▁was ▁a ▁great ▁chance ▁for ▁Gard ner ▁to ▁improve ▁his ▁match ▁fitness ▁after ▁only ▁just ▁recover ing ▁from ▁injury . ▁ ▁He ▁made ▁his ▁debut ▁the ▁following ▁day ▁at ▁the ▁left - back ▁position ▁in ▁the ▁ 2 – 1 ▁loss ▁to ▁Le eds ▁United ▁and ▁played ▁three ▁more ▁games ▁for ▁the ▁club . ▁ ▁Ret irement ▁After ▁the ▁end ▁of ▁his ▁contract ▁with ▁Bol ton ▁W ander ers , ▁he ▁spent ▁a ▁year ▁training ▁at ▁his ▁old ▁club , ▁West ▁Ham ▁United ▁and ▁Barn s ley ▁to ▁keep ▁up ▁his ▁fitness , ▁but ▁decided ▁to ▁leave ▁England ▁to ▁seek ▁a ▁move ▁to |
▁the ▁M LS . ▁ ▁He ▁went ▁on ▁an ▁un successful ▁trial ▁at ▁Real ▁Salt ▁Lake ▁and ▁announced ▁his ▁official ▁retirement ▁in ▁May ▁ 2 0 1 4 . ▁ ▁International ▁career ▁Gard ner ▁rose ▁to ▁international ▁prom in ence ▁following ▁the ▁ 1 9 9 8 ▁World ▁Cup . ▁Gard ner ▁has ▁also ▁been ▁an ▁important ▁player ▁for ▁the ▁Jama ican ▁national ▁team ▁for ▁much ▁of ▁the ▁last ▁decade ▁and ▁has ▁earned ▁his ▁place ▁as ▁the ▁team ' s ▁captain . ▁He ▁was ▁captain ▁for ▁the ▁team ▁between ▁ 2 0 0 5 ▁and ▁ 2 0 0 9 . ▁He ▁also ▁Capt ained ▁the ▁team ▁for ▁one ▁game ▁in ▁ 2 0 1 2 ▁at ▁the ▁ 2 0 1 2 ▁Caribbean ▁Cup . ▁ ▁Co aching ▁career ▁In ▁December ▁ 2 0 1 5 , ▁Gard ner ▁was ▁appointed ▁as ▁coach ▁of ▁the ▁Jama ica ▁U - 2 0 ▁team . ▁Gard ner ▁resigned ▁as ▁Har bour ▁View ▁FC ▁Head ▁coach ▁in ▁December ▁ 2 0 1 8 . ▁In ▁March ▁ 2 0 1 9 , ▁Gard ner ▁joined ▁the ▁staff ▁of ▁Port more ▁United ▁F . C . ▁as ▁assistant ▁coach . ▁ ▁Personal ▁life ▁Gard ner ▁is ▁a ▁r ast af arian ▁and ▁sports ▁dread lock s . ▁He ▁is ▁part ▁owner , ▁with ▁Robert ▁Scar lett ▁and ▁Ian ▁Good ison , ▁of ▁a ▁record ▁label , ▁Heart ▁of ▁Love ▁Production , ▁which ▁prom otes ▁rag ga ▁and ▁dance hall ▁music . ▁ ▁Career ▁statistics ▁Source : |
▁ ▁Hon ours ▁Caribbean ▁Cup : ▁ 1 ▁▁ 1 9 9 8 ▁▁ 2 0 0 1 ▁Football ▁League ▁First ▁Division ▁Play - offs ▁ 2 0 0 6 ▁Bol ton ▁W ander ers ▁Player ▁of ▁the ▁Year . ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁ ▁Category : 1 9 7 8 ▁birth s ▁Category : People ▁from ▁Saint ▁Andrew ▁Par ish , ▁Jama ica ▁Category : L iving ▁people ▁Category : J ama ican ▁R ast af arians ▁Category : Associ ation ▁football ▁defend ers ▁Category : J ama ican ▁football ers ▁Category : J ama ica ▁international ▁football ers ▁Category : J ama ican ▁exp atri ate ▁football ers ▁Category : Ex pat ri ate ▁football ers ▁in ▁England ▁Category : B ol ton ▁W ander ers ▁F . C . ▁players ▁Category : P rest on ▁North ▁End ▁F . C . ▁players ▁Category : Har bour ▁View ▁F . C . ▁players ▁Category : English ▁Football ▁League ▁players ▁Category : P rem ier ▁League ▁players ▁Category : 1 9 9 8 ▁CON C AC AF ▁Gold ▁Cup ▁players ▁Category : 1 9 9 8 ▁FIFA ▁World ▁Cup ▁players ▁Category : 2 0 0 0 ▁CON C AC AF ▁Gold ▁Cup ▁players ▁Category : 2 0 0 3 ▁CON C AC AF ▁Gold ▁Cup ▁players ▁Category : 2 0 0 9 ▁CON C AC AF ▁Gold ▁Cup ▁players ▁Category : FI FA ▁Century ▁Club <0x0A> </s> ▁Pal il ula ▁( Ser bian ▁Cyr ill ic : ▁Па ли |
лу ла , ▁) ▁is ▁a ▁village ▁in ▁the ▁municip ality ▁of ▁Sv rl j ig , ▁Ser bia . ▁According ▁to ▁the ▁ 2 0 0 2 ▁census , ▁the ▁village ▁has ▁a ▁population ▁of ▁ 7 5 ▁people . ▁ ▁Re ferences ▁ ▁Category : Pop ulated ▁places ▁in ▁Ni š ava ▁District <0x0A> </s> ▁Gu err illa ▁U rb ana ▁( U r ban ▁Gu err illa ▁in ▁Spanish ▁language ) ▁is ▁a ▁punk - rock ▁group ▁of ▁the ▁Can ary ▁Islands . ▁ ▁History ▁The ▁group ▁was ▁formed ▁in ▁San ▁Crist ó bal ▁de ▁La ▁Lag una ▁( T ener ife ) ▁in ▁ 1 9 8 3 , ▁sharing ▁members ▁with ▁E sk or but o ▁Cr ón ico , ▁a ▁pione ering ▁punk - rock ▁band ▁in ▁the ▁Can ary ▁Islands ▁dating ▁back ▁to ▁the ▁late ▁ 1 9 7 0 s . ▁Grad ually , ▁the ▁members ▁of ▁this ▁group ▁were ▁integrated ▁into ▁Gu err illa ▁U rb ana ▁as ▁the ▁original ▁members ▁were ▁leaving ▁the ▁band ▁until , ▁in ▁mid - 1 9 8 4 , ▁E sk or but o ▁Cr ón ico ▁was ▁diss olved . ▁Two ▁years ▁later ▁" C u erv o ", ▁the ▁drum mer , ▁was ▁also ▁brought ▁into ▁the ▁band , ▁the ▁final ▁member ▁joining . ▁ ▁After ▁numerous ▁local ▁performances , ▁two ▁tours ▁in ▁the ▁Bas que ▁Country ▁and ▁several ▁dem os , ▁Gu err illa ▁U rb ana ▁recorded ▁their ▁first ▁album , ▁R az ón |
▁de ▁Estado , ▁in ▁ 1 9 8 9 . ▁ ▁In ▁ 2 0 1 2 , ▁Gu err illa ▁U rb ana ▁released ▁their ▁t enth ▁album , ▁the ▁first ▁recorded ▁live , ▁called ▁Ser en ata ▁para ▁ant ro ▁y ▁ch us ma ▁Op us ▁X . ▁ ▁Ide as ▁The ▁majority ▁of ▁the ▁lyrics ▁of ▁the ▁group ▁are ▁either ▁about ▁social ▁issues ▁or ▁on ▁ant ire lig ious , ▁ant imil itar istic , ▁ant ia ut hor itarian , ▁anti - f asc ist ▁and ▁ant icol onial ist ▁themes . ▁The ▁group ▁members ▁are ▁close ▁to ▁an arch ist ▁ideas . ▁ ▁Members ▁Cu erv o : ▁drums ▁David : ▁bass ▁guitar ▁Fred i : ▁vocals ▁Zur da : ▁guitar ▁P ach on : ▁guitar ▁ ▁Disc ography ▁ ▁R az ón ▁de ▁Estado ▁( 1 9 8 9 ) ▁ ▁To que ▁a ▁Deg ü ello ▁( 1 9 9 2 ) ▁ ▁Pal ab ra ▁de ▁D ios ▁( 1 9 9 4 ) ▁ ▁Spanish ▁Di ar rea ▁( 1 9 9 6 ) ▁ ▁Best i ario ▁( 2 0 0 0 ) ▁ ▁Gu err illa ▁U rb ana ▁ 1 9 8 3 – 1 9 9 3 ▁( Comp ilation ) ▁( 2 0 0 0 ) ▁ ▁La ▁V eng anza ▁de ▁los ▁P ue bl os ▁( 2 0 0 2 ) ▁ ▁Micro ce f alia ▁( 2 0 0 6 ) ▁ ▁Inc end i ario |
▁( 2 0 0 9 ) ▁ ▁Gu err illa ▁U rb ana ▁/ ▁Esc or but o ▁Cr ón ico ▁( 2 0 1 1 ) ▁ ▁Ser en ata ▁para ▁ant ro ▁y ▁ch us ma ▁Op us ▁X ▁( Live ) ▁( 2 0 1 2 ) ▁ ▁Re ferences ▁ ▁Category : Span ish ▁punk ▁rock ▁groups <0x0A> </s> ▁Charles ▁de ▁G aul le ▁Pl aza ▁is ▁a ▁" class ▁A " ▁office ▁building ▁in ▁the ▁Charles ▁de ▁G aul le ▁Square , ▁Buch arest , ▁Rom ania . ▁It ▁is ▁constructed ▁entirely ▁out ▁of ▁concrete , ▁steel ▁and ▁glass . ▁It ▁has ▁ 1 6 ▁floors ▁and ▁a ▁gross ▁lett able ▁area ▁of ▁ 2 2 , 0 0 0 ▁m 2 . ▁There ▁are ▁an ▁additional ▁ 5 ▁floors ▁underground ▁that ▁serve ▁as ▁a ▁parking ▁space ▁with ▁ 3 5 0 ▁places . ▁The ▁elev ators ▁are ▁the ▁fastest ▁in ▁Rom ania ▁having ▁a ▁speed ▁of ▁ 2 . 5 m / s . ▁ ▁See ▁also ▁List ▁of ▁tall est ▁buildings ▁in ▁Rom ania ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁ ▁Official ▁site ▁ ▁Category : S ky sc rap er ▁office ▁buildings ▁in ▁Buch arest ▁Category : Off ice ▁buildings ▁completed ▁in ▁ 2 0 0 5 <0x0A> </s> ▁Ed inal do ▁Bat ista ▁Lib ân io ▁( born ▁ 2 ▁April ▁ 1 9 7 9 ), ▁commonly ▁known ▁as ▁Graf ite ▁( pr on ounced ▁) ▁is ▁a ▁Brazil ian ▁retired |
▁football er ▁who ▁played ▁as ▁a ▁forward . ▁ ▁In ▁ 2 0 0 5 , ▁he ▁won ▁the ▁Copa ▁Liber t adores ▁and ▁the ▁Club ▁World ▁Championship ▁with ▁São ▁Paulo ▁FC . ▁With ▁Wol fs burg ▁he ▁won ▁the ▁ 2 0 0 8 – 0 9 ▁Bundes liga , ▁and ▁was ▁the ▁league ' s ▁top ▁sc orer ▁and ▁German ▁Player ▁of ▁the ▁Year . ▁ ▁Club ▁career ▁ ▁Begin nings ▁ ▁Born ▁in ▁J und ia í , ▁Ed inal do ▁Lib ân io ▁grew ▁up ▁in ▁modest ▁circumstances ▁in ▁the ▁h inter land ▁of ▁the ▁State ▁of ▁São ▁Paulo . ▁He ▁made ▁his ▁first ▁money ▁with ▁the ▁door ▁to ▁door ▁sales ▁of ▁rub b ish ▁bags . ▁His ▁talent ▁as ▁football ▁player ▁however ▁earned ▁him ▁his ▁first ▁professional ▁contract ▁in ▁ 1 9 9 9 ▁with ▁the ▁Mat ão ▁based ▁club ▁SE ▁Mat on ense ▁with ▁which ▁he ▁played ▁in ▁the ▁first ▁division ▁of ▁the ▁State ▁Championship . ▁In ▁the ▁beginning ▁of ▁ 2 0 0 0 ▁he ▁moved ▁from ▁there ▁for ▁a ▁brief ▁period ▁to ▁the ▁fourth ▁division ▁club ▁Fer ro vi á ria ▁in ▁the ▁neighbor ing ▁town ▁of ▁Ar ara qu ara ▁– ▁a ▁club ▁that ▁actually ▁had ▁seen ▁some ▁quite ▁gift ed ▁players ▁in ▁its ▁teams ▁in ▁better ▁seasons . ▁ ▁In ▁the ▁middle ▁of ▁the ▁year ▁he ▁signed ▁on ▁with ▁the ▁first ▁division ▁club ▁Santa ▁Cruz ▁FC ▁of ▁the ▁north - e astern ▁Brazil ian ▁city ▁Rec ife . ▁There ▁he ▁scored ▁ 5 |
▁goals ▁in ▁ 2 2 ▁league ▁matches , ▁which ▁did ▁not ▁aid ▁in ▁preventing ▁re leg ation ▁to ▁S érie ▁B . ▁ ▁However , ▁he ▁attracted ▁the ▁attention ▁of ▁Gr êm io ▁Port o ▁A leg re , ▁another ▁first ▁division ▁club , ▁which ▁hired ▁him ▁for ▁a ▁transfer ▁fee ▁of ▁one ▁million ▁Real ▁– ▁of ▁this ▁sum ▁Santa ▁Cruz ▁had ▁to ▁forward ▁about ▁ 7 0 0 , 0 0 0 ▁real ▁to ▁Mat on ense . ▁ ▁Luck ▁was ▁not ▁with ▁him ▁in ▁Port o ▁A leg re . ▁Right ▁at ▁the ▁beginning ▁of ▁the ▁year ▁he ▁in cur red ▁a ▁severe ▁knee ▁injury , ▁which ▁saw ▁him ▁s idel ined ▁for ▁several ▁months . ▁In ▁July ▁ 2 0 0 2 , ▁at ▁one ▁of ▁his ▁first ▁matches ▁for ▁the ▁Rio ▁Grande ▁do ▁Sul ▁club ▁the ▁team ▁was ▁eliminated ▁by ▁Par agu ay ' s ▁Club ▁O limp ia ▁in ▁the ▁semi - fin als ▁of ▁the ▁Liber t adores . ▁He ▁played ▁six ▁more ▁S érie ▁A ▁matches ▁for ▁Gr êm io , ▁without ▁scoring , ▁before ▁being ▁returned ▁in ▁September ▁to ▁Santa ▁Cruz ▁on ▁a ▁loan . ▁ ▁With ▁his ▁old ▁club ▁he ▁failed ▁in ▁the ▁S érie ▁B ▁sem if inals ▁against ▁C ric i ú ma ▁EC ▁to ▁att ain ▁promotion ▁to ▁the ▁national ▁top ▁flight . ▁Alt ogether ▁he ▁scored ▁three ▁second ▁division ▁goals ▁for ▁the ▁Rec ife ▁club ▁in ▁this ▁phase . ▁ ▁Right ▁at ▁the ▁beginning ▁of ▁ 2 0 0 3 |
▁Graf ite ▁was ▁forward ed ▁to ▁the ▁FC ▁Se oul ▁of ▁the ▁South ▁Korean ▁K ▁League , ▁then ▁known ▁as ▁Any ang ▁L G ▁Che et ah s . ▁This ▁remained ▁a ▁brief , ▁und ist ingu ished ▁st int ▁and ▁both , ▁player ▁and ▁club , ▁were ▁happy ▁to ▁part ▁ways ▁by ▁mid - year . ▁ ▁Success ▁with ▁Go i ás ▁and ▁São ▁Paulo ▁ ▁Back ▁in ▁Brazil ▁Graf ite ▁joined ▁first ▁division ▁club ▁Go i ás ▁EC ▁in ▁the ▁city ▁of ▁Go i â nia . ▁This ▁move ▁soon ▁led ▁to ▁legal ▁differences ▁as ▁to ▁who ▁owned ▁the ▁rights ▁to ▁the ▁player , ▁where ▁Gr êm io ▁made ▁claims . ▁Another ▁matter ▁in ▁the ▁case ▁were ▁outstanding ▁wage ▁payments ▁by ▁Santa ▁Cruz ▁FC ▁until ▁the ▁end ▁of ▁the ▁previous ▁year . ▁Mat ters ▁found ▁a ▁resolution ▁in ▁the ▁best ▁interest ▁of ▁Graf ite ▁and ▁his ▁new ▁club . ▁ ▁Graf ite ▁considered ▁the ▁time ▁in ▁the ▁capital ▁of ▁the ▁state ▁of ▁Go i ás ▁as ▁his ▁" reb irth ▁as ▁a ▁football er ". ▁In ▁the ▁course ▁of ▁the ▁season ▁he ▁developed ▁together ▁with ▁Dim ba , ▁who ▁became ▁the ▁league ' s ▁top ▁sc orer ▁with ▁ 3 1 ▁goals , ▁and ▁A ra ú jo , ▁who , ▁like ▁Graf ite , ▁hit ▁the ▁goal ▁ 1 2 ▁times , ▁into ▁the ▁outstanding ▁attack ▁formation ▁of ▁the ▁club ' s ▁history . ▁Go i ás ▁finished ▁the ▁season ▁nin th , ▁which ▁was ▁considered ▁a ▁success ▁for ▁the |
▁club ▁from ▁Brazil ' s ▁central - west . ▁Graf ite ▁himself ▁was ▁awarded ▁with ▁a ▁B ola ▁de ▁Pr ata ▁as ▁best ▁player ▁on ▁his ▁position ▁over ▁the ▁season . ▁ ▁At ▁the ▁beginning ▁of ▁ 2 0 0 4 ▁Graf ite ▁was ▁signed ▁by ▁Brazil ian ▁top - side ▁São ▁Paulo ▁FC , ▁where ▁he ▁won ▁the ▁ 2 0 0 5 ▁São ▁Paulo ▁State ▁Championship , ▁his ▁first ▁title . ▁ ▁In ▁the ▁same ▁month ▁Graf ite ▁made ▁it ▁worldwide ▁into ▁the ▁head lines . ▁In ▁the ▁Liber t adores ▁group ▁match ▁against ▁the ▁Argent ine ▁club ▁Qu il mes ▁AC ▁in ▁the ▁Mor umb i ▁Stadium ▁he ▁had ▁a ▁he fty ▁encounter ▁with ▁def ender ▁Le andro ▁Des áb ato ▁whom ▁he ▁accused ▁of ▁racial ▁sl urs . ▁Together ▁with ▁the ▁Argent ine ▁mid f iel der ▁Carlos ▁Ar ano , ▁who ▁tried ▁to ▁interven e , ▁he ▁was ▁sent ▁off . ▁Still ▁during ▁the ▁match , ▁Graf ite ▁reported ▁the ▁incident ▁to ▁the ▁police , ▁which ▁arrested ▁Des áb ato ▁after ▁the ▁final ▁whist le ▁on ▁his ▁way ▁to ▁the ▁lock er ▁room ▁for ▁racial ▁insult s ▁and ▁moved ▁him ▁to ▁a ▁police ▁station ▁for ▁a ▁further ▁interview . ▁After ▁two ▁days ▁in ▁police ▁arrest ▁Des áb ato ▁was ▁released ▁against ▁a ▁bond ▁and ▁was ▁allowed ▁to ▁return ▁to ▁Argentina . ▁ ▁Another ▁exciting ▁event ▁for ▁Graf ite ▁in ▁this ▁month ▁was ▁an ▁invitation ▁by ▁the ▁coach ▁of ▁the ▁Brazil ▁national ▁football ▁team , ▁Carlos ▁Alberto ▁Par re |
ira ▁to ▁join ▁the ▁Se le ção ▁for ▁the ▁first ▁time ▁when ▁it ▁lined ▁up ▁for ▁a ▁friendly ▁against ▁Gu atem ala ▁on ▁ 2 7 ▁April ▁in ▁São ▁Paulo ' s ▁Pac a emb ú ▁Stadium . ▁Graf ite ▁contributed ▁with ▁one ▁goal ▁to ▁the ▁ 3 – 0 ▁score . ▁ ▁Until ▁the ▁end ▁of ▁the ▁year ▁Graf ite ▁could ▁collect ▁two ▁more ▁titles , ▁winning ▁the ▁Copa ▁Liber t adores ▁and ▁the ▁Club ▁World ▁Championship . ▁Wh ilst ▁he ▁was ▁not ▁in ▁the ▁line - ups ▁of ▁any ▁of ▁the ▁two ▁Liber t adores ▁fin als ▁against ▁Atl ético ▁Par ana ense , ▁he ▁played ▁in ▁the ▁last ▁ 1 5 ▁minutes ▁of ▁the ▁Club ▁World ▁Championship ▁final ▁in ▁November ▁in ▁Tokyo ▁against ▁Liverpool , ▁which ▁São ▁Paulo ▁won ▁ 1 – 0 . ▁ ▁Move ▁to ▁Europe ▁ ▁In ▁January ▁ 2 0 0 6 ▁French ▁club ▁Le ▁Mans ▁U C ▁ 7 2 , ▁promoted ▁to ▁the ▁first ▁division ▁in ▁ 2 0 0 5 , ▁hired ▁the ▁Brazil ian ▁stri ker . ▁Graf ite ▁debut ed ▁in ▁February , ▁and ▁until ▁the ▁end ▁of ▁the ▁season ▁he ▁had ▁scored ▁three ▁times ▁in ▁eleven ▁league ▁matches . ▁ 2 0 0 6 – 0 7 ▁he ▁was ▁in ▁the ▁league ▁line - up ▁of ▁M UC ▁in ▁ 3 4 ▁of ▁ 3 8 ▁matches ▁and ▁scored ▁ 1 2 ▁goals , ▁which ▁made ▁him ▁the ▁top ▁goal - get ter ▁of ▁the ▁club ▁– ▁which ▁finished ▁the |
▁season ▁ 1 2 th ▁– ▁and ▁third ▁in ▁France ▁over ▁all . ▁At ▁the ▁beginning ▁of ▁the ▁ 2 0 0 7 – 0 8 ▁season ▁he ▁played ▁six ▁more ▁league ▁matches ▁for ▁Le ▁Mans , ▁scoring ▁a ▁further ▁two ▁goals , ▁before ▁being ▁transferred ▁to ▁German ▁Bundes liga ▁club ▁V f L ▁Wol fs burg ▁on ▁ 3 1 ▁August , ▁the ▁last ▁day ▁of ▁the ▁transfer ▁period , ▁for ▁a ▁fee ▁of ▁about ▁€ 5 . 6 mill ion . ▁ ▁V f L ▁Wol fs burg ▁ ▁With ▁Wol fs burg ▁he ▁signed ▁a ▁four - year ▁contract , ▁which ▁he ▁extended ▁in ▁ 2 0 0 9 ▁until ▁ 2 0 1 2 . ▁In ▁his ▁first ▁season , ▁he ▁scored ▁ 1 1 ▁times ▁in ▁ 2 4 ▁matches , ▁and ▁was ▁also ▁his ▁team ' s ▁top ▁sc orer . ▁At ▁the ▁end ▁of ▁the ▁following ▁season ▁the ▁Felix ▁Mag ath - managed ▁Wol ves ▁were ▁champions ▁of ▁Germany ▁for ▁the ▁first ▁time , ▁and ▁Graf ite ▁contributed ▁with ▁ 2 8 ▁goals ▁in ▁ 2 5 ▁matches , ▁making ▁him ▁the ▁league ' s ▁top ▁stri ker . ▁Along side ▁his ▁partner ▁in ▁the ▁attack , ▁Ed in ▁D ž ek o , ▁who ▁scored ▁ 2 6 ▁goals , ▁he ▁formed ▁the ▁most ▁pro l ific ▁strike ▁partnership ▁in ▁Bundes liga ▁history , ▁together ▁tot alling ▁ 5 4 ▁goals , ▁to pping ▁the ▁achievements ▁of ▁G erd ▁M üll er ▁and ▁U |
li ▁Ho ene ß , ▁who ▁scored ▁ 5 3 ▁goals ▁in ▁the ▁ 1 9 7 1 – 7 2 ▁season . ▁ ▁One ▁of ▁the ▁goals ▁of ▁Wol fs burg ' s ▁ 5 – 1 ▁against ▁FC ▁Bay ern ▁Mun ich , ▁when ▁he ▁d rib bled ▁past ▁several ▁defend ers ▁and ▁then ▁finished ▁with ▁a ▁slow ▁shot ▁with ▁his ▁he el , ▁even ▁brought ▁him ▁international ▁attention . ▁In ▁Germany ▁it ▁was ▁voted ▁Go al ▁of ▁the ▁Year . ▁In ▁October ▁ 2 0 0 9 , ▁FIFA ▁announced ▁the ▁introduction ▁of ▁the ▁FIFA ▁P usk ás ▁Award , ▁awarded ▁to ▁the ▁player ▁who ▁has ▁scored ▁the ▁" most ▁beautiful ▁goal " ▁over ▁the ▁past ▁year . ▁The ▁inaug ural ▁P usk ás ▁Award ▁went ▁to ▁Crist iano ▁Ron al do ▁and ▁Graf ite ' s ▁effort ▁was ▁rated ▁third . ▁Graf ite , ▁however , ▁was ▁reward ed ▁with ▁the ▁highest ▁individual ▁honour ▁German ▁football ▁has ▁to ▁best ow , ▁and ▁was ▁voted ▁Football er ▁of ▁the ▁Year , ▁and ▁became ▁only ▁the ▁third ▁foreign er ▁to ▁achieve ▁this . ▁ ▁By ▁ESP N ▁Brasil ▁he ▁also ▁received ▁the ▁Pr êm io ▁Fut eb ol ▁no ▁M undo ▁award ▁as ▁the ▁promising ▁discovery ▁of ▁the ▁ 2 0 0 8 – 0 9 ▁season , ▁as ▁well ▁as ▁the ▁top ▁goal sc orer ▁award ▁of ▁the ▁same ▁season . ▁ ▁In ▁Wol fs burg ' s ▁first ▁ever ▁Champions ▁League ▁match ▁against ▁C SK A ▁Moscow ▁on ▁ |
1 5 ▁September ▁ 2 0 0 9 , ▁Graf ite ▁scored ▁a ▁hat - tr ick ▁to ▁beat ▁the ▁Russian ▁side ▁ 3 – 1 ▁at ▁the ▁Volk sw agen ▁Arena ▁in ▁Wol fs burg , ▁becoming ▁only ▁the ▁sixth ▁player ▁to ▁score ▁a ▁hat - tr ick ▁on ▁his ▁Champions ▁League ▁debut . ▁In ▁ 1 0 7 ▁German ▁top - fl ight ▁matches ▁Graf ite ▁he ▁net ted ▁ 5 9 ▁times . ▁ ▁Al - Ah li ▁Dub ai ▁On ▁ 1 9 ▁June ▁ 2 0 1 1 , ▁Graf ite ▁announced ▁he ▁had ▁signed ▁with ▁Al ▁Ah li ▁in ▁the ▁U AE ▁Pro - Le ague ▁on ▁a ▁two - year ▁contract . ▁ ▁Graf ite ▁was ▁hon ored ▁as ▁the ▁International ▁Player ▁of ▁the ▁Year ▁for ▁the ▁ 2 0 1 2 – 1 3 ▁U AE ▁Pro - Le ague ▁on ▁ 2 6 ▁May ▁ 2 0 1 3 , ▁ed ging ▁out ▁top ▁goal sc orer ▁As amo ah ▁G yan . ▁On ▁ 2 8 ▁May , ▁he ▁scored ▁Al - Ah li ' s ▁second ▁goal ▁in ▁their ▁ 4 – 3 ▁victory ▁over ▁Al ▁Sh ab ab ▁Al ▁Arab i ▁in ▁the ▁final ▁of ▁the ▁ 2 0 1 3 ▁President ' s ▁Cup . ▁ ▁Graf ite ▁scored ▁a ▁total ▁of ▁ 6 3 ▁goals ▁in ▁ 7 9 ▁matches ▁for ▁Al ▁Ah li . ▁ ▁Santa ▁Cruz ▁On ▁ 1 ▁July ▁ 2 0 1 5 , ▁Graf |
ite ▁was ▁signed ▁once ▁again ▁by ▁Brazil ian ▁S érie ▁B ▁club ▁Santa ▁Cruz , ▁on ▁a ▁year - long ▁contract . ▁The ▁club ▁announced ▁that ▁he ▁would ▁wear ▁shirt ▁number ▁ 2 3 . ▁He ▁arrived ▁in ▁the ▁middle ▁of ▁the ▁competition ▁and ▁scored ▁ 7 ▁times ▁in ▁ 1 5 ▁matches , ▁which ▁helped ▁promote ▁Santa ▁Cruz ▁to ▁the ▁first ▁division ▁after ▁ 1 0 ▁years ▁without ▁playing ▁in ▁it . ▁ ▁In ▁August ▁ 2 0 1 7 , ▁after ▁a ▁spell ▁at ▁Atl ético ▁Par ana ense , ▁he ▁rejo ined ▁Santa ▁Cruz . ▁ ▁In ▁January ▁ 2 0 1 8 , ▁Graf ite ▁announced ▁his ▁retirement . ▁ ▁International ▁career ▁ ▁On ▁ 2 ▁March ▁ 2 0 1 0 , ▁after ▁almost ▁five ▁years ▁since ▁his ▁debut ▁for ▁the ▁national ▁team , ▁he ▁made ▁his ▁second ▁appearance , ▁coming ▁on ▁as ▁a ▁subst itution ▁for ▁Ad ri ano ▁in ▁the ▁game ▁against ▁Republic ▁of ▁Ireland ▁at ▁the ▁Em ir ates ▁Stadium ▁in ▁London . ▁He ▁was ▁called ▁up ▁to ▁the ▁squad ▁after ▁Lu ís ▁Fab iano ▁was ▁injured . ▁On ▁ 1 1 ▁May , ▁D ung a ▁named ▁Graf ite ▁among ▁his ▁ 2 3 - man ▁ 2 0 1 0 ▁FIFA ▁World ▁Cup ▁squad . ▁Graf ite ▁made ▁one ▁appearance ▁at ▁the ▁tournament , ▁replacing ▁Lu ís ▁Fab iano ▁for ▁the ▁last ▁five ▁minutes ▁of ▁the ▁ 0 – 0 ▁draw ▁with ▁Portugal ▁in ▁the ▁last ▁Group ▁match . ▁ ▁International ▁goals ▁ |
▁Career ▁statistics ▁S ources : ▁ ▁State ▁League ▁ ▁Hon ours ▁ ▁Club ▁São ▁Paulo ▁ ▁Copa ▁Liber t adores : ▁ 2 0 0 5 ▁ ▁FIFA ▁Club ▁World ▁Cup : ▁ 2 0 0 5 ▁ ▁Wol fs burg ▁ ▁Bundes liga : ▁ 2 0 0 8 – 0 9 ▁ ▁Al ▁Ah li ' ▁ ▁U AE ▁President ' s ▁Cup : ▁ 2 0 1 2 – 1 3 ▁ ▁U AE ▁League : ▁ 2 0 1 3 – 1 4 ▁ ▁U AE ▁Super ▁Cup : ▁ 2 0 1 3 ▁ ▁U AE ▁League ▁Cup : ▁ 2 0 1 1 – 1 2 , ▁ 2 0 1 3 – 1 4 ▁ ▁Individual ▁▁ ▁Go al ▁of ▁the ▁Year ▁( G erm any ): ▁ 2 0 0 9 ▁ ▁kick er ▁Bundes liga ▁Team ▁of ▁the ▁Season : ▁ 2 0 0 8 – 0 9 ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁▁▁▁▁▁▁▁▁▁▁▁ ▁Category : 1 9 7 9 ▁birth s ▁Category : L iving ▁people ▁Category : People ▁from ▁J und ia í ▁Category : B raz il ian ▁football ers ▁Category : Associ ation ▁football ▁for wards ▁Category : Ass oc ia ção ▁Fer ro vi á ria ▁de ▁Es port es ▁players ▁Category : S anta ▁Cruz ▁Fut eb ol ▁Cl ube ▁players ▁Category : Gr êm io ▁Foot - B all ▁Port o ▁A leg ren se ▁players ▁Category : FC ▁Se oul ▁players ▁Category : G |
oi ás ▁Es porte ▁Cl ube ▁players ▁Category : S ão ▁Paulo ▁FC ▁players ▁Category : Le ▁Mans ▁FC ▁players ▁Category : V f L ▁Wol fs burg ▁players ▁Category : Al ▁Ah li ▁Club ▁( D ub ai ) ▁players ▁Category : Al ▁S add ▁SC ▁players ▁Category : Cl ub ▁Athlet ico ▁Par ana ense ▁players ▁Category : Cam peonato ▁Bras ile iro ▁S érie ▁A ▁players ▁Category : Cam peonato ▁Bras ile iro ▁S érie ▁B ▁players ▁Category : K ▁League ▁ 1 ▁players ▁Category : L igue ▁ 1 ▁players ▁Category : U AE ▁Pro ▁League ▁players ▁Category : B und es liga ▁players ▁Category : Q atar ▁Stars ▁League ▁players ▁Category : B raz il ▁international ▁football ers ▁Category : 2 0 1 0 ▁FIFA ▁World ▁Cup ▁players ▁Category : B raz il ian ▁exp atri ate ▁football ers ▁Category : B raz il ian ▁exp atri ate ▁sports people ▁in ▁South ▁Korea ▁Category : B raz il ian ▁exp atri ate ▁sports people ▁in ▁France ▁Category : B raz il ian ▁exp atri ate ▁sports people ▁in ▁Germany ▁Category : B raz il ian ▁exp atri ate ▁sports people ▁in ▁the ▁United ▁Arab ▁Em ir ates ▁Category : B raz il ian ▁exp atri ate ▁sports people ▁in ▁Q atar ▁Category : Ex pat ri ate ▁football ers ▁in ▁South ▁Korea ▁Category : Ex pat ri ate ▁football ers ▁in ▁France ▁Category : Ex pat ri ate ▁football ers ▁in ▁Germany ▁Category : Ex pat ri ate |
▁football ers ▁in ▁the ▁United ▁Arab ▁Em ir ates ▁Category : Ex pat ri ate ▁football ers ▁in ▁Q atar ▁Category : K icker - Tor j äger kan one ▁Award ▁winners <0x0A> </s> ▁In ▁ac oust ics , ▁a ▁beat ▁is ▁an ▁interference ▁pattern ▁between ▁two ▁sounds ▁of ▁slightly ▁different ▁frequencies , ▁perceived ▁as ▁a ▁periodic ▁variation ▁in ▁volume ▁whose ▁rate ▁is ▁the ▁difference ▁of ▁the ▁two ▁frequencies . ▁ ▁With ▁tun ing ▁instruments ▁that ▁can ▁produce ▁sustained ▁t ones , ▁be ats ▁can ▁be ▁readily ▁recognized . ▁Tun ing ▁two ▁t ones ▁to ▁a ▁un ison ▁will ▁present ▁a ▁peculiar ▁effect : ▁when ▁the ▁two ▁t ones ▁are ▁close ▁in ▁pitch ▁but ▁not ▁identical , ▁the ▁difference ▁in ▁frequency ▁generates ▁the ▁beating . ▁The ▁volume ▁varies ▁like ▁in ▁a ▁trem olo ▁as ▁the ▁sounds ▁altern ately ▁inter f ere ▁construct ively ▁and ▁destruct ively . ▁As ▁the ▁two ▁t ones ▁gradually ▁approach ▁un ison , ▁the ▁beating ▁sl ows ▁down ▁and ▁may ▁become ▁so ▁slow ▁as ▁to ▁be ▁imper cept ible . ▁As ▁the ▁two ▁t ones ▁get ▁further ▁apart , ▁their ▁beat ▁frequency ▁starts ▁to ▁approach ▁the ▁range ▁of ▁human ▁pitch ▁perception , ▁the ▁beating ▁starts ▁to ▁sound ▁like ▁a ▁note , ▁and ▁a ▁combination ▁tone ▁is ▁produced . ▁This ▁combination ▁tone ▁can ▁also ▁be ▁referred ▁to ▁as ▁a ▁missing ▁fundamental , ▁as ▁the ▁beat ▁frequency ▁of ▁any ▁two ▁t ones ▁is ▁equivalent ▁to ▁the ▁frequency ▁of ▁their ▁implied ▁fundamental ▁frequency . ▁ ▁Mathemat ics ▁and ▁physics ▁of ▁beat ▁t |
ones ▁ ▁This ▁phenomenon ▁is ▁best ▁known ▁in ▁ac oust ics ▁or ▁music , ▁though ▁it ▁can ▁be ▁found ▁in ▁any ▁linear ▁system : ▁" Acc ording ▁to ▁the ▁law ▁of ▁super position , ▁two ▁t ones ▁sound ing ▁simultaneously ▁are ▁super im posed ▁in ▁a ▁very ▁simple ▁way : ▁one ▁adds ▁their ▁amplit udes ". ▁If ▁a ▁graph ▁is ▁drawn ▁to ▁show ▁the ▁function ▁corresponding ▁to ▁the ▁total ▁sound ▁of ▁two ▁strings , ▁it ▁can ▁be ▁seen ▁that ▁max ima ▁and ▁min ima ▁are ▁no ▁longer ▁constant ▁as ▁when ▁a ▁pure ▁note ▁is ▁played , ▁but ▁change ▁over ▁time : ▁when ▁the ▁two ▁waves ▁are ▁nearly ▁ 1 8 0 ▁degrees ▁out ▁of ▁phase ▁the ▁max ima ▁of ▁one ▁wave ▁cancel ▁the ▁min ima ▁of ▁the ▁other , ▁whereas ▁when ▁they ▁are ▁nearly ▁in ▁phase ▁their ▁max ima ▁sum ▁up , ▁raising ▁the ▁perceived ▁volume . ▁ ▁It ▁can ▁be ▁proven ▁with ▁the ▁help ▁of ▁a ▁sum - to - product ▁tr ig on ometric ▁identity ▁( see ▁List ▁of ▁tr ig on ometric ▁ident ities ) ▁that ▁the ▁envelope ▁of ▁the ▁max ima ▁and ▁min ima ▁form ▁a ▁wave ▁whose ▁frequency ▁is ▁half ▁the ▁difference ▁between ▁the ▁frequencies ▁of ▁the ▁two ▁original ▁waves . ▁Consider ▁two ▁s ine ▁waves ▁of ▁unit ▁amplitude : ▁ ▁If ▁the ▁two ▁original ▁frequencies ▁are ▁quite ▁close ▁( for ▁example , ▁a ▁difference ▁of ▁approximately ▁twelve ▁her tz ), ▁the ▁frequency ▁of ▁the ▁cos ine ▁of ▁the ▁right ▁side ▁of ▁the ▁expression ▁above , ▁that ▁is |
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