Sant Tukaram (1936)

Sant Tukaram (film)

Sant Tukaram

VCD Cover
Directed by Vishnupant Govind Damle
Sheikh Fattelal
Written by Shivram Vashikar
Based on Sant Tukaram
Starring Vishnupant Pagnis
B. Nandrekar
Release date(s) 1936
Running time 131 min
Country India
Language Hindi

Sant Tukaram is a movie about the life of Sant Tukaram] (1608–1650), a prominent Varkari Sant and spiritual poet during the Bhakti Movement in India. The movie is based on his life and teachings.





Retrieved from : http://en.wikipedia.org/w/index.php?title=Sant_Tukaram_(film)&oldid=461191345

Ivan Kanidis

Yanis Kanidis


External links

Retrieved from : http://en.wikipedia.org/w/index.php?title=Yanis_Kanidis&oldid=454486829

2011 WinStar World Casino 350K

2011 WinStar World Casino 350K

The 2011 WinStar World Casino 350K was a NASCAR Camping World Truck Series event held on November 4, 2011 at the Texas Motor Speedway in Fort Worth, Texas over 148 laps of the 1.5 miles (2.4 km) oval. The second-last race of the season, it was won by Kevin Harvick in a green-white-checker finish.

The race became notable for an incident on its fourteenth lap, where Kyle Busch deliberately spun out series regular (and championship contender) Ron Hornaday on a resulting caution after Hornaday caused Busch's truck to slide into a wall. Its aftermath affected the championship contentions of both drivers (in the Sprint Cup Series and the Camping World Truck Series respectively), and NASCAR's response to the incident also led to the first ever parking of a driver across all three races of a race weekend involving all of the association's national series since the original establishment of the Truck Series in 1995.


Ron Hornaday and Kyle Busch conflict

On Lap 13 after an incident with series regular and championship contender Ron Hornaday, Busch deliberately turned him into the outside wall under caution, ending Hornaday's title hopes. NASCAR black-flagged Busch for the rest of the race. The next morning, NASCAR announced that Busch would remain parked for the remainder of the weekend, including the 2011 O'Reilly Auto Parts Challenge and the 2011 AAA Texas 500. NASCAR took this action under rules that allow it to park a driver in order to ensure the "orderly conduct of the event," an action which is not appealable. Denny Hamlin and Michael McDowell stepped up to replace Busch in both the Nationwide Series and Sprint Cup series races. It was the first time since what is now the Camping World Truck Series was launched in 1995 that NASCAR has parked a driver across all three national series, and only the third cross-series sanction in NASCAR's 64-year history. NASCAR's action mathematically eliminated Busch from contention for the Sprint Cup, though any realistic chance of him winning it ended earlier in the Chase.

Later that day, Busch issued an apology to his fans, sponsors and teammates, saying that the Texas incident was "certainly a step backward."

On November 7, NASCAR fined Busch $50,000 for "actions detrimental to stock car racing." While it lifted the parking directive, it placed Busch on probation for the rest of the year, saying that he will be suspended indefinitely if he commits another offense detrimental to stock car racing or disrupts the orderly conduct of a NASCAR event.


Retrieved from : http://en.wikipedia.org/w/index.php?title=2011_WinStar_World_Casino_350K&oldid=459562289

Scène de Naufrage

The Raft of the Medusa

The Raft of the Medusa
French: Le Radeau de la Méduse
Artist Théodore Géricault
Year 1818–1819
Type Oil on canvas
Dimensions 491 cm × 716 cm (193.3 in × 282.3 in)
Location Musée du Louvre, Paris

The Raft of the Medusa (French: Le Radeau de la Méduse) is an oil painting of 1818–1819 by the French Romantic painter and lithographer Théodore Géricault (1791–1824). Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 cm × 716 cm (193.3 in × 282.3 in), it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today's Mauritania on July 5, 1816. At least 147 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation, dehydration, cannibalism and madness. The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain perceived to be acting under the authority of the recently restored French monarchy. In reality, King Louis XVIII had no say in the captain's appointment, since, then as now, monarchs were not directly involved in appointments made to vessels like a naval frigate. The vicomte de Chaumareys' appointment as captain of the Méduse would have been a routine naval appointment, made within the Ministry of the Navy.

In choosing the tragedy as subject matter for his first major work—an uncommissioned depiction of an event from recent history—Géricault consciously selected a well-known incident that would generate great public interest and help launch his career. The event fascinated the young artist, and before he began work on the final painting, he undertook extensive research and produced many preparatory sketches. He interviewed two of the survivors, and constructed a detailed scale model of the raft. His efforts took him to morgues and hospitals where he could view, first-hand, the colour and texture of the flesh of the dying and dead. As the artist had anticipated, the painting proved highly controversial at its first appearance in the 1819 Paris Salon, attracting passionate praise and condemnation in equal measure. However, it established his international reputation, and today is widely seen as seminal in the early history of the Romantic movement in French painting.

Although The Raft of the Medusa retains elements of the traditions of history painting, in both its choice of subject matter and its dramatic presentation, it represents a break from the calm and order of the then-prevailing Neoclassical school. Géricault's work attracted wide attention almost immediately from its first showing, and was subsequently exhibited in London. It was acquired by the Louvre soon after the artist's early death at the age of 32. The painting's influence can be seen in the works of Eugène Delacroix, J. M. W. Turner, Gustave Courbet and Édouard Manet.



The Raft of the Medusa portrays the moment when, after 13 days adrift on the raft, the remaining 15 survivors view a ship approaching from a distance. According to an early British reviewer, the work is set at a moment when "the ruin of the raft may be said to be complete". The painting is on a monumental scale of 491 × 716 cm (193.3 × 282.3 in), so that most of the figures rendered are life-sized and those in the foreground almost twice life-size, pushed close to the picture plane and crowding onto the viewer, who is drawn into the physical action as a participant.


Research and preparatory studies

Final work

Géricault, who had just been forced to break off a painful affair with his aunt, shaved his head and from November 1818 to July 1819 lived a disciplined monastic existence in his studio in the Faubourg du Roule, being brought meals by his concierge and only occasionally spending an evening out. He and his 18-year-old assistant, Louis-Alexis Jamar, slept in a small room adjacent to the studio; occasionally there were arguments and on one occasion Jamar walked off; after two days Géricault persuaded him to return. In his orderly studio, the artist worked in a methodical fashion in complete silence and found that even the noise of a mouse was sufficient to break his concentration.


The Raft of the Medusa fuses many influences from the Old Masters, from the Last Judgment and Sistine Chapel ceiling of Michelangelo (1475–1564) and Raphael's Transfiguration, to the monumental approach of Jacques-Louis David (1748–1825) and Antoine-Jean Gros (1771–1835), to contemporary events. By the 18th century, shipwrecks had become a recognised feature of marine art, as well as an increasingly common occurrence as more journeys were made by sea. Claude Joseph Vernet (1714–1789) created many such images, achieving naturalistic colour through direct observation—unlike other artists at that time—and was said to have tied himself to the mast of a ship in order to witness a storm.

Exhibition and reception

The Raft of the Medusa was first shown at the 1819 Paris Salon, under the generic title Scène de Naufrage (Scene of Shipwreck), although its real subject would have been unmistakable for contemporary viewers. Géricault's Raft was the star at the Salon of 1819: "It strikes and attracts all eyes" (Le Journal de Paris). Louis XVIII visited the Salon three days before the opening, and reportedly said "Monsieur, vous venez de faire un naufrage qui n'en est pas un pour vous", freely translated as "Monsieur Géricault, your shipwreck is certainly no disaster". Critics were divided: the horror and "terribilità" of the subject exercised fascination, but devotees of classicism expressed their distaste for what they described as a "pile of corpses," whose realism they considered a far cry from the "ideal beauty" incarnated by Girodet's Pygmalion and Galatea (which triumphed the same year). Géricault's work expressed a paradox: how could a hideous subject be translated into a powerful painting, how could the painter reconcile art and reality? Marie-Philippe Coupin de la Couperie, a French painter and contemporary of Géricault, was categorical: "Monsieur Géricault seems mistaken. The goal of painting is to speak to the soul and the eyes, not to repel." The painting had fervent admirers too, including French writer and art critic Auguste Jal who praised its political theme, its liberal position (the advancement of the "negro", the critique of ultra-royalism), and its modernity. For French historian Jules Michelet, "our whole society is aboard the raft of the Medusa [...]."

Interpretation and legacy



External links

Literature Music Theology and
philosophy Art Architecture

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Honda CL400

Honda CL400

The Honda CL 400 is a motorcycle launched by Honda in September 23, 1998.

The motorcycle has a single-cylinder air-cooled 387cc engine (the NC38, also found in the XR400R).

Information on the motorcycle in the English language is limited, including workshop manuals and other such material. It is, however, very similar to the XR400R. The specification of the motorcycle can be found at the Honda Worldwide News Site


  1. ^ "Honda Worldwide | World News". Honda Worldwide News. Honda Worldwide. http://world.honda.com/news/1998/2980922.html. Retrieved 9 May 2011.
Engines Robots Subsidiaries and
divisions Keiretsu affiliates
Influential people

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Coordinates: 31°30′37″N 50°49′46″E / 31.51028°N 50.82944°ECoordinates: 31°30′37″N 50°49′46″E / 31.51028°N 50.82944°E
Country Iran
Province Chaharmahal and Bakhtiari
County Lordegan
Bakhsh Central
Population (2006)
• Total 22,728
Time zone IRST (UTC+3:30)
• Summer (DST) IRDT (UTC+4:30)

Lordegan (Persian: لردگان, also Romanized as Lordegān, Lordgān, Lordagān, Lordajān, Lordakān, Lord Jan, and Lurdagān) is a city in and the capital of Lordegan County, Chaharmahal and Bakhtiari Province, Iran. At the 2006 census, its population was 22,728, in 4,459 families.

History of civilization in the region is back to Eilamian Elam Empire ( about 2500-3000 BC). The most important evidence about the history of region is three Hills (Ghale Afghan, Ghale Goshe, Ghale Geli) (in Persian:تپه) which are not natural and belong to Eilamian Empire.

The place is covered with Oak forests with variety of wild animals. On the fringes of the Lordegan River lush rice fields come to view, specially in the months of spring and summer. Most of the rivers in the province of Chahar Mahal Va Bakhtiyari have a wide variety of fish the most important being the a species of the Cyprinidae. Besides which this area due to climatic conditions provides facilities for the nurturing of Trou

About the people, most of the living in rural area having farm and caring domestic animals. The majority of people in the region speak the Bakhtiari dialect of Persian.


External links

Retrieved from : http://en.wikipedia.org/w/index.php?title=Lordegan&oldid=452951569

Baba Heydar


Coordinates: 32°19′44″N 50°28′19″E / 32.32889°N 50.47194°ECoordinates: 32°19′44″N 50°28′19″E / 32.32889°N 50.47194°E
Country Iran
Province Chaharmahal and Bakhtiari
County Farsan
Bakhsh Central
Population (2006)
• Total 10,922
Time zone IRST (UTC+3:30)
• Summer (DST) IRDT (UTC+4:30)

Babaheydar (Persian: باباحيدر, also Romanized as Bābā Ḩeydar and Bāba Haīdar) is a city in the Central District of Farsan County, Chaharmahal and Bakhtiari Province, Iran. At the 2006 census, its population was 10,922, in 2,245 families.


Retrieved from : http://en.wikipedia.org/w/index.php?title=Babaheydar&oldid=449416549



Coordinates: 33°29′27″N 48°02′57″E / 33.49083°N 48.04917°ECoordinates: 33°29′27″N 48°02′57″E / 33.49083°N 48.04917°E
Country Iran
Province Lorestan
County Dowreh
Bakhsh Veysian
Population (2006)
• Total 1,817
Time zone IRST (UTC+3:30)
• Summer (DST) IRDT (UTC+4:30)

Veysian (Persian: ويسيان, also Romanized as Veysīān, Vaisiyan, Vaisyan, Vasīān, Veseyān, Veysīyān, and Voisiyan; also known as Cham Bāgh-e Veysīān; formerly, Mahmudvand (Persian: محمودوند), also Romanized as Maḩmūdvand) is a city in and capital of Veysian District, in Dowreh County, Lorestan Province, Iran. At the 2006 census, its population was 1,817, in 429 families.


Retrieved from : http://en.wikipedia.org/w/index.php?title=Veysian&oldid=464339929