. . . . . . . . "\u0418\u043E\u043D\u0438\u0447\u0435\u0441\u043A\u0438\u0439 \u0444\u0440\u0438\u0437 \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430 \u2014 \u0441\u043A\u0443\u043B\u044C\u043F\u0442\u0443\u0440\u043D\u0430\u044F \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0438\u044F \u0431\u0430\u0440\u0435\u043B\u044C\u0435\u0444\u043E\u0432 \u0438\u0437 \u043F\u0435\u043D\u0442\u0435\u043B\u0438\u0439\u0441\u043A\u043E\u0433\u043E \u043C\u0440\u0430\u043C\u043E\u0440\u0430, \u043A\u043E\u0442\u043E\u0440\u0430\u044F \u0431\u044B\u043B\u0430 \u0441\u043E\u0437\u0434\u0430\u043D\u0430 \u0434\u043B\u044F \u0443\u043A\u0440\u0430\u0448\u0435\u043D\u0438\u044F \u0444\u0440\u0438\u0437\u0430 \u0432 \u0432\u0435\u0440\u0445\u043D\u0435\u0439 \u0447\u0430\u0441\u0442\u0438 \u043D\u0430\u043E\u0441\u0430 (\u0432\u043D\u0443\u0442\u0440\u0435\u043D\u043D\u0435\u0433\u043E \u043F\u043E\u043C\u0435\u0449\u0435\u043D\u0438\u044F) \u0430\u0444\u0438\u043D\u0441\u043A\u043E\u0433\u043E \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430. \u041A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0438\u044F \u0431\u044B\u043B\u0430 \u0441\u043E\u0437\u0434\u0430\u043D\u0430 \u043C\u0435\u0436\u0434\u0443 443 \u0438 438 \u0433\u0433. \u0434\u043E \u043D. \u044D., \u0432\u0435\u0440\u043E\u044F\u0442\u043D\u0435\u0435 \u0432\u0441\u0435\u0433\u043E \u043F\u043E\u0434 \u0440\u0443\u043A\u043E\u0432\u043E\u0434\u0441\u0442\u0432\u043E\u043C \u0424\u0438\u0434\u0438\u044F."@ru . . . . . . "\u0418\u043E\u043D\u0438\u0447\u0435\u0441\u043A\u0438\u0439 \u0444\u0440\u0438\u0437 \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430 \u2014 \u0441\u043A\u0443\u043B\u044C\u043F\u0442\u0443\u0440\u043D\u0430\u044F \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0438\u044F \u0431\u0430\u0440\u0435\u043B\u044C\u0435\u0444\u043E\u0432 \u0438\u0437 \u043F\u0435\u043D\u0442\u0435\u043B\u0438\u0439\u0441\u043A\u043E\u0433\u043E \u043C\u0440\u0430\u043C\u043E\u0440\u0430, \u043A\u043E\u0442\u043E\u0440\u0430\u044F \u0431\u044B\u043B\u0430 \u0441\u043E\u0437\u0434\u0430\u043D\u0430 \u0434\u043B\u044F \u0443\u043A\u0440\u0430\u0448\u0435\u043D\u0438\u044F \u0444\u0440\u0438\u0437\u0430 \u0432 \u0432\u0435\u0440\u0445\u043D\u0435\u0439 \u0447\u0430\u0441\u0442\u0438 \u043D\u0430\u043E\u0441\u0430 (\u0432\u043D\u0443\u0442\u0440\u0435\u043D\u043D\u0435\u0433\u043E \u043F\u043E\u043C\u0435\u0449\u0435\u043D\u0438\u044F) \u0430\u0444\u0438\u043D\u0441\u043A\u043E\u0433\u043E \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430. \u041A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0438\u044F \u0431\u044B\u043B\u0430 \u0441\u043E\u0437\u0434\u0430\u043D\u0430 \u043C\u0435\u0436\u0434\u0443 443 \u0438 438 \u0433\u0433. \u0434\u043E \u043D. \u044D., \u0432\u0435\u0440\u043E\u044F\u0442\u043D\u0435\u0435 \u0432\u0441\u0435\u0433\u043E \u043F\u043E\u0434 \u0440\u0443\u043A\u043E\u0432\u043E\u0434\u0441\u0442\u0432\u043E\u043C \u0424\u0438\u0434\u0438\u044F."@ru . . . . . . . . . . . . . "La frise du Parth\u00E9non ou \u00AB frise des Panath\u00E9n\u00E9es \u00BB est une frise ionique (sur un b\u00E2timent dorique) en marbre du Pent\u00E9lique de 160 m\u00E8tres de long repr\u00E9sentant 378 figures humaines et 245 animaux. Elle entourait le s\u00E9kos (partie ferm\u00E9e) du Parth\u00E9non sur l'Acropole d'Ath\u00E8nes. Si elle a \u00E9t\u00E9 r\u00E9alis\u00E9e par plusieurs artistes, elle fut sculpt\u00E9e tr\u00E8s probablement sous la direction de Phidias entre 442 et 438 av. J.-C. L'interpr\u00E9tation la plus r\u00E9pandue est qu'elle repr\u00E9sente la procession du p\u00E9plos lors des grandes Panath\u00E9n\u00E9es. C'est une nouveaut\u00E9 dans la sculpture grecque : un th\u00E8me non-mythologique sur un b\u00E2timent \u00E0 vocation religieuse. La procession part du c\u00F4t\u00E9 ouest o\u00F9 sont repr\u00E9sent\u00E9s les pr\u00E9paratifs. Elle se d\u00E9roule ensuite en parall\u00E8le sur les murs sud et nord qui repr\u00E9sentent la m\u00EAme chose : d'abord des cavaliers, puis des chars sur pr\u00E8s de la moiti\u00E9, ensuite des personnages masculins \u00E0 pied. Le c\u00F4t\u00E9 nord, potentiellement le plus vu, est celui qui a fait l'objet du plus d'attentions de la part des sculpteurs. La procession arrive du c\u00F4t\u00E9 est o\u00F9 elle est accueillie par les dieux. L\u00E0, apparaissent pour la premi\u00E8re fois des figures f\u00E9minines. La sc\u00E8ne de remise du p\u00E9plos se trouve au centre de la frise. Aucun texte antique expliquant ce que la frise repr\u00E9sente ne nous est parvenu. Les historiens et arch\u00E9ologues ont propos\u00E9, autour de cette procession des Panath\u00E9n\u00E9es, des interpr\u00E9tations diff\u00E9rentes. Chrysoula Kardara, Kristian Jeppese ou Joan B. Connelly y lisent des mythes fondateurs ath\u00E9niens ; John Boardman y voit l'h\u00E9ro\u00EFsation des marathonomaques. Pour d'autres, enfin, la repr\u00E9sentation transcenderait la simple procession et exprimerait la d\u00E9dicace de l'ensemble de la cit\u00E9 \u00E0 sa d\u00E9esse tut\u00E9laire. D\u00E8s son ach\u00E8vement, la frise eut une importante influence dans l'art. Deux th\u00E8mes principaux surtout lui ont \u00E9t\u00E9 emprunt\u00E9s : l\u2019apob\u00E1t\u00EAs (soldat en armes, montant et descendant d'un char) et le bovin men\u00E9 au sacrifice. On les retrouve dans la c\u00E9ramique ou la sculpture, et jusque dans la po\u00E9sie de John Keats, au d\u00E9but du XIXe si\u00E8cle. \u00C0 partir de l'arriv\u00E9e des marbres du Parth\u00E9non \u00E0 Londres au d\u00E9but du XIXe si\u00E8cle, leur influence se fit \u00E0 nouveau sentir dans l'architecture et l'art en Occident. Les artistes copi\u00E8rent et utilis\u00E8rent plus ou moins directement la frise, ou ses moulages, bien s\u00FBr principalement dans leurs \u0153uvres n\u00E9o-classiques. La frise a \u00E9t\u00E9 relativement peu touch\u00E9e pendant des si\u00E8cles, car peu visible et peu accessible, jusqu'au si\u00E8ge d'Ath\u00E8nes par les V\u00E9nitiens command\u00E9s par Francesco Morosini en 1687, quand un cinqui\u00E8me a \u00E9t\u00E9 d\u00E9truit, r\u00E9parti sur les c\u00F4t\u00E9s nord et sud. Un peu moins de la moiti\u00E9 de la frise se trouve au British Museum, apport\u00E9e par Lord Elgin ; un tiers est encore en Gr\u00E8ce, au mus\u00E9e de l'Acropole d'Ath\u00E8nes ; le reste est conserv\u00E9 dans divers mus\u00E9es, notamment au Louvre et au Vatican. L'\u00C9tat grec r\u00E9clame depuis pr\u00E8s de deux si\u00E8cles au Royaume-Uni la restitution de la partie de la frise conserv\u00E9e au British Museum, ainsi que d'autres \u00E9l\u00E9ments du d\u00E9cor sculpt\u00E9 du Parth\u00E9non."@fr . . . . . . . . . . . . . . . . . . . . "1109345180"^^ . . . . . . . . . "El fris del Parten\u00F3 \u00E9s un fris de 160 m de llarg que envoltava la part superior de la cel\u00B7la del Parten\u00F3 d'Atenes. Obra mestra de l'escultura grega cl\u00E0ssica, est\u00E0 realitzat en baix relleu amb marbre pent\u00E8lic en estil j\u00F2nic, tot i que en un edifici d\u00F2ric. Representa probablement la process\u00F3 de les Panatenees, que es feia cada quatre anys en honor de la dea Atena."@ca . . . "2147375"^^ . . . . . "O friso do Partenon ou friso das Panateneias \u00E9 um friso esculpido que originamente rodeava o s\u00E9kos (parte fechada) do Partenon, na Acr\u00F3pole de Atenas, Gr\u00E9cia. De ordem j\u00F3nica \u2014 apesar do edif\u00EDcio ser d\u00F3rico, \u2014 o friso \u00E9 de m\u00E1rmore pent\u00E9lico, tem 160 metros de comprimento e tem representa\u00E7\u00F5es 378 figuras humanas. \u00C9 uma obra de v\u00E1rios artistas, mas muito provavelmente foi esculpida sob a dire\u00E7\u00E3o de F\u00EDdias entre 442 e 438 a.C. A intepreta\u00E7\u00E3o mais aceite \u00E9 que o friso representa a prociss\u00E3o do peplo durante as Panateneias. \u00C9 uma novidade na escultura grega, pois trata-se de um tema n\u00E3o mitol\u00F3gico num edif\u00EDcio de voca\u00E7\u00E3o religiosa. A prociss\u00E3o parte no lado ocidental, onde est\u00E3o representados os preparativos. Passa depois em paralelo nas paredes sul e norte, que representam os mesmos temas: primeiro os cavaleiros, depois os carros at\u00E9 perto do meio, seguem-se os personagens masculinos a p\u00E9. O lado norte, possivelmente o mais visto, \u00E9 o que tem recebido mais aten\u00E7\u00E3o por parte dos escultores e estudiosos de arte. A prociss\u00E3o termina no lado oriental, onde \u00E9 acolhida pelos deuses. Ali aparecem pela primeira vez figuras femininas. A cena de entrega do peplo encontra-se no centro desse lado do friso. N\u00E3o se conhece qualquer texto antigo que explique com certeza o que representa o friso. Os historiadores e arque\u00F3logos propuseram v\u00E1rias interpreta\u00E7\u00F5es diferentes sobre aquela prociss\u00E3o das Panateneias. Chrysoula Kardara, Kristian Jeppese e v\u00EAm nela os mitos fundadores atenienses; v\u00EA a dos combatentes da batalha de Maratona. Para outras a representa\u00E7\u00E3o transcendia a simples prociss\u00E3o e exprimia a dedicat\u00F3ria do conjunto da cidade \u00E0 sua deusa tutelar (Atena). Desde que foi realizado, o friso teve um grande influ\u00EAncia na arte. H\u00E1 principalmente dois temas que foram tomados de empr\u00E9stimo por outros artistas: o apob\u00E1t\u00EAs (soldado em armas a subir ou a descer de um carro) e o bovino que \u00E9 levado para ser ser sacrificado. Esses temas encontram-se na cer\u00E2mica ou na escultura e at\u00E9 na poesia de John Keats, no in\u00EDcio do s\u00E9culo XIX. A partir da chegada dos m\u00E1rmores do Partenon a Londres, nos primeiros anos do s\u00E9culo XIX, a sua influ\u00EAncia come\u00E7ou novamente a fazer-se sentir na arquitetura e arte do Ocidente. Os artistas copiaram ou utilizaram mais ou menos diretamente os relevos do friso, principalmente nas obras neocl\u00E1ssicas. O friso foi relativamente pouco mexido durante muitos s\u00E9culos, devido a ser pouco vis\u00EDvel e pouco acess\u00EDvel, mas durante o (parte da ) pelos venezianos comandados por Francesco Morosini em 1687, um quinto foi destru\u00EDdo, nos lados norte e sul. Um pouco mais de metade do friso, os chamados m\u00E1rmores de Elgin, conserva-se no Museu Brit\u00E2nico, para onde foi levado por Lorde Elgin no in\u00EDcio da d\u00E9cada de 1800; um ter\u00E7o encontra-se no Museu da Acr\u00F3pole de Atenas e o resto em v\u00E1rios outros museus, nomeadamente o Louvre em Paris e o do Vaticano. Praticamente desde a independ\u00EAncia, na d\u00E9cada de 1820, que o Estado grego reclama ao Reino Unido a restitui\u00E7\u00E3o da parte do friso conservada no Museu Brit\u00E2nicos, bem como de outros elementos da decora\u00E7\u00E3o escult\u00F3rica do Partenon."@pt . . . . . . . . . "Friso del Parten\u00F3n"@es . . "La frise du Parth\u00E9non ou \u00AB frise des Panath\u00E9n\u00E9es \u00BB est une frise ionique (sur un b\u00E2timent dorique) en marbre du Pent\u00E9lique de 160 m\u00E8tres de long repr\u00E9sentant 378 figures humaines et 245 animaux. Elle entourait le s\u00E9kos (partie ferm\u00E9e) du Parth\u00E9non sur l'Acropole d'Ath\u00E8nes. Si elle a \u00E9t\u00E9 r\u00E9alis\u00E9e par plusieurs artistes, elle fut sculpt\u00E9e tr\u00E8s probablement sous la direction de Phidias entre 442 et 438 av. J.-C."@fr . "Frise du Parth\u00E9non"@fr . . . . . . . . . . . . . . . . . . . . . . . . "El fris del Parten\u00F3 \u00E9s un fris de 160 m de llarg que envoltava la part superior de la cel\u00B7la del Parten\u00F3 d'Atenes. Obra mestra de l'escultura grega cl\u00E0ssica, est\u00E0 realitzat en baix relleu amb marbre pent\u00E8lic en estil j\u00F2nic, tot i que en un edifici d\u00F2ric. Representa probablement la process\u00F3 de les Panatenees, que es feia cada quatre anys en honor de la dea Atena. Fou esculpit entre els anys 443 i 438 ae, molt probablement sota la direcci\u00F3 de F\u00EDdies. Sobreviuen uns 128 m del fris original, al voltant del 94%, i se'n coneix la resta nom\u00E9s pels dibuixos que en feu l'artista flamenc Jacques Carrey al 1674. Els seus fragments es troben dispersos en alguns museus, sobretot al Museu de l'Acr\u00F2poli d'Atenes i al Museu Brit\u00E0nic de Londres. En l'actualitat, el 37,5% del fris es troba al Museu Brit\u00E0nic; la resta (48%) \u00E9s al Museu de l'Acr\u00F2poli d'Atenes i el restant 14% es reparteix entre altres museus. L'estat grec ha demanat repetidament la restituci\u00F3 dels Marbres d'Elgin que s\u00F3n a Londres, aix\u00ED com altres elements de l'escultura que decorava el Parten\u00F3. Gran part del material aten\u00E9s no est\u00E0 exposat, i hi ha fragments en altres nou museus internacionals. Alguns motles del fris es poden trobar en l'arxiu Beazley del Museu Ashmolean d'Oxford, al Skulpturhalle de Basilea, a l'Architecture Hall de la Universitat de Washington, Seattle; i al Hammerwood Park, prop d'East Grinstead, a Sussex (Anglaterra)."@ca . . . . . . . "O friso do Partenon ou friso das Panateneias \u00E9 um friso esculpido que originamente rodeava o s\u00E9kos (parte fechada) do Partenon, na Acr\u00F3pole de Atenas, Gr\u00E9cia. De ordem j\u00F3nica \u2014 apesar do edif\u00EDcio ser d\u00F3rico, \u2014 o friso \u00E9 de m\u00E1rmore pent\u00E9lico, tem 160 metros de comprimento e tem representa\u00E7\u00F5es 378 figuras humanas. \u00C9 uma obra de v\u00E1rios artistas, mas muito provavelmente foi esculpida sob a dire\u00E7\u00E3o de F\u00EDdias entre 442 e 438 a.C."@pt . "The Parthenon frieze is the high-relief Pentelic marble sculpture created to adorn the upper part of the Parthenon\u2019s naos. It was sculpted between c. 443 and 437 BC, most likely under the direction of Pheidias. Of the 160 meters (524 ft) of the original frieze, 128 meters (420 ft) survives\u2014some 80 percent. The rest is known only from the drawings attributed to French artist Jacques Carrey in 1674, thirteen years before the Venetian bombardment that ruined the temple. At present, the majority of the frieze is at the British Museum in London (forming the major part of the Elgin Marbles); the largest proportion of the rest is at the Acropolis Museum in Athens, and the remainder of fragments shared between six other institutions. Casts of the frieze may be found in the Beazley archive at the Ashmolean Museum at Oxford, at the Spurlock Museum in Urbana, in the Skulpturhalle at Basel and elsewhere."@en . . . . . "The Parthenon frieze is the high-relief Pentelic marble sculpture created to adorn the upper part of the Parthenon\u2019s naos. It was sculpted between c. 443 and 437 BC, most likely under the direction of Pheidias. Of the 160 meters (524 ft) of the original frieze, 128 meters (420 ft) survives\u2014some 80 percent. The rest is known only from the drawings attributed to French artist Jacques Carrey in 1674, thirteen years before the Venetian bombardment that ruined the temple."@en . . . . "\u0424\u0440\u0438\u0437 \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430 \u2014 \u0446\u0435 \u0433\u043E\u0440\u0435\u043B\u044C\u0454\u0444\u043D\u0430 \u043F\u0435\u043D\u0442\u0435\u043B\u0456\u0447\u043D\u0430 \u043C\u0430\u0440\u043C\u0443\u0440\u043E\u0432\u0430 \u0441\u043A\u0443\u043B\u044C\u043F\u0442\u0443\u0440\u0430, \u0441\u0442\u0432\u043E\u0440\u0435\u043D\u0430 \u0434\u043B\u044F \u043F\u0440\u0438\u043A\u0440\u0430\u0441\u0438 \u0432\u0435\u0440\u0445\u043D\u044C\u043E\u0457 \u0447\u0430\u0441\u0442\u0438\u043D\u0438 \u043D\u0430\u043E\u0441\u0430 \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430. \u0412\u0456\u043D \u0431\u0443\u0432 \u0441\u0442\u0432\u043E\u0440\u0435\u043D\u0438\u0439 \u043C\u0456\u0436 443 \u0456 437 \u0440\u043E\u043A\u0430\u043C\u0438 \u0434\u043E \u043D. \u0435. , \u0448\u0432\u0438\u0434\u0448\u0435 \u0437\u0430 \u0432\u0441\u0435, \u043F\u0456\u0434 \u043A\u0435\u0440\u0456\u0432\u043D\u0438\u0446\u0442\u0432\u043E\u043C \u0424\u0456\u0434\u0456\u044F. \u0406\u0437 160 \u043C\u0435\u0442\u0440\u0456\u0432 (524 \u0444\u0443\u0442\u0438) \u043E\u0440\u0438\u0433\u0456\u043D\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u0444\u0440\u0438\u0437\u0430 \u0437\u0431\u0435\u0440\u0435\u0433\u043B\u043E\u0441\u044F 128 \u043C\u0435\u0442\u0440\u0456\u0432 (420 \u0444\u0443\u0442\u0456\u0432) \u2014 \u0431\u043B\u0438\u0437\u044C\u043A\u043E 80 \u0432\u0456\u0434\u0441\u043E\u0442\u043A\u0456\u0432. \u0420\u0435\u0448\u0442\u0430 \u0432\u0456\u0434\u043E\u043C\u0430 \u043B\u0438\u0448\u0435 \u0437\u0430 \u043C\u0430\u043B\u044E\u043D\u043A\u0430\u043C\u0438, \u043F\u0440\u0438\u043F\u0438\u0441\u0430\u043D\u0438\u043C\u0438 \u0444\u0440\u0430\u043D\u0446\u0443\u0437\u044C\u043A\u043E\u043C\u0443 \u0445\u0443\u0434\u043E\u0436\u043D\u0438\u043A\u0443 \u0416\u0430\u043A\u0443 \u041A\u0435\u0440\u0440\u0456 \u0432 1674 \u0440\u043E\u0446\u0456, \u0437\u0430 \u0442\u0440\u0438\u043D\u0430\u0434\u0446\u044F\u0442\u044C \u0440\u043E\u043A\u0456\u0432 \u0434\u043E \u0412\u0435\u043D\u0435\u0446\u0456\u0430\u043D\u0441\u044C\u043A\u043E\u0457 \u0431\u043E\u043C\u0431\u0430\u0440\u0434\u0443\u0432\u0430\u043D\u043D\u044F, \u0449\u043E \u0437\u0440\u0443\u0439\u043D\u0443\u0432\u0430\u043B\u0430 \u0445\u0440\u0430\u043C."@uk . . "Parthenon Frieze"@en . . . . . . . "Friso do Partenon"@pt . . . . . . . . . . . "El friso del Parten\u00F3n es un friso de 160 metros de largo que rodeaba la parte superior de la cella del Parten\u00F3n en Atenas. Obra maestra de la escultura griega cl\u00E1sica, est\u00E1 realizado en bajorrelieve con m\u00E1rmol pent\u00E9lico en estilo j\u00F3nico, aunque en un edificio d\u00F3rico. Representa probablemente la procesi\u00F3n de las Grandes Panateneas, que ten\u00EDa lugar cada cuatro a\u00F1os en honor de la diosa Atenea."@es . . . . . "El friso del Parten\u00F3n es un friso de 160 metros de largo que rodeaba la parte superior de la cella del Parten\u00F3n en Atenas. Obra maestra de la escultura griega cl\u00E1sica, est\u00E1 realizado en bajorrelieve con m\u00E1rmol pent\u00E9lico en estilo j\u00F3nico, aunque en un edificio d\u00F3rico. Representa probablemente la procesi\u00F3n de las Grandes Panateneas, que ten\u00EDa lugar cada cuatro a\u00F1os en honor de la diosa Atenea. Fue esculpido aproximadamente entre los a\u00F1os 443 y 438 a. C.\u200B muy probablemente bajo la direcci\u00F3n de Fidias. Sobreviven unos 128 metros del friso original, alrededor del 94%, conoci\u00E9ndose el resto solo por los dibujos que hizo el artista flamenco Jacques Carrey en 1674. Sus fragmentos se encuentran dispersos en diversos museos, sobre todo en el Museo de la Acr\u00F3polis de Atenas y en el Museo Brit\u00E1nico de Londres. En la actualidad, el 37,5% del friso se encuentra en el Museo Brit\u00E1nico; el resto (48%) est\u00E1 en el Museo de la Acr\u00F3polis de Atenas y el \u00FAltimo 14% se reparte entre otros museos. El Estado griego ha pedido repetidamente la restituci\u00F3n de los M\u00E1rmoles de Elgin que se encuentran en Londres, as\u00ED como otros elementos de la escultura que decoraba el Parten\u00F3n. Gran parte del material ateniense no est\u00E1 expuesto, y hay fragmentos en otros nueve museos internacionales. Moldes del friso pueden encontrarse en el archivo Beazley en el Museo Ashmolean de Oxford, en el Skulpturhalle de Basilea, en el Architecture Hall de la Universidad de Washington, Seattle; y en cerca de East Grinstead, en Sussex (Inglaterra)."@es . . . . . . . . . "\u0418\u043E\u043D\u0438\u0447\u0435\u0441\u043A\u0438\u0439 \u0444\u0440\u0438\u0437 \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430"@ru . . . . . . . . . . . "\u0424\u0440\u0438\u0437 \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430 \u2014 \u0446\u0435 \u0433\u043E\u0440\u0435\u043B\u044C\u0454\u0444\u043D\u0430 \u043F\u0435\u043D\u0442\u0435\u043B\u0456\u0447\u043D\u0430 \u043C\u0430\u0440\u043C\u0443\u0440\u043E\u0432\u0430 \u0441\u043A\u0443\u043B\u044C\u043F\u0442\u0443\u0440\u0430, \u0441\u0442\u0432\u043E\u0440\u0435\u043D\u0430 \u0434\u043B\u044F \u043F\u0440\u0438\u043A\u0440\u0430\u0441\u0438 \u0432\u0435\u0440\u0445\u043D\u044C\u043E\u0457 \u0447\u0430\u0441\u0442\u0438\u043D\u0438 \u043D\u0430\u043E\u0441\u0430 \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430. \u0412\u0456\u043D \u0431\u0443\u0432 \u0441\u0442\u0432\u043E\u0440\u0435\u043D\u0438\u0439 \u043C\u0456\u0436 443 \u0456 437 \u0440\u043E\u043A\u0430\u043C\u0438 \u0434\u043E \u043D. \u0435. , \u0448\u0432\u0438\u0434\u0448\u0435 \u0437\u0430 \u0432\u0441\u0435, \u043F\u0456\u0434 \u043A\u0435\u0440\u0456\u0432\u043D\u0438\u0446\u0442\u0432\u043E\u043C \u0424\u0456\u0434\u0456\u044F. \u0406\u0437 160 \u043C\u0435\u0442\u0440\u0456\u0432 (524 \u0444\u0443\u0442\u0438) \u043E\u0440\u0438\u0433\u0456\u043D\u0430\u043B\u044C\u043D\u043E\u0433\u043E \u0444\u0440\u0438\u0437\u0430 \u0437\u0431\u0435\u0440\u0435\u0433\u043B\u043E\u0441\u044F 128 \u043C\u0435\u0442\u0440\u0456\u0432 (420 \u0444\u0443\u0442\u0456\u0432) \u2014 \u0431\u043B\u0438\u0437\u044C\u043A\u043E 80 \u0432\u0456\u0434\u0441\u043E\u0442\u043A\u0456\u0432. \u0420\u0435\u0448\u0442\u0430 \u0432\u0456\u0434\u043E\u043C\u0430 \u043B\u0438\u0448\u0435 \u0437\u0430 \u043C\u0430\u043B\u044E\u043D\u043A\u0430\u043C\u0438, \u043F\u0440\u0438\u043F\u0438\u0441\u0430\u043D\u0438\u043C\u0438 \u0444\u0440\u0430\u043D\u0446\u0443\u0437\u044C\u043A\u043E\u043C\u0443 \u0445\u0443\u0434\u043E\u0436\u043D\u0438\u043A\u0443 \u0416\u0430\u043A\u0443 \u041A\u0435\u0440\u0440\u0456 \u0432 1674 \u0440\u043E\u0446\u0456, \u0437\u0430 \u0442\u0440\u0438\u043D\u0430\u0434\u0446\u044F\u0442\u044C \u0440\u043E\u043A\u0456\u0432 \u0434\u043E \u0412\u0435\u043D\u0435\u0446\u0456\u0430\u043D\u0441\u044C\u043A\u043E\u0457 \u0431\u043E\u043C\u0431\u0430\u0440\u0434\u0443\u0432\u0430\u043D\u043D\u044F, \u0449\u043E \u0437\u0440\u0443\u0439\u043D\u0443\u0432\u0430\u043B\u0430 \u0445\u0440\u0430\u043C. \u0412 \u0434\u0430\u043D\u0438\u0439 \u0447\u0430\u0441 \u0431\u0456\u043B\u044C\u0448\u0430 \u0447\u0430\u0441\u0442\u0438\u043D\u0430 \u0424\u0440\u0438\u0437\u0430 \u0437\u043D\u0430\u0445\u043E\u0434\u0438\u0442\u044C\u0441\u044F \u0432 \u0411\u0440\u0438\u0442\u0430\u043D\u0441\u044C\u043A\u043E\u043C\u0443 \u043C\u0443\u0437\u0435\u0457 \u0432 \u041B\u043E\u043D\u0434\u043E\u043D\u0456 (\u0443\u0442\u0432\u043E\u0440\u044E\u044E\u0447\u0438 \u043E\u0441\u043D\u043E\u0432\u043D\u0443 \u0447\u0430\u0441\u0442\u0438\u043D\u0443 \u043C\u0430\u0440\u043C\u0443\u0440\u0443 \u0415\u043B\u0433\u0456\u043D\u0430); \u0431\u0456\u043B\u044C\u0448\u0430 \u0447\u0430\u0441\u0442\u0438\u043D\u0430 \u0440\u0435\u0448\u0442\u0438 \u0437\u043D\u0430\u0445\u043E\u0434\u0438\u0442\u044C\u0441\u044F \u0432 \u043C\u0443\u0437\u0435\u0457 \u0410\u043A\u0440\u043E\u043F\u043E\u043B\u044F \u0432 \u0410\u0444\u0456\u043D\u0430\u0445, \u0430 \u0456\u043D\u0448\u0456 \u0444\u0440\u0430\u0433\u043C\u0435\u043D\u0442\u0438 \u0440\u043E\u0437\u043F\u043E\u0434\u0456\u043B\u0435\u043D\u0456 \u043C\u0456\u0436 \u0448\u0456\u0441\u0442\u044C\u043C\u0430 \u0456\u043D\u0448\u0438\u043C\u0438 \u0443\u0441\u0442\u0430\u043D\u043E\u0432\u0430\u043C\u0438. \u0417\u043B\u0456\u043F\u043A\u0438 \u0424\u0440\u0438\u0437\u0430 \u043C\u043E\u0436\u043D\u0430 \u0437\u043D\u0430\u0439\u0442\u0438 \u0432 \u0430\u0440\u0445\u0456\u0432\u0456 \u0411\u0456\u0437\u043B\u0456 \u0432 \u041C\u0443\u0437\u0435\u0457 \u0415\u0448\u043C\u043E\u043B\u0430 \u0432 \u041E\u043A\u0441\u0444\u043E\u0440\u0434\u0456, \u0432 \u043C\u0443\u0437\u0435\u0457 \u0421\u043F\u0435\u0440\u043B\u043E\u043A\u0430 \u0432 \u0423\u0440\u0431\u0430\u043D\u0456, \u0432 \u043C\u0443\u0437\u0435\u0457 \u0443 \u0411\u0430\u0437\u0435\u043B\u0456 \u0442\u0430 \u0432 \u0456\u043D\u0448\u0438\u0445 \u043C\u0456\u0441\u0446\u044F\u0445."@uk . . . . "Fris del Parten\u00F3"@ca . . . . . . . . . . . . . . . . . . . . . . . . . "32439"^^ . . . . . "\u0424\u0440\u0438\u0437 \u041F\u0430\u0440\u0444\u0435\u043D\u043E\u043D\u0430"@uk . . . . . . . . . . . . . . . .