114 research outputs found
ΠΠΏΠ΅ΡΠ°ΡΠΈΠΈ Π½Π° ΠΏΡΠ΅Π½ΠΎΡ Π½Π° ΠΌΠ°ΡΠ°-ΠΏΡΠ°ΠΊΡΠΈΠΊΡΠΌ
ΠΠ²ΠΎΡ ΠΏΡΠ°ΠΊΡΠΈΠΊΡΠΌ Π΅ ΠΏΠΎΠΌΠΎΡΠ΅Π½ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π», ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ Π΄ΠΎΠ΄Π°ΡΠΎΠΊ Π½Π° ΡΠΊΡΠΈΠΏΡΠ°ΡΠ° Π·Π°
ΡΡΡΠ΄Π΅Π½ΡΠΈΡΠ΅ ΠΊΠΎΠΈ Π³ΠΎ ΡΠ»ΡΡΠ°Π°Ρ ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΠΎΡ ΠΠΏΠ΅ΡΠ°ΡΠΈΠΈ Π½Π° ΠΏΡΠ΅Π½ΠΎΡ Π½Π° ΠΌΠ°ΡΠ° ΠΊΠ°ΠΊΠΎ ΠΏΠΎΡΠ΅Π±Π΅Π½
ΠΏΡΠ΅Π΄ΠΌΠ΅Ρ, ΠΊΠ°ΠΊΠΎ ΠΈ Π·Π° Π΄Π΅Π» ΠΎΠ΄ ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΠΈΡΠ΅ ΠΠΈΠ½Π΅ΡΠΈΠΊΠ° ΠΈ ΡΠ΅Π½ΠΎΠΌΠ΅Π½ΠΈ Π½Π° ΠΏΡΠ΅Π½ΠΎΡ ΠΈ Π’Π΅Ρ
Π½ΠΎΠ»ΠΎΡΠΊΠΈ
ΠΎΠΏΠ΅ΡΠ°ΡΠΈΠΈ Π²ΠΎ ΠΏΡΠ΅Ρ
ΡΠ°Π½Π±Π΅Π½Π°ΡΠ° ΠΈΠ½Π΄ΡΡΡΡΠΈΡΠ° Π²ΠΎ Π²ΡΠΎΡΠ° Π³ΠΎΠ΄ΠΈΠ½Π° Π½Π° Π’Π΅Ρ
Π½ΠΎΠ»ΠΎΡΠΊΠΎ-ΡΠ΅Ρ
Π½ΠΈΡΠΊΠΈΠΎΡ
ΡΠ°ΠΊΡΠ»ΡΠ΅Ρ ΠΏΡΠΈ Π£Π½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΠΎΡ βΠΠΎΡΠ΅ ΠΠ΅Π»ΡΠ΅Π²β Π²ΠΎ Π¨ΡΠΈΠΏ ΠΈ ΡΠΎ ΡΠ°ΠΌΠΎΡΠΎ ΡΠΎΠ° ΠΏΡΠ²Π΅Π½ΡΡΠ²Π΅Π½ΠΎ Π΅
Π½Π°ΠΌΠ΅Π½Π΅Ρ Π·Π° ΡΡΡΠ΄Π΅Π½ΡΠΈΡΠ΅ Π½Π° ΠΎΠ²ΠΎΡ ΡΠ°ΠΊΡΠ»ΡΠ΅Ρ. ΠΡΠ°ΠΊΡΠΈΠΊΡΠΌΠΎΡ ΠΌΠΎΠΆΠ°Ρ Π΄Π° Π³ΠΎ ΠΊΠΎΡΠΈΡΡΠ°Ρ ΠΈ ΡΡΡΠ΄Π΅Π½ΡΠΈ
ΠΊΠΎΠΈ ΠΈΠ·ΡΡΡΠ²Π°Π°Ρ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΡΠΊΠΈ ΠΎΠΏΠ΅ΡΠ°ΡΠΈΠΈ Π²ΠΎ ΡΠ΅ΠΊΡΡΠΈΠ»Π½Π°ΡΠ° ΠΈΠ»ΠΈ Π΄ΡΡΠ³ΠΈ Π³ΡΠ°Π½ΠΊΠΈ Π½Π° ΠΈΠ½Π΄ΡΡΡΡΠΈΡΠ°ΡΠ°.
ΠΠΎΡΡΠ΅Π±Π°ΡΠ° ΠΎΠ΄ ΠΎΠ²ΠΎΡ ΠΏΡΠ°ΠΊΡΠΈΠΊΡΠΌ ΠΏΡΠΎΠΈΠ·Π»Π΅Π·Π΅ ΠΎΠ΄ Π½Π΅Π΄ΠΎΡΡΠ°ΡΠΎΠΊΠΎΡ Π½Π° Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ° ΠΎΠ΄ ΠΎΠ²Π°Π° ΠΎΠ±Π»Π°ΡΡ.
ΠΡΠ°ΠΊΡΠΈΠΊΡΠΌΠΎΡ ΡΠΎΠ΄ΡΠΆΠΈ: ΠΊΡΠ°ΡΠΊΠΈ ΠΈΠ·Π²ΠΎΠ΄ΠΈ ΠΎΠ΄ ΡΠ΅ΠΎΡΠΈΡΠ°ΡΠ° Π½Π΅ΠΎΠΏΡ
ΠΎΠ΄Π½ΠΈ Π·Π° ΠΎΠ±ΡΠ°ΡΠ½ΡΠ²Π°ΡΠ΅ Π½Π° ΠΌΠ΅ΡΠΎΠ΄ΠΈΡΠ΅
Π·Π° ΠΏΡΠ΅ΡΠΌΠ΅ΡΠΊΠ° Π½Π° ΠΊΠΎΠ½ΠΊΡΠ΅ΡΠ½ΠΈ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠΈ, ΠΏΡΠ΅ΡΠΌΠ΅ΡΠΊΠΎΠ²Π½ΠΈ Π·Π°Π΄Π°ΡΠΈ ΠΈ ΡΠΏΠ°ΡΡΡΠ²Π° Π·Π° Π»Π°Π±ΠΎΡΠ°ΡΠΎΡΠΈΡΠΊΠΈ
Π²Π΅ΠΆΠ±ΠΈ. ΠΡΠ°ΠΊΡΠΈΠΊΡΠΌΠΎΡ Π΅ ΠΊΠΎΠ½ΡΠΈΠΏΠΈΡΠ°Π½ ΡΠΏΠΎΡΠ΅Π΄ ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΠ½Π°ΡΠ° Π½Π°ΡΡΠ°Π²Π½Π° ΠΏΡΠΎΠ³ΡΠ°ΠΌΠ° ΠΈ Π΅ ΡΡΠΎΠ³Π»Π°ΡΠ΅Π½
ΡΠΎ ΡΠΎΠ΄ΡΠΆΠΈΠ½ΠΈΡΠ΅ ΠΎΠ΄ ΡΠΊΡΠΈΠΏΡΠ°ΡΠ° ΠΏΠΎ ΠΈΡΡΠΈΠΎΡ ΠΏΡΠ΅Π΄ΠΌΠ΅Ρ. ΠΠ°ΡΠ΅ΡΠΈΡΠ°Π»ΠΎΡ Π΅ ΡΡΡΡΠΊΡΡΡΠΈΡΠ°Π½ Π²ΠΎ 11
ΠΏΠΎΠ³Π»Π°Π²ΡΠ° β Π΅Π΄Π½ΠΎ Π²ΠΎΠ²Π΅Π΄Π½ΠΎ ΠΈ ΠΏΠΎΠ³Π»Π°Π²ΡΠ°ΡΠ°: ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»Π½ΠΈ Π±ΠΈΠ»Π°Π½ΡΠΈ, Π΄ΠΈΡΡΠ·ΠΈΡΠ°, ΠΊΠΎΠ½Π²Π΅ΠΊΡΠΈΠ²Π΅Π½
ΠΏΡΠ΅Π½ΠΎΡ Π½Π° ΠΌΠ°ΡΠ°, ΠΌΠ΅ΡΡΡΠ°Π·Π΅Π½ ΠΏΡΠ΅Π½ΠΎΡ Π½Π° ΠΌΠ°ΡΠ°, Π°Π΄ΡΠΎΡΠΏΡΠΈΡΠ°, ΡΠ°ΠΌΠ½ΠΎΡΠ΅ΠΆΠ° Π½Π° ΡΠ°Π·ΠΈ,
Π΄Π΅ΡΡΠΈΠ»Π°ΡΠΈΡΠ°, Π΅ΠΊΡΡΡΠ°ΠΊΡΠΈΡΠ°, ΠΊΡΠΈΡΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΠ° ΠΈ ΡΡΡΠ΅ΡΠ΅.
ΠΡΠ°ΠΊΡΠΈΠΊΡΠΌΠΎΡ ΠΌΡ ΠΎΠ²ΠΎΠ·ΠΌΠΎΠΆΡΠ²Π° Π½Π° ΡΡΡΠ΄Π΅Π½ΡΠΎΡ ΡΡΠ΅ΠΊΠ½ΡΠ²Π°ΡΠ΅ Π½Π° Π·Π½Π°Π΅ΡΠ° ΠΈ Π²Π΅ΡΡΠΈΠ½ΠΈ Π·Π°
ΡΠΎΡΡΠ°Π²ΡΠ²Π°ΡΠ΅ ΠΈ ΠΏΡΠ΅ΡΠΌΠ΅ΡΠΊΠ° Π½Π° ΡΠΎΡΠ°Π»Π΅Π½, Π΄Π΅Π»ΡΠΌΠ΅Π½ ΠΈΠ»ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ½Π΅Π½ΡΠ΅Π½ Π±ΠΈΠ»Π°Π½Ρ Π²ΠΎ Π½Π΅ΠΊΠΎΡ
Ρ
Π΅ΠΌΠΈΡΠΊΠΈ ΠΏΡΠΎΡΠ΅Ρ ΠΈ ΡΠ΅ΡΠ°Π²Π°ΡΠ΅ Π½Π° ΠΏΡΠΎΠ±Π»Π΅ΠΌΡΠΊΠΈ Π·Π°Π΄Π°ΡΠΈ ΠΎΠ΄ ΠΎΠ±Π»Π°ΡΡΠ° Π½Π° Π΄ΠΈΡΡΠ·ΠΈΡΠ°,
ΠΊΠΎΠ½Π²Π΅ΠΊΡΠΈΠ²Π΅Π½ ΠΈ ΠΌΠ΅ΡΡΡΠ°Π·Π΅Π½ ΠΏΡΠ΅Π½ΠΎΡ Π½Π° ΠΌΠ°ΡΠ°, ΡΠ°Π·Π½Π° ΡΠ°ΠΌΠ½ΠΎΡΠ΅ΠΆΠ° ΠΈ ΡΡΡΠ΅ΡΠ΅. ΠΡΡΠΎ ΡΠ°ΠΊΠ°,
ΡΡΡΠ΄Π΅Π½ΡΠΎΡ ΡΠ΅ ΡΠ΅ Π·Π°ΠΏΠΎΠ·Π½Π°Π΅ ΡΠΎ ΠΎΡΠ½ΠΎΠ²Π½ΠΈΡΠ΅ Π»Π°Π±ΠΎΡΠ°ΡΠΎΡΠΈΡΠΊΠΈ Π°ΠΏΠ°ΡΠ°ΡΡΡΠΈ ΠΈ Π½Π°ΡΠΈΠ½ΠΈ Π·Π°
ΠΈΠ·Π²Π΅Π΄ΡΠ²Π°ΡΠ΅ Π½Π° ΠΏΡΠΎΡΠ΅ΡΠΈΡΠ΅ Π΄Π΅ΡΡΠΈΠ»Π°ΡΠΈΡΠ°, Π΅ΠΊΡΡΡΠ°ΠΊΡΠΈΡΠ° ΠΈ ΠΊΡΠΈΡΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΠ°.
ΠΠ°ΠΊΠΎ Π°Π²ΡΠΎΡΠΈ Π½Π° ΠΎΠ²ΠΎΡ ΠΏΡΠ°ΠΊΡΠΈΠΊΡΠΌ ΡΠ΅ Π±ΠΈΠ΄Π΅ΠΌΠ΅ Π±Π΅ΡΠΊΡΠ°ΡΠ½ΠΎ Π±Π»Π°Π³ΠΎΠ΄Π°ΡΠ½ΠΈ Π·Π° ΡΠΈΡΠ΅
Π·Π°Π±Π΅Π»Π΅ΡΠΊΠΈ ΠΈ ΡΡΠ³Π΅ΡΡΠΈΠΈ Π²ΠΎ ΠΎΠ΄Π½ΠΎΡ Π½Π° ΠΎΠ²ΠΎΡ ΡΠ°ΠΊΠΎΠΏΠΈΡ Π²ΠΎ Π½Π°ΡΠΎΠΊΠ° Π½Π° Π½Π΅Π³ΠΎΠ²ΠΎ ΠΏΠΎΠ΄ΠΎΠ±ΡΡΠ²Π°ΡΠ΅
Π’Π΅ΠΊΡΡΠΈΠ»Π½ΠΎ-ΠΊΠΎΠΆΠ°ΡΡΠΊΠΈ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»ΠΈ
Π’Π΅ΠΊΡΡΠΈΠ»Π½ΠΈΡΠ΅ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»ΠΈ ΡΠ΅ Π΄ΠΎΠ±ΠΈΠ²Π°Π°Ρ ΠΎΠ΄ ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈ Π²Π»Π°ΠΊΠ½Π° ΠΈ Π½ΠΈΡΠΊΠΈ, Π° ΠΊΠΎΠΆΠ°ΡΡΠΊΠΈΡΠ΅ ΠΎΠ΄ ΡΡΡΠΎΠ²Π° ΠΊΠΎΠΆΠ° ΡΠΎ ΡΠ°Π·Π»ΠΈΡΠ½ΠΈ ΡΠ΅Ρ
Π½ΠΈΠΊΠΈ Π·Π° Π½ΠΈΠ²Π½Π° ΠΏΡΠ΅ΡΠ°Π±ΠΎΡΠΊΠ°. Π’Π΅ΠΊΡΡΠΈΠ»Π½ΠΎ-ΠΊΠΎΠΆΠ°ΡΡΠΊΠΈΡΠ΅ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»ΠΈ ΠΏΠΎ ΡΠ²ΠΎΡΠ°ΡΠ° Ρ
Π΅ΠΌΠΈΡΠΊΠ° ΡΡΡΡΠΊΡΡΡΠ° ΡΠΏΠ°ΡΠ°Π°Ρ Π²ΠΎ Π½Π°ΡΡΠ»ΠΎΠΆΠ΅Π½ΠΈ, Π° ΠΏΠΎ ΠΊΠ°ΡΠ°ΠΊΡΠ΅ΡΠΈΡΡΠΈΠΊΠΈΡΠ΅ Π²ΠΎ Π½Π°ΡΡΠ°Π·Π½ΠΎΠ²ΠΈΠ΄Π½ΠΈ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»ΠΈ. ΠΡΠΎΠΈΠ·Π²ΠΎΠ΄ΡΡΠ²ΠΎΡΠΎ ΠΈ ΠΏΡΠ΅ΡΠ°Π±ΠΎΡΠΊΠ°ΡΠ° Π½Π° ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈΡΠ΅ Π²Π»Π°ΠΊΠ½Π° ΠΈ ΠΊΠΎΠΆΠ°ΡΠ° ΠΈΠΌΠ° ΡΡΡΡΠΈΠ½ΡΠΊΠ° ΡΠ»ΠΎΠ³Π° Π²ΠΎ Π·Π°Π΄ΠΎΠ²ΠΎΠ»ΡΠ²Π°ΡΠ΅ΡΠΎ Π½Π° Π΅Π΄Π½Π° ΠΎΠ΄ ΡΡΠ½Π΄Π°ΠΌΠ΅Π½ΡΠ°Π»Π½ΠΈΡΠ΅ ΡΠΎΠ²Π΅ΠΊΠΎΠ²ΠΈ ΠΏΠΎΡΡΠ΅Π±ΠΈ - ΠΎΠ±Π»Π΅ΠΊΡΠ²Π°ΡΠ΅ΡΠΎ. ΠΠ»Π°ΠΊΠ½Π°ΡΠ° ΡΠ΅ Π΄Π΅ΡΠΈΠ½ΠΈΡΠ°Π°Ρ ΠΊΠ°ΠΊΠΎ ΡΠ΅Π»Π° ΡΠΎ ΠΈΠ·Π΄ΠΎΠ»ΠΆΠ΅Π½Π° ΡΠΎΡΠΌΠ° ΡΡΠΎ ΡΠ΅ ΠΊΠ°ΡΠ°ΠΊΡΠ΅ΡΠΈΠ·ΠΈΡΠ° ΡΠΎ Π³ΠΎΠ»Π΅ΠΌ ΠΎΠ΄Π½ΠΎΡ ΠΌΠ΅ΡΡ Π½Π°Π΄ΠΎΠ»ΠΆΠ½ΠΈΡΠ΅ ΠΈ Π½Π°ΠΏΡΠ΅ΡΠ½ΠΈΡΠ΅ Π΄ΠΈΠΌΠ΅Π½Π·ΠΈΠΈ. Π‘ΠΎ ΡΠ΅Π»Π°ΡΠΈΡΠ°ΡΠ° Π²Π»Π°ΠΊΠ½ΠΎ β ΠΏΡΠ΅Π΄ΠΈΠ²ΠΎ β ΡΠ΅ΠΊΡΡΠΈΠ»Π΅Π½ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π», ΠΌΠΎΠΆΠ΅ Π½Π° Π½Π°ΡΠ΅Π΄Π½ΠΎΡΡΠ°Π²Π΅Π½ Π½Π°ΡΠΈΠ½ Π΄Π° ΡΠ΅ ΠΏΡΠ΅ΡΡΡΠ°Π²ΠΈ ΠΏΡΠΎΡΠ΅ΡΠΎΡ ΠΏΡΠ΅ΠΊΡ ΠΊΠΎΡ ΡΠ΅ Π΄ΠΎΠ±ΠΈΠ²Π°Π°Ρ ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»ΠΈ ΡΠΎ ΠΊΠΎΠΌΠΏΠ»Π΅ΠΊΡΠ½Π° ΡΡΡΡΠΊΡΡΡΠ° ΠΈ ΠΊΠ°ΡΠ°ΠΊΡΠ΅ΡΠΈΡΡΠΈΠΊΠΈ ΠΏΠΎΠ³ΠΎΠ΄Π½ΠΈ Π·Π° Π½Π°ΡΡΠ°Π·Π»ΠΈΡΠ½ΠΈ ΡΠ΅Π»ΠΈ ΠΊΠ°ΠΊΠΎ ΠΎΠ±Π»Π΅ΠΊΠ°, ΡΠ΅Ρ
Π½ΠΈΡΠΊΠ° ΠΏΡΠΈΠΌΠ΅Π½Π°, ΡΠΏΠ΅ΡΠΈΡΠ°Π»Π½Π° ΠΏΡΠΈΠΌΠ΅Π½Π° (Π²ΠΎ ΠΌΠ΅Π΄ΠΈΡΠΈΠ½Π°ΡΠ°, Π±ΠΈΠΎΠ»ΠΎΠ³ΠΈΡΠ°ΡΠ°, Π΅Π»Π΅ΠΊΡΡΠΎΠ½ΠΈΠΊΠ°ΡΠ° ΠΈ ΡΠ»ΠΈΡΠ½ΠΎ). ΠΠΎ Π³Π΅ΠΎΠΌΠ΅ΡΡΠΈΡΠΊΠ°ΡΠ° ΡΠΎΡΠΌΠ° ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈΡΠ΅ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»ΠΈ ΡΠ΅ Π΄Π΅Π»Π°Ρ Π½Π° Π»ΠΈΠ½Π΅Π°ΡΠ½ΠΈ (ΠΏΡΠ΅Π΄ΠΈΠ²ΠΎ) ΠΈ ΠΏΠΎΠ²ΡΡΠΈΠ½ΡΠΊΠΈ ΠΈΠ»ΠΈ Π΄Π²ΠΎΠ΄ΠΈΠΌΠ΅Π½Π·ΠΈΠΎΠ½Π°Π»Π½ΠΈ (ΡΠΊΠ°Π΅Π½ΠΈΠ½Π°, ΠΏΠ»Π΅ΡΠ΅Π½ΠΈΠ½Π°, Π½Π΅ΡΠΊΠ°Π΅Π½ ΡΠ΅ΠΊΡΡΠΈΠ», ΡΠΈΠΏΠΊΠΈ, ΠΌΡΠ΅ΠΆΠΈ). ΠΡΠ΅Π΄ΠΈΠ²Π°ΡΠ° ΠΌΠΎΠΆΠ°Ρ Π΄Π° ΠΏΠΎΡΠ»ΡΠΆΠ°Ρ Π·Π° ΠΈΠ·ΡΠ°Π±ΠΎΡΠΊΠ° Π½Π° ΡΠ»ΠΎΠΆΠ΅Π½ΠΈ ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈ ΡΡΡΡΠΊΡΡΡΠΈ, ΠΊΠ°ΠΊΠΎ ΡΡΠΎ ΡΠ΅ ΡΠΊΠ°Π΅Π½ΠΈΠ½ΠΈΡΠ΅ ΠΈ ΠΏΠ»Π΅ΡΠ΅Π½ΠΈΠ½ΠΈΡΠ΅. Π’ΠΊΠ°Π΅Π½ΠΈΡΠ΅ ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈ ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΠΈ (ΡΠΊΠ°Π΅Π½ΠΈΠ½ΠΈ) ΡΠ΅ Π΄ΠΎΠ±ΠΈΠ²Π°Π°Ρ ΠΏΠΎ ΠΏΠ°Ρ Π½Π° ΠΏΡΠ΅Π΄Π΅ΡΠ΅, ΡΠΊΠ°Π΅ΡΠ΅ ΠΈ Π΄ΠΎΡΠ°Π±ΠΎΡΠΊΠ° Π½Π° ΡΠΊΠ°Π΅Π½ΠΈΠ½Π°ΡΠ°. ΠΠ»Π΅ΡΠ΅Π½ΠΈΡΠ΅ ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈ ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΠΈ (ΠΏΠ»Π΅ΡΠ΅Π½ΠΈΠ½ΠΈ) ΡΠ΅ Π΄ΠΎΠ±ΠΈΠ²Π°Π°Ρ ΠΏΠΎ ΠΏΠ°Ρ Π½Π° ΠΏΡΠ΅Π΄Π΅ΡΠ΅, ΠΏΠ»Π΅ΡΠ΅ΡΠ΅ ΠΈ Π΄ΠΎΡΠ°Π±ΠΎΡΠΊΠ° Π½Π° ΠΏΠ»Π΅ΡΠ΅Π½ΠΈΠΎΡ ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄. ΠΠ΅ΡΠΊΠ°Π΅Π½ΠΈΡΠ΅ ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈ ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΠΈ (Π½Π΅ΡΠΊΠ°Π΅Π½ ΡΠ΅ΠΊΡΡΠΈΠ») ΡΠ΅ Π΄ΠΎΠ±ΠΈΠ²Π°Π°Ρ ΠΏΠΎ ΠΏΠ°Ρ Π½Π° ΠΏΠΎΠ΄Π³ΠΎΡΠΎΠ²ΠΊΠ° Π½Π° Π²Π»Π°ΠΊΠ½Π°ΡΠ°, ΡΠΎΡΠΌΠΈΡΠ°ΡΠ΅ ΠΏΠ΅Π»Ρ (ΡΡΠ½ΠΎ), Π·Π°ΡΠ²ΡΡΡΡΠ²Π°ΡΠ΅ Π½Π° ΠΏΠ΅Π»ΡΠΎΡ ΠΈ Π΄ΠΎΡΠ°Π±ΠΎΡΠΊΠ° Π½Π° Π½Π΅ΡΠΊΠ°Π΅Π½ΠΈΠΎΡ ΡΠ΅ΠΊΡΡΠΈΠ». ΠΠΎΠ½ΡΠ΅ΠΊΡΠΈΠΎΠ½ΠΈΡΠ°Π½ΠΈΡΠ΅ ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΠΈ ΡΠ΅ Π΄ΠΎΠ±ΠΈΠ²Π°Π°Ρ ΡΠΎ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΠΈΠΎΠ½ΠΈΡΠ°ΡΠ΅ Π½Π° ΡΠΊΠ°Π΅Π½ΠΈΠ½ΠΈΡΠ΅ ΠΈ ΠΏΠ»Π΅ΡΠ΅Π½ΠΈΡΠ΅ ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΠΈ ΠΏΡΠΈ ΡΡΠΎ ΡΠ΅ ΠΊΠΎΡΠΈΡΡΠ°Ρ ΠΊΠΎΠ½ΡΠΈ Π·Π° ΡΠΈΠ΅ΡΠ΅. ΠΠΎΡΡΠΎΡΠ°Ρ ΠΈ Π΄ΡΡΠ³ΠΈ Π²ΠΈΠ΄ΠΎΠ²ΠΈ ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈ ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΠΈ ΡΠ°ΠΊΠ°Π½Π°ΡΠ΅ΡΠ΅Π½ΠΈ ΠΏΠΎΠ·Π°ΠΌΠ΅Π½ΡΠ΅ΡΠΈΡΠΊΠΈ (Π²ΡΠ²ΡΠΈ, Π»Π΅Π½ΡΠΈ ΠΈ ΡΠ»ΠΈΡΠ½ΠΎ). Π’ΠΈΠ΅ ΡΠ΅ Π΄ΠΎΠ±ΠΈΠ²Π°Π°Ρ Π½Π°ΡΡΠ΅ΡΡΠΎ ΡΠΎ ΠΏΡΠ΅ΠΏΠ»Π΅ΡΡΠ²Π°ΡΠ΅, ΠΊΠΎΠ½ΡΠ΅ΡΠ΅ ΠΈΠ»ΠΈ Π²ΡΡΠΊΡΠ²Π°ΡΠ΅ Π½Π° ΠΏΠΎΠ²Π΅ΡΠ΅ ΠΏΡΠ΅Π΄ΠΈΠ²Π°. Π‘ΠΎ ΡΠ΅Π»Π°ΡΠΈΡΠ°ΡΠ° ΡΡΡΠΎΠ²Π° ΠΊΠΎΠΆΠ° β ΠΏΡΠΎΡΠ΅Ρ Π½Π° ΠΏΡΠ΅ΡΠ°Π±ΠΎΡΠΊΠ° - Π³ΠΎΡΠΎΠ²Π° ΠΊΠΎΠΆΠ° ΠΈΠ»ΠΈ ΠΊΡΠ·Π½ΠΎ ΠΌΠΎΠΆΠ΅ Π΄Π° Π΄Π° ΡΠ΅ ΠΏΡΠ΅ΡΡΡΠ°Π²ΠΈ ΠΏΡΠΎΡΠ΅ΡΠΎΡ Π½Π° Π΄ΠΎΠ±ΠΈΠ²Π°ΡΠ΅ Π½Π° Π³ΠΎΡΠΎΠ²Π° ΠΊΠΎΠΆΠ° ΠΈΠ»ΠΈ ΠΊΡΠ·Π½ΠΎ ΠΊΠ°ΠΊΠΎ ΠΊΠΎΠΆΠ°ΡΡΠΊΠΎ-ΠΊΡΠ·Π½Π°ΡΡΠΊΠΈ ΠΌΠ°ΡΠ΅ΡΠΈΡΠ°Π»ΠΈ. ΠΡΠΎΡΠ΅ΡΠΎΡ Π½Π° ΠΏΡΠ΅ΡΠ°Π±ΠΎΡΠΊΠ° Π½Π° ΡΡΡΠΎΠ²Π°ΡΠ° ΠΊΠΎΠΆΠ° ΠΈ ΠΊΡΠ·Π½ΠΎ ΡΠ΅ ΡΠΎΡΡΠΎΠΈ ΠΎΠ΄ ΠΏΠΎΠ΄Π³ΠΎΡΠ²ΠΈΡΠ΅Π»Π½ΠΈ ΠΎΠΏΠ΅ΡΠ°ΡΠΈΠΈ, ΡΡΠ°Π²Π΅ΡΠ΅ ΠΈ Π΄ΠΎΠΏΠΎΠ»Π½ΠΈΡΠ΅Π»Π½ΠΎ ΡΡΠ°Π²Π΅ΡΠ΅ ΠΈ Π΄ΠΎΡΠ°Π±ΠΎΡΠΊΠ°
Tekstilni otpad kao materijal za toplinsku izolaciju
Toplinsko-izolacijski materijali omoguΔuju uΕ‘tedu toplinske energije. Na europskim trΕΎiΕ‘tima prevladavaju klasiΔni izolacijski materijali (kamena vuna i polistiren), a nastojanja istraΕΎivaΔa su usmjerena na poboljΕ‘anje njihove uΔinkovitosti i razvitak novih izolacijskih materijala i sustava. Njihova kvaliteta se ocjenjuje s obzirom na njihova fi zikalna svojstva, utjecaj na okoliΕ‘ I Δovjeka, lakoΔu montiranja i cijene. U ovom radu dizajniran je materijal za toplinsku izolaciju krovne konstrukcije i unutarnje gips-kartonske pregrade od otpada od krojenja, i ispitana je njegova toplinska vodljivost (W/mK). Rezultati pokazuju toplinsku vodljivost 0,05198 - 0,06032 (W/mK), koja se moΕΎe usporediti s vrijednostima standardnih izolacijskih materijala i s izolacijskim materijalima od tekstila, odnosno tekstila u vlaknastom stanju.
KljuΔne rijeΔi: otpad od krojenja, izolacijski materijali, toplinska vodljivost,
toplinska izolacij
The influence of the type of cutting layout on the utilization of the textile material for women's pants
Making clothes is a complex process that includes a number of technical and creative aspects. The first technological process in making clothes is cutting. In order to cut the clothes precisely and in the required sizes, it is necessary to make a pattern beforehand. In addition to the importance of the pattern, the production of cutting layouts that contain the parts of the appropriate pattern is also of great importance. Pattern making and the cutting process are critical stages in the textile and fashion industry. Organization and precision in these stages have a great impact on the quality of the final product, the costs, and the efficiency of the production process. Cutting layouts are technical drawings that show the parts of the pattern and how to join them. These markrs are used as a guide during the process of tailoring and making the garment. The production of cutting layouts should be carefully planned and mathematically calculated, so that the consumption of fabric will be minimized, but also the standards of quality and functionality of the clothes will be met. Patternmaking is the process of laying out parts of a garment on paper (in electronic screen fitting), the width of which is identical to the width of the fabric. The contours of the cut parts of clothing can be drawn on paper, forming a cutting layouts. The cutting layout is placed on top of the cutting stack or the information about the contours of the cutting parts and their position in the cutting layout can be memorized in a computer, and then with the help of a plotter the cutting layout can be drawn or transferred to a device for automatic cutting . Depending on the cutting method, it is not always necessary to transfer the cutting parts and their positions to a paper cutting layout, but still, it is necessary to make a plan of the cutting layout in which the cutting parts will be placed closer to each other, which will achieve minimum consumption. In this paper, the influence of the type of cutting layouts on the consumption of textile material is processed and illustrated. The experimental part shows a pattern of women's trousers worked with different cutting layouts for the same fabric width. In this case, specifically, a fit is shown, with fewer and more sizes contained in one cuttin layout, which would practically prove that the type of cutting layout largely affects the consumption of fabric from which the garment is made. Since the main fabric for making clothes is one of the most expensive stakeholders in the overall process, every centimeter of fabric saved is very significant for an industry that faces challenges of sustainability and efficient management of resources.
Key words: pattern, clothes, fabric, textile, cutting layot.
Apparel Industry in Macedonia, Conditions and Challenges
Around 395 registered companies in Macedonia work with apparel manufacturing. Even though they are spread across the whole country, the largest number of companies β 119 (or 30%) are located in the East region.
This industrial activity employs 31,742 employees or 6.1% of Macedoniaβs working population. Compared to 2012, a 4.8% decrease is noted. The cumulative manufacturing index for 2014/2015 is 107, and the manufacturing index for 2015 (compared to 2010) is 136. Textile production participates with 11.7% in the total export of the country, and with 6.9% in the import.
The textile industry participates with 15.5% in the total gross domestic product, while in the industrial it participates with 21.8%. The textile industry participates in the total export with 26%, and employees 28% of the total number of employees in the industry. 93% of the apparel production is organized according to the CMT system for the foreign markets, mostly the European countries. The added value is low because 92-42% of the production is Lon, which brings small profits, even though the companies manufacture for quite famous worldwide brands.
Statistic data shows there is a necessity for changing the manufacturing structure towards products with higher added value, i.e. products for internal use. For this, hiring larger domestic capacities and resources is required
Sustainability of the textile waste stream in Macedonia,
In Macedonia, as a country with a developed apparel industry, a significant amount of pre-consumer textile waste is generated, more precisely apparel cutting waste. The aim of this paper is to make an accurate estimate of its quantity, as well as the characterization based on the raw material composition as a prerequisite for its further handling. Before any recycling initiative for textile waste, an analysis should be made of whether its quantity and quality can ensure the continuity of the recycling process. The analysis shows that the amount of apparel cutting waste is a fairly constant value (in the period from 2009 to 2014 an average of 3,377 tons of apparel cutting waste was generated annually). The waste from cotton and cotton blends is most common. Despite the constant annual amount of apparel cutting waste and numerous reasons for its recycling, almost all this waste ends in landfills
Enzymes and wine β the enhanced quality and yield
Enzymes are a natural and fundamental element of the winemaking process. These enzymes originate from the grape, yeasts and other microbes associated with vineyards and wine cellars. Grape enzymes are however inactive under the pH and SO2 conditions associated with winemaking. Fungal pectinases are resistant to these winemaking conditions. The method used to produce wine enzymes for use in the EU is regulated by the Office International de la Vigne et du Vin (OIV). Nowadays, they are also a commercial product found in many wineries. The most widely used enzymes available for commercial use are: pectinases, hemicellulases, glycosidases and glucanases. From the pre-fermentation stage, through fermentation, post-fermentation and aging, enzymes catalyze various biotransformation reactions. In the past years, enzymes have been increasingly used for enhancing the quality of wines. They have the potential to make more extracted and more aromatic wines and to accelerate the winemaking process. This review summarizes the most important types of commercial enzymes applied to winemaking and their effects on the process technology and the quality of the final product
Attitudes towards Wearing Facemasks as a Fashion Accessor
The global Covid 19 pandemic introduced a new item in everyday dress β the facemask. During 2020, fashion elements crept in the design of this primarily functional item. This research aims to understand the importance of fashion and aesthetical appearance in the choice of facemasks. An online questionnaire was distributed via different social media in France examining types of masks worn and the understanding of masks as a fashion accessory. The research indicates that surgical masks are worn most often, with price being the prevalent criterion for their choice. Masks are primarily seen as a personal protection equipment. However, in a small fashion-conscious subgroup of the population the appearance of face masks chosen primarily for their aesthetic appeal can be noticed. This is particularly applicable to textile masks, weather certified or homemade which are seen as part of sustainable fashion
4 Π (Π Π΅Π΄ΡΡΠΈΡΠ°Ρ, Π Π΅ΡΠΈΠΊΠ»ΠΈΡΠ°Ρ, Π Π΅ΡΠΏΠΎΡΡΠ΅Π±ΠΈ ΠΈ ΠΡΠ΅Π½Π°ΠΌΠ΅Π½ΠΈ)
4 Π -Π Π΅Π΄ΡΡΠΈΡΠ°Ρ, ΡΠ΅ΡΠΈΠΊΠ»ΠΈΡΠ°Ρ, ΡΠ΅ΡΠΏΠΎΡΡΠ΅Π±ΠΈ ΠΈ ΠΏΡΠ΅Π½Π°ΠΌΠ΅Π½ΠΈ, ΡΠΎΡΠΈΡΠ°Π»Π½Π° ΠΈΠ½ΠΊΠ»ΡΠ·ΠΈΡΠ° ΠΏΡΠ΅ΠΊΡ ΠΊΡΡΠΆΠ½Π° Π΅ΠΊΠΎΠ½ΠΎΠΌΠΈΡΠ°
ΠΠΎΠ΄Π΄ΡΡΠΊΠ°: Π€ΠΎΠ½Π΄Π°ΡΠΈΡΠ° ΠΡΠ²ΠΎΡΠ΅Π½ΠΎ ΠΎΠΏΡΡΠ΅ΡΡΠ²ΠΎ-ΠΠ°ΠΊΠ΅Π΄ΠΎΠ½ΠΈΡΠ°
Π¦Π΅Π»Π½Π° Π³ΡΡΠΏΠ° Π½Π° ΠΏΡΠΎΠ΅ΠΊΡΠΎΡ:
ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈΡΠ΅ ΠΊΠΎΠΌΠΏΠ°Π½ΠΈΠΈ ΠΎΠ΄ ΡΠ΅Π³ΠΈΠΎΠ½ΠΎΡ, ΡΡΠ³ΠΎΠ²ΡΠΈ ΡΠΎ ΡΠ΅ΠΊΡΡΠΈΠ»Π½ΠΈ ΡΡΡΠΎΠ²ΠΈΠ½ΠΈ, ΠΏΡΠΎΠ΄Π°Π²Π½ΠΈΡΠΈ Π·Π° ΠΎΠ±Π»Π΅ΠΊΠ°;
ΠΌΠ΅Π΄ΠΈΡΠΌΠΈΡΠ΅, Π·Π΄ΡΡΠΆΠ΅Π½ΠΈΡΠ°ΡΠ° Π½Π° Π³ΡΠ°ΡΠ°Π½ΠΈ ΠΎΠ΄ ΡΠ΅Π³ΠΈΠΎΠ½ΠΎΡ, Π΅Π΄ΠΈΠ½ΠΈΡΠΈΡΠ΅ Π½Π° ΠΌΠΈΠ½ΠΈΡΡΠ΅ΡΡΡΠ²ΠΎ Π·Π° ΠΆΠΈΠ²ΠΎΡΠ½Π° ΡΡΠ΅Π΄ΠΈΠ½Π°, ΠΠΠ‘ ΠΎΠ΄ ΡΠ΅Π³ΠΈΠΎΠ½ΠΎΡ, Π³ΡΠ°ΡΠ°Π½ΠΈ;
Π»ΠΈΡΠ°ΡΠ° Π²ΠΎ ΡΠΎΡΠΈΡΠ°Π»Π΅Π½ ΡΠΈΠ·ΠΈΠΊ ΠΈ Π»ΠΈΡΠ°ΡΠ° ΡΠΎ ΠΏΠΎΡΠ΅Π±Π½ΠΈ ΠΏΠΎΡΡΠ΅Π±ΠΈ ΠΎΠ΄ ΠΠΏΡΡΠΈΠ½Π° Π¨ΡΠΈΠΏ.
ΠΡΠ΅ΠΊΡΠ²Π°Π½ΠΈ ΡΠ΅Π·ΡΠ»ΡΠ°ΡΠΈ:
ΠΠ³ΠΎΠ»Π΅ΠΌΠ΅Π½Π° ΡΠ²Π΅ΡΡ Π½Π° Π³ΡΠ°ΡΠ°Π½ΠΈΡΠ΅ Π·Π° Π·Π°ΡΡΠ²ΡΠ²Π°ΡΠ΅ Π½Π° ΠΆΠΈΠ²ΠΎΡΠ½Π°ΡΠ° ΡΡΠ΅Π΄ΠΈΠ½Π° Π²ΠΎ Π·Π°Π΅Π΄Π½ΠΈΡΠ°ΡΠ° ΡΠΎ ΠΏΡΠΎΠΌΠ΅Π½Π° Π½Π° Π½Π°Π²ΠΈΠΊΠΈΡΠ΅ ΠΏΡΠΈ Π΄Π΅ΠΏΠΎΠ½ΠΈΡΠ°ΡΠ΅ Π½Π° ΠΎΡΠΏΠ°Π΄;
ΠΠΎΠ΄ΠΎΠ±ΡΠ΅Π½Π° ΡΠΎΡΠΈΠΎ-Π΅ΠΊΠΎΠ½ΠΎΠΌΡΠΊΠ° ΡΠΎΡΡΠΎΡΠ±Π° ΠΈ Π½Π°ΠΌΠ°Π»Π΅Π½Π° ΡΠΈΡΠΎΠΌΠ°ΡΡΠΈΡΠ° ΠΊΠ°Ρ ΡΠΎΡΠΈΡΠ°Π»Π½ΠΎ ΡΠ°Π½Π»ΠΈΠ²ΠΈΡΠ΅ ΠΊΠ°ΡΠ΅Π³ΠΎΡΠΈΠΈ Π½Π° Π³ΡΠ°ΡΠ°Π½ΠΈ, ΡΠΎ Π΄ΠΈΡΠ΅ΠΊΡΠ½ΠΎ Π²ΠΊΠ»ΡΡΡΠ²Π°ΡΠ΅ Π½Π° ΠΏΠ°Π·Π°ΡΠΎΡ Π½Π° ΡΡΡΠ΄ΠΎΡ ΠΏΡΠ΅ΠΊΡ ΡΡΠ΅ΠΊΠ½Π°ΡΠΈ Π²Π΅ΡΡΠΈΠ½ΠΈ Π·Π° ΠΏΡΠ΅ΡΠ°Π±ΠΎΡΠΊΠ° Π½Π° ΡΠ΅ΠΊΡΡΠΈΠ»;
ΠΠ½Π°ΡΠΈΡΠ΅Π»Π½ΠΎ Π½Π°ΠΌΠ°Π»Π΅Π½ΠΎ ΠΊΠΎΠ»ΠΈΡΠ΅ΡΡΠ²ΠΎ Π½Π° ΠΎΡΠΏΠ°Π΄ Π½Π° Π³ΠΎΠ΄ΠΈΡΠ½ΠΎ Π½ΠΈΠ²ΠΎ Π²ΠΎ Π΄Π΅ΠΏΠΎΠ½ΠΈΠΈΡΠ΅;
ΠΠΎΠ΄Π³ΠΎΡΠ²Π΅Π½ΠΎΡΡ Π·Π° ΠΈΠΌΠΏΠ»Π΅ΠΌΠ΅Π½ΡΠ°ΡΠΈΡΠ° Π½Π° Π·Π°ΠΊΠΎΠ½ΡΠΊΠΈΡΠ΅ ΡΠ΅ΡΠ΅Π½ΠΈΡΠ°, ΠΈΠ½ΡΠΎΡΠΌΠΈΡΠ°Π½Π° ΠΈ ΡΠΏΠ°ΡΠ΅Π½Π° ΡΠ°Π²Π½ΠΎΡΡ Π·Π° ΠΎΠ±Π²ΡΡΠΊΠΈΡΠ΅ ΠΈ ΠΏΡΠΈΠ΄ΠΎΠ±ΠΈΠ²ΠΊΠΈΡΠ΅ ΠΎΠ΄ ΠΠ°ΠΊΠΎΠ½ΠΎΡ Π·Π° ΡΠΏΡΠ°Π²ΡΠ²Π°ΡΠ΅ ΡΠΎ Π΄ΠΎΠΏΠΎΠ»Π½ΠΈΡΠ΅Π»Π½ΠΈ ΡΠ΅ΠΊΠΎΠ²ΠΈ Π½Π° ΠΎΡΠΏΠ°Π΄;
ΠΠ³ΠΎΠ»Π΅ΠΌΠ΅Π½Π° ΠΈΠ½ΠΈΡΠΈΡΠ°ΡΠΈΠ²Π° Π·Π° ΡΠ°Π·Π²ΠΎΡ Π½Π° Π½ΠΎΠ²ΠΈ ΠΌΠ°Π»ΠΈ ΠΈ ΡΡΠ΅Π΄Π½ΠΈ Π±ΠΈΠ·Π½ΠΈΡΠΈ, ΡΠΎ ΡΡΠ΅ΠΊΠ½Π°ΡΠΈ Π·Π½Π°Π΅ΡΠ° ΠΎΠ΄ ΠΎΠ²ΠΎΡ ΠΏΡΠΎΠ΅ΠΊΡ;
ΠΠ΄ΡΡΠΈΡΠ°Π½ΠΈ ΠΌΠ»Π°Π΄ΠΈ β Π·Π΄ΡΠ°Π²Π° Π΅ΠΊΠΎΠ»ΠΎΡΠΊΠ° ΡΡΠ΅Π΄ΠΈΠ½Π°, Π΄Π΅Π½Π΅Ρ ΠΈ Π²ΠΎ ΠΈΠ΄Π½ΠΈΠ½
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