Six Faces of Death
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MOUND CITY GROUP National Monument • Ohio the by About 500 B.C
MOUND CITY GROUP National Monument • Ohio THE By about 500 B.C. the A "VI OTIT The Hopewell are best prehistoric Indians we now t s TT-^.T-vTy^i known for their high HOPEWELL call Hopewell had O 1 lA-IN D1IN Kj artistic achievements and developed a distinctive /o fMr c ce f PEOPLE culture in the Middle PREHISTORIC ; 7 " ° West. For perhaps 1,000 years these people flourished; erecting earth mounds their cultural zenith being here in the Scioto Valley of I IN DILVIN overdead the remainsFro of theirih ra southern Ohio. But by about A.D. 500 the Hopewell CULTURE , - :k :f -l culture had faded. Hundreds of years later European ordinary wealth or burial settlers found only deserted burial mounds and offerings found in the mounds, archeologists have learned ceremonial earthworks to hint at this vanished culture. a great deal about these prehistoric people. They were excellent artists and craftsmen and worked with a great variety of material foreign to Ohio. Copper from the Lake Superior region was used for earspools, headdresses, breastplates, ornaments, EFFIGY PIPE OF STONE ceremonial objects, and tools. Stone tobacco pipes were Since Mound City was WITH INLAID SHELL beautifully carved to represent the bird and animal MOUND CITY primarily a ceremonial life around them. From obsidian they made COPPER BREASTPLATE — 1800 center for the dead, delicately chipped ceremonial blades. Fresh-water much of the information pearls from local streams, quartz and mica from the YEARS obtained from it Blue Ridge Mountains, ocean shells from the 6 M und CH G produced a great many spectacular objects, most concerns the burial EXPLORATION^ ° \ T interesting of which were a large number of stone AGO Gulf of Mexico, grizzly bear teeth from the West—all es customs of the people. -
The Odyssey Collection
2001: A Space Odyssey Arthur C. Clarke Title: 2001: A space odyssey Author: Arthur C. Clarke Original copyright year: 1968 Epilogue copyright 1982 Foreword Behind every man now alive stand thirty ghosts, for that is the ratio by which the dead outnumber the living. Since the dawn of time, roughly a hundred billion human beings have walked the planet Earth. Now this is an interesting number, for by a curious coincidence there are approximately a hundred billion stars in our local universe, the Milky Way. So for every man who has ever lived, in this Universe there shines a star. But every one of those stars is a sun, often far more brilliant and glorious than the small, nearby star we call the Sun. And many - perhaps most - of those alien suns have planets circling them. So almost certainly there is enough land in the sky to give every member of the human species, back to the first ape-man, his own private, world-sized heaven - or hell. How many of those potential heavens and hells are now inhabited, and by what manner of creatures, we have no way of guessing; the very nearest is a million times farther away than Mars or Venus, those still remote goals of the next generation. But the barriers of distance are crumbling; one day we shall meet our equals, or our masters, among the stars. Men have been slow to face this prospect; some still hope that it may never become reality. Increasing numbers, however, are asking: "Why have such meetings not occurred already, since we ourselves are about to venture into space?" Why not, indeed? Here is one possible answer to that very reasonable question. -
Echoes from Eden
KINGDOM BIBLE STUDIES "Teaching the things concerning the Kingdom of God..." e-book Echoes From Eden By J. Preston Eby Table of Contents Chapter /Title 1 The Garden 2.In the Midst of the Garden 3.In the Midst of the Garden (cont. ) 4.The Tree of Life 5.The Tree of Life (cont. ) 6.Three Trees in the Garden 7.Three Trees in the Garden (cont. ) 8.A River out of Eden 9.A River out of Eden (cont. ) 10.A River out of Eden (cont. ) 11.A River out of Eden (cont. ) 12.A River out of Eden (cont. ) 13.Dressing the Garden 14.Dressing the Garden (cont. ) 15.Dressing the Garden (cont. ) 16.Dressing the Garden (cont. ) 2 Chapter 1 THE GARDEN The Book of Genesis is probably the most important book ever written. The Bible is unquestionably the one Book that has exerted the greatest influence on history of any book ever produced. The Bible, however, is actually a compilation of sixty- six books, and the Book of Genesis is the foundation of them all. If the Book of Genesis were somehow removed, the Bible would appear absurd and incomprehensible. It would be like a building without a foundation, or a bridge with no support. The books of the Old Testament, narrating God’s dealings with His ancient people of Israel, would be bigoted and racist, were they not set in the context of the progressive development of God’s wise and gracious purposes for all mankind as laid down in the early chapters of Genesis. -
Robert Walser Published Titles My Music by Susan D
Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y. -
The Death-Mask and Other Ghosts
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library f>R 4699.E842D2 The death-mask and other ghosts. 3 1924 013 456 953 Cornell University Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013456953 THE DEATH-MASK THE DEATH-MASK AND OTHER GHOSTS BY Mrs. H. D. EVERETT. LONDON , ii^ PHILIP ALLAN ^ CO., QUALITY COURT, CHANCE^iY , LAWe!, W.C. 1920. PRINTED BY WHITBHHAD BROS., WOLVERHAMPTON. r-:''- ... CONTENTS. PACB The Death- Mask - ] Parson Clench 18 The Wind of Dunowe .17 Nevill Nugent's Legacy • 67 The Crimson Blind 92 Fingers of a Hand 115 The Next Heir - - - 128 Anne's Little Ghost - 188 Over the Wires - - 208 A Water-Witch - 223 The Lonely Road 253 A Girl in White 261 A Perplexing Case - 279 Beyond the Pale 298 THE DEATH MASK. ' ' Yes, that is a portrait of my wife. It is considered to be a good likeness. But of course she was older-looking towards the last." ' Enderby and I were on our way to the smoking-room after dinner, and the picture hung on the staircase. We had been chums at school a quarter of a century ago, and later on at college; but I had spent the last decade out of England. I returned to find my friend a widower of four years' standing. And a good job too, I thought to myself when I heard of it, for I had no great liking for the late Gloriana. -
THE DEATH-MASKS of DEAN SWIFT by T
THE DEATH-MASKS OF DEAN SWIFT bY T. G. WILSON THE practice of making death-masks is of considerable antiquity, dating at least from the fifteenth century. Originally it had two purposes. One was to form the head of an effigy used in the funeral ceremonies of kings, queens, princes and other distinguished persons. A life-sized wooden effigy was made which was clothed and carried on the coffin in the funeral procession, the head and hands being covered with life-like wax modelling. This was used as a substitute for the body at funeral ceremonies which might take place long after the latter had been buried. Many of these effigies are still to be seen in West- minster Abbey. Two copies of the death-mask of Oliver Cromwell are extant, one in wax and one in plaster of paris. He died on 3 September I658, and his remains were quietly buried three weeks later. Nevertheless a wax effigy in full panoply ofstate was exhibited for several months afterwards in Somerset House while the state funeral did not take place until 22 October.John Evelyn tells us: He was carried from Somerset House in a velvet bed ofstate, drawn by six horses, housed in the same; the pall held by his new Lords; Oliver lying in effigy, in royal robes, and crowned with a crown, sceptre, and globe, like a king. The pendants and guidons were carried by the officers of the army; the Imperial banners, achievements, &c. by the heralds in their coats; a rich caparisoned horse, embroidered all over with gold; a knight of honour, armed cap-a-pii. -
Face and Mask
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. For us the most entertaining surface in the world Is that of the human face. Georg Christoph Lichtenberg, Sudelbücher, F. 88 introDUction: Defining tHe sUbject 1 A history of the face? It is an audacious undertaking to tackle a subject that defies all categories and leads to the quintessential image with which all humans live. For what, actually, is “the face”? While it is the face that each of us has, it is also just one face among many. But it does not truly become a face until it interacts with other faces, seeing or being seen by them. This is evident in the expression “face to face,” which designates the immediate, perhaps inescapable, interaction of a reciprocal glance in a moment of truth between two human beings. But a face comes to life in the most literal sense only through gaze and voice, and so it is with the play of human facial expressions. To exaggerate a facial expression is to “make a face” in order to convey a feeling or address someone without using words. To put it differ- ently, it is to portray oneself using one’s own face while observing conventions that help us understand each other. Language provides many ready examples of figures of speech that derive from facial animation. The metaphors we all automatically use about facial expressions are particularly revealing. “To save face” or “to lose face” are typical of these. -
Death's Rebirth
DEATH'S REBIRTH THE ORIGINS OF NECROMANCY BY ADAM GRAHAM DEATH'S REBIRTH THE ORIGINS OF NECROMANCY A fan made supplement for 2nd Edition Warhammer Fantasy Roleplay Written By Adam Graham Edited By Dawn Lewis Additional Material By Jude Hornborg and Jerzy Smialek Proofread By Jude Hornborg and Steven Lewis Page Background Image By Nuchylee - FreeDigitalPhotos.net This document is completely unofficial and in no way endorsed by Games Workshop Limited. WARHAMMER FANTASY ROLEPLAY, THE WARHAMMER FANTASY ROLEPLAY LOGO, WFRP, CHAOS, THE CHAOS DEVICE, THE CHAOS LOGO, CITADEL, CITADEL DEVICE, DARKBLADE, 'EAVY METAL, FORGE WORLD, GAMES WORKSHOP, GAMES WORKSHOP LOGO, GOLDEN DEMON, GREAT UNCLEAN ONE, GW, THE HAMMER OF SIGMAR LOGO, HORNED RAT LOGO, KEEPER OF SECRETS, KHEMRI, KHORNE, THE KHORNE LOGO, LORD OF CHANGE, NURGLE, THE NURGLE LOGO, SKAVEN, THE SKAVEN SYMBOL DEVICE, SLAANESH, THE SLAANESH LOGO, TOMB KINGS, TZEENTCH, THE TZEENTCH LOGO, WARHAMMER, WARHAMMER WORLD LOGO, WHITE DWARF, THE WHITE DWARF LOGO, AND ALL ASSOCIATED MARKS, NAMES, RACES, RACE INSIGNIA, CHARACTERS, VEHICLES, LOCATIONS, UNITS, ARTEFACTS, ILLUSTRATIONS AND IMAGES FROM THE WARHAMMER WORLD ARE EITHER ®, TM AND/OR © COPYRIGHT GAMES WORKSHOP LTD 2000-2011, VARIABLY REGISTERED IN THE UK AND OTHER COUNTRIES AROUND THE WORLD. USED WITHOUT PERMISSION. NO CHALLENGE TO THEIR STATUS INTENDED. ALL RIGHTS RESERVED TO THEIR RESPECTIVE OWNERS. Spirits blow Across the plain Khemri's dead Knows no more pain Cold and black Rising to the sky Forged with the souls Of the slaves that died Blue lightning Crawls across its peak The Usurper comes Our hearts turn weak He threw down our gods Before our eyes Calls to the grave And all the dead rise Death will come Without a sound Pray the walls fall on us So our body's not found Sung by the children during the Usurper's siege of Mahrak. -
Sarah Miriam Peale's Mary Leypold Griffith and the Staging Of
Sarah Miriam Peale’s Mary Leypold Griffith and the Staging of Republican Motherhood Sarah Leary In 1841, Sarah Miriam Peale painted a portrait of a longings.1 Unfortunately, Peale’s death mask of Mary Griffith young Mary Leypold Griffith (Figure 1). Mary sits on the floor. doesn’t survive, but it would have looked somewhat like the Her left leg is gracefully crossed over the right. Her vibrant, life mask taken a few months prior to Lincoln’s assassination red dress stands out against the nondescript background. She (Figure 2). Such masks developed from the tradition of death holds a white ribbon that she cuts to form a jagged pattern, masks and offer insight into what Peale’s mask of Mary may and yet looks up from this activity to the viewers. But her have looked like. The Griffith family also lent Peale a minia- mature expression and poise seem incommensurate with her ture of Mary (also lost) to aid in her representation of their age. Without the benefit of the object label, a viewer would daughter. These aids were supposed to help Peale represent assume that Mary is four or five – old enough to wield scissors Mary as she appeared and lived in the days before she died, and to understand the educational materials that surround but Peale took several liberties with Mary’s appearance her. But in point of fact, Mary Griffith died of Scarlet Fever at that aged her beyond her years and introduced books and the age of two and a half in 1841 – the same year in which symbols that allude to the future role Mary never fulfilled. -
Télécharger Le Numéro En
#32 LIFESTYLE URBAIN LUXEMBOURGEOIS ACTUALITÉ CULTURE TENDANCE TRUE LIFE EXPLORATION 04/05.2015 ÉDITO CEC I N’ES T PAS UN E DITO ! J’ai récemment eu une conversation plutôt triste avec quelqu’un qui ne voyait pas l’utilité de l’EDITO. Une personne qui ne comprenait pas le principe d’un Éditorial en première page d’un magazine, et qui plus est d’un «lifestyle gratuit», qualifiant la chose d’inutile, jugeant l’exercice pompeux et prétentieux et l’éditorialiste de nombriliste. Flûte alors! En voilà encore un(e) qui se laisse attraper par quelques médias peu scrupuleux, qui laissent aux soins des moins qualifiés leur symbolique première page… Pour sûr, nous #32 ne sommes pas le Monde, malheureusement nous n’avons pas l’équipe de sauvageons de chez VICE, les groupies des Inrocks ou l’histoire de Télérama, mais avec beaucoup de travail et en gardant la tête haute, nous essayons de créer notre identité, notre style, LIFESTYLE URBAIN LUXEMBOURGEOIS notre monde, et fort heureusement celui-ci s’éloigne du plus possible de ces torchons qui oublient qu’un Edito s’écrit avec les tripes… Alors, encore une fois, en nageant à contre-courant, mais tout en restant ouvert au débat, pour ce #32, nous avons laissé cet Edito aux plus impartiaux de tous: nos lecteurs… «Bold est un état d’esprit.» /Julie «Bold est exceptionnel!» /Kévin «Bold est simplement complet, simplement intrigant, simplement libre, simplement Bold!» /Fabrizio «Ce que j’aime dans Bold? J’y retrouve ce que je cherche. Le moins que l’on puisse dire, c’est qu’on trouve de l’audace, dans ce magazine.. -
Autolux – Transit Transit 1
DEC. 2010 • VOL. 21 ISSUE # 264 • ALWAYS FREE • SLUGMAG.COM SaltLakeUnderGround 1 2 SaltLakeUnderGround SaltLakeUnderGround 3 SaltLakeUnderGround • Vol. 21• Issue # 264 •December 2010 • slugmag.com Publisher: Eighteen Percent Gray [email protected] Editor: Angela H. Brown Jemie Sprankle Managing Editor: [email protected] Jeanette D. Moses Shauna Brennan Editorial Assistant: Ricky Vigil [email protected] Action Sports Editor: Marketing: Ischa Buchanan, Jea- Adam Dorobiala nette D. Moses, Jessica Davis, Billy Copy Editing Team: Jeanette D. Ditzig, Hailee Jacobson, Stephanie Moses, Rebecca Vernon, Ricky Buschardt, Giselle Vickery, Veg Vollum, Vigil, Esther Meroño, Liz Phillips, Katie Josh Dussere, Chrissy Hawkins, Emily Panzer, Rio Connelly, Joe Maddock, Burkhart, Rachel Roller, Jeremy Riley. Alexander Ortega, Mary Enge, Kolbie SLUG GAMES Coordinators: Mike Stonehocker, Cody Kirkland, Hannah Brown, Jeanette D. Moses, Mike Reff, Christian. Sean Zimmerman-Wall, Adam Doro- Daily Calendar Coordinator: biala, Jeremy Riley, Katie Panzer, Jake Jessica Davis Vivori, Brett Allen, Chris Proctor, Dave [email protected] Brewer, Billy Ditzig. Social Networking Coordinator: Distribution Manager: Eric Granato Katie Rubio Distro: Eric Granato, Tommy Dolph, Cover Photo: “Drawn” by Jake Garn Tony Bassett, Joe Jewkes, Jesse See page 18 Hawlish, Nancy Burkhart, Adam Heath, Design Interns: Adam Dorobiala, Adam Okeefe, Manuel Aguilar, Chris Eric Sapp Proctor, David Frohlich. Ad Designers: Todd Powelson, Office Interns: Jessica Davis, Jeremy Kent Farrington, -
P&C MUSIC HOSTS LOVE RECORD STORES DAY, 20 JUNE 2020. This
P&C MUSIC HOSTS LOVE RECORD STORES DAY, 20 JUNE 2020. This is what we have left. If it’s not on the list, please don’t ask as we’ve sold out and so has the distributor. Updated 25 June 2020 There were over 130 stores taking part and most of the titles are limited editions. We have ordered as many copies of each as we could but it’s inevitable that we would run out of some of them. We have done our best! PLEASE READ THE FOLLOWING BEFORE CONTACTING US – IT WILL TELL YOU EVERYTHING YOU NEED TO KNOW. To order, contact us by telephone OR email: 07887 355103 [email protected] ITEMS IN BOLD ARE IN STOCK ITEMS IN RED ARE DELAYED AND CAN BE PRE-ORDERED, BUT ONLY IF YOU GIVE US YOUR DEBIT CARD DETAILS ITEMS MARKED ...back catalogue in stock→ or ...new release in stock→ ARE NOT LRS TITLES AND CAN BE ORDERED ON OR BEFORE THE LRS EVENT. Place your order by quoting the numbers in the left-hand column, as it’s easier for us to find them that way. Have your debit card number ready! For mail order we charge postage. If it’s several items we may not be able to tell you immediately how much the postage will be, but it will be at cost. If you want to collect, we will arrange a date and time with you. All items sold are sanitised before posting or collection. No more than one copy of each LRS title may be purchased per customer.