THE NINE DOORS of MIDGARD a Curriculum of Rune-Work
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The Satanic Rituals Anton Szandor Lavey
The Rites of Lucifer On the altar of the Devil up is down, pleasure is pain, darkness is light, slavery is freedom, and madness is sanity. The Satanic ritual cham- ber is die ideal setting for the entertainment of unspoken thoughts or a veritable palace of perversity. Now one of the Devil's most devoted disciples gives a detailed account of all the traditional Satanic rituals. Here are the actual texts of such forbidden rites as the Black Mass and Satanic Baptisms for both adults and children. The Satanic Rituals Anton Szandor LaVey The ultimate effect of shielding men from the effects of folly is to fill the world with fools. -Herbert Spencer - CONTENTS - INTRODUCTION 11 CONCERNING THE RITUALS 15 THE ORIGINAL PSYCHODRAMA-Le Messe Noir 31 L'AIR EPAIS-The Ceremony of the Stifling Air 54 THE SEVENTH SATANIC STATEMENT- Das Tierdrama 76 THE LAW OF THE TRAPEZOID-Die elektrischen Vorspiele 106 NIGHT ON BALD MOUNTAIN-Homage to Tchort 131 PILGRIMS OF THE AGE OF FIRE- The Statement of Shaitan 151 THE METAPHYSICS OF LOVECRAFT- The Ceremony of the Nine Angles and The Call to Cthulhu 173 THE SATANIC BAPTISMS-Adult Rite and Children's Ceremony 203 THE UNKNOWN KNOWN 219 The Satanic Rituals INTRODUCTION The rituals contained herein represent a degree of candor not usually found in a magical curriculum. They all have one thing in common-homage to the elements truly representative of the other side. The Devil and his works have long assumed many forms. Until recently, to Catholics, Protestants were devils. To Protes- tants, Catholics were devils. -
Le Parole Non Bastano. Comunicazione Non Verbale E Insegnamento Dell’Italiano a Stranieri
Corso di Laurea magistrale ( ordinamento ex D.M. 270/2004 ) in Scienze del linguaggio - Glottodidattica Tesi di L aurea Le parole non bastano. Comunicazione non verbale e insegnamento dell’italiano a stranieri. Relatore Ch. Prof. Fabio Caon Correlatore Dott. Graziano Serragiotto Laureando Federica Ragogna 850811 A nno Accademico 2015/2016 1 INDICE: INTRODU CTION ………………………………………………………… … pag. 5 1. LA COMUNICAZIONE …………………………………………… …… pag. 8 1.1 LA COMPETENZA COMUNICATIVA …………………………… pag. 1 1 1.1.1 LA COMPETENZA LINGUIS TICA …………………… ….. pag. 1 5 1.1.2 LE COMPETENZE NON VERBALI …………………… …. pag. 1 8 1.1.3 LA COMPETENZA SOCIO - PRAGMATICA ………… …… pag. 2 0 1.1.4 LA COMPETENZA (INTER)CULTURALE …………… …. pag. 2 2 1.2 COMUNICAZIONE VERBALE ………………………………… … pag. 2 4 1.3 LA COMUNICAZIONE NON VERBALE ……………………… … pag. 3 2 1.3.1 GLI STUDI AMERICANI ………………………………... .... pag. 3 4 1.3.2 GLI STUDI EUROPEI …………………………………… …. .pag. 3 9 1.3.3 GLI STUDI ITALIANI …………………………………… … pag. 4 2 2. LA DIMENSIONE NON VERBALE ………………………………… … pag. 4 6 2.1 LA DIMENSIONE CINESICA …………………………………… … pag. 6 4 2.1.1 LE ESPRESSIONI DEL VOLTO ……………………… … … pag. 6 8 2.1.2 I GESTI E I LORO SIGNIFICATI ………………………... ... pag. 7 7 2.2 LA DIMENSIONE PROSSEMICA ……………………………… …. pag. 9 5 2.2.1 LO SPAZIO ………………………………………………... .. pag. 9 9 2.2.2 LE DISTANZE PERSONALI ……………………………... .. pag. 10 0 2.3 LA DIMENSIONE VESTEMICA ………………………………… .. pag. 10 6 2.4 LA DIMENS IONE OGGETTEMICA …………………………… … pag. 11 0 3. INTERCULTURAL COMMUNICATION …………………………… .. pag. 11 3 2 3.1 WHAT COMMUNICATION MEANS IN AN INTERCULTURAL CONTEXT ………………………………………………………… .. pag. 11 3 3.2 INTERCULTURAL COMMUNICATIVE COMPETENCE ………pag. 12 0 3.3 INTERCULTURAL PROBLEMS LINKED T O LANGUAGE ……pag. -
Download Continuity of Anglo-Saxon Iconography for FREE
Continuity of Anglo-Saxon Iconography The Twilight Age Volume Three Bob Trubshaw Continuity of Anglo-Saxon Iconography is an attempt to understand what pre-conversion 'idols' – the weohs and stapols – might have looked like. More especially, this study aims to establish what the meaning and significance of these carvings might have been, based in large part on evidence from early Christian stone crosses. In the process this study sheds light on the way these motifs would have been understood by people at the time – which is not necessarily how such imagery came to be regarded a few centuries later. As none of the wooden weohs and stapols have survived there is, clearly, considerable speculation involved. However these suggestions fit within a plausible 'underlying' worldview established in the first two volumes of The Twilight Age. The fifth volume of this series looks in more detail at the locations of such carvings. About The Twilight Age series Not that many decades ago English history between the fifth the eleventh centuries was deemed the ‘Dark Ages’, largely because of the lack of evidence. Much has changed, and scholarship has shed considerable light on the later centuries. However by then many parts of Britain were evolving into Anglo-Scandinavian culture. Evidence for the Anglo-Germanic fifth and sixth centuries is still scarce and difficult to interpret, so the epithet ‘Dark Ages’ is still apt. The years in between occupy a comparative ‘twilight zone’, fascinating because of numerous social changes, not least the various cultural transitions which ultimately led to Christianity being the dominant religion. -
Old Me All About Her Impressions of It
~ ~ - ~ ~ ~.~· · ,,... ~~~ ~ T '-() ~ Morris Matters Volume 31, Number 2 July 2012 Contents of Volume 31 , Number 2 Morris Matters? ............................................................................................................... 2 by Long Lankin Olympic Dance Marathon - a Morris Dancer's Story........................................................ 4 by Tom Clare Isle of Wight Morris ............................................................................................................ 7 by Ian Anderson The Nine Hours Wander................................................................................................. 9 by Jonathan Hooton May Day Mice - A Review.............................................................................................. 12 by George Frampton Ten Thousand Hours.................................................................................................. 13 The Rapperlympics (DERT)........................................................................................... 15 by Sue Swift Morris in the News - Nineteenth Century....................................................................... 16 CD review : The Traditional Morris Dance Album............................. 22 by Jerry West CD review: The Morris On Band .................................................................... .. 23 by Jerry West Key to the Teams on Cover ............................................................................... .. 24 This issue of Morris Matters could not avoid the Olympics - but -
This List of Gestures Represents Broad Categories of Emotion: Openness
This list of gestures represents broad categories of emotion: openness, defensiveness, expectancy, suspicion, readiness, cooperation, frustration, confidence, nervousness, boredom, and acceptance. By visualizing the movement of these gestures, you can raise your awareness of the many emotions the body expresses without words. Openness Aggressiveness Smiling Hand on hips Open hands Sitting on edge of chair Unbuttoning coats Moving in closer Defensiveness Cooperation Arms crossed on chest Sitting on edge of chair Locked ankles & clenched fists Hand on the face gestures Chair back as a shield Unbuttoned coat Crossing legs Head titled Expectancy Frustration Hand rubbing Short breaths Crossed fingers “Tsk!” Tightly clenched hands Evaluation Wringing hands Hand to cheek gestures Fist like gestures Head tilted Pointing index finger Stroking chins Palm to back of neck Gestures with glasses Kicking at ground or an imaginary object Pacing Confidence Suspicion & Secretiveness Steepling Sideways glance Hands joined at back Feet or body pointing towards the door Feet on desk Rubbing nose Elevating oneself Rubbing the eye “Cluck” sound Leaning back with hands supporting head Nervousness Clearing throat Boredom “Whew” sound Drumming on table Whistling Head in hand Fidget in chair Blank stare Tugging at ear Hands over mouth while speaking Acceptance Tugging at pants while sitting Hand to chest Jingling money in pocket Touching Moving in closer Dangerous Body Language Abroad by Matthew Link Posted Jul 26th 2010 01:00 PMUpdated Aug 10th 2010 01:17 PM at http://news.travel.aol.com/2010/07/26/dangerous-body-language-abroad/?ncid=AOLCOMMtravsharartl0001&sms_ss=digg You are in a foreign country, and don't speak the language. -
Hand Gestures
L2/16-308 More hand gestures To: UTC From: Peter Edberg, Emoji Subcommittee Date: 2016-10-31 Proposed characters Tier 1: Two often-requested signs (ILY, Shaka, ILY), and three to complete the finger-counting sets for 1-3 (North American and European system). None of these are known to have offensive connotations. HAND SIGN SHAKA ● Shaka sign ● ASL sign for letter ‘Y’ ● Can signify “Aloha spirit”, surfing, “hang loose” ● On Emojipedia top requests list, but requests have dropped off ● 90°-rotated version of CALL ME HAND, but EmojiXpress has received requests for SHAKA specifically, noting that CALL ME HAND does not fulfill need HAND SIGN ILY ● ASL sign for “I love you” (combines signs for I, L, Y), has moved into mainstream use ● On Emojipedia top requests list HAND WITH THUMB AND INDEX FINGER EXTENDED ● Finger-counting 2, European style ● ASL sign for letter ‘L’ ● Sign for “loser” ● In Montenegro, sign for the Liberal party ● In Philippines, sign used by supporters of Corazon Aquino ● See Wikipedia entry HAND WITH THUMB AND FIRST TWO FINGERS EXTENDED ● Finger-counting 3, European style ● UAE: Win, victory, love = work ethic, success, love of nation (see separate proposal L2/16-071, which is the source of the information below about this gesture, and also the source of the images at left) ● Representation for Ctrl-Alt-Del on Windows systems ● Serbian “три прста” (tri prsta), symbol of Serbian identity ● Germanic “Schwurhand”, sign for swearing an oath ● Indication in sports of successful 3-point shot (basketball), 3 successive goals (soccer), etc. HAND WITH FIRST THREE FINGERS EXTENDED ● Finger-counting 3, North American style ● ASL sign for letter ‘W’ ● Scout sign (Boy/Girl Scouts) is similar, has fingers together Tier 2: Complete the finger-counting sets for 4-5, plus some less-requested hand signs. -
'Northern Gods in Marble'
‘NORTHERN GODS IN MARBLE’ The Romantic Rediscovery Marble of Norse Mythology [ KNUT LJØGODT ABSTRACT The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The ] Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century. KEYWORDS Norse myths, Norse heroes, pagan religion, Knud Baade, Romanticism vs Classicism. Introduction Karen Blixen’s short story ‘Sorrow-Acre’, published in Winter’s Tales (1942) takes place at a Danish country estate in the late 18th century. During a conversation between the baron and his nephew, they discuss Classical versus Norse mythol- ogy. The young man has discovered the Norse myths through a recently pub- lished work: ‘He mentioned the name of the author, Johannes Ewald, and recited a couple of the elevated verses.’ The book he refers to is Ewald’s play The Death of Balder (1775). He goes on to praise the Norse gods: ‘And I have wondered, while I read,’ he went on after a pause, still moved by the lines he himself had declaimed, ‘that we have not till now understood how much our Nordic my- thology in moral greatness surpasses that of Greece and Rome. If it had not been for the physical beauty of the ancient gods, which have come down to us in marble, no modern mind could hold them worthy of worship. -
Boofi 6HEEH SIATE UNIVERSITY LIBRARY I
RUNIC EVIDENCE OF LAMINOALVEOLAR AFFRICATION IN OLD ENGLISH Tae-yong Pak A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1969 Approved by Doctoral Committee BOOfi 6HEEH SIATE UNIVERSITY LIBRARY I 428620 Copyright hy Tae-yong Pak 1969 ii ABSTRACT Considered 'inconsistent' by leading runologists of this century, the new Old English runes in the palatovelar series, namely, gar, calc, and gar-modified (various modi fications of the old gifu and cën) have not been subjected to rigorous linguistic analysis, and their relevance to Old English phonology and the study of Old English poetry has remained unexplored. The present study seeks to determine the phonemic status of the new runes and elucidate their implications to alliteration. To this end the following methods were used: 1) The 60-odd extant Old English runic texts were examined. Only four monuments (Bewcastle, Ruthwell, Thornhill, and Urswick) were found to use the new runes definitely. 2) In the four texts the words containing the new and old palatovelar runes were isolated and tabulated according to their environments. The pattern of distribution was significant: gifu occurred thirteen times in front environments and twice in back environments; cen, eight times front and once back; gar, nine times back; calc, five times back and once front; and gar-modified, twice front. Although cen and gifu occurred predominantly in front environments, and calc and gar in back environments, their occurrences were not complementary. 3) To interpret the data minimal or near minimal pairs with the palatovelar consonants occurring in front or back environments were examined. -
A Spot Called Crayford the Legend of Hengest
A Spot Called Crayford The Legend of Hengest KS2 Pupil Response PACK By Peter Daniel and Kate Morton Illustrations by Michael Foreman 1 This WorkBook Belongs TO: Write your name and class here: ___________________________ Write your name below in Anglo Saxon Runes: 2 Name: ....................................................... Date: ....................... Below is the Anglo-Saxon alphabet. Write your name above in runes. Can you spell my name out in the ancient Saxon alphabet? Hengest H E N G E S T Don’t leave me out of this. We’re brothers and do every- thing together! Horsa H O R S A 3 A Letter of Apology from Honorius Gildas tells us that after the Romans left Britannia, barbarians invaded Britain and the people appealed for help to a Roman general called Flavius Aetius: The barbarians push us back to the sea, the sea pushes us back to the barbarians; between these two we are either drowned or slaughtered.” the Groans of the Britons’ Gildas Honorius, the Western Roman Emperor (393-423AD) sent The Rescript of Honorius 411AD a letter of apology telling the Britons that they must 'look to their own defences'. Thus ending Rome’s ties with Britain. Imagine you are Emperor Honorius to write a letter of apology to the Britons. Use the map above to • Let the Britons know you know who their enemies are Honorius was Western • Can you explain why the Emperor is in no position to help? Roman Emperor • Use the letter template to draft your letter 4 ‘A Letter of apology from Honorius’ Ravenna Itialy 411AD Dear Britons Tell the Britons that you know who is attacking them. -
Viking-Age Runic Plates of the Runic Plates Have Been Conducted with a Stereomicroscope for This Purpose
The aim of this dissertation is to represent as clearly as possible the genre of Viking- Age runic plates by developing readings and interpretations of the inscriptions on the 46 metal plates with runes from the Viking Age known today. Several investigations SOFIA PERESWETOFF-MORATH • • PERESWETOFF-MORATH SOFIA Viking-Age Runic Plates of the runic plates have been conducted with a stereomicroscope for this purpose. On the basis of the new readings thus established, new interpretations have been pro- posed for the most problematic sections of previously interpreted inscriptions. New interpretations are also offered for inscriptions on runic plates which have previously been considered non-lexical. As well as providing new readings and interpretations, this study has resulted in clarification of the relationship between the form and content of the inscriptions on the runic plates on the one hand and on their find circumstances and appearance on the other. An argued documentation of the readings can be found in an accompanying catalogue in Swedish which is published digitally and can be downloaded as a pdf file at: <http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-383584> Viking-Age Runic Plates Viking-Age Distribution: Sofia Pereswetoff-Morath eddy.se ab e-post: [email protected] ISSN 0065-0897 and Box 1310, 621 24 Visby. Telefon: 0498-25 39 00 ISSN 1100-1690 http://kgaa.bokorder.se ISBN 978-91-87403-33-0 1 ACTA ACADEMIAE REGIAE GUSTAVI ADOLPHI 155 Runrön 21 Runrön Runologiska bidrag utgivna av Institutionen för nordiska språk vid Uppsala universitet 2 3 ACTA ACADEMIAE REGIAE GUSTAVI ADOLPHI CLV Runrön 21 Runologiska bidrag utgivna av Institutionen för nordiska språk vid Uppsala universitet SOFIA PERESWETOFF-MORATH Viking-Age Runic Plates Readings and Interpretations Translated from Swedish by Mindy MacLeod UPPSALA 2019 Kungl. -
Proposed Additions Red = Proposed Changes Green = Other Possible Additions Black = Existing/Unchanged
ISO/IEC JTC 1/SC 2/WG 2 PROPOSAL SUMMARY FORM TO ACCOMPANY SUBMISSIONS FOR ADDITIONS TO THE REPERTOIRE OF ISO/IEC 106461 Please fill all the sections A, B and C below. Please read Principles and Procedures Document (P & P) from http://www.dkuug.dk/JTC1/SC2/WG2/docs/principles.html for guidelines and details before filling this form. Please ensure you are using the latest Form from http://www.dkuug.dk/JTC1/SC2/WG2/docs/summaryform.html. See also http://www.dkuug.dk/JTC1/SC2/WG2/docs/roadmaps.html for latest Roadmaps. A. Administrative 1. Title: Ms 2. Requester's name: Małgorzata Deroń 3. Requester type (Member body/Liaison/Individual contribution): Individual 4. Submission date: 4 September 2009 5. Requester's reference (if applicable): http://ifa.amu.edu.pl/fa/Deron_Malgorzata 6. Choose one of the following: This is a complete proposal: Yes (or) More information will be provided later: If needed B. Technical – General 1. Choose one of the following: a. This proposal is for a new script (set of characters): - Proposed name of script: b. The proposal is for addition of character(s) to an existing block: Yes Name of the existing block: Runic 16A0-16FF (for 16F1-16FF) 2. Number of characters in proposal: 15 + 1 change 3. Proposed category (select one from below - see section 2.2 of P&P document): A-Contemporary - B.1-Specialized (small collection) X B.2-Specialized (large collection) - C-Major extinct - D-Attested extinct - E-Minor extinct - F-Archaic Hieroglyphic or Ideographic - G-Obscure or questionable usage symbols - 4. -
The Brill Typeface User Guide & Complete List of Characters
The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke.