CHUPACABRA BIGFOOT Legendary Creatures Be Real? by JENNIFER DIGNAN
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Chupacabra Mystery
SI May June 11 CUT_SI new design masters 3/25/11 11:29 AM Page 45 Slaying the Vampire Solving the Chupacabra Mystery The mysterious vampire beast el chupacabra is said to have terrorized people around the world since at least 1995. A five-year skeptical investigation reveals the surprising origin of this monster, finding that there’s more to this vampire than meets the eye. BENJAMIN RADFORD approximately four-feet tall that had igfoot, the mysterious creature said to roam the thin arms and legs with three fingers or North American wilderness, is named after what it toes at the end of each (Corrales 1997). leaves behind: big footprints. Bigfoot’s Hispanic It had no ears or nose but instead two B small airholes and long spikes down its cousin, el chupacabra, is also known for what it leaves behind: back (see figure 1). When the beast was dead animals mysteriously drained of blood. Goats are said later reported in other countries, it took to be its favorite prey (chupacabra means goat sucker in Span- on a very different form (see figure 2). A few were found dead (for example, in ish), and it is the world’s third best-known mystery creature Nicaragua and Texas), and the carcasses (after Bigfoot and the Loch Ness monster). turned out to be small four-legged an- imals from the Canidae family (such as El chupacabra first appeared in 1995 mense confusion and contradiction” dogs and coyotes). after Madelyne Tolentino, an eyewit- surrounding el chupacabra, making it The next step was identifying and ness in Puerto Rico, provided a detailed “almost impossible to distinguish fact analyzing the central claims about el description of the bloodsucker. -
Dragonewts: a Guide to the Eravssarr
Credits and Contents DRAGONEWTS A GUIDE TO THE ERAVSSARR Credits Contents Author Interior Illustrations Credits & Contents 1 Lawrence Whitaker Nathan Furman, Claudio Pozas, Phil Renne Introduction 2 Editor Nick Robinson Publications Manager Essence of Dragonewts 4 Ian Belcher Cover Art Myths 14 Tony Parker Playtesting Dragonewts in the World 23 Lucas MacKay Cover Design Dragonewt Characters 54 Bob Cram, Dan Howard & Jeff Special Thanks Koch Carl Pates, Jeff Richard, Jeff Kyer, Dragonewt Cults 71 Dan Barker, Shannon Appelcline, RuneQuest Logo Colin Driver, Roderick Robertson & Dragonewt Magic 84 Anne Stokes Greg Stafford Dinosaurs & Dream Dragons 100 Proofreading ‘The Six Dragons and the War Against Scribendi Chaos’ written by Greg Stafford and Dragonewt Voices 111 reproduced by kind permission. Index 116 Copyright Information Eravssarr: A Guide to Dragonewts ©2007 Mongoose Publishing. All rights reserved. Reproduction of of this work by any means without the written permission of the publisher is expressly forbidden. All significant characters, names, places, items, art and text herein are copyrighted by Mongoose Publishing subject to its licence from Issaries, Inc. This game product contains no Open Game Content. No portion of this work may be reproduced in any form without written permission. To learn more about the Open Game License, please go to www.mongoosepublishing.com. This material is protected under the copyright laws of the United Kingdom. This product is a work of fiction. Any similarity to actual people, organisations, places or events is purely coincidental. RuneQuest is a trademark (TM) of Issaries, Inc. Produced under license from Issaries. All rights reserved. Printed in the UK. 1 INTRODUCTION understand their place in Time and they understand their destinies with absolute clarity. -
Mistaken Memories of Vampires: Pseudohistories of the Chupacabra As Well-Known Monsters Go, the Chupacabra Is of Very Recent Vintage, First Appearing in 1995
Mistaken Memories of Vampires: Pseudohistories of the Chupacabra As well-known monsters go, the chupacabra is of very recent vintage, first appearing in 1995. However, some writers have created pseudohistories and claimed a false antiquity for the Hispanic vampire beast. These examples provide a fascinating look at cryptozoological folklore in the making. BENJAMIN RADFORD ost people assume that the chupacabra, like its acy-laden Frankenstein scenario. Not coincidentally, these two origin stories cryptozoological brethren Bigfoot and Nessie, dates are identical to those of Sil, a chupaca- Mback many decades or centuries. However, as dis- bra-like monster in the film Species (see Figure 1 and Radford 2014). cussed in my book Tracking the Chupacabra: The Vampire The alien/Frankenstein’s monster Beast in Fact, Fiction, and Folklore and in the pages of the explanation, though embraced by SKEPTICAL INQUIRER, the origin of the mysterious vampire many Puerto Ricans and others soon after the chupacabra’s 1995 appear- beast el chupacabra can be traced back to a Puerto Rican ance, was unsatisfactory (and perhaps eyewitness who saw the 1995 film Species, which featured too outlandish) to some, who then offered their own histories of the a nearly identical monster. Though both vampire legends vampire beast. A blank slate history and “mysterious” animal predation date back many centu- creates an information vacuum easily ries, there seems to be no evidence of any blood-sucking filled by mystery-mongering specu- lation. (For analysis of historical ch- “chupacabra” before the 1990s. upacabra claims since the 1950s, see my SI columns “The Mystery of the The beast turned twenty last year, accounts of encounters with unknown Texas Chupacabra” in the March/ and its recent vintage poses a thorny corporeal creatures. -
Pseudoscience and Science Fiction Science and Fiction
Andrew May Pseudoscience and Science Fiction Science and Fiction Editorial Board Mark Alpert Philip Ball Gregory Benford Michael Brotherton Victor Callaghan Amnon H Eden Nick Kanas Geoffrey Landis Rudi Rucker Dirk Schulze-Makuch Ru€diger Vaas Ulrich Walter Stephen Webb Science and Fiction – A Springer Series This collection of entertaining and thought-provoking books will appeal equally to science buffs, scientists and science-fiction fans. It was born out of the recognition that scientific discovery and the creation of plausible fictional scenarios are often two sides of the same coin. Each relies on an understanding of the way the world works, coupled with the imaginative ability to invent new or alternative explanations—and even other worlds. Authored by practicing scientists as well as writers of hard science fiction, these books explore and exploit the borderlands between accepted science and its fictional counterpart. Uncovering mutual influences, promoting fruitful interaction, narrating and analyzing fictional scenarios, together they serve as a reaction vessel for inspired new ideas in science, technology, and beyond. Whether fiction, fact, or forever undecidable: the Springer Series “Science and Fiction” intends to go where no one has gone before! Its largely non-technical books take several different approaches. Journey with their authors as they • Indulge in science speculation—describing intriguing, plausible yet unproven ideas; • Exploit science fiction for educational purposes and as a means of promoting critical thinking; • Explore the interplay of science and science fiction—throughout the history of the genre and looking ahead; • Delve into related topics including, but not limited to: science as a creative process, the limits of science, interplay of literature and knowledge; • Tell fictional short stories built around well-defined scientific ideas, with a supplement summarizing the science underlying the plot. -
LEASK-DISSERTATION-2020.Pdf (1.565Mb)
WRAITHS AND WHITE MEN: THE IMPACT OF PRIVILEGE ON PARANORMAL REALITY TELEVISION by ANTARES RUSSELL LEASK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Texas at Arlington August, 2020 Arlington, Texas Supervising Committee: Timothy Morris, Supervising Professor Neill Matheson Timothy Richardson Copyright by Antares Russell Leask 2020 Leask iii ACKNOWLEDGEMENTS • I thank my Supervising Committee for being patient on this journey which took much more time than expected. • I thank Dr. Tim Morris, my Supervising Professor, for always answering my emails, no matter how many years apart, with kindness and understanding. I would also like to thank his demon kitten for providing the proper haunted atmosphere at my defense. • I thank Dr. Neill Matheson for the ghostly inspiration of his Gothic Literature class and for helping me return to the program. • I thank Dr. Tim Richardson for using his class to teach us how to write a conference proposal and deliver a conference paper – knowledge I have put to good use! • I thank my high school senior English teacher, Dr. Nancy Myers. It’s probably an urban legend of my own creating that you told us “when you have a Ph.D. in English you can talk to me,” but it has been a lifetime motivating force. • I thank Dr. Susan Hekman, who told me my talent was being able to use pop culture to explain philosophy. It continues to be my superpower. • I thank Rebecca Stone Gordon for the many motivating and inspiring conversations and collaborations. • I thank Tiffany A. -
Siren Motifs on Glazed Dishes
Art This is how the harpies and sirens were seen in Europe in the Middle Ages 34 www.irs-az.com 2(30), SPRING 2017 Aida ISMAYILOVA Siren motifs on glazed dishes (Based on materials of the National Azerbaijan History Museum) www.irs-az.com 35 Art This is how the harpies and sirens were seen in ancient Greece. Image on a ceramic vase he National Azerbaijan History Museum (NAHM) is mation about the semantics of the image with a human rich in archaeological materials belonging to vari- head and a bird’s body. Tous periods of our history, including the 12th-13th First of all, let’s get acquainted with the description centuries. Based on this material evidence, we can study of the material cultural artifacts we mentioned above: the artistic and aesthetic image and world outlook of A fragment of a dish was found in the urban area of the period, as well as its principle of cultural succession. Beylagan in 1963 (1, No 25058). The clay of the glazed From this point of view, we will be talking about archaeo- fragment was bright orange and well fired. The inter- logical materials, which belong to the aforesaid period, nal surface is covered with engobing and is glazed with found in the urban areas of Beylagan and Bandovan and images of birds and plants engraved on it. The outlines handed over to the NAHM from the Nizami museum. of the image are bright brown. The profile of a bird is The particularity of these material cultural artifacts is that depicted from the right side. -
Chupacabra Pdf, Epub, Ebook
CHUPACABRA PDF, EPUB, EBOOK Roland Smith | 304 pages | 20 Jun 2016 | Scholastic US | 9780545178181 | English | United States Chupacabra PDF Book Though goats are said to be its favorite prey chupacabra means "goat sucker" in Spanish , it has have also been blamed for attacks on cats, rabbits, dogs, chickens, and other animals. Visit the state elections site. The name comes from the animal's reported vampirism —the chupacabra is said to attack and drink the blood of livestock , including goats. Retrieved 26 July She noticed some significant differences between the animal and her "Texas Blue Dog. Each of the animals was reported to have had its body bled dry through a series of small circular incisions. External Websites. These chupacabras were smaller and stood upon four feet. El Vocero. Wizards of the Coast. Chupacabra , in Latin American popular legend , a monstrous creature that attacks animals and consumes their blood. See Article History. Parapsychology Death and culture Parapsychology Scientific literacy. Dead chupacabras were subjected to DNA tests and in every instance the body has been identified as a dog, coyote, raccoon, or other common mammal — usually stricken with a parasitic infection that caused the animal to lose its fur and take on a gaunt, monstrous appearance. Forum posts. They characterized it has having large oval red eyes that sometimes glowed, gray skin, a long snake-like tongue, fangs, and long spinal quills that may double as wings. Archived from the original on 14 September For the Nov 3 election: States are making it easier for citizens to vote absentee by mail this year due to the coronavirus. -
Having Bought Into a Wreck -- What Now? Cognitive Challenges of Embodying Reality Otherwise - /
Alternative view of segmented documents via Kairos 7 May 2018 | Draft Having Bought into a Wreck -- What Now? Cognitive challenges of embodying reality otherwise - / - Introduction Environmental preamble Intuited complementarity: environmental cycles and learning cycles? Revisioning a tabular configuration of categories Cognitive implication in contrasting modalities Symbolism, mythology and correspondences Rosetta stone of meaningful cycles? Ultimate self-reflexive irony of cyclic cognitive processes Preceding approaches to thematic organization Productivity: Substantive ("Solid") Liquidity: Both substantive and non-substantive ("Fluid") Imagination: Non-substantive ("Air") Excitement: Neither substantive nor non-substantive ("Fire") References Introduction Whether in collusion with others or not, I seem to have bought shares in a total wreck of some kind. It could be a house or some means of transportation -- possibly a truck, or a boat, or a train, or a plane. Some call it global civilization. Like the Cubans after their revolution, I am faced with the challenge of a rapidly decaying "automobile" for which I cannot get spare parts. This is despite the reported rate of development of technology elsewhere (beyond my reach and comprehension), and the promises with which it is associated. How am I then to engage with the wreck, which could indeed collapse further at any moment? There is some irony that, as an "auto-mobile", getting it to work is curiously reminiscent of what is otherwise framed as the challenge of "sustainability". One approach for me is simply to note the facts of this situation -- to bear witness. To whom? Various parts do not work as they might be expected to work -- whether frozen, ill-fitting, or poorly connected. -
Ch a P Te R 3 Cultural
distribute or CULTURAL post, APPROACHES TO HEALTH copy, not CHAPTER 3 Do Copyright ©2019 by SAGE Publications, Inc. This work may not be reproduced or distributed in any form or by any means without express written permission of the publisher. iStockphoto.com/ RoBeDeRo Chapter 3 Outline Measuring Up: Are You Culturally Competent? Sources of Illness Ponder This Treatment Varieties of World Medicine American Indian Medicine Western Biomedicine Sources of Illness Greek Roots Treatment Technological Innovations African American Beliefs Traditional Chinese Medicine Are Complementary and Alternative Sources of Illness Approaches Valid? Treatment APPLICATIONS SHOWCASE: Acupuncture Ayurveda: Traditional Indian Medicine SUMMARY TEST YOURSELF Sources of Illness KEY TERMS, CONCEPTS, Treatment AND PEOPLE Curanderismo and Spiritualism ESSENTIAL READINGS MEASURING UP distribute or ARE YOU CULTURALLY COMPETENT? See how many of the answers to these questions you know. Ask your family for information you are missing. a. What is your ancestry? post, b. How many years have you lived in the United States? c. Do you mind being touched by health care workers? d. Do you find it difficult to share thoughts with health care workers? e. Are there extended family members who live in your household? f. What are the duties ofcopy, men and women in the family? g. What difficulty do you have working with people whose religion, sexual orientation, race, or ethnicity is different from yours? h. What do you do when you do not know something related to your job? i. Whatnot are major diseases in your family? j. With what race do you identify? k. How many cigarettes do you smoke a day? Dol. -
The Animals Saved from the Flood by Noah. Detail from a Painting by Roeland Savery
THE STORY OF MAN'S DISCOVERY OF THE ANIMAL KINGDOM Translated from the German by MICHAEL BULLOCK Illustrated with photographs and line drawings The animals saved from the Flood by Noah. Detail from a painting by Roeland Savery. HOUGHTON MIFFLIN COMPANY BOSTON 1 959 34 A CABINET OF MONSTERS MONOCEROS AND RHINOCEROS 35 in a thoroughly practical way. He had an elephant station set up earlier versions by the Latin word unicornis or the Greek monoceros near Api in the Congo-the first of its kind on African soil since --both meaning one-horn. It is clear, at any rate, that there once the days of Ptolemy Philadelphus. The experiment succeeded, al existed in the East a powerful beast which n1en caught, tied to the though Kornaks brought from India could not cope with the crib, put in harness and set to work in the fields. The taming of forest elephants of the Congo. Native Zanga negroes, on the this beast seemed to the men of those days a great and wonderful other hand, managed very well. After the closing of Api a new event, an epoch-making feat that could not have been accom station was established at Gangala-na-Bodio on the upper Wele. plished without the grace of God. Here the tame elephants of the colonial government still perform This unicorn was already a legendary creature in the ancient valuable services as draught animals and beasts of burden in all world. In the Middle Ages it developed into a mythical super sorts of forestry work, in spite of the introduction of lorries and beast, the nature of which Leonardo da Vinci outlined in the tractors. -
Enjoy the Spooktacular Stories!
HAPPY GRAND COUNTY LIBRARY DISTRICT SCARY STORY WINNERS ENJOY THE SPOOKTACULAR STORIES! THEY ARE UNEDITED TO MAINTAIN ORIGINALITY Page 2 Grand County Library District Scary Story Winners October 29, 2020 Grand Gazette www.GrandGazette.net into a hundred pieces. So Josh took 3rd Place Kremmling/HSS the treasure and went home. The Puppy That Said Boo! Kremmling/HSS K-2nd grade by Critter Wood 3rd grade 2nd Place 1st Place The Ghost and Skelly Once upon a time, there was a dog 1st Place Josh’s Scary Halloween by Brynlie Vrbas that said Boo! The dog loved to say Treasure of Ascaban Adventure Boo! He loved to say Boo to every by Danica Rector person in town. He also loved to scare by Grayson Rector Once upon a time, there was a skeleton named Skelly. He loved them when he growled Grrrr!!! He It all started on a cloudy, but warm Josh was at his house on a to scare people because he wanted loved to say “Boo and Grrr!!!” He Friday, October 16th. Jack’s mom Halloween night, he was getting his the whole neighborhood to himself. loved to scare people because he was said that he was going to go boating costume out but he decided to go When he scared everyone, they all a Halloween puppy. He really loved with his grandpa Alfred and best find a golden treasure to make his ran away to the desert. The people to scare his Mommy! He would put friend Jayson. Jack was so excited he costume with golden on it to make met Skelly in the desert and then a out his fangs and stick out his tongue. -
Available for Download at Dungeonsanddragons.Com
BASIC RULES D&D Basic Rules, Version 1.0, Released November 2018 Credits Lead Designers: Jeremy Crawford, Mike Mearls, Based on the original D&D game created by Christopher Perkins E. Gary Gygax and Dave Arneson, Design Team: James Wyatt, Rodney Thompson, Robert J. with Brian Blume, Rob Kuntz, James Ward, and Don Kaye Schwalb, Peter Lee, Steve Townshend, Bruce R. Cordell Drawing from further development by J. Eric Holmes, Tom Moldvay, Frank Mentzer, Aaron Allston, Managing Editor: Jeremy Crawford Harold Johnson, David “Zeb” Cook, Ed Greenwood, Keith Editing Team: Chris Sims, Michele Carter, Scott Fitzgerald Gray, Baker, Tracy Hickman, Margaret Weis, Douglas Niles, Jeff Kim Mohan Grubb, Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, Peter Adkison, Bill Slavicsek, Andy Collins, and Rob Graphic Designers: Bree Heiss, Emi Tanji Heinsoo Interior Illustrator: Jaime Jones, Richard Whitters Playtesting provided by Additional Contributors: Matt Sernett, Chris Dupuis, Tom over 175,000 fans of D&D. Thank you! LaPille, Chris Tulach, Miranda Horner, Jennifer Clarke Wilkes, Steve Winter, Chris Youngs, Ben Petrisor, Tom Olsen Producer: Greg Bilsland Project Management: Neil Shinkle, Kim Graham, John Hay Brand and Marketing: Nathan Stewart, Liz Schuh, Chris Lindsay, Shelly Mazzanoble, Hilary Ross, Laura Tommervik, Kim Lundstrom, Trevor Kidd DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, the dragon ampersand, Player’s Handbook, Monster Manual, Dungeon Master’s Guide, all other Wizards of the Coast product names, and their respective logos are trademarks of Wizards of the Coast in the USA and other countries. All characters and their distinctive likenesses are property of Wizards of the Coast.