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Fawcett, Christina (2014) J.R.R. Tolkien and the Morality of Monstrosity
Fawcett, Christina (2014) J.R.R. Tolkien and the morality of monstrosity. PhD thesis. http://theses.gla.ac.uk/4993/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] J.R.R. Tolkien and the Morality of Monstrosity Christina Fawcett Submitted in fulfilment of the requirements for the degree of PhD College of Arts School of Critical Studies English Literature University of Glasgow February 2014 © Christina Fawcett, 2014 ii Abstract This thesis asserts that J.R.R. Tolkien recreates Beowulf for the twentieth century. His 1936 lecture, ‘Beowulf: The Monsters and the Critics’ sets the tone not only for twentieth century criticism of the text, but also Tolkien’s own fictional project: creating an imagined world in which ‘new Scripture and old tradition touched and ignited’ (‘B: M&C’ 26). At the core of his analysis of Beowulf, and at the core of his own Middle-earth, are the monsters. He creates creatures that are an ignition of past and present, forming characters that defy allegory and simple moral categorization. -
Canadian Guiding Badges and Insignia Brownie Six/Circle Emblems
Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems Following the introduction of the Brownie program to provide Guiding for younger girls, and after the decision to base the new program on The Brownie Story, a further decision was made in 1919 to subdivide a Brownie Pack into smaller groups consisting of six girls. These smaller groups within the Pack were known as Sixes and were identified by a Six emblem bearing the name of some mythical fairy- like person from folklore. [Reference: POR (British, 1919)] The original Six emblems were brown felt; later versions were brown cotton with the edges bound in brown. In 1995, the term “Sixes” was replaced by the term “Circles”, and the shape of the emblems was changed as well. In 1972, three of the original twelve Six emblems were retired and in 1995 four new ones were added. Page 1 V.2 Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems SC0001 SC0002 Bwbachod Badge Discontinued 1919- 19? 19? - 1972 SC0003 SC0004 Djinn Introduced 1994 1995-2004 1994 SC0005 SC0006 Dryad Introduced 1994 1995- 1994 Page 2 V.2 Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems SC0007 SC0008 SC0009 Elf 1919-19? 19? - 1995 1995- SC0010 SC0011 SC0012 Fairy 1919-19? 19? - 1995 1995- SC0013 SC0014 Ghillie Dhu Badge Discontinued 1919-19? 19? - 1972 Page 3 V.2 Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems SC0015 SC0016 SC0017 Gnome 1995- 1919-19? 19? - 1995 SC0018 SC0019 Imp Badge Discontinued 1919-19? 19? - 1995 SC0020 SC0021 SC0022 Kelpie (formerly called Scottish -
Camelot -.: Carton Collector
Mitos y Leyendas - Camelot (236) cartoncollector.cl 001 UR Draig Goch 081 R Levantar Muerto 161 V Paiste 002 UR Clídna 082 R Vampiro de Almas 162 V Dragón del Monte 003 UR Morgause 083 R Alas del Murciélago 163 V Blue Ben 004 UR Arthur Pendragón 084 R Regresar la Espada 164 V Serpopardo 005 UR Duelo de Dragón 085 R Coronación 165 V Glatisant 006 UR Seducción 086 R Excalibur Liberada 166 V Gwiber 007 UR Invocar Corrupción 087 R Torneo 167 V Rhydderch 008 UR Garra de Cristal 088 R Letanía del Rayo 168 V Tlachtga 009 MR Dragón Blanco 089 R Aura Bendita 169 V Ceasg 010 MR Gwyn ap Nudd 090 R Llamar a los Antiguos 170 V Lady Blanchefleur 011 MR Fuath 091 R Licántropos Rampantes 171 V Bugul Noz 012 MR Balin dos Espadas 092 R Yelmo Montadragón 172 V Gancanagh 013 MR Bridei I 093 R Hacha de los Bosques 173 V Guinevak 014 MR Incinerar 094 R Clarent 174 V John de la Costa 015 MR Relámpago Faérico 095 R Primera Excalibur 175 V Korrigan 016 MR Bendición de Armas 096 R Cementerio Dragón 176 V Addanc 017 MR Cortamundos 097 R Isla de Avalón 177 V Wight 018 MR Nido de Uolot 098 R Cementerio Impuro 178 V Cu Sith 019 M Dragón Inferno 099 R Guardia Gozosa 179 V Palamades 020 M Merlín Ambrosius 100 C Cockatriz 180 V Agravain 021 M Sir Perceval 101 C Wyvern Negro 181 V Gaheris 022 M Auberón 102 C Ave Boobrie 182 V Lucán 023 M Oilliphéist 103 C Stollenwurm 183 V Sir Héctor 024 M Lancelot del Lago 104 C Vouivre 184 V Mark de Cornwall 025 M Morgana de la Sombra 105 C Dragón de Dalry 185 V Olwen 026 M Claíomh Solais 106 C Roba Almas 186 V Pellinore 027 M Dullahan -
PRAVILNIK O PREKOGRANIĈNOM PROMETU I TRGOVINI ZAŠTIĆENIM VRSTAMA ("Sl
PRAVILNIK O PREKOGRANIĈNOM PROMETU I TRGOVINI ZAŠTIĆENIM VRSTAMA ("Sl. glasnik RS", br. 99/2009 i 6/2014) I OSNOVNE ODREDBE Ĉlan 1 Ovim pravilnikom propisuju se: uslovi pod kojima se obavlja uvoz, izvoz, unos, iznos ili tranzit, trgovina i uzgoj ugroţenih i zaštićenih biljnih i ţivotinjskih divljih vrsta (u daljem tekstu: zaštićene vrste), njihovih delova i derivata; izdavanje dozvola i drugih akata (potvrde, sertifikati, mišljenja); dokumentacija koja se podnosi uz zahtev za izdavanje dozvola, sadrţina i izgled dozvole; spiskovi vrsta, njihovih delova i derivata koji podleţu izdavanju dozvola, odnosno drugih akata; vrste, njihovi delovi i derivati ĉiji je uvoz odnosno izvoz zabranjen, ograniĉen ili obustavljen; izuzeci od izdavanja dozvole; naĉin obeleţavanja ţivotinja ili pošiljki; naĉin sprovoĊenja nadzora i voĊenja evidencije i izrada izveštaja. Ĉlan 2 Izrazi upotrebljeni u ovom pravilniku imaju sledeće znaĉenje: 1) datum sticanja je datum kada je primerak uzet iz prirode, roĊen u zatoĉeništvu ili veštaĉki razmnoţen, ili ukoliko takav datum ne moţe biti dokazan, sledeći datum kojim se dokazuje prvo posedovanje primeraka; 2) deo je svaki deo ţivotinje, biljke ili gljive, nezavisno od toga da li je u sveţem, sirovom, osušenom ili preraĊenom stanju; 3) derivat je svaki preraĊeni deo ţivotinje, biljke, gljive ili telesna teĉnost. Derivati većinom nisu prepoznatljivi deo primerka od kojeg potiĉu; 4) država porekla je drţava u kojoj je primerak uzet iz prirode, roĊen i uzgojen u zatoĉeništvu ili veštaĉki razmnoţen; 5) druga generacija potomaka -
Brae Lochaber Gaelic Oral Tradition and the Repertoire of John Macdonald, Highbridge
https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] BRAE LOCHABER GAELIC ORAL TRADITION AND THE REPERTOIRE OF JOHN MACDONALD, HIGHBRIDGE Andrew Esslemont Macintosh Wiseman A thesis submitted in fulfilment of the requirements for the degree of Master of Philosophy Celtic Department Faculty of Arts The University of Glasgow October 1996 © A.E.M. Wiseman 1996 ProQuest Number: 10992213 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10992213 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. -
Nove Noites E Um Sonho De Outono / Lesley Livingston ; Tradução Angela Cristina Tesheiner E Cláudia Santana Martins
Copyright © 2009 Lesley Livingston Copyright © 2012 HaperTeen, um selo da HaperCollins Publishers. Copyright © 2014 Editora Gutenberg Título original: Wondrous Strange Todos os direitos reservados pela Editora Gutenberg. Nenhuma parte desta publicação poderá ser reproduzida, seja por meios mecânicos, eletrônicos, seja cópia xerográfica, sem autorização prévia da Editora. GERENTE EDITORIAL Alessandra J. Gelman Ruiz EDITOR ASSISTENTE Denis Araki ASSISTENTES EDITORIAIS Carol Christo Felipe Castilho PRODUÇÃO EDITORIAL Ab Aeterno Produção Editorial PREPARAÇÃO Karina Danza REVISÃO Ana Paula Santos Camile Mendrot Malvina Tomáz CAPA Marina Ávila DIAGRAMAÇÃO SGuerra Design PRODUÇÃO DO E-BOOK Schaffer Editorial Dados Internacionais de Catalogação na Publicação (CIP) Câmara Brasileira do Livro, SP, Brasil Livingston, Lesley Nove noites e um sonho de outono / Lesley Livingston ; tradução Angela Cristina Tesheiner e Cláudia Santana Martins. – 1. ed. – Belo Horizonte : Gutenberg Editora, 2014. Título original: Wondrous Strange. ISBN 978-85-8235-023-2 1. Ficção brasileira 2. Amizade I. Título. 14-01148 CDD-813.5 Índices para catálogo sistemático: 1. Ficção : Literatura norte-americana 813.5 EDITORA GUTENBERG LTDA. São Paulo Av. Paulista, 2.073, Conjunto Nacional, Horsa I, 23º andar, Conj. 2.301 Cerqueira César . 01311-940 São Paulo . SP Tel.: (55 11) 3034 4468 Belo Horizonte Rua Aimorés, 981, 8º andar Funcionários . 30140-071 Belo Horizonte . MG Tel.: (55 31) 3214 5700 Televendas: 0800 283 13 22 www.editoragutenberg.com.br Para meu pai Agradecimentos -
Chaotic Descriptor Table
Castle Oldskull Supplement CDT1: Chaotic Descriptor Table These ideas would require a few hours’ the players back to the temple of the more development to become truly useful, serpent people, I decide that she has some but I like the direction that things are going backstory. She’s an old jester-bard so I’d probably run with it. Maybe I’d even treasure hunter who got to the island by redesign dungeon level 4 to feature some magical means. This is simply because old gnome vaults and some deep gnome she’s so far from land and trade routes that lore too. I might even tie the whole it’s hard to justify any other reason for her situation to the gnome caves of C. S. Lewis, to be marooned here. She was captured by or the Nome King from L. Frank Baum’s the serpent people, who treated her as Ozma of Oz. Who knows? chattel, but she barely escaped. She’s delirious, trying to keep herself fed while she struggles to remember the command Example #13: word for her magical carpet. Malamhin of the Smooth Brow has some NPC in the Wilderness magical treasures, including a carpet of flying, a sword, some protection from serpents thingies (scrolls, amulets?) and a The PCs land on a deadly magical island of few other cool things. Talking to the PCs the serpent people, which they were meant and seeing their map will slowly bring her to explore years ago and the GM promptly back to her senses … and she wants forgot about it. -
Knights&Knaves
K NIGHTS & K NAVES TABLE OF CONTENTS Introduction 2 Skills 2 Combat 6 Equipment 8 Miscellaneous 10 Magic and Spells 11 The Setting 13 Bestiary 17 HOW THIS PDF IS ORGANIZED CHARACTER CREATION If you're new to this game, it might help to know First, get an idea for what kind of character you're that learning how to play requires only that you read the going to want to play, write a short background for the PDF in order. The first section of the PDF covers gameplay character, including their goals and motivations (you'll mechanics, including character creation, the attribute and probably want more than one goal for each character and skill system, combat, and equipment. The second section a different motivation for each goal), and a short covers the optional rules to include magic in the setting. description of the character. Then, you're going to want to The third section covers the setting itself, all the way from make your characters statistics (attributes, skills, and the world and cosmology to key places of interest and equipment) reflect your description and background. You important figures from throughout its history. The fourth start with 30 Experience Points (EP) to do this, which and final section of this PDF covers the bestiary, which must be spent on developing the character before the includes stats for common NPC archetypes, wild animals, game begins. EP is used to increase your characters monsters, and even alternatives to sentient races that the attributes and skills. players can play as instead humans, which the PDF assumes you'll be playing by default. -
The Adorabyssal Oracle
THE ADORABYSSAL ORACLE The Adorabyssal Oracle is an oracle deck featuring the cutest versions of mythological, supernatural, and cryptozoological creatures from around the world! Thirty-six spooky cuties come with associated elements and themes to help bring some introspection to your day-to-day divinations and meditations. If you’re looking for something a bit more playful, The Adorabyssal Oracle deck doubles as a card game featuring those same cute and spooky creatures. It is meant for 2-4 players and games typically take 5-10 minutes. If you’re interested mainly in the card game rules, you can skip past the next couple of sections. However you choose to use your Adorabyssal Deck, it is my hope that these darkly delightful creatures will bring some fun to your day! WHAT IS AN ORACLE DECK? An Oracle deck is similar to, but different from, a Tarot deck. Where a Tarot deck has specific symbolism, number of cards, and a distinct way of interpreting card meanings, Oracle decks are a bit more free-form and their structures are dependent on their creators. The Adorabyssal Oracle, like many oracle decks, provides general themes accompanying the artwork. The basic and most prominent structure for this deck is the grouping of cards based on elemental associations. My hope is that this deck can provide a simple way to read for new readers and grow in complexity from there. My previous Tarot decks have seen very specific interpretation and symbolism. This Oracle deck opens things up a bit. It can be used for more general or free-form readings, and it makes a delightful addition to your existing decks. -
Castelli, Fantasmi E Leggende Scozzesi
INDICE INTRODUZIONE pag. 5 I CASTELLI (in ordine alfabetico) Aberdour pag. 9 Dunfermline pag. 72 Armadale “ 10 Dunnottar “ 76 Balgonie “ 12 Dunrobin “ 79 Balmoral “ 14 Dunvegan “ 83 Blackness “ 18 Edimburgo “ 86 Blair “ 20 Eilean Donan “ 90 Bothwell “ 22 Falkland Palace “ 94 Braemar “ 24 Fort George “ 96 Brodick “ 27 Fyvie “ 98 Brodie “ 29 Glamis “ 100 Broughty “ 31 Hermitage “ 102 Caerlaverock “ 34 Holyroodhouse “ 105 Castle Campbell “ 36 Inveraray “ 109 Castle Stalker “ 39 Inverness “ 111 Cawdor “ 41 Kilchurn “ 113 Cluny “ 45 Kinnaird Head “ 115 Craigmillar “ 47 Kisimul “ 119 Crathes “ 49 Linlithgow Palace “ 121 Crichton “ 51 Loch Leven “ 123 Culzean “ 54 Rothesay “ 125 Doune “ 56 Scalloway “ 130 Drum “ 58 St Andrews “ 133 Drummond “ 60 Stirling “ 140 Duart “ 62 Tantallon “ 143 Dumbarton “ 65 Urquhart “ 145 Dundas “ 70 ϯϯϴ I FANTASMI FANTASMI DI EDIMBURGO I Fantasmi del Castello pag. 147 I Fantasmi di Holyrood “ 149 Greyfriars Kirkyard “ 152 I Vaults “ 157 Mary King’s Close “ 160 La Cóiste Bodhar “ 162 FANTASMI DEI CASTELLI FANTASMI “FAMOSI” Fantasmi di Glamis pag. 164 Fantasmi di Eilean Donan pag. 186 Fantasmi di Stirling “ 169 Fantasmi di Duntulm “ 189 Il Piper di Duntrune “ 171 Fantasmi della Skaill House “ 192 Fantasmi di Culzean “ 174 Fantasmi di Inveraray “ 194 Fantasmi di Fyvie “ 177 Fantasmi di Hermitage “ 197 Fantasmi di Roslin “ 180 House of the Binns “ 199 Fantasmi di Cawdor “ 185 Fantasmi di Balgonie “ 203 FANTASMI DI ALTRI CASTELLI pag. 206 ALTRI FANTASMI I Fantasmi di Culloden Moor pag. 218 I Fantasmi di Glencoe “ 224 La Strada Maledetta “ 228 Il Treno Fantasma del Tay Bridge “ 230 I Fantasmi della Base RAF di Montrose “ 232 I Fantasmi della Dryburgh Abbey “ 234 I Fantasmi di St Andrews “ 236 ϯϯϵ LE LEGGENDE ESSERI ACQUATICI Nessie, il Mostro del Loch Ness pag. -
Grandioso Gosling
Cine El PrimEr HombrE En la luna Sección Especial Cine El PrimEr HombrE En la luna C O R A Z Ó N DE MÉXICO Miembro SER [ Socio Estratégico REFORMA ] VIERNES 9 / NOVIEMBRE /2018 CANCÚN, Q. ROO, MÉX. AÑO II NÚMERO 734 $10.00 Proyectos fallidos GrGranandidiososoo GoGoslslinging Reforma Agencia Foto: Se enfatiza lo increíble- adrianaadriana Se enfatiza lo increíble- fernández mentemen peligrosote peligroso que era que ser era ser califernándezfica: 3 astronauta —pocos vivían pa- califica: 3 astronauta —pocos vivían pa-A pesar de que fue un compromiso de campaña, Enrique Peña Nieto no cumplirá con la entrega de la obra del Puente Bojórquez en @adriana99 ra contarlo— y de ahí, la atrac- Cancún, ni la Marina de Cozumel que se quedó al 22 por ciento de construcción. @adriana99 tiva imagenra contarlo que se— pr yoye dect aah deí, la atrac- Siempre ha habido un primer estostiva nave imagengantes queespaciales: se proye cta de hombre:Siempre elha que habido se adentr un primeró eminen estetoss cient naveíficogans que,tes ade-espaciales: máshombre: allá de el la quemonta señ a,adentr cru- ó más, emineneran hombrestes cient deífi accicosón. que, ade-Peña Nieto metió tijera o incumplió obras comprometidas para QR zmásó primero allá deun rlaío, montadespuésñ a,un cru-Hay más,muchos eran momen hombrestos de de acción. oczóé pano.rimero Un p rimerun río, hombre despu enés un tensióHayn y peligr muchoso, enmarcados momen tos de en una producción de primera. buscaocéano. de Unlo desconocido. primer hombre De en tensión y peligro, enmarcados un explorador así nos habla El Para encarnar a esos hé- en una producción de primera. -
Black Annis and Her Bower
1 THE MAKING OF A LEGEND: 2 3 BLACK ANNIS AND HER BOWER 4 5 Bob Trubshaw 6 7 8 This article explores the way in which the meaning and significance attributed to Black Annis and her Bower have changed over time. Folk lore needs to be 9 regarded less as an ‘object’ which can be fixed and pinned down but more as a 10 process in which there is a continuing ‘core’ aspect around which the details 11 and, above all, the meaning and significance of the lore readily adapt. 12 13 ‘Tis said the soul of mortal man recoil’d 14 To view Black Annis’ eye, so fierce and wild; 15 Vast talons, foul with human flesh, there grew 16 In place of hands, and features livid blue 17 Glar’d in her visage; whilst her obscene waist, Warm skins of human victims close embrac’d. 18 19 20 Black Annis is probably the best known of Leicester’s folklore characters. These 21 lines from a poem by John Heyrick published in 1797 are the earliest detailed 22 reference and epitomise the way in which she has been portrayed. 23 The Black Annis lore is an example of what folklorists define as legend, i.e. ‘a 24 short traditional oral narrative about a person, place, or object that really exists, 25 existed, or is believed to have existed’. (Simpson and Roud 2000: 212.) 26 Legends and other folk lore do not simply amuse or entertain. Such lore also 27 has a more practical function by helping to define what folklorists call a ‘folk 28 group’.