Armanen Runes Rune Ceremonials
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New Europe College GE-NEC Program 2004-2005 2005-2006 2006-2007
New Europe College GE-NEC Program 2004-2005 2005-2006 2006-2007 MARIA CRÃCIUN ªTEFAN GHENCIULESCU ANCA GOGÂLTAN IOSIF KIRALY DAN-EUGEN RAÞIU HORIA ION CIUGUDEAN CIPRIAN FIREA ILEANA PINTILIE-TELEAGÃ RADU G. PÃUN VLAD BEDROS IOANA BOTH MARIN CONSTANTIN CONSTANÞA VINTILÃ-GHIÞULESCU ANA-MARIA GRUIA New Europe College GE-NEC Program 2004-2005 2005-2006 2006-2007 Editor: Irina Vainovski-Mihai Copyright – New Europe College ISSN 1584-0298 New Europe College Str. Plantelor 21 023971 Bucharest Romania www.nec.ro; e-mail: [email protected] Tel. (+4) 021.307.99.10, Fax (+4) 021.327.07.74 New Europe College GE-NEC Program 2004-2005 2005-2006 2006-2007 MARIA CRĂCIUN ŞTEFAN GHENCIULESCU ANCA GOGÂLTAN IOSIF KIRALY DAN-EUGEN RAŢIU HORIA ION CIUGUDEAN CIPRIAN FIREA ILEANA PINTILIE-TELEAGĂ RADU G. PĂUN VLAD BEDROS IOANA BOTH MARIN CONSTANTIN CONSTANŢA VINTILĂ-GHIŢULESCU ANA-MARIA GRUIA CONTENTS FOREWORD 7 MARIA CRĂCIUN ATTITUDES TO RELIGIOUS ART AND THE CONFESSIONAL IDENTITY OF THE SAXON COMMUNITY Passion Cycles in the Context of Lenten Observance and Easter Celebrations in Late Medieval and Early Modern Transylvania 11 ŞTEFAN GHENCIULESCU BUCAREST : LA TRANSPARENCE DU TISSU. UNE DISCUSSION SUR LES LIMITES ET L’HABITATION 71 ANCA GOGÂLTAN PASSION ICONOGRAPHY AND NARRATIVE STRATEGIES IN THE MEDIEVAL FRESCOES DECORATING THE CHURCH IN MĂLÂNCRAV (ALMAKERÉK, MALMKROG) IN TRANSYLVANIA 101 IOSIF KIRÁLY PHOTOGRAPHY AS ART AND DIGITAL TECHNOLOGY 153 DAN-EUGEN RAŢIU LA MUSE SUBVENTIONNÉE : POLITIQUES PUBLIQUES DE SOUTIEN À LA CRÉATION ARTISTIQUE EN ROUMANIE (1997-2005) 185 HORIA ION CIUGUDEAN LANDSCAPE ARCHEOLOGY IN SOUTH-WEST TRANSYLVANIA: ANCIENT GOLD MINING IN THE BUCIUM-ZLATNA REGION 249 CIPRIAN FIREA ART AND ITS CONTEXT. -
MA Thesis Ceremonials FINAL
ABSTRACT CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg Rituals have been used throughout history as a way to process change and emotion. In the modern day, people are beginning to turn away from organized religion and to take on more personalized rituals and spirituality. As such, identifying as a witch is a growing phenomenon that serves to empower many personally, politically, and spiritually. This creative thesis takes an autobiographical approach to explore how ritual and the identity of the witch can be used as tools of empowerment, tracing the artist’s own journey from Catholicism to a more fluid spiritual life. On February 22nd, 2019, Ceremonials: A Ritual Play opened as part of Miami University’s Independent Artist Series. The play was devised with a student ensemble over a period of five months and stands as the culmination of a series of performance projects that sought to combine ritual and theatre. This portfolio spans the breadth of that practice-based research and includes examples from performance experiments and the devising process, as well as reflections on how ritual and devised theatre can help to empower the individual and the artist. CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Rachel Lynn Brandenburg Miami University Oxford, Ohio 2019 Advisor: Saffron Henke Reader: Julia Guichard Reader: Christiana Molldrem Harkulich ©2019 Rachel Lynn Brandenburg This Thesis titled CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg has been approved for publication by The College of Creative Arts and Department of Theatre ____________________________________________________ Saffron Henke, MFA ______________________________________________________ Julia Guichard, MFA _______________________________________________________ Christiana Molldrem Harkulich, PhD Table of Contents 1. -
MEDITATION on the THORN-CROWNED HEAD of OUR SAVIOR Fridays
MEDITATION ON THE THORN-CROWNED HEAD OF OUR SAVIOR Fridays Begin with the Sign of the Cross and place yourself in the scene. And plaiting a crown of thorns, they put it upon His head. They began to spit upon Him, and they gave Him blows. Others smote His face and said: "Prophesy, who is it that struck Thee?" O holy Redeemer! Thou art clothed with a scarlet cloak, a reed is placed in Thy Hands for a sceptre, and the sharp points of a thorny crown are pressed into Thy adorable Head. My soul, thou canst never conceive the sufferings, the insults, and indignities offered to our Blessed Lord during this scene of pain and mockery. I therefore salute Thee and offer Thee supreme homage as King of Heaven and earth, the Redeemer of the world, the Eternal Son of the living God. O my afflicted Savior! O King of the world, Thou art ridiculed as a mock king. I believe in Thee and adore Thee as the King of kings and Lord of lords, as the supreme Ruler of Heaven and earth. O Jesus! I devoutly venerate Thy Sacred Head pierced with thorns, struck with a reed, overwhelmed with pain and derision. I adore the Precious Blood flowing from Thy bleeding wounds. To Thee be all praise, all thanksgiving, and all love for evermore. O meek Lamb, Victim for sin! May Thy thorns penetrate my heart with fervent love, that I may never cease to adore Thee as my God, my King, and my Savior. V. Behold, O God, our Protector; R. -
A Concise Dictionary of Middle English
A Concise Dictionary of Middle English A. L. Mayhew and Walter W. Skeat A Concise Dictionary of Middle English Table of Contents A Concise Dictionary of Middle English...........................................................................................................1 A. L. Mayhew and Walter W. Skeat........................................................................................................1 PREFACE................................................................................................................................................3 NOTE ON THE PHONOLOGY OF MIDDLE−ENGLISH...................................................................5 ABBREVIATIONS (LANGUAGES),..................................................................................................11 A CONCISE DICTIONARY OF MIDDLE−ENGLISH....................................................................................12 A.............................................................................................................................................................12 B.............................................................................................................................................................48 C.............................................................................................................................................................82 D...........................................................................................................................................................122 -
Dealing with Spelling Variation in Early Modern English Texts
Dealing with Spelling Variation in Early Modern English Texts Alistair Baron B.Sc. (Hons) School of Computing and Communications Lancaster University A thesis submitted for the degree of Doctor of Philosophy February 2011 Abstract Early English Books Online contains digital facsimiles of virtually every English work printed between 1473 and 1700; some 125,000 publications. In September 2009, the Text Creation Partnership released the second instalment of transcrip- tions of the EEBO collection, bringing the total number of transcribed works to 25,000. It has been estimated that this transcribed portion contains 1 billion words of running text. With such large datasets and the increasing variety of historical corpora available from the Early Modern English period, the opportunities for historical corpus linguistic research have never been greater. However, it has been observed in prior research, and quantified on a large-scale for the first time in this thesis, that texts from this period contain significant amounts of spelling variation until the eventual standardisation of orthography in the 18th century. The problems caused by this historical spelling variation are the focus of this thesis. It will be shown that the high levels of spelling variation found have a significant impact on the accuracy of two widely used automatic corpus linguistic methods { Part-of-Speech annotation and key word analysis. The development of historical spelling normalisation methods which can alleviate these issues will then be presented. Methods will be based on techniques used in modern spellchecking, with various analyses of Early Modern English spelling variation dictating how the techniques are applied. With the methods combined into a single procedure, automatic normalisation can be performed on an entire corpus of any size. -
Complete Poison Blossoms from a Thicket of Thorn : the Zen Records of Hakuin Ekaku / Hakuin Zenji ; Translated by Norman Waddell
The Publisher is grateful for the support provided by Rolex Japan Ltd to underwrite this edition. And our thanks to Bruce R. Bailey, a great friend to this project. Copyright © 2017 by Norman Waddell All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be used or reproduced in any manner whatsoever without written permission from the publisher, except in the case of brief quotations embodied in critical articles and reviews. ISBN: 978-1-61902-931-6 THE LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Names: Hakuin, 1686–1769, author. Title: Complete poison blossoms from a thicket of thorn : the zen records of Hakuin Ekaku / Hakuin Zenji ; translated by Norman Waddell. Other titles: Keisåo dokuzui. English Description: Berkeley, CA : Counterpoint Press, [2017] Identifiers: LCCN 2017007544 | ISBN 9781619029316 (hardcover) Subjects: LCSH: Zen Buddhism—Early works to 1800. Classification: LCC BQ9399.E594 K4513 2017 | DDC 294.3/927—dc23 LC record available at https://lccn.loc.gov/2017007544 Jacket designed by Kelly Winton Book composition by VJB/Scribe COUNTERPOINT 2560 Ninth Street, Suite 318 Berkeley, CA 94710 www.counterpointpress.com Printed in the United States of America Distributed by Publishers Group West 10 9 8 7 6 5 4 3 2 1 To the Memory of R. H. Blyth CONTENTS Chronology of Hakuin’s Life Introduction BOOK ONE Instructions to the Assembly (Jishū) BOOK TWO Instructions to the Assembly (Jishū) (continued) General Discourses (Fusetsu) Verse Comments on Old Koans (Juko) Examining Old -
List of Approved Special Characters
List of Approved Special Characters The following list represents the Graduate Division's approved character list for display of dissertation titles in the Hooding Booklet. Please note these characters will not display when your dissertation is published on ProQuest's site. To insert a special character, simply hold the ALT key on your keyboard and enter in the corresponding code. This is only for entering in a special character for your title or your name. The abstract section has different requirements. See abstract for more details. Special Character Alt+ Description 0032 Space ! 0033 Exclamation mark '" 0034 Double quotes (or speech marks) # 0035 Number $ 0036 Dollar % 0037 Procenttecken & 0038 Ampersand '' 0039 Single quote ( 0040 Open parenthesis (or open bracket) ) 0041 Close parenthesis (or close bracket) * 0042 Asterisk + 0043 Plus , 0044 Comma ‐ 0045 Hyphen . 0046 Period, dot or full stop / 0047 Slash or divide 0 0048 Zero 1 0049 One 2 0050 Two 3 0051 Three 4 0052 Four 5 0053 Five 6 0054 Six 7 0055 Seven 8 0056 Eight 9 0057 Nine : 0058 Colon ; 0059 Semicolon < 0060 Less than (or open angled bracket) = 0061 Equals > 0062 Greater than (or close angled bracket) ? 0063 Question mark @ 0064 At symbol A 0065 Uppercase A B 0066 Uppercase B C 0067 Uppercase C D 0068 Uppercase D E 0069 Uppercase E List of Approved Special Characters F 0070 Uppercase F G 0071 Uppercase G H 0072 Uppercase H I 0073 Uppercase I J 0074 Uppercase J K 0075 Uppercase K L 0076 Uppercase L M 0077 Uppercase M N 0078 Uppercase N O 0079 Uppercase O P 0080 Uppercase -
ALPHABET and PRONUNCIATION Old English (OE) Scribes Used Two
OLD ENGLISH (OE) ALPHABET AND PRONUNCIATION Old English (OE) scribes used two kinds of letters: the runes and the letters of the Latin alphabet. The bulk of the OE material — OE manuscripts — is written in the Latin script. The use of Latin letters in English differed in some points from their use in Latin, for the scribes made certain modifications and additions in order to indicate OE sounds which did not exist in Latin. Depending of the size and shape of the letters modern philologists distinguish between several scripts which superseded one another during the Middle Ages. Throughout the Roman period and in the Early Middle Ages capitals (scriptura catipalis) and uncial (scriptura uncialis) letters were used; in the 5th—7th c. the uncial became smaller and the cursive script began to replace it in everyday life, while in book-making a still smaller script, minuscule (scriptura minusculis), was employed. The variety used in Britain is known as the Irish, or insular minuscule. Insular minuscule script differed from the continental minuscule in the shape of some letters, namely d, f, g. From these letters only one is used in modern publications of OE texts as a distinctive feature of the OE alphabet – the letter Z (corresponding to the continental g). In the OE variety of the Latin alphabet i and j were not distinguished; nor were u and v; the letters k, q, x and w were not used until many years later. A new letter was devised by putting a stroke through d or ð, to indicate the voiceless and the voiced interdental [θ] and [ð]. -
October, 2014
Song Sparrow September - October 2014 Birdwatcher, noun: a person who observes birds in their natural surroundings as a hobby Some years ago, my brother and I traveled to Mesa Verde National Park. As we left the nature center with binoculars around our necks, we saw a hum- mingbird. Naturally, we started looking at it. A man jumped out of his car and approached my brother saying, “Are you a birdwatcher?” My brother responded affirmatively and the man said, “I’m from California and I’ve never seen a birdwatcher before. Can I take a picture next to you?” Last week, I was in a travel center in northern Idaho. I asked if they had information on a birding route called International Selkirk Loop. The lady shared what she knew and said she usually has some birders stop in each year, but hadn’t seen any as of yet. She asked, “Are you one?” I answered yes. The comments from these two strangers lead me to believe many non- birdwatchers think they’ll be able to identify a birdwatcher. But, that’s not true; we don’t always wear our full birdwatch- ing plumage and there are lots of us. A national survey on outdoor recreation is done biennially by the Census Bureau. In 2011, the most recent survey published, 71.8 million people in the US watch wildlife which includes “closely observing, feeding, and photographing wildlife, visiting public parks around the home because of wildlife, and maintaining plantings and natural areas around the home to benefit wildlife.” Of that total, 46.7 million people actively watch birds at home or travel specifically to see birds. -
Sound Alphabet Letters English
Sound Alphabet Letters English Francesco waring her subcontractor smilingly, she mythologize it externally. Raleigh is unmelodious and unsheathes ceaselessly while complimentary Saxon effulging and embedded. How boozier is Lin when dinky-di and crinkled Gaven justles some scrubland? The rhyme and finally to reduce spam you even seven cycles of a different options, there are related provision for school textbook with your mouth muscles are significant concerns it change the alphabet sound 12 Letters That Didn't Make the Alphabet Mental Floss. English Alphabet and Pronunciation Mylanguagesorg. Vowels and consonants of English Alphabets English Mirror. Phonics Alphabet Keyboard The sounds letters make. Inside Say the purple-words and first sounds Link to associate letter shapes. When letters make sounds that aren't associated with new name. Therefore the spelling and pronunciation of all letters in English are silver These letters generate 44 different types of sounds The guide of. Parent's Pencil Grasp Gripping Guide OTFC. Letter-Sound Correspondences Literacy Instruction for Individuals. All words in the English language have any least one vowel sound in. The colonel in brackets is the Italian name just the consequent letter seem like English letters have names different hue the sounds their represent but is not pronounced. Letter-sound correspondence or the relationship of the letters in the alphabet to the sounds they to is every key component of the alphabetic principle and. English Consonant Sounds IPA International Phonetic Alphabet. English TV presenterjournalist and chief founderpioneer of path now globally. International Phonetic Alphabet Sounds In Everyday Speech Short Vowels IPA Symbol Word examples e Went to send letter. -
The Development of Present-Day English Spelling - a Summary 1 Old English
Text Commentary Book – Development of English spelling - From Old English to Standard English 3rd edn 1 The development of present-day English spelling - a summary 1 Old English Old English and the Roman alphabet The earliest writing which the Angles and Saxons brought over from the Continent in the 5th and 6th centuries used runes (section 3.1.1 in From Old English to Standard English). Written English began after the establishment of monasteries in the 7th century. Monks wrote and copied Latin manuscripts and therefore adapted the Roman alphabet for the writing of English. By the 10th century a stable spelling system had been established in the West Saxon dialect, which became a standard for written manuscripts throughout the country by the 11th century. This standard was lost in the aftermath of the Norman Conquest (chapters 2-3). Most of the initial difficulty in deciphering OE writing is caused either by differences in the shape of the letters, most noticeably in <g>, <r> (g, r) and the three shapes for letter <s> (s, ß s) , and also by the letters that were added to the Roman alphabet to represent sounds that were not used in Latin, <g>/<õ> yogh, <w> wynn, <†> thorn, <ƒ> eth and <æ> ash (section 3.1.2). Letters <j> <v> and <w> were not in use; <q> and <z> were rare. 1.1 Vowel change from OE to MnE Much of the apparent inconsistency in MnE spelling is caused by the fact that changes in the pronunciation of vowels were not matched by appropriate changes in the spelling. -
Talking Timbre: Vocal Timbre and Narrative in Florence + the Machine’S Ceremonials Madison Stepherson University of Minnesota
Talking Timbre: Vocal Timbre and Narrative in Florence + the Machine’s Ceremonials Madison Stepherson University of Minnesota One of the most striking qualities in Florence + the Machine’s music is the sonic soundscape and vocal timbre. This paper provides a close reading of a cross-section of three songs from the album Ceremonials while considering the timbres employed and connecting those timbres to narrative implications. This presentation will begin with a brief overview of Florence + the Machine, followed by an explanation of the methodology employed. After identifying and classifying timbre types present in the selected songs, I will address how Kate Heidemann’s 2016 system can be used “to conceptualiz[e] the meaning of timbre,” (2016). I posit that Florence Welch employs specific timbre types to represent Renaissance ideas and to offer deeper insight to the narratives unfolding. Finally, I will conclude with remarks on possible future scholarship. Florence + the Machine is a British indie-pop-rock band that consists of lead singer Florence Welch, back-up singers, and supporting instrumentalists, including a harpist, guitarist, and keyboardist. Since their formation in 2007, Florence + the Machine has released four studio albums, and Florence Welch has collaborated with many well-known contemporary pop artists, as well as produced music for films and video games. Ceremonials (2011) has been described as a more cohesive and representative album of the sonic soundscape than the group’s first album Lungs (2009), and as such offers an opportunity to begin to examine Florence + the Machine’s compositional techniques and intricacies, specifically regarding one of the most distinctive features of the group – that of the voice and vocal timbre.