2019 Products, Specs, and Pricing Atlas Chaos

Total Page：16

File Type：pdf, Size：1020Kb

2019 PRODUCTS, SPECS, AND PRICING ATLAS CHAOS Like its namesake, the Nisho Atlas is strong, resilient, and As the name implies the Chaos is limitless in its design applications. The simple ready to carry the weight of your world. yet elegant shape will naturally draw attention for its style and inviting warmth. CFB 120-V2 Crossfire Brass Burner CFB 180 Crossfire Brass Burner Precast concrete fire vessel Precast concrete fire vessel. Warming Trends Crossfire Brass Burner 180K BTU Warming Trends Crossfire Brass Burner 180K BTU Key valve, flex hose, metal burner plate Key valve, flex hose, metal burner plate. Black lava rock - 1-3”size Black lava rock - 1-3” size available in birch, smoke, and carbon available in birch, smoke, and carbon SUMMER 2019 PRICE: $8,600 SUMMER 2019 PRICE: $9,100 CRONUS HESTIA Cronus was the Greek God of Time, and we’ve noticed time tends to Hestia – the Greek goddess of hearth and home – is smooth, elegant, and works slip away sitting beside this one-of-a-kind fire feature. to embody the fire burning in the heart of every home in Greece. CFB 180 Crossfire Brass Burner CFB 120-V2 Crossfire Brass Burner Precast concrete fire vessel Precast concrete fire vessel. Warming Trends Crossfire Brass Burner 180K BTU Warming Trends Crossfire Brass Burner 180K BTU Key valve, flex hose, metal burner plate Key valve, flex hose, metal burner plate. Black lava rock - 1-3”size Black lava rock - 1-3” size available in birch, smoke, and carbon available in birch, smoke, and carbon SUMMER 2019 PRICE: $9,100 SUMMER 2019 PRICE: $8,600 NYX KRATOS Nyx is the Greek goddess of the night. Known for her exceptional power and Kratos was the personification of strength and power in Greek mythology. beauty, the Nyx will help all your loved ones warm even on the coldest of nights. The Nisho Kratos exudes modern day strength and power. CFB 120-V2 Crossfire Brass Burner CFB 180 Crossfire Brass Burner Precast concrete fire vessel. Precast concrete fire vessel. Warming Trends Crossfire Brass Burner 120K BTU Warming Trends Crossfire Brass Burner 180K BTU Key valve, flex hose, metal burner plate. Key valve, flex hose, metal burner plate. Black lava rock - 2-4” size Black lava rock - 1-3” size available in birch, smoke, and carbon available in birch, smoke, and carbon SUMMER 2019 PRICE: $8,600 SUMMER 2019 PRICE: $8,200 NOTUS PALLAS Notus was the Greek God of the south wind, one of the four directional Wind- Pallas’ name was derived from the Greek word “pallô”, meaning spear. This Gods. This fitting fire feature will help keep you cozy in even the harshest winds. sleek yet balanced fire feature is perfect for large gatherings and groups. CFB 180 Crossfire Brass Burner CFBL 190 Crossfire Brass Burner Precast concrete fire vessel. Precast concrete fire vessel. Warming Trends Crossfire Brass Burner 180K BTU Warming Trends Crossfire Brass Burner 180K BTU Key valve, flex hose, metal burner plate. Key valve, flex hose, metal burner plate. Black lava rock - 1-3” size Black lava rock - 1-3” size available in birch, smoke, and carbon available in birch, smoke, and carbon SUMMER 2019 PRICE: $8,200 SUMMER 2019 PRICE: $8,200 LET’S TALK FIRE. www.studionisho.com [email protected] @studionisho.

Copy Link

Recommended publications

Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
[Show full text]
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag.
[Show full text]
Heracles' Itch: an Analysis of The
The Classical Quarterly 70.1 27–42 © The Classical Association (2020). This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecom- mons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. 27 doi:10.1017/S0009838820000270 HERACLES’ ITCH: AN ANALYSIS OF THE FIRST CASE OF MALE UTERINE DISPLACEMENT IN GREEK LITERATURE* Scholars have long grappled with the nature of Heracles’ νόσος and his consequent fem- inization in Sophocles’ Women of Trachis (= Trachiniae).1 Despite being triggered by a poisonous garment,2 which acts by means of magic incantation, the evolution of Heracles’ symptoms is described as a clinical case. Yet, making sense of his feminiza- tion from a scientific perspective has proven hard.3 In this paper, I investigate the symp- toms experienced by Heracles, which Sophocles generically refers to as νόσος. The first part focusses on Sophocles’ description of erôs as a disease in Trachiniae. I then move on to dividing Heracles’ symptoms into two categories, which I will call νόσος1 and νόσος2. The erotic passion for Iole which Heracles naturally experiences in the first part of the tragedy will be denoted by νόσος1, whereas νόσος2 will refer to the * I wish to express my gratitude to Professor Gábor Betegh, Dr Sophia Connell, Dr Sean Coughlin, Dr Tiziana D’Angelo, Professor Patrick Finglass and the anonymous referee for their very helpful comments on this paper. 1 P. Biggs, ‘The disease theme in Sophocles’ Ajax, Philoctetes and Trachiniae’, CPh 61 (1966), 223– 35, at 228 underlines how Heracles’ disease deprives him of his humanity and condemns him to isolation.
[Show full text]
ATHENA Booksares in Thishades Series Artemis Hera Athena Poseidon Demeter Zeus
GODS & GODDESSES LOH-HAGAN OF THE ANCIENT WORLD Drama, passion, murder, and treachery—the ancient world of GODS & GODDESSES had it all. Gods could be fair and just or jealous and cruel. Temples were built in their honor and sacrifices were made to ensure they would bestow good fortune on mortals. Explore the whole series and get a glimpse into this thrilling ancient world! ATHENA BooksAres in thisHades Series Artemis Hera Athena Poseidon Demeter Zeus 45thHigh Parallel interest topics with Press accessible reading Features levels Considerate vocabulary Engaging content and fascinating facts Clear text and formatting Compelling photos AthenaVIRGINIA LOH-HAGAN www.cherrylakepublishing.com Page intentionally blank GODS & GODDESSES OF THE ANCIENT WORLD Athenaby Virginia Loh-Hagan Gods and goddesses were the main characters of myths. Myths are traditional stories from ancient cultures. Storytellers answered questions about the world by creating exciting explanations. People thought myths were true. Myths explained the unexplainable. They helped people make sense of human behavior and nature. Today, we use science to explain the world. But people still love myths. Myths may not be literally true. But they have meaning. They tell us something about our history and culture. Published in the United States of America by Cherry Lake Publishing Ann Arbor, Michigan www.cherrylakepublishing.com Content Adviser: Matthew Wellenbach, Catholic Memorial School, West Roxbury, MA Reading Adviser: Marla Conn MS, Ed., Literacy specialist, Read-Ability, Inc.
[Show full text]
Introduction. Dionysus in Rome: Accommodation and Resistance
Fiachra Mac Góráin Introduction. Dionysus in Rome: accommodation and resistance Abstract: This introductory chapter provides a wide-angle history of the presence of Dionysus/Bacchus/Liber on Italian soil from the archaic to the early Christian periods, covering archaeological and literary sources. In parallel, it surveys the main scholarly trends on the Italian versions of Dionysus, and emplots the con- tributions to this volume in a history of scholarship. The main focus of the chap- ter, which is programmatic for the volume, is the interface of Greek and Roman cultures, and whether it is possible to identify and define (an) Italian version(s) of Dionysus. It posits two aspects to the Romans’ reception of Bacchus, which may be termed ‘accommodation’ and ‘resistance’. The interplay between these two levels of response will inform an analytic narrative that assesses the relation- ship between the Greek Dionysus and the Roman Liber, embracing interpretatio and religious polymorphism, and addressing some of the most important Diony- sian manifestations in Roman culture: the founding of the temple of Ceres, Liber and Libera; the Bacchanalia; the Liberalia; Roman leaders’ uses of Dionysus; the poets’ references to Bacchus; and a brief glance at the Bacchic-Christian inter- face. As ‘our oldest living symbol’,1 Dionysus/Bacchus has evolved over many different forms. Until relatively recently, scholars believed that he was an import from the East, and a late addition to the Greek pantheon. Rohde, Nilsson, Wilamowitz and Otto all subscribed to different versions of the Nietzschean myth that an ecstatic Dionysus cult was assimilated from Thrace and tamed by the influence of Apollo.2 This view was based on the god’s slight role in the Homeric poems, coupled with For discussion of Dionysus in Rome and bibliographical advice, I wish to thank Clifford Ando, Andreas Bendlin, Tom Carpenter, Michael Crawford, Elena Giusti, Dan Hogg, Duncan MacRae, John North, Donncha O’Rourke, Richard Seaford, and Peter Wiseman.
[Show full text]
Greco-Roman Gods and Goddesses
GRECO -ROMAN GODS AND GODDESSES THE OLYMPIANS : THE “T WELVE ” Of the many major and minor gods in the Olympian dynasty the most important are the Twelve, a group chosen by the Greeks themselves as the key figures in the Olympian group and the basis for most of their religious observances. Greek law is also to some extent derived from the concept of the Twelve, and Greeks in both court proceedings and in ordinary conversation took their oath “by the Twelve.” The divinities constituting this group were: Zeus (Jupiter, Jove) Leader of the Olympians, god of lightening, and representative of the power principle. Hera (Juno) Wife of Zeus and goddess of marriage and domestic stability. Poseidon (Neptune) God of the sea. Often called “the earth shaker,” possibly because the Greeks attributed earthquakes to marine origin. Hades (Pluto, Dis) God of the Underworld and presider over the realm of the dead. Also connected with the nature myth by his marriage to Persephone (Proserpine), who spent half of her time on earth (the growing season) and half in the underworld (the winter period). Hades does not represent death itself, that function being relegated to a lesser divinity Thanatos. Pallas Athena, Athena (Minerva) Goddess of wisdom, but also associated with many other concepts from warfare to arts and crafts. Her birth was remarkable, since she sprang fully-armed from the forehead of Zeus. She was the patron goddess of Athens and to the Athenians represented the art of civilized living. Phoebus Apollo Son of Zeus and Leto, daughter of the Titans Krios and Phoebe.
[Show full text]
Gods and Goddesses
GODS AND GODDESSES Greek Roman Description Name Name Adonis God of beauty and desire Goddess of love and beauty, wife of Hephaestus, was said to have been born fully- Aphrodite Venus grown from the sea-foam. Dove God of the poetry, music, sun. God of arts, of light and healing (Roman sun god) Apollo Apollo twin brother of Artemis, son of Zeus. Bow (war), Lyre (peace) Ares Mars Hated god of war, son of Zeus and Hera. Armor and Helmet Goddess of the hunt, twin sister of Apollo, connected with childbirth and the healing Artemis Diana arts. Goddess of the moon. Bow & Arrow Goddess of War & Cunning wisdom, patron goddess of the useful arts, daughter of Athena Minerva Zeus who sprang fully-grown from her father's head. Titan sky god, supreme ruler of the titans and father to many Olympians, his Cronus Saturn reign was referred to as 'the golden age'. Goddess of the harvest, nature, particularly of grain, sister of Zeus, mother of Demeter Ceres Persephone. Sheaves of Grain Dionysus Bacchus God of wine and vegetation, patron god of the drama. Gaia Terra Mother goddess of the earth, daughter of Chaos, mother of Uranus. God of the underworld, ruler of the dead, brother of Zeus, husband of Persephone. Hades Pluto Invisible Helmet Lame god of the forge, talented blacksmith to the gods, son of Zeus and Hera, Hephaestus Vulcan husband of Aphrodite. God of fire and volcanos. Tools, Twisted Foot Goddess of marriage and childbirth, queen of the Olympians, jealous wife and sister Hera Juno of Zeus, mother of Hephaestus, Ares and Hebe.
[Show full text]
Atlas (Mythology) - Wikipedia, the Free Encyclopedia
ַא ְט ָלס atlas http://www.morfix.co.il/en/%D7%90%D7%98%D7%9C%D7%A1 Atlas (mythology) - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Atlas_(mythology) Atlas (mythology) From Wikipedia, the free encyclopedia In Greek mythology, Atlas (/ˈætləs/; Ancient Greek: Ἄτλας ) was the primordial Titan who held up the celestial spheres. Atlas He is also the titan of astronomy and navigation. Although associated with various places, he became commonly identified with the Atlas Mountains in northwest Africa (Modern-day Morocco, Algeria and Tunisia). [1] Atlas was the son of the Titan Iapetus and the Oceanid Asia [2] or Clymene.[3] In contexts where a Titan and a Titaness are assigned each of the seven planetary powers, Atlas is paired with Phoebe and governs the moon.[4] Hyginus emphasises the primordial nature of Atlas by making him the son of Aether and Gaia.[5] The first part of the term Atlantic Ocean refers to "Sea of Atlas", the term Atlantis refers to "island of Atlas". Titan of Astronomy Abode Western edge of Gaia ( the Earth ) Contents Symbol Globe Parents Iapetus and Asia or Clymene 1 Etymology Children Hesperides, Hyades, Hyas, 2 Punishment Pleiades, Calypso, Dione and 2.1 Variations Maera 3 Encounter with Heracles Roman equivalent Atlas 4 Etruscan Aril 5 Children 6 Cultural influence 7 See also 8 Notes 9 References 10 External links Etymology The etymology of the name Atlas is uncertain. Virgil took pleasure in translating etymologies of Greek names by combining them with adjectives that explained them: for Atlas his adjective is durus , "hard, enduring", [6] 1 of 6 10/8/2014 11:41 PM Atlas (mythology) - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Atlas_(mythology) which suggested to George Doig [7] that Virgil was aware of the Greek τλῆναι "to endure"; Doig offers the further possibility that Virgil was aware of Strabo's remark that the native North African name for this mountain was Douris .
[Show full text]
Pallas 725 10W30
TECHNICAL DATA SHEET PALLAS 725 10W3 0 S.H.P.D. SYNTHETIC LUBRICANT FOR LOW -EMISSION DIESEL ENGINES INDUSTRIAL VEHICLES RANGE 100% Mineral Synthetic ENGINE synthetic SYNTHETIC SAE 10W-30 Engine cleanliness STANDARDS AND SPECIFICATIONS ACEA E7/E9 Oxidation resistance API CK-4 DEUTZ DQC III-10 LA Shear stability MACK EOS-4.5 MB 228.31 VOLVO VDS 4.5 APPLICATIONS PALLAS 725 10W30 is a high-performance oil designed for the most modern 4-stroke diesel engines used in agriculture, transport and public works , which work under the most severe operating and loading conditions. PALLAS 725 10W30 has been developed to encompass low-emission engines compliant with standards EURO VI and Tier 4 , and particularly for engines equipped with particle filters and requiring a 10W30 grade oil (DAF, VOLVO, RENAULT). PALLAS 725 10W30 particularly generates optimum fuel economy (with a saving of approximately 1 liter for 100 km), particularly when compared to SAE 15W40 and 15W30 grade oils. BENEFITS PALLAS 725 10W30 is formulated to allow : An excellent corrosion and wear protection for optimal protection of liner polishing and piston cleanliness To be compatible with aftertreatments (EGR, SCR (vehicles with AdBlue®), DPF, etc.). An oil change intervals to be increased to 100,000 km (according to manufacturer demands) with normal analytic monitoring, under intensive service conditions, thanks to its high dispersant power. PERFORMANCES MACK EOS-4.5 APPROVALS (1) RENAULT VI RLD-3 VOLVO VDS 4.5 (1) Approval certificates available on request www.unil-opal.com
[Show full text]
Pallas 2000 5W30 100% Synthetic « Fuel Eco » U.H.P.D
TECHNICAL DATA SHEET PALLAS 2000 5W30 100% SYNTHETIC « FUEL ECO » U.H.P.D. LUBRICANT FOR LOW EMISSION DIESEL ENGINES AND FUEL SAVINS INDUSTRIAL VEHICLES RANGE Semi- 100% Mineral ENGINE synthetic synthetic 100% SYNTHETIC SAE 5W-30 Engine cleanliness STANDARDS AND SPECIFICATIONS ACEA E6/E7/E9 Oxidation resistance API CK-4 MAN M 3477 MB Approval 228.51 Shear stability VOLVO VDS-4.5 SCANIA LOW ASH APPLICATIONS PALLAS 2000 5W30 is an oil called "Fuel ECO" : meet the most severe requirements of professional last diesel 4 stroke engines , particularly in terms of emissions, fuel saving and very long periods between oil changes. PALLAS 2000 5W30 is ideally suited for engines with DPF (particle filter) requiring a 5W30 grade (RENAULT, MERCEDES, MAN) and is recommended for low emission engines meeting EURO VI and Tier 4 emission norms. PALLAS 2000 5W30 enables optimum fuel savings (around 1 litre for 100 km), in particular in relation to SAE 15W40 grade oils. PALLAS 2000 5W30 authorises, under normal analytical inspection, oil change periods up to 150 000 km (according to manufacturer requirements) under intensive service conditions BENEFITS PALLAS 2000 5W30 is formulated to allow : An excellent thermal stability which allows a better cold start An improvement in ventilation control (ability to release air that is entrained in the oil). A better stability to oxidation assuring to increase oil change intervals. A shearing stability, ensuring its SAE 5W30 grade preservation. PALLAS 2000 5W30 offers an exceptional protection against wear resulting in : Unrivalled piston cleanliness, Remarkable protection against liner polishing. PALLAS 2000 5W30 also enables 1.3% fuel savings in relation to ACEA E7 15W40 oil (Mercedes OM 501FE test) and is therefore eligible for Energy Saving Certificates awarded by the French government.
[Show full text]
Aletheia: the Orphic Ouroboros
Edith Cowan University Research Online Theses : Honours Theses 2020 Aletheia: The Orphic Ouroboros Glen McKnight Edith Cown University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Classics Commons, Philosophy Commons, and the Poetry Commons Recommended Citation McKnight, G. (2020). Aletheia: The Orphic Ouroboros. https://ro.ecu.edu.au/theses_hons/1541 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1541 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Aletheia: The Orphic Ouroboros Glen McKnight Bachelor of Arts This thesis is presented in partial fulfilment of the degree of Bachelor of Arts Honours School of Arts & Humanities Edith Cowan University 2020 i Abstract This thesis shows how The Orphic Hymns function as a katábasis, a descent to the underworld, representing a process of becoming and psychological rebirth.
[Show full text]
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable).
[Show full text]