Ecclesiastes 8:10–10:20

Total Page:16

File Type:pdf, Size:1020Kb

Ecclesiastes 8:10–10:20 ENGAGING EACH DAY ________________________ Ecclesiastes 8:10–10:20 ______________ P.C. Edwards Introduction One of my earliest memories of childhood rebellion was that of hiding in my room listening to a cassette tape of “Bohemian Rhapsody.” Of course, I am not old enough to have heard the song when it was first released in 1975. Instead, I came to be acquainted with the song through the iconic classic, “Wayne’s World.” But, Freddie Mercury, the lead singer of Queen and writer of “Bohemian Rhapsody,” never explained the meaning behind the song. And so, debate has raged throughout the decades since seeking to pinpoint exactly what the song is about. The song opens saying, … well, just listen to it for yourselves, Is this the real life? Is this just fantasy? Caught in a landslide, No escape from reality Open your eyes, Look up to the skies and see, I'm just a poor boy, I need no sympathy, Because I'm easy come, easy go Little high, little low Any way the wind blows doesn't really matter to me, to me The song closes repeating this sentiment saying, Nothing really matters Anyone can see Nothing really matters Nothing really matters to me Any way the wind blows Now you’ll forgive me but I think you’ll understand why, given our study through the book of Ecclesiastes, that I read these lyrics and I think of what the Teacher has been saying: All is vanity; nothing matters. It’s a sentiment that philosophers often call nihilism. Nihilism has found many different expressions and articulations in the modern era. In Nietzsche, for example, it takes the form of a total rejection of objective truth and morality. In the Russian novelist Dostoyevsky, moral standards are abandoned. Most simplistically we could P.C. Edwards 1 define Nihilism – the rejection of tradition, morality, and authority based on the foundational belief that there is no meaning to life. We are simply biological robots that work and then attempt to relieve ourselves of that toil through entertainment and stimulating experiences. Now listen again to that last description: We are simply biological robots that work and then attempt to relieve ourselves of that toil through entertainment and stimulating experiences. Does that not sound very much like the Teacher we’ve been conversing with in Ecclesiastes? I’m not saying that the Teacher is nihilistic, but that he’s really been wrestling with it because observation of the world seems to be leading him toward this conclusion that nothing really matters. And this confrontation comes to a forefront this morning in chapters 8–10. I mean the Teacher faces head-on this impulse toward nihilism, toward the belief that ultimately nothing we do matters, but he starts to find a way through it. These chapters, this morning, are really the last great enigmatic debate that the Teacher has with himself, with God, and with this world. Next week in chapters 11 and 12 we’ll see him finally turn the corner and start to find resolution to this enigma of life he’s been wrestling through. But for this morning we come face-to-face in the most intimate way thus far with this fundamental struggle of humanity. And I think what makes this confrontation so important is that despite the fact that the Teacher penned these words thousands of years ago that this drift toward nihilism is exactly the same today as it was then. Now hang in there with me because I know that very few of us are interested in philosophical discussions of modernity and postmodernity. When we hear the names Foucault or Derrida we’re more likely to think that these are curse words or venereal diseases. But regardless of whether or not one is familiar with this lingo, this is the prevailing worldview of many today. We base our beliefs on human reason and yet we can see that human P.C. Edwards 2 reason is limited. And so culture has a whole has more or less arrived at a place of belief in which absolute truth is not knowable. In other words, there’s no denial of truth itself, but of the ability for you to know that truth. And so, since it is impossible for us to really know what the meaning of life is then we should just go on with our lives, enjoy what we can, be a good member of society and just leave it at that. Friend, this is the dominant worldview of our age and it is directly what the Teacher confronts and wrestles with in this book of Ecclesiastes and in particular in chapters 8–10. I hope you see then that what we explore this morning isn’t just academic philosophy. We’re talking about how you view your life and how those around you view theirs. If we are to live rightly as children of God we must learn how to think properly of the days and engage them accordingly. Likewise, if we are to live rightly as ambassadors and missionaries of the Kingdom then we must learn how to engage our neighbors in their beliefs while offering them a better way forward. You see, as human beings we can hold either to one of two alternative visions of life: either cheerful nihilism or a vision of the world in which in the beginning was the Word. Ecclesiastes 8–10 shows us how Experience and reason lead to a pessimistic outlook on our days where ultimately our actions don’t matter. Faith, however, leads us to see each day as a gift to be enjoyed and turned to worship. 1. Nothing Really Matters, Anyone Can See 8:10–17, 9:1–6, 11–18; 10:5–11, 16–20 The majority of our passage wrestles with the first way to look at life, one in which nothing really matters. The Teacher offers four reasons why, then, anyone can see this is the case. First, because Nothing really matters because there is an absence of justice in the world. We’ve talked about this a number of different weeks throughout the book; it’s a reoccurring theme for the Teacher and that is simply because of how much injustice reigns in this world. P.C. Edwards 3 Ecclesiastes 8:10, “In such circumstances, I saw the wicked buried. They came and went from the holy place, and they were praised in the city where they did those things. This too is futile,” (Ecclesiastes 8:10). The Teacher’s point here is that the wicked often escape justice in this life. They do evil things and die naturally as anyone else. Moreover, the fact that there is often no consequence for wickedness only encourages further wickedness. If you know that there will be no repercussions for your actions, then why not do whatever you want? Verse 14, “There is a futility that is done on the earth: there are righteous people who get what the actions of the wicked deserve, and there are wicked people who get what the actions of the righteous deserve. I say that this too is futile,” (Ecclesiastes 8:14). The righteous are treated as if wicked and the wicked treated as if righteous. In other words, the proverbial wisdom that righteousness is rewarded and wickedness is punished simply does not ring true in experience. The Teacher believes in his heart that sin will be eventually punished and the righteous rewarded, but he doesn’t see this happening. And so he’s left to conclude, well then what we do ultimately doesn’t matter. Second, he concludes Nothing really matters because all of us eventually end up dead. He says, Indeed, I took all this to heart and explained it all: The righteous, the wise, and their works are in God’s hands. People don’t know whether to expect love or hate. Everything lies ahead of them. Everything is the same for everyone: There is one fate for the righteous and the wicked, for the good and the bad, for the clean and the unclean, for the one who sacrifices and the one who does not sacrifice. As it is for the good, so also it is for the sinner; as it is for the one who takes an oath, so also for the one who fears an oath, (Ecclesiastes 9:1-2). His point is that even though God is sovereign over all humanity, that doesn’t seem to mean much of anything. As Craig Bartholomew observes, “The righteous may be in God’s hands, but P.C. Edwards 4 it is uncertain whether this means that God’s love or hate lies ahead for them,” (Craig Bartholomew).1 It seems, instead, that all are headed for the same fate – death. It doesn’t seem to matter then how you live your life as your prosperity and blessing is completely out of your hands. Some righteous persons will suffer, but some will prosper. Some wicked persons will suffer, but some will prosper. There doesn’t seem to be any clear formula to follow. And you know what, regardless we all end up dead and forgotten. Who cares if you were bad in this life and had a bad reputation, people will forget it once you’re dead. Who cares if you were good in this life, people will forget all the good you did once you’re gone. Nothing seems to really matter. This leads the Teacher then to the third reason nothing seems to really matter, that being simply Nothing really matters because of the uncertainty of life itself.2 Again I saw under the sun that the race is not to the swift, or the battle to the strong, or bread to the wise, or riches to the discerning, or favor to the skillful; rather, time and chance happen to all of them.
Recommended publications
  • Elite Music Productions This Music Guide Represents the Most Requested Songs at Weddings and Parties
    Elite Music Productions This Music Guide represents the most requested songs at Weddings and Parties. Please circle songs you like and cross out the ones you don’t. You can also write-in additional requests on the back page! WEDDING SONGS ALL TIME PARTY FAVORITES CEREMONY MUSIC CELEBRATION THE TWIST HERE COMES THE BRIDE WE’RE HAVIN’ A PARTY SHOUT GOOD FEELIN’ HOLIDAY THE WEDDING MARCH IN THE MOOD YMCA FATHER OF THE BRIDE OLD TIME ROCK N ROLL BACK IN TIME INTRODUCTION MUSIC IT TAKES TWO STAYIN ALIVE ST. ELMOS FIRE, A NIGHT TO REMEMBER, RUNAROUND SUE MEN IN BLACK WHAT I LIKE ABOUT YOU RAPPERS DELIGHT GET READY FOR THIS, HERE COMES THE BRIDE BROWN EYED GIRL MAMBO #5 (DISCO VERSION), ROCKY THEME, LOVE & GETTIN’ JIGGY WITH IT LIVIN, LA VIDA LOCA MARRIAGE, JEFFERSONS THEME, BANG BANG EVERYBODY DANCE NOW WE LIKE TO PARTY OH WHAT A NIGHT HOT IN HERE BRIDE WITH FATHER DADDY’S LITTLE GIRL, I LOVED HER FIRST, DADDY’S HANDS, FATHER’S EYES, BUTTERFLY GROUP DANCES KISSES, HAVE I TOLD YOU LATELY, HERO, I’LL ALWAYS LOVE YOU, IF I COULD WRITE A SONG, CHICKEN DANCE ALLEY CAT CONGA LINE ELECTRIC SLIDE MORE, ONE IN A MILLION, THROUGH THE HANDS UP HOKEY POKEY YEARS, TIME IN A BOTTLE, UNFORGETTABLE, NEW YORK NEW YORK WALTZ WIND BENEATH MY WINGS, YOU LIGHT UP MY TANGO YMCA LIFE, YOU’RE THE INSPIRATION LINDY MAMBO #5BAD GROOM WITH MOTHER CUPID SHUFFLE STROLL YOU RAISE ME UP, TIMES OF MY LIFE, SPECIAL DOLLAR WINE DANCE MACERENA ANGEL, HOLDING BACK THE YEARS, YOU AND CHA CHA SLIDE COTTON EYED JOE ME AGAINST THE WORLD, CLOSE TO YOU, MR.
    [Show full text]
  • Song List 2012
    SONG LIST 2012 www.ultimamusic.com.au [email protected] (03) 9942 8391 / 1800 985 892 Ultima Music SONG LIST Contents Genre | Page 2012…………3-7 2011…………8-15 2010…………16-25 2000’s…………26-94 1990’s…………95-114 1980’s…………115-132 1970’s…………133-149 1960’s…………150-160 1950’s…………161-163 House, Dance & Electro…………164-172 Background Music…………173 2 Ultima Music Song List – 2012 Artist Title 360 ft. Gossling Boys Like You □ Adele Rolling In The Deep (Avicii Remix) □ Adele Rolling In The Deep (Dan Clare Club Mix) □ Afrojack Lionheart (Delicious Layzas Moombahton) □ Akon Angel □ Alyssa Reid ft. Jump Smokers Alone Again □ Avicii Levels (Skrillex Remix) □ Azealia Banks 212 □ Bassnectar Timestretch □ Beatgrinder feat. Udachi & Short Stories Stumble □ Benny Benassi & Pitbull ft. Alex Saidac Put It On Me (Original mix) □ Big Chocolate American Head □ Big Chocolate B--ches On My Money □ Big Chocolate Eye This Way (Electro) □ Big Chocolate Next Level Sh-- □ Big Chocolate Praise 2011 □ Big Chocolate Stuck Up F--k Up □ Big Chocolate This Is Friday □ Big Sean ft. Nicki Minaj Dance Ass (Remix) □ Bob Sinclair ft. Pitbull, Dragonfly & Fatman Scoop Rock the Boat □ Bruno Mars Count On Me □ Bruno Mars Our First Time □ Bruno Mars ft. Cee Lo Green & B.O.B The Other Side □ Bruno Mars Turn Around □ Calvin Harris ft. Ne-Yo Let's Go □ Carly Rae Jepsen Call Me Maybe □ Chasing Shadows Ill □ Chris Brown Turn Up The Music □ Clinton Sparks Sucks To Be You (Disco Fries Remix Dirty) □ Cody Simpson ft. Flo Rida iYiYi □ Cover Drive Twilight □ Datsik & Kill The Noise Lightspeed □ Datsik Feat.
    [Show full text]
  • Madonna MP3 Collection - Madonna Part 2 Mp3, Flac, Wma
    Madonna MP3 Collection - Madonna Part 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop / Pop Album: MP3 Collection - Madonna Part 2 Country: Russia Released: 2012 Style: House, Synth-pop, Ballad, Electro, RnB/Swing, Electro House MP3 version RAR size: 1708 mb FLAC version RAR size: 1392 mb WMA version RAR size: 1865 mb Rating: 4.8 Votes: 427 Other Formats: APE MP2 RA MP1 TTA VOX XM Tracklist Hide Credits Beautiful Stranger (Single) - 1999 1-1 Beautiful Stranger 4:24 1-2 Beautiful Stranger (Remix) 10:15 1-3 Beautiful Stranger (Mix) 4:04 Ray Of Light (Remix Album) - 1999 1-4 Ray Of Light (Ultra Violet Mix) 10:46 Drowned World (Substitut For Love (Bt And Sashas Remix) 1-5 9:28 Remix – Bt, Sasha Sky Fits Heaven (Sasha Remix) 1-6 7:22 Remix – Sasha Power Of Goodbay (Luke Slaters Filtered Mix) 1-7 6:09 Remix – Luke Slater 1-8 Candy Perfume Girl (Sasha Remix) 4:52 1-9 Frozen (Meltdown Mix - Long Version 8:09 1-10 Nothing Really Matters (Re-funk-k-mix) 4:23 Skin (Orbits Uv7 Remix) 1-11 8:00 Remix – Orbit* Frozen (Stereo Mcs Mix) 1-12 5:48 Remix – Stereo Mcs* 1-13 Bonus - What It Feels Like For A Girl (remix) 9:50 1-14 Bonus - Dont Tell Me (remix) 4:26 American Pie (Single) - 2000 1-15 American Pie (Album Version) 4:35 American Pie (Richard Humpty Vission Radio Mix) 1-16 4:30 Remix – Richard Humpty Vission* American Pie (Richard Humpty Vission Visits Madonna) 1-17 5:44 Remix – Richard Humpty Vission* Music - 2000 1-18 Music 3:45 1-19 Impressive Instant 3:38 1-20 Runaway Lover 4:47 1-21 I Deserve It 4:24 1-22 Amazing 3:43
    [Show full text]
  • Livestock Workshop Transcript
    1 1 UNITED STATES DEPARTMENT OF JUSTICE UNITED STATES DEPARTMENT OF AGRICULTURE 2 Public Workshops Exploring Competition Issues in 3 Agriculture Livestock Workshop 4 A Dialogue on Competition Issues Facing Farmers in Today's 5 Agricultural Marketplaces 6 Colorado State University - Lory Student Center Fort Collins, Colorado 7 August 27, 2010 8 __________________________________________________________ 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Javernick & Stenstrom, LLC 3131 South Vaughn Way, Suite 224, Aurora, Colorado 80014 (720) 449-0329 FAX (720) 449-0334 2 1 SECRETARY VILSACK: Good morning. I just want 2 to welcome everyone to the fourth joint competition 3 workshop between the Department of Agriculture and the 4 Department of Justice. I want to take this opportunity to 5 thank Colorado State University for the help that they 6 have provided in setting up this workshop, allowing us to 7 use their facilities, and accommodating an overflowing 8 crowd. We know that this workshop has generated a lot of 9 interest, and Colorado State University has done a great 10 job in making it possible to have the space to accommodate 11 folks here today. 12 Today, we intend to focus on the livestock 13 industry and whether there is proper competition to ensure 14 producers are getting a fair shake. These workshops will 15 help us understand the issues that are of most concern and 16 deserve closer attention and to explore the appropriate 17 role, if any, for antitrust or regulatory enforcement in 18 the agricultural industry. 19 In March, we held a workshop on general farm 20 issues in Hinton, Iowa.
    [Show full text]
  • Blood on the Tracks: ‘Time Is an Enemy’
    Judas! Blood on the Tracks: ‘Time is an enemy’ by John Hinchey ‘Up to Me,’ an outtake eventually released on Biograph, is a rueful ballad of love wasted that picks up the action at the conclusion of ‘Idiot Wind,’immediately after the singer realizes that he and his beloved have fallen out of each other’s orbits. But its tone seems tempered by the realizations of those songs, discussed in the preceding chapter, in which the singer assimilates a devastating romantic loss and struggles to regain speaking terms both with his lost beloved and with himself. Now, in ‘Up to Me,’ the singer he returns to tell her – and himself – what he’s going to do about it. His plan of action is paradoxical: he’s heading out on the ‘Union Central’ in search of the same missing wife he’s leaving. The song I just described is over by the end of the third verse, yet ‘Up to Me’ is twelve verses long. The song gets away from Dylan, overflowing the bounds of the paradoxical farewell note. The lyric feels unfinished, and unlike, for instance, the original version of ‘Idiot Wind’ (later released on The Bootleg Series, Vol. 1-3), it also strikes me as unfinishable, except by starting over from scratch. Indeed, ‘Shelter from the Storm’ can be seen as a radical revision (and revisioning) of ‘Up to Me.’ The problem is that the momentum of feeling that sweeps the singer from one verse to the next seems to be largely unconscious, feelings he recognizes (if at all) only after the fact.
    [Show full text]
  • Pop / Rock / Commercial Music Wed, 25 Aug 2021 21:09:33 +0000 Page 1
    Pop / Rock / Commercial music www.redmoonrecords.com Artist Title ID Format Label Print Catalog N° Condition Price Note 10000 MANIACS The wishing chair 19160 1xLP Elektra Warner GER 960428-1 EX/EX 10,00 € RE 10CC Look hear? 1413 1xLP Warner USA BSK3442 EX+/VG 7,75 € PRO 10CC Live and let live 6546 2xLP Mercury USA SRM28600 EX/EX 18,00 € GF-CC Phonogram 10CC Good morning judge 8602 1x7" Mercury IT 6008025 VG/VG 2,60 € \Don't squeeze me like… Phonogram 10CC Bloody tourists 8975 1xLP Polydor USA PD-1-6161 EX/EX 7,75 € GF 10CC The original soundtrack 30074 1xLP Mercury Back to EU 0600753129586 M-/M- 15,00 € RE GF 180g black 13 ENGINES A blur to me now 1291 1xCD SBK rec. Capitol USA 7777962072 USED 8,00 € Original sticker attached on the cover 13 ENGINES Perpetual motion 6079 1xCD Atlantic EMI CAN 075678256929 USED 8,00 € machine 1910 FRUITGUM Simon says 2486 1xLP Buddah Helidon YU 6.23167AF EX-/VG+ 10,00 € Verty little woc COMPANY 1910 FRUITGUM Simon says-The best of 3541 1xCD Buddha BMG USA 886972424422 12,90 € COMPANY 1910 Fruitgum co. 2 CELLOS Live at Arena Zagreb 23685 1xDVD Masterworks Sony EU 0888837454193 10,90 € 2 UNLIMITED Edge of heaven (5 vers.) 7995 1xCDs Byte rec. EU 5411585558049 USED 3,00 € 2 UNLIMITED Wanna get up (4 vers.) 12897 1xCDs Byte rec. EU 5411585558001 USED 3,00 € 2K ***K the millennium (3 7873 1xCDs Blast first Mute EU 5016027601460 USED 3,10 € Sample copy tracks) 2PLAY So confused (5 tracks) 15229 1xCDs Sony EU NMI 674801 2 4,00 € Incl."Turn me on" 360 GRADI Ba ba bye (4 tracks) 6151 1xCDs Universal IT 156 762-2
    [Show full text]
  • Madonna's Postmodern Revolution
    Journal of Literature and Art Studies, January 2021, Vol. 11, No. 1, 26-32 doi: 10.17265/2159-5836/2021.01.004 D DAVID PUBLISHING The Rebel Madame: Madonna’s Postmodern Revolution Diego Santos Vieira de Jesus ESPM-Rio, Rio de Janeiro, Brazil The aim is to examine Madonna’s revolution regarding gender, sexuality, politics, and religion with the focus on her songs, videos, and live performances. The main argument indicates that Madonna has used postmodern strategies of representation to challenge the foundational truths of sex and gender, promote gender deconstruction and sexual multiplicity, create political sites of resistance, question the Catholic dissociation between the physical and the divine, and bring visual and musical influences from multiple cultures and marginalized identities. Keywords: Madonna, postmodernism, pop culture, sex, gender, sexuality, politics, religion, spirituality Introduction Madonna is not only the world’s highest earning female entertainer, but a pop culture icon. Her career is based on an overall direction that incorporates vision, customer and industry insight, leveraging competences and weaknesses, consistent implementation, and a drive towards continuous renewal. She constructed herself often rewriting her past, organized her own cult borrowing from multiple subaltern subcultures, and targeted different audiences. As a postmodern icon, Madonna also reflects social contradictions and attitudes toward sexuality and religion and addresses the complexities of race and gender. Her use of multiple media—music, concert tours, films, and videos—shows how images and symbols associated with multiracial, LGBT, and feminist groups were inserted into the mainstream. She gave voice to political interventions in mass popular culture, although many critics argue that subaltern voices were co-opted to provide maximum profit.
    [Show full text]
  • Bernhard Gander (*1969)
    BERNHARD GANDER (*1969) 1 - 15 Bunny Games (2006) 23:04 für Ensemble dem Klangforum Wien gewidmet 16 fluc ‘n‘ flex (2007) 10:54 für Akkordeon Krassimir Sterev gewidmet 17 ö (2005) 8:24 für Quintett Motörhead gewidmet 18 Peter Parker (2004) 10:09 für Klavier Hsin-Huei Huang gewidmet 19 fête.gare (2002) 10:44 für Ensemble TT: 63:15 18 Hsin-Huei Huang Klavier 16 Krassimir Sterev Akkordeon 1 - 15 Emilio Pomárico 17 Johannes Kalitzke 19 Sylvain Cambreling Klangforum Wien 1 - 15 Erste Bank Kompositionsauftrag Coverphoto: © Hans Labler 2 Klangforum Wien Eva Furrer Flöte 1 -15 , 17 Markus Deuter Oboe 1 -15 Bernhard Zachhuber Klarinette 17 , 19 Ernesto Molinari Klarinette 19 Donna Molinari Klarinette 19 Thomas Monod Klarinette 1 -15 Lorelei Dowling Fagott 1 -15 Christoph Walder Horn, Wagnertuba 1 -15 , 19 Anders Nyqvist Flügelhorn 1 -15 Jef Brothwell Trompete 19 Andreas Eberle Posaune, Tenorhorn 1 -15 , 19 Gunde Jäch-Micko Violine 1 -15 , 19 Annette Bik Violine 1 -15 Ivana Pristasova Violine 19 Dimitrios Polisoidis Viola 1 -15 Andrew Jezek Viola 1 -15 , 17 Benedikt Leitner Violoncello 1 -15 , 17 Andreas Lindenbaum Violoncello 1 -15 , 19 Uli Fussenegger Kontrabass 1 -15 , 19 Krassimir Sterev Akkordeon 16,17 , 19 Manuel de Roo E-Gitarre 1 -15 Florian Müller Klavier 1 -15 Lukas Schiske Schlagwerk 1 -15 , 19 Björn Wilker Schlagwerk 1 -15 Berndt Thurner Schlagwerk 19 3 Bernhard Gander bunny games (2006) ö (2005) 15 kurze stücke über ö…quintett für bassflöte, bassklarinette, akkordeon, verführung madonna abschied alkohol nähe wei- bratsche und cello
    [Show full text]
  • Songs by Artist
    Sound Master Entertianment Songs by Artist smedenver.com Title Title Title .38 Special 2Pac 4 Him Caught Up In You California Love (Original Version) For Future Generations Hold On Loosely Changes 4 Non Blondes If I'd Been The One Dear Mama What's Up Rockin' Onto The Night Thugz Mansion 4 P.M. Second Chance Until The End Of Time Lay Down Your Love Wild Eyed Southern Boys 2Pac & Eminem Sukiyaki 10 Years One Day At A Time 4 Runner Beautiful 2Pac & Notorious B.I.G. Cain's Blood Through The Iris Runnin' Ripples 100 Proof Aged In Soul 3 Doors Down That Was Him (This Is Now) Somebody's Been Sleeping Away From The Sun 4 Seasons 10000 Maniacs Be Like That Rag Doll Because The Night Citizen Soldier 42nd Street Candy Everybody Wants Duck & Run 42nd Street More Than This Here Without You Lullaby Of Broadway These Are Days It's Not My Time We're In The Money Trouble Me Kryptonite 5 Stairsteps 10CC Landing In London Ooh Child Let Me Be Myself I'm Not In Love 50 Cent We Do For Love Let Me Go 21 Questions 112 Loser Disco Inferno Come See Me Road I'm On When I'm Gone In Da Club Dance With Me P.I.M.P. It's Over Now When You're Young 3 Of Hearts Wanksta Only You What Up Gangsta Arizona Rain Peaches & Cream Window Shopper Love Is Enough Right Here For You 50 Cent & Eminem 112 & Ludacris 30 Seconds To Mars Patiently Waiting Kill Hot & Wet 50 Cent & Nate Dogg 112 & Super Cat 311 21 Questions All Mixed Up Na Na Na 50 Cent & Olivia 12 Gauge Amber Beyond The Grey Sky Best Friend Dunkie Butt 5th Dimension 12 Stones Creatures (For A While) Down Aquarius (Let The Sun Shine In) Far Away First Straw AquariusLet The Sun Shine In 1910 Fruitgum Co.
    [Show full text]
  • Arxiv:2105.10507V1 [Hep-Th] 21 May 2021 Contents
    Prepared for submission to JHEP de Sitter Decays to Infinity Patrick Draper,a Isabel Garcia Garcia,b and Benjamin Lillarda aDepartment of Physics, University of Illinois, Urbana, IL 61801 bKavli Institute for Theoretical Physics, University of California, Santa Barbara, CA 93106, USA E-mail: [email protected], [email protected], [email protected] Abstract: Bubbles of nothing are a class of vacuum decay processes present in some theories with compactified extra dimensions. We investigate the existence and properties of bubbles of nothing in models where the scalar pseudomoduli controlling the size of the extra dimensions are stabilized at positive vacuum energy, which is a necessary feature of any realistic model. We map the construction of bubbles of nothing to a four-dimensional Coleman-De Luccia problem and establish necessary conditions on the asymptotic behavior of the scalar potential for the existence of suitable solutions. We perform detailed analyses in the context of five-dimensional theories with metastable dS S1 vacua, using analytic 4 × approximations and numerical methods to calculate the decay rate. We find that bubbles of nothing sometimes exist in potentials with no ordinary Coleman-De Luccia decay process, and that in the examples we study, when both processes exist, the bubble of nothing decay rate is faster. Our methods can be generalized to other stabilizing potentials and internal manifolds. arXiv:2105.10507v1 [hep-th] 21 May 2021 Contents 1 Introduction1 2 Vacuum Decay in the Presence of Gravity3 2.1 Coleman-De
    [Show full text]
  • Madonna E Seu Acervo Multiartístico: Os Fetichismos Visuais Na Obra Do Maior Mito
    Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 41º Congresso Brasileiro de Ciências da Comunicação – Joinville - SC – 2 a 8/09/2018 Madonna e seu Acervo Multiartístico: os fetichismos visuais na obra do maior mito 1 pop do século XX Rafael Nacif de Toledo PIZA2 Universidade do Estado do Rio de Janeiro - UERJ Resumo O presente artigo pretende fazer uma retrospectiva da carreira da cantora Madonna, tendo como ponto de tensionamento os fetichismos visuais, conceito desenvolvido pelo italiano Massimo Canevacci em 2008. Nosso intuito é analisar o desenvolvimento cronológico da obra da cantora, relacionando suas iniciativas ao escopo teórico criado pelo sociólogo italiano, oferecendo pistas para decifrarmos os segredos de sua longevidade e do sucesso por trás de sua persona pública. Palavras-chave Madonna, cronologia, fetichismos visuais. Introdução Ser fã de Madonna é um privilégio e uma honra. Acompanhar a carreira de uma cantora, atriz, produtora, diretora de cinema, celebridade e personalidade é uma tarefa das mais prazerosas e dispendiosas. Montar uma coleção de objetos da Madonna pode custar alguns bons reais que poderiam ser investidos em outras coisas, como carros, roupas e outros itens de consumo. Mas deixando o lado mercantil de lado e focando na parte estética, o que Madonna nos apresenta é uma coleção de hits para as pistas de dança e baladas empacotados em formatos correspondentes às tecnologias do período, sempre com fotografias riquíssimas e figurinos ousados, tipologias inovadoras e designs de cair o queixo. Madonna e os fetichismos visuais de Canevacci Em 2008, Massimo Canevacci desenvolve “Fetichismos visuais: corpos erópticos e metrópole comunucacional” (Ateliê Editorial, 2008).
    [Show full text]
  • [2005] EWHC 449 (Ch) [2005] E.C.D.R
    [2006] E.M.L.R. 2 Page 1 [2005] EWHC 449 (Ch) [2005] E.C.D.R. 21 [2006] E.M.L.R. 2 [2005] F.S.R. 34 (2005) 28(6) I.P.D. 28046 Official Transcript [2005] EWHC 449 (Ch) [2005] E.C.D.R. 21 [2006] E.M.L.R. 2 [2005] F.S.R. 34 (2005) 28(6) I.P.D. 28046 Official Transcript (Cite as: [2006] E.M.L.R. 2) to be regarded as the relevant work for copyright [2005] EWHC 449 (Ch) purposes. The claimant indicated that, if this was right, she would not seek to amend her claim by *21 Coffey v Warner/ Chappell Music Ltd pleading reliance on the song “Forever After” as a whole. High Court, Chancery Division H4 HELD, dismissing the claim: J. (Blackburne H5 1. It was not open to a claimant to pick and March 18, 20051 choose the elements of a work upon which he relied in order to make the question of whether a substan- Copyright; Musical works; Originality; Striking tial part had been copied more likely to be out; answered in his favour.IPC Media Ltd v Highbury Leisure Publishing Ltd [2004] EWHC 2985; [2005] H1 Copyright in a musical work—work alleged to F.S.R. 20 followed. be infringed was the combination of vocal charac- teristics in and around a single lyrical line of a H6 2. What the copyright work was in any given song—features claimed were not sufficiently separ- case was not governed by what the claimant chose able from the rest of the song as to constitute a mu- to say that it was.
    [Show full text]