Towards an Odian Philosophical Framework
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Norse Myth Guide
Norse Myth If it has a * next to it don’t worry about it for the quiz. Everything else is fair game within reason as I know this is a lot. Just make sure you know the basics. Heimdall -Characteristics -Can hear grass grow -Needs only as much sleep as a bird -Guards Bifrost -Will kill and be killed by Loki at Ragnarok -He is one of the Aesir -Has foresight like the Vanir -Other Names -Vindhler -Means "wind shelter" -The White God As -Hallinskidi -Means "bent stick" but actually refers to rams -Gullintani -Received this nickname from his golden teeth -Relationships -Grandfather to Kon the Young -Born of the nine mothers -Items -Gjallarhorn -Will blow this to announce Ragnarok -Sword Hofund -Horse Golltop -Places -Lives on "heavenly mountain" Himinbjorg -Stories -Father of mankind -He went around the world as Rig -He slept with many women -Three of these women, Edda, Amma, and Modir, became pregnant -They gave birth to the three races of mankind -Jarl, Karl, and Thrall -Recovering Brisingamen -Loki steals Brisingamen from Freya -He turns himself into a seal and hides -Freya enlists Heimdall to recover the necklace -They find out its Loki, so Heimdall goes to fight him -Heimdall also turns into a seal, and they fight at Singasteinn -Heimdall wins, and returns the necklace to Freya -Meaning of sword -A severed head was thrown at Heimdall -After this incident, a sword is referred to as "Heimdall's head" -Possession of knowledge -Left his ear in the Well of Mimir to gain knowledge Aegir* -Characteristics -God of the ocean/sea -Is sometimes said -
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
University of Birmingham Oscar Wilde, Photography, and Cultures Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal University of Birmingham Oscar Wilde, photography, and cultures of spiritualism Dobson, Eleanor License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Dobson, E 2020, 'Oscar Wilde, photography, and cultures of spiritualism: ''The most magical of mirrors''', English Literature in Transition 1880-1920, vol. 63, no. 2, pp. 139-161. Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility 12/02/2019 Published in English Literature in Transition 1880-1920 http://www.eltpress.org/index.html General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. -
Borr Drilling Limited (BDRILL) Announces Results for the First Quarter 2019
Borr Drilling Limited (BDRILL) Announces Results for the First Quarter 2019 Hamilton, Bermuda, May 29, 2019: Borr Drilling Limited (“Borr”, “Borr Drilling” or the “Company”) announces unaudited results for the three months ended March 31, 2019 Highlights in the first quarter 2019 • Operating revenues of $51.9 million, EBITDA* of negative $15.3 million and net loss of $56.4 million for the first quarter of 2019 • Technical utilisation for the operating rigs was 99.1% in the first quarter of 2019 • Purchased a KFELS Super B Bigfoot jack-up newbuild, the “Thor”, from BOT Lease Co., Ltd. for a cash consideration of $122.1 million, financed by a $120 million bridge loan facility from two commercial banks • Awarded two 18-month contracts for two premium newbuild jack-up rigs with Pemex in Mexico, under an integrated services model with our principal shareholder Schlumberger, with scheduled commencement mid-2019 • Secured $160 million revolving credit and guarantee lines facility from two commercial banks • Took delivery of the premium jack-up rig “Njord” from PPL Shipyard including delivery financing of $87.0 million Subsequent events • Received final credit approved commitments for financing in the total amount of $645 million • Completed the successful activation/reactivation and commencement of contracts for the premium jack- ups Gerd, Groa, Natt, Odin and Ran • Secured contract for premium jack-up “Mist” for an approximate six-month program in Malaysia • Entered into agreement to sell three standard jack-up rigs for non-drilling activities, -
Pale Spectrum Part Two of the Book of Gray Magic
Looking for voices for 1) Pale Spectrum by Ithaqua Labs An Adventure Visual Novel Major characters Voice Acting Auditions sheet for Pale Spectrum Part Two of the Book of Gray Magic Character total for this round of auditions: 6 ● Priamos (m) ~300 lines at $115 ● Ogland (m) ~300 lines at $115 ● Vrayis (m) ~100 lines at $40 ● Rheswenn (m) ~100 lines at $40 ● Gwen (f) ~100 lines at $40 ● Swan (f) ~30 lines at $15 This is a commercial visual novel that will be available on PC/Mac/Linux. You will be required to sign an NDA and give us permission to use your voice in a commercial game. General rule of thumb for line payment is 30 cents a line + a bit extra base. Payment: Payment for the lines will be sent via paypal once all of the lines are completed. (Or half before, half after for larger payments/line counts.) Pale Spectrum is a visual novel and a sequel to Brilliant Shadows. Both are chapters/games from the Book of Gray Magic. Before you decide to audition, please make sure you understand the rules. ● Please use a quality mic! (no background noises, puffs, peaking, etc) ● There is a possibility that you will be asked to voice the same character in future games containing the character. Deadline for auditions: July 1st, 2016 Deadline for readings: If you are chosen for the role, all lines must be completed within 3 months of being given the script. Make sure you save and send your files properly. ● Record in 44100hz 16bit Mono wav format ● Save files as: Username_Character Name [ex: John Doe_Gwen] ● Do NOT say your name in the audio clip. -
Sniðmát Meistaraverkefnis HÍ
MA ritgerð Norræn trú Að hitta skrímslið í skóginum Animal Shape-shifting, Identity, and Exile in Old Norse Religion and World-view Caroline Elizabeth Oxley Leiðbeinandi: Terry Adrian Gunnell Október 2019 Að hitta skrímslið í skóginum Animal Shape-shifting, Identity, and Exile in Old Norse Religion and World-view Caroline Elizabeth Oxley Lokaverkefni til MA–gráðu í Norrænni trú Leiðbeinandi: Terry Adrian Gunnell 60 einingar Félags– og mannvísindadeild Félagsvísindasvið Háskóla Íslands Október, 2019 Að hitta skrímslið í skóginum Ritgerð þessi er lokaverkefni til MA-gráðu í Norrænni trú og er óheimilt að afrita ritgerðina á nokkurn hátt nema með leyfi rétthafa. © Caroline Elizabeth Oxley, 2019 Prentun: Háskólaprent Reykjavík, Ísland, 2019 Caroline Oxley MA in Old Nordic Religion: Thesis Kennitala: 181291-3899 Október 2019 Abstract Að hitta skrímslið í skóginum: Animal Shape-shifting, Identity, and Exile in Old Norse Religion and World-view This thesis is a study of animal shape-shifting in Old Norse culture, considering, among other things, the related concepts of hamr, hugr, and the fylgjur (and variations on these concepts) as well as how shape-shifters appear to be associated with the wild, exile, immorality, and violence. Whether human, deities, or some other type of species, the shape-shifter can be categorized as an ambiguous and fluid figure who breaks down many typical societal borderlines including those relating to gender, biology, animal/ human, and sexual orientation. As a whole, this research project seeks to better understand the background, nature, and identity of these figures, in part by approaching the subject psychoanalytically, more specifically within the framework established by the Swiss psychoanalyst, Carl Jung, as part of his theory of archetypes. -
Boofi 6HEEH SIATE UNIVERSITY LIBRARY I
RUNIC EVIDENCE OF LAMINOALVEOLAR AFFRICATION IN OLD ENGLISH Tae-yong Pak A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1969 Approved by Doctoral Committee BOOfi 6HEEH SIATE UNIVERSITY LIBRARY I 428620 Copyright hy Tae-yong Pak 1969 ii ABSTRACT Considered 'inconsistent' by leading runologists of this century, the new Old English runes in the palatovelar series, namely, gar, calc, and gar-modified (various modi fications of the old gifu and cën) have not been subjected to rigorous linguistic analysis, and their relevance to Old English phonology and the study of Old English poetry has remained unexplored. The present study seeks to determine the phonemic status of the new runes and elucidate their implications to alliteration. To this end the following methods were used: 1) The 60-odd extant Old English runic texts were examined. Only four monuments (Bewcastle, Ruthwell, Thornhill, and Urswick) were found to use the new runes definitely. 2) In the four texts the words containing the new and old palatovelar runes were isolated and tabulated according to their environments. The pattern of distribution was significant: gifu occurred thirteen times in front environments and twice in back environments; cen, eight times front and once back; gar, nine times back; calc, five times back and once front; and gar-modified, twice front. Although cen and gifu occurred predominantly in front environments, and calc and gar in back environments, their occurrences were not complementary. 3) To interpret the data minimal or near minimal pairs with the palatovelar consonants occurring in front or back environments were examined. -
ERILAZ a Ritual for Baritone, Violoncello and Percussion
Jeffrey Holmes ERILAZ a ritual for baritone, violoncello and percussion Score 2018 ce-jh1e1-dl-s JEFFREY HOLMES :ERILAZ: eRilay:ayt:alu A Ritual... for Baritone, Violoncello, and Percussion Text from the Lindholm amulet (DR 261, Rundata) ca. 3rd century, Skåne Full Score ii iii PERFORMANCE NOTES General 1. All tempi are approximate, but the relationships between tempi should be proportionally exact. 2. All accidentals apply through the measure and within one octave, and many cautionary accidentals are provided. 3. The following microtonal accidentals are used: B Quarter tone flat µ Quarter tone sharp J 1/6 tone lower than flat j 1/6 tone higher than flat K 1/6 tone lower than natural k 1/6 tone higher than natural L 1/6 tone lower than sharp l 1/6 tone higher than sharp 4. Pitches based on the harmonic series are labeled above the staff by their hypothetical fundamental and partial number. For example, G(7) indicates the seventh partial in the overtone series of G. (The fundamental is partial number 1.) These precise tunings are notationally approximated to the nearest quarter or sixth tone. Performers may either produce the notated quarter or sixth tone or, if accustomed to performing in just intonation, may produce the exact pitches of the indicated partials. Baritone In addition to singing, the baritone is asked to perform on three instruments: an Uruz horn (a primitive cowhorn) tuned to Eb, a lyre (or psaltery), and a drum, preferably a very large skinned tom-tom. Notation is as follows: iv Violoncello 1. The abbreviation s.t. -
Yggdrasil: Asgard Rulebook
All the base rules for Yggdrasil still apply when playing with this expansion except for the transe and Hel’s effect. In renouncing my divinity, My brothers’ power grew mightily. For, by the magic of the Sejdr, Trance These worlds and I are now bound. In a selfless act of sacrifice, a God can enter a trance to increase all of the other Gods’ power. This expansion adds a new action in addition to the original nine. For one action, the active God can enter or leave a trance. Simply turn the God sheet over to the other side (normal or trance). The active God cannot enter and leave a trance during the same turn. Trance As long as a God is in a trance, • he and all the Gods get a new power: the Trance Power of the God under the trance. The Trance Power can be used by any of the Gods, including the one under the trance. However • This God under a trance loses his Personal Power and • the God under a trance cannot perform an action in Asgard, i.e., the God under a trance cannot attack one of the six enemies. Personal Power Trance Power el The Viking counters that Hel removes from the H bags are not placed on the World of the Dead any more, but are permanently discarded. The Gods cannot use them again during the game. At the beginning of his turn, Odin draws 2 When they play on the Ice Fortress and Enemy cards instead of one, chooses which defeat a Giant, the Gods discard the Giant one he wants to play and puts the other one of their choice, one who is active or one odin back on or under the deck. -
Sekrety Run Z Rök. Pismo, Odczyty, Interpretacje 1 Sekrety Run Z Rök
Dysertacje Wydziału Neofilologii UAM w Poznaniu (Nowa seria) 9 Językoznawstwo Dominika Skrzypek Sekrety run z Rök. Pismo, odczyty, interpretacje 1 Sekrety run z Rök. Pismo, odczyty, interpretacje 1 Fot. 1. Kamień runiczny z Rök, tylna strona. (fot. Bengt A. Lundberg / Kulturmiljöbild, Riksantikvarieämbetet) 2 Dysertacje Wydziału Neofilologii UAM w Poznaniu 9 (Nowa seria) Językoznawstwo Dominika Skrzypek Sekrety run z Rök. Pismo, odczyty, interpretacje Poznań 2020 3 Projekt okładki: Wydawnictwo Rys Na okładce: Fragment fasady Biblioteki Wydziału Neofilologii UAM w Poznaniu Recenzja wydawnicza: dr hab. Witold Maciejewski, prof. Uniwersytetu SWPS Copyright by: Dominika Skrzypek Copyright by: Wydawnictwo Rys Redakcja Naukowa Dysertacji Wydziału Neofilologii UAM: Przewodniczący: prof. UAM dr hab. Dominika Skrzypek Wice-przewodniczący: prof. UAM dr hab. Marta Woźnicka Członkowie: prof. UAM dr hab. Sylwia Adamczak-Krysztofowicz prof. UAM dr hab. Barbara Łuczak prof. zw. dr hab. Piotr Muchowski prof. UAM dr hab. Wawrzyniec Popiel-Machnicki prof. UAM dr hab. Krzysztof Stroński prof. UAM dr hab. Janusz Taborek prof. UAM dr hab. Władysław Zabrocki Wydanie I, Poznań 2020 ISBN 978-83-66666-23-8 DOI 10.48226/dwnuam.978-83-66666-23-8_2020.9 Wydanie: Wydawnictwo Rys ul. Kolejowa 41 62-070 Dąbrówka tel. 600 44 55 80 e-mail: [email protected] 4 www.wydawnictworys.com Spis treści Wyjaśnienia skrótów ............................................................................................ 6 I. Wstęp ............................................................................................................ -
The Project Gutenberg Ebook of What's Mine's Mine, by George Macdonald (#20 in Our Series by George Macdonald)
The Project Gutenberg EBook of What's Mine's Mine, by George MacDonald (#20 in our series by George MacDonald) Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: What's Mine's Mine Author: George MacDonald Release Date: June, 2004 [EBook #5969] [Yes, we are more than one year ahead of schedule] [This file was first posted on October 1, 2002] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK, WHAT'S MINE'S MINE *** Charles Aldarondo and the Online Distributed Proofreading Team. WHAT'S MINE'S MINE By George MacDonald IN THREE VOLUMES VOL. I. CONTENTS OF VOL. I. CHAPTER I. HOW COME THEY THERE? II. A SHORT GLANCE OVER THE SHOULDER III. THE GIRLS' FIRST WALK IV. -
THE NINE DOORS of MIDGARD a Curriculum of Rune-Work
,. , - " , , • • • • THE NINE DOORS OF MmGARD A Curriculum of Rune-Work - • '. Second Revised Edition EDRED Yrmin·Drighten of the Rune-Gild THE NINE DOORS OF MIDGARD A Curriculum of Rune-Work Second Revised Edition EDRED Yrmin-Drighten of the Rune-Gild 1997 - Introduction This work is the first systematic introduction to Runelore available in many centuries. This age requires and allows some new approaches to be sure. We have changed over the centuries in question. But at the same time we are as traditional as possible. The Gild does not fear innovation - in fact we embrace it - but only after the tradition has been thoroughly examined for all it has to offer. Too often in the history of the runic revival various proponents have actually taken their preconceived notions about what the Runes should say- and then "runicized" them. We avoid this type of pseudo-innovation at all costs. Our over-all magical method is a simple one. The tradition posits an outer world (objective reality) and an inner-world (subjective reality). The work of the Runer is the exploration of both of these worlds for what they have to offer in the search for wisdom. In learning the Runes, the Runer synthesizes all the objective lore and tradition he can find on the Runes with his subjective experience. In this way he "makes the Runes his own." All the Runes and their overall system are then used as a sort of "meta-Ianguage" in meaningful communication between these objective and subjective realities. The Runer may wish to be active in this communication - to cause changes to occur in accordance with his will, or he may wish to learn from one of these realities some information which would normally be hidden from him.