The Book of the Fey
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Canadian Guiding Badges and Insignia Brownie Six/Circle Emblems
Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems Following the introduction of the Brownie program to provide Guiding for younger girls, and after the decision to base the new program on The Brownie Story, a further decision was made in 1919 to subdivide a Brownie Pack into smaller groups consisting of six girls. These smaller groups within the Pack were known as Sixes and were identified by a Six emblem bearing the name of some mythical fairy- like person from folklore. [Reference: POR (British, 1919)] The original Six emblems were brown felt; later versions were brown cotton with the edges bound in brown. In 1995, the term “Sixes” was replaced by the term “Circles”, and the shape of the emblems was changed as well. In 1972, three of the original twelve Six emblems were retired and in 1995 four new ones were added. Page 1 V.2 Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems SC0001 SC0002 Bwbachod Badge Discontinued 1919- 19? 19? - 1972 SC0003 SC0004 Djinn Introduced 1994 1995-2004 1994 SC0005 SC0006 Dryad Introduced 1994 1995- 1994 Page 2 V.2 Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems SC0007 SC0008 SC0009 Elf 1919-19? 19? - 1995 1995- SC0010 SC0011 SC0012 Fairy 1919-19? 19? - 1995 1995- SC0013 SC0014 Ghillie Dhu Badge Discontinued 1919-19? 19? - 1972 Page 3 V.2 Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems SC0015 SC0016 SC0017 Gnome 1995- 1919-19? 19? - 1995 SC0018 SC0019 Imp Badge Discontinued 1919-19? 19? - 1995 SC0020 SC0021 SC0022 Kelpie (formerly called Scottish -
Sample File CREDITS Lead Designer, Concept, Writing, and Art Direction Artwork Marc Altfuldisch the Artwork in This Handbook Is All Created by the Artists Below
Sample file CREDITS Lead Designer, Concept, Writing, and Art Direction Artwork Marc Altfuldisch The artwork in this handbook is all created by the artists below. A huge thanks goes out to them, for allowing me to include their illustrations herein. Balance and Flavor If you find their artwork intriguing, you should check out their galleries, which are linked Marc Altfuldisch below. Thomas Thorhave Baltzer George Cameron Alecyl Sandara David Moore alecyl.deviantart.com sandara.deviantart.com Bog Hag Page 3: Tree with Animals Editing Tsunami George Cameron Arturo Delgado Shaman with Animal Spirits madstalfos.deviantart.com Goi-Kashu Playtesters Jiki-Ketsu-Gaki Two-Tailed White Inari Adam Ford Con-Tinh Oriental Sea Life Alejandro Villalon Celestial Dragon and Human Bailey Kellenberger Carp Dragon and Human Girl Branden Weaver Dave Melvin davesrightmind.deviantart.com Celestial Dragon Bryan Butler Typhoon Dragon Kumo Derik Snell Byoki Spawn Nian Elvin Johson Kyoso Spawn Ashi no Oni George Cameron Sanru no Oni Haino no Oni Gianfranco Abbatemarco Akuma Kamu no Oni James “Dragon Lover” Hudson Byoki Ugulu no Oni Jason Gyorog Nikoma Kyoso John “Crit God” Wilantowicz Onikage Shikibu Jonathan Butler Phoenix Tsuburo Joseph Miller Great Wyrm Torn Kenneth Robinson Spirit Wolf Urigarimono Parker Doiron Taka-onna Yaoguai Pete McCue Wang-Liang Raymond Govero Robert “Wrayyth” Whitsell Harley Dela Cruz Shizen1102 Steven “Nook” Anderson denzelberg.deviantart.com shizen1102.deviantart.com Samantha Christine Bajang Garegosu Tre Stoterau Ancient Dokufu Void Serpent Victor Vega Dokufu Spiderling Kirin Vijay Dukkipati Goblin Rat Orochi Hellbeast Manananggal ... thank you all very much! Your assistance made this all possible! Hsing-sing Matriarch Hundun Hyekuhei Teo Tei Drone A Very Special Thanks to Kappa Tao Tei Regent Eleazzaar’s Detect Balance Werebadger Taowu Drone with Taowu Scouts SwordMeow’s JOTUNGARD Maho-Tsukai Magus Qiongqui Mamono .. -
American Motors ~I
American Motors ~I 1972 AMASPECIFICATIONS FORM . PassengerCar 1.-ANU FA C T URER CAR NA ME A ME RICAN M OT ORS CORPORATION • Grem li n • Ma t a dor • Jave li n • Horne t • Ambassa dor IAA I L I N G A OORESS MODEL. YEAR ISSUED : 14250 P l ymouth Road Det r o it, Mich igan 4823 2 1972 Se d:ember 2 1. 1971 At tn: Car L Chakmak ian REVISED (e ) P r oduc t Informat ion Dep t., 493 - 2557 (3 13) The information contained herein Is prepared, distributed by, and Is solely the responsi bility of the automobile manufacturing company to whose products it relates. Questions concerning these specifications should be directed to the manufacturer whose address Is shown above. This specification form was developed by automobile manufacturing companies under the auspices of the Automobile Manufacturers Association. AMA-40A-72 AMA Spec ificat ions Form-Pas senger Car TABLE OF CONTENTS BODY MODEL . ... .... .. ............... .. .... ......... ...... .... ...... , .... .. 1 CAR AND BODY DIMENSIONS ...... • .. .• ... , • •. ..• •. •.•.••. • •• •• .. .•• • . , ••. .. , , .•• 2, 3 POWER TEAMS .. ... .. ..... ... ........ .. ..... .. ..... ............... .... ........ 4 ENGINE .. ..................................... .. ..... .. .. .. ..... .... ... .. .. 5-9 EXHAUST SYSTEM ............................ ... ......• . ......................•... 9 FUEL SYSTEM ........................................ ... ...... ...... ...... .•..... 10 COOL ING SYSTEM ........................ .. ....... .... .. ....... ..... ........ 11 VEHICLE EMISSION CONTROL .... .. • ... -
'Goblinlike, Fantastic: Little People and Deep Time at the Fin De Siècle
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output ’Goblinlike, fantastic: little people and deep time at the fin de siècle https://eprints.bbk.ac.uk/id/eprint/40443/ Version: Full Version Citation: Fergus, Emily (2019) ’Goblinlike, fantastic: little people and deep time at the fin de siècle. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ‘Goblinlike, Fantastic’: Little People and Deep Time at the Fin De Siècle Emily Fergus Submitted for MPhil Degree 2019 Birkbeck, University of London 2 I, Emily Fergus, confirm that all the work contained within this thesis is entirely my own. ___________________________________________________ 3 Abstract This thesis offers a new reading of how little people were presented in both fiction and non-fiction in the latter half of the nineteenth century. After the ‘discovery’ of African pygmies in the 1860s, little people became a powerful way of imaginatively connecting to an inconceivably distant past, and the place of humans within it. Little people in fin de siècle narratives have been commonly interpreted as atavistic, stunted warnings of biological reversion. I suggest that there are other readings available: by deploying two nineteenth-century anthropological theories – E. B. Tylor’s doctrine of ‘survivals’, and euhemerism, a model proposing that the mythology surrounding fairies was based on the existence of real ‘little people’ – they can also be read as positive symbols of the tenacity of the human spirit, and as offering access to a sacred, spiritual, or magic, world. -
MTG-Pl Documentation Release 0.10.1B
MTG-pl Documentation Release 0.10.1b Dominik Kozaczko & strefa-gry.pl Nov 12, 2018 Contents 1 Instrukcje 1 2 Tłumaczenie dodatków 3 2.1 Standard...............................................3 2.2 Modern................................................3 2.3 Pozostałe...............................................4 2.4 Specjalne karty............................................4 3 Warto przeczytac´ 5 4 Ostatnie zmiany 7 5 Ekipa 9 5.1 Origins................................................9 5.2 Battle for Zendikar.......................................... 25 5.3 Dragons of Tarkir........................................... 41 5.4 Uzasadnienie tłumaczen´....................................... 57 5.5 Innistrad............................................... 58 5.6 Dark Ascension........................................... 73 5.7 Avacyn Restored........................................... 83 5.8 Magic the Gathering - Basic Rulebook............................... 95 5.9 Return to Ravnica.......................................... 122 5.10 Gatecrash............................................... 136 5.11 Dragon’s Maze............................................ 150 5.12 Magic 2014 Core Set......................................... 159 5.13 Theros................................................ 171 5.14 Heroes of Theros........................................... 185 5.15 Face the Hydra!........................................... 187 5.16 Commander 2013.......................................... 188 5.17 Battle the Horde!.......................................... -
Leprechauns Are the Most Well-Known Elves (Fairies) of Ireland
Leprechauns are the most well-known elves (fairies) of Ireland. They live in the large green hills and in the forests of Furniture may be moved around the room, County Antrim. A leprechaun is an ugly and the whiskey or milk will be found to little creature with pointed ears. He have gone down overnight, and then to is about 40 centimetres tall. He likes have been replaced with water (especially being alone and avoids contact with the whiskey!). If all this begins to happen, humans or any other leprechauns or the family involved will know they must fairies. His job is to make shoes for the start leaving out presents of food and other fairies. Because they are a kind of drink to keep the cheeky little fairy happy. fairy, leprechauns are often invisible. Then, the leprechaun will go round the When they are not invisible, you can house at night finishing the jobs that the recognise a leprechaun because he has a people have no time to do. shoe in one hand and a hammer in the other. He also likes to smoke a pipe of Leprechauns guard the fairies' treasures tobacco which smells horrible! as they must prevent humans from stealing it. They hide the treasures in a 4-leaf Leprechauns are naughty, they like to shamrock garden called Lucky Charm cause mischief. They like to hide in garden. According to myth, Leprechauns trees and although they are small, they hate the rainbow, because it will show can usually move very fast and are nearly where the gold is hidden. -
Kansas City Athenaeum Collection (SC160)
THE KANSAS CITY PUBLIC LIBRARY Kansas City Athenaeum Collection (SC160) Introduction Founded in 1894 through a collaboration of existing women’s clubs, the Kansas City Athenaeum is one of the oldest women’s organizations in the area. The Kansas City Athenaeum Collection contains minutes, yearbooks, scrapbooks, photographs, operational and financial records, clubhouse information and building plans, and ephemera documenting the history of the club. Descriptive Summary Creator: Kansas City Athenaeum Title: Kansas City Athenaeum Collection Dates: 1894-2012 Size: 124.25 linear feet, 230 boxes, 106 loose volumes, 1 map drawer Collection Number: SC160 Donor Information Gift, 2012, Kansas City Athenaeum. Citation Note Kansas City Athenaeum Collection (SC160), Missouri Valley Special Collections, Kansas City Public Library, Kansas City, Missouri. Administrative Information Additional Forms Available: Use copies are available for scrapbooks. Related Collections: Additional information concerning the Athenaeum may be found in SC7 Missouri Valley Historical Society Records, as well as the following Vertical Files: Clubs – Kansas City – Athenaeum; and Buildings – Athenaeum Club. Club yearbooks may be found under the call number MVSC 095.2 K16Y V.1895-1956. Other sources concerning the club, its members, and additional women’s organizations may be found by searching the Missouri Valley Special Collections local history collections and the main Library Catalog. Historical Sketch The Kansas City Athenaeum is one of the oldest women’s organizations in Kansas City. Established in the 1894, the initial goal of the Athenaeum was to combine the efforts of several existing women’s clubs into a single organization through which its members would more effectively promote and influence a variety of educational, civic, and philanthropic causes. -
Liminal Periods in the Udmurt Ritual Year
AADO LINTROP Estonian Folklore Archives, Tartu Liminal Periods in the Udmurt Ritual Year In our cultural space we usually imagine our lifetime as a journey. Wayfarer or pilgrim is common metaphor for us as travellers on the road of life. We have several stages or parts on our way and many mental milestones and turns for marking and separating them. Actually we can say that linear time of human life is also structured by the cyclic rhythms of year and day. These contain for us periods of different significance. Holy periods There are interim periods during a person’s lifetime as well as during the calendar year, which are characterised by a state of indefiniteness or being without borders due to lack of everyday boundaries. The times are open to both good and evil and are close to the supernatural. Mental boundaries and landmarks are part of our system of orientation. Without them, space would be homogeneous; there would be no difference between familiar and unfamiliar, good and evil, sacred and profane places. It is the same with time. The expressions good times, hard times, crazy times, fast times, holiday time, everyday time, childhood, youth, manhood etc. contain obvious judgements and defining of limits. Transitions from one time, one period of life, one status to another are kind of crossroads or fork in the road in time. As we well know from the mythologies of different peoples, crossroads are liminal places in space where homeless or restless spirits gather and miscellaneous magic will be done (Puhvel 1989). If liminality causes ordinary orientation to be unable to function, then usual behaviour will also turn out to be ineffective or unsuitable. -
Hume Cook and Christian Yandell's Australian Fairy Tales 1925
University of Wollongong Research Online Senior Deputy Vice-Chancellor and Deputy Vice- Senior Deputy Vice-Chancellor and Deputy Vice- Chancellor (Education) - Papers Chancellor (Education) 2015 Hume Cook and Christian Yandell's Australian Fairy Tales 1925 Michael K. Organ University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/asdpapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Organ, Michael K.: Hume Cook and Christian Yandell's Australian Fairy Tales 1925, Biblionews and Australian Notes & Queries: 386(June) 2015, 62-80. https://ro.uow.edu.au/asdpapers/502 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Hume Cook and Christian Yandell's Australian Fairy Tales 1925 Abstract Hume Cook's Australian Fairy Tales of 1925 was the first book fully produced in Australia to bear that specific title. Its appearance followed on the passage of almost 30 years since the publication in London during 1897 of Frank Atha Westbury's similarly titled work, and Jessie Mary Whitfield's The spirit of the bush fire and other Australian fairy tales in Sydney the following year. There had been numerous stories about local fairies and other fantastical creatures written in Australia prior to 1925, including the Reverend Charles Marson's Faery Stories (Marson 1891) and the many small booklets, articles and monographs by artist Ida Rentoul Outhwaite and her sister Annie from 1903; and May Gibbs' fairy-like Gumnut Babies from 1916 (Gibbs 1916, Organ 2012). -
Wood Elves V.2.1
Wood Elves v.2.1 Warband Special Rules Warband Special Rules Frail but Fey Shadow Dances Elves treat all campaign injuries as ‘Full Recovery’ At the start of each of your own Power phases, except for rolls of ‘Dead,’ ‘Robbed by Stragglers,’ each warrior with this rule gains one of the ‘Robbed by Enemy Warband,’ and ‘Thrown to the following skills until the beginning of your next Pits.’ Power phase. You may choose which: (Positive results from the campaign injury The ‘Dodge: Close’ Combat skill. chart are also transformed into Full The ‘Dodge: Ranged’ Speed skill. Recovery by this rule.) The ‘Bladedancer’ Asrai skill. (Henchmen with this rule derive no effect Warrior may gain these skills even while fleeing. from it until they are promoted to heroes.) Each warrior with this rule may choose a different skill. The chosen skills have no effect if the warrior has them already. Eagle Eyes Warriors with this rule ignore enemy ‘Stealth’ when shooting missile weapons. Dryad Cause Fear; Fight Unarmed; Never use Weapons or Tree-Singing Armour (not even if a skill or ability would otherwise allow it, but may use Special Equipment Warrior knows a single random spell from the Lore as normal). of Beasts or Life each battle in addition to his other spells. Choose which lore before each battle. This ability does not cause him to know the Signature Flammable Spell from that lore if he did not do so already. Flaming hits have an additional +1 Strength vs. warriors that are Flammable. Hawkeye Each turn, this warrior’s first hit with Javelins, Bow Rending Talons or Long Bow ignores the enemy’s armour save (but Warriors with this rule may re-roll one failed roll ‘to not ward or regeneration saves). -
The Adorabyssal Oracle
THE ADORABYSSAL ORACLE The Adorabyssal Oracle is an oracle deck featuring the cutest versions of mythological, supernatural, and cryptozoological creatures from around the world! Thirty-six spooky cuties come with associated elements and themes to help bring some introspection to your day-to-day divinations and meditations. If you’re looking for something a bit more playful, The Adorabyssal Oracle deck doubles as a card game featuring those same cute and spooky creatures. It is meant for 2-4 players and games typically take 5-10 minutes. If you’re interested mainly in the card game rules, you can skip past the next couple of sections. However you choose to use your Adorabyssal Deck, it is my hope that these darkly delightful creatures will bring some fun to your day! WHAT IS AN ORACLE DECK? An Oracle deck is similar to, but different from, a Tarot deck. Where a Tarot deck has specific symbolism, number of cards, and a distinct way of interpreting card meanings, Oracle decks are a bit more free-form and their structures are dependent on their creators. The Adorabyssal Oracle, like many oracle decks, provides general themes accompanying the artwork. The basic and most prominent structure for this deck is the grouping of cards based on elemental associations. My hope is that this deck can provide a simple way to read for new readers and grow in complexity from there. My previous Tarot decks have seen very specific interpretation and symbolism. This Oracle deck opens things up a bit. It can be used for more general or free-form readings, and it makes a delightful addition to your existing decks. -
Three Irish Legends
Read and listen. Three Irish Legends The Leprechaun Leprechauns, also known as ‘the little folk’, are very likeable and reflect the wonderful Irish sense of fun. Legend says that every leprechaun has a pot of gold which he must give to anyone who can catch him. But leprechauns are very clever and quick so there’s not much chance that you’ll be able to catch one! There are countless stories about leprechauns, like this one. A man was walking through a forest one day when a leprechaun jumped out in front of him. The man managed to grab him and he made the leprechaun take him to where his treasure was hidden. The man didn’t have a spade with him so he couldn’t dig it up, but he tied a red handkerchief to a bush so he could find it again. He went to get his spade but when he came back he couldn’t find the treasure, because there was a red handkerchief tied to every bush in the forest! New Horizons Digital 2 • Unit 5 pp.48–49 © Oxford University Press PHOTOCOPIABLE The Banshee Banshee is Irish (the language of Ireland) for fairy woman. If you hear the frightening crying of the banshee at night, it means that someone close to you has died. They say that sometimes she’s a mysterious white figure with long silver hair and a grey cloak. She’s tall and thin and her face is pale with eyes which are red from crying. At other times she’s able to appear as a lovely young girl with long red hair.