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Silhouette194800agne R 9/ C
m/ <": : .( ^ } ''^e ^-Pt^i ^ . i.,-4 ^i Digitized by the Internet Archive in 2010 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/silhouette194800agne r 9/ c The 1948 Silhouette is published by the students of Agnes Scott College, Decattir, Oeorgia. under the direction of Margaret "S'ancey. editor, and Jean da Siha, business manager. PRESSER HALL ^L 1948 SILHOUETTE aiieae .==rJ^eJiica Uan To MISS M. KATHRYN CLICK. tvlw encourages its to claim for our own the inner resources of beauty and trutli in our heritage of liberal 'educatioii, we dedicate THE 1948 SILHOUETTE. 65916 THE nGHES SCOTT IDERLS LIUE RS UlE SEEK... high intellectual attainment , prtv 3r\7^ CTJ hHk W^^m^^ \m nil mm^^^m . sinnple religious faith physical well being . service that reflects a sane attitude toward other people. A moment of relaxation be- tween classes brings many to the bookstore. Buttrick Hall, center of most academic activity. Sometimes you find a cut. The favorite place for organ- ization meetings and social functions is Murphey Candler building. Dr. von Schuschnigg drew a throng of listeners at the reception after his lecture. Murphey Candler is the scene of popcorn feasts as well as receptions. In Presser we find the stimulation of music and play practice as well as the serenity of beloved chapel programs. The newest Agnes Scott daughters fast be- come part of us in such traditional events as the C.A. picnic on the little quad. \ w^ r ;^i Prelude -to a festive evening —signing away s. B 1 the vital statistics at the hostess's desk in Main. -
Nifty Wars Agri in Titr Ffiattry
Nifty Wars Agri in titr ffiattry Fifty years ago in the Fancy is researched by Dorothy Mason, from her col- lection of early out of print literature. SUPERSTITION AND WITCHCRAFT A very remarkable peculiarity of the domestic cat, and possibly one that has had much to do with the ill favour with which it has been regarded, especially in the Middle Ages, is the extraordinary property which its fur possesses of yielding electric sparks when hand-rubbed or by other friction, the black in a larger degree than any other colour, even the rapid motion of a fast retreating cat through rough, tangled underwood having been known to produce a luminous effect. In frosty weather it is the more noticeable, the coldness of the weather apparently giving intensity and brilliancy, which to the ignorant would certainly be attributed to the interfer- ence of the spiritual or superhuman. To sensitive natures and nervous temperaments the very contact with the fur of a black cat will often produce a startling thrill or absolutely electric shock. That carefully observant naturalist, Gilbert White, speaking of the frost of 1785, notes ; "During those two Siberian days my parlour cat was so elec- tric, that had a person stroked her and not been properly insulated, the shock might have been given to a whole circle of people." Possibly from this lively, fiery, sparkling tendency, combined with its noiseless motion and stealthy habits, our ancesters were led in the happily bygone superstitious days to regard the unconscious animal as a "familiar" of Satan or some other evil spirit, which generally appeared in the form of a black cat; hence witches were said to have a black cat as their "familiar," or could at will change themselves into the form of a black cat with eyes of fire. -
Issue 3 (Digital Edition)
Translation: Chen Ruoxi’s The Grey- Eyed Black Cat Chen Ruoxi Author1 Hui-Min Lin Independent Scholar2 This is an old wives’ tale in my village: ‘a grey-eyed black cat is bad luck incarnated; death follows at its tail’. 1 Dear Qing, I received your letter and the book you gave your friend to bring over. I like the book very much. Thank you. 1 This a translation of the Chinese text ‘陳若曦自選集’, written by Chen Ruoxi. The original text is from Chen Ruoxi’s Self-Collection. Taipei, TW: Linking Publishing, 1976. 2 To cite this translation: Chen Ruoxi and Hui-Min Ling, translator. ‘The Grey-Eyed Black Cat’, Journal of Languages, Texts, and Society, vol. 3 (Spring 2019): 78-90. Journal of Languages, Texts, and Society, Vol. 3 (Spring 2019), 207–222. © 2019 by Chen Ruoxi and translated by Hui-Min Lin. 208 C. Ruoxi and H. Lin In the letter, you asked about Wen. But Qing, how can I tell you? Poor Wen! A fortuneteller foretold her short life by reading her face. Who would have thought she would really die at such a young age? I am afraid to think of her. I see her shadow everywhere all the time. Whenever I think of her, I can’t help cursing the so-called fate and wonder how on earth no one seems to ever escape from its grasp? And if there is such a thing called fate, who’s the master of it? I can’t wait to be the first to mock him! I remember it vividly. -
Die Prämierten Künstler Und Künstlerinnen Der Kreativprämie
Hessisches Ministerium für Wissenschaft und Kunst Sperrfrist Bekanntgabe der Prämierten: Mittwoch, 16. 12., 12 Uhr Die prämierten Künstler und Künstlerinnen der Kreativprämie Szenenbild Etabliert: Anette Reuther mit „Nur Gott kann mich richten“ (2017) von Özgür Yildirim, Spielfilm (Drama), 101 Min. Nachwuchs: Martha Funke mit „8:27“ (2019) von Matthias Kreter, Kurzspielfilm (Komödie), 13 Min. Kostüm Etabliert: Katharina Schnelting mit „Der süße Brei“ (2018) von Frank Stoye, TV- Spielfilm (Märchen), 90 Min. Nachwuchs: Niklas Braun mit „Dunyaland“ (2020) von Julie Gaston, Experimentalfilm, 10 Min. Maske Etabliert: Regine Frohberg mit „Der dritte König“ (2018) von Christoph Oliver Strunck, Mittellanger Spielfilm (Kriegsdrama), 25 Min. Nachwuchs: Sebile Zehra Berber & Rüya Yüksel mit „Dunyaland“ (2020) von Julie Gaston, Experimentalfilm, 10 Min. Visuelle Effekte Etabliert: Martin Jurado mit „Pettersson und Findus – Findus zieht um“ (2018) von Ali Samadi Ahadi, Kinderfilm, 90 Min. Nachwuchs: Robin Benito Schmid mit A CLOUD ON FIRE (2018) von Julie Gaston, Ex-perimentalfilm, 15 Min. 2 Ton / Sounddesign Etabliert: Michel Klöfkorn mit „Born In Evin“ (2019) von Maryam Zaree, Dokumentarfilm, 98 Min. Nachwuchs: Alexandros Konstantaras mit „Kira“ (2019) von Vanessa Dahl, Kurzspielfilm (Drama), 4 Min. Filmmusik Etabliert: Andreas Radzuweit mit „Die sagenhaften Vier“ (2018) von Christoph Lauen- stein/ Wolfgang Lauenstein, Animationsfilm, 92 Min. Nachwuchs: Robin Wächtershäuser mit „Ria“ (2019) von Dennis Baumann, Kurzspielfilm (Drama/ Mystery/ Fantasy), 20 Min. Kamera Etabliert: Vita Spieß mit „Heil dich doch selbst“ (2020/21) von Yasmin C. Rams, Dokumentarfilm, 106 Min. Nachwuchs: Dennis Mill mit „Das rote Rad“ (2019) von Nicolas Ehret, Mittellanger Spielfilm (Drama), 30 Min. Schnitt Etabliert: Eva Voosen mit „Mutterland – Das Matriarchat der Minangkabau“ von Uschi Madeisky/ Dagmar Margotsdotter/ Yelfia Susanti, Dokumentarfilm, 93 Min. -
Teacher's Notes Superstitions
Teacher’s Notes Superstitions Type of activity: vocabulary, gap-fi lling, speaking 4. Ask the students to fold their worksheets so that Focus: vocabulary connected to superstitions they can only see Task 1. In pairs, the students Level: pre-intermediate look at the items bringing good and bad luck and Time: 45 minutes take turns to make sentences about each of the superstitions, trying to remember what was said in Task 2. Preparation: – one copy of the Student’s Worksheet per 5. Ask the students to unfold their worksheets and student look at T ask 3. In pairs or small groups, the students discuss the questions. Monitor as they do this, then collect feedback, developing the Procedure: discussion to fi nd out the students’ attitudes to superstitions. 1. Write ‘good luck / bad luck’ on the board and ask the students to give you examples of things Extension / Homework assignment: Ask the which could bring either of these, introducing the students to search the Internet to fi nd out the topic of superstitions. possible origins of some of the superstitions. 2. Distribute the Student’s Worksheets and ask the students to work on Task 1 in pairs. They should complete the table with the words and expressions, deciding whether the items listed have something to do with good or bad luck (explain that crossing your fi ngers is an equivalent of holding your thumbs). Check with the whole group. Key: good luck: knocking on wood, a four-leaf clover, salt, a rabbit’s foot, crossing your fi ngers, a horseshoe / bad luck: a black cat, a ladder, an owl, a broken mirror, salt 3. -
The Black Cat:” a Reflection of Pre-Civil War Slavery
Walker 1 Hannah Walker “The Black Cat:” A Reflection of Pre-Civil War Slavery In 1843, Edgar Allan Poe published “The Black Cat” against a tumultuous political backdrop regarding the “peculiar institution,” slavery. Within Poe’s lifetime alone, the Missouri Compromise banned slavery north of Missouri, the Nat Turner Rebellion displayed the increasing power of slave uprisings, and William Lloyd Garrison’s Liberator spearheaded the movement to abolish slavery (Biagiarelli). Though Poe, a Virginia native, never formally stated his political stance on slavery, literary critics look to his work as a reflection of antebellum sentiments coming to a boil in the years preceding the Civil War. While most critics rationalize the events in “The Black Cat” with either supernatural or psychological explanations, other critics point to the political context of Poe’s time to illuminate the strange events of the story. Some of these critics, such as Leland Person and Lesley Ginsberg, interpret “The Black Cat” solely as a literary reenactment of the Nat Turner Rebellion while others, such as Joan Dayan, read the story as a reflection of Poe’s personal political views. However, by labeling each character as a historical player within the institution of slavery as a whole, a more ominous statement about racial currents of Poe’s era appears. Specifically, “The Black Cat” functions as a racial allegory that depicts the injustices of slavery and, ultimately, shows how slavery damns the South. One of the most telling details of “The Black Cat” which reveal it as a racial allegory is the distinct symbolism casting the narrator as a slave owner and the black cat as a slave. -
Arv Nordic Yearbook of Folklore 2020
Arv Nordic Yearbook of Folklore 2020 ARV Nordic Yearbook of Folklore Vol. 76 Editor ARNE BUGGE AMIUNDSEN OSLO, NORWAY Editorial Board Lene Halskov Hansen, København; Fredrik Skott, Göteborg; Suzanne Österlund-Poetzsch, Helsingfors (Helsinki); Terry Gunnell, Reykjavik Published by THE ROYAL GUSTAVUS ADOLPHUS ACADEMY UPPSALA, SWEDEN Distributed by eddy.se ab VISBY, SWEDEN © 2020 by The Royal Gustavus Adolphus Academy, Uppsala ISSN 0066-8176 All rights reserved Articles appearing in this yearbook are abstracted and indexed in European Reference Index for the Humanities and Social Sciences ERIH PLUS 2011– Editorial address: Prof. Arne Bugge Amundsen Department of Culture Studies and Oriental Languages University of Oslo Box 1010 Blindern NO–0315 Oslo, Norway phone + 4792244774 e-mail: [email protected] http://www.hf.uio.no/ikos/forskning/publikasjoner/tidsskrifter/arv/index.html Cover: Kirsten Berrum For index of earlier volumes, see http://www.gustavadolfsakademien.se/tidskrifter/tidskrift/arv Distributor eddy.se ab e-post:[email protected] Box 1310, S-621 24 Visby Telefon +46(0)498 25 39 00 http://kgaa.bokorder.se Printed in Sweden Exakta Print, Malmö 2020 Contents Articles on Digital Humanities and Folklore Peter M. Broadwell & Timothy R. Tangherlini: Geist, Geest, Geast, Spøgelse: Challenges for Multilingual Search in Belief Legend Archives ........................................................................................... 7 Venla Sykäri: Digital Humanities and How to Read the Kalevala as a Thematic Anthology of Oral Poetry .............................................. 29 Trausti Dagsson & Olga Holownia: Legends, Letters and Linking: Lessons Learned from Amassing and Mapping Folklore and Viewing as Part of 19th-Century Culture Creation .......................... 55 Katherine S. Beard: The Eitri Database: A Digital Humanities Case Study ....................................................................................... -
TEXTO a Girls and STEM Women Represent Half of the UK Workforce
TEXTO A Girls and STEM Women represent half of the UK workforce, yet only 22 per cent of people working in STEM (science, technology, engineering and maths) jobs in the UK are female. But things are starting to change. WISE (Women in Science and Engineering), which campaigns for gender and balance in STEM roles, has set a goal of one million women working in core STEM jobs by 2020. As Helen Wollaston says: “We simply have to get better at showing girls that maths, science and technology open doors to exciting, well-paid jobs where they can make a real difference to the world.” Schools are doing their bit too, encouraging girls to study STEM subjects and showcasing the exciting opportunities in the workplace. A survey by software company Exasol in 2018 showed that the percentage of female students taking STEM subjects at A level had increased from 6.5 per cent to 11.8 per cent in the last five years. Lowena Hull, a pupil at Portsmouth High School, recently won £7,500 in a UK Space Agency competition for her idea to use satellites to track down lost supermarket trollies. A team from James Allen’s Girls’ School also reached the final of this year’s TeenTech Awards with an app that helps you find your theatre or cinema seat in the dark. At the university level, Brighton College engages girls in STEM subjects by inviting women scientists to speak as part of its careers programme. It also holds a Women in Science event solely for year 11 girls. -
Wildwill's Collector's Guide to Wizkids' Pirates of the Spanish Main
WildWill’s Collector’s Guide to WizKids’ By Captain William “WildWill” Noetling Includes Price Guides, Collector’s Checklists, Bonus Game Scenario and MORE! WildWill’s Collector’s Guide to WizKids’ Pirates of the Spanish Main. Copyright ©2006 by William Noetling. This guide was created for educational and entertainment purposes only. All prices lists are printed as a guide only, and not an offer to buy or sell game pieces. This guide is not sponsored, endorsed, or otherwise affiliated with any of the companies or products featured within this guide. This is not an Official Publication. This guide and its editorial content remain the property of the writer and publisher. Written permission must be obtained from the author to publish, circulate, or otherwise disseminate this guide in any altered form, except for review purposes. All ship, crew and other game piece names and representations remain the property of WizKids. Portions of this guide have previously appeared on the website Pojo.com in a slightly altered form. All Prices Listed are current as of June 2006 and are representative of new “mint- condition” game pieces. Email me at [email protected] Visit my home page at www.geocities.com/wmnoe Join me at www.pojo.com WildWill would like to thank: WizKids Games, Pojo.com, Monica Lond-LeBlanc, Bill ‘Pojo’ Gill, James and Robin Hurwitz, Pat Pritchett, Stephanie Veglia.and Wendy Harrison Special Thanks to all my instructors and TA’s at UCLA from 2004 to 2006, especially: Joseph DiMuro, Michael Allen, Sean Silver, Noah Comet, Lars Larsen, Helen Deutsch and Irene Beesemyer Extra Special Thanks to my loving wife Melissa Pritchett, whom I cannot live without. -
The Fabled Coast
The Fabled Coast Coastal and Maritime Folklore, Superstitions and Customs Saturday 27 April 2019 Contents Programme ................................................................................................................................................ 3 Panel 1a: Mermaids in fairy tales and fantasy fiction .............................................................................. 5 M.N. Meimaridi, ‘Come seek us where our voices sound’; Reading the Mermaid in Harry Potter’ ..... 5 Andy McCormack, ‘“Now listen, this is important”’: Andersen’s sea-witch, Disney’s Ursula, and the making of a cultural icon’ ....................................................................................................................... 5 Francesca Arnavas, ‘British and Irish Mermaids in Four Contemporary Fairy Tales’ ............................ 6 Panel 1b: Sacred waters: the benefits of water in myth and folklore..................................................... 6 Ulker Yusifova, ‘The sea as chthonic place in eastern mythological thinking’ ...................................... 6 Mariam Zia, ‘Khizer and the “Sea of Stories”’ ........................................................................................ 7 Rosalind Kerven, ‘Native American “Salmon Country”: A Sacred Place Beneath the Sea’ .................... 7 Panel 2a: The sea in poetry and soundscapes .......................................................................................... 8 Ellen Howley, ‘The Mythic Sea in Irish and Caribbean Poetry’ ............................................................. -
The Cat: a Symbol of Femininity
상징과모래놀이치료, 제6권 제1호 Journal of Symbols & Sandplay Therapy 2015, 6, Vol. 6, No. 1, 43-61. The cat: A Symbol of Femininity Ae-kyu Park* <Abstract> The purpose of this study was to determine the symbolic meanings of the cats that frequently appear within the dreams and sand-pictures of clients. To decipher the symbol of the cat, I proceeded to research symbol dictionaries, encyclopedias, and articles to identify its natural characteristics and collective archetypes as well as researching myths and legends to learn its symbolic meanings. By researching the cats that appeared in the dreams of a man in his early 20s and the sand-pictures of a woman in her mid-40s, I sought to understand how this symbol affects the process of each one’s individuation. The cat, like other symbols, has both positive and negative aspects. When one looks at it as a symbol of the feminine, it contains positive aspects like the spiritual instinct, fertility, richness, and healing. On the other hand, it also represents destructive and negative aspects like darkness and sorcery. The symbol is connected to the redemption of the anima, that is, the unconscious feminine in men. In the woman’s case, it appeared as extended feminine aspects as well as dark mother images. Through this research, I tried to show that the cat, a symbol of the feminine, has both positive and negative aspects and those two sides need to be accepted in balanced and harmonious ways. Keywords : symbol, cat, feminine, Bast, anima, sandplay therapy * Corresponding Author: Ae-kyu Park, Sandplay therapist & Psychotherapist, LPJ Private Counseling Center ([email protected]) - 43 - Journal of Symbols & Sandplay Therapy, Vol.6, No.1 I. -
Ecolokind Volume 4, Number 2
ECOLOKIND KINDNESS IN NATURE'S DEFENSE VOLUME 4 NUMBER 2 FEBRUARY 1975 Space-Age Blood Letting Must End! way of "getting out the vote." In some ways our present civilization is no better. Today, some people still worship the pagan gods of power, prestige, publicity, political strength, and wealth. Hitler "got out the vote" by trying to sacri fice an entire race of people. He never finished his job but he left a mark on the Jewish people that cannot be forgotten. The ancients of South America also dealt in human sacrifice. The temple below was often the site of human blood spilling. Blood spilling for personal gain, power, and publicity has raised its ugly head again in the needless slaughter of baby calves in Wisconsin late last year. The cattle farmers that par ticipated in the ritual claimed that they had no choice. They said that the rising cost of liv ing made it impossible for them to continue to feed the calves. They wanted the Govern ment to step in and assist them through these MORE-+ Just imagine that you're riding down a country road and you see the sign above. Or, perhaps you saw the real thing on TV. What do you think about C: the needless inhumane slaughter of animals? 0 C: Down through the history of mankind runs a sad :::i C: tale of blood letting - war - hunting - and co .� sacrifice. Hunting was a natural enough way for E the ancients and the modern day frontiersmen and <( C: co frontierswomen to satisfy their appetites.