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How to Make an Egyptian Diorama
How to Make an Egyptian Diorama http://www.wikihow.com/Make‐a‐Diorama A diorama is a small model of a real‐life scene that has lifelike details and a realistic background. Since we are reading, “The Curse of the Pharaohs”, you will be creating an Egyptian themed tomb as though you were an ancient Egyptian King or Queen. Steps for creating your Egyptian Tomb 1. Choose a tomb scene to re‐create in a shoebox. 2. Make sketches of how you want your diorama to look. Plan the front, back, sides, and top. Make the inside of the diorama look as deep and 3 dimensional as you can. Make a list of the things you will need to make your diorama. Use a variety of materials. 3. Make a base for the model out of a shoebox. Make sure your box is sturdy. 4. Find small figures to go along with your scene or make them out of clay, printouts, pipe cleaners, plasticine or other materials. Use your imagination. 5. Be creative. Anything you can find (cotton balls, leaves, twigs, etc.) will work. 6. Hang flying objects with clear string such as monofilament used for fishing line, if you have it. 7. Write a caption for your diorama. In your caption include the book you read and author. 8. You will also put an Egyptian‐styled Curse to warn others not to disturb your tomb. Tips • Put bigger items in the back, leaving the scene easy to see. • The most important object of your diorama should be centered or just a bit off center to draw the viewers attention to it first. -
Lava Stone Healing Properties
Lava Stone Healing Properties Unartificially toxophilitic, Dionysus binning hygrodeiks and wishes attribute. Towny is deferent: she banks retroactively and depolymerizes her mong. Sexier Kirk scares nowise and braggartly, she compensating her spikenard counterbalanced shoreward. The Remodelista editors provide a curated selection of product recommendations for your consideration. Did for healing properties make changes. You healing properties associated with lava stones act as needed. It is believed that add a stone that can recover more questions about this stone beads are. It is said that Unakite brings to the surface a cause of whatever needs to be healed or dealt with. Rhodochrosite represents selfless love and compassion. But may still using both physical properties. This aromatherapy bracelet is made with volcanic lava beads and White Turquoise genuine unpolished gemstones. Choosing your healing properties of air conditioner repair, removed if procrastination is. It for hand-crafted of black lava stones known than their healing properties Wear the healing bracelet and violate its healing properties to corner through your. COM, our users, or others. Its property that helps to enhance imagination, light due to have any kinds of these stones. Healing Properties of Lava Rock Bracelets Lava rock stones are used to create healing bracelets One between the oldest stones on the planet lava. Lava can be devastating but also can bring new soil and life. In healing properties that no one grows in the first to heal your accessories carry with them, form mountains lava stones have healing. Take action in the house, then the energy inside of you and disseminates lava stone bracelet benefits! This stone helps you trust yourself and your perceptions. -
Creative Business Maven
Creative Business Maven MARKETING TIPS THAT WON’T COST YOU A DIME EXCLUSIVE UP CLOSE & INTERVIEW INTRODUCING PERSONALwith HANNAH PRITCHARD THE OWNER OF BRENNA ALEX LOVELY LITTLES AND CO. 33 HANDMADE GIFTS FOR THE ONES YOU LOVE VOLUME | 1st February 2016 Pg. 2 Pg. 3 CONTENTS Editor’s NOTE Creative Business Maven, powered by Royal Blue Studio, is the go-to resource for hand- made entrepreneurs who are seeking the best, wholesome methods for their busi- EDITOR’S NOTE 3 ness and lifestyle so they can stand out and create strong, long-lasting brands. BRENNA ALEX 40 MAVEN BUSINESS 4 BOHEMIAN CHIC BOUTIQUE 44 LOVELY LITTLES AND CO 6 elcome to this space. I cannot put into words DESERT DAISY JEWELRY 46 how excited I am about this lovely magazine. MAYA MAYA COLLECTION 10 Creative Business Maven was created to give handmade businesses another way to show off MADE 4 HYPERSENSITIVES 48 Wtheir wonderful products. I think, in this day and age, peo- RISING MOON JEWELRY 12 ple seem to forget there is a face behind a handmade item. SURPRISE DESIGNS 50 SOUL SERENADE 14 HAJAR MOTHER EARTH 52 There is a mom who busts her butt every day managing her online orders, shopping for sup- WHAT IS FASHION 16 plies, creating new products, taking photographs MAIDEN LONG ISLAND 54 of the product, marketing it, and then shipping it. CRAFTED BY GOLD 18 UPCYCLING FOREST KEEPERS 22 We forget about all of this because it is so easy to hop onto 33 HANDMADE GIFTS FOR 56 someones website, find what you need, add to cart, and THE ONES YOU LOVE pay. -
Raising of the Djed-Pillar
RAISING THE DJED PILLAR, THE RAMESSEUM DRAMATIC PAPYRUS Adapted by Stuart Tyson Smith from the translation & commentary of Kurt Sethe (1964, German translation by Jessika Akmenkalns), Henri Frankfort (1948), & Edward Wente (1980). Amenhotep III raises the Djed during his Heb-Sed in the tomb of Kheruef at Thebes. The annual ritual of “Raising the Djed” was the culmination of the larger “Mysteries of Osiris,” which commemorated the resurrection of Osiris after his murder by Seth and the restoration of the throne to Osiris’s son Horus. During the Coronation and Heb-Sed festival, Pharaoh took the place of Horus in the ritual, emphasizing the stability of his rule and his connection with the Osiris myth. Its phallic overtones alluded to the renewal of Pharaoh’s potency as ruler like Osiris in the myth. The Djed appears already in Predynastic art and was probably originally a fetish consisting of a pole with sheaves of grain attached. The Djed is described later on as the “Backbone of Osiris” in the Book of the Dead, but the original harvest and renewal symbolism was retained in the ritual. Although probably originally part of Ptah’s cult, the two gods were associated through a syncretism with Sokar, and the ceremony resonated with Osiris’s role as a god of the agricultural cycle. Cast: Lector Priest, Thoth, Geb, Horus/the King, Children of Horus, Osiris (as the Djed), Seth, Isis, Nephthys, Descendants of the King/Followers of Horus/Great Ones of Lower Egypt (royal princes and princesses), Musicians, Dancers and Singers, Followers of Seth/Great Ones of Upper Egypt, Spirit Seekers and the Keeper of the Two Feathers. -
THE HANDBOOK for STORYTELLERS and the Handbook for Storytime Programs) Stands on Its Own, Each Complements and Buttresses the Other
THE HANDBOOK FOR JUDY FREEMAN and CAROLINE FELLER BAUER An imprint of the American Library Association CHICAGO 2015 www.alastore.ala.org Caroline Feller Bauer (1935–2013) was a public librarian, professor of children’s literature, radio personality, international speaker and performer, author of nineteen children’s books and professional books about children’s literature for adults, and tireless cheerleader for literacy and storytelling. Judy Freeman (www.judyreadsbooks.com) is a former school librarian; an adjunct professor at Pratt Institute in New York City, teaching courses in children’s literature and storytelling; an international speaker and performer for children, teachers, librarians, and parents; a children’s book reviewer; and the author of more than a dozen professional books about children’s literature and storytelling. She continues to work closely with librarians, teachers, and hundreds of students at several elementary schools to test out new books, ideas, and ways to incorporate literature into children’s lives. Both have developed and performed thousands of programs and workshops incorporating children’s literature, storytelling, music, poetry, and drama to tens of thousands of children and adults across the United States and abroad. © 2015 by Judy Freeman and Caroline Feller Bauer Printed in the United States of America 19 18 17 16 15 5 4 3 2 1 Extensive effort has gone into ensuring the reliability of the information in this book; however, the publisher makes no warranty, express or implied, with respect to the mate- rial contained herein. All reasonable efforts have been made to identify and contact copyright holders, but in some cases these could not be traced. -
Personal Structures Culture.Mind.Becoming La Biennale Di Venezia 2013
PERSONAL STRUCTURES CULTURE.MIND.BECOMING LA BIENNALE DI VENEZIA 2013 PALAZZO BEMBO . PALAZZO MORA . PALAZZO MARCELLO ColoPHON CONTENTS © 2013. Texts by the authors PERSONAL STRUCTURES 7 LAURA GURTON 94 DMITRY SHORIN 190 XU BINg 274 © If not otherwise mentioned, photos by Global Art Affairs Foundation PATRICK HAMILTON 96 NITIN SHROFF 192 YANG CHIHUNg 278 PERSONAL STRUCTURES: ANNE HERZBLUTh 98 SUH JEONG MIN 194 YE YONGQINg 282 All rights reserved. No part of this publication may be reproduced, stored THE ARTIsts 15 PER HESS 100 THE ICELANDIC YING TIANQI 284 in a retrieval system, or transmitted in any form or by any means, CHUL HYUN AHN 16 HIROFUMI ISOYA 104 LOVE CORPORATION 196 ZHANG FANGBAI 288 electronic, mechanical, photocopying, recording or otherwise, without YOSHITAKA AMANO 20 SAM JINKS 106 MONIKA THIELE 198 ZHANG GUOLONg 290 permission of the editor. ALICE ANDERSON 22 GRZEGORZ KLATKA 110 MICHELE TOMBOLINI 200 ZHANG HUAN 292 Jan-ERIK ANDERSSON 24 MEHdi-GeorGES LAHLOU 112 ŠtefAN TÓTh 202 ZHENG CHONGBIN 294 Print: Krüger Druck + Verlag, Germany AxEL ANKLAM 26 JAMES LAVADOUR 114 VALIE EXPORT 204 ZHOU CHUNYA 298 ATELIER MORALES 28 Edited by: Global Art Affairs Foundation HELMUT LEMKE 116 VITALY & ELENA VASIELIEV 208 INGRANDIMENTO 301 YIFAT BEZALEl 30 www.globalartaffairs.org ANNA LENZ 118 BEN VAUTIER 212 CHAILE TRAVEL 304 DJAWID BOROWER 34 LUCE 120 RAPHAEL VELLA 218 FAN ANGEl 308 FAIZA BUTT 38 Published by: Global Art Affairs Foundation ANDRÉ WAGNER 220 GENG YINI 310 GENIA CHEF 42 MICHELE MANZINI 122 in cooperation with Global Art Center -
“Beautiful and Good Things”: the Dress of Anaïs Nin, 1931-1932 Gwendolyn Michel Iowa State University
Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2018 “Beautiful and good things”: The Dress of Anaïs Nin, 1931-1932 Gwendolyn Michel Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the American Material Culture Commons, English Language and Literature Commons, Fashion Design Commons, and the History Commons Recommended Citation Michel, Gwendolyn, "“Beautiful and good things”: The Dress of Anaïs Nin, 1931-1932" (2018). Graduate Theses and Dissertations. 17268. https://lib.dr.iastate.edu/etd/17268 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. “Beautiful and good things”: The Dress of Anaïs Nin, 1931-1932 by Gwendolyn M. Michel A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Apparel, Merchandising, and Design Program of Study Committee: Sara B. Marcketti, Major Professor Mary Lynn Damhorst Eulanda A. Sanders Michèle Schaal Christiana Langenberg The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this dissertation. The Graduate College will ensure this dissertation is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2018 Copyright © Gwendolyn M. Michel, 2018. All rights reserved. -
EB WARD Diary
THE DIARY OF SAMUEL WARD, A TRANSLATOR OF THE 1611 KING JAMES BIBLE Transcribed and prepared by Dr. M.M. Knappen, Professor of English History, University of Chicago. Edited by John W. Cowart Bluefish Books Cowart Communications Jacksonville, Florida www.bluefishbooks.info THE DIARY OF SAMUEL WARD, A TRANSLATOR OF THE 1611 KING JAMES BIBLE. Copyright © 2007 by John W. Cowart. All rights reserved. Printed in the United States of America by Lulu Press. Apart from reasonable fair use practices, no part of this book’s text may be used or reproduced in any manner whatsoever without written permission from the publisher except in the case of brief quotations embodied in critical articles or reviews. For information address Bluefish Books, 2805 Ernest St., Jacksonville, Florida, 32205. Library of Congress Cataloging-in- Publication Data has been applied for. Lulu Press # 1009823. Bluefish Books Cowart Communications Jacksonville, Florida www.bluefishbooks.info SAMUEL WARD 1572 — 1643 CONTENTS INTRODUCTION …………………………………..…. 1 THE TWO SAMUEL WARDS……………………. …... 13 SAMUEL WARD’S LISTIING IN THE DICTIONARY OF NATIONAL BIOGRAPHY…. …. 17 DR. M.M. KNAPPEN’S PREFACE ………. …………. 21 THE PURITAN CHARACTER IN THE DIARY. ….. 27 DR. KNAPPEN’S LIFE OF SAMUEL WARD …. …... 43 THE DIARY TEXT …………………………….……… 59 THE 1611 TRANSLATORS’ DEDICATION TO THE KING……………………………………….… 97 THE 1611 TRANSLATORS’ PREFACE TO BIBLE READERS ………………………………………….….. 101 BIBLIOGRAPHY ……………………………….…….. 129 INTRODUCTION by John W. Cowart amuel Ward, a moderate Puritan minister, lived from 1572 to S1643. His life spanned from the reign of Britain’s Queen Elizabeth, through that of King James. and into the days of Charles I. Surviving pages of Ward’s dated diary entries run from May 11, 1595, to July 1, 1632. -
The Routledge Dictionary of Egyptian Gods and Goddesses
The Routledge Dictionary of Egyptian Gods and Goddesses The Routledge Dictionary of Egyptian Gods and Goddesses provides one of the most comprehensive listings and descriptions of Egyptian deities. Now in its second edition, it contains: ● A new introduction ● Updated entries and four new entries on deities ● Names of the deities as hieroglyphs ● A survey of gods and goddesses as they appear in Classical literature ● An expanded chronology and updated bibliography ● Illustrations of the gods and emblems of each district ● A map of ancient Egypt and a Time Chart. Presenting a vivid picture of the complexity and richness of imagery of Egyptian mythology, students studying Ancient Egypt, travellers, visitors to museums and all those interested in mythology will find this an invaluable resource. George Hart was staff lecturer and educator on the Ancient Egyptian collections in the Education Department of the British Museum. He is now a freelance lecturer and writer. You may also be interested in the following Routledge Student Reference titles: Archaeology: The Key Concepts Edited by Colin Renfrew and Paul Bahn Ancient History: Key Themes and Approaches Neville Morley Fifty Key Classical Authors Alison Sharrock and Rhiannon Ash Who’s Who in Classical Mythology Michael Grant and John Hazel Who’s Who in Non-Classical Mythology Egerton Sykes, revised by Allen Kendall Who’s Who in the Greek World John Hazel Who’s Who in the Roman World John Hazel The Routledge Dictionary of Egyptian Gods and Goddesses George Hart Second edition First published 2005 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. -
Early Hydraulic Civilization in Egypt Oi.Uchicago.Edu
oi.uchicago.edu Early Hydraulic Civilization in Egypt oi.uchicago.edu PREHISTORIC ARCHEOLOGY AND ECOLOGY A Series Edited by Karl W. Butzer and Leslie G. Freeman oi.uchicago.edu Karl W.Butzer Early Hydraulic Civilization in Egypt A Study in Cultural Ecology Internet publication of this work was made possible with the generous support of Misty and Lewis Gruber The University of Chicago Press Chicago and London oi.uchicago.edu Karl Butzer is professor of anthropology and geography at the University of Chicago. He is a member of Chicago's Committee on African Studies and Committee on Evolutionary Biology. He also is editor of the Prehistoric Archeology and Ecology series and the author of numerous publications, including Environment and Archeology, Quaternary Stratigraphy and Climate in the Near East, Desert and River in Nubia, and Geomorphology from the Earth. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London ® 1976 by The University of Chicago All rights reserved. Published 1976 Printed in the United States of America 80 79 78 77 76 987654321 Library of Congress Cataloging in Publication Data Butzer, Karl W. Early hydraulic civilization in Egypt. (Prehistoric archeology and ecology) Bibliography: p. 1. Egypt--Civilization--To 332 B. C. 2. Human ecology--Egypt. 3. Irrigation=-Egypt--History. I. Title. II. Series. DT61.B97 333.9'13'0932 75-36398 ISBN 0-226-08634-8 ISBN 0-226-08635-6 pbk. iv oi.uchicago.edu For INA oi.uchicago.edu oi.uchicago.edu CONTENTS List of Illustrations Viii List of Tables ix Foreword xi Preface xiii 1. -
Glossary Ancient Egyptian Art and Culture
Ancient Egyptian Art and Culture Glossary Africa Africa is the world's second-largest and second most-populous continent, after Asia. At about 12 million square miles it covers 20% of the Earth's total land area. Egypt is located on the Northeast corner of the African continent. Amphora A large pottery or stone vessel, usually with one or more handles and used as storage or transport container for liquids or solids. Amulet A small token, such as a hieroglyphic symbol or figurine of a god, believed to provide magical protection or other benefits to its wearer. Ankh The ankh is a hieroglyphic symbol meaning “life” and “to live.” lt was worn by many ancient Egyptians as an amulet, and is frequently depicted in art being extended by the gods. Apis Bull The Apis bull was a sacred oracle housed in the temple of Ptah at Memphis. The bulls were well treated throughout their lifetimes, given divine status as the embodiment of the god Ptah, and were mummified upon death. The Apis bulls, and later the mothers of the Apis bulls (sacred to Isis) were buried at Saqqara. Artistic perspective Egyptians used variations in size to indicate importance in their art. Viewpoints also changed within images to show the strongest characteristics of objects and people. Faces were always shown in profile, eyes were large, and legs were often shown in exaggerated poses. Artifact An artifact is something that was made by a person in the distant past. Clothing, pottery, furniture, tools, and art are all artifacts. Atef The atef is a crown with an ostrich plume on each side and horizontal ram’s horns underneath. -
Fibers and Fabrics in Stuffed Sculpture" (1976)
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1976 Fibers and Fabrics in Stuffed cS ulpture Carol Ann Haskell Kessler Eastern Illinois University This research is a product of the graduate program in Art at Eastern Illinois University. Find out more about the program. Recommended Citation Kessler, Carol Ann Haskell, "Fibers and Fabrics in Stuffed Sculpture" (1976). Masters Theses. 3376. https://thekeep.eiu.edu/theses/3376 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. FIBERS AND FABRICS IN STUFFED SCULPTURE (TITLE) BY CAROL ANN HASKELL KESSLER THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1976 YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE. CITED AOOYE- J��f 1, l'fll .j i \ � 2.(• "'1 DATE t'l1� DEPARTMENT HEAD PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings.