DOCSLIB.ORG

Myth, Mediation, Marvel a Wikibook to Accompany Our Study of “Musée Des Beaux Arts” Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Myth, Mediation, Marvel a Wikibook to Accompany Our Study of “Musée Des Beaux Arts” Contents Myth, Mediation, Marvel A Wikibook to accompany our study of “Musée des Beaux Arts” Contents 1 Myth 1 1.1 Daedalus ................................................ 1 1.1.1 Family ............................................. 1 1.1.2 The Labyrinth ......................................... 1 1.1.3 Daedalus and Icarus ...................................... 2 1.1.4 Sicily ............................................. 2 1.1.5 Daedalus and Perdix ..................................... 3 1.1.6 Innovator ........................................... 3 1.1.7 Gallery ............................................ 3 1.1.8 See also ............................................ 3 1.1.9 References .......................................... 3 1.1.10 External links ......................................... 4 2 Myth, reconsidered and framed: Bruegel 5 2.1 Pieter Bruegel the Elder ........................................ 5 2.1.1 Life .............................................. 5 2.1.2 Historical background ..................................... 5 2.1.3 Subjects ............................................ 5 2.1.4 Family ............................................. 7 2.1.5 Work referenced in others’ work ............................... 7 2.1.6 Works ............................................. 8 2.1.7 Selected works ........................................ 9 2.1.8 References .......................................... 10 2.1.9 External links ......................................... 10 2.2 Landscape with the Fall of Icarus ................................... 11 2.2.1 Description .......................................... 11 2.2.2 Attribution .......................................... 11 2.2.3 Mentions in other media ................................... 13 2.2.4 References .......................................... 13 2.2.5 Further reading ........................................ 14 2.2.6 External links ......................................... 14 3 Myth, Mediation, and Marvel: Auden 15 i ii CONTENTS 3.1 W. H. Auden ............................................. 15 3.1.1 Life .............................................. 15 3.1.2 Work ............................................. 18 3.1.3 Published works ........................................ 22 3.1.4 Notes ............................................. 23 3.1.5 References .......................................... 25 3.1.6 External links ......................................... 26 3.2 Musée des Beaux Arts (poem) .................................... 27 3.2.1 Synopsis ............................................ 27 3.2.2 Bruegel’s influence ...................................... 27 3.2.3 Cultural legacy ........................................ 28 3.2.4 References .......................................... 28 3.2.5 External links ......................................... 29 3.3 Ekphrasis ............................................... 29 3.3.1 Definition ........................................... 29 3.3.2 History of ekphrasis ...................................... 30 3.3.3 Ekphrasis genre ........................................ 30 3.3.4 Other aspects ......................................... 33 3.3.5 References .......................................... 35 3.3.6 External links ......................................... 35 4 Text and image sources, contributors, and licenses 36 4.1 Text .................................................. 36 4.2 Images ................................................. 38 4.3 Content license ............................................ 40 Chapter 1 Myth 1.1 Daedalus Eupalamus,[5] or Palamaon,[6] and a mother, Alcippe,[7] Iphinoe,[8] or Phrasimede.[9] Daedalus had two sons: [10] [11] This article is about the mythological character. For other Icarus and Iapyx, along with a nephew either Talus uses, see Daedalus (disambiguation). or Perdix. In Greek mythology, Daedalus (/ˈdɛdələs ˈdiːdələs/; Athenians transferred Cretan Daedalus to make him Athenian-born, the grandson[12] of the ancient king Erechtheus, who fled to Crete, having killed his nephew, Talos. Over time, other stories were told of Daedalus. 1.1.2 The Labyrinth Daedalus is first mentioned by Homer as the creator of a wide dancing-ground for Ariadne.[13] He also created the Labyrinth on Crete, in which the Minotaur (part man, part bull) was kept. In the story of the labyrinth as told by the Hellenes, the Athenian hero Theseus is challenged to kill the Minotaur, finding his way with the help of Ariadne’s thread. Daedalus’ appearance in Homer is in an extended metaphor, “plainly not Homer’s invention”, Robin Lane Fox observes: “he is a point of comparison and so he belongs in stories which Homer’s audience al- ready recognized”.[14] In Bronze Age Crete, an inscrip- tion da-da-re-jo-de has been read as referring to a place at Knossos,[15] and a place of worship.[16] In Homer’s language, objects which are daidala are finely crafted. They are mostly objects of armor, but fine bowls and furnishings are daidala, and on one occasion so are the “bronze-working” of “clasps, twisted brooches, ear- Daedalus constructs wings for his son, Icarus, after a Roman rings and necklaces” made by Hephaestus while cared for [17] relief in the Villa Albani, Rome (Meyers Konversationslexikon, in secret by the goddesses of the sea. 1888). Ignoring Homer, later writers envisaged the Labyrinth as an edifice rather than a single dancing path to the Ancient Greek: Δαίδαλος Daidalos, perhaps related center and out again, and gave it numberless winding to δαιδάλλω “to work artfully";[1] Latin: Daedalus; passages and turns that opened into one another, seem- Etruscan: Taitale) was a skillful craftsman and artist.[2][3] ing to have neither beginning nor end.[18] Ovid, in his He is the father of Icarus, the uncle of Perdix and possibly Metamorphoses, suggests that Daedalus constructed the also the father of Iapyx although this is unclear. Labyrinth so cunningly that he himself could barely es- cape it after he built it.[19] Daedalus built the labyrinth for King Minos, who needed it to imprison his wife’s 1.1.1 Family son the Minotaur. The story is told that Poseidon had given a white bull to Minos so that he might use it as a His parentage was supplied as a later addition to sacrifice. Instead, Minos kept it for himself; and in re- the mythos, providing him with a father in Metion,[4] venge, Poseidon made his wife Pasiphaë lust for the bull 1 2 CHAPTER 1. MYTH with the help of Aphrodite.[20] For Pasiphaë, as Greek feathers together, from smallest to largest so as to form mythologers interpreted it, Daedalus also built a wooden an increasing surface. He secured the feathers at their cow so she could mate with the bull, for the Greeks imag- midpoints with string and at their bases with wax, and ined the Minoan bull of the sun to be an actual, earthly gave the whole a gentle curvature like the wings of a bird. bull, the slaying of which later required a heroic effort by When the work was done, the artist, waving his wings, Theseus. found himself buoyed upward and hung suspended, pois- This story thus encourages others to consider the long- ing himself on the beaten air. He next equipped his son in term consequences of their own inventions with great the same manner, and taught him how to fly. When both were prepared for flight, Daedalus warned Icarus not to care, lest those inventions do more harm than good. As in the tale of Icarus' wings, Daedalus is portrayed assisting fly too high, because the heat of the sun would melt the wax, nor too low, because the sea foam would soak the in the creation of something that has subsequent negative consequences, in this case with his creation of the mon- feathers. strous Minotaur’s almost impenetrable Labyrinth which They had passed Samos, Delos and Lebynthos by the time made slaying the beast an endeavour of legendary diffi- the boy, forgetting himself, began to soar upward toward culty. the sun. The blazing sun softened the wax which held the feathers together and they came off. Icarus quickly fell in the sea and drowned. His father cried, bitterly lamenting 1.1.3 Daedalus and Icarus his own arts, and called the land near the place where Icarus fell into the ocean Icaria in memory of his child. Some time later, the goddess Athena visited Daedalus and gave him wings, telling him to fly like a god. An early image of winged Daedalus appears on an Etruscan jug of ca 630 BC found at Cerveteri, where a winged figure captioned Taitale appears on one side of the vessel, paired on the other side, uniquely, with Metaia, Medea:[21] “its linking of these two mythical figures is unparalleled,” Robin Lane Fox observes: “The link was probably based on their wondrous, miraculous art. Mag- ically, Daedalus could fly, and magically Medea was able to rejuvenate the old (the scene on the jug seems to show her doing just this)".[22] The image of Daedalus demon- strates that he was already well known in the West. 1.1.4 Sicily Further to the west, Daedalus arrived safely in Sicily, in the care of King Cocalus of Kamikos on the island’s south coast; there Daedalus built a temple to Apollo, and hung up his wings, an offering to the god. In an invention of Virgil (Aeneid VI), Daedalus flies to Cumae and founds his temple there, rather than in Sicily; long afterwards Aeneas confronts the sculpted golden doors of the temple. Minos, meanwhile, searched for Daedalus by travelling from city to city asking a riddle. He presented a spiral seashell and asked for a string to be run through it. When Daedalus and Icarus, c. 1645, by Charles Le Brun (1619–1690)
Load more

Recommended publications
  • JAN BRUEGHEL the YOUNGER (1601 – Antwerp – 1678))
    VP4750 JAN BRUEGHEL THE YOUNGER (1601 – Antwerp – 1678)) Noli me tangere On copper, 9 ¼ x 14 ¾ ins. (23.5 x 37.5 cm) PROVENANCE Private collection, France, until 2015 The eldest son of Jan Brueghel the Elder, Jan the Younger followed closely in his father’s footsteps. After training with his father in Antwerp, he travelled to Italy in 1622, but his trip was cut short following the unexpected death of his father in 1625. He returned to Antwerp and took over the running of the family studio. From that time until 1651 he kept a journal (Dagboek) i detailing his activities which included selling pictures left by his father and completing half-finished works. His journal also shows that he maintained close relationships with many of his father’s patrons and collaborators. Jan the Younger adopted a similarly refined manner to that of his father, as well as many of his father’s most successful compositions. In time, he developed a more personal style and a repertoire of his own subjects. The episode known as Noli me tangere (touch me not) is found only in the Gospel according to St. John (20:14-18). After the Resurrection, Christ appeared to Mary Magdelene as she stood weeping by the empty tomb. At first, she did not recognise him, but supposing him to be a gardener, asked if he was the one who had removed Jesus’s body. Jesus then called her by name, whereupon she recognised him, exclaiming “Rabboni!” (Master), but Jesus responded, saying “Touch me not; for I am not yet ascended to my father” and bade her go to the disciples with the message that he was now risen.
    [Show full text]
  • Pieter Bruegel's the Beekeepers| Protestants, Catholics, Birds, and Bees| Beehive Rustling on the Low Plains of Flanders
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2004 Pieter Bruegel's The Beekeepers| Protestants, Catholics, birds, and bees| Beehive rustling on the low plains of Flanders Edgar W. Smith The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Smith, Edgar W., "Pieter Bruegel's The Beekeepers| Protestants, Catholics, birds, and bees| Beehive rustling on the low plains of Flanders" (2004). Graduate Student Theses, Dissertations, & Professional Papers. 3222. https://scholarworks.umt.edu/etd/3222 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. a; Maureen and Mike MANSFIELD LIBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. **Flease check "Yes" or "No" and provide signature** Yes, I grant permission No, I do not grant permission Author's Signature:_____ Date:__________________ Y Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 PIETER BRUEGEL’S THE BEEKEEPERS PROTESTANTS, CATHOLICS, BIRDS, AND BEES: Beehive Rustling on the Low Plains of Flanders by Edgar Smith B.A.
    [Show full text]
  • Pieter Bruegel the Elder
    THE BEST OF PIETER BRUEGEL THE ELDER BRUEGEL AT THE KUNSTHISTORISCHES MUSEUM It was the most successful exhibition ever hosted by the Kunsthistorisches Museum Vienna: “Bruegel – Once in a Lifetime” made history. On show from October 2018 through January 2019, the world’s largest-ever exhibition of works by Pieter Bruegel the Elder (c. 1525/30-1569), complete with sensational loans, presented three-quarters of the Flemish master’s extant paintings and around half of his surviving drawings and prints. Only about 40 paintings by him have come down to us, and 29 of them were displayed in Vienna. For all who have missed this extraordinary exhibition or who want to experience Bruegel again, his most important works, “The Best of Bruegel”, are always on show in the Picture Gallery of the Kunsthistorisches Museum. During his lifetime, Pieter Bruegel the Elder was already among the period’s most sought-after artists, with his works achieving exceptionally high prices. Only about forty paintings and sixty prints by him are all that has come down to us. The Kunsthistorisches Museum Vienna houses twelve works by him, and thus the world’s largest and most important collection of paintings by Pieter Bruegel the Elder. This fact is owed to 16th century Habsburg connoisseurs who already appreciated the exceptional quality of his works and strove to acquire these prestigious paintings. Among Bruegel’s masterpieces at the Kunsthistorisches Museum are celebrated panels like “Peasant Wedding”, “Children’s Games”, “Hunters in the Snow” and, of course, “The Tower of Babel”. These and other important paintings by Bruegel are displayed in the aptly named “Bruegel Gallery” (Gallery X) of the Picture Gallery.
    [Show full text]
  • Bruegel Notes Writing of the Novel Began October 20, 1998
    Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February,
    [Show full text]
  • Antwerp in 2 Days | the Rubens House
    Antwerp in 2 days | The Rubens House Rubens was a man of many talents. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and an architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? Rubens as an architect Rubens was talented in many areas of life. Besides being the gifted painter we all know, he was also a diplomat, a devoted family man, an art collector and architect. Where better to begin this immersion in Rubens’s city than the house in which he lived and worked? When Rubens returned from Italy in 1608, at the age of 31, he came back with a case full of sketches and a head full of ideas. He purchased a plot of land with a house near his grandfather’s home (Meir 54) and converted it into his own Palazzetto. Take an hour to visit the Rubens House and to breathe in the atmosphere in the master’s house before setting off to explore his city. Rubens’s palazzetto on the Wapper was not yet complete when the artist was commissioned to work on the Baroque Jesuit church some distance away, at Hendrik Conscienceplein. On your way to Hendrik Conscienceplein, we would suggest you make a brief stop at another church: St James’s Church (St Jacobskerk) in Lange Nieuwstraat. This robust building dooms up rather unexpectedly among the houses, but its interior presents a perfect harmony between Gothic and Baroque: the elegant Middle Ages and the flamboyant style of the 17th century go hand-in-hand here.
    [Show full text]
  • Illinois Classical Studies
    NOTICE: Return or renew all Library Materialsl The Minimum Fee for each Lost Book Is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli- nary action and may result In dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN e-f ^.ft.f r OCT [im L161—O-1096 A ILLINOIS CLASSICAL STUDIES VOLUME XVIII 1993 ISSN 0363-1923 ILLINOIS CLASSICAL STUDIES VOLUME XVIII 1993 SCHOLARS PRESS ISSN 0363-1923 ILLINOIS CLASSICAL STUDIES VOLUME XVIII Studies in Honor of Miroslav Marcovich ©1993 The Board of Trustees University of Illinois Copies of the journal may be ordered from: Scholars Press Membership Services P.O. Box 15399 Atlanta, GA 30333-0399 Printed in the U.S.A. 220 :^[r EDITOR David Sansone ADVISORY EDITORIAL COMMITTEE John J. Bateman Howard Jacobson Gerald M. Browne S. Douglas Olson William M. Calder III Maryline G. Parca CAMERA-READY COPY PRODUCED BY Britt Johnson, under the direction of Mary Ellen Fryer Illinois Classical Studies is published annually by Scholars Press. Camera- ready copy is edited and produced in the Department of the Classics, University of Illinois at Urbana-Champaign. Each conu-ibutor receives twenty-five offprints. Contributions should be addressed to: The Editor, Illinois Classical Studies Department of the Classics 4072 Foreign Languages Building 707 South Mathews Avenue Urbana, Illinois 61801 ^-AUro s ioM --J^ojrco ^/c/ — PREFACE The Department of the Classics of the University of Illinois at Urbana- Champaign and the Advisory Editorial Committee of Illinois Classical Studies are pleased to devote this issue and the next to the publication of Studies in Honor of Miroslav Marcovich.
    [Show full text]
  • Fire, Smoke and Vapour. Jan Brueghel's 'Poetic Hells
    FIRE, SMOKE AND VAPOUR. JAN BRUEGHEL’S ‘POETIC HELLS’: ‘GHESPOOCK’ IN EARLY MODERN EUROPEAN ART Christine Göttler Karel van Mander, in the ‘Life of Jeronimus Bos’ in his Schilder-Boeck of 1604, speaks of the ‘wondrous or strange fancies’ (wonderlijcke oft seldsaem versieringhen), which this artist ‘had in his head and expressed with his brush’ – the ‘phantoms and monsters of hell ( ghespoock en ghe- drochten der Hellen) which are usually not so much kindly as ghastly to look upon’.1 Taking one of Bosch’s depictions of the Descent of Christ into the Limbo of the Fathers as an example, van Mander further notes that ‘it’s a wonder what can be seen there of odd spooks (oubolligh ghespoock); also, how subtle and natural (aerdigh en natuerlijck) he was with ames, \ res, smoke and vapours’.2 In the Schilder-Boeck, van Mander frequently uses the word ‘aerdigh’ to describe the aesthetically pleasing quality of small works or small details;3 here, ‘aerdigh’ refers to the natural and lively depiction of res. As it has been observed, van Mander’s list of Bosch’s painterly expres- sions echoes Erasmus’s often-cited eulogy on Dürer in the Dialogus de recta Latini Graecique sermonis pronuntiatione (Dialogue About the Correct Pro- nunciation of Latin and Greek), published in Basel in 1528. According to 1 Mander K. van, The Lives of the Illustrious Netherlandish and German Painters, from the \ rst edition of the Schilder-boeck (1603–1604), ed. H. Miedema, 6 vols. (Davaco: 1994–99) I 124f. (f. 216v): ‘Wie sal verhalen al de wonderlijcke oft seldsaem versieringhen/die Ieronimus Bos in’t hooft heeft ghehadt/en met den Pinceel uytghedruckt/van ghe- spoock en ghedrochten der Hellen/dickwils niet alsoo vriendlijck als grouwlijck aen te sien.’ Here and in the following, my translation is largely based on the one given in Miedema’s edition of The Lives; I use, however, a more literal translation of van Mander’s expressions.
    [Show full text]
  • Sharpe, Tony, 1952– Editor of Compilation
    more information - www.cambridge.org/9780521196574 W. H. AUDen IN COnteXT W. H. Auden is a giant of twentieth-century English poetry whose writings demonstrate a sustained engagement with the times in which he lived. But how did the century’s shifting cultural terrain affect him and his work? Written by distinguished poets and schol- ars, these brief but authoritative essays offer a varied set of coor- dinates by which to chart Auden’s continuously evolving career, examining key aspects of his environmental, cultural, political, and creative contexts. Reaching beyond mere biography, these essays present Auden as the product of ongoing negotiations between him- self, his time, and posterity, exploring the enduring power of his poetry to unsettle and provoke. The collection will prove valuable for scholars, researchers, and students of English literature, cultural studies, and creative writing. Tony Sharpe is Senior Lecturer in English and Creative Writing at Lancaster University. He is the author of critically acclaimed books on W. H. Auden, T. S. Eliot, Vladimir Nabokov, and Wallace Stevens. His essays on modernist writing and poetry have appeared in journals such as Critical Survey and Literature and Theology, as well as in various edited collections. W. H. AUDen IN COnteXT edited by TONY SharPE Lancaster University cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press 32 Avenue of the Americas, New York, NY 10013-2473, USA www.cambridge.org Information on this title: www.cambridge.org/9780521196574 © Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
    [Show full text]
  • Newsletter 32
    The W. H. Auden Society Newsletter Number 32 ● July 2009 Memberships and Subscriptions Annual memberships include a subscription to the Newsletter: Contents Individual members £9 $15 Katherine Bucknell: Edward Upward (1903-2009) 5 Students £5 $8 Nicholas Jenkins: Institutions and paper copies £18 $30 Lost and Found . and Offered for Sale 14 Hugh Wright: W. H. Auden and the Grasshopper of 1955 16 New members of the Society and members wishing to renew should David Collard: either ( a) pay online with any currency by following the link at A New DVD in the G.P.O. Film Collection 18 http://audensociety.org/membership.html Recent and Forthcoming Books and Events 24 or ( b) use postal mail to send sterling (not dollar!) cheques payable to “The W. H. Auden Society” to Katherine Bucknell, Memberships and Subscriptions 26 78 Clarendon Road, London W11 2HW, Receipts available on request. A Note to Members The W. H. Auden Society is registered with the Charity Commission for England and Wales as Charity No. 1104496. The Society’s membership fees no longer cover the costs of printing and mailing the Newsletter . The Newsletter will continue to appear, but The Newsletter is edited by Farnoosh Fathi. Submissions this number will be the last to be distributed on paper to all members. may be made by post to: The W. H. Auden Society, Future issues of the Newsletter will be posted in electronic form on the 78 Clarendon Road, London W11 2HW; or by Society’s web site, and a password that gives access to the Newsletter e-mail to: [email protected] will be made available to members.
    [Show full text]
  • First Name Initial Last Name
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository Sarah E. Fass. An Analysis of the Holdings of W.H. Auden Monographs at the University of North Carolina at Chapel Hill’s Rare Book Collection. A Master’s Paper for the M.S. in L.S. degree. April, 2006. 56 pages. Advisor: Charles B. McNamara This paper is an analysis of the monographic works by noted twentieth-century poet W.H. Auden held by the Rare Book Collection (RBC) at the University of North Carolina at Chapel Hill. It includes a biographical sketch as well as information about a substantial gift of Auden materials made to the RBC by Robert P. Rushmore in 1998. The bulk of the paper is a bibliographical list that has been annotated with in-depth condition reports for all Auden monographs held by the RBC. The paper concludes with a detailed desiderata list and recommendations for the future development of the RBC’s Auden collection. Headings: Auden, W. H. (Wystan Hugh), 1907-1973 – Bibliography Special collections – Collection development University of North Carolina at Chapel Hill. Rare Book Collection. AN ANALYSIS OF THE HOLDINGS OF W.H. AUDEN MONOGRAPHS AT THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL’S RARE BOOK COLLECTION by Sarah E. Fass A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science.
    [Show full text]
  • Year in Review for Dealers
    Year in Review For Dealers Anthropology…………………........ 1 Guidance & Counseling…… 28 Area Studies……………………….. 2 Health……………………… 28 Art & Architecture…………………... 7 History…………………….. 31 Biology……………………………... 13 Mathematics……………….. 36 Business & Economics……………… 15 Music & Dance……………... 37 Careers & Job Search……………… 18 Philosophy & Religion…….. 37 Communication…………………..... 18 Physical Science…………… 38 Criminal Justice…………………..... 19 Political Science……………. 39 Earth Science……………………...... 20 Psychology………………… 41 Education………………………….. 21 Sociology…………………... 43 Engineering…………….…….......... 22 Sports & Fitness…………….. 46 English & Language Arts………...... 24 Technical Education……….. 46 Environmental Science…………...... 24 Technology & Society………. 46 Family & Consumer Sciences……… 27 World Languages…………... 49 Free Preview Clips Online! www.films.com/dealers T: (800) 257-5126, x4270 • F: (212) 564-1332 Anthropology 8th Fire Item # 58430 The Himbas are Shooting Subject: Anthropology This is a provocative, high-energy journey Item # 54408 through Aboriginal country showing why we Subject: Anthropology need to fix Canada's 500-year-old relationship with Indigenous In Namibia, a group of Himbas men and peoples—a relationship mired in colonialism, conflict, and denial. women of all ages have decided to make a film (4 parts, 180 minutes) showing who they are and what their life is like: incorporating key © 2012 • $679.80 • ISBN: 978-0-81608-535-4 moments in their history, daily life, ceremonies, and ancestral ties, Indigenous In the City: 8th Fire the attractions
    [Show full text]
  • Shakziel-Hebrew.Pdf
    An angel set over the beasts is mentioned in Hermas' "Visions," iv. 2; his name is Thegri (see Hekalot, vi.) (Turiel = "bull-god," Jerome on Hab. i. 14). In Abraham of Granada's "Berit Menuḥah," p. 37, are mentioned the angel Jeḥiel (Hayyel?), set over the wild beasts; 'Anpiel, over the birds; Hariel (Behemiel), over the tame beasts; Shaḳẓiel, over the water-insects; Dagiel, over the fish; Ilaniel, over the fruit-bearing trees; Seraḳel, over the trees not bearing fruit. http://www.jewishencyclopedia.com/articles/1521-angelology Angel of Water Insects [Shakziel] http://spiritualrealm.blog.com/angels/angelic-properties-dictionary-a-z/w/ Shakziel: The angel with dominion over water insects http://www.bethcoleman.net/angelsrst.html Shakziel - an angel who rules over water bugs. http://hafapea.com/angelpages/angels6.html https://translate.google.com/#auto/en/%D7%A9%D6%B8%D7%81%D7%9B%D6%B0%D7%A6 Katz (surname) 1 Katz (surname) Katz is a common German surname. It is also one of the oldest Ashkenazi Jewish surnames. Germans with the last name Katz may originate in the Rhine River region of Germany, where the Katz Castle is located. (The name of the castle does not derive from Katze, cat, but from Katzenelnbogen, going back to Latin Cattimelibocus, consisting of the ancient Germanic tribal name of the Chatti and Melibokus.) Katzman, deriving from the German Katz, is a Slavic name meaning high priest or king. It is believed the Katzman surname originates from Germany and has roots from there as well. As a Jewish surname, Katz is an abbreviation formed from the Hebrew initials of the term Kohen Tzedeq (Hebrew: meaning "priest of justice"/"authentic priest" or Kohen Tzadok meaning the name-bearer is of patrilineal ,(כּ״ץ descent of the Kohanim sons of Zadok.
    [Show full text]