DOCSLIB.ORG

Ayumi Hamasaki Loveppears Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ayumi Hamasaki Loveppears Mp3, Flac, Wma Ayumi Hamasaki LOVEppears mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Pop Album: LOVEppears Country: Japan Released: 1999 Style: Trance, Downtempo, J-pop, House MP3 version RAR size: 1314 mb FLAC version RAR size: 1763 mb WMA version RAR size: 1540 mb Rating: 4.4 Votes: 524 Other Formats: VOC DTS DMF ASF MIDI AHX FLAC Tracklist Hide Credits Introduction 1-1 1:09 Composed By, Arranged By, Programmed By, Keyboards – HAL Guitar – Naoya Akimoto Fly High 1-2 Arranged By, Programmed By, Keyboards – HAL Composed By – D.A.I.Guitar – Naoya 4:07 Akimoto Trauma Arranged By – D.A.I., Naoto Suzuki Composed By – D.A.I.Guitar – Jun 1-3 4:17 KajiwaraKeyboards – Naoto Suzuki Programmed By – Takahiro IidaProgrammed By [Additional] – Tatsuhiko Fuyuno And Then Arranged By – Keisuke KikuchiComposed By – Yasuhiko HoshinoGuitar – Hidetoshi 1-4 4:13 SuzukiKeyboards – Naoto Suzuki Programmed By – Takahiro IidaProgrammed By [Additional] – Tatsuhiko Fuyuno Immature (Album Version) 1-5 Arranged By, Programmed By, Keyboards – HAL Composed By – Kazuhito 4:44 KikuchiGuitar – Naoya Akimoto Boys & Girls 1-6 Arranged By – D.A.I., Naoto Suzuki Composed By – D.A.I.Guitar – Hidetoshi 3:54 SuzukiKeyboards – Naoto Suzuki Programmed By – Takahiro Iida To Be 1-7 Arranged By – D.A.I., Naoto Suzuki Composed By – D.A.I.Guitar – Masayoshi 5:18 FurukawaKeyboards – Naoto Suzuki Programmed By – Takahiro Iida End Roll 1-8 Arranged By – D.A.I., Naoto Suzuki Composed By – D.A.I.Guitar – Naoki 4:49 HayashibeKeyboards – Naoto Suzuki Programmed By – Takahiro Iida P.S. II 1-9 4:48 Arranged By, Programmed By, Keyboards – HAL Composed By – Hideaki Kuwabara Whatever (Dub's 1999 Remix) 1-10 Arranged By, Programmed By – Izumi "D・M・X" Miyazaki*Composed By – Kazuhito 7:20 Kikuchi Too Late Arranged By – D.A.I., Naoto Suzuki Composed By – D.A.I.Guitar – Hidetoshi Suzuki, 1-11 4:24 Naoki HayashibeKeyboards – Naoto Suzuki Programmed By – Takahiro IidaProgrammed By [Additional] – Tatsuhiko Fuyuno Appears (Album Version) 1-12 Arranged By, Programmed By, Keyboards – HAL Composed By – Kazuhito 5:38 KikuchiGuitar – Naoya Akimoto Monochrome 1-13 Arranged By – D.A.I., Naoto Suzuki Composed By – D.A.I.Guitar – Naoki 4:21 HayashibeKeyboards – Naoto Suzuki Programmed By – Takahiro Iida Interlude 1-14 0:55 Composed By, Arranged By, Keyboards, Programmed By – Naoto Suzuki Love ~Refrain~ 1-15 Arranged By, Keyboards – Naoto Suzuki Composed By – TsunkuGuitar – Naoki 5:21 HayashibeProgrammed By – Takahiro Iida Who... 1-16.1 Arranged By, Keyboards – Naoto Suzuki Composed By – Kazuhito KikuchiGuitar – Naoki 6:06 HayashibeProgrammed By – Takahiro Iida Kanariya 1-16.2 3:51 Arranged By – CPM-MarvinComposed By – Yasuhiko Hoshino Ayu's Euro Mega-Mix (Y & Co. Mix) 2-1 9:48 Remix – Akira "Boss" Yokota*, Tetsuya "Remocon" Tamura* Ayu's House Mega-Mix (N.S. House Mix) 2-2 9:58 Remix – Shoji Ueda A Song For XX (Millennium Mix) From 1st Album 2-3 Guitar – Naoki HayashibePiano, Keyboards – Akimitsu HonmaProgrammed By – Hiroshi 4:46 Kitashiro Powder Snow (Acoustic Orchestra Version) From あゆ・み・っくす 2-4 5:03 Keyboards – Akimitsu HonmaProgrammed By – Takahiro Iida Friend II (Make My Mad Mix) From Ayu-mi-x 2-5 4:31 Remix – HAL Companies, etc. Phonographic Copyright (p) – Avex Inc. Copyright (c) – Avex Inc. Manufactured By – Avex Inc. Credits Art Direction – Shinichi Hara Design – Michiho Ogasawara Engineer [Assistant] – Fuyuhiko Inui, Gen Okamura, Satoshi Kumasaka, Yasuo Higashidate Lyrics By – Ayumi Hamasaki Mastered By – Eddy Schreyer Mixed By – Atsushi Hattori (tracks: 2-4), Dave Ford (tracks: 1-6), Dave Way (tracks: 1-1, 1-2, 1-4, 1-5, 1-7, 1-9, 1-11 to 1-16, 2-3), Izumi "D・M・X" Miyazaki* (tracks: 1-10), Steve Churchyard (tracks: 1-3, 1-8) Photography By – Toru Kumazawa Producer – Max Matsuura Producer [Sound] – Naoto Suzuki Recorded By – Atsushi Hattori, Noriki Inada Notes CD2 also contains a CD-Extra section with photo's, discography, weblinks, commercials with Ayu's music and voice files of Ayu saying different words in .wav format. Track 1-16 also contains the hidden song "Kanariya" Barcode and Other Identifiers Barcode: 4 988064 117406 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Avex Trax, China Record AVTCD-95292/B, Ayumi LOVEppears AVTCD-95292/B, Shanghai China 1999 SCD-779 Hamasaki (CD, Album) SCD-779 Corporation (CRSC) Ayumi Loveppears AQZD-50665 Avex Trax AQZD-50665 Japan 2012 Hamasaki (CD, Pla) LOVEppears Ayumi Hong AVTCD-95292 (CD, Album + Avex Trax AVTCD-95292 1999 Hamasaki Kong CD, Enh) Related Music albums to LOVEppears by Ayumi Hamasaki Ayumi Hamasaki - Ayu-mi-x III Acoustic Orchestra Version Every Little Thing - Every Best Single + 3 MAX - Maximum Groove Yaya Auga - Orange Suzuki Kaioh - MegaMan-X m.c.A·T - Breakdown -Let's Go! Rookie Boy- Urata Naoya (AAA) - un Best Nanase Aikawa - Treasure Box -Tetsuro Oda Songs-.
Load more

Recommended publications
  • The Roots of Middle-Earth: William Morris's Influence Upon J. R. R. Tolkien
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2007 The Roots of Middle-Earth: William Morris's Influence upon J. R. R. Tolkien Kelvin Lee Massey University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Massey, Kelvin Lee, "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " PhD diss., University of Tennessee, 2007. https://trace.tennessee.edu/utk_graddiss/238 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. David F. Goslee, Major Professor We have read this dissertation and recommend its acceptance: Thomas Heffernan, Michael Lofaro, Robert Bast Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled “The Roots of Middle-earth: William Morris’s Influence upon J.
    [Show full text]
  • Hayashi Fumiko: the Writer and Her Works
    University at Albany, State University of New York Scholars Archive East Asian Studies Faculty Scholarship East Asian Studies 1994 Hayashi Fumiko: The Writer and Her Works Susanna Fessler PhD University at Albany, State University of New York, [email protected] Follow this and additional works at: https://scholarsarchive.library.albany.edu/eas_fac_scholar Part of the Japanese Studies Commons Recommended Citation Fessler, Susanna PhD, "Hayashi Fumiko: The Writer and Her Works" (1994). East Asian Studies Faculty Scholarship. 13. https://scholarsarchive.library.albany.edu/eas_fac_scholar/13 This Dissertation is brought to you for free and open access by the East Asian Studies at Scholars Archive. It has been accepted for inclusion in East Asian Studies Faculty Scholarship by an authorized administrator of Scholars Archive. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. Hie quality of this reproduction is dependent upon the qualify of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Japanese Native Speakers' Attitudes Towards
    JAPANESE NATIVE SPEAKERS’ ATTITUDES TOWARDS ATTENTION-GETTING NE OF INTIMACY IN RELATION TO JAPANESE FEMININITIES THESIS Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Atsuko Oyama, M.E. * * * * * The Ohio State University 2008 Master’s Examination Committee: Approved by Professor Mari Noda, Advisor Professor Mineharu Nakayama Advisor Professor Kathryn Campbell-Kibler Graduate Program in East Asian Languages and Literatures ABSTRACT This thesis investigates Japanese people’s perceptions of the speakers who use “attention-getting ne of intimacy” in discourse in relation to femininity. The attention- getting ne of intimacy is the particle ne that is used within utterances with a flat or a rising intonation. It is commonly assumed that this attention-getting ne is frequently used by children as well as women. Feminine connotations attached to this attention-getting ne when used by men are also noted. The attention-getting ne of intimacy is also said to connote both intimate and over-friendly impressions. On the other hand, recent studies on Japanese femininity have proposed new images that portrays figures of immature and feminine women. Assuming the similarity between the attention-getting ne and new images of Japanese femininity, this thesis aims to reveal the relationship between them. In order to investigate listeners’ perceptions of women who use the attention- getting ne of intimacy with respect to femininity, this thesis employs the matched-guise technique as its primary methodological choice using the presence of attention-getting ne of intimacy as its variable. In addition to the implicit reactions obtained in the matched- guise technique, people’s explicit thoughts regarding being onnarashii ‘womanly’ and kawairashii ‘endearing’ were also collected in the experiment.
    [Show full text]
  • Song Lyrics of the 1950S
    Song Lyrics of the 1950s 1951 C’mon a my house by Rosemary Clooney Because of you by Tony Bennett Come on-a my house my house, I’m gonna give Because of you you candy Because of you, Come on-a my house, my house, I’m gonna give a There's a song in my heart. you Apple a plum and apricot-a too eh Because of you, Come on-a my house, my house a come on My romance had its start. Come on-a my house, my house a come on Come on-a my house, my house I’m gonna give a Because of you, you The sun will shine. Figs and dates and grapes and cakes eh The moon and stars will say you're Come on-a my house, my house a come on mine, Come on-a my house, my house a come on Come on-a my house, my house, I’m gonna give Forever and never to part. you candy Come on-a my house, my house, I’m gonna give I only live for your love and your kiss. you everything It's paradise to be near you like this. Because of you, (instrumental interlude) My life is now worthwhile, And I can smile, Come on-a my house my house, I’m gonna give you Christmas tree Because of you. Come on-a my house, my house, I’m gonna give you Because of you, Marriage ring and a pomegranate too ah There's a song in my heart.
    [Show full text]
  • In John's Gospel
    John Carroll University Carroll Collected Masters Essays Theses, Essays, and Senior Honors Projects Winter 2016 A STUDY OF “BELIEVING” AND “LOVE” IN JOHN’S GOSPEL Patrick Sullivan John Carroll University, [email protected] Follow this and additional works at: http://collected.jcu.edu/mastersessays Part of the Biblical Studies Commons Recommended Citation Sullivan, Patrick, "A STUDY OF “BELIEVING” AND “LOVE” IN JOHN’S GOSPEL" (2016). Masters Essays. 56. http://collected.jcu.edu/mastersessays/56 This Essay is brought to you for free and open access by the Theses, Essays, and Senior Honors Projects at Carroll Collected. It has been accepted for inclusion in Masters Essays by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. A STUDY OF “BELIEVING” AND “LOVE” IN JOHN’S GOSPEL An Essay Submitted to The Office of Graduate Studies College of Arts and Sciences John Carroll University in Partial Fulfillment of the Requirements for the Degree of Master of Arts By Patrick Sullivan 2016 The essay of Patrick Sullivan is hereby accepted: ________________________________________ ____________________ Advisor — Dr. Sheila E. McGinn Date I certify that this is the original document ________________________________________ ___________________________ Author — Patrick Sullivan Date If one reads the Gospel of John through a contemplative lens one can discern a very useful dynamic interplay between the evangelist’s treatment of the words “believe” and “love.” This paper will investigate this dynamic. It will begin by identifying the relevant perspectives that a contemplative brings into an encounter with scripture. After this, there will be a short section exploring John’s use of the word love, and how this understanding of love is uniquely useful to the contemplative.
    [Show full text]
  • Francis Poulenc and Surrealism
    Wright State University CORE Scholar Master of Humanities Capstone Projects Master of Humanities Program 1-2-2019 Francis Poulenc and Surrealism Ginger Minneman Wright State University - Main Campus Follow this and additional works at: https://corescholar.libraries.wright.edu/humanities Part of the Arts and Humanities Commons Repository Citation Minneman, G. (2019) Francis Poulenc and Surrealism. Wright State University, Dayton, Ohio. This Thesis is brought to you for free and open access by the Master of Humanities Program at CORE Scholar. It has been accepted for inclusion in Master of Humanities Capstone Projects by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Minneman 1 Ginger Minneman Final Project Essay MA in Humanities candidate Francis Poulenc and Surrealism I. Introduction While it is true that surrealism was first and foremost a literary movement with strong ties to the world of art, and not usually applied to musicians, I believe the composer Francis Poulenc was so strongly influenced by this movement, that he could be considered a surrealist, in the same way that Debussy is regarded as an impressionist and Schönberg an expressionist; especially given that the artistic movement in the other two cases is a loose fit at best and does not apply to the entirety of their output. In this essay, which served as the basis for my lecture recital, I will examine some of the basic ideals of surrealism and show how Francis Poulenc embodies and embraces surrealist ideals in his persona, his music, his choice of texts and his compositional methods, or lack thereof.
    [Show full text]
  • 浜崎あゆみ Next Level Mp3, Flac, Wma
    浜崎あゆみ Next Level mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock / Pop Album: Next Level Country: Japan Released: 2009 Style: J-pop, Techno, Pop Rock, Synth-pop MP3 version RAR size: 1324 mb FLAC version RAR size: 1492 mb WMA version RAR size: 1405 mb Rating: 4.9 Votes: 778 Other Formats: DXD VOC VQF AU AUD AIFF XM Tracklist Hide Credits Bridge To The Sky 1 1:40 Music By, Arranged By, Programmed By – Yuta Nakano Next Level 2 Arranged By, Programmed By – HAL Backing Vocals – Junko HirotaniGuitar – Takehito 4:28 ShimizuMusic By – D.A.I.Programmed By [Additional] – Mayuko Maruyama Disco-munication 3 1:30 Music By, Arranged By, Programmed By, Guitar, Bass – CMJK Energize 4 4:29 Arranged By, Programmed By, Guitar – CMJKMusic By – Yuta Nakano Sparkle 5 4:30 Arranged By, Programmed By, Guitar, Bass – CMJKMusic By – Kazuhiro Hara Rollin' 6 5:02 Arranged By, Programmed By, Guitar – CMJKMusic By – Yuta Nakano Green 7 Arranged By [Strings] – Gen IttetsuArranged By, Programmed By, Guitar – TasukuDrums – 4:46 Tom Tamada*Music By – Tetsuya YukumiStrings – Gen Ittetsu Strings* Load Of The Shugyo 8 1:30 Music By, Arranged By, Programmed By, Guitar, Bass – CMJK Identity Backing Vocals [Additional] – Sharlotte Gibson, Stephanie AlexandraBass – Chris 9 4:16 ChaneyDrums – Josh FreeseGuitar – Tim PierceGuitar [Additional] – KIKU , Ryota AkizukiMusic By, Arranged By, Programmed By – Yuta Nakano Rule Arranged By, Programmed By – HAL Bass – Junko KitasakaDrums – Tom Tamada*Guitar – 10 4:07 Takehito ShimizuMusic By – Miki WatanabeProgrammed
    [Show full text]
  • Mahina, the Hawaiian Moon Calendar, and Shamanic Astrology by Liz Dacus
    Mahina, the Hawaiian Moon Calendar, and Shamanic Astrology By Liz Dacus In August of 2009, a Shamanic Astrology group gathered for a week long event on the Big Island. The main purpose of the gathering was to learn more about the night sky and the Hawaiian Moon Calendar. It is exciting to see how the Hawaiian Moon Calendar can be integrated into the Shamanic Astrology Mystery School’s current understanding of the Moon cycles. I think it is worthwhile to begin with the Hawaiian story of how the Moon came to be, in the words of noted artist and post contact historian Herbert Kane.(1) “In the beginning there was only Po, the Darkness, an infinite, formless night without beginning, without end. But within that emptiness there emerged a Thought, an intelligence that brooded through an immensity of time and space, Hina. And in that darkness was created a womb, the Earth Mother, Papa (pa-PAH). Then light was created, the light of the Sky Father, Wakea. In their embrace, male light penetrated female darkness, and from this union of opposites was created a universe of opposites---male and female, light and dark, heat and cold, rough and smooth, wet and dry, storm and stillness-a universe where all things are defined by their opposites. Thus the Universe was given form and life; for only in the marriage of light and darkness can forms be revealed. Only in sunlight can there be growth of living things, all fathered by light and mothered in the darkness of the womb, the egg, or the soil.
    [Show full text]
  • Aya Hirano Bouken Desho Desho? Mp3, Flac, Wma
    Aya Hirano Bouken Desho Desho? mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Stage & Screen Album: Bouken Desho Desho? Country: US Released: 2007 Style: J-pop, Karaoke, Theme MP3 version RAR size: 1330 mb FLAC version RAR size: 1975 mb WMA version RAR size: 1606 mb Rating: 4.5 Votes: 251 Other Formats: MIDI WAV MMF FLAC APE DXD VQF Tracklist 1 Bouken Desho Desho? 4:18 2 Kazeyomi Ribbon 3:47 3 Bouken Desho Desho? (Karaoke Version) 4:18 4 Kazeyomi Ribbon (Karaoke Version) 3:43 Companies, etc. Recorded At – Studio Magic Garden Credits Arranged By – Junpei Fujita (tracks: 1, 3), Takahiro Ando (tracks: 2, 4) Art Direction – Junya Imai Composed By – Akiko Tomita (tracks: 1, 3), Morihiro Suzuki (tracks: 2, 4) Directed By – Shigeru Saito Engineer – Atsushi Kobayashi , Haruhiko Shimokawa, Katsumi Moriya Executive-Producer – Kazuoki Ohnishi, Shunji Inoue Illustration – Shoko Ikeda Lyrics By – Aki Hata Mastered By – Yoshihiko Ando Painting – Naomi Ishida Photography By – Takahiro Yoshimoto Producer – Shigeru Saito Strings – Gen Ittetsu Strings* Tenor Saxophone – Kazuki Katsuta Trombone – Hiroki Sato Trumpet – Shirou Sasaki* Notes Tracks 1 and 3 are opening theme of TV anime "The Melancholy of Haruhi Suumiya". Tracks 2 and 4 are opening theme of radio drama "The Melancholy of Haruhi Suzumiya SOS Brigade Radio Division". Other versions Category Artist Title (Format) Label Category Country Year LACM-4255 Aya Hirano 冒険でしょでしょ? (CD, Maxi) Lantis LACM-4255 Japan 2006 Related Music albums to Bouken Desho Desho? by Aya Hirano Masayoshi Takanaka - T-Wave 山瀬まみ - 親指姫 Koda Kumi - Eternity ~Love & Songs~ Ai Otsuka - Love Is Best Taeko Ohnuki, Shigeru Suzuki, Haruomi Hosono, Kaze , Yuko Tomita, Ryohei Yamanashi, Haruomi Hosono - On The Beach Ayumi Hamasaki - A Ballads Takahiro Saito - Mandom-Lovers Of The World / 25 Minutes To Go Ayumi Hamasaki - Ayu-mi-x 7 -Version Acoustic Orchestra- Ai Otsuka - Love Fantastic Various - Carol Tribute Sam Morgan's Jazz Band / The Get-Happy Band / The Blue Ribbon Syncopators - Sam Morgan Etc.
    [Show full text]
  • Green Bond Pricing in the Primary Market
    GREEN BOND PRICING H1 IN THE PRIMARY MARKET: (Q1-Q2) 2019 January - June 2019 Report highlights • Includes 61 green bonds from 52 issuers with a combined face value of USD56.6bn issued in H1 (Q1-Q2) 2019 • EUR green bonds achieved larger book cover, and greater spread compression than vanilla equivalents, on average • USD green bonds were similar to vanilla equivalents, on average • Two thirds of green bonds in our sample priced without new issue premium • 53% of green bonds were sold to green investors • 28 days after pricing, green bonds tend to have tightened more than their benchmarks, on average • Spotlight on EUR Utility bonds With funding support by Obvion Hyptheken and Lyxor Asset Management Green Bond Pricing in the Primary Market: January - June 2019 1 Introduction Report highlights This is the 8th report in our pricing series, • On average, EUR green bonds achieved • Seven days after pricing, vanilla bonds in which we observe how green bonds larger oversubscription and spread had tightened more than green bonds, on perform in the primary markets. This compression than vanilla equivalents (for average. After 28 days, green bonds had, report includes bonds issued in the first six the same sector and period). on average, tightened more than vanilla months of 2019 (H1 2019). See more on page 3 bonds. See more on pages 12 During this period, USD117bn of green bonds • On average, USD green bonds achieved were issued that complied with the Climate lower oversubscription and spread • In Q3 more green benchmark Utilities Bonds Taxonomy.1 Our analysis for H1 2019 compression than vanilla equivalents.
    [Show full text]
  • The Recording Industry in Japan 2005
    RIAJ Yearbook 2005 The Recording Industry in Japan English Edition 2005 Statistics Analysis Trends CONTENTS Overview of Production of Recordings in 2004 ..................................1 Production Statistics by Format (Unit Basis•Value Basis) ............2 1. Total Recorded Music — Unit Basis......................................................................2 2. Total Audio Recordings — Unit Basis ..................................................................2 3. Total CDs — Unit Basis ........................................................................................2 4. Total Recorded Music — Value Basis....................................................................3 5. Total Audio Recordings — Value Basis ................................................................3 6. Total CDs — Value Basis......................................................................................3 7. CD Singles — Unit Basis ......................................................................................4 8. 5" CD Albums — Unit Basis ................................................................................4 0. Reference 1. Video Recordings — Unit Basis ................................................................4 9. CD Singles — Value Basis....................................................................................5 10. 5" CD Albums — Value Basis ..............................................................................5 0. Reference 2. Video Recordings — Value Basis ..............................................................5
    [Show full text]
  • Schielke, Samuli. "Destiny As a Relationship." HAU: Journal of Ethnographic Theory 8 (1/2): 343–346
    Schielke, Samuli. "Destiny as a relationship." HAU: Journal of Ethnographic Theory 8 (1/2): 343–346. DOI: 10.1086/698268 Destiny as a relationship AFTERWORD to the special section ANTHROPOLOGIES OF DESTINY: ACTION, TEMPORALITY, FREEDOM Samuli Schielke, Leibniz-Zentrum Moderner Orient, Berlin Abstract: This afterword takes a closer look at relationships of power involved in destiny, taking inspiration from questions and answers offered in this special section on anthropologies of destiny. Destiny offers a theory of human action according to which humans can have power over their condition only in accordance and alliance with very powerful or omnipotent superhuman beings or processes, such as the monotheist God, polytheistic pantheons, heaven, planets, but also history, progress, or markets. Who are they? Do they need to be intentional? What kinds of power relations, or “relationship power,” do humans and the superhuman authors of their destiny craft? I return to the opening question of the special section—What does it mean to live a life that has already been written?—and suggest that destiny as an intimate relationships of power is meaningful in the sense that it provides practical, moral answers to the question why. Keywords: predestination, power, relationality, morality, God, divination, Tralfamadore Was the situation just structured that way? It is possible to imagine a destiny that is not a relationship but instead a deterministic causal chain that writes itself without intervention by powerful others. Kurt Vonnegut ([1969] 1979) did so in his novel Slaughterhouse-Five about the firebombing of Dresden, which he witnessed as a young prisoner of war. The protagonist, Billy Pilgrim, travels in time between World War II, a postwar American present, and a near future.
    [Show full text]