ellauri035.html on line 1134: no el medieval (la mujer ser extraordinario, se le rinde culto ca-balleresco), no el del Renacimiento (nada sobrenatural la mujer, pero con su eterno encanto), sino el del Viejo Testamento (la mujer criatura satánica).
ellauri042.html on line 803: Euclid’s fifth proposition in the first book of his Elements (that the base angles in an isosceles triangle are equal) may have been named the Bridge of Asses (Latin: Pons Asinorum) for medieval students who, clearly not destined to cross over into more abstract mathematics, had difficulty understanding the proof—or even the need for the proof. An alternative name for this famous theorem was Elefuga, which Roger Bacon, writing circa ad 1250, derived from Greek words indicating “escape from misery.” Medieval schoolboys did not usually go beyond the Bridge of Asses, which thus marked their last obstruction before liberation from the Elements.
ellauri052.html on line 462: A number of foreign and medieval analogues exist that exhibit the motif ("Whittington's cat" motif, N411.2), where the hero obtains wealth by selling a cat, typically in a rodent-infested place direly in need of one. The tale is catalogued Aarne–Thompson (AT) tale type 1651, "Whittington's Cat".
ellauri062.html on line 680: Bierce prefaces his translation with the following explanation: A recent republication of the late Gen. John A. Dix's disappointing translation of this famous medieval hymn, together with some researches into its history, which I happened to be making at the time, induces me to undertake a translation myself. It may seem presumption in me to attempt that which so many eminent scholars of so many generations have attempted before me; but failure of others encourages me to hope that success, being still unachieved, is still achievable. The fault of many translations, from Lord Macaulay's to that of Gen. Dix, has been, I venture to think, a too strict literalness, whereby the delicate irony and subtle humor of the immortal poem--though doubtless these admirable qualities were valued by the translators--have been sacrificed in the result. In none of the English versions that I have examined is more than a trace of the mocking spirit of insincerity pervading the whole prayer,--the cool effrontery of the supplicant in enumerating his demerits, his serenely illogical demands of salvation in spite, or rather because, of them, his meek submission to the punishment of others, and the many similarly pleasing characteristics of this amusing work being most imperfectly conveyed. By permitting myself a reasonable freedom of rendering--in many cases boldly supplying that "missing link" between the sublime and the ridiculous which the author, writing for the acute monkish apprehension of the thirteenth century, did not deem it necessary to insert--I have hoped at least partly to liberate the lurking devil of humor from his letters, letting him caper, not, certainly, as he does in the Latin, but as he probably would have done had his creator written in English.
ellauri063.html on line 272: In Jewish folklore, a golem (/ˈɡoʊləm/ GOH-ləm; Hebrew: גולם‎) is an animated anthropomorphic being that is created entirely from inanimate matter (usually clay or mud). The word was used to mean an amorphous, unformed material in Psalms and medieval writing.
ellauri070.html on line 342: Their four "concentric" terms are derived from Ezekiel's vision (1:4), "And I looked and behold, a whirlwind came out of the north, a great cloud, and a fire infolding itself, and a brightness was about it..." The "Three Impure Qlippot" (completely Tamei "impure") are read in the first three terms, the intermediate "Shining Qlippah" (Nogah "brightness") is read in the fourth term, mediating as the first covering directly surrounding holiness, and capable of sublimation. In medieval Kabbalah, the Shekhinah is separated in Creation from the Sefirot by man´s sin, while in Lurianic Kabbalah Divinity is exiled in the qlippot from prior initial Catastrophe in Creation. This causes "Sparks of Holiness" to be exiled in the qlippot, Jewish Observance with physical objects redeeming mundane Nogah, while the Three Impure Qlippot are elevated indirectly through Negative prohibitions. Repentance out of love retrospectively turns sin into virtue, darkness into light. When all the sparks are freed from the qlippot, depriving them of their vitality, the Messianic era begins. In Hasidic philosophy, the kabbalistic scheme of qlippot is internalised in psychological experience as self-focus, opposite to holy devekut self-nullification, underlying its Panentheistic Monistic view of qlippot as the illusionary self-awareness of Creation.
ellauri077.html on line 803: the "best people" from the gentlemen´s clubs, and all the frantic fascist captains, united in common hatred of Socialism and bestial horror at the rising tide of the mass revolutionary movement, have turned to acts of provocation, to foul incendiarism, to medieval legends of poisoned wells, to legalize their own destruction of proletarian organizations, and rouse the agitated petty-bourgeoise to chauvinistic fervor on behalf of the fight against the revolutionary way out of the crisis.
ellauri095.html on line 139: In life and poetry he was serious and playful – even whimsical. Spiritually, despite an early scrupulosity which he never fully lost, he followed the Jesuit way of finding God in all things, and rejoiced in “God in the world”: “The world is charged wíth the grándeur of God.” He was very, very bright, with an extensive knowledge of words and languages — he knew so many words ! His intellectual hero was the medieval philosopher Duns Scotus, whose philosophy of selfhood he held dear. Hopkins himself had a strong sense of self, appreciated his own individuality, and was immensely self-confident.
ellauri095.html on line 192: An important element in Hopkins work is his own concept of inkscape, which was derived in part from the medieval theologian Duns Scotus.
ellauri095.html on line 455: Christina Rossetti became for Hopkins the embodiment of the medievalism of the Pre-Raphaelites, the Oxford Movement, and Victorian religious poetry generally. In the 1860s Hopkins was profoundly influenced by her example and succeeded, unbeknownst to her and to the critics of his time, in becoming a rival far greater than any of her contemporaries.
ellauri095.html on line 457: Their rivalry began with Hopkins’s response to her poem “The Convent Threshold.” Geoffrey Hartman was clearly on the right track when he suggested in the introduction to Hopkins: A Collection of Critical Essays (1966) that “Hopkins seems to develop his lyric structures out of the Pre-Raphaelite dream vision. In his early ‘A Vision of the Mermaids’; and ‘St. Dorothea’; he may be struggling with such poems as Christina Rossetti’s ‘Convent Threshold’; and Dante Gabriel Rossetti’s ‘The Blessed Damozel,’ poems in which the poet stands at a lower level than the vision, or is irrevocably, pathetically distanced.” Such poems were the essence of medievalism in poetry according to William Morris, who felt that Keats’s “La Belle Dame Sans Merci” was the germ from which all Pre-Raphaelite poetry sprang. Standing beyond Keats, however, the primary source was Dante. Christina Rossetti clearly alludes to Beatrice’s appeal to Dante in “The Convent Threshold”:
ellauri095.html on line 535: His religious consciousness increased dramatically when he entered Oxford, the city of spires. From April of 1863, when he first arrived with some of his journals, drawings, and early Keatsian poems in hand, until June of 1867 when he graduated, Hopkins felt the charm of Oxford, “steeped in sentiment as she lies,” as Matthew Arnold had said, “spreading her gardens to the moonlight and whispering from her towers the last enchantments of the Middle Ages.” Here he became more fully aware of the religious implications of the medievalism of Ruskin, Dixon, and the Pre-Raphaelites. Inspired also by Christina Rossetti, the Catholic doctrine of the Real Presence of God in the Eucharist, and by the Victorian preoccupation with the fifteenth-century Italian religious reformer Girolamo Savonarola, he soon embraced Ruskin’s definition of “Medievalism” as a “confession of Christ” opposed to both “Classicalism” (“Pagan Faith”) and “Modernism” (the “denial of Christ”).
ellauri096.html on line 67: In response to the apparent conflict between freedom and foreknowledge, medieval philosophers denied that future contingent propositions have a truth-value. That´s silly. They took themselves to be extending a solution Aristotle discusses in De Interpretatione to the problem of logical fatalism. According to this truth-value gap approach, ‘You will take a dump tomorrow’ is not true now. The prediction will become true tomorrow. A morally serious theist can agree with the Rubaiyat of Omar Khayyam:
ellauri096.html on line 165: The medieval philosopher John Buridan (Sophismata, Sophism 13) gave a starkly minimal example of such instability:
ellauri099.html on line 205: Two things hit you when you visit the site of the Lyceum and look at its architectural plans. First, it is a direct copy of Plato’s Academy. And second, it is much, much bigger. The relation between the Academy and the Lyceum is a little like that between a twee medieval Cambridge College and the monumental architecture of the University of Chicago.
ellauri101.html on line 48: In 1921, Campbell graduated from the Canterbury School in New Milford, Connecticut. While at Dartmouth College he studied biology and mathematics, but decided that he preferred the humanities. He transferred to Columbia University, where he received a Bachelor of Arts degree in English literature in 1925 and a Master of Arts degree in medieval literature in 1927. At Dartmouth he had joined Delta Tau Delta. An accomplished athlete, he received awards in track and field events, and, for a time, was among the fastest half-mile runners in the world.
ellauri101.html on line 52: On his return to Columbia University in 1929, Campbell expressed a desire to pursue the study of Sanskrit and modern art in addition to medieval literature. Lacking faculty approval, Campbell withdrew from graduate studies. Later in life he jested that it is a sign of incompetence to have a PhD in the liberal arts, the discipline covering his work.
ellauri142.html on line 353: Thomas à Kempis (c. 1380 – 25 July 1471; German: Thomas von Kempen; Dutch: Thomas van Kempen) was a German-Dutch canon regular of the late medieval period and the author of The Imitation of Christ, one of the most popular and best known Christian devotional books. His name means "Thomas of Kempen", Kempen being his home town. While the form Thomas à Kempis (with a faux-French accent on the à) is often found, it is actually incorrect. The correct Latin should be Thomas a Kempis (…from Kempen), as borne out by surviving contemporary mentions of his name.
ellauri142.html on line 355: He was a member of the Modern Devotion, a spiritual movement during the late medieval period, and a follower of Geert Groote, Peep Koort, and Florens Radewyns, the founders of the Brethren of the Common Life.
ellauri145.html on line 707: Durtal admires the documentation of Naturalism, yet wants to open it to the supernatural, to an exploration of both body and spirit: it will be a kind of “naturalisme spiritualiste” that will follow Zola’s route, but in the air.6 This tension between realism and the supernatural lies at the heart of Là-bas, a novel in which Huysmans follows Durtal’s spiritual transformation as he researches medieval and modern Satanism. Là-bas was a scandalous best-seller. It inspired a great deal of public debate, especially since it was published in the same review and at the same time as Jules Huret’s first Enquête sur l’évolution littéraire, a series of sixty-four interviews conducted with major French authors from March 3 to July 5, 1891.7 This series, which asked its interviewees whether Naturalism was dead, was a phenomenal success read by all of Paris.8 Huret caused every non-Naturalist writer to agree that Zola’s brand of Naturalism was obsolete because it neglected humanity’s soul.
ellauri159.html on line 624: Luke on talousliberaaliuskossa. In the time of the medieval knight, making prudent love made the difference between life and death, wealth or poverty, health or illness, safety or turmoil, marriage or no marriage, and children or no children. And it is no different for today’s knight. Making prudent decisions daily will help lead a fruitful and effective life.
ellauri159.html on line 718: The knightly trait of gratitude includes both being grateful in diverse circumstances as well as expressing gratitude to God (cheap) and other good guys (more expensive). Toward the latter part of the medieval knight era (the fourteenth to sixteenth centuries), many knights acquired wealth and power and developed relationships with royalty. This wealth and friendship with the king’s court brought feasting and abundance in many ways. In fact, part of a squire’s training as a knight was "learning how to serve his Lord at meals and kick out the beggars". Nihti osoitti näin kiitollisuutta kinkulle, ja kinkku oli kiitollinen sille. Kaikki olivat kiitollisia. Ne ainakin joista oli väliä.
ellauri163.html on line 477: Officially, the tomb is the burial site of Youza Asaph, a medieval Muslim preacher - but a growing number of people believe that it is in fact the tomb of Jesus of Nazareth.
ellauri163.html on line 697: With an 11-year-old hero, Philip Pullman´s new book is a delightful nod to Edmund Spenser´s 'The Faerie Queene'. If Philip Pullman’s Dark Materials trilogy was an obvious nod to John Milton’s Paradise Lost, his new Book Of Dust trilogy takes inspiration from Edmund Spenser’s The Faerie Queene. Though thematically different, both fall within the same literary genre—they are epic poems, long narrative pieces recounting heroic deeds, and if the term could loosely be used to describe works of prose, then La Belle Sauvage, the first in the Book Of Dust trilogy, is one such novel. Spenser’s late-16th century poem, though incomplete, follows the adventures of medieval knights. Our knight is 11-year-old Malcolm Polstead, curious, intelligent, good-natured and clueless, when we first meet him, of the trials that await him. La Belle Sauvage, then, is a companion, or "equel" (a new story that stands alongside his previous trilogy), to His Dark Materials trilogy. Better strike while the iron is hot, as J.K. Rowling did.
ellauri171.html on line 404: They were a sort of protected species, like a court jester in medieval Europe. They could say something critical to the ruler and get away with it, where no-one else could. There were many such men in the Old Testament (Elijah springs to mind), and several in the gospels (Jesus and John were both called prophets).
ellauri171.html on line 1025: The medieval commentators differ on whether Jezebel converted to Judaism in a halachically acceptable manner. R. Levi ben Gershom (Ralbag, 1288-1344) is of the view that Jezebel did not fully embrace Judaism and was not a halachic Jewess. This would mean that her two sons, Ahazia and Jehoram, also lacked Jewish credentials. But his assumption is challenged by the fact that there are indications throughout rabbinic works that Ahazia and Jehoram were regarded as bona-fide halachic Jews. Indeed, this is the position taken by a number of halachic authorities. Some contemporary authors argue instead that Jehoram was the son of another of Ahab’s 100% Jewish wives.
ellauri182.html on line 178: Rennyo is generally credited by Shin Buddhists for reversing the stagnation of the early Jōdo Shinshū community, and is considered the "Second Founder" of Jōdo Shinshū. His portrait picture, along with Shinran's, are present on the onanizing (altar) area of most Jōdo Shinshū temples. However, Rennyo has also been criticized by some Shin scholars for his engagement in medieval politics and his alleged divergences from Shinran's original thought.
ellauri190.html on line 52: The Kazakhs (also spelled Qazaqs; Kazakh: sg. қазақ, qazaq, [qɑˈzɑq] (audio speaker iconlisten), pl. қазақтар, qazaqtar, [qɑzɑqˈtɑr] (audio speaker iconlisten); the English name is transliterated from Russian; Russian: казахи) are a Turkic ethnic group who mainly inhabit the Ural Mountains and northern parts of Central and East Asia (largely Kazakhstan, but also parts of Russia, Uzbekistan, Mongolia and China) in Eurasia. Kazakh identity is of medieval origin and was strongly shaped by the foundation of the Kazakh Khanate between 1456 and 1465, when several tribes under the rule of the sultans Janibek and Kerei departed from the Khanate of Abu'l-Khayr Khan in hopes of forming a powerful khanate of their own. Other notable Kazakh khans include Ablai Khan and Abul Khair Khan.
ellauri190.html on line 54: The Kazakhs are descendants of ancient Turkic tribes – Kipchaks and medieval Mongolic or Turco-Mongol tribes – Dughlats, Jalairs, Keraits.
ellauri190.html on line 101: The Cumans (or Kumans), also known as Polovtsians or Polovtsy (plural only, from the Russian exonym Половцы), were a Turkic nomadic people comprising the western branch of the Cuman–Kipchak confederation. The Cumans were fierce and formidable nomadic warriors of the Eurasian Steppe who exerted an enduring influence on the medieval Balkans. They were numerous, culturally sophisticated, and militarily powerful.
ellauri190.html on line 105: The Cuman language is attested in some medieval documents and is the best-known of the early Turkic languages.[6]: 186 The Codex Cumanicus was a linguistic manual written to help Catholic missionaries communicate with the Cuman people. Cuman tarkoitti blondia.
ellauri190.html on line 438: Rajaraja I was a Chola emperor from present day south India who ruled over the Chola kingdom of medieval Tamil Nadu (parts of southern India), parts of northern India, two thirds of Sri Lankan territory, Maldives and parts of East Asia, bet...
ellauri194.html on line 256: Europeans in Medieval China reported findings from their travels to the Mongol Empire. Some accounts and maps began to place the "Caspian Mountains", and Gog and Magog, just outside the Great Wall of China. The Tartar Relation, an obscure account of Friar Carpini's 1240s journey to Mongolia, is unique in alleging that these Caspian Mountains in Mongolia, "where the Jews called Gog and Magog by their fellow countrymen are said to have been shut in by Alexander", were moreover purported by the Tartars to be magnetic, causing all iron equipment and weapons to fly off toward the mountains on approach. In 1251, the French friar André de Longjumeau informed his king that the Mongols originated from a desert further east, and an apocalyptic Gog and Magog ("Got and Margoth") people dwelled further beyond, confined by the mountains. In the map of Sharif Idrisi, the land of Gog and Magog is drawn in the northeast corner (beyond Northeast Asia) and enclosed. Some medieval European world maps also show the location of the lands of Gog and Magog in the far northeast of Asia (and the northeast corner of the world).
ellauri197.html on line 387: When the poet says: “not only be no quintessence”, he means to refer to the medieval belief of Quintessence, which was regarded as “the pure essence of anything”, containing within itself all the creative and sustaining virtues. It was ‘pure’ and ‘simple’ and not a mixture or compound of a number of different elements or ingredients. It was supposed to have the power of sustaining, nourishing, and strengthening.
ellauri198.html on line 260: Esim Roland was the name of a real-life medieval military leader under Charlemagne who, more importantly, was the subject of the oldest surviving major work of French literature: an epic poem titled The Song of Roland. Roland was a loyal and trusting knight who was told to bring up the rear guard and burst his own temples open while sounding a horn too vigorously. What a way to go! In 1855, Robert Browning made the warrior the subject of his poem “Childe Roland to the Dark Tower Came,” which leads us back to Stephen King, of all the U.S. turds. It’s a bit incongruous to think of Dorff’s Roland West—an uncouth man who refers to “Saigon trim” and is eager to start a fight.
ellauri238.html on line 909: bring back the memory of flower and fruit, medieval cities, tuo takaisin muiston kukista ja hedelmistä, keskiaikaisista kaupungeista,
ellauri245.html on line 271: Leopold´s Apple is actually a brand of whiskey. But The pear of anguish, also known as choke pear or mouth pear, is a torture device based on mechanisms of unknown use from the early modern period. The mechanism consists of a pear-shaped metal body divided into spoon-like segments that can be spread apart with a spring or by turning a key. Its proposed functionality as a torture device is to be variously inserted into the mouth, rectum, or vagina, and then expanded to gag or mutilate the victim. There is no contemporary evidence of such a torture device existing in the medieval era, and ultimately the utility of genuine apples and pears stuck in any hole at all remains unknown. Except that an apple forced in his mouth as a kid by his chum Anders B. got Jo Nesbø going as a pulp writer. Iron Maiden was a vagina dentata style box with nails inside.
ellauri254.html on line 429: It is based on several medieval mystery plays, including the late 15th-century English morality play Everyman.
ellauri262.html on line 326: The Anglican priest and scholar of literature Alison Milbank writes that Shelob is undeniably sexual: "Tolkien offers a most convincing Freudian vagina dentata (toothed vagina) in the ancient and disgustingly gustatory spider Shelob." Milbank states that Shelob symbolises "an ancient maternal power that swallows up masculine identity and autonomy", threatening a "castrating hold [which] is precisely what the sexual fetishist fears, and seeks to control". The Tolkien scholar and medievalist Jane Chance mentions "Sam's penetration of her belly with his sword", noting that this may be an appropriate and symbolic way of ending her production of "bastards".
ellauri263.html on line 299: The observance of the day includes five prohibitions, most notable of which is a 25-hour fast. The Book of Lamentations, which mourns the destruction of Jerusalem, is read in the synagogue, followed by the recitation of kinnot, liturgical dirges that lament the loss of the Temples and Jerusalem. As the day has become associated with remembrance of other major calamities which have befallen the Jewish people, some kinnot also recall events such as the murder of the Ten Martyrs by the Romans, expulsions from England, Spain and elsewhere, massacres of numerous medieval Jewish communities during the Crusades, and the Holocaust.
ellauri275.html on line 460: In his Romantic poems, Chavchavadze dreamed of Georgia's glorious past, when "the breeze of life past" would "breathe sweetness" into his "dry soul." In poems Woe, time, time (ვაჰ, დრონი, დრონი), Listen, listener (ისმინეთ მსმენნო), and Caucasia (კავკასია), the "Golden Age" of medieval Georgia was contrasted with its unremarkable present. As a social activist, however, he remained mostly a "cultural nationalist," defender of the native language, and an advocate of the interest of Georgian aristocratic and intellectual elites. In his letters, Alexander heavily criticized Russian treatment of Georgian national culture and even compared it with the pillaging by Ottomans and Persians who had invaded Georgia in the past. In one of the letters he states: The damage which Russia has inflicted on our nation is disastrous. Even Persians and Turks could not abolish our Monarchy and deprive us of our statehood. We have exchanged one serpent for another.
ellauri310.html on line 509: allowfullscreen>