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Cpl. Uriah C. Patterson, from Fredericksburg, Virginia, steps out from the cockpit of an F/A-18 Hornet Oct. 1 during Forager Fury III. Aircraft maintenance Marines provide a major supporting role during FF III by inspecting, repairing and refueling aircraft. FF III is an overarching Marine Corps led exercise involving 1,300 personnel from Sept. 24 through Oct. 6 that emphasizes tactical aviation and aviation ground support on a unit level while training within the Marianas Island range complex. Patterson is a fixed wing aircraft airframe mechanic with Marine All Weather Fighter Attack Squadron 242, Marine Aircraft Group 12, 1st Marine Aircraft Wing, III Marine Expeditionary Force.
(U.S. Marine Corps photo by Lance Cpl. Tyler Ngiraswei/ Released)
Here is an image Flickr will likely butcher. It's a horizon-to-horizon "vertorama" of the Milky Way taken with Galen's Arch (aka Mobius Arch) in the foreground.
Some green "airglow" is pretty obvious on both horizons.
Mind you this is a little "crunchy" from being downsized from 14,215 pixels tall to 2048. We could have left this as a horizontal panorama... but then you'd have to look at Galen's Arch sideways. Galen's Arch in Alabama Hills, California, is more commonly called Mobius Arch, but I prefer to call it by the name of the photographer who brought it to public knowledge and inspired legions of landscape photographers: Galen Rowell. Galen's legacy lives on in his son Tony Rowell.
The orange glow at the top is from the town of Lone Pine, California.
This is a photomerge using 10 separate photos.
Some Rights Reserved: 2017, Steven Christenson
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Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Hartline, Washington: before breakfast-o’clock in the midst of temperatures tumbling into inhumane depths; when one can scarcely feel his digits ditch lights reach into the darkness and find Conductor Gary Durr wading through drifted and drifting snow to hold a job briefing with Dave Reagan, his Engineer, where Durr will briefly escape the inclemency in the relative warmth of the cab as they assess the situation and plan their next few moves. Railroaders have been at war with the elements for generations, hence there is nothing extraordinary about this scene. Yet, it is a glimpse into one such campaign in that perpetual conflict between man; his machines; his – a la Nietzsche – indomitable Will to Power and what is Force Majeure. To-wit: the crew confronts myriad complications: frozen switch locks; compacted, snowed in switches and “throwing” them means throwing your back – all your living and dead might – into bending frozen steel to one’s will; bad, if not non-existent footing; air hoses and the air that passes through them frozen, unbendable and impassable; not to mention the overarching mental and physical fatigue all while ensuring that each move is orchestrated according to a detailed, sequential plan: switches lined, handbrakes set, derails dropped, cars properly spotted, working in between unaired cars and 200-plus-ton locomotives. These men; this Band of Brothers, they have each other’s six every-single-step of the way for any lapse or deviation from said maneuver or miscommunication is consequential. The demand for unflagging concentration is nothing short of supreme as the wind mercilessly knifes its icy blades into any exposed skin and through as many layers of clothing, and any romantic notion of railroading leaves you as quickly as the boreal vacuum sucks the warmth from your body. (30Dec16 ©)
Deryn and I had a late flight so needed to kill a few hours in the morning. We walked up from Dulwich and entered what must be one of the strangest museums. The Horniman houses an eclectic collection of objects with no real theme holding them together. Preserved bugs and butterflies are within reach of voodoo shrines, musical instruments and Hindu and Buddhist figurines. The history of how the museum came into being, below, perhaps explains this mix.
Still it’s much loved and still attracts attendees and during our visit hundreds of tiny kids lining up for the dinosaur exhibition. It also proved a rich seam for amateur photographers! As my photography collection too lacks a theme I had no restrictions in capturing some these treasures.
“Frederick John Horniman, Victorian tea trader and philanthropist, began collecting objects, specimens and artefacts 'illustrating natural history and the arts and handicrafts of various peoples of the world' from around 1860. His overarching mission was to 'bring the world to Forest Hill' and educate and enrich the lives of the local community.
His travels took him to far flung destinations such as Egypt, Sri Lanka, Burma, China, Japan, Canada and the United States collecting objects which 'either appealed to his own fancy or that seemed to him likely to interest and inform those who had not had the opportunity to visit distant lands'. Mr Horniman’s interest as a collector was well known and many travellers approached him with specimens and curiosities.
By the late nineteenth century, these 'natural, industrial and artistic spoils had accumulated to such an extent that he gave up the whole house to the collections'.
His wife is reported to have said 'either the collection goes or we do'. With that, the family moved to Surrey Mount.”
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness
and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Memphis, TN, August, 2019 – Operation “Bluff City Blues,” a two-week long joint federal, state and local law enforcement initiative has resulted in the arrests of 214 individuals in West Tennessee. Those arrested included 79 gang members, 65 individuals for aggravated assault, 34 individuals for homicide and 69 individuals for weapons offenses.
The United States Marshals led initiative brought together federal, state and local law enforcement partners to reduce crime in West Tennessee by identifying and arresting violent fugitives, targeting violent gang activity and collecting intelligence to allow for the systematic removal of individuals who have been charged with committing violent crimes.
In addition to the arrests, Operation Bluff City Blues resulted in the seizure of approximately 771.9 grams of marijuana, cocaine, heroin and crack, $17, 240 in cash, and 28 firearms as well as the recovery of 4 stolen vehicles. In addition, almost 30 registered sex offenders living in Madison and Shelby Counties were checked for compliance with sex offender registration requirements.
Since 2010, the USMS has led more than 70 counter-gang operations which have resulted in more than 8,000 arrests and the seizure of more than 1,800 illegal firearms. For the last 10 years, the overarching goal of the USMS nationwide Operation Triple Beam and Washout initiative has been to bring relief to the residents of communities by strategically and actively pursuing gang members and criminals most responsible for the worst crime and violence in those communities.
Photo by: Shane T. McCoy / US Marshals
The interior of St. Peter and St. Paul's Cathedral, with its glittering chandeliers, pink and green Corinthian columns and overarching vaults, is a far cry from the traditional Russian Orthodox church. Domenico Trezzini designed it according to the wishes of Peter the Great. The design borrowed much from the protestant churches of western Europe, particularly Dutch architecture.
St. Petersburg, Russia (Wednesday 22 Aug 2012 @ 11:10am)
"If you want to know the truth of who you are, walk until not a person knows your name. Travel is the great leveler, the great teacher, bitter as medicine, crueler than mirror-glass. A long stretch of road will teach you more about yourself than a hundred years of introspection." --Patrick Rothfuss
An ex boyfriend of mine once asked for a second chance. We parted ways and eventually became amicable towards eachother (or so I hope.) When I declined, I told him that he was too late, that I had moved on, and that despite the fact that it was appealing going back to him, doing so would mean that I was moving backwards. That was not a concept he understood, nor did I care to elaborate for fear of offending him.
The most important, recurring, and repetitive theme in my life is the desire to move forward, to grow, and to evolve. I constantly try to learn, to grow, to improve. Though it's not like a daily ritual, it is an overarching theme. I am constantly frustrated at myself for not being better, but I am better than I was a year, six months, even two weeks ago.
And while growth is the most important thing to me, I have a constant fear of... well, lots of things. Of being scared and alone and no one to embrace me. Of being lost in a place and not knowing the language. Of failure. Of not having the comforts I have grown accustomed to. Of having to ask my dad, yet again, for some money.
This isn't a formal essay or a published work of writing. So I'm not going to give a satisfying conclusion, or a call to action, or even advice to others. I hope all this made sense, and to anyone who is still reading this: These are the things that drive me. I guess you know a little more about me. (:
This public toilet is a design by architect Rem Koolhaas and photographer Erwin Olaf: they designed the urinal for A Star is Born (1996), an urban exhibition that brought urban planning, architecture, art and theatre together into a swirling synthesis on the overarching theme of water.
The round toilet consists of two curved walls of milk glass, which combine to form the yin and yang symbol. Above it is a floating roof of perforated stainless steel.
What makes this public toilet building unusual is that it not only has a men's section, but also a ladies' section, each with its own entrance. The milk-glass walls contain a photo collage by Erwin Olaf in shades of blue and deep purple against a plain, bright background. The photos depict ‘the battle of the sexes’: exotic ladies and gentlemen playfully attacking each other. They are dressed in pearls and diamonds and bear stereotypical tools like a rolling pin, a sword, boxing gloves and a toy gun.
In the evening, the toilet is illuminated from the inside.
The toilet is available for use in the summer, but closed during the winter due to the risk of freezing.
Source & more info:
www.kunstpuntgroningen.nl/en/kunst-op-straat/public-toile...
------------------
Dit openbaar toilet is een ontwerp van architect Rem Koolhaas en fotograaf Erwin Olaf; zij ontwierpen het urinoir voor de A Star is Born (1996), een stadsmanifestatie die stedenbouw, architectuur, kunst en theater samenbracht in een wervelende mix met als overkoepelend thema water.
Het ronde toilet bestaat uit twee gebogen wanden van melkglas, die samen het yin- en yangteken vormen. Daarboven bevindt zich een zwevend dak van geperforeerd roestvrij staal.
Bijzonder aan dit toiletgebouw is dat het niet alleen een afdeling voor heren maar ook voor dames heeft, elk met een eigen ingang. In de melkglazen wanden is een fotocollage te zien van Erwin Olaf in blauwe en dieppaarse tinten tegen een effen, lichte achtergrond. De foto’s verbeelden ‘de strijd der seksen’: exotische dames en heren gaan elkaar speels te lijf. Ze zijn gekleed in parels en diamanten en uitgerust met stereotype attributen als een deegroller, een zwaard, bokshandschoenen en een speelgoedpistool.
’s Avonds wordt het toilet van binnenuit verlicht.
Het toilet is 's zomers in gebruik, 's winters is het vanwege bevriezingsgevaar gesloten.
Bron & meer info:
www.kunstpuntgroningen.nl/kunst-op-straat/openbaar-toilet...
Deryn and I had a late flight so needed to kill a few hours in the morning. We walked up from Dulwich and entered what must be one of the strangest museums. The Horniman houses an eclectic collection of objects with no real theme holding them together. Preserved bugs and butterflies are within reach of voodoo shrines, musical instruments and Hindu and Buddhist figurines. The history of how the museum came into being, below, perhaps explains this mix.
Still it’s much loved and attracts attendees and during our visit hundreds of tiny kids lining up for the dinosaur exhibition. It also proved a rich seam for amateur photographers! As my photography collection too lacks a theme I had no restrictions in capturing some of these treasures.
“Frederick John Horniman, Victorian tea trader and philanthropist, began collecting objects, specimens and artefacts 'illustrating natural history and the arts and handicrafts of various peoples of the world' from around 1860. His overarching mission was to 'bring the world to Forest Hill' and educate and enrich the lives of the local community.
His travels took him to far flung destinations such as Egypt, Sri Lanka, Burma, China, Japan, Canada and the United States collecting objects which 'either appealed to his own fancy or that seemed to him likely to interest and inform those who had not had the opportunity to visit distant lands'. Mr Horniman’s interest as a collector was well known and many travellers approached him with specimens and curiosities.
By the late nineteenth century, these 'natural, industrial and artistic spoils had accumulated to such an extent that he gave up the whole house to the collections'.
His wife is reported to have said 'either the collection goes or we do'. With that, the family moved to Surrey Mount.”
This moc was built for the second round of the 2017 bio-cup. The overarching theme was historical and my sub theme was western.
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
During Belgrade's push into Sofia during the Second Eastern European War, the JNA learned a slew of lessons. Many of these lessons culminated in a pronounced need for a set of upgrades to increase the survivability of the M-72A Zmey in urban environs. To elaborate, the ubiquity of guided anti-tank munitions and high-powered rocket-propelled grenades meant that Yugoslav tanks were squaring up against a great number of guerrilla anti-tank cells capable of directly threatening Yugoslav tank crews from all angles, even from immediately above where the Zmey (or any tank for that matter) is most vulnerable. Additionally, the -72As proved incapable of providing potent suppressing fire to support advancing infantry in Sofia as the coaxial 7.62mm was too weak to reliably penetrate the city's ancient masonry and the 12.7mm HMG atop the turret was too exposed to be manned in a sniper's utopia. Essentially this translated into the Zmey being less of a dragon as its namesake would suggest and more of one-trick pony as it was only able to deliver overpowered tank rounds into suspected enemy posts, thereby causing extreme collateral damage and adding to the number of mangled spots urban guerrillas could hide themselves or their arms.
Hence, the JNA summoned the defense companies of the Socialist Republic to find a suitable solution to these issues. More specifically, the Ministry of Defense desired two key items: enhanced protection against anti-tank munitions and a more powerful coaxial/support gun. Several additional desires were announced as well, such as updating the communications suite to be more integrated and adding more external options for the M-72 to navigate urban obstacles. The overarching objective of the upgrade package-to-be was to simply add more doctrinal finesse to Belgrade's urban combat capabilities.
Not long after the JNA announced the contract, the Zmey's original manufacturer jumped on the task and the collective Yugoslav defense industry figured they would be the ones to take it all home. Quite surprisingly, however, this was not the case. Rather than the Military Technical Institute Belgrade being announced the winner, it was Zastava Arms, a company that had historically stuck to producing firearms and light crewed weapons. This was Zastava's breakthrough into the heavier side of the defense spectrum and they certainly demonstrated they had a sharp intellect concerning matters of AFV functionality in the field.
This knowledge is evidenced by all the modules included in Zastava's urban combat enhancement kit. The kit includes: a 30mm secondary cannon for neutralizing light-skinned vehicles, suppressing hardened positions, and deterring low-flying aircraft; an enhanced active protection suite for negating anti-tank munitions; additional composite and explosive-reactive armor modules around the turret and front third of the vehicle (the area most affected by armored engagements); and a more advanced digital battlefield management system with more supporting communication equipment redundancies.
Most of these technologies were borrowed from Slovakia and Czechia given their talents with upgrading dated Soviet-tier platforms; however, many of the electronics are rumored to be clones of Western systems. This latter notion suggests that Zastava has been cultivating its industry ties for quite some time as it would be impossible to successfully clone complex Western electronics and software within a matter of eight months. It is likely that Zastava has been cooperating not only with Italian companies--who have participated with Yugoslav defense contractors before--but also with Songun industrialists who are extremely experienced in illegally manufacturing foreign systems for domestic use. Indeed it might be possible that the USR is utilizing Zastava as a stepping-stone to creating a more concrete footprint in Yugoslav industries across the board. Exactly why this might be done is anyone's guess, but the most likely reason is to lessen the chances of the Socialist Republic selling out the Union of of Songun Republics in the trying future.
Shout-out to my boy Evan for doing all the Zmey renders. Also part of a joint upload with Brian's totally lame copy of the M-72.
More photos at jarmofoto.zenfolio.com
Photo taken at Nordens Ark.
Nordens Ark is a non-profit foundation with the overarching goal to provide a future for endagerede animals through; breeding and reintroduction programmes, research and information.
Nimbin. Population 450.
Nimbin was a special place for the Bundjalung Aboriginal people as it was believed to be the home of sacred mystical small men who were the spiritual custodians of the mountains. The word meant “home to the little man”. When white pastoralists came the district became part of the Lismore station held by William Wilson – hence the naming
of the Wilson River. He held the lease until 1880 when the government sent surveyors in to survey virgin rainforest. The first white family arrived in 1882 followed by many more in 1883. Their first task was to clear land for a few pigs, cattle and vegetables. The Red Cedar and Hoop Pine were felled and then rolled into the Wilson River and floated down to the saw mills in Lismore. It was a tough life in this district. In 1903 one local block holder H Thornburn subdivided part of his property to create the village of Nimbin. Thornburn donated one block for a School of Arts (built 1904) and another for a Presbyterian Church. The first official school opened in 1906. The town grew quickly with a hotel, bakery, butchery, café, store, bank agency, Post Office and saw mill starting up within the first couple of years. The big boost to the town was the opening of a butter factory in 1908. Then the public buildings followed with Anglican and Presbyterian churches in 1909. A Methodist church followed in 1913 and a Catholic Church and school in 1918. A new Post Officer was built in 1914. The bank of N.S.W opened their first wooden bank in 1909 but this burnt down. The bank built a distinctive Art Deco wooden bank in 1919 and an E. S & A bank opened in 1922. The Freemason’s Hotel was erected in 1926 (it is now the Nimbin Hotel) and a wooden Masonic Lodge was erected in 1937. A Police Station was not built until 1934 but a police officer was stationed in the town from 1917. The main stays of the town economy were saw milling and butter production but apart from cattle, local farmers grew bananas, peas, beans and passionfruit. The Nimbin Dairy Cooperative amalgamated with Norco dairy in 1921. The factory closed in 1961 as cream could be fast trucked to Lismore.
The fortunes and direction of the town changed in 1973 when the Aquarius Foundation of the Australian Union of Students from Sydney University got permission to hold a bi-annual arts festival in Nimbin. The Aquarians opposed the War in Vietnam and wanted a freer and more humane world with peace, love and happiness. A Rainbow Café opened on the work site being prepared for the influx of a possible 5,000 university students. Volunteers did the work and artists came to prepare. The festival in May was successful and about 100 people stayed on to run the Rainbow Café, do their art and prepare for another festival. Several groups emerged to buy properties for cooperatives and the attraction of rural living and rainforest living blossomed amongst former city people. The hippy new comers built makeshift houses, prepared home crafts, and cared about environmental responsibility, communal living and loving, and in some cases, mind altering drugs. But life was not altogether free and each commune had its own rules which had to be obeyed as well as local and state laws. When the Lismore Council ordered illegal houses to be demolished the Nimbinites formed the district Homebuilders Association to fight the Council. In the end the Homebuilders won the right for multiple residences on one property. Then in 1979 a bigger opponent emerged – logging in the rainforests at Terania Creek. Conservation made national headlines, action groups were formed and the NSW government created new national parks like nearby Nightcap and reduced forest logging. Economically the new cooperatives promoted growth of Nimbin too. The Bush Co-Op began as a community organisation but it soon had food storage and wholesale distribution arms, mechanical, metal and woodworking shops, a media group and graphic art studios, theatre troupe and general design. At the same time independent artists, writers and musicians lived and worked in the town. Commercialism crept back into the new hippy world with markets, galleries and more festivals. But the overarching principles of living and caring for others and protecting the environment and living sustainably continued. Diversity was the key and new spiritual groups found a home at Nimbin too from Thai Buddhist groups to Indian Hindu philosophical ashrams to “born again” Christian groups. Not surprisingly Nimbin has an annual Mardi Grass and a world naked Bike Ride celebration amongst its annual festivals!
Just outside of Nimbin turn right into Stony Chute Road to see some granite boulders which are sacred place to the Bundjalung people and heritage listed. The lowest rock is called the cathedral, whilst the top level of rock is called the castle. The highest peak is named Lady Cunningham’s Needle. These granite dykes are evidence of old volcanic activity the basis of the rich fertile soils of the district.
"The Book of Genesis" redirects here. For the comics, see The Book of Genesis (comics).
The Creation of Man by Ephraim Moses Lilien, 1903.
Jacob flees Laban by Charles Foster, 1897.
Joshua 1:1 as recorded in the Aleppo Codex
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The Book of Genesis,[a] the first book of the Hebrew Bible and the Old Testament,[1] is Judaism's account of the creation of the world and the origins of the Jewish people.[2]
It is divisible into two parts, the primeval history (chapters 1–11) and the ancestral history (chapters 12–50).[3] The primeval history sets out the author's (or authors') concepts of the nature of the deity and of humankind's relationship with its maker: God creates a world which is good and fit for mankind, but when man corrupts it with sin God decides to destroy his creation, saving only the righteous Noah to reestablish the relationship between man and God.[4] The ancestral history (chapters 12–50) tells of the prehistory of Israel, God's chosen people.[5] At God's command Noah's descendant Abraham journeys from his home into the God-given land of Canaan, where he dwells as a sojourner, as does his son Isaac and his grandson Jacob. Jacob's name is changed to Israel, and through the agency of his son Joseph, the children of Israel descend into Egypt, 70 people in all with their households, and God promises them a future of greatness. Genesis ends with Israel in Egypt, ready for the coming of Moses and the Exodus. The narrative is punctuated by a series of covenants with God, successively narrowing in scope from all mankind (the covenant with Noah) to a special relationship with one people alone (Abraham and his descendants through Isaac and Jacob).[6]
In Judaism, the theological importance of Genesis centers on the covenants linking God to his chosen people and the people to the Promised Land. Christianity has interpreted Genesis as the prefiguration of certain cardinal Christian beliefs, primarily the need for salvation (the hope or assurance of all Christians) and the redemptive act of Christ on the Cross as the fulfillment of covenant promises as the Son of God.
Tradition credits Moses as the author of Genesis, as well as the books of Exodus, Leviticus, Numbers and most of Deuteronomy, but modern scholars increasingly see them as a product of the 6th and 5th centuries BC.[7][8]
Contents
1Structure
2Summary
3Composition
3.1Title and textual witnesses
3.2Origins
3.3Genre
4Themes
4.1Promises to the ancestors
4.2God's chosen people
5Judaism's weekly Torah portions
6See also
7Notes
8References
9Bibliography
9.1Commentaries on Genesis
9.2General
10External links
Structure[edit]
Genesis appears to be structured around the recurring phrase elleh toledot, meaning "these are the generations," with the first use of the phrase referring to the "generations of heaven and earth" and the remainder marking individuals—Noah, the "sons of Noah", Shem, etc., down to Jacob.[9] It is not clear, however, what this meant to the original authors, and most modern commentators divide it into two parts based on subject matter, a "primeval history" (chapters 1–11) and a "patriarchal history" (chapters 12–50).[10][b] While the first is far shorter than the second, it sets out the basic themes and provides an interpretive key for understanding the entire book.[11] The "primeval history" has a symmetrical structure hinging on chapters 6–9, the flood story, with the events before the flood mirrored by the events after;[12] the "ancestral history" is structured around the three patriarchs Abraham, Jacob and Joseph.[13] (The stories of Isaac do not make up a coherent cycle of stories and function as a bridge between the cycles of Abraham and Jacob.)[14]
Summary[edit]
See also: Primeval history and Patriarchal age
The Creation of Adam by Michelangelo, 1512.
God creates the world in six days and consecrates the seventh as a day of rest. God creates the first humans Adam and Eve and all the animals in the Garden of Eden but instructs them not to eat the fruit of the tree of knowledge of good and evil. A talking serpent portrayed as a deceptive creature or trickster, entices Eve into eating it against God's wishes, and she entices Adam, whereupon God throws them out and curses them—Adam to getting what he needs only by sweat and work, and Eve to giving birth in pain. This is interpreted by Christians as the fall of humanity. Eve bears two sons, Cain and Abel. Cain kills Abel after God accepts Abel's offering but not Cain's. God then curses Cain. Eve bears another son, Seth, to take Abel's place.
After many generations of Adam have passed from the lines of Cain and Seth, the world becomes corrupted by human sin and Nephilim, and God determines to wipe out humanity. First, he instructs the righteous Noah and his family to build an ark and put examples of all the animals on it, seven pairs of every clean animal and one pair of every unclean. Then God sends a great flood to wipe out the rest of the world. When the waters recede, God promises he will never destroy the world with water again, using the rainbow as a symbol of his promise. God sees mankind cooperating to build a great tower city, the Tower of Babel, and divides humanity with many languages and sets them apart with confusion.
God instructs Abram to travel from his home in Mesopotamia to the land of Canaan. There, God makes a covenant with Abram, promising that his descendants shall be as numerous as the stars, but that people will suffer oppression in a foreign land for four hundred years, after which they will inherit the land "from the river of Egypt to the great river, the river Euphrates". Abram's name is changed to Abraham and that of his wife Sarai to Sarah, and circumcision of all males is instituted as the sign of the covenant. Due to her old age, Sarah tells Abraham to take her Egyptian handmaiden, Hagar, as a second wife. Through Hagar, Abraham fathers Ishmael.
God resolves to destroy the cities of Sodom and Gomorrah for the sins of their people. Abraham protests and gets God to agree not to destroy the cities for the sake of ten righteous men. Angels save Abraham's nephew Lot and his family, but his wife looks back on the destruction against their command and turns into a pillar of salt. Lot's daughters, concerned that they are fugitives who will never find husbands, get him drunk to become pregnant by him, and give birth to the ancestors of the Moabites and Ammonites.
Abraham and Sarah go to the Philistine town of Gerar, pretending to be brother and sister (they are half-siblings). The King of Gerar takes Sarah for his wife, but God warns him to return her, and he obeys. God sends Sarah a son whom she will name Isaac; through him will be the establishment of the covenant. Sarah drives Ishmael and his mother Hagar out into the wilderness, but God saves them and promises to make Ishmael a great nation.
The Angel Hinders the Offering of Isaac (Rembrandt, 1635)
God tests Abraham by demanding that he sacrifice Isaac. As Abraham is about to lay the knife upon his son, God restrains him, promising him numberless descendants. On the death of Sarah, Abraham purchases Machpelah (believed to be modern Hebron) for a family tomb and sends his servant to Mesopotamia to find among his relations a wife for Isaac; after proving herself, Rebekah becomes Isaac's betrothed. Keturah, Abraham's other wife, births more children, among whose descendants are the Midianites. Abraham dies at a prosperous old age and his family lays him to rest in Hebron.
Isaac's wife Rebecca gives birth to the twins Esau, father of the Edomites, and Jacob. Through deception, Jacob becomes the heir instead of Esau and gains his father's blessing. He flees to his uncle where he prospers and earns his two wives, Rachel and Leah. Jacob's name is changed to Israel, and by his wives and their handmaidens he has twelve sons, the ancestors of the twelve tribes of the Children of Israel, and a daughter, Dinah.
Joseph, Jacob's favorite son, makes his brothers jealous and they sell him into slavery in Egypt. Joseph prospers, after hardship, with God's guidance of interpreting Pharaoh's dream of upcoming famine. He is then reunited with his father and brothers, who fail to recognize him, and plead for food. After much manipulation, he reveals himself and lets them and their households into Egypt, where Pharaoh assigns to them the land of Goshen. Jacob calls his sons to his bedside and reveals their future before he dies. Joseph lives to an old age and exhorts his brethren, if God should lead them out of the country, to take his bones with them.
Composition[edit]
Abram's Journey from Ur to Canaan (József Molnár, 1850)
Title and textual witnesses[edit]
Genesis takes its Hebrew title from the first word of the first sentence, Bereshit, meaning "In [the] beginning [of]"; in the Greek Septuagint it was called Genesis, from the phrase "the generations of heaven and earth".[15] There are four major textual witnesses to the book: the Masoretic Text, the Samaritan Pentateuch, the Septuagint, and fragments of Genesis found at Qumran. The Qumran group provides the oldest manuscripts but covers only a small proportion of the book; in general, the Masoretic Text is well preserved and reliable, but there are many individual instances where the other versions preserve a superior reading.[16]
Origins[edit]
Main article: Composition of the Torah
For much of the 20th century most scholars agreed that the five books of the Pentateuch—Genesis, Exodus, Leviticus, Numbers and Deuteronomy—came from four sources, the Yahwist, the Elohist, the Deuteronomist and the Priestly source, each telling the same basic story, and joined together by various editors.[17] Since the 1970s there has been a revolution leading scholars to view the Elohist source as no more than a variation on the Yahwist, and the Priestly source as a body of revisions and expansions to the Yahwist (or "non-Priestly") material. (The Deuteronomistic source does not appear in Genesis.)[18]
Scholars use examples of repeated and duplicate stories to identify the separate sources. In Genesis these include three different accounts of a Patriarch claiming that his wife was his sister, the two creation stories, and the two versions of Abraham sending Hagar and Ishmael into the desert.[19]
This leaves the question of when these works were created. Scholars in the first half of the 20th century came to the conclusion that the Yahwist is a product of the monarchic period, specifically at the court of Solomon, 10th century BC, and the Priestly work in the middle of the 5th century BC (with claims that the author is Ezra), but more recent thinking is that the Yahwist is from either just before or during the Babylonian exile of the 6th century BC, and the Priestly final edition was made late in the Exilic period or soon after.[8]
As for why the book was created, a theory which has gained considerable interest, although still controversial is "Persian imperial authorisation". This proposes that the Persians of the Achaemenid Empire, after their conquest of Babylon in 539 BC, agreed to grant Jerusalem a large measure of local autonomy within the empire, but required the local authorities to produce a single law code accepted by the entire community. The two powerful groups making up the community—the priestly families who controlled the Temple and who traced their origin to Moses and the wilderness wanderings, and the major landowning families who made up the "elders" and who traced their own origins to Abraham, who had "given" them the land—were in conflict over many issues, and each had its own "history of origins", but the Persian promise of greatly increased local autonomy for all provided a powerful incentive to cooperate in producing a single text.[20]
Genre[edit]
Genesis is perhaps best seen as an example of a creation myth, a type of literature telling of the first appearance of humans, the stories of ancestors and heroes, and the origins of culture, cities and so forth.[21] The most notable examples are found in the work of Greek historians of the 6th century BC: their intention was to connect notable families of their own day to a distant and heroic past, and in doing so they did not distinguish between myth, legend, and facts.[22] Professor Jean-Louis Ska of the Pontifical Biblical Institute calls the basic rule of the antiquarian historian the "law of conservation": everything old is valuable, nothing is eliminated.[23] Ska also points out the purpose behind such antiquarian histories: antiquity is needed to prove the worth of Israel's traditions to the nations (the neighbours of the Jews in early Persian Palestine), and to reconcile and unite the various factions within Israel itself.[23]
Themes[edit]
Joseph Recognized by His Brothers (Léon Pierre Urban Bourgeois, 1863)
Promises to the ancestors[edit]
In 1978 David Clines published his influential The Theme of the Pentateuch – influential because he was one of the first to take up the question of the theme of the entire five books. Clines' conclusion was that the overall theme is "the partial fulfillment – which implies also the partial nonfulfillment – of the promise to or blessing of the Patriarchs". (By calling the fulfillment "partial" Clines was drawing attention to the fact that at the end of Deuteronomy the people are still outside Canaan).[24]
The patriarchs, or ancestors, are Abraham, Isaac and Jacob, with their wives (Joseph is normally excluded).[25] Since the name YHWH had not been revealed to them, they worshipped El in his various manifestations.[26] (It is, however, worth noting that in the Jahwist source the patriarchs refer to deity by the name YHWH, for example in Genesis 15.) Through the patriarchs God announces the election of Israel, meaning that he has chosen Israel to be his special people and committed himself to their future.[27] God tells the patriarchs that he will be faithful to their descendants (i.e. to Israel), and Israel is expected to have faith in God and his promise. ("Faith" in the context of Genesis and the Hebrew Bible means agreement to the promissory relationship, not a body of belief).[28]
The promise itself has three parts: offspring, blessings, and land.[29] The fulfilment of the promise to each patriarch depends on having a male heir, and the story is constantly complicated by the fact that each prospective mother – Sarah, Rebekah and Rachel – is barren. The ancestors, however, retain their faith in God and God in each case gives a son – in Jacob's case, twelve sons, the foundation of the chosen Israelites. Each succeeding generation of the three promises attains a more rich fulfillment, until through Joseph "all the world" attains salvation from famine,[30] and by bringing the children of Israel down to Egypt he becomes the means through which the promise can be fulfilled.[25]
God's chosen people[edit]
Scholars generally agree that the theme of divine promise unites the patriarchal cycles, but many would dispute the efficacy of trying to examine Genesis' theology by pursuing a single overarching theme, instead citing as more productive the analysis of the Abraham cycle, the Jacob cycle, and the Joseph cycle, and the Yahwist and Priestly sources.[31] The problem lies in finding a way to unite the patriarchal theme of divine promise to the stories of Genesis 1–11 (the primeval history) with their theme of God's forgiveness in the face of man's evil nature.[32][33] One solution is to see the patriarchal stories as resulting from God's decision not to remain alienated from mankind:[33] God creates the world and mankind, mankind rebels, and God "elects" (chooses) Abraham.[6]
To this basic plot (which comes from the Yahwist) the Priestly source has added a series of covenants dividing history into stages, each with its own distinctive "sign". The first covenant is between God and all living creatures, and is marked by the sign of the rainbow; the second is with the descendants of Abraham (Ishmaelites and others as well as Israelites), and its sign is circumcision; and the last, which does not appear until the book of Exodus, is with Israel alone, and its sign is Sabbath. A great leader mediates each covenant (Noah, Abraham, Moses), and at each stage God progressively reveals himself by his name (Elohim with Noah, El Shaddai with Abraham, Yahweh with Moses).[6]
Judaism's weekly Torah portions[edit]
Main article: Weekly Torah portion
First Day of Creation (from the 1493 Nuremberg Chronicle)
Bereshit, on Genesis 1–6: Creation, Eden, Adam and Eve, Cain and Abel, Lamech, wickedness
Noach, on Genesis 6–11: Noah's Ark, the Flood, Noah's drunkenness, the Tower of Babel
Lech-Lecha, on Genesis 12–17: Abraham, Sarah, Lot, covenant, Hagar and Ishmael, circumcision
Vayeira, on Genesis 18–22: Abraham's visitors, Sodomites, Lot's visitors and flight, Hagar expelled, binding of Isaac
Chayei Sarah, on Genesis 23–25: Sarah buried, Rebekah for Isaac
Toledot, on Genesis 25–28: Esau and Jacob, Esau's birthright, Isaac's blessing
Vayetze, on Genesis 28–32: Jacob flees, Rachel, Leah, Laban, Jacob's children and departure
Vayishlach, on Genesis 32–36: Jacob's reunion with Esau, the rape of Dinah
Vayeshev, on Genesis 37–40: Joseph's dreams, coat, and slavery, Judah with Tamar, Joseph and Potiphar
Miketz, on Genesis 41–44: Pharaoh's dream, Joseph in government, Joseph's brothers visit Egypt
Vayigash, on Genesis 44–47: Joseph reveals himself, Jacob moves to Egypt
Vaychi, on Genesis 47–50: Jacob's blessings, death of Jacob and of Joseph
See also[edit]
Bible portal
Dating the Bible
Enûma Eliš
Genesis creation narrative
Genesis 1:1
Historicity of the Bible
Mosaic authorship
Paradise Lost
Protevangelium
Wife–sister narratives in the Book of Genesis
Notes[edit]
^ The name "Genesis" is from the Latin Vulgate, in turn borrowed or transliterated from Greek "γένεσις", meaning "Origin"; Hebrew: בְּרֵאשִׁית, "Bərēšīṯ", "In [the] beginning"
^ The Weekly Torah portions, Parashot, divide the book into 12 readings.
References[edit]
^ Hamilton 1990, p. 1.
^ Sweeney 2012, p. 657.
^ Bergant 2013, p. xii.
^ Bandstra 2008, p. 35.
^ Bandstra 2008, p. 78.
^ Jump up to: a b c Bandstra (2004), pp. 28–29
^ Van Seters (1998), p. 5
^ Jump up to: a b Davies (1998), p. 37
^ Hamilton (1990), p. 2
^ Whybray (1997), p. 41
^ McKeown (2008), p. 2
^ Walsh (2001), p. 112
^ Bergant 2013, p. 45.
^ Bergant 2013, p. 103.
^ Carr 2000, p. 491.
^ Hendel, R. S. (1992). "Genesis, Book of". In D. N. Freedman (Ed.), The Anchor Yale Bible Dictionary (Vol. 2, p. 933). New York: Doubleday
^ Gooder (2000), pp. 12–14
^ Van Seters (2004), pp. 30–86
^ Lawrence Boadt; Richard J. Clifford; Daniel J. Harrington (2012). Reading the Old Testament: An Introduction. Paulist Press.
^ Ska (2006), pp. 169, 217–18
^ Van Seters (2004) pp. 113–14
^ Whybray (2001), p. 39
^ Jump up to: a b Ska (2006), p. 169
^ Clines (1997), p. 30
^ Jump up to: a b Hamilton (1990), p. 50
^ John J Collins (2007), A Short Introduction to the Hebrew Bible, Fortress Press, p. 47
^ Brueggemann (2002), p. 61
^ Brueggemann (2002), p. 78
^ McKeown (2008), p. 4
^ Wenham (2003), p. 34
^ Hamilton (1990), pp. 38–39
^ Hendel, R. S. (1992). "Genesis, Book of". In D. N. Freedman (Ed.), The Anchor Yale Bible Dictionary (Vol. 2, p. 935). New York: Doubleday
^ Jump up to: a b Kugler, Hartin (2009), p.9
Bibliography[edit]
Commentaries on Genesis[edit]
Sweeney, Marvin (2012). "Genesis in the Context of Jewish Thought". In Evans, Craig A.; Lohr, Joel N. (eds.). The Book of Genesis: Composition, Reception, and Interpretation. BRILL. ISBN 978-9004226531.
Bandstra, Barry L. (2008). Reading the Old Testament. Cengage Learning. ISBN 978-0495391050.
Bergant, Dianne (2013). Genesis: In the Beginning. Liturgical Press. ISBN 9780814682753.
Blenkinsopp, Joseph (2011). Creation, Un-creation, Re-creation: A Discursive Commentary on Genesis 1–11. Continuum International Publishing Group. ISBN 9780567372871.
Brueggemann, Walter (1986). Genesis. Interpretation: A Bible Commentary for Teaching and Preaching. Atlanta: John Knox Press. ISBN 0-8042-3101-X.
Carr, David M. (2000). "Genesis, Book of". In Freedman, David Noel; Myers, Allen C. (eds.). Eerdmans Dictionary of the Bible. Amsterdam University Press. ISBN 9780567372871.
Cotter, David W (2003). Genesis. Liturgical Press. ISBN 9780814650400.
De La Torre, Miguel (2011). Genesis. Belief: A Theological Commentary on the Bible. Westminster John Knox Press.
Fretheim, Terence E. "The Book of Genesis." In The New Interpreter's Bible. Edited by Leander E. Keck, vol. 1, pp. 319–674. Nashville: Abingdon Press, 1994. ISBN 0-687-27814-7.
Hamilton, Victor P (1990). The Book of Genesis: chapters 1–17. Eerdmans. ISBN 9780802825216.
Hamilton, Victor P (1995). The Book of Genesis: chapters 18–50. Eerdmans. ISBN 9780802823090.
Hirsch, Samson Raphael. The Pentateuch: Genesis. Translated by Isaac Levy. Judaica Press, 2nd edition 1999. ISBN 0-910818-12-6. Originally published as Der Pentateuch uebersetzt und erklaert Frankfurt, 1867–1878.
Kass, Leon R. The Beginning of Wisdom: Reading Genesis. New York: Free Press, 2003. ISBN 0-7432-4299-8.
Kessler, Martin; Deurloo, Karel Adriaan (2004). A Commentary on Genesis: The Book of Beginnings. Paulist Press. ISBN 9780809142057.
McKeown, James (2008). Genesis. Eerdmans. ISBN 9780802827050.
Plaut, Gunther. The Torah: A Modern Commentary (1981), ISBN 0-8074-0055-6
Rogerson, John William (1991). Genesis 1–11. T&T Clark. ISBN 9780567083388.
Sacks, Robert D (1990). A Commentary on the Book of Genesis. Edwin Mellen.
Sarna, Nahum M. The JPS Torah Commentary: Genesis: The Traditional Hebrew Text with the New JPS Translation. Philadelphia: Jewish Publication Society, 1989. ISBN 0-8276-0326-6.
Speiser, E.A. Genesis: Introduction, Translation, and Notes. New York: Anchor Bible, 1964. ISBN 0-385-00854-6.
Towner, Wayne Sibley (2001). Genesis. Westminster John Knox Press. ISBN 9780664252564.
Turner, Laurence (2009). Genesis, Second Edition. Sheffield Phoenix Press. ISBN 9781906055653.
Von Rad, Gerhard (1972). Genesis: A Commentary. Westminster John Knox Press. ISBN 9780664227456.
Wenham, Gordon (2003). "Genesis". In James D. G. Dunn, John William Rogerson (ed.). Eerdmans Bible Commentary. Eerdmans. ISBN 9780802837110.
Whybray, R.N (2001). "Genesis". In John Barton (ed.). Oxford Bible Commentary. Oxford University Press. ISBN 9780198755005.
General[edit]
Bandstra, Barry L (2004). Reading the Old Testament: An Introduction to the Hebrew Bible. Wadsworth. ISBN 9780495391050.
Blenkinsopp, Joseph (2004). Treasures old and new: Essays in the Theology of the Pentateuch. Eerdmans. ISBN 9780802826794.
Brueggemann, Walter (2002). Reverberations of faith: A Theological Handbook of Old Testament themes. Westminster John Knox. ISBN 9780664222314.
Campbell, Antony F; O'Brien, Mark A (1993). Sources of the Pentateuch: Texts, Introductions, Annotations. Fortress Press. ISBN 9781451413670.
Carr, David M (1996). Reading the Fractures of Genesis. Westminster John Knox Press. ISBN 9780664220716.
Clines, David A (1997). The Theme of the Pentateuch. Sheffield Academic Press. ISBN 9780567431967.
Davies, G.I (1998). "Introduction to the Pentateuch". In John Barton (ed.). Oxford Bible Commentary. Oxford University Press. ISBN 9780198755005.
Gooder, Paula (2000). The Pentateuch: A Story of Beginnings. T&T Clark. ISBN 9780567084187.
Hendel, Ronald (2012). The Book of "Genesis": A Biography (Lives of Great Religious Books). Princeton University Press. ISBN 9780691140124.
Kugler, Robert; Hartin, Patrick (2009). The Old Testament between Theology and History: A Critical Survey. Eerdmans. ISBN 9780802846365.
Levin, Christoph L (2005). The Old Testament: A Brief Introduction. Princeton University Press. ISBN 9780691113944.
Longman, Tremper (2005). How to read Genesis. InterVarsity Press. ISBN 9780830875603.
McEntire, Mark (2008). Struggling with God: An Introduction to the Pentateuch. Mercer University Press. ISBN 9780881461015.
Newman, Murray L. (1999). Genesis (PDF). Forward Movement Publications, Cincinnati, OH.
Ska, Jean-Louis (2006). Introduction to Reading the Pentateuch. Eisenbrauns. ISBN 9781575061221.
Van Seters, John (1992). Prologue to History: The Yahwist as Historian in Genesis. Westminster John Knox Press. ISBN 9780664221799.
Van Seters, John (1998). "The Pentateuch". In Steven L. McKenzie, Matt Patrick Graham (ed.). The Hebrew Bible Today: An Introduction to Critical Issues. Westminster John Knox Press. ISBN 9780664256524.
Van Seters, John (2004). The Pentateuch: A Social-science Commentary. Continuum International Publishing Group. ISBN 9780567080882.
Walsh, Jerome T (2001). Style and Structure in Biblical Hebrew Narrative. Liturgical Press. ISBN 9780814658970.
External links[edit]
Wikimedia Commons has media related to Book of Genesis.
Wikiquote has quotations related to: Genesis
Wikisource has original text related to this article:
Genesis
Book of Genesis Hebrew Transliteration
Book of Genesis illustrated
Genesis Reading Room (Tyndale Seminary): online commentaries and monographs on Genesis.
Bereshit with commentary in Hebrew
בראשית Bereishit – Genesis (Hebrew – English at Mechon-Mamre.org)
Genesis at Mechon-Mamre (Jewish Publication Society translation)
01 Genesis public domain audiobook at LibriVox Various versions
Genesis (The Living Torah) Rabbi Aryeh Kaplan's translation and commentary at Ort.org
Genesis (Judaica Press) at Chabad.org
Young's Literal Translation (YLT)
New International Version (NIV)
Revised Standard Version (RSV)
Westminster-Leningrad codex
Aleppo Codex
Book of Genesis in Bible Book
Genesis in Hebrew, Aramaic, Syriac, Greek, Latin, and English – The critical text of the Book of Genesis in Hebrew with ancient versions (Masoretic, Samaritan Pentateuch, Samaritan Targum, Targum Onkelos, Peshitta, Septuagint, Vetus Latina, Vulgate, Aquila, Symmachus, and Theodotion) and English translation for each version in parallel.
en.wikipedia.org/wiki/Book_of_Genesis
"The Fall of Man" by Lucas Cranach the Elder. The Tree of Knowledge is on the right.
The tree of the knowledge of good and evil (Biblical Hebrew: עֵ֕ץ הַדַּ֖עַת ט֥וֹב וָרָֽע [ʕesˤ hadaʕaθ tˤov waraʕ]) is one of two specific trees in the story of the Garden of Eden in Genesis 2–3, along with the tree of life.
Contents
1In Genesis
1.1Narrative
1.2Meaning of good and evil
2Religious views
2.1Judaism
2.2Christianity
2.3Islam
2.4Other cultures
3See also
4References
4.1Bibliography
In Genesis[edit]
Narrative[edit]
Genesis 2 narrates that Yahweh places the first man and woman in a garden with trees of whose fruits they may eat, but forbids them to eat from "the tree of the knowledge of good and evil." When, in Genesis 3, a serpent persuades the woman to eat from its forbidden fruit and she also lets the man taste it, God expels them from the garden and thereby from eternal life.
Meaning of good and evil[edit]
The phrase in Hebrew: טוֹב וָרָע, tov wa-raʿ, literally translates as good and evil. This may be an example of the type of figure of speech known as merism, a literary device that pairs opposite terms together in order to create a general meaning, so that the phrase "good and evil" would simply imply "everything." This is seen in the Egyptian expression evil-good, which is normally employed to mean "everything."[1] In Greek literature, Homer also uses the device when he lets Telemachus say, "I [wish to] know everything, the good and the evil." (Odyssey 20:309–310)
However, if tree of the knowledge of good and evil is to be understood to mean a tree whose fruit imparts knowledge of everything, this phrase does not necessarily denote a moral concept. This view is held by several scholars.[1][2][3]
Given the context of disobedience to God, other interpretations of the implications of this phrase also demand consideration. Robert Alter emphasizes the point that when God forbids the man to eat from that particular tree, he says that if he does so, he is "doomed to die." The Hebrew behind this is in a form regularly used in the Hebrew Bible for issuing death sentences.[4]
Religious views[edit]
Judaism[edit]
In Jewish tradition, the Tree of Knowledge and the eating of its fruit represents the beginning of the mixture of good and evil together. Before that time, the two were separate, and evil had only a nebulous existence in potential. While free choice did exist before eating the fruit, evil existed as an entity separate from the human psyche, and it was not in human nature to desire it. Eating and internalizing the forbidden fruit changed this and thus was born the yetzer hara, the evil inclination.[5][6] In Rashi's notes on Genesis 3:3, the first sin came about because Eve added an additional clause to the Divine command: Neither shall you touch it. By saying this, Eve added to YHWH's command and thereby came to detract from it, as it is written: Do not add to His Words (Proverbs 30:6). However, In Legends of the Jews, it was Adam who had devoutly forbidden Eve to touch the tree even though God had only mentioned the eating of the fruit.[7]
When Adam ate from the Tree of Knowledge, all the animals ate from it, too [8]
In Kabbalah, the sin of the Tree of Knowledge (called Cheit Eitz HaDa'at) brought about the great task of beirurim, sifting through the mixture of good and evil in the world to extract and liberate the sparks of holiness trapped therein.[9] Since evil has no independent existence, it depends on holiness to draw down the Divine life-force, on whose "leftovers" it then feeds and derives existence.[10] Once evil is separated from holiness through beirurim, its source of life is cut off, causing the evil to disappear. This is accomplished through observance of the 613 commandments in the Torah, which deal primarily with physical objects wherein good and evil are mixed together.[11][12][13] Thus, the task of beirurim rectifies the sin of the Tree and draws the Shechinah back down to earth, where the sin of the Tree had caused Her to depart.[14][15]
Christianity[edit]
A marble bas relief by Lorenzo Maitani on the Orvieto Cathedral, Italy depicts Eve and the tree
In Christian tradition, consuming the fruit of the tree of knowledge of good and evil was the sin committed by Adam and Eve that led to the fall of man in Genesis 3.
In Catholicism, Augustine of Hippo taught that the tree should be understood both symbolically and as a real tree - similarly to Jerusalem being both a real city and a figure of Heavenly Jerusalem.[16] Augustine underlined that the fruits of that tree were not evil by themselves, because everything that God created was good (Gen 1:12). It was disobedience of Adam and Eve, who had been told by God not to eat of the tree (Gen 2:17), that caused disorder in the creation,[17] thus humanity inherited sin and guilt from Adam and Eve's sin.[18]
In Western Christian art, the fruit of the tree is commonly depicted as the apple, which originated in central Asia. This depiction may have originated as a Latin pun: by eating the mālum (apple), Eve contracted malum (evil).[19]
Islam[edit]
See also: Tree of life (Quran)
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The Quran never refers to the tree as the "Tree of the knowledge of good and evil" but rather typically refers to it as "the tree" or (in the words of Iblis) as the "tree of immortality."[20] The tree in Quran is used as an example for a concept, idea, way of life or code of life. A good concept/idea is represented as a good tree and a bad idea/concept is represented as a bad tree[21] Muslims believe that when God created Adam and Eve, he told them that they could enjoy everything in the Garden except this tree (idea, concept, way of life), and so, Satan appeared to them and told them that the only reason God forbade them to eat from that tree is that they would become Angels or they start using the idea/concept of Ownership in conjunction with inheritance generations after generations which Iblis convinced Adam to accept[22]
When they ate from this tree their nakedness appeared to them and they began to sew together, for their covering, leaves from the Garden. The Arabic word used is ورق which also means currency / notes.[23] Which means they started to use currency due to ownership. As Allah already mentioned that everything in Heaven is free(so eat from where you desire) [24] so using currency to uphold the idea of ownership became the reason for the slip. The Quran mentions the sin as being a 'slip', and after this 'slip' they were sent to the destination they were intended to be on: Earth. Consequently, they repented to God and asked for his forgiveness[25] and were forgiven.[26] It was decided that those who obey God and follow his path shall be rewarded with everlasting life in Jannah, and those who disobey God and stray away from his path shall be punished in Jahannam.
God in Quran (Al-A'raf 27) states:
"[O] Children of Adam! Let not Satan tempt you as he brought your parents out of the Garden, stripping them of their garments to show them their shameful parts. Surely he [Satan] sees you, he and his tribe, from where you see them not. We have made the Satans the friends of those who do not believe."
Other cultures[edit]
A cylinder seal, known as the Adam and Eve cylinder seal, from post-Akkadian periods in Mesopotamia (c. 23rd-22nd century BCE), has been linked to the Adam and Eve story. Assyriologist George Smith (1840-1876) describes the seal as having two facing figures (male and female) seated on each side of a tree, holding out their hands to the fruit, while between their backs is a serpent, giving evidence that the fall of man account was known in early times of Babylonia.[27] The British Museum disputes this interpretation and holds that it is a common image from the period depicting a male deity being worshipped by a woman, with no reason to connect the scene with the Book of Genesis.[28]
See also[edit]
Adam and Eve (Latter Day Saint movement)
Dream of the Rood
Enlightenment (spiritual)
Original sin
References[edit]
^ Jump up to: a b Gordon, Cyrus H.; Rendsburg, Gary A. (1997). The Bible and the ancient Near East (4th ed.). New York: W.W. Norton & Co. p. 36. ISBN 978-0-393-31689-6.
^ Harry Orlinsky's notes to the NJPS Torah.
^ Wyatt, Nicolas (2001). Space and Time in the Religious Life of the Near East. A&C Black. p. 244. ISBN 978-0-567-04942-1.
^ Alter 2004, p. 21.
^ Rashi to Genesis 2:25
^ Ramban to Genesis 3:6
^ Ginzberg, Louis, The Legends of the Jews, Vol. I: The Fall of Man, (Translated by Henrietta Szold), Johns Hopkins University Press: 1998, ISBN 0-8018-5890-9
^ Bereishit Rabbah 19: 5
^ Epistle 26, Lessons in Tanya, Igeret HaKodesh
^ ch. 22, Tanya, Likutei Amarim
^ ch. 37, Lessons in Tanya, Likutei Amarim
^ Torah Ohr 3c
^ Torat Chaim Bereishit 30a
^ Bereishit Rabbah 19:7
^ Ramban to Genesis 3:8
^ Augustine, On the Literal Meaning of Genesis (De Genesi ad litteram), VIII, 4.8; Bibliothèque Augustinniene 49, 20
^ Augustine of Hippo, On the Literal Meaning of Genesis (De Genesi ad litteram), VIII, 6.12 and 13.28, Bibliothèque Augustinniene 49,28 and 50-52; PL 34, 377; cf. idem, De Trinitate, XII, 12.17; CCL 50, 371-372 [v. 26-31;1-36]; De natura boni 34-35; CSEL 25, 872; PL 42, 551-572
^ "The City of God (Book XIII), Chapter 14". Newadvent.org. Retrieved 2014-02-07.
^ Adams, Cecil (2006-11-24). "The Straight Dope: Was the forbidden fruit in the Garden of Eden an apple?". The Straight Dope. Creative Loafing Media, Inc. Retrieved 2008-10-06.
^ Qur'an 20:120
^ Qur'an 14:24
^ Qur'an 20:120
^ "ورق".
^ Qur'an 7:19
^ Qur'an 7:23
^ Qur'an 2:37
^ Mitchell, T.C. (2004). The Bible in the British Museum : interpreting the evidence (New ed.). New York: Paulist Press. p. 24. ISBN 9780809142927.
^ The British Museum. "'Adam and Eve' cylinder seal". Google Cultural Institute. Retrieved 2017-04-06.
Bibliography[edit]
Alter, Robert. A translation with commentary (2004). The five books of Moses. New York: W.W. Norton. ISBN 0-393-33393-0.
Knight, Douglas (1990). Watson E. Mills (ed.). Mercer dictionary of the Bible (2d corr. print. ed.). Macon, GA: Mercer University Press. ISBN 0-86554-402-6.
Media related to Tree of the knowledge of good and evil at Wikimedia Commons
en.wikipedia.org/wiki/Tree_of_the_knowledge_of_good_and_evil
This moc was built for the second round of the 2017 bio-cup. The overarching theme was historical and my sub theme was western.
Nimbin. Population 450.
Nimbin was a special place for the Bundjalung Aboriginal people as it was believed to be the home of sacred mystical small men who were the spiritual custodians of the mountains. The word meant “home to the little man”. When white pastoralists came the district became part of the Lismore station held by William Wilson – hence the naming
of the Wilson River. He held the lease until 1880 when the government sent surveyors in to survey virgin rainforest. The first white family arrived in 1882 followed by many more in 1883. Their first task was to clear land for a few pigs, cattle and vegetables. The Red Cedar and Hoop Pine were felled and then rolled into the Wilson River and floated down to the saw mills in Lismore. It was a tough life in this district. In 1903 one local block holder H Thornburn subdivided part of his property to create the village of Nimbin. Thornburn donated one block for a School of Arts (built 1904) and another for a Presbyterian Church. The first official school opened in 1906. The town grew quickly with a hotel, bakery, butchery, café, store, bank agency, Post Office and saw mill starting up within the first couple of years. The big boost to the town was the opening of a butter factory in 1908. Then the public buildings followed with Anglican and Presbyterian churches in 1909. A Methodist church followed in 1913 and a Catholic Church and school in 1918. A new Post Officer was built in 1914. The bank of N.S.W opened their first wooden bank in 1909 but this burnt down. The bank built a distinctive Art Deco wooden bank in 1919 and an E. S & A bank opened in 1922. The Freemason’s Hotel was erected in 1926 (it is now the Nimbin Hotel) and a wooden Masonic Lodge was erected in 1937. A Police Station was not built until 1934 but a police officer was stationed in the town from 1917. The main stays of the town economy were saw milling and butter production but apart from cattle, local farmers grew bananas, peas, beans and passionfruit. The Nimbin Dairy Cooperative amalgamated with Norco dairy in 1921. The factory closed in 1961 as cream could be fast trucked to Lismore.
The fortunes and direction of the town changed in 1973 when the Aquarius Foundation of the Australian Union of Students from Sydney University got permission to hold a bi-annual arts festival in Nimbin. The Aquarians opposed the War in Vietnam and wanted a freer and more humane world with peace, love and happiness. A Rainbow Café opened on the work site being prepared for the influx of a possible 5,000 university students. Volunteers did the work and artists came to prepare. The festival in May was successful and about 100 people stayed on to run the Rainbow Café, do their art and prepare for another festival. Several groups emerged to buy properties for cooperatives and the attraction of rural living and rainforest living blossomed amongst former city people. The hippy new comers built makeshift houses, prepared home crafts, and cared about environmental responsibility, communal living and loving, and in some cases, mind altering drugs. But life was not altogether free and each commune had its own rules which had to be obeyed as well as local and state laws. When the Lismore Council ordered illegal houses to be demolished the Nimbinites formed the district Homebuilders Association to fight the Council. In the end the Homebuilders won the right for multiple residences on one property. Then in 1979 a bigger opponent emerged – logging in the rainforests at Terania Creek. Conservation made national headlines, action groups were formed and the NSW government created new national parks like nearby Nightcap and reduced forest logging. Economically the new cooperatives promoted growth of Nimbin too. The Bush Co-Op began as a community organisation but it soon had food storage and wholesale distribution arms, mechanical, metal and woodworking shops, a media group and graphic art studios, theatre troupe and general design. At the same time independent artists, writers and musicians lived and worked in the town. Commercialism crept back into the new hippy world with markets, galleries and more festivals. But the overarching principles of living and caring for others and protecting the environment and living sustainably continued. Diversity was the key and new spiritual groups found a home at Nimbin too from Thai Buddhist groups to Indian Hindu philosophical ashrams to “born again” Christian groups. Not surprisingly Nimbin has an annual Mardi Grass and a world naked Bike Ride celebration amongst its annual festivals!
Just outside of Nimbin turn right into Stony Chute Road to see some granite boulders which are sacred place to the Bundjalung people and heritage listed. The lowest rock is called the cathedral, whilst the top level of rock is called the castle. The highest peak is named Lady Cunningham’s Needle. These granite dykes are evidence of old volcanic activity the basis of the rich fertile soils of the district.
Royal Terrace is a grand street in the city of Edinburgh, Scotland, on the north side of Calton Hill within the New Town and part of the UNESCO World Heritage Site inscribed in 1995, built on the south side of a setted street, facing the sloping banks of London Road Gardens, formerly Royal Terrace Gardens, with views looking north towards Leith and the Firth of Forth.
Architectural Note:
William Playfair, designed 1820-4; No 10 built between 1823 and early 1830s. Part of extremely long 121-bay palace front terrace of townhouses with arched and rusticated ground floor; to centre, 3-storey section punctuated by three 3-storey and attic Corinthian colonnaded pavilions; to left and right flanking 3-storey balustraded sections leading to 3-storey sections with 3-storey and attic Ionic colonnaded pavilions; 2-storey balustraded sections to outer left and right; basements to all houses. Droved ashlar to basement; V-chamfered rustication to ground floor; polished ashlar to upper floors; predominantly coursed squared rubble with dressed margins to rear elevation. To principal elevation: base course; dividing band between basement and ground floor; impost course to ground floor; dividing band between ground and 1st floors; to 1st floor, narrow band course broken by window to each bay. Regular fenestration to principal elevation; predominantly regular fenestration to rear elevation; to ground floor, round-headed openings in round-headed overarches.
Royal Terrace forms part of the showpiece of Playfair's Eastern New Town (or Calton) scheme, and as such is an important example of the work of one of Scotland's leading early 19th century architects. Playfair was one of the major driving forces of the Greek Revival in Edinburgh at this time, and his public commissions such as the National Monument, the Royal Institution and the National Gallery (see separate listings) gave strength to Edinburgh's reputation of the Athens of the North. The Calton Scheme was one of his few domestic commissions, and the variety of designs, different for each street, demonstrates Playfair's expertise with the Grecian style and his characteristic punctilious attention to detail. The railings are important as their design features distinctive elements which Playfair repeated in large areas of the Calton scheme. The massive scale of Royal Terrace, in conjunction with Playfair's characteristic attention to detail (for instance the decision to site houses on one side of the Terrace only, in order to capitalise on the spectacular views), make this one of his most impressive schemes. When designing Royal Terrace, Playfair also rejected the conventional palace front with its distinctive central pavilion; he instead chose a more subtle distribution of pavilions, creating a discreet accumulation of emphasis towards the centre of the terrace through the use of attic storeys and Ionic and Corinthian Orders.
Info: Historic Environment Scotland
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
The Grand Terrace at the base of Burj Khalifa is considered to be the front door of the tower. A series of reflecting pools and green terraces crisscross each other as they cascade toward the lake which would be several inches further from the circular perimeter of the model. This open expanse provides serene walkways along infinity-edge pools and offers largely uninterrupted views of the tower, as well as access to the two tower annexes which flank either side of the Grand Terrace. These two annexes echo the overarching radial geometry throughout the plaza with their scalene triangular plans. The shorter annex on the left features amenities such as a spa and rooftop pool, while the taller annex on the right provides additional office space.
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Built 1910 - 1911 .... Constructed by - Cleveland Bridge and Engineering Company of Darlington, England .... The Queen Street Bridge in Toronto carries vehicles and Toronto Transit Commission / TTC streetcars along Queen Street East and across the Don River. It is an example of a Pratt truss bridge. The art work on the bridge is by Eldon Garnet, the phrase "this river I step in is not the river I stand in", taken from the philosophy of Heraclitus, is inscribed in large letters overarching the road ....
The cast iron roof of the Corn Exchange, Leeds. Now a collection of fashion and other shops for young people.
see www.cornx.net/
From November 18th to 20th 2022 I went to Bricking Bavaria in Fürth and since the 50th anniversary of the World Heritage Convention was just the week before, I decided to bring all the models I did of World Heritage sites so far. The idea to this arose mostly during Summer Joust as I realized the UNESCO anniversary could make for a neat overarching theme for the builds and fortunately the other architecture models I built earlier this year happened to be World Heritage sites, too (and I still had the Reichenau church from 2020). I was still looking for a bit bigger and more eye-catching model apart from Sanssouci, though, but the Torre de Belém came in quite handy as an addition.
In the background you can see some awesome models by Sylon_tw on the other side.
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Osborne House has some very interesting seats and benches dotted around the grounds made out of various materials. Here you can see one which was made by the local blacksmith as a Modern commemorative love seat.
Today, Osborne House is under the care of English Heritage and is open to the public. The former Naval College's cricket pavilion was converted into a holiday cottage in 2004 and can be booked by members of the public. Guests staying at the cottage are given the right to use the Osborne Estate private beach.
Cricket pavilion – Osborne House
Since 2005, the house has occasionally hosted picnic-style concerts on the lawn outside the main house.
English Heritage has a management contract to run Osborne House as a historic tourist attraction. The residence's ownership since 1971 has been held in a private property trust connected to Historic Royal Palaces – the overarching trust covering, among others, Hampton Court and the Tower of London.
Queen Victoria's private beach at Osborne, including her personal bathing machine, was opened to the public for the first time in July 2012 following an extensive restoration programme.
Nimbin. Population 450.
Nimbin was a special place for the Bundjalung Aboriginal people as it was believed to be the home of sacred mystical small men who were the spiritual custodians of the mountains. The word meant “home to the little man”. When white pastoralists came the district became part of the Lismore station held by William Wilson – hence the naming
of the Wilson River. He held the lease until 1880 when the government sent surveyors in to survey virgin rainforest. The first white family arrived in 1882 followed by many more in 1883. Their first task was to clear land for a few pigs, cattle and vegetables. The Red Cedar and Hoop Pine were felled and then rolled into the Wilson River and floated down to the saw mills in Lismore. It was a tough life in this district. In 1903 one local block holder H Thornburn subdivided part of his property to create the village of Nimbin. Thornburn donated one block for a School of Arts (built 1904) and another for a Presbyterian Church. The first official school opened in 1906. The town grew quickly with a hotel, bakery, butchery, café, store, bank agency, Post Office and saw mill starting up within the first couple of years. The big boost to the town was the opening of a butter factory in 1908. Then the public buildings followed with Anglican and Presbyterian churches in 1909. A Methodist church followed in 1913 and a Catholic Church and school in 1918. A new Post Officer was built in 1914. The bank of N.S.W opened their first wooden bank in 1909 but this burnt down. The bank built a distinctive Art Deco wooden bank in 1919 and an E. S & A bank opened in 1922. The Freemason’s Hotel was erected in 1926 (it is now the Nimbin Hotel) and a wooden Masonic Lodge was erected in 1937. A Police Station was not built until 1934 but a police officer was stationed in the town from 1917. The main stays of the town economy were saw milling and butter production but apart from cattle, local farmers grew bananas, peas, beans and passionfruit. The Nimbin Dairy Cooperative amalgamated with Norco dairy in 1921. The factory closed in 1961 as cream could be fast trucked to Lismore.
The fortunes and direction of the town changed in 1973 when the Aquarius Foundation of the Australian Union of Students from Sydney University got permission to hold a bi-annual arts festival in Nimbin. The Aquarians opposed the War in Vietnam and wanted a freer and more humane world with peace, love and happiness. A Rainbow Café opened on the work site being prepared for the influx of a possible 5,000 university students. Volunteers did the work and artists came to prepare. The festival in May was successful and about 100 people stayed on to run the Rainbow Café, do their art and prepare for another festival. Several groups emerged to buy properties for cooperatives and the attraction of rural living and rainforest living blossomed amongst former city people. The hippy new comers built makeshift houses, prepared home crafts, and cared about environmental responsibility, communal living and loving, and in some cases, mind altering drugs. But life was not altogether free and each commune had its own rules which had to be obeyed as well as local and state laws. When the Lismore Council ordered illegal houses to be demolished the Nimbinites formed the district Homebuilders Association to fight the Council. In the end the Homebuilders won the right for multiple residences on one property. Then in 1979 a bigger opponent emerged – logging in the rainforests at Terania Creek. Conservation made national headlines, action groups were formed and the NSW government created new national parks like nearby Nightcap and reduced forest logging. Economically the new cooperatives promoted growth of Nimbin too. The Bush Co-Op began as a community organisation but it soon had food storage and wholesale distribution arms, mechanical, metal and woodworking shops, a media group and graphic art studios, theatre troupe and general design. At the same time independent artists, writers and musicians lived and worked in the town. Commercialism crept back into the new hippy world with markets, galleries and more festivals. But the overarching principles of living and caring for others and protecting the environment and living sustainably continued. Diversity was the key and new spiritual groups found a home at Nimbin too from Thai Buddhist groups to Indian Hindu philosophical ashrams to “born again” Christian groups. Not surprisingly Nimbin has an annual Mardi Grass and a world naked Bike Ride celebration amongst its annual festivals!
Just outside of Nimbin turn right into Stony Chute Road to see some granite boulders which are sacred place to the Bundjalung people and heritage listed. The lowest rock is called the cathedral, whilst the top level of rock is called the castle. The highest peak is named Lady Cunningham’s Needle. These granite dykes are evidence of old volcanic activity the basis of the rich fertile soils of the district.
Poem.
Quintessentially Scotland, wrapped in a burnt amber autumnal cloak.
Lochan islet overarched by the noble, native Scots Pine.
Rosehips, gorse and sapling silver birch frame a breathless stillness and combine to form the archetypal landscape of Caledonia.
A perfect moment of utter calm where time ceases and beauty overwhelms.
How rare.
How special.
How therapeutic
to mind, body and soul.
Sehnsucht (German pronunciation: [ˈzeːnˌzʊxt]) is a German noun translated as "longing", "pining", "yearning", or "craving", or in a wider sense a type of "intensely missing". However, Sehnsucht is difficult to translate adequately and describes a deep emotional state. Its meaning is similar to the Portuguese word Saudade, or the Romanian word dor. Sehnsucht is a compound word, originating from an ardent longing or yearning (das Sehnen) and a long or lingering illness (das Siechtum). However, these words do not adequately encapsulate the full meaning of their resulting compound, even when considered together.
Some psychologists use the word sehnsucht to represent thoughts and feelings about all facets of life that are unfinished or imperfect, paired with a yearning for ideal alternative experiences. It has been referred to as “life’s longings”; or an individual’s search for happiness while coping with the reality of unattainable wishes. Such feelings are usually profound, and tend to be accompanied by both positive and negative feelings. This produces what has often been described as an ambiguous emotional occurrence.
Psychologists have worked to capture the essence of Sehnsucht by identifying its six core characteristics: “(a) utopian conceptions of ideal development; (b) sense of incompleteness and imperfection of life; (c) conjoint time focus on the past, present, and future; (d) ambivalent (bittersweet) emotions; (e) reflection and evaluation of one's life; and (f) symbolic richness.”
In a cross-cultural study conducted to determine whether the German concept of Sehnsucht could be generalized to the United States, four samples of American and German participants “rated their 2 most important life longings and completed measures of subjective well-being and health.” German and American participants did not differ in their ability to identify life longings or the intensity of their Sehnsucht. However, German participants associated it more with unattainable, utopian states while Americans reported the concept as not as important to everyday life.
Some researchers posit that Sehnsucht has a developmental function that involves life management. By imagining overarching and possibly unachievable goals, individuals may be able to create direction in their life by developing more tangible goals, or “stepping stones” that will aid them on their path toward their ideal self. "[Sehnsucht has] important developmental functions, including giving directionality for life planning and helping to cope with loss and important, yet unattainable wishes by pursuing them in one's imagination." It can also operate as a self-regulatory mechanism.
However, in a study that attempted to discover whether Sehnsucht played an active role in one’s ability to influence their own development, psychologists asked 81 participants to report “their most important personal goals and life longings, and [evaluate] these with respect to their cognitive, emotional, and action-related characteristics.”Results showed that goals were perceived as more closely linked to everyday actions, and as such more controllable. Sehnsucht, on the other hand, was reported as more related to the past and future, and therefore more emotionally and developmentally ambiguous.
Also, in a study conducted in 2009, 168 middle-aged childless women were asked to rate their wish for children according to intensity and attainability. If the women rated their wish as intense and long-standing, their wish was considered a life-longing. If they rated their wish as intense and attainable, it was simply a goal. “The pursuit of the wish for children as a life longing was positively related to well-being only when participants had high control over the experience of this life longing and when other self-regulation strategies (goal adjustment) failed.”
Saudade (European Portuguese: [sɐwˈðaðɨ], Brazilian Portuguese: [sawˈdadi] or [sawˈdadʒi], Galician: [sawˈðaðe]; plural saudades) is a deep emotional state of nostalgic or profound melancholic longing for an absent something or someone that one loves. Moreover, it often carries a repressed knowledge that the object of longing might never return. One English translation of the word is missingness, although it might not convey the feeling of deep emotion attached to the word "saudade". Stronger forms of saudade might be felt towards people and things whose whereabouts are unknown, such as a lost lover, or a family member who has gone missing, moved away, separated, or died.
Saudade was once described as "the love that remains" after someone is gone. Saudade is the recollection of feelings, experiences, places, or events that once brought excitement, pleasure, well-being, which now triggers the senses and makes one live again. It can be described as an emptiness, like someone (e.g., one's children, parents, sibling, grandparents, friends, pets) or something (e.g., places, things one used to do in childhood, or other activities performed in the past) that should be there in a particular moment is missing, and the individual feels this absence. It brings sad and happy feelings altogether, sadness for missing and happiness for having experienced the feeling.
Nur wer die Sehnsucht kennt
Nur wer die Sehnsucht kennt
Weiß, was ich leide!
Allein und abgetrennt
Von aller Freude,
Seh ich ans Firmament
Nach jener Seite.
Ach! der mich liebt und kennt,
Ist in der Weite.
Es schwindelt mir, es brennt
Mein Eingeweide.
Nur wer die Sehnsucht kennt
Weiß, was ich leide!
Only those who know longing
Know what sorrows me!
Alone and separated
From all joy,
I behold the firmament
From yonder side.
Ah! the one who loves and knows me
Is in the vast unknown.
It dizzies me, it burns
my guts.
Only those who know longing
Know how I suffer!
None but the lonely heart
Can know my sadness
Alone and parted
Far from joy and gladness
Heaven's boundless arch I see
Spread out above me
O(h) what a distance drear to one
Who loves me
None but the lonely heart
Can know my sadness
Alone and parted far
From joy and gladness
Alone and parted far
From joy and gladness
My senses fail
A burning fire
Devours me
None but the lonely heart
Can know my sadness
en.wikipedia.org/wiki/Sehnsucht
Saudade is a word in Portuguese and Galician that claims no direct translation in English. In German it is equivalent to Sehnsucht. In Portuguese, "Tenho saudades tuas" (European Portuguese) or "Estou com saudades de você" (Brazilian Portuguese), translates as "I have (feel) saudade of you" meaning "I miss you", but carries a much stronger tone. In fact, one can have saudade of someone whom one is with, but have some feeling of loss towards the past or the future. For example, one can have "saudade" towards part of the relationship or emotions once experienced for/with someone, though the person in question is still part of one's life, as in "Tenho saudade do que fomos" (I feel "saudade" of the way we were). Another example can illustrate this use of the word saudade: "Que saudade!" indicating a general feeling of longing, whereby the object of longing can be a general and undefined entity/occasion/person/group/period etc. This feeling of longing can be accompanied or better described by an abstract will to be where the object of longing is.
Despite being hard to translate, saudade has equivalent words in other cultures, and is often related to music styles expressing this feeling such as the blues for African-Americans, dor in Romania, Tizita in Ethiopia, or Assouf for the Tuareg people, appocundria in Neapolitan. In Slovak, the word is clivota or cnenie, in Czech, the word is stesk and Sehnsucht in German.
The similar melancholic music style is known in Bosnia-Herzegovina as sevdah (ultimately from Arabic سَوْدَاء sawdā' : 'black [bile]', translation of the Greek µέλαινα χολή, mélaina cholē from which the term melancholy is derived).
Nascimento and Meandro (2005)cite Duarte Nunes Leão's definition of saudade: "Memory of something with a desire for it."
In Brazil, the day of Saudade is officially celebrated on 30 January.
The word saudade was used in the Cancioneiro da Ajuda (13th century), in the Cancioneiro da Vaticana and by poets of the time of King Denis of Portugal (reigned 1279–1325). Some specialists say the word may have originated during the Great Portuguese Discoveries, giving meaning to the sadness felt about those who departed on journeys to unknown seas and disappeared in shipwrecks, died in battle, or simply never returned. Those who stayed behind—mostly women and children—suffered deeply in their absence. However, the Portuguese discoveries only started in 1415 and since the word has been found in earlier texts, this does not constitute a very good explanation. The Reconquista also offers a plausible explanation.
The state of mind has subsequently become a "Portuguese way of life": a constant feeling of absence, the sadness of something that's missing, wishful longing for completeness or wholeness and the yearning for the return of that now gone, a desire for presence as opposed to absence—as it is said in Portuguese, a strong desire to matar as saudades (lit. to kill the saudades).
In the latter half of the 20th century, saudade became associated with the feeling of longing for one's homeland, as hundreds of thousands of Portuguese-speaking people left in search of better futures in South America, North America and Western Europe. Besides the implications derived from a wave of emigration trend from the motherland, historically speaking saudade is the term associated with the decline of Portugal's role in world politics and trade. During the so-called "Golden Age", synonymous with the era of discoveries, Portugal undeniably rose to the status of a world power, and its monarchy became one of the richest in Europe. But with the rise of competition from other European nations, the country went both colonially and economically into a prolonged period of decay. This period of decline and resignation from the world's cultural stage marked the rise of saudade, aptly described by a sentence in Portugal's national anthem: Levantai hoje de novo o esplendor de Portugal (Lift up once again today the splendour of Portugal).
Saudade is similar but not equal to nostalgia, a word that also exists in Portuguese.
In the book In Portugal of 1912, A. F. G. Bell writes:
The famous saudade of the Portuguese is a vague and constant desire for something that does not and probably cannot exist, for something other than the present, a turning towards the past or towards the future; not an active discontent or poignant sadness but an indolent dreaming wistfulness.
A stronger form of saudade may be felt towards people and things whose whereabouts are unknown, such as old ways and sayings; a lost lover who is sadly missed; a faraway place where one was raised; loved ones who have died; feelings and stimuli one used to have; and the faded, yet golden memories of youth. Although it relates to feelings of melancholy and fond memories of things/people/days gone by, it can be a rush of sadness coupled with a paradoxical joy derived from acceptance of fate and the hope of recovering or substituting what is lost by something that will either fill in the void or provide consolation.
To F. D. Santos, Saudade as a noun has become a longing for longing itself:
There was an evolution from saudades (plural) to Saudade (singular, preferably written with a capital S), which became a philosophical concept. ... Saudade has an object; however, its object has become itself, for it means 'nostalgia for nostalgia', a meta-nostalgia, a longing oriented toward the longing itself. It is no more the Loved One or the 'Return' that is desired, based on a sense of loss and absence. Now, Desire desires Desire itself, as in the poetry of love for love's sake in Arabic, or as in Lope de Vega's famous epigram about the Portuguese who was crying for his love for Love itself. Or, rather, as poetess Florbela Espanca put it, I long for the longings I don't have ('Anoitecer', Espanca 1923).
In Sweden, it's possible to combine career with family life. One of the overarching Swedish principles for gender equality is that everyone, regardless of gender, has the right to work and support themselves, and to balance career and family life.
On a national level, this principle is also about laying ground for the economy. Sweden has a long history of policies with the goal of getting equal numbers of men and women – in other words, as many people as possible – into the workforce in order to increase the country’s growth.
In 1974, Sweden was the first country in the world to replace gender-specific maternity leave with parental leave.
This public toilet is a design by architect Rem Koolhaas and photographer Erwin Olaf: they designed the urinal for A Star is Born (1996), an urban exhibition that brought urban planning, architecture, art and theatre together into a swirling synthesis on the overarching theme of water.
The round toilet consists of two curved walls of milk glass, which combine to form the yin and yang symbol. Above it is a floating roof of perforated stainless steel.
What makes this public toilet building unusual is that it not only has a men's section, but also a ladies' section, each with its own entrance. The milk-glass walls contain a photo collage by Erwin Olaf in shades of blue and deep purple against a plain, bright background. The photos depict ‘the battle of the sexes’: exotic ladies and gentlemen playfully attacking each other. They are dressed in pearls and diamonds and bear stereotypical tools like a rolling pin, a sword, boxing gloves and a toy gun.
In the evening, the toilet is illuminated from the inside.
The toilet is available for use in the summer, but closed during the winter due to the risk of freezing.
Source & more info:
www.kunstpuntgroningen.nl/en/kunst-op-straat/public-toile...
------------------
Dit openbaar toilet is een ontwerp van architect Rem Koolhaas en fotograaf Erwin Olaf; zij ontwierpen het urinoir voor de A Star is Born (1996), een stadsmanifestatie die stedenbouw, architectuur, kunst en theater samenbracht in een wervelende mix met als overkoepelend thema water.
Het ronde toilet bestaat uit twee gebogen wanden van melkglas, die samen het yin- en yangteken vormen. Daarboven bevindt zich een zwevend dak van geperforeerd roestvrij staal.
Bijzonder aan dit toiletgebouw is dat het niet alleen een afdeling voor heren maar ook voor dames heeft, elk met een eigen ingang. In de melkglazen wanden is een fotocollage te zien van Erwin Olaf in blauwe en dieppaarse tinten tegen een effen, lichte achtergrond. De foto’s verbeelden ‘de strijd der seksen’: exotische dames en heren gaan elkaar speels te lijf. Ze zijn gekleed in parels en diamanten en uitgerust met stereotype attributen als een deegroller, een zwaard, bokshandschoenen en een speelgoedpistool.
’s Avonds wordt het toilet van binnenuit verlicht.
Het toilet is 's zomers in gebruik, 's winters is het vanwege bevriezingsgevaar gesloten.
Bron & meer info:
www.kunstpuntgroningen.nl/kunst-op-straat/openbaar-toilet...
My wonderland - @ New Town Eco Park (officially Prakriti Tirtha) - Calcutta, India.
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New Town Eco Park (officially Prakriti Tirtha) is an urban park in Rajarhat, Kolkata. The park is situated on a 480 acres (190 ha) plot and will surround a 104 acres (42 ha) waterbody with an island in the middle. The park was conceptualised by Chief Minister of West Bengal, Mamata Banerjee in July 2011. West Bengal Housing Infrastructure Development Corporation (HIDCO) is the overarching body coordinating the construction of the park, along with different other government bodies responsible for implementation of different works inside the park. The park has been divided into three broad parts; 1) ecological zones like wetlands, grasslands, and urban forest, 2)theme gardens and open spaces, 3)and urban recreational spaces. The Eco Park will be further divided into different sub-parts according to the different types of fauna planted. According to the plan, the park will have different areas like wild flower meadows, a bamboo garden, grasslands, tropical tree garden, bonsai garden, tea garden, Cactus Walk, a heliconia garden, a butterfly garden, a play area and an amphitheatre. Further, there is plan to develop an eco-resort in public-private partnership, and will also include an area where handicrafts from different part of the state will be exhibited. The park was inaugurated on 29 December 2012 by Mamata Banerjee.
Source : Internet
Detailed Exif Data :
Dates::
Taken on---------------May 26, 2013 at 6.44PM IST
Posted to Flickr---------------October 5, 2013 at 12.31AM IST
Exif data::
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Y-Resolution---------------500 dpi
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Date and Time (Original)---------------2013:05:26 18:44:25
Date and Time (Digitized)---------------2013:05:26 18:44:25
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Walking tour of Vilnius, Lithuania.
Vilnius is an outstanding example of a medieval foundation which exercised a profound influence on architectural and cultural developments in a wide area of Eastern Europe over several centuries. In the townscape and the rich diversity of buildings that it preserves, Vilnius is an exceptional illustration of a central European town that evolved organically over five centuries.
The historic buildings are in Gothic, Renaissance, Baroque and classical styles (with some later additions). Some 40% of them are adjudged to be of the highest category of architectural and historical importance. They constitute a townscape of great diversity and yet at the same time one in which there is an overarching harmony.
Thus far in the series, this image hurt me the most to make (and not just because was it incredibly uncomfortable on a physical level). But the inspiration burned itself into my mind one night before falling asleep and wouldn't let me be after that. There was this deep need to sit down and sketch it out. Once it was put to paper it took a life of its own and demanded to be photographed.
This photograph deals with an overarching theme from my religious childhood and the ways in which women were raised and treated. We were valued for our purity of mind, our virginity of body and our malleability.
To fall from grace and lose your virginity outside of marriage, literally "to Fall" in our culture, was to lose your value and be consigned to the deepest hell. You were considered worse than a murderer in our religion.
In that sense, many of us had blood on our hands. Each crush, each flirtatious look was a stab inward at ourselves.
At seventeen I fell hopelessly in teenaged-love and knew, from that moment onward, my heart was forever tainted. Despite it being a rather chaste love, I wondered who would ever want me after that?
This photograph addresses that strange bind that the faith of my childhood put women in. By emotionally gagging and binding them, they were marginalized, objectified, and deeply injured.
More specifically it memorializes the final breaking moment for me in my damaged life of faith.
I write a little bit more deeply about that particular experience here at The Hairpin if you're interested: thehairpin.com/2012/10/life-without-reverend-moon
Brushes by Solalia and falln-stock on DeviantArt
The Hamilton Town Hall, a single-storey brick building comprising Council Chambers and public hall, was erected in 1920 for the Hamilton Town Council. It was designed by M. T. Stanley, and is one eight remaining Town Halls from the twenty that were built prior to the formation of Greater Brisbane in 1925.
When Moreton Bay was opened for free settlement in 1842, local government was controlled from Sydney, using British Imperial Government policy. The Municipality of Brisbane was not proclaimed until 1859, and the first Council was elected in the same year. As settlements sprang up around Brisbane a desire for separate municipality status developed, and in 1879 the Divisional Boards Act provided for a number of new autonomous authorities adjacent to Brisbane. By 1891, 21 local authorities had been created in the Brisbane metropolitan area under this legislation. These consisted of the City of Brisbane as well as a municipality, shires, divisions, and one borough.
In 1890, the Hamilton Division separated from Toombul, although the Hamilton Divisional Board initially conducted its business from the Toombul Divisional Board Offices. Andrew Petrie was appointed the first Chairman. The Board became a Town Council in 1904 and the first Mayor was J. B. Charlton. In 1917 the Council purchased 64 perches (approximately 1600 square metres) of land in Racecourse Road with the intention of building Council Chambers and a Public Hall. In 1919 plans and specifications for the new building were received from Montague Stanley, son of F. D. G. Stanley, the well-known colonial architect. At a special meeting, amendments were made, including a wider front door and the use of Australian manufactured materials. A tender from Messrs McArthur & Walker for £6,894 was accepted and the current mayor Alderman George Rees laid the foundation stone on the 26th of September 1919. Extra walling and iron railing with a double gate along Racecourse Road was added to the plan and the building was completed in 1920 for a cost of £8,873.
The Town Hall accommodated Council Officers as well as providing Council Chambers and a public Hall. There was a kitchen and a strong room, but it is not known if the Supper Room was constructed at this time. An Honour Board for local residents who had contributed to The First World War was erected in the Council Offices.
With rapid population increases, small local governments found it ever more difficult to fund and administer their responsibilities effectively and economically. The development of services such as roads, transport, water supply, and sewage could only be efficiently managed by an overarching authority. A move to amalgamate local authorities began in 1902 when the division of Booroodabin rejoined the city of Brisbane. The idea of amalgamation was promoted throughout the 1900s and culminated in the City of Brisbane Act of 1924, when Hamilton was one of the towns and shires who joined to form the Brisbane City Council. The first Greater Brisbane Council was elected on the 21st of February 1925 and the Hamilton Town Council was disbanded.
The Town Hall then became the property of the Brisbane City Council and since that time has had various uses. During 1925/1926 it is recorded as a Council Depot in the Post Office Directories. From 1927 it was known as the School of Arts and provided a venue for social events. The building was headquarters for the Australian Army Survey Corps during World War Two. After the war, major alterations were made to the Council Chambers to create the Hamilton Municipal Library. The Hall continued to be used for various social activities. Additions were made to the northern end of the Hall in 1973 to accommodate the Mobile Library Service. Further changes in 1987 included alterations to the dressing room and a covered walkway between the Supper Room and the Hall. The former Town Hall still houses the City Council's Hamilton Library and it is used by an amateur theatrical group and by other local groups for meetings and social activities. Though its use as a venue for functions and gatherings and as a local library, the building has long associations with the cultural and social life of the area.
Source: Queensland Heritage Register.