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El pantà o llac de Matamala (en francès barrage de Matemale) fou construït els anys 1957 i 1961 i cobreix unes 200 hectàrees del territori de Matamala i unes 75 d'els Angles. Bàsicament recull les aigües de la capçalera de l'Aude. S'ha convertit en un important centre d'activitats aquàtiques durant els mesos d'estiu en que el llac no està glaçat.
En l'aposta que ha fet el Capcir per l'esport i la natura, el llac pertany a "Espace Nordique du Capcir – Ski de Fond", un dels dominis amb més quilòmetres esquiables i recorreguts de gran bellesa que ha vingut a dinamitzar en època hivernal l'economia de la comarca i que reuneix a tots els municipis del Capcir que ofereixen la possibilitat de practicar aquest esport. Matamala és el centre neuràlgic de la pràctica de l'esquí nòrdic organitzant any rere any la veterana Travessa del Capcir, marxa en que s'ha de participar en parella i una de les festes més populars de la comarca.
El lloc de Matamala fou llegat amb tots els veïnats que en depenien pel testament del comte Sunifred, el 965, al monestir de Cuixà i restà dins dels dominis de l'abadia dins la caiguda de l'Antic Règim.
L'Aude és un dels rius occitans més importants. Neix a 2185 metres d'altitud als Pirineus nord-catalans, dins la comarca del Capcir i després de 224 quilòmetres vessa les seves aigües al Mar Mediterrani al Grau de Vendres, al límit entre els departaments d'Erau i d'Aude. La seua conca té uns 5300 km² de superfície. El seu recorregut a la Catalunya Nord és breu, conformant la vall del Capcir. Després recórre alguns quilòmetres per l'Arieja, i llavors, amb l'excepció de tres curts trams que fan de límit entre l'Aude i l'Erau, el seu recorregut queda inclòs dins del departament homònim. Les principals poblacions per les que passa són Quilhan, Limós i Carcassona. Fins Limós el seu curs discórre entre muntanyes, i així presenta diversos congosts.
Aquesta imatge ha jugat a Quel est ce lieu?.
11 I will remember the deeds of the LORD;
yes, I will remember your wonders of old.
12 I will ponder all your work,
and meditate on your mighty deeds.
13 Your way, O God, is holy.
What god is great like our God?
14 You are the God who works wonders;
you have made known your might among the peoples.
15 You with your arm redeemed your people,
the children of Jacob and Joseph. Selah
16 When the waters saw you, O God,
when the waters saw you, they were afraid;
indeed, the deep trembled.
17 The clouds poured out water;
the skies gave forth thunder;
your arrows flashed on every side.
18 The crash of your thunder was in the whirlwind;
your lightnings lighted up the world;
the earth trembled and shook.
19 Your way was through the sea,
your path through the great waters;
yet your footprints were unseen.
20 You led your people like a flock
by the hand of Moses and Aaron.
The Holy Bible: English Standard Version (Wheaton: Standard Bible Society, 2001), Ps 77:11–20.
Old silo and barn foundation found in south central Wisconsin. Photo taken at sunset. PS filters and adjustments used to enhance color and lighting.
At the core of Arches National Park in Utah lies an awe-inspiring landscape that epitomizes the unbridled magnificence of Mother Nature. "Pillars of the Desert Sky" captures the essence of this rugged terrain with striking accuracy, revealing a breathtaking scene that invites the viewer to embark on a memorable journey through the American Southwest.
As the golden hour blankets the desert, the sun casts a warm, orange glow on the sandstone formations that command the landscape. These geological wonders, shaped by time and the elements, create an elaborate network of arches, canyons, and gorges that call to the adventurous spirit within us. The majestic red rocks, in hues of light red and light brown, reach for the heavens, their rugged surfaces a testament to the power of natural forces.
Nestled within this expansive wilderness, one can't help but experience a sense of peace and tranquility, as the serene environment provides a haven from the frenetic pace of everyday life. The depiction flawlessly captures the essence of outdoor adventure, underscoring the importance of conservation and respect for the environment.
Regardless of whether you're an experienced hiker, a leisurely tourist, or simply an admirer of nature's grandeur, this image offers a fascinating insight into the heart of the desert and the extraordinary geology that characterizes it. This image is "Pillars of the Desert Sky" 1 of 2.
Lord, you have kept me from being concieted by giving me a thorn in my flesh. I have plead with You many times but You said Your grace is sufficient. I thank you for Your wisdom in directing me to a richer blessings. This thorn in my flesh is to revealed my weakness so that Your strength is display in me. I am weak than I am strong. In Jesus name, Amen
This is a typical pose for Alex Skolnick. He loves to do his solos this way.
Esta una pose típica de Alex Skolnick. A él, le gusta hacer sus solos así-.
Panorama taken on an extraordinary place, Island of Pag, Croatia.
Name borrowed of Testament song from album The Ritual.
Construction of the tower of Babel - Mosaics of the 12th century - Cathedral of Monreale (Cathedral of Santa Maria Nuova)
Stile architettonico: Architettura arabo-normanna, bizantino, normanno, rinascimentale, barocco
Inizio costruzione: 1172
Completamento: 1267 (con aggiunte successive)
UNESCO World Heritage Site 2015 (Palermo arabo-normanna e le cattedrali di Cefalù e Monreale)
Costruita a partire dal 1174 per volere di Guglielmo II d'Altavilla, (Guglielmo il buono) re di Sicilia dal 1166 al 1189, è famosa per i ricchi mosaici bizantini che ne decorano l'interno, coprendo una superficie di 6.430 mq, la più ampia di tutto il bacino del Mediterraneo, utilizzando più di 1800 kg di oro zecchino per raccontare la storia del Cristianesimo
Cathedral of Monreale (Cathedral of Santa Maria Nuova)
Architectural style: Arabic-Norman, Byzantine, Norman, Renaissance, Baroque
Start of construction: 1172
Completion: 1267 (with subsequent additions)
UNESCO World Heritage Site 2015 (Palermo-Norman Palermo and Cathedrals of Cefalù and Monreale)
Built from 1174 by William II of Altavilla (William the Good) king of Sicily from 1166 to 1189, it is famous for the rich Byzantine mosaics that decorate the interior, covering an area of 6,430 square meters, the largest of the entire Mediterranean basin, using more than 1800 kg of pure gold to tell the story of Christianity
My ears are still ringing from this show. Testament brought the noise; good noise though. ;)
Me siguen tronando los oídos de este espectáculo. Testament puso de pie a todos los fanáticos.
Life-size statues of the Little Rock Nine, on the grounds of the Arkansas State Capitol in downtown Little Rock. The statues depict the nine students who integrated the all-white Little Rock Central High in 1957. The statues are defiantly facing the windows of the Governor's office - the "very seat of power that fueled the conflict and forged their remarkable futures."
Two vibrant pink flowers emerge from a moss-covered stump, a testament to nature's resilience. #NaturePhotography #FlowerPower
who needs iptv service visit www.mystreamtv.net
La abubilla en la cultura
Por su hermoso aspecto ha interesado al hombre desde el tiempo de los faraones.
Su dieta y su fetidez deben haber sido de las razones por las que la abubilla se incluye en el Antiguo Testamento en la lista de aves no limpias (ver Levítico 11:19 y Deuteronomio 14:18).
En una Hagadá del Judaísmo, se refiere a la abubilla como custodio por órden del ángel Rahab (demonio) de una criatura que se trataría de un gusano Shamir,14 que tendría la habilidad de perforar las más duras piedras y habría sido utilizado por el rey Salomón para construir el Templo de Jerusalén.
La abubilla aparece en la mitología romana. De acuerdo con Ovidio, Tereo transformado en una abubilla persigue a su mujer Procne para vengar la muerte de Itis, su hijo en común que ella ha asesinado por despecho. En la mitología griega la abubilla aparece como personaje principal en la comedia “Aves” de Aristófanes.
En el Islam, la abubilla se asocia con el Rey Salomón (el Profeta Suleyman para los musulmanes), quien habla con los animales; ella le cuenta sobre la Reina de Saba y su magnífico reino (Corán 27:20-28)
En la poesía clásica china, la abubilla se describe como un mensajero celestial que a menudo trae noticias sobre el advenimiento de la primavera. La abubilla es considerada auspiciosa en China gracias a su belleza única.
Por otra parte, la palabra dupe, que en francés y en inglés significa “aquel que es fácilmente engañable”, o “engañar”, proviene del nombre de la abubilla en un dialecto del francés. Se aplica a las personas poco inteligentes, tal como se consideraba a esta ave.
La abubilla es figura central en La Conferencia de las Aves, una de las obras principales de la literatura Sufí.
Los habitantes de Lanciego-Lantziego en Álava, reciben el sobrenombre de "bubillos" por una antigua leyenda.
Los habitantes de Palazuelos reciben el sobrenombre de "bubillos" por la abundancia de esta ave en su término.
Los habitantes de Useras en Castellón, reciben el sobrenombre de "paputs" por una antigua leyenda.
En el Diálogo inicial del De umbris idearum de Giordano Bruno, uno de los personajes recomienda usar una lengua de abubilla para obtener una memoria portentosa.
It was a new day yesterday.....but it's a old day now.
Yet another sunrise at Good Harbor Beach, Gloucester, MA.
20140830-IMG_8703
Two Canada geese on the Ottawa River at Remic Rapids in Ottawa, Ontario, Canada.
They are paddling past a surviving rock balancing sculpture by local artist John Felice Ceprano. That it remains standing after the river pretty much froze over, is a real testament to his craft.
Bathed in the soft glow of the setting sun, Notre-Dame seems to breathe with life, a testament to resilience and beauty through the centuries. As it stands in the midst of its restoration, it beckons us to reflect not only on the past but on the future—what do we rebuild within ourselves when life changes unexpectedly? The cathedral, just like us, will rise again, stronger and more radiant.
From pagan fertility rituals to hallucinogenic herbs, the story of witches and brooms is a wild ride. The evil green-skinned witch flying on her magic broomstick may be a Halloween icon—and a well-worn stereotype. But the actual history behind how witches came to be associated with such an everyday household object is anything but dull. It's not clear exactly when the broom itself was first invented, but the act of sweeping goes back to ancient times, when people likely used bunches of thin sticks, reeds and other natural fibers to sweep aside dust or ash from a fire or hearth.
As J. Bryan Lowder writes , this household task even shows up in the New Testament, which dates to the first and second centuries AD.
From the beginning, brooms and besoms were associated primarily with women, and this ubiquitous household object became a powerful symbol of female domesticity..
Despite this, the first witch to confess to riding a broom or besom was a man : Guillaume Edelin.
Edelin was a priest from Saint-Germain-en-Laye, near Paris.
He was arrested in 1453 and tried for witchcraft after publicly criticizing the church's warnings about witches.
His confession came under torture, and he eventually repented, but was still imprisoned for life.
Edelin was the Prior of Saint-Germain-en-Laye, an Augustinian and a Doctor of Divinity. He promulgated the idea that it was impossible for the Devil to make pacts or witches to fly on brooms. After being arrested, he confessed that he had signed a compact with the Devil to satisfy his carnal desires, part of this being that he pretend that witchcraft was impossible. The compact was afterwards found upon his person. He also confessed that he had "done homage to the Enemy, under the form of a sheep, by kissing his posteriors," and to having gone to the Sabbath "mounted on a balai", the first reference to the use of a broomstick in connection with witchcraft
After his capture, he repented and was imprisoned for the rest of his life in the city of Évreux.
The nicknames given to the two giant limestones stacks near the Gibson Steps. Gog and Magog who appear in the Old Testament and in the Qurʾān assume an important place in apocalyptic literature and medieval legend.
"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.
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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)
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Revised Standard Version (RSV)
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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
Such a thrill to see Testament again in concert. The guys put on a good show.
¡Qué emoción ver a Testament nuevamente en concierto. Los muchachos dieron buen espectáculo!
We're gonna take you back
Through the pages of the past
Just another lonely girl
I could laugh and play
And live in any other way
Then the devil took my soul
The fortune and the fame
I knew I was not the same
And I know I'd never return
Looking at the sky
I knew I would never die
And forever shining through
Wish the sky would say
That blue would turn to grey
And I know I'd be there
Turn the pages back in time
Through the chapters in my mind
Life's too short to leave behind
It's too late now
Life was like a fantasy
Taken by reality
Does anyone remember me
You once knew me
Flashes of the day
I knew I was here to stay
But no one
Knows my name ...Arabeska?
It was nice to see Dave Lombardo on drums with Testament.
Fue muy agradable ver a Dave Lombardo en la batería con Testament.
French postcard. Photo montage: Philippe Halsman / Magnum Photos. Caption: The French writer Jean Cocteau in a photographic montage by Philippe Halsman.
French poet, playwright, novelist, designer, filmmaker, visual artist and critic Jean Cocteau (1889-1963) was one of the most multi-talented artists of the 20th century. He was one of the creatives of the surrealist, avant-garde, and Dadaist movements. He is best known for his novels 'Le Grand Écart' (1923), 'Le Livre blanc' (1928), and 'Les Enfants Terribles' (1929); the stage plays 'La Voix Humaine' (1930), 'La Machine Infernale' (1934), 'Les Parents terribles' (1938), and 'L'Aigle à deux têtes' (1946); and the films Le sang d'un poète/The Blood of a Poet (1930), La belle et la bête/Beauty and the Beast (1946), Les Parents Terribles (1948), Orphée/Orpheus (1950), and Le testament d'Orphée/Testament of Orpheus (1960). He collaborated with the "Russian Ballet" company of Sergei Diaghilev and was active in many art movements, but he always remained a poet at heart.
Jean Maurice Eugène Cocteau was born in 1889 in Maisons-Laffitte, Seine-et-Oise (now Yvelines), France. Cocteau was born into a middle-class family. He began writing at 10 and was a published poet by age 16. From 1908, he was a frequent guest in artistic circles. In 1911, he wrote the libretto for 'Le dieu bleu, a ballet by the Ballets Russes. In 1917 came 'Parade', an avant-garde ballet by Cocteau, for which Pablo Picasso, among others, designed the sets and costumes and Erik Satie composed the music. In Guillaume Apollinaire's programme booklet, to describe the ballet, the word surréaliste was used for the first time. the ballet was not a great success, but it did establish Cocteau's name in the avant-garde of Paris. In 1920, Cocteau began a relationship with the aspiring writer Raymond Radiguet, then aged 17. Cocteau was openly bisexual. After Radiguet released 'Le Diable au corps', a period of productivity followed for Cocteau. This stopped in 1923, when Radiguet died of typhoid fever. Cocteau became addicted to opium in the period that followed. In 1926, he published 'Le rappel à l'ordre', a book of essays describing the renewed interest in traditions in the post-World War I period. In 1929, Cocteau wrote his best-known work, Les Enfants terribles'.
Jean Cocteau's film debut Le sang d'un poète/The Blood of a Poet (1930) starring Enrique Rive, was a grand experiment in an effort to capture the poet's obsession with the struggle between the forces of life and death. Because of the October 1930 scandal around Luis Buñuel's L'âge d'or (1930) - another film financed by Le Vicomte de Noailles and Marie-Laure de Noailles, the Paris premiere of this film was delayed until January 1932. The film is the first part of Jean Cocteau's Orpheus Trilogy (1932-1960); a loosely connected telling and re-telling of the well-known Greek legend. His favourite actor was his protégé and lover Jean Marais, who starred in La belle et la bête/Beauty and the Beast (1946), L'aigle à deux têtes (1948) and Les parents terribles (1948). In Cocteau's most important film, Orphee/Orpheus (1950), Marais is a poet who becomes obsessed with a Princess, Death (Maria Casares). They fall in love. Orphee's wife, Eurydice (Marie Déa), is killed by the Princess' henchmen and Orphee goes after her into the Underworld. Although they have become dangerously entangled, the Princess sends Orphee back out of the Underworld, to carry on his life with Eurydice. Cocteau made about twelve films in his career, all rich with symbolism and surreal imagery. In Le testament d'Orphée/Testament of Orpheus. Cocteau himself played the poet Orpheus who looks back over his life and work, recalling his inspirations and obsessions. In 1955, he became a member of the Académie française and he was also awarded the French Legion of Honour. Jean Cocteau died at the age of 74. Cocteau's house in Milly-la-Forêt was bought by the government on the initiative of a committee that wants to keep his memory alive. It was inaugurated as a Cocteau museum in 2010.
Sources: Alan Katz (IMDb), Wikipedia (Dutch and English) and IMDb.
And, please check out our blog European Film Star Postcards.
When I was but very young
Sorcerers came to claim my mind
Leaving death and hatred to unmask
The master of the game had won
And let his final sin be known
Killing those who stand in his path
Alone in the dark
Where the demons are torturing me
The dark passages of revenge is all that I see
Armies of witches
Are called in from the north
Murders of elders occur
The high priest of evil
Has lowered his iron fist
Thousands of people will die
The slaughter of the innocent
The house is burning
That lights the sky
My nightmare has begun to unfold
The hissing of the cobras tongue
Sound and feel of ripping flesh
Fall two thousand feet from the sky
My terror has controlled my life and
Let my only weakness known
I got to rid this hell from my head
I fight off evil sorcerers
Rid my mind of his torture and
Meet the falling angel in his realm
Faustus prepares the legions of the night
Diviners from the far north arrive
Aimlessly people there huddled in a pack
Wreaking deadly havoc on mankind
I fall in my deepest sleep
To meet the evil asteroth
His title is the grand duke of hell
I fight until the end is near
To rid my mind of hopes and fears
My destination lies in my dreams
SET ME FREE
French postcard by Cinémagazine-Edition, no. 548. Daniel Mendaille as Le Mari (the husband) in the French silent film Verdun, visions d'histoire (Leon Poirier, 1928). See our blog post filmstarpostcards.blogspot.com/2013/11/verdun-visions-dhi...
Daniel Mendaille (27 November 1885 – 17 May 1963) was a French stage and film actor whose career spanned nearly sixty years.
Born Daniel Henri Elie Mendaille in Tours, Indre-et-Loire, Mendaille studied architecture at the Académie royale d'architecture, Institut de France in Paris. At age twenty, he abandoned his studies in architecture and enrolled in the Conservatoire de Paris and studied acting under Paul Mounet. After graduating, he was engaged at the Théâtre des Variétés, Cirque d'Hiver, Théâtre Antoine and the l’Œuvre et de la Renaissance.
During the early 1900s, he began appearing in small roles in film. One of his first roles was in the 1909 Albert Capellani-directed short La mort du duc d'Enghien en 1804 (English release title: The Death of the Duc d'Enghien) for the Société Cinématographique des Auteurs et Gens de Lettres (SCAGL), affiliated with Pathé-Frères. Mendaille continued to work in theater and film, but his film career really set off from 1921. Already a featured actor, he began performing in leading roles in such films as Léon Poirier's in Le coffret de jade (1921), Marcel Dumont's La proie (1921) and Robert Péguy's Le crime de Monique (1922). In 1923, he portrayed the Comte de Maupry in L'affaire du courrier de Lyon for Gaumont and was also part of the cast of Surcouf (1924) and Jean Chouan (1925), both serials directed by Luitz-Morat. He also had the lead in the s-f film La cité foudroyée (Luitz-Morat, 1924), as a mad, rejected scientist who wants to destroy Paris with his invention of a ray gun. The next year, Luitz-Morat would give him another lead in La course du flambeau (1925). In 1927 Mendaille appeared in an uncredited part in Abel Gance's Napoléon, while instead the following year he had a major part as The Husband in Léon Poirier's World War I silent docudrama Verdun: visions d'histoire (1928), opposite Albert Préjean, Suzanne Bianchetti, Pierre Nay, Berthe Jalabert, Thomy Bourdelle, Maurice Schutz, José Davert and Antonin Artaud.
Daniel Mendaille had little difficulty transitioning to the sound era of films, playing in first French sound feature Le requin (1930), opposite Albert Préjean and Rudolf Klein-Rogge. Notable performances of the 1930s include the portrayal of a miner in Georg Wilhelm Pabst's La tragédie de la mine (1931), Bredow in the French-language version of Fritz Lang's The Testament of Dr. Mabuse (1933), a diplomat in Alexis Granowsky's Moscow Nights (1934) opposite French actress Annabella, Coupeau in the first sound film adaptation of Émile Zola's L'Assommoir (Gaston Roudès, 1933) opposite Line Noro as Gervaise, and as Micheletto, the chief henchman in Abel Gance's historical drama Lucrèce Borgia (1935) opposite Edwige Feuillère in the title role. Throughout the 1940s and 1950s, Mendaille would often be relegated to supporting roles as a character actor or in bit parts, with notable performances in such films as Jacques Becker's Casque d'Or (1952), Max Ophüls' The Earrings of Madame de… (1953), Christian-Jaque's adaptation of Émile Zola's Nana (1955) and Max Ophüls' Lola Montès (1955). Mendaille appeared in approximately 120 films.
Daniel Mendaille was married to Spanish-born actress Leda Ginelly. Following Ginelly's death in April 1959, he retired from performing and lived a secluded life at the family residence in Couilly-Pont-aux-Dames, where he died in May 1963 at age 77.
Sources: English and French Wikipedia, IMDb.
Santa María de Rocacorba
El Santuari de Mare de Déu de Rocacorba, o Castell de Rocacorba, està situat dalt del massís de Rocacorba, a Canet d'Adri (Gironès), a uns 929 metres d'altitud, just al costat del Puigsou, (992 m) actualment ocupat per repetidors de televisió que s'albiren des de moltes comarques del voltant. És una obra declarada bé cultural d'interès nacional.[1] En aquest racó de món és on s'hi erigeix solemne, just al cim d'una roca amb forma de proa de vaixell, i on en dies clars permet veure des del Cap de Creus, el Montgrí, les Illes Medes, les Gavarres, el Montseny o el Puigmal.
Contingut
1 Història
1.1 Origen
1.2 Edat mitjana
1.3 Edat Contemporània
2 Descripció
2.1 Devoció
2.2 Hostatgeria
3 Referències
4 Enllaços externs
Història
Santuari de Rocacorba
Origen
Els orígens del castell i de la parròquia de Rocacorba es confonen. Segurament fou un dels primers edificats en les comarques gironines després de la conquesta dels territoris als sarraïns tot i que la data documental més antiga del lloc és la del 1065 quan és citat amb el nom de «rocha curva», en un testament de Guillem Guifré que es conserva a l'arxiu catedralici. El 1130 consta que el cavaller Rodball de Rocacorva i els seus fills pagaven delme pel mas Coll a l'església de Pujarnol. A aquest Rodball de Rocacorva, el seguí el seu fill Berenguer, casat amb una tal Flos. És a aquest Berenguer que fa referència també la concòrdia que se signà, per la qual es redimien a dos sous anuals el cens d'un porc que aquell devia pagar a la canònica per un molí anomenat Enversen. El 1161, Berenguer i la seva família lliurava al bisbe de Girona, Guillem de Peratallada, els imposts reclamats a l'església de Santa Maria de Rocacorba.[2] Per això a partir d'aquest moment passà a ser una propietat del bisbe i es comença a trobar documentada. Per això en un document de l'any 1184 trobem que Dulcia d'Hostoles llegava dos sueldos a la capella del castell de Rocacorba.[3][4]
El castell, passà el juliol de 1168 a mans de Miró I d'Hostoles, que l'havia permutat pel seu castell amb Berenguer II fill de Berenguer de Rocacorba. Aquest mateix any morí Miró i el castell fou heretat pel seu fill Miró II, que fou investit pel rei Alfons I (Alfons el Cast). El 1212 Miró II d'Hostoles llegà els castells d'Hostoles i Rocacorba a la seva filla Dolça que es casà amb Galceran de Cartellà. Els succeí llur fill Guillem Galceran de Cartellà que morí el 1306. La filla d'aquest, Ermessenda es casà amb Bernat Hug de Serrallonga i li portà en dot el castell de Rocacorba. Aquest matrimoni tingué una filla, Beatriu de Serrallonga, que heretà, del seu avi, la jurisdicció civil i criminal sobre el castell i termes de Rocacorba i de la seva mare Ermessenda, n'heretà els drets senyorials.
Edat mitjana
El 1313, Beatriu es casà amb Dalmau de Rocabertí, senyor de Peralada. Aquest matrimoni, feudatari del castell, apareix documentat prestant successius homenatges al bisbe Pere de Rocabertí i als reis Jaume II (1321), Alfons el Benigne (1328) i Pere III el Cerimoniós (1337). Beatriu vengué el castell el 1342 al seu castlà Guillem sa Costa de ses Planes de qui passà a Ramon Sant Julià de Revardit. El castell fou recuperat pels Rocabertí el 1383 quan el comprà Felip Dalmau de Rocabertí. L'heretà el fill, Jofre de Rocabertí a qui el rei donà els drets reials sobre el castell i terme de Rocacorba. Els Rocabertí obtingueren el títol de barons de Rocacorba. Entre els segles xiv i xv, al castell se li afegí els altars de Sant Salvador i de Santa Bàrbara.
El 1402, Jofre vengué el castell a Pere Galceran de Cartellà. L'heretà el fill Roger de Cartellà i posteriorment la filla d'aquest, Constança. Constança de Cartellà es casà amb Marc de Montagut, que fou considerat rebel pel rei Joan II durant la guerra civil catalana (1462-1472); per aquest motiu, el castell fou lliurat pel rei al cap remença Francesc de Verntallat. Degut als terratrèmols de 1427-1431 i a les guerres esmentades, el castell s'anà deteriorant progressivament i perdé utilitat. Per aquest motiu, es va anar reformant i transformant en santuari marià.[5]
Edat Contemporània
El 1479 els pagesos de La Muntanya s'apoderaren d'ell i el 1482 els jurats de Girona, òrgan de govern local de la ciutat de Girona, proposaren la seva demolició al rei, que no s'executà. Quan el castell va decaure, la seva església es transformà en santuari marià. El 1485 el tenia en possessió un tal Damià Espígol, remença, que també s'havia apoderat del castell de Cartellà. El 1495, per manca d'interès per l'indret, el castell tornà a mans de la família Montagut, en la persona de Pere de Montagut, i posteriorment als Vallgornera i als Baldric.[6]
La capella actual és una sòbria construcció del segle xviii. Durant les restauracions fetes la dècada de 1980 aparegué l'estructura romànica de l'edifici, que havia quedat amagada per les reformes del segle xviii.[2]
Descripció
Imatge de la Mare de Déu de Rocacorba al Museu d'Art de Girona
Del castell primitiu només se'n conserven escasses restes. Els seus fonaments estan reaprofitats en les edificacions actuals. En destaca el Santuari de Rocacorba, datat del segle xviii.[2] A la part occidental del penyal es conserven la base d'una torre, un tram de muralla d'uns 3 metres de llargada i un altre mur amb una obertura rectangular. Tant el parament de les restes de la torre com el de la muralla està fet amb pedra calcària irregular, de mida mitjana, mentre que el del mur està fet amb pedres més grosses lligades amb morter de calç.[2] La devoció a la Mare de Déu de Rocacorba s'ha estès per les dues vessants de la muntanya, d'una banda cap a Canet d'Adri al Gironès i d'altra banda cap a Banyoles i comarca.[3]
Devoció
La Mare de Déu de Rocacorba, com popularment se la coneix, és una de les imatges més conegudes de la vall, venerada per la seva gent per sol·licitar protecció contra les pedregades, i siguen avui dia, un lloc de pelegrinatge pels devots de la comarca gironina amb un aplec el Dilluns de Pasqua Florida. La devoció popular li té diversos Goigs dedicats. Una de les estrofes diu: Sobre majestuosa penya, L'excels trono heu col·locat, Prop del qual a tots s'ensenya Els prodigis que heu obrat; Implorant tots amb fervor Vostra gràcia, Verge aimada[7].
Diu la tradició, que la imatge de la Mare de Déu de Rocacorba fou trobada en una cova a 300 m del santuari. Inicialment, es volia edificar la capella a Serralta, una mica més a baix (uns 885 m), però es veu que tots els matins, quan els operaris anaven a iniciar els treballs, les seves eines desapareixien i després les trobaven sempre en un altre indret més alt. Així que interpretaren que era en aquest indret on la Verge desitjava que es construís la seva capella. I així ho feren, on actualment hi ha el santuari de Rocacorba.[6] És una talla gòtica del segle xiv de la Mare de Déu de la Pera. Es diu així perquè amb la mà dreta sosté una fruita semblant a una pera, i amb l'esquerra sosté el Nen Jesús) feta en alabastre policromat d'uns 42 cms x17'5cms x 17cms i que es conserva en el Museu d'Art de Girona per preservar-la. L'actual Verge que presideix l'altar és una còpia fidedigna, encara que una mica més grossa, de l'escultor Ramon Casellas, dipositada el 1955.
Hostatgeria
L'hostatgeria adossada al temple, també del segle xviii, estava gestionada pels ermitans que cuidaven el Santuari (hi hagué ermitans que se'n cuidaven del Santuari fins a finals dels anys setanta del segle passat i hi hagué rector vivent-hi fins a principis del segle XX). Va passar uns anys tancat però als anys vuitanta, decidiren mantenir-lo com a refugi, i el Bisbat de Girona encarregà la gestió a la Comunitat de Jesús (la Comunitat de Jesús tenia presència a Banyoles als anys 80 i alguns dels germans, per petició del bisbat de Girona, s'encarregaven del santuari de Rocacorba els caps de setmana i per l'aplec anual). Després se n'encarregà la fundació Sant Martí de Girona des de 2005 (la Fundació Sant Martí té com a objectiu la protecció, promoció, gestió, restauració, conservació, manteniment i explotació dels béns immobles del Bisbat de Girona). I actualment se n'encarrega l'Agrupament Escolta Sant Narcís de Girona. Si se'n vol visitar l'interior, o fer estada al refugi, cal posar-se en contacte amb l'Agrupament Escolta o coincidir amb la missa que s'hi celebra cada primer diumenge de mes, a l'hivern a les 17 h i a l'estiu a les 18 h.
After 61 days of postings, we have reached the final destination - Jerusalem.
Jerusalem is a holy city to the three major Abrahamic religions —Judaism, Christianity and Islam.
In Judaism, according to the Torah, King David of Israel first established Jerusalem as the capital of the united Kingdom of Israel in 1000 BC, and his son Solomon commissioned the building of the First Temple in the city.
In Christianity, according to the New Testament, Jesus was crucified in Jerusalem in 30 AD and 300 years later Saint Helena found the True Cross in the city.
In Islam, Jerusalem became the first Qibla, the focal point for Muslim prayer in 610 AD. Muhammad made his Night Journey there ten years later and ascended into heaven.
Jerusalem, Israel (Thursday 25 November 2010)