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The attitude of the Indian toward death, the test and background of life, is entirely consistent with his character and philosophy.
Death has no terrors for him; he meets it with simplicity and perfect calm, seeking only an honorable end as his last gift to his family and descendants.
Therefore, he courts death in battle; on the other hand, he would regard it as disgraceful to be killed in a private quarrel.
If one be dying at home, it is customary to carry his bed out of doors as the end approaches, that his spirit may pass under the open sky.
Even the worst enemies of the Indian, those who accuse him of treachery, blood-thirstiness, cruelty, and lust, have not denied his courage but in their minds it is a courage is ignorant, brutal, and fantastic.
His own conception of bravery makes of it a high moral virtue, for to him it consists not so much in aggressive self- -assertion as in absolute self-control.
The truly brave man, we contend, yields neither to fear nor anger, desire nor agony; he is at all times master of himself; his courage rises to the heights of chivalry, patriotism, and real heroism.
Albrecht Dürer -
Bildnis Johannes Kleberger [1526] -
Vienna KHM GAP wm
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Albrecht Dürer - Portrait of Johannes Kleberger, 1526
Vienna, Kunsthistorisches Museum, Inv. no. 850
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1. Description of the painting
The square limewood panel presents Johannes Kleberger in a near-frontal three-quarter view, his head emerging like an antique bust from a dark circular recess. This zone, conceived as a medallion or blind oculus, contrasts sharply with the stone-coloured outer frame. Through a subtle trompe-l’œil effect, the head casts a shadow onto the surrounding surface, creating the illusion that it projects into the viewer’s real space.
The sitter is depicted nude, without any attributes, jewellery or clothing. The focus rests entirely on the head: a striking, slightly eccentric face with brown, wide-open eyes, dark curly hair and deeply set sideburns. The flesh is delicately modelled; hints of beard growth, carefully graduated light and shadow, and the precise articulation of nose, brows and cheekbones lend the visage a strong physiognomic presence. In the pupils, window-cross reflections are visible, further enhancing the illusion of lifelikeness.
The inscription within the medallion, executed in carefully painted orange-yellow Roman capitals, reinforces the character of an antique medal:
EFFIGIES JOHANNI KLEBERGERS NORICI ANNO AETATIS SVAE XXXX.
Adjacent to the inscription appears a sign resembling a merchant’s mark. The outer frame bears coats of arms and astrological symbols in its corners, including a golden emblem with stars in the upper left, referring to the horoscope of Kleberger, born under the sign of Leo.
The entire conception oscillates deliberately between painting, sculpture and numismatics, presenting Kleberger simultaneously as a real individual and as an idealised, heroic figure.
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2. Art-historical analysis and interpretation
The Portrait of Johannes Kleberger of 1526 is among the last and most unconventional portraits in Albrecht Dürer’s œuvre. It is devoted to a personality who provoked both admiration and resentment in Nuremberg: a socially ambitious merchant, humanist and adventurer whose life was consciously aligned with antique models of self-fashioning.
Dürer responds to this extraordinary sitter with an equally extraordinary pictorial invention. Elements drawn from ancient portrait sculpture, the Renaissance medal, and illusionistic painting are combined to create a unique portrait type. Kleberger appears as a living antique sculpture, a conception that directly engages with the paragone, the Renaissance debate on the hierarchy of the arts. Here painting triumphs over sculpture, for it creates not only plastic presence but also animation, gaze and psychological depth — a painterly equivalent of the Pygmalion myth.
The sitter’s deliberate nudity is neither naturalistic nor erotic but heroic in connotation. It recalls antique ruler portraits and Roman imperial imagery, which Kleberger himself adopted on contemporary medals. Instead of external signs of status — sumptuous dress or ostentatious display — Dürer concentrates on the physiognomic expression of character. In accordance with contemporary theories, outward appearance is understood as a reflection of inner qualities: the strongly articulated facial features convey a leonine temperament, associated with determination, ambition and self-confidence.
The astrological signs and heraldic emblems on the frame not only document Kleberger’s self-assertion and social ascent, but also point to his humanist education and familiarity with astrological writings, possibly those of Agrippa. Much suggests that the sitter himself played an active role in shaping the iconographic programme of the painting.
That Dürer accepted the commission despite Kleberger’s conflict with his close friend Willibald Pirckheimer may be explained by the artist’s fascination with the sitter’s singular personality and by the opportunity to create something radically new. The portrait is therefore far more than a mere “cabinet piece”: it is a virtuoso artistic statement that transcends genre boundaries and defines the individual not through rank or wealth, but through character and personality.
Kleberger’s evident attachment to the painting — he took it with him when he left Nuremberg — underscores its function as a form of self-portrait mediated through portraiture, oscillating between self-aggrandisement, humanist ideals and artistic reflection.
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Benvenuto Cellini (3 November 1500 – 13 February 1571) was an Italian goldsmith, sculptor, painter, soldier and musician, who also wrote a famous autobiography.
One of the most important works by Cellini from late in his career was a life-size nude crucifix carved from marble. Although originally intended to be placed over his tomb, this crucifix was sold to the Medici family who gave it to Spain. Today the crucifix is in the Escorial Monastery near Madrid, where it has usually been displayed in an altered form—the monastery added a loincloth and a crown of thorns.
Benvenuto Cellini was born in Florence, Italy. His parents were Giovanni Cellini, and Maria Lisabetta Granacci. They were married for eighteen years before the birth of their first child. Benvenuto was the second child of the family. The son of a musician and builder of musical instruments, Cellini's first major brush with the law came as an early teenager: He was banished from his native Florence for his alleged role in a brawl. As a result, he received his early artistic training not only from the Florentine goldsmith Marcone [Antonio di Sandro], but also from Francesco Castoro, a goldsmith of Siena. After further visits to Bologna and Pisa, Cellini was allowed to return to Florence and continue his work there. Giovanni initially wished Benvenuto to join him in instrument making, and endeavoured to thwart his inclination for metalwork. When he was fifteen, his father reluctantly agreed to apprentice him to a goldsmith, Antonio di Sandro, nicknamed Marcone.
His first works in Rome were a silver casket, silver candlesticks, and a vase for the bishop of Salamanca, which won him the approval of Pope Clement VII. Another celebrated work from Rome is the gold medallion of "Leda and the Swan" executed for the Gonfaloniere Gabbriello Cesarino, and which is now in the Vienna museum. He also took up the flute again, and was appointed one of the pope's court musicians.
In the attack upon Rome by Charles III, Duke of Bourbon, Cellini's bravery proved of signal service to the pontiff. According to his own accounts, he himself shot and injured Philibert of Châlon, prince of Orange. (Allegedly Cellini also killed Charles III, Duke of Bourbon during the Siege of Rome.) His bravery led to a reconciliation with the Florentine magistrates, and he soon returned to his hometown.
From Florence he went to the court of the duke of Mantua, and then again to Florence. On returning to Rome, he was employed in the working of jewellery. In 1529 his brother Cecchino killed a Corporal of the Roman Watch and in turn was wounded by an arquebusier, later dying of his wound. Soon afterward Benvenuto killed his brother's killer – an act of blood revenge but not justice as Cellini admits that his brother's killer had acted in self-defense. Cellini fled to Naples to shelter from the consequences of an affray with a notary, Ser Benedetto, whom he had wounded. Through the influence of several cardinals, Cellini obtained a pardon. He found favor with the new pope, Paul III, notwithstanding a fresh homicide during the interregnum three days after the death of Pope Clement VII in September 1534. The fourth victim was a rival goldsmith, Pompeo of Milan.
After briefly attempting a clerical career, in 1562, he married a servant, Piera Parigi, with whom he claimed he had five children, of which only a son and two daughters survived him. Aside from his marriage, Cellini was officially accused or charged at least three times of the crime of sodomy with men, and on one occasion with a woman.
The autobiography of Benvenuto Cellini was started in the year 1558 at the age of 58 and ended abruptly just before his last trip to Pisa around the year 1563 when Cellini was approximately 63 years old. The memoirs give a detailed account of his singular career, as well as his loves, hatreds, passions, and delights, written in an energetic, direct, and racy style. They show a great self-regard and self-assertion, sometimes running into extravagances which are impossible to credit. He even writes in a complacent way of how he contemplated his murders before carrying them out.
He died in Florence in 1571 and was buried with great pomp in the church of the Santissima Annunziata.
Two doorways in Bruges tell the long story of language, identity, and tradition in Flanders.
One house still bears a dignified brass mail slot marked LETTRES—a relic from the 19th and early-20th centuries, when the French-speaking bourgeoisie dominated civic life in many Flemish cities, even though the population itself spoke Dutch.
A few streets away, another slot reads BRIEVEN (letters), reflecting the linguistic shift that overtook the region after World War I, when Dutch reclaimed its place as the public language of northern Belgium. Today, this region—Flanders, the Dutch-speaking northern half of Belgium—is staunchly monolingual, with strict language laws requiring Dutch in public administration; hence the modern red stickers beneath one of the slots, briskly saying NEE GRATIS PERS (no free newspapers) and NEE RECLAMEDRUKWERK (no advertising mail) in Dutch only. No French appears because, in Flanders, it legally cannot.
We arrived on Ascension Day, when the city prepares for the Heilig-Bloedprocessie, the Procession of the Holy Blood, one of Europe’s oldest surviving religious pageants. Many homes marked the occasion with a small white ribbon tied to a doorknob or mail handle—a modest sign of reverence and hospitality as the medieval procession winds through the streets. Taken together, these two mail slots—one French, one Dutch—flanked by modern stickers and a quiet white ribbon, compress centuries of Bruges’ history into a few square inches of wood and brass: the era of Francophone prestige, the rise of Flemish self-assertion, and the ancient rituals that still pull the city together once a year.
This text is a collaboration with ChatGPT.
Jeffrey.
I daren’t say anything about your filters really, in case anything slips out. You know my tendency to make everything I write universal property, and I don’t want to transgress. I won’t mention your characters or their conundrums. I like your reasoning, the synopsis you have given. I recognize some of those megalomaniacal male tendencies you are describing, and why wouldn’t I? I know that ‘lost boy’ behaviour. It’s even attractive until one reaches a certain age, then it slopes off through unfortunate, and heads downhill rather swiftly towards downright tragedy. Applying the brakes at that stage is no party, let me tell you. Sometimes I feel as if I had been worn down up to the knees, a would-be demi-legged, own trumpet blowing, Falstaff, but then this isn’t about me. All these men searching for mammys, what can I say other than sorry about my gender, and thank Yahweh that I am a cis-gender homo (can I call myself that anymore?).
I think you can tell that I have arrived at the point that I am at, now, not at all sure what I am, or am not, permitted to call myself. I fear that I, at last, know what and who I am, but I am not at all sure if being that is acceptable to the evolving world. Luckily, we will all be dead soon enough. Now that’s something to really look forward to for the terminally bewildered. I like the idea of ‘A Death’ as the inflexion point of this ‘Comedy’ you are constructing. I have that funny death story to tell yet properly. That one where Jeffrey suddenly shot upright, screaming at his parents who were quibbling over what to watch on the TV. He screamed fiercely at them “I’m dying, I get to choose the video!”. It was gloriously well said. I do love the tyranny of the dying. I do love the abject tyranny of the victim (my specialty). Feck it, I will go the whole hog. I do love tyranny. I also love saying ‘Feck’, when everyone understands that you are insinuating another vowel in the place of that ‘e’. I love that feck is proper and Irish, a softening of that blow, liked a dropped ‘h’, that sort of softening and lilting.
He chose 'Singing in the Rain' and collapsed back into bed raving madly about having to make three different types of pies to prepare for some party or other in his head.
I did my job. I pressed the button and released more morphine, through the catheter in his chest, awash in the 'poor meeees'.
mea culpa, mea culpa,
mea máxima culpa.
Later, I made a drawing about his wonderful, life-affirming, self-assertion. I photographed myself beside it, but discovered, whilst looking at it later, that I seemed to have disappeared.
I guess that's how things go. (Secretly, I love removing myself, but don't tell anyone).
Description: Page 136 and 137 of the publication "Education" with an article by Julia Ward Howe titled "How far does American Education satisfy the Needs of American Life? Page 5 of 6.
Full Text: ... excitement and appetite, it should lift you into its atmosphere, calm you with its peace. But you, who have bought and paid for it, hold still to all that is frivolous and harmful; to your dressing and flirting, or to your gaming, dining. wining, or worse. The picture is a dead letter in your book of life. But in some instances the possessor of the picture might turn to me and say, A truce to this nonsense. What was this picture painted for? For my money. I bought the artist before I bought the picture." Then, indeed, I should find nothing to say in return.
Can any art hope to repress in woman that passion for personal adornment which every blast of aestheticism seems to fan into a fiercer flame? How can we disabuse a young girl of the illusion which leads her to think that her personal appearance is a theme of inexhaustible interest to mankind at large? What restless demon compels her to turn and turn in an unceasing round of exhibitions, mostly objectless, and with no imaginable rational aim? Like an unhappy whirlwind she sweeps through the -streets, gathering up at each step fresh costumes, fresh combinations of color and material, in fancy if not in fact. Her life is built, not only on the sand, but of it. Behind her it dissipates to nothing.
Can education confer upon men and women the power of self-sacrifice and the grace of self-forgetfulness! Selfhood is at once a great power and a great weakness in humanity. Self-reliance and personal moral conviction are traits of power and of heroism; self-seeking and self-assertion belong to weakness and the unheroic. I believe in the virtues of individuality, but I fear its vices.
Deep thought and deep study lead away from these arid regions of the mind, these deserts in which nothing substantial will take root. Has our education no subsoil plough to pierce the crust of habit and circumstance, and reach the under stratum of character in which, if anywhere, lies the generative power of ideas? How can we lead the thoughtless to think? how so interest them in the things of thought that they shall apply themselves to the most painful and precious of arts, that of thinking rightly and sufficiently?
Disproportionate, ill-directed ambitions spring perhaps from the size of our immense country. "Shall I, an American, be no bigger than the denizen of some territory smaller than the smallest of the United States?" There may follow dreams of large reputation, of extraordinary recognition, etc. But nobody ever did or ever will achieve greatness in this flighty way. Its secret remains a secret to the vain and impatient.
Incompatibilities. -The life of the individual is very brief. The personality of the individual is very small. We are allied on one side to the infinite and immortal, but we attain its objects best by working with patient zeal at the duties nearest to us and most obvious to all. Life is too short to combine sense with nonsense, the frivolous with the solid. Recreation helps the most laborious career, but dissipation brings to naught the happiest gifts and the most brilliant undertakings. The milliner's block will not help the painter's easel. The 'devotee of small wit will not attain the elevation of philosophic thought. The kingdom of heaven is present with us on earth; but a human prophet has neither place nor function in it.
Whence comes that want of confidence in American institutions which often strikes us in the utterances alike of private individuals and of writers in our public prints? I shall not throw the blame of this upon our native teachers; but I will ask them to bear in mind both the fact itself and the source from which I derive it, as dangers against which provision should be made.
The literary offices of our country are largely administered by foreigners, whom we have made Americans as to their political rights and privileges, but whose opinions and" convictions, formed in an atmosphere widely different from our own, we have not been able to Americanize. These persons have the education of their own class, usually not a governing one, in their own country. They have not had the education which would enable them to lead all classes here in a normal direction. Here an Irish editor has twisted a whole generation of young Americans into the narrowness of the prejudices which he brought with him to these shores, and which have never left him. Here is a German holding a position of great responsibility in our Federal government. There are hosts of other Germans, filling out papers with German views of American literature and of American policy. The black guardism which the New York" Herald" has done its best to outgrow was that of a low-lived Celt, whose ideas of decency and propriety received their full expression in that paper as it used to be. Offices of tuition are largely, though not so largely, in the hands of foreigners. Within the last twenty years a reaction has made itself felt in favor of American education for American men and women; yet one may fear that in the time preceding this, much partial and superannuated prejudice may have been planted in a soil which bears what it does bear largely and generously. It would be thankless and absurd for us to say that this participation of European immigrants in our most important work has brought us nothing but harm. Our educators are bound to recognize the intellectual...
Date: 1881
Creator: Education
Format: text
Digital Identifier: AG28-13a-5
Biographical note: Julia Ward Howe (1819-1910) was an author, lecturer, poet, activist, abolitionist and leader in the Women's suffrage movement. Born in New York City to affluent parents, Ward Howe was well educated but expected to be a wife. In 1843 Ward Howe married Samuel Gridley Howe the founding director of Perkins after meeting him at a tour of the school. Despite conventional expectations that she not live a public life she initially published work anonymously before becoming a social activist that wrote, spoke, and worked for many social causes. She is commonly known for writing the words to “Battle Hymn of the Republic” and in 1908, she became the first woman elected to the American Academy of Arts. In 1988 she was inducted into the National Women’s Hall of Fame.
Source: Hale, Jen. (2022) ”Julia Ward Howe”. Hale, Jen. “Julia Ward Howe” Perkins Archives Blog, Perkins School for the Blind, Watertown MA, October 26, 2022
Rights: Samuel P. Hayes Research Library, Perkins School for the Blind, Watertown, MA
Our guide is Christian wisdom, which is not subject to time but rather should shape the time in which it is found.
What an abyss separates the natural warmth and friendliness which a good pagan possesses, from the ardent, burning supernatural charity which characterizes the saints...
...For it is in contrition that the new fundamental attitude of a humble and reverent charity becomes dominant and manifest, that man abandons the fortress of pride and self-sovereignty, and leaves the dreamland of levity and complacency, repairing to the place where he faces God in reality...
By the just are meant neither the saints on the one hand nor the Pharisees on the other, but persons who, while leading a correct life and avoiding all transgressions in the strict sense of the term, never come to achieve that full surrender to God which (in a humanity tainted with original sin) is possible in contrition alone. Such persons are anxious to keep God’s commandments but they never discover the immense, unbridgeable abyss that separates the holiness of God from our sinfulness. Full self-surrender and the renunciation of all self-assertion (however hidden); the spiritual position of standing naked before God and throwing oneself altogether upon His mercy—these are things beyond their range of experience.
-Transformation In Christ, Dietrich von Hildebrand
Deviant Scrap is doing a "Creative Muse Tarot Card" challenge.
From Wikipedia:
A powerful, princely figure sits in a swift chariot, pulled usually by two sphinxes or horses. There is often a black and white motif, for example one of the steeds may be black and the other white. The figure may be crowned or helmeted, and is winged in some representations. He or she may hold a sword or wand, or other masculine symbol.
Some frequent keywords are:
Conquest ----- Honor ----- Victory ----- Energy
Egocentrism ----- Self confidence ----- Conviction ----- Anxiety
Willpower ----- Self assertion ----- Hard control ----- Discipline
Inflexibility ----- Success ----- Wealth ----- Recognition
Impulsivity ----- Command ----- Bravery ----- Pride
The chariot is one of the most complex cards to define. On its most basic level, it implies war, a struggle, and an eventual, hard-won victory; either over enemies, obstacles, nature, the beasts inside you, or to just get what you want. But there is a great deal more to it. The charioteer wears emblems of the sun, yet the sign behind this card is Cancer, the moon. The chariot is all about motion, and yet it is often shown as stationary.
What does this all mean? It means a union of opposites, like the black and white steeds. They pull in different directions, but must be (and can be!) made to go together in one direction. Control is required over opposing emotions, wants, needs, people, or circumstances; to bring them together and give them a single direction, your direction. Confidence is also needed and, most especially, motivation. The card can, in fact, indicate new motivation or inspiration, which gets a stagnant situation moving again.
CREDITS: CVW_SupplyTracker
Polar Bear & Rider: I purchased this in Alaska many years ago
Lorie Davison @ Scrapbookgraphics
LD_beautiful_earth_el3.png
honeydesigns_womeninhistoryseries_freebiesampler (37).jpg
"Their voice is variable, ranging from musical to buzzy, beginning with a repeated sweet sweet sweet and sweet sweet towhee tritritritri. The vocal utterances of the Song Sparrow during the first month of its life may be divided into six classes: food notes, location notes, fear notes, threat notes, self-assertion notes, and song. Food notes, see-see and tit-tit-tit, are used when the Sparrow is hungry and as long as the bird depends on its parents. The location notes or calls, tsip, are of a young bird that has just left the nest and is also a hunger note used until independence. Fear notes of the adult are tik-tik. The threat note is a note of hostility. The self-assertion note is usually heard from a male on his territory. It often expresses anxiety in the nesting season or protest against an intruder. In the song class many young birds start to sing at a very early age." From (Wildwood park)
Please see my profile page for more information about my craft.
Wire Wrapped Black Onyx Pendant Adorned with Beaded Dangles. This handcrafted Black Onyx pendant is created swirling and shaping copper wire by hand, adding dangles of additional beads and a beautiful copper heart bead to enhance the natural beauty and shape of the stone.
It measures 1 1/2" across and 2 1/2" top to tip including the bail.
The bail is designed to be large enough to accommodate your favorite chain, choker or cord. 18" black cord included.
Black Onyx healing effects:
Spiritually- Self-assertion
Subconsciously-Boosts self-confidence and sense of responsibility
Mentally- Improves rational thinking, logic and control
Physically- Sharpens sense of hearing
In general the Japanese do not tend to assert themselves linguistically, being in general very self-effacing. There is one exception to this. Japanese people, and pocket monsters, take great pride in their names, and will put their names to their positive acts. Despite being so self-effacing, when it comes to their names, they are very in your face.
For example individual names appear on houses (where Britons have only numbers), stating the name of the patriarch who provided for it, at Shinto shrines the names of companies and individuals that donate lanterns and other stonework will be carved into the same, Japanese sometimes stick labels with their names onto temples and shrines in the "senja fuda" tradition, they take great pride in their business cards, and in this photo, they write their name in a chart detailing who has cleaned what part of the changing room recently. I have left only my name showing. Takemoto! Pikachuu!
I think that the Japanese name may be the equivalent of the Western smile. In general Westerners do not assert ourselves visually, with our bodies, poses and posture. To do so would be considered vain. On the other hand we are allowed to smile. The smile -- being the shape of the mouth and source of language - the most linguistic of visual expressions, the written name is the most visual mark in language, the point of intersection between the worlds of language and vision, the tip of the brush pen.
Please View On Black
The attitude of the Indian toward death, the test and background of life, is entirely consistent with his character and philosophy. Death has no terrors for him; he meets it with simplicity and perfect calm, seeking only an honorable end as his last gift to his family and descendants. Therefore, he courts death in battle; on the other hand, he would regard it as disgraceful to be killed in a private quarrel. If one be dying at home, it is customary to carry his bed out of doors as the end approaches, that his spirit may pass under the open sky.
Even the worst enemies of the Indian, those who accuse him of treachery, blood-thirstiness, cruelty, and lust, have not denied his courage but in their minds it is a courage is ignorant, brutal, and fantastic. His own conception of bravery makes of it a high moral virtue, for to him it consists not so much in aggressive self- -assertion as in absolute self-control. The truly brave man, we contend, yields neither to fear nor anger, desire nor agony; he is at all times master of himself; his courage rises to the heights of chivalry, patriotism, and real heroism.
The idea was to create a car that would redefine the boundaries of technology in automotive construction while appealing to the aesthetically inclined and connoisseurs of exceptional automobiles.
To design a roadster that would join the boundless creativity of its designers and the superior skill of its engineers – without compromise on either side. A car that would unite the pinnacle of luxury and unparalleled driving performance to a harmonious whole. To provide maximum enjoyment without losing sight of safety and comfort, to build the world’s fastest convertible car.
Bugatti turned this idea into reality: the super sports car Bugatti Veyron 16.4 Grand Sport**.
The Grand Sport defies conventional categories. The superior harmony of its design transcends the ordinary, lending the Bugatti Veyron 16.4 Grand Sport it's unique character. The open topped super sports car displays its power, performance and self assertion as a matter of course. Simultaneously, it exudes charisma, perfection, and elegance.
In other words: it is a Bugatti that follows the technological and aesthetic examples of Ettore Bugatti’s Grand Sport models of the late 1920s -- A True BUGATTI.
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**Gearbox: 7 Gear DSG
Fuel consumption (Combined) : 24.9L/100kms
Fuel Consumption (Town) : 41.9L/100kms
Fuel Consumption (Out Of Town) : 15.6L/100kms
CO₂ Emission (Combined) : 596g/km
Annual Tax : €1132
Energy costs at a mileage of 20,000 kms:
Fuel Costs (Super Plus) At A Fuel Price Of 1.624 €/Billing : €8,087.52
Top Speed (Average) : 431.072 Km/h (267.856 M/h)
0 - 100 Km/h (0.0 - 62.1 M/h) : 2.46 seconds
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All rights reserved ⓒ Mohi Khan.
This photograph may not be manipulated, downloaded, reproduced, copied or transmitted in any way or used in materials, advertisements, products, or promotions in any way without the written permission of Mohi Khan.
{ SELF-ASSERTION }
The learned skill of describing what you need or feel to another person in a way that they can hear you clearly.
{ If you really love someone, say it to her / him...NOW }
Graphite Drawing on A.I. on photoshop (1989-2024)
Jeffrey.
I daren’t say anything about your filters really, in case anything slips out. You know my tendency to make everything I write universal property, and I don’t want to transgress. I won’t mention your characters or their conundrums. I like your reasoning, the synopsis you have given. I recognize some of those megalomaniacal male tendencies you are describing, and why wouldn’t I? I know that ‘lost boy’ behaviour. It’s even attractive until one reaches a certain age, then it slopes off through unfortunate, and heads downhill rather swiftly towards downright tragedy. Applying the brakes at that stage is no party, let me tell you. Sometimes I feel as if I had been worn down up to the knees, a would-be demi-legged, own trumpet blowing, Falstaff, but then this isn’t about me. How's that for grandiosity, who wouldn't be a Falstaff? All these men searching for mammys, what can I say other than sorry about my gender, and thank Yahweh that I am a cis-gender homo (can I call myself that anymore?).
I think you can tell that I have arrived at the point that I am at, now, not at all sure what I am, or am not, permitted to call myself. I fear that I, at last, know what and who I am, but I am not at all sure if being that is acceptable to the evolving world. Luckily, we will all be dead soon enough. Now that’s something to really look forward to for the terminally bewildered. I like the idea of ‘A Death’ as the inflexion point of this ‘Comedy’ you, and I, are constructing.
I have that funny death story to tell yet properly. That one where Jeffrey suddenly shot upright, screaming at his parents who were quibbling over what to watch on the TV. He screamed fiercely at them “I’m dying, I get to choose the video!”. It was gloriously well said. I do love the tyranny of the dying. I do love the abject tyranny of the victim (my specialty). Feck it, I will go the whole hog. I do love tyranny. I also love saying ‘Feck’, when everyone understands that you are insinuating another vowel in the place of that ‘e’. I ❤️ that feck is proper and Irish, a softening of that blow, liked a dropped ‘h’, that sort of softening and lilting.
He chose 'Singing in the Rain' and collapsed back into bed raving madly about having to make three different types of pies to prepare for some party or other in his head. He was whisper-close to universally haemorrhaging.
I did my job. I pressed the button and released more morphine, through the catheter in his chest, awash in the 'poor meeees'. I imagined it going straight to his heart, a broken heart that had to be slowed down to stop him bleeding from every orifice.
mea culpa, mea culpa,
mea máxima culpa.
Later, I made a drawing about his wonderful, life-affirming, self-assertion. I photographed myself beside it, but discovered, whilst looking at it later, that I seemed to have disappeared.
I guess that's how things go. (Secretly, I love removing myself, but don't tell anyone).
The drawing is lost, of course, but it's here now, and infinitely extendable too. Intelligence is so attractive, even the artificial type. That might be part of the problem, or all of it, even.
Onward and upwards, and once more towards that exploding star, that root of all life itself.
And the beat goes on.
La-de-da-de-de, la-de-da-de-da
The beat goes on, the beat goes on
Drums keep pounding a rhythm to the brain
La-de-da-de-de, la-de-da-de-da
Charleston was once the rage, ah-huh
History has turned the page, ah-huh
The miniskirt's the current thing, ah-huh
Teenybopper is our newborn king, ah-huh
And the beat goes on, the beat goes on
Drums keep pounding a rhythm to the brain
La-de-da-de-de, la-de-da-de-da
The grocery store's the super mart, ah-huh
Little girls still break their hearts, ah-huh
And men still keep on marching off to war
Electrically, they keep a baseball score
And the beat goes on, the beat goes on
Drums keep pounding a rhythm to the brain
La-de-da-de-de, la-de-da-de-da
Grandmas sit in chairs and reminisce
Boys keep chasing girls to get a kiss
The cars keep going faster all the time
Bums still cries, "Hey buddy, have you got a dime?"
And the beat goes on, the beat goes on
Drums keep pounding a rhythm to the brain
La-de-da-de-de, la-de-da-de-da
And the beat goes on (yes, the beat goes on)
And the beat goes on (and the beat goes on, on, on, on, on)
The beat goes on
And the beat goes on
Songwriters: Sonny Bono
Please see my profile page for information about my craft.
These handcrafted earrings are created by joining black onyx beads and copper heart beads with copper wire making beautiful and stunning accents to your jewelry collection.
They measure 2 1/2" long.
These earrings also look great with their matching pendant.
Black Onyx healing effects:
Spiritually- Self-assertion
Subconsciously-Boosts self-confidence and sense of responsibility
Mentally- Improves rational thinking, logic and control
Physically- Sharpens sense of hearing
Из Омска в Курган, к озеру Балхаш, в Семипалатинск, охватывая великую степь, автомобильное сообщение - сегодня лишь как перспектива - завтра станет необходимостью.
А позже, в Тюмени и в Екатеринбурге, среди этого скромного и трудолюбивого народа, в этой неисчерпаемой кладовой Урала, где каждый акр земли содержит скрытые сокровища, где самый простой путь лежит через скалы, дальше и дальше, по расстоянию, не уступающему длине германских границ; - везде, где проходила наша машина, выдержав самые трудные испытания, и прошла невредимой даже через такие «места пыток» для автомобилей, где даже крепкие тарантасы и легкие телеги в равной степени не способны "выжить", - и это оставило неизгладимое впечатление, которое подобно борозде в поле, и в этой борозде будущее посеет семя новой цивилизации и более стремительного прогресса, ибо это повсюду вызывает стремление к созданию постоянного и регулярного взаимодействия, с помощью которого наши континенты смогут обмениваться источниками жизненных сил народов.
Но по эту сторону российской границы (Боргезе пишет письмо в Италии - Р.Б.), в Западной Европе, где автомобили уже имеют хорошие дороги Германии и прекрасные дороги во Франции, - где решение автотранспортных проблем - дело времени, так вот, в Западной Европе - я говорю сейчас о ней - триумф наших усилий показал, насколько значительны и блестящи были дискуссии экспертов и энтузиазм народов. И это естественно. Ибо не было здесь дискуссии более продолжительной, чем дискуссия о конкретной локальной выгоде или о личной, промышленной или коммерческой прибыли; здесь наш успех был ободряющим и убедительным для самоутверждение новой и по сути европейской индустрии, индустрии еще молодой, но развивающейся, и очень активно, в которую вкладываются огромные капиталы, научные знания, интеллект, наиболее талантливые и передовые достижения.
Когда нация желает модернизировать свою артиллерию, после изучения технических требований и утверждения окончательных планов, прежде чем приступить к приобретению необходимых материалов, эти материалы должны пройти испытание, и испытания более суровые, чем те, которые ждут их в обычной работе в последующем. Металлы подвергаются нагрузкам, которые превосходят пределы их прочности. Они испытываются на растяжение (тягу), скручивание, сжатие; они деформируются...
(13. From Omsk to Kurgan, to Lake Balkasch, to Semipalatinsk, spreads the great steppe, and exist)
14. what are to-day the possibilities, and will to-morrow be the necessities, of motor traffic.
And later, at Tjumen and at Ekaterinburg, among that modest and industrious population, in that inexhaustible mine of the Ural Mountains, where every acre of ground holds a treasure of hidden riches, where the rock provides the easiest road; on and on, as far as the German frontier; — everywhere, the passing of our car, which stood the most difficult tests, and passed unharmed through such «places of torture” for machines that the strong tarantass and the light telegas are equally incapable of surviving them—everywhere, it left an ineffaceable impression, like a furrow in a field, and in that furrow the future seed of a surer civilisation and of more rapid progress : for it called out everywhere some desire for that constant and regular interchange of communication by which the life-blood of the nations flows over our continents.
But this side of the Russian frontier, in Western Europe, where the motor-car already has the good roads of Germany and the excellent ones of France,— Where motor-traction problems are not difficulties of the future, but problems of to-day here, in Western Europe, I say, the triumph of our efforts showed as a greater and finer thing through the discussions of the experts and the enthusiasm of the people. And this is natural. For it was no longer a question here of local advantages or of personal, industrial, or commercial gain ; here our success was the fresh and decisive self-assertion of a new and essentially European industry, of an industry still young, but living, and very active, and in which is involved an enormous sum of capital, of scientific learning, of intelligence, and of able and advanced achievement.
When a nation wishes to renew its artillery, after studying the technical requirements and approving the final plans before proceeding to the acquisition of the necessary materials, it puts these materials to a test, and to a severer test than they will have to stand in doing the work assigned to them. The metals are taxed beyond the farthest limit of their power. They are tested by traction, by twisting, by compression ; they are deformed in...
1876. Unknown newspaper.
Sara Lawrence Obituary
1876
Hall--- The death of MRS. SARAH W. HALL, recently announced in our columns, will recall many reminiscences and awaken an affectionate interest in a large circle of the older members of our church. The daughter of Puritan parents, her fidelity to the best spirit of Presbyterian culture, was first bred in her, and then carefully trained. Her childhood home was in Geneseo, where she was born in 1800, her father being Col. Joseph William Laurence, a man of resolute character and stern principle. The daughter inherited from him a love of fixed principle, bringing with it great steadiness of purpose and directness of conviction. Hence all her life through her religious character was marked rather by settled, calm faith than by impulse, by fidelity to duty in all it's details than by fitful enthusiasms. She was more capable of sacrifices than self-assertion, and her decisiveness and firmness as well of feeling as of deed were plainly connected in her mind with a sense of religious fidelity.
Mrs. Hall was the widow of the Rev. Charles Hall, D.D., one of the first secretaries of the American Home Missionary Society, and one who was retained in its service until his lamented death in 1853. Her attachment to him began early in his course of preparation for the ministry, and with him her whole prospect in life was bound up with the service of the Master among us. Those who remember the assiduous, tender, and wise care with which Dr. Hall cared for his delicate and weighty trust, (for scores of self-denying missionaries in the Wes depended on his diligence, sympathy and counsel,) will be almost sure to recall the wife who followed him into these cares with a solitude like his own. It was noticeable of the spirit of these servants of Jesus, that they threw their influence in with missionary enterprises where they lived, and they found their personal church-home, first in the Mercer-street church in New York, and afterward in the High-street church, Newark, where these were in their infancy and missionary in their character. Their interest in this kind of work was engrossing, and hence there came to them a constant solicitude to be bearing the burdens of the Lord's kingdom, and when they could not work themselves, to know and share in the labor of others. When the death of Dr. Hall cut his widow off from her close association with Christian ministerial labors, and led to a change in her residence, the habit of deep interest in all the fortunes of the Saviour's kingdom, remained ineradicable. Tp the last her anxiety to know what was being done for the salvation of men, her delight in works of evangelization, her eager pleasure in converse with those who could inform her of these things, were noticeable marked. Her weekly paper, The Evangelist, was indispensable to her because it opened avenues for her sympathies to run on to the workers, and when she found some cause of hope or gratitude, she rested not until others of kindred mind accessible to her shared the feast.
In later years bodily infirmities came upon her, and though she partly regained her strength, and wholly retained her mental faculties, her activity was much impeded. She was never weary of giving thanks that her mind was left undisturbed, and her "greatest trial" was her inability to continue the active services so dear and accustomed to her. But her afflictions wrought in her a looking for the heavenly home. Her affections were consciously more and more set on things above, where Christ is, and her beloved ones with him. This feeling was too deep and sacred for much revelation, but it's domination over her was betrayed by the things she loved to read, the constant preparation she made for her change, and her tranquil look upon the coming of death.
Mrs. Hall was a person of much strength of character, and an unusual energy. Her affections were persistent, her habitudes of feeling and devotion were stable and strong, her religious convictions simple and direct, and they were absolute law to her, her faith and comfort in the spirit knew little wavering, but flowed evenly and quietly full. She was a type of the fervor, strength and charity of a generation of Christians that sometimes seem nearly gone, and whose nobleness, fidelity and unassuming grace and strength will ever be admirable. Her end came quietly, and her life was gently breathed out after a few days of illness. These days had been preceded by unusual feelings of animation, by more than ordinary delight in Christian conversation, and by a perceptible mellowness and tenderness of word and feeling towards those about her. She has entered into rest, and those who knew and loved her, will without misgiving, thank God for the good examination of his aged servant now resting from her labors.
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
Groningen | Гронинген, 27-05-2023.
Maxim Znak | The Zekameron: One Hundred Tales From Behind Bars and Eyelashes. Edinburgh, Scotland Street Press, 2023, 261 pages. Original Russian title: Зекамерон, translated by Jim and Ella Dingley. 2021.
Van de achterflap:
The 100 tales in The Zekameron are based on the 14th century Decameron, but Znak is closer to Beckett than to Boccaccio. Banality and brutality vie with the human ability to overcome oppression. Znak's stories in different voices chart 100 days in prison in Belarus today. The tone is laconic, ironic; the humour dry. The stories bear witness to resistance and self-assertion and the genuine warmth and appreciation of fellow prisoners.
'Zekameron’ derives from the Russian word zek, an abbreviation formed by the names of two letters of the Russian Cyrillic alphabet - зк; it stands for zakliuchonny, a word that originally referred to a convict held in a Soviet labour camp. The word now has the general sense of ‘prisoner’.
Born in Minsk in 1981, international lawyer Maxim Znak was arrested in autumn 2020 and sentenced to ten years in prison in 2021. He is in prison in Belarus and is recognised by Amnesty as a prisoner of conscience. Znak wrote these stories from within prison, and they later found their way outside the prison walls.
The stories were sent directly to Jim Dingley who previously translated two books from Belarus for Scotland Street Press. Dingley immediately sent the manuscript to Scotland Street Press. Its arrival was a huge consideration: would its publication endanger Znak's life, or agitate successfully for his release? By September 2021 this brilliant lawyer was already re-sentenced to ten years in a penal colony in the north of Belarus. His wife and sister urged us to go ahead with publication.
Maxim Znak on Scotland Street Press (English)
My Books set
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
by Olga Dudygina
oil on canvas
100 x 77 cm
2009
first time shown to the public in a group show at the Woman Made Gallery in Chicago in 2015
Woman in a turban explores the theme of Women’s empowerment and gender equality. This painting is about a woman who is reclaiming her individual feminine identity and her self-worth. She claims her independence through direct rejection of social norms. While her head is still kept covered, she appears not to be wearing any other clothes. Woman in a turban is about ‘her’ who is netted in a patriarchal regime, without having an opportunity to affirm her will or needs on those in control. She witnesses women trapped in their homes serving domestic concerns of child-rearing and food preparation. She witnesses other women who manipulate men by using their body as an implement for the accomplishment of their will. In both cases women distrust their minds and become voiceless possessions, possessions of men. They are to learn how to grow their personal strength, autonomy, power, and ability to enact their own will in the context of respect for others. Using rebellion as a mean of self-assertion, Woman in a turban rebels against society and its restraints.
A spoken word set from the mesmerising talents of Penny Broadhurst. An excoriating outburst of subtle self-assertion in "Bitch Queen Motherfucker" regrets attendance at a gig by Lydia Lunch
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
photo: ©abbe
From top to bottom; St. Trumberg, St. Benedict Biscop. St. Eggfrith, St. John Sarl Chant, St.Osterwine, St. Sicgfrith, St. Ceolfrith, St. Acca, St. Huatberct, St. Ceoluulf, St.Ecgberct.
"Formerly known as: Bede Memorial Cross, Cliff Park Whitburn Road. Memorial cross. 1904. Signed `G.W. Millburn York Sculpt' and `C.C. Hodges, Hexham, inv. et direx.' Granite. Saxon style. Tall tapered shaft. Dedication to Bede and Eadfrith, and extracts from Bede's writing, on W. Interlace pattern and low-relief carved scenes from Bede's life on E. Vine pattern and northern saints, with runic inscription...." Historic England.
It is 17ft 5 inches tall.
It was unveiled by William Maclagan (1891-1908) Archbishop of York at 12.30 on Tuesday 11th October 1904.
It was designed by Charles Clement Hodges and carved by George Walker Milburn of York.
Lord Armstrong allowed the project to use stone that was taken from the finest rock in his private quarry at Cragside.
"The party was led by the Archbishop of York who robed in ‘Cliffside’, the home of Sir John Priestman, which then stood directly across the road from the monument.
The unveiling of the memorial by the Archbishop was greeted with loud cheering from the crowd and the playing of The Last Post by members of the Royal Artillery.
The principal guests then all made their way to the Town Hall in Fawcett Street for a celebration lunch (prepared by Mengs) and for speeches.
The Archbishop in his speech referred to Sunderland as ‘this great city’.
It was a prophetic remark indeed – he obviously knew something that the rest did not." Sunderland Echo.
The north face has relief carvings of eleven bishops: Trumbergt; Benedict Biscop; Eggfrith; John; Fosterwinn; Siggfrith; Geolfrith; Agga; Hvaegbergt; Geowulf; Eggbert. A foliate pattern links each head. The cross is carved with a rope tracery design on the arms and boss.
"Memorial cross, 1904. Signed “GW Millburn York Sculpt” and “CC Hodges, Hexham inv. et direx”. Granite. Saxon style. Tall tapered shaft. Dedication to Bede and Eadfrith, and extracts from Bede’s writing on west. Interlace pattern and low-relief carved scenes from Bede’s life on east. Vine pattern and northern saints, with runic inscription on north. Vine and inscription on south. Hodges was the excavator of Hexham Abbey. A later inscription records that the cross was removed in 1914 and restored to this site in 1921. LISTED GRADE 2"
The Northumbrian royal dynasty had ended with the death of Osric in 729 AD and the succession of Ceolwulf, the younger brother of the usurper Cenred and the king to whom Bede dedicated his Ecclesiastical History of the English People in 731 AD in which he recorded the death of Osric as the penultimate entry.
“In the year 729, comets appeared; the holy Egbert departed; and Osric died.”
Ceolwulf ruled until 737 AD when he abdicated to become a monk. He was succeeded by Eadbert, brother of Ecgbert, who became the first Archbishop of York in 735 AD. Eadbert ruled, with greater military competence than Ceolwulf, until 758 AD when he also abdicated to enter a religious life at the Abbey on York. Eadbert was engaged in warfare against Mercia and the Pictish kingdoms for much of his reign, and in 740 AD he executed Eanwine, the son of a former king of Northumbria called Eadwulf (ruled 704-5 AD). Eanwine was probably working with the Mercians against Eadbert, who was decisive and brutal against opposition. In 750 AD he faced another claimant to his throne called Offa, and defeated him. Offa fled to Lindisfarne to claim sanctuary. Eadbert did not want to offend the Church by forcibly removing Offa, so he starved him out instead, and imprisoned the Bishop of Hexham who was probably a supporter of Offa. The story of Offa is told by Simeon of Durham:
“During the reign of Eadbert, who (as we have already mentioned) succeeded Ceolwulf, the bishopric of the church of Lindisfame was held by Cynewulf for some considerable length of time, but under many annoyances and misfortunes. One of the royal family, named Offa, in order to escape from the persecutions of his enemies, fled to the body of St. Cuthbert, but having been forcibly dragged away from it, he was wickedly put to death. Hereupon, king Eadbert highly displeased laid hold upon bishop Cynewulf, and commanded him to be imprisoned in Bebbanburch, and in the meantime the bishopric of Lindisfarne was administered by Friothubert, bishop of Hexham, until the king becoming appeased released Cynewulf from his confinement, and permitted him to return to his church.”
Eadbert was also supposedly successful in his international relations, and corresponded with King Pepin of Francia, who sent him costly gifts.
Oswulf was Eadbert’s son, and succeeded his father when he abdicated. However, his hold on the throne was short-lived and he was murdered within a year, by members of his household who were probably related to Eanwine, or as Simeon puts it “wickedly slain by his domestics.”
Æþelwold “Moll” was elected within a couple of weeks to succeed him, although his claim on the throne is not clear and his reign was also disastrous and so the century of turmoil in Northumbria began.
12th January is celebrated as the Feast Day of Benedict Biscop.
Dictionary of National Biography entry by William Richard Wood Stephens 1885.
"BENEDICT BISCOP (628?–690), also called Biscop Baducing (Eddius, Vita Wilfridi c. 3), founder of monasteries at Wearmouth and Jarrow, was an Angle of noble birth (Beda, v. 19, and Vita Abbat. i.), possibly of the royal race of the Lindisfari (Flor. Worc. Mon. Hist. Brit. 631 ). He became a 'minister' or thegn of Oswiu, king of Northumbria, who bestowed land upon him. But in 653, being then about twenty-five, he resolved to abandon the world and set out for Rome. At Canterbury he fell in with Wilfrith, who was about six years younger than himself and desired to visit Rome. The two travelled together as far as Lyons, where Wilfrith tarried, and Benedict went on to Rome. After sojourning some years there he returned to Northumbria, where he strove to introduce the Roman system of ecclesiastical life. About 665 he started on a second visit to Rome. Alchfrith, the son of king Oswiu, wished to accompany him, but was forbidden by his father (Beda, V, Abb. c. 2). After sending some months in Rome, Benedict retired for two years to the monastery of Lerins (an island off the south coast of Gaul), where he became a monk, and then returned to Rome in 667, just when Wighard arrived to be consecrated archbishop of Canterbury. Wighard, however, died very soon, and Theodore of Tarsus was elected and consecrated in his stead March 668. The pope, Vitalian, appointed Benedict to conduct Theodore to Canterbury, which they reached at the end of May 669. Archbishop Theodore made him abbot of St. Peter's in Canterbury, over which he presided for two years, and then made a third visit to Rome for the purpose of buying books, of which he collected a large number, partly in Rome, partly at Vienne. In 672 he returned to England, intending to visit his friend Cenwealh, king of the West Saxons ; but hearing that he was dead, he made for Northumbria, where Ecgfrith, the son of Oswiu, had become king, He set about zealously instructing his countrymen in the learning and religious discipline in which he had himself been trained. Ecgfrith warmly aided him in his work, and gave him seventy hides of land out of his own demesne near the mouth of the river Wear on the north side, where, by Ecgfrith's orders, he began building the monastery of St. Peter's in 674 (Bed. Vit Abbat. c. 3-4). The structure was fashioned in what was called the 'Roman' style, then prevalent throughout Western Europe, being a provincial adaptation of the old classical Roman forms. Benedict himself visited Gaul in order to engage skilled masons and glassmakers, the art of glazing windows being then unknown in England (Bed. Vit, Abb, c. 5). The work was pushed on with such diligence, that within a year from its foundation mass was celebrated within the walls of the church. Having settled the constitution of his house, he paid a fourth visit to Rome in 678, in order to procure more books, besides vessels, vestments, images, and pictures, of which he brought back a large store. He also obtained the services of John, the archchanter of St. Peter's and abbot of St. Martin at Rome, who returned with him to instruct his monks in music and ritual according to the Roman use. But what he deemed most valuable of all was a letter from the pope Agatho, granted with the full consent of king Ecgfrith, exempting his monastery from all external control. The king soon afterwards granted 40 hides of land for the erection of a sister monastery which Benedict established at Jarrow and dedicated to St. Paul. Here he placed seventeen monks in 682 under Ceolfrith as their abbot, who had energetically assisted him from the beginning in founding the other monastery, and had visited Rome. He himself presided over the elder house at Wearmouth, adopting his cousin Eosterwine as a colleague. Having thus settled both monasteries, he visited Rome for the fifth time, and procured a large collection of books, vestments, and pictures for Jarrow. On his return (about 687) he found that king Ecgfrith had been slain in battle (685), and that Eosterwine and a large number of his monks had died of a pestilence. Ceolfrith and the other monks had elected Sigfrith to take the place of Eosterwine. Benedict confirmed their choice, and bought three acres of land on the south side of the Wear from king Aldfrith (successor to Ecgfrith) [q. v.], for which he gave two silk pallia of splendid workmanship which he had brought from Rome ({sc|Beda}}, V. Abb. c. 7, 8). Soon after this Benedict's health broke down, and for the last three years of his life he was paralysed in the lower limbs. Abbot Sigfrith also gradually wasted away from some internal disease. Shortly before his death in 689 he was carried to the bedside of Benedict for a final interview, who then, with the consent of the monks, appointed Ceolfrith abbot of both houses. Benedict's mind, however, continued to be clear and vigorous to the end, and the last days of his life were spent in exhorting the brethren to hold fast to the pure Benedictine rule which he had taught tnhm, having himself visited seventeen continental monusteries; to preserve the large and costly library which he had procured for them with so much pains, and in all future elections of abbots to take care to choose the fittest man without any regard to the claims of kindred or high birth. During his sleepless nights the brethren read the Bible to him in turns, and at the hours of prayer by day and night he continued to join, as well as he was able, in the recitation of the psalms. He died on 12 Jan. 690 as the monks were repeating the 83rd Psalm ('Deus, quis similis erit tibi ?'), in the sixteenth year after the foundation of the first monastery, and (about) the sixty-second year of his age. He was buried in the church of St. Peter at Wearmouth. In the 10th cent., 964, Æthelwold, bishop of Winchester, bought his bones at a great price, and conveved them to his new abbey of Thorney. Benedict was undoubtedly a man of pure and lofty character, animated by the warmest zeal for the promotion of piety and learning, unalloyed, so far as we can see, by the spirit of ambition and self-assertion which are too conspicuous in his friend Wilfrith [see Wilfrith]. He was thus a great benefactor to his own age and country, and all subsequent ages owe him a debt of gratitude for founding the monastery which was the home of the saint and historian, the Venerable Bede.
[Bede's H. E. v. 19, and Hist. Abbatum, c. 1-12; Will. of Malmesbury's Great. Pont. iv. § 186; Mabillon's Acta Sanct. O.S.B. sæc. ii. 1000-1012; Boll. Acta Sanct. 1 Jan. 745, 746.]" wiki data
I am reading a few books right now, this one is Black Elk Speaks. The other one I am most actively reading is The Richest Man in Babylon. I read Black Elk Speaks when I was younger. I remember being deeply impressed by its wisdom.
The Richest Man in Babylon was recommended to me by a friend who is aware of my financial (economic) distress. Hopefully reading this book will provide some inspiration for some self-assertion in that department. It's bringing up some very interesting issues for me. I am really conflicted about economics and finance. The concept of investing scares me. I see so much potential for abuse. But I also realize that wealth, and to be wealthy, isn't bad in and of itself. Affluence isn't bad in and of itself. For me, it depends on the nature of the wealth-building activities. I suppose it is possible to be wealthy, without contributing to environmental degradation, without utilizing oppressive and exploitative means...
The book is full of contradictions. There are slaves everywhere, and the writer even refers making accumulated wealth into a "slave," making accumulated wealth itself to work for more. So, what I am trying to say is that I am not buying the whole thing. I still see the desire for economic domination as problematic. However, the drive to accumulate wealth - using sustainable and environmentally benign means - isn't necessarily bad, and can even be used for creative, uplifting, life-serving purposes.
So for the purposes of investment, I am studying up on socially responsible investment - aka ethical investment, but what is that, what is ethical? Is it ethical to hurt others? Does exploiting the labor of someone else hurt them? Is it ethical to degrade the environment?
Also, I want to add in the precautionary principle here as a related topic for discussion.
Another question I want to ask is: how to participate economically without doing harm? A friend raised a good point when he asked, what is harm? How is it defined? We don't really have a good working common definition of what constitutes harmful economic activity. So, that's a starting point at least. A question. A direction.
Anyway, both are interesting books, and I look forward to reading them.
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
photo: ©abbe
a Covid holiday!
A quote from a friend's regular email blog.
For me at least, "The Road Not Taken" is not a triumphant self-assertion but a realisation of the self-deception we practice when constructing the story of our own lives.
"I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I — I took the one less traveled by, And that has made all the difference." Big Sigh!
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
photo: ©abbe
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
photo: ©abbe
ok there is going to be a lot of text here so please feel free to NOT read it. No obligations. :)
First, I've been lucky enough to be matched up with JPOParazzi for the "Get pushed" theme.
Here's my challenge:
- a Film noir self portrait
- Cloning (Yes, I am copying you! I would love to see you multiply too!)
- Inspired by a song self portrait
- Different Mood of Kari ( a whole week of mood would be fun too) =)
So you people are stuck with a week of selfies... but you can blame her. Hahahaha. No, don't blame her, she's such a sweetie!
This shot is to take care of two of the items on the list!
Inspired by song; the song lyrics are below and it has been a long time favorite of mine! if you read the lyrics carefully enough you'll see that the song isn't exactly what it seems.
Also, a different mood of Kari. The above is a great depiction of me on what I call my "switch" days. The days that I worked all night, come home and only sleep four hours to switch my schedule back to sleeping at night. I do this at least twice every week. Honestly I'm not much use on these days, but all in all I'm still addicted to working the night shift. This particular day I was also trying to recover from a very very busy three day working weekend. Saturday night was INTENSE.
Stay Home
by: Self
I believe in self-assertion
Destiny is like diversion
Now it seems I've got my head on straight
I'm a freak without provision
Seems I've made the right decision
Try to turn back now, it might be too late
And it's off to the morning and back again
Same old day, same situation
The happiness is back as if to say
I wanna stay home today
Don't wanna go out
If anyone comes to play
Gonna get thrown out
I wanna stay home today
Don't want no company
No way
Yeah , yeah, yeah
A simple life's my cup of tea
I don't need nobody but me
What I wouldn't give just to be left alone
I wanna be a millionaire someday
And know what it feels like to give it away
Watch me march to the beat of my own drum
And it's over and over and over again
Same old day, same situation
The happiness is back as if to say
I wanna stay home today
Don't wanna go out
If anyone comes my way
Gonna get thrown out
I wanna stay home today
Don't want no company
No way
Yeah, yeah, yeah
Rain, rain every day
Everyone would just stay away now
Come another day
Come another day
(Musical Break)
I wanna stay home today
I wanna stay home today,
I wanna stay home, stay home, stay home, stay h-
I wanna stay home today
Don't wanna go out
If anyone comes to play
Gonna get thrown out
I wanna stay home today
Don't want no company
No way
Yeah, yeah, yeah
I wanna stay home
Don't wanna go out
If anyone comes my way
Gonna get thrown out
I wanna stay home today
Don't want no company
No way
Yeah, yeah, yeah
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
photo: ©abbe
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
photo: ©abbe
Part of my sims 2 tarot serie: n°07 - The Chariot
This one actually turns out better than I expected. Although I cursed myself for choosing a child as the human character. I don't have any anim hacks for kids, and had to settle for a simple sky gazing session
Conquest ----- Honor ----- Victory ----- Energy
Egocentrism ----- Self confidence ----- Conviction ----- Anxiety
Willpower ----- Self assertion ----- Hard control ----- Discipline
Inflexibility ----- Success ----- Wealth ----- Recognition
Impulsivity ----- Command ----- Bravery ----- Pride
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
photo: ©abbe
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
photo: ©abbe
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
photo: ©abbe
A collaboration between Parrhesia, Zochrot and Ursula Hofbauer
Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.
Giving the Arabic and the Hebrew languages presence in the public sphere in Europe evoke issues relating to the presence of our cultures within Europe, in the past as well as in the present .
We hope to question the tendencies of the Western world to perceive Arabic and Hebrew languages and cultures as threats and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. The project also proposes language and culture as an arena for listening and engaging in dialogue with others.
AugartenStadt was not chosen by chance; as "verlorene Insel (lost island)" was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.
Earlier, I was on Facebook and commented on the post a young man I know made. He was obviously upset because someone, probably his parents, had chastised him for being immature. His response, though an attempt at eloquence, was that of a youth who was probably too smart for his own good, but not yet wise. I didn't want to inflame the situation any more, but because I know this boy, and know his potential, both if he chooses to follow a wise path, or one of strictly self-promotion, felt the comment needed to be addressed, especially since it was almost demanding in its self-assertion and seemed more like a challenge to a duel than anything that would help his cause with the adults in his life!
When is someone mature? Are we EVER mature? Like these two, juvenile, White Ibises, youth is more ignorant than foolish, but the most dangerous time is that age just before really becoming an adult and fending for ones' self, because that's when risk taking is the answer of a dare, and independence beckons so strongly that it's impossible to ignore. The following is what I replied. Bear in mind that this young man is about eighteen years old and has been considering going into ministry, so my response is based on Christian values.
" Maturity is a relative thing. Some kids never grow up, and some do at a very early age, but usually as a result of difficult life experiences. Survival. The human brain does not fully develop until someone is in their 20's. Consequently, it is impossible to be fully "mature" until then, from a purely biological standpoint.
What most people mistakenly call maturity is actually wisdom. Many people are physically and emotionally mature, but not wise. Wisdom begins to take hold in the human heart (mind) when a person begins to fear (respect, honor, worship, and submit to) the Lord God. Those who refuse will never be propelled into it.
The degree of wisdom a person walks in often depends upon two things. 1. The level of their true humility, and 2. the immense, and immeasurable grace of God poured out upon that person. The response to grace should be greater humility and deepening wisdom, and it is that RESPONSE to grace that determines true maturity.
People are quickly exposed by the evidence or absence of humility and grace, demonstrated by whether they respond by action, or reaction, and by the content of either."