#c: telos

[jokeroutsubs]

Joker Out Masterpost for new fans

New fan of Joker Out? Say no more! 

Getting to know a new artist you’ve found can be intimidating if it’s all in another language, so we’ve compiled some of our favourite interviews, articles and lore here! You’ve arrived in a wonderful fanbase, welcome from all of us here at JokerOutSubs! 

If you’d just like a short overview of the band and their history, you can watch this excellent Finnish summary of them that we’ve translated (14m 53s).

But if you want to dive into the details, then check out our timeline, full of videos and articles translated by JokerOutSubs! 

Timeline graphic:

Timeline in details below the cut 👇

Timeline in details: 

How did the band form? 

Joker Out was formed from two bands, Apokalipsa and Buržuazija. 

Apokalipsa included Bojan Cvjetićanin (vocals), Martin Jurkovič (bass) and Matic Kovačič (drums) 

They gained some traction with young people around Slovenia, particularly with their song 'Mogoče' ('Maybe'), which you can watch on YouTube here.

They came to the attention of Kris Guštin, who was inspired to start learning guitar! He discusses the details in this video (at 9:40). 

Kris then met Jan Peteh, another student of his guitar teacher, and at their teachers advice, they formed the band Buržuazija. 

Bojan attended their second ever gig in 2016, and decided these two excellent guitarists were exactly what had been missing from Apokalipsa, as he wasn’t happy with their current guitarists. He asked them to join, and they accepted

The new lineup (Bojan, Jan, Kris, Martin and Matic) decided to rename themselves Joker Out. The name means nothing, but they thought it sounded good and was the ‘least horrible’ of all the ideas they could think of. 

So, in 2016, Joker Out was officially formed! 

November 2016, Kot srce ki kri poganja: 

Joker Out’s first music video was for their song ‘Kot srce ki kri poganja’ ('Like a heart that pumps blood'), filmed in Jan’s hometown of Vrhnika! We eventually got this song on Spotify on their 2023 album Live from Arena Stožice!

Music video: Kot srce ki kri poganja

English Interview (from 3:37 to 6:05): Joker Out discusses filming the music video

June 2017, Špil Liga:

One of the earliest performances for Joker Out was at Špil Liga, a competition for young bands in Slovenia. They won, and recorded their winning song, Omamljeno telo (intoxicated body) in November as part of the prize. 

Live (33m): Joker Out at Špil liga

Interview (5m): Reflections on Špil Liga in 2023 

c.2017/18, Bojan’s attempt at going solo:

The band took a hiatus c.2017/18, and Bojan considered going solo at that time, even working with a few producers. He eventually realised that he belonged with the band! Hear him tell the story:

Reel (1m 23s): A1 Vajb - Bojan’s fail

2019, A change up for the band:

The band began working with their current producer, Žare Pak, and their videographer Mark Pirc, in 2019 - both of whom have been referred to as the sixth member of the band. This led to a change in their sound and production quality, which culminated in ‘Gola’ ('Naked'), the first of their songs to be a big hit!

Music video: Gola

Zlata piščal ('Golden Flute') - Best New Artist 2019:

Joker Out won their first Zlata piščal award in 2019, for best new artist (one of many they’d go on to win!) This is a kind of Slovenian Grammy! Covid interrupted the proceedings, but you can see their interview for it here (3m 59s)- 

Interview: Joker Out wins a Zlata piščal ('Golden Flute') for Best New Artist 2019

Umazane misli, and a new member: 

During the Covid times, the band began recording their first studio album, 'Umazane misli' ('Dirty thoughts'), which was originally going to be released in March 2020 but was repeatedly delayed until October 2021. The first half was recorded with drummer Matic Kovačič, but the band felt they needed something extra and brought in Jure Maček to help write the arrangements. They loved him so much, he never left! 

Interview (from 10:40 to 11:36): Bojan talks briefly about Jure joining the band

COVID times, and Cvetličarna: 

The band had arranged to do two concerts at Cvetličarna, a very important venue in Slovenia and a big break for them. This was delayed several times due to Covid, but eventually managed to go ahead in October 2021 for the release of their first album. 

Video (1m 14s): Cvetličarna promotional video

Live (1h 28m): Joker Out at Cvetličarna

Interview (34m 55s): Bojan discusses Cvetličarna, its importance, and Covid

Umazane misli album launch: 

'Umazane misli' was extremely well received! The band would go on to win two more Zlata piščal awards, Newcomers of the Year in 2020 and Artist of the Year in 2021.

Interview (37m 08s): Umazane misli album presentation

An acting career for Bojan? 

Around the same time as 'Umazane misli' was released, Bojan began considering an acting career. He acted in two episodes of the series ‘Gospod Professor’ and in another series, which was eventually reworked as a film called ‘Kaj pa Ester’ and released in December 2023. He decided music was his passion though, and he wanted to fully focus on that. 

Interview (from 10:04 to 11:30): Bojan discusses his acting career

Interview (2m 11s): Kaj pa Ester interview

Interview (2m 30s): Kaj pa Ester première

Article: Bojan on Kaj pa Ester

September 2022, Križanke:

The band got straight to work writing their second album, 'Demoni' ('Demons'), and decided to present it in September 2022 at Križanke, another hugely important venue in Slovenia. This whole concert wasn’t recorded, but we have an interesting advertisement they did for it, an interview and a clip of one song live from Križanke! 

Video (5m 4s): Full Joker Out Hotline trailers

Interview (2m 16s): Joker Out with parachutes to Križanke?

Live (4m 7s): 'Novi val' ('New wave') live at Križanke

Interview (44m 35s): Demoni album presentation

Another new member! 

After Križanke at the end of 2022, Martin Jurkovič, one of the founding members of the band, made the decision to leave to focus on his studies.

Video (2m 20s): Martin's departure

Thankfully, he was replaced by the wonderful Nace Jordan, who remains the bassist in the current lineup.

Article: Nace Jordan discusses joining the band

2023, Eurovision:

Joker Out were then internally selected to go to Eurovision 2023, and began recording their Eurovision song, 'Carpe Diem', in Hamburg in December 2022. To learn more, you can watch the Carpe Diem series, a documentary series which followed their entire journey. 

The first episode, recording Carpe Diem, can be found with subtitles in multiple languages by JokerOutSubs!

Video (16m 41s): Carpe Diem Ep. 1 - Hamburg

The band performed their song for the first time live on Misija Liverpool, a televised debut, on the 4th February 2023.

Video (27m): Joker Out performing at Misija Liverpool

There are quite literally hundreds of interviews with Joker Out during the Eurovision era. Here's one from just before the final, that we have translated.

Interview: Joker Out before the final on the 13th May

And a few English interviews that became famous in the fanbase! 

Interview (24m 29s): Eurovanja

Interview (8m 10s): Seize the Day situations

Interview (17m 18s): Tiktok Live

Interview (6m 30s): ‘Never have I ever’

Interview (14m 12s): Madrid Eurovision

Result

Joker Out came 21st at Eurovision, which they were satisfied with.

Interview (1m 36s): Bojan talks about their results

European tour and Sunny Side of London (22nd September)

Luckily, the best was still to come for Joker Out! The rest of 2023 was spent on an extremely successful European tour, and they also released their first English single, 'Sunny Side of London', in September. 

We at JokerOutSubs were also thrilled to interview the band twice on their tour!

Original Interview (15m 25s): JokerOutSubs interview in Tampere

Original Interview (14m 37s): JokerOutSubs interview in Poznań

6th of October 2023, Stožice:

All of this, however, was building up to Stožice. This is the biggest closed venue in Slovenia and Joker Out managed to sell out their October show there - an extremely important milestone for Slovenian artists. 

Interview (15m 4s): Stožice and their whirlwind post Eurovision career

Live: Full concert live-streamed part 1 and part 2

A lovely moment at Stožice was when former members Martin Jurkovič and Matic Kovačič joined the band onstage to perform 'Kot srce ki kri poganja'!

Interview (2m 4s): Martin and Matic discuss the experience

Interview (5m 9s): Joker Out post Stožice impressions

London era and Everybody’s Waiting: 

Joker Out spent the beginning of 2024 in London, where they wrote new music, did live cooking shows on Instagram and met the incredibly talented photographer, Damon Baker, who did a beautiful series of photoshoots with them. They also released their next English single, 'Everybody’s Waiting', in February. 

They sat down with us at JokerOutSubs to discuss all this on the 20th February!

Original Interview (59m 13s): JokerOutSubs interview in London

March and April 2024, ‘See you soon’ tour:

The boys then embarked on the ‘See you Soon’ tour, another very successful European tour. They played three new songs live during the tour, two of which we translated from the concert videos of our members!

Live:  First performance of 'Bluza' ('Blouse')

Live: First performance of the hugely popular 'Šta bih ja' ('What would I')

We at JokerOutSubs also interviewed the band a fourth time in Padova!

Original Interview (22m 7s): JokerOutSubs interview in Padova

Now you know a little bit about Joker Out’s history, let’s look a little bit at the members of the band as individuals! 

Who are the members?

Bojan Cvjetićanin - singer

Charming, charismatic and an all round green flag, deep down we’re all Bojan girlies! See him here on Cosmopolitan's Blind date, Portrait with Coffee and a lovely interview he did for Delo! 

Interview (8m 49s): Cosmopolitan's Blind date

Interview (18m 3s): Portrait with Coffee

Article: “If we believed that we were “kings”, that wouldn’t be us”

Jan Peteh - guitarist

The mysterious mathematician of the band, Jan and his cat Igor have stolen the hearts of the fanbase. Here he is on Undercover Mathematician and on Metropolitan podcast with ex bassist Martin! 

Interview (3m 26s): Undercover mathematician

Interview (43m 57s): Jan and Martin on Metropolitan podcast

Kris Guštin - guitarist

Known for his organisational expertise, 'slay pose' and 'cake baking skills,' Kris stays fabulous on and off stage!

Video (1m 5s): NGVOT backstory (Kris’ breakup) at Cvetličarna

Article: Interview with the entire Guštin family

Jure Maček - drummer

Described consistently by his band mates as ‘čaga’ (party), Jure brings a chaotic energy to Joker Out that we love to see!

Video (41s): Jure’s cheating (in school!) story

Interview (18m 3s): Sunday Chat on Radio 94

Nace Jordan - bassist

The oldest member of Joker Out, Nace is a genuine sweetheart who fit like a glove into Joker Out despite joining much later! 

Article: "Enriched by a special [Eurovision] experience"

Interview (18m 24s): Interview with JokerOutSubs in Umag

Get to know the whole band! 

They mostly do interviews together, so here are some of our favourites!

Interview (16m 52s): Vičstock Unplugged

Video (7m 3s): Joker Out pre-Križanke Instagram Q&A compilation

Interview (54m 42s): Multisciplinary panel at Bežigrad High School

Article: Joker Out for DELO

Article: Joker Out for Mladina magazine

Interview (6m 42s): Joker Out for RTV SLO

Interview (1h 1m): Joker Out for N1 podkast

We hope you’ve enjoyed learning a bit more about our favourite band! 

If you’d like even MORE translated interviews, articles and Instagram stories, you can find us on Tumblr, X, Facebook, Instagram, TikTok, YouTube and Spotify under the name JokerOutSubs!

P.S: If you wish to share this post with new fans, we also provided QR codes!

[lee-sanghyeok]

Garments worn by BOYNEXTDOOR in "With Boynextdoor" Ep. 6

A. ROYNINE Lightweight Striped Shirt (₩84,000 / €57)

B. CAMPHOR WOOD Bowling Knitting Shirt (¥10,900 / €66)

C. 9090 OFFICIAL Star Logo Game Shirt (sold out)

D. SYSTEM HOMME Wool-blend Colour-block Crochet Cardigan (₩375,000 / €254)

E. LE MONT SAINT MICHEL Telo Stripe T-Shirt (sold out)

F. SLOWACID Striped Short-sleeved Shirt ($94)

[minglana]

WAIT CURRENT GRAN VIA WAS CALLED C*LVO S*TELO ???????????

[fuckthemforthis]

URL SONG GAME!

Thank you @sonny-is-okay for this sweet torture!

RULES: spell your url with song titles and then tag as many people as there are letters

F - Fantastista - Käärijä ft. KähinäPate

U - Umazane misli - Joker Out

C - Calipso - Charlie Charles ft. Sfera Ebbasta, Mahmood, Fabri Fibra

K - Kupid - Joker Out

T - Tokio - Joker Out

H - Hirttää kiinni - Käärijä

E - Eaea - Blanca Paloma

M - Mic Mac - Käärijä

F - Fiks - Joker Out

O - Omamljeno telo - Joker Out

R - ROCK ROCK - Käärijä

T - Torna a casa - Måneskin

H - Hannelore - Popwal

I - Inuyasha - Mahmood

S - Soldi - Mahmood

Choosing randomly from my notes and dash, sorry & feel free to ignore if you don't find it fun

@princess6590 @8iunie @ultrabooob @hosseini-stewy @jokrrouttfynn @yoongisluv99 @xlabratlolax @rbf451 @thisismyobsessionnow @xcarpeeverydiemx @ne-spivay-ranenko @apfel07 @starcrossedbitch @fifi-goes-to-hollywood @coveredincathair12

[docpiplup]

The Bastard Kings and their families

This is series of posts are complementary to this historical parallels post from the JON SNOW FORTNIGHT EVENT, and it's purpouse to discover the lives of medieval bastard kings, and the following posts are meant to collect portraits of those kings and their close relatives.

In many cases it's difficult to find contemporary art of their period, so some of the portrayals are subsequent.

1) John I of Portugal (1357 – 1433), son of Peter I of Portugal and Teresa Lourenço; with his wife, Philippa of Lancaster (1360 – 1415), daughter of John of Gaunt and his wife Blanche of Lancaster

2) His father, Peter I of Portugal (1320 – 1367), son of Afonso IV of Portugal and his wife Beatrice of Castile

3) His sister, Beatrice of Portugal (c. 1354–1381), daugther of Peter I of Portugal and his wife Inês de Castro

4) His brother, John of Portugal (1352 – c. 1396), son of Peter I of Portugal and his wife Inês de Castro

5) His brother, Ferdinand I of Portugal (1345 – 1383), son of Peter I of Portugal and his wife Constanza Manuel de Villena

6) His sister in law, Leonor Teles de Meneses (c. 1350 – c. 1405), daughter of Martim Afonso Telo de Meneses and his wife Aldonça Eanes de Vasconcelos

7) His niece, Beatrice of Portugal (1373 –c. 1420), daughter of Ferdinand I of Portugal and his wife Leonor Teles de Meneses

8) His niece, Isabella of Portugal (1364–1395), daughter of Ferdinand I of Portugal and an unknown woman

9) His daughter with Philippa of Lancaster, Isabella of Portugal (1397 – 1471)

10) Left:

I. Eleanor of Aragon (1402 – 1445), daughter of Ferdinand I of Aragon and his wife Leonor de Albuquerque; and wife of Edward I of Portugal

II. Isabella of Coimbra (1432 – 1455), daughter of Peter of Portugal and Isabella of Urgell; wife of Afonso V of Portugal

III. Edward I of Portugal (1391 – 1438), son of John I of Portugal and his wife Philippa of Lancaster

IV. John II of Portugal (1455 – 1495), son of Afonso V of Portugal and his wife Isabella of Coimbra

V. Afonso V of Portugal 15 (1432 – 1481), son of Edward I of Portugal and his wife Eleanor of Aragon

Right:

I. Ferdinand of Portugal (1402 – 1443), son of John I of Portugal and his wife Philippa of Lancaster

II. John of Portugal (January 1400 – 1442) son of John I of Portugal and his wife Philippa of Lancaster

III. Peter of Portugal (1392 – 1449), son of John I of Portugal and his wife Philippa of Lancaster

IV. Henry of Portugal (1394 – 1460), son of John I of Portugal and his wife Philippa of Lancaster

Note: In the last picture, the Panel of the Prince or the Infante and the Panel of the Knights from Nuno Gonçalves' St. Vincent Panels, the identity of some of the members of the Royal family it's still discussed, like the man identified as Edward I in the Panel of the Prince is his brother Henry, but we're considering the interpretation of the people of the panel being Afonso V with his parents, wife and heir, and the ones of the Panel of the Knights are Edward I's brothers, although by the time the panels were painted most of them have already died.

[popolodipekino]

pioggia

L'uomo radunò un po' dei legnetti color osso disseminati lungo la riva, ci fece un fuoco e si misero seduti tra le dune coperti dal telo di plastica, guardando la pioggia fredda che arrivava dal nord. Cominciò a cadere più forte, bucherellando la sabbia. Il fuoco sbuffava vapore, il fumo si alzava in spire lente e il bambino si raggomitolò sotto il ticchettio della pioggia sul telo, e ben presto si addormentò. da C. McCarthy, La strada

[thunderxleafart]

Since Artfight's coming to a close, I figure I might as well do what I did last year and post a few of the other attacks I managed to complete!

Honestly my mental health has taken a bit of a plunge over this past month, so I wasn't really up to drawing as much as I usually do. But I am happy with the pieces I did get done, and I hope you guys do too! <3 Though since I'm also now pretty sure I'm coming down with something, I might not be as active for a bit. Just gonna take a bit of time to reevaluate things in my life and try not to stress about art as much. I will hopefully be back soon, but I just thought I'd give you guys a heads up. ^^

Onto the actual art though, we've got a funky lil feline is named To-Telos, and he belongs to freakeddiscord on Artfight! <3 A revenge piece since they drew my gal Mist, so it was only right to hit 'em back with some art of their funky lad! He's apparently a demonic beast with multiple faces, and I just thought it was really fun! xD Next is Bunny, since my bestie and I have been discussing Sonic again and that's been on my mind. So as soon as I saw her, I just KNEW I had to draw her! x'D She's just got such a cute design! She belongs to shortcakeys on Artfight. And finally is Vi, and with my love of pastels and doggos, there was NO way I wasn't gonna draw her! xD Lookit all that floof! She belongs to Dandybadger on Artfight.

Thanks as always for all the likes, comments and everything y'all send my way, it really does mean a lot to me. <3 And I hope to be able to continue posting art semi-regularly for a while to come! Granted I can get my own stuff together LOL.

And as always, thanks for looking everybody!~ ^w^ ~~~~~~~~~~~~~~~~~~~~~ Art (c) Me To-Telos (c) freakeddiscord (on ArtFight) Bunny (c) shortcakeys (on Artfight) Vi (c) Dandybadger (on Artfight) ~~~~~~~~~~~~~~~~~~~~~

[hiswordsarekisses]

“Therefore He is able also to save to the uttermost (completely, perfectly, finally, and for all time and eternity) those who come to God through Him, since He is always living to make petition to God and intercede with Him and intervene for them.” Hebrews‬ ‭7‬:‭25‬ ~ uttermost

From pas and telos; full-ended, i.e. Entire (neuter as noun, completion) -- + in (no) wise, uttermost.

see GREEK pas ~ GREEK telos ~ STRONGS NT 3838: TaVTEAns TaVTEAnS, TaVTEléS (TäS and télos), all-complete, perfect (Aeschylus, Sophocles, Plato, Diodorus, Plutarch, others; 3Macc. 7:16); EiS TÓ TaVTENÉS (properly, unto completeness (Winers Grammar, § 51, 1 c.)) completely, perfectly, utterly.

[aboutanancientenquiry]

Early Greek prose inquiry (historia) and mythical tradition-V

The Early Greek Prose-writing Tradition: Bridging the Myth-History Divide

Gaston Javier Basile

Dans Dialogues d'histoire ancienne 2019/2 (45/2), pages 81 à 112

“IV- Conclusions

This paper has tried to illustrate the engagement of early Greek prose inquiries (historiai) with the mythical tradition of Homer, Hesiod and the archaic poets. Naturally, the process should not be read in terms of advancement, progress or the realization of a telos (such as the transition from poetry to prose, orality to script culture or mythos to logos) but as the emergence of new discursive genres and cognitive schemata – possibly facilitated by certain technical and intellectual developments – that fostered a reworking of tradition and the use of alternative expressive means. It has been the aim of this paper to further ‘deconstruct’ the deep-seated myth/history polarity by redefining certain terms of the controversy. A crucial assumption in our discussion is the broad notion of historia, which is not understood anachronistically in terms of truth claims and fidelity to the facts of the past (whatever that may mean even today) but rather as a cognitive category and discursive mode that comprised a variety of intellectual undertakings throughout the archaic and classical period. In our view, historia designates an individual, comprehensive and active mode of inquiry bearing on empirical matters or involving a first-hand gathering and record of experience or source analysis. This inquiry adopted a new form of discourse: expository texts, largely narrative or descriptive, written in prose.

The myth/history divide – if we are to retain the slippery distinction – has been expatiated here in terms of the inception of new commentarial and heuristic procedures by writers through the sixth and fifth century and the development of new discursive prose types. These texts offered unprecedented expository and argumentative leeway for the engagement with the mythical past and the exploration of new forms of knowledge that often diverged from or criticized the mainstream poetic accounts. Some of the procedures deployed by early prose writers surveyed in this paper are: a) the emergence of an enunciator third-person voice in the narrative in charge of explaining or commenting on the source text; b) the production of synoptic and organic narrative accounts from the multifarious assortment of oral traditions; c) the recourse to etymology and verisimilitude in the appraisal of myths in the earlier texts, which soon turned into more sophisticated modes of explanation including reasoning by induction and deduction (as is the case with Herodotus); d) the anchoring of myths to the ‘realia’ – whether topographical sites, cult heroes, cult practices, etc. – or the historicization of myths; e) the treatment of myths and legends as ‘sources’ or testimonies that are open to various and often conflicting interpretations, as featured chiefly in Herodotus’ approach.

The change of medium plays a pivotal role in this reworking of the mythical legacy and the new intellectual pursuits. The abandonment of poetry in favour of prose can be envisioned as the response to the adaptation of language to new audiences, to new areas of inquiry, social needs and modes of circulation of knowledge. On the other hand, the choice of prose both required and favored a preeminent authorial control over the text, and called for the inscription of contextual elements (traditionally activated through performance) into the linguistic co-text. In sum, our analysis shows that these broadly-defined early prose-inquiries display a number of discursive strategies and commentarial procedures that depart from those deployed by poetic discourse (as featured chiefly by the Homeric, Hesiodic and elegiac traditions), but also (we can surmise) from the kind of prosaic speech that is generally associated with in vivo, spoken, oral interaction. Thus, early prose, largely of an expository type, exhibits procedures that recur in several distinct prose genres and that are explicated not only in terms of subject matter or disciplinary interests, but also of functional, pragmatic or sociolinguistic adjustments of language. Moreover, far from being a natural, default occurrence stemming from the abandonment of meter as an expressive medium, the linguistic fabric of early Greek prose reveals traces of its ‘constructed’ nature which have not yet been fully explored.

Notes

[1]Willhem Nestle’s developmental account of the progress of the Greek thought has been radically challenged over the past two decades (see, for example, the collection of essays in Buxton 1999). For a recent re-evaluation of the mythos/logos polarity, see Fowler 2011; Baragwanath, de Bakker 2012. On the applicability of the term mythos in the contemporary sense to Greek literature in general, see Calame 1996, 1999; Detienne 1967, 1986. [2]On this see Connor 1993, p. 7. See Hesiodus, Opera et Dies, 792 who talks about a “sound-witted” or sagacious man being born (ἵστορα φῶτα); Homer, Odyssea, XXI, 26 for Heracles’ skill at killing, or the Homeric Hymn (to Selene) for the Muses who know or are skilled in songs. Also Bacchylides in his Epinicians (poem 9) refers to the Amazons as “the women skilled with the spear” (ἐγχέων ἵστορες κοῦραι). [3]Cf. Lateiner 1986; Thomas 2000, p. 134-167. For historia as the new kind of research into the human past as initiated by Herodotus, cf. Bakker 2002, p. 15-19; Schepens 2007; Hartog 2001, p. 27-28; Lachenaud 2004, p. 12-19. [4]See Hartog 2001, p. 395-459; Schepens 1975; Fowler 1996; Fowler 2001; Bakker 2002; Schepens 2007, p. 42-45. On the connection between the ἵστωρ and ἱστορία, see Snell 1924; Nagy 1990, p. 250; Dewald 1987, p. 153; Thomas 2000, p. 164; Hartog 2001; Bakker 2002, p. 13-19; Darbo-Peschanski 2001, 2007; Schepens 2007, p. 39-55. [5]See Louis 1955; Lennox 1991, n. 4; Gotthelf 1988, n. 6. Cf. Aristoteles, Rhetorica, I, 4, 1359b22, 1360a24; III, 9, 1409a28; Problemata, XVIII 917b8; Poetica, 1451b1 and 1459a21-24; Analytica priora, 30, 46a24; De Caelo, III, 1, 298b2; De anima, I, 1, 402a4; Historia animalium, I, 6, 491a12, 2; De Generatione animalium, III, 8, 757b35 (historikôs). [6]Cf. Thomas 1992, 2003. [7]Cf. Kahn 2003; Asper 2007. [8]Herodotus’ “splendid isolationism” within the early Greek prose writing tradition has been the standard view in the second half of the twentieth century. This scholarly approach – which tended to separate Herodotus from his contemporaries and the early prose writing tradition – was grounded on Jacoby’s evolutionary model of explanation of Herodotus’ career. See Luraghi 2001, p. 6. [9]The collection of essays in Most 1997 offers a good starting-point for the classical tradition and its engagement with fragmentary sources. On the sources of ancient scholarship and the fragmentary nature of much of the extant material, see Dickey’s 2015 comprehensive overview, in particular, her discussion of fragmentary grammars, commentaries, lexica and scholia, p. 493-497. For cautions and important methodological approaches to dealing with fragments see Brunt 1980 and Schepens 1997. [10]On the use of the word logographos, see Thucydides, I, 2, 21; Hellanicus, T23; F25b; also Palaephatus, I, 11-16; 26. On the ancient historians, see also: Strabo, VIII, 3, 9 (Hecataeus, T10 = F25); Strabo, I, 2, 8; I, 2, 35 (Hellanicus, T19); Plutarch, De Iside et Osiride, 20; Polybius, VII, 7, 1. The term logographos in antiquity – though scarcely used – was loaded with pejorative overtones (Aeschines, In Ctesiphon, 173, De Falsa Legatione, 180; Demosthenes, XIX, 246, 250; Plato, Phaedo, 257C) and was employed as a term of abuse by rhetoricians and by Thucydides in his disparagement of his predecessors (Thucydides, I, 21). The general derogatory sense attached to the word was that of lack of accuracy, lack of concern for the truth claims of the narration or an inclination toward the fabulous. [11]Brill’s New Jacoby (online) is a fully-revised and enlarged edition of Jacoby’s FGrHist I-III with English translations and critical commentaries. [12]On the transition from poetry to prose, see Krischer 1965; Lang 1984, p. 37-51; Nagy 1987; 1990, p. 17-51, 215 f.; Herington 1991; Bakker 2002; Boedeker 2002, 2003, with further bibliography; Marincola 2006, 2007. [13]On early Greek prose in general, see Norden 1898; Zuntz 1972; Denniston 1952; Lilja 1968. For Attic prose and its connection to orality and performance, see the recent study by Vatri 2017. For a general discussion about Herodotus and his prose predecessors, see Thomas 2000; Fowler 2000, p. xxvii-xxxviii ; 2001; Raaflaub 2002; Fowler 2007. For Hecataeus, see Bertelli 2001; for Ion of Chios, see West 1985 and Dover 1986; for Hellanicus, see Möller 2001; for Antiochus of Syracuse, see Luraghi 2002. On Herodotus' text as ‘exceptional’ in the context of early Greek prose, a work which defies generic categories and establishes intertextual relations with (often blending) multiple discourse types, see Bakker 2007; Thomas 2007. For the overlapping and fluid genre distinctions in these early prose writers, see Marincola 1999; Fowler 2007, p. 96-98. [14]This is the view adopted by Murray 2001, p. 34, who sees Herodotus as the heir of an oral tradition of Ionian logopoioi (storytellers). Though Herodotus certainly draws on an oral tradition, in my view, his work is best understood within the general framework of an Ionian prose-writing tradition (which he incidentally criticizes, updates and reworks in view of his subject matter and the influx of the fifth-century intellectual milieu). [15]On the difference between oral and written conceptions as two poles of a continuum, see Oesterreicher 1997, p. 192-193; Tannen 1982; Chafe 1982, p. 49; Bakker 1997, 1999; Vatri 2017, p. 1-22. [16]In relation to the genesis and circulation of Herodotus’ logoi, see Lateiner 1989, p. 4-8; de Jong 2002; Evans 2008. It is still unsettled whether Herodotus lectured in front of an audience, read or improvised based on annotations or delivered a full text. Possible venues for Herodotus’ logoi may have been the symposium, the palaestra, private houses as well as pan-Hellenic gatherings such as the Olympic Games or religious festivals (see Stadter 1997). [17]Cf. West 1971, p. 3-4; Fritz 1938; Toye 1997 and Fowler 1999. See Schibli 1990, fr. 1, 2, 9, 10, 11, 12 for testimonia attributing the first prose narrative to Pherecydes. [18]This vexed question has been recently revisited in a collection of essays exploring the interface between myth and history in Herodotus (cf. Baragwanath, de Bakker 2012). A change in scholarly approach has started to come to terms with the mythical content of Herodotus’ Histories in its own right, rather than seeing it as a residue or remnant of an archaic mentality which detracted from the text’s historical rigour (cf. Griffiths 2006). The commonplace term for any kind of tale in Herodotus is logos, while the term mythos is only used twice (in the restricted sense of unaccountable story). As to the long-debated question of whether Herodotus identifies a spatium mythicum as separate from a spatium historicum, equally plausible arguments have been proposed on either side (answering in the affirmative: inter alia Shimrom 1973; Fornara 1983, p. 6-8; Darbo-Peschanski 1987, p. 25-38; Canfora 1991, p. 5-6; in the negative: Hunter 1982, p. 93-115; Harrison 2000, p. 203-207; Cobet 2002, p. 405-411). [19]Prosification is as a standard procedure in cultural development over time. Mise en prose is a fully-fledged, complex, literary transformation that involves a new expressive medium altogether. As the case of medieval renderings of verse into prose shows, the prosator excises, condenses or expands segments of the poems, but also produces omissions or additions. On the exegetical and critical use of tradition by the early prose writers, see Bertelli 2001, p. 69. [20]See, for example, Hecataeus, F15 and the genealogy of the Deucalionids; also, his correction of Hesiod in F26. On Hecataeus’ ‘rationalism’ see Momigliano 1931; Gitti 1952; Tozzi 1963; 1964; 1966; Bertelli 2001, p. 84-89; Fowler 2013, p. xv-xvi. For a comprehensive recent examination of the Greek tendency to rationalize myths and its implications, see Hawes 2014, p. 1-36. [21]Hecataeus, F1. [22]De elocutione, 12. [23]These programmatic opening lines have received considerable scholarly attention. See Calame 1986, p. 81; Corcella 1996; Svenbro 1988, p. 166; Bertelli 2001, p. 80-81; Fowler 2001, p. 101-103. Hecataeus’ critique of the Greek logoi, which are many (polloi) and absurd (geloioi), probably entailed making corrections, amendments or offering conjectures of his own or drawing on local traditions. [24]On the importance of the Hesiodic Catalogue in the works of the first prose genealogists, see Bertelli 2001. [25]See, for instance, Herodotus, II, 143 (= Hecataeus, T5; 6; 7) reporting Hecateus’ alleged conversation with the Egyptian priests at Thebes; also Hellanicus’ Priestesses of Hera attempts at chronology as an alternative to the old reckoning by generations. The use of prose to render poetic genealogies cannot be regarded as a simple and unproblematic change of medium, as sometimes believed. The choice of prose rather than verse enables a critical attitude to the genealogical material (see Bertelli 2001). As to whether there are traces of any chronological criteria in the organization of these genealogies, see Mitchel 1956 – who rejects Meyer’s 1892 forty-year generation span in Hecataeus –; Fowler 1996, p. 75, Bertelli 2001, p. 90-95; Fowler 2001, p. 103-105. For the transition from relative chronology to absolute chronography, see Mosshammer 1979. On Hecataeus FGrH I F1-35, see Meyer 1892; on Pherecydes FGrH 3, see Ruschenhusch 1995, 1999, 2000; on Hellanicus FGrH 4 F74-86, see Jacoby 1912, p. 114-127. For a discussion of the organization of time in the Histories and whether Herodotus elaborated a systematic chronology, see Cobet 1999, p. 604-605; Asheri 1988, p. cxii; Cobet 2002. Cobet 2002, p. 411 distinguishes three time periods in the Histories: “1) the complex stories about beginnings, the age or the Greek poets’ gods and heroes, traditionally the mythical period; 2) the meagrely filled in a ‘floating gap’ or Dark Age; 3) the spatium historicum in the proper sense, to be divided into the horizon of the oriental kings and the ‘recent past’ of the three generations”. [26]See Pearson 1939, p. 152-235; Ambaglio 1980, p. 40-41; Mösler 2001, p. 241-262. [27]For a general outline of some of these procedures common to the early Greek prose writing tradition, see Bertelli 2001; Möller 2001; Raaflaub 2002, p. 157-158; Fowler 2007, p. 37-38. [28]The genealogy of the Deucalionids (Athenaeus, II, 35 = Hecataeus, F15); the real nature of Cerberus the “dog of Hades” of Cape Taenarum (Pausanias, III, 25, 4 = Hecataeus, F27); Hecataeus, F19 (Aegyptus’ sons); Hellanicus of Lesbos, F111 (vitulus/Vitulia) F28 (rationalization of Iliad, XXI, 242); F175 (etymology of Osiris); Hecataeus, FGrH 1 F22 (Mykenai is derived from Perseus’ scabbard μύκης). Similar procedures are used by Herodotus in his Egyptian logos to discuss mythological and/or ethnographical and historical material. Herodotus, II, 28; 30; 44-46 (Heracles); 52; 56-7 (foundation legend of the oracle of Dodona). Herodotus also deploys more sophisticated modes of explanation including reasoning by induction and deduction. [29]On the various ways in which ‘names’ often generate myths, see Kraus 1987, p. 18; Leclerc 1993, p. 271; Peradotto 1990, p. 107-108. On ancient, especially Greek, etymology, see the comprehensive discussion by Sluiter 2015. [30]Odyssea, XIX, 406-408. [31]Theogony, 140-144. [32]Theogony, 280-284. [33]Cf. Odyssea, VII, 54: Ἀρήτη δ᾽ ὄνομ᾽ ἐστὶν ἐπώνυμον (‘the Desired’); Odyssea, XIX, 409 (τῷ δ᾽ Ὀδυσεὺς ὄνομ' ἔστω ἐπώνυμον); Iliad, IX, 562 (Ἀλκυόνην καλέεσκον ἐπώνυμον, οὕνεκ᾽) cf. Homeric Hymn to Apollo, 372-373; Hesiodus, Theogony, 144 (Κύκλωπες δ᾽ ὄνομ᾽ ἦσαν ἐπώνυμοι, οὕνεκα), Theogony, 282 (τῷ μὲν ἐπώνυμον ἦεν [Χρυσάωρ], ὅτ᾽). On the metaphorical quality of Greek proper names which, by way of etymology, evoke the identity of the bearer, see Calame 1995, p. 183-185. [34]cf. Hesiodus, Opera et Dies, 572 and [Sc.] 292; see also Iliad, XIV, 114. Cf. also Catalogue of Women, fr. 2-7 and 234. [35]Hecataeus, F15; Athenaeus, II 35AB. [36]Interestingly, Hesiod (Opera et Dies, 571-572) in two successive verses connects the words φυτά (plants) and οἰνέων (vineyards). [37]This observation is at least partially confirmed by the use of the word οἴνη by Hesiod (Opera et Dies, 572). [38]Surprisingly, these early occurrences of the term Έλληνες in Hecataeus to designate the Greeks as a national unit have been, to the best of my knowledge, largely ignored. The word also figures in the genitive case in Hecataeus’ proem (see above). In fact, Hecataeus – and possibly the early Greek prose-writers – could be seen as the missing link in the dissemination of this ethnical term, which becomes commonplace in the fifth-century (presumably, after the Persian wars). In archaic poetry, the usual term is Πανέλληνες rather than ῾Έλληνες (cf. Hesiodus, Opera et Dies, 526-8; fr. 130 Merkelbach-West; Archilochus, fr. 54 Diehl). Indeed, the earlier record of the term Hellenes in the wider meaning (to indicate a collective national identity) appears in writing for the first time – according to Pausanias’ citation (X, 7, 6) – in an inscription by Echembrotus, dedicated to Heracles for his victory in the Amphictyonic Games (584 BCE). According to Thucydides (I, 132), after the Greco-Persian Wars, an inscription was written in Delphi celebrating the victory over the Persians and calling Pausanias the leading general of the ‘Hellenes’ (cf. Hall 2003, p. 125-154). Now, this reference to language as a common ethnical linkage between the Greeks of the past and the present by Hecataeus is highly significant and predates the celebrated definition of ‘hellenicity’ (to hellenikon) by Herodotus at VIII, 144, where a common language is mentioned as one of the constituent elements of Greek identity. [39]On the distinction between the often confused Pherecydes of Athens and Pherecydes of Syros, cf. Fowler 1999; Pamias 2005. On Pherecydes of Athens’ genealogical work, the mythological content of his writings, and the stylistic and narrative character of his prose, see the edition Dolcetti 2004, p. 16-33; also Fowler 2013, p. 706-715. [40]Pythian IV, 75. [41]Pherecydes of Athens (F105) Scholia at Pindar, Pythian IV, 133a. [42]Transl. by Fowler 2006, p. 39. [43]For a linguistic analysis of this fragment and its enunciative circumstances, see Fowler’s 2006 instructive examination of Jason’s account by Pherecydes and other sources. Some of his insightful remarks are reproduced in my own analysis. For further references, see Fowler’s 2013 ad locum commentary of this fragment, p. 723-724. [44]Cf. Farnell 1930-1932, II, p. 147. [45]Later Apollodoros (I, 8-11) building up on Pherecydes’ account said Jason lost his sandal when he tried to ford the river in its winter spate. [46]Cf. Pindar, Pythian IV, 155-170. Earlier poetic accounts (Hesiod, Theogony, 994 and Mimnermus, fr. 11.3) simply allude to Pelias’ vengeful and evil scheme but offer no explicit motivation. [47]In Homer, Hera helps the Argo past the Planktai (Odyssea, XII, 69 f.) and, in Pindar, she inspires the Argonauts with a passion for their ship. It is only here that we hear about Hera’s vengeful design against Pelias. The reason behind Hera’s spite against Pelias is recounted by Apollonius (Argonautica, I, 13-14), who probably drew it from Pherercydes. The reason was that Pelias had paid homage to Poseidon and the other gods, but not to Hera. [48]For an analysis of Pythian IV, see the detailed monograph by Segal 1986. The sequential chronological arrangement of events in Pindar’s version is often broken up or altered for dramatic effect. On the encounter between Jason and Pelias in Pindar’s account, see Robbins 1975; Carey 1980; Schubert 2004, who offer reviews of earlier discussions and references. As to the connection between Pindar and Pherecydes’ account it is unclear whether one or the other drew on his contemporary’s work. The differences between their accounts seem to suggest that both authors elaborated on a pre-existing source rather than derived from each other’s work. Indeed, the only formal similarity between both accounts is the reference to the oracle, possibly a standard motif in the saga. The details of the narrative vary substantially: in Pindar’s version Jason arrives alone in the market-place while Pherecydes arrives in the midst of a crowd on occasion of a sacrifice; Pherecydes narrates the search for the Golden Fleece as a self-imposed task, while Pindar mentions Pelias’ dream and his cunning plot (cf. Farnell 1930-1932, II, p. 144-148; Hurst 1983, p. 157 f.; Segal 1986, p. 50-51). [49]Cf. Fowler 2006. [50]See Calame 1995; Fowler 2006. [51]Cf. Pherecydes of Athens F146; Hecataeus, F26 (Geryon) 27; F138 (virgin sacrifice to Lemnian goddess); F305 (shrine of Leto in Boutoi); Herodotus, II, 91 (festival in honour of Perseus at Chemmis); II, 156 (etiology of the floating island of Chemmis); II, 171 (the Thesmophoria). [52]Cf. Schibli 1990 fr. 1, 2, 9, 10, 11, 12 for testimonia attributing the first prose narrative to Pherecydes. Diogenes Laertius (I, 1) includes him among the sages of Ancient Greece. On eastern influences on Pherecydes and other early Greek intellectuals, see West 1971, p. 174-175. As to the circulation of Pherecydes’ text, scholars tend to believe it should be understood as a kind of script (συγγραφή) that would aid the public performance (ἐπιδείξις) of its content in relatively restricted circles (cf. Granger 2007, p. 425-428; Kahn 2003, p. 152). [53]See Granger 2007. [54]Schibli 1990, p. 54-55. [55]On the aetiological significance of this fragment, see the detailed discussion in Schibli 1990, p. 61-69; on the anakalupteria, see Llewellyn-Jones 2003, p. 27-30. [56]Cf. Hartog 1988, p. 276, 315; Nagy 1987; Thomas 2000, p. 267; Boedeker 2002, p. 108. Marincola 2006, p. 21-22; Said 2007, p. 83. Lloyd 1992, p. 46-52; de Jong 2012. [57]Cf. Lloyd 1992, p. 46-52. Lloyd suggests that Herodotus’ variant version may have been already in Hecataeus. For a general survey of these versions, see Austin 1995. [58]Herodotus, II, 116, 1. [59]Herodotus, II, 117, 1.”

Source: https://www.cairn.info/revue-dialogues-d-histoire-ancienne-2019-2-page-81.htm

Gaston J. Basile , Andrew W Mellon Fellow,  is Senior Lecturer in the Department of Classics at the University of Buenos Aires. He has conducted postdoctoral research on topics related to the genesis of Greek scientific discourse, the Italian humanists’ intellectual engagement with Greek and Latin texts and, most recently, on the theory and practice of translation in the Italian Quattrocento with a special focus on scientific texts. He was visiting scholar at the Università degli Studi di Siena (2011 and 2016); postdoctoral research fellow at the University of Buenos Aires (2015-2017); Visiting Scholar at the Institut für Klassische Philologie, Humbodlt-Universität (2018); and Erasmus/Henri Crawford Fellow at the Warburg Institute, University of London (2019).

Source: http://itatti.harvard.edu/people/gaston-javier-basile

[gothprentiss]

Idk if this is the kind of lit stuff you do….. but what are your thoughts on emily/derek as christ figures?

no one's gonna believe i didn't send this to myself. i smooch you fondly on the forehead. anyway this isn't technically the kind of lit stuff i "do" nor is it something i have a deep personal stake in but i'm a big fan of theology and philosophy of religion across the board, and narrative in general. so in that sense i guess it is.

i will say that, like, the way i think about figuration isn't tied to symbolism so much as a larger process of interpretation, borne of the particular kind of manifold reading that seeks to reconcile or simultaneously sustain both historical and spiritual truth. so while i think there's a lot of interesting stuff to get out of them if you're reading them with an eye toward how the show treats their particular religious upbringings and their narrative affordances, i do think that i stop short of reading this as figuration because to do that to a standard i find meaningful would require me (me, personally) to spend way too much time thinking about how cm works narratively. also, unlike, say, the kinds of OT/NT figuration that you see in a lot of figural readings, you can't really make a cohesive claim about cm working as a controlled system of meaning for which you can have stable methods of reading-- which isn't to say that figural reading isn't possible, just that its telos isn't assured.

anyway uh. my thoughts largely are "!!!"

slightly more articulate-- a+b kind of general, c+d more specific:

a) i think that christology is baked into a lot of contemp american narratives of heroism in a variety of ways (e.g., don't take campbell seriously but the monomyth does kind of constellate this well-- narratives of heroism are downstream from traditional articulations of heroism, and christology -> martyrdom is a pretty nice case in point). like obviously the ethos of (for example) virtue, righteousness, & self-sacrifice sort of transcend figuration of christ, but, you know. the show is very wrapped up in the team's heroism and selflessness and you can always find a christology there if you want to. so there's that.

b) i think, if you're interested in reading biblical figuration into the show, you can read both prentiss and morgan as different angles on the prodigal son. in the case of morgan, it's the reorienting, actually christian conversion of his return to the church in lucky + penelope; in prentiss, you've got her leaving + returning to the team. in both cases this marks an ethical system/worldview which they depart from and, ultimately, return to, and are welcomed back into. in the sense that the prodigal son narrative is kind of one of apostasy and reintegration via conversion (conversion back to a previous faith, i should be clear), you also have that aspect in both of them-- morgan's more literally with faith, prentiss' with the team. that's not christ figuration (i could whip you up what i believe to be a deeply heretical reading of the prodigal son parable in christological terms (prodigal -> incarnate?) tho lol), but yk.

c) it has been a WHILE since i watched "derek". but i mean does he not get literally strapped up like jesus christ on the cross. i think when the show starts trying to engage with derek's religion (since he is the character whose religion is treated as most narratively meaningful) you get a lot of stuff which is vaguely saintly-to-martyrological. so in this way you can say the figuration of christ going on is that which is baked into sainthood, which is the imitatio christi. [when i think of figuration i think of auerbach-- i think it's fair to say that the nature of the figure as a plastic form includes the crafted nature of imitation.] also, like, as an exit narrative-- you know. i'm just naming stuff that they did. i think letting his time on the team culminate with that is obviously deliberate symbolism.

d) the. the prentiss resurrection/return arc. so as i have said before and as you may or may not have seen me say before, i see the importance of wound & touch in their relationship in s6-7 as making a real, if slant, doubting thomas out of morgan-- like that scene in it takes a village where he's embracing her, and you can see him trying to process what's going on-- there is the proof of her return, but it can't quite work as a return for him. i don't want to conflate the deception, betrayal, and fear involved in the doyle arc + her fake death with his childhood abuse, but i think that derek's time on the show is characterized by struggles with faith, which do seem to all be rehashing his initial crisis of religious faith (see also his struggles to trust hotch).

and there is also just the fact of the return as resurrection arc, which doesn't function as a final return-- she's with them to heal the initial wound of her loss, but in a way that allows them to function without her, because her "death" is no longer a failure of theirs. obviously the crucifixion and resurrection are sacrificial, but more importantly they fulfill (in figurational sense-- both the figure and the fulfillment retain their separately meaningful status, e.g. how moses is read as a figure of christ without losing his historical and biblical specificity) a preexisting sacrifice that was already made. and i think in a similar way prentiss was always not of the bau in the same way that the other characters are (strauss' machinations). so there's something neat about that as a feature of her departure-- it differentiates her from elle, too, insofar as both sort of break with the team in the same way (becoming sort of too much moral weight for it), but elle reaches a breaking point whereas earlier season prentiss just has a fundamental insolubility with them. that's not quite christ figure stuff, but in this context it's an aspect of her character that feels more pronounced.

[aykutiltertr]

Affet - Müslüm Gürses ✩ Ritim Karaoke (Nihavend Minör Balad Beste Ritchi...  ⭐ Video'yu beğenmeyi ve Abone olmayı unutmayın  👍 Zile basarak bildirimleri açabilirsiniz 🔔 ✩ KATIL'dan Ritim Karaoke Ekibine Destek Olun (Join this channel to enjoy privileges.) ✩ ╰┈➤ https://www.youtube.com/channel/UCqm-5vmc2L6oFZ1vo2Fz3JQ/join ✩ ORİJİNAL VERSİYONU 🢃 Linkten Dinleyip Canlı Enstrüman Çalıp Söyleyerek Çalışabilirsiniz. ⭐ 🎧 ╰┈➤ https://youtu.be/lLqNxn661Y4 ✩ (MAKE A LIVE INSTRUMENT ACCOMPANIMENT ON RHYTHM IN EVERY TONE) ✩ Aykut ilter Ritim Karaoke Ekibini Sosyal Medya Kanallarından Takip Edebilirsiniz. ✩ İNSTAGRAM https://www.instagram.com/rhythmkaraoke/ ✩ TİK TOK https://www.tiktok.com/@rhythmkaraoke ✩ DAILYMOTION https://www.dailymotion.com/RhythmKaraoke ⭐  Affet - Müslüm Gürses ✩ Ritim Karaoke (Nihavend Minör Balad Beste Ritchie Blackmore) ＠ＲｉｔｉｍＫａｒａｏｋｅ Ｍüｚｉｓｙｅｎｌｅｒｉｎ Ｂｕｌｕşｍａ Ｎｏｋｔａｓı．．．． ESER ADI           : AFFET ÇÖLÜME YAĞMUR OLDUN (AŞK TESADÜFLERİ SEVER) SÖZ GÜFTE       : TUNA KİREMİTÇİ BESTE - MÜZİK: RITCHIE BLACKMORE USÜL                 :  4/4 BALAD MAKAM - DİZİ :  NİHAVEND - MİNÖR Söz: Tuna Kiremitçi Müzik: Ritchie Blackmore Yorum: Müslüm Gürses (Şarkının çıkış yılı 2006) Bm  G   A  Bm Bm  C#m7   Em  G   Bm D             A                 E       Bm   Eğer seni kırdıysam darıl bana D                            A             Bm  F#mBm     Ama bir gün beni ararsan bak ruhuna D                      A            F#m7    Bm Birden gecem tutarsa güneşi çevir bana G             A           Bm Sevgilim bağışla biraz zor olsa da Em                                  Bm Affet beni akşamüstü, gölgem uzarken A                                   Bm Öğleden sonra affet, ne zaman istersen Em                                Bm Affet beni gece vakti, ay doğmuş süzülürken A                                                 F#                     G   A Sabaha kalmadan affet, tam ayrılık derken           Bm                              Gmaj7    A                                   Bm Çünkü sen çölüme yağmur oldun,   sen geceme gündüz oldun Bm                            A          Em   G         A            Bm Sen canıma yoldaş oldun, sen kışıma yorgan oldun D             A                 E       Bm   Eğer seni kırdıysam darıl bana D                            A             Bm  F#mBm     Ama bir gün beni ararsan bak ruhuna D                      A            F#m7    Bm Birden gecem tutarsa güneşi çevir bana G             A           Bm Sevgilim bağışla biraz zor olsa da Em                                  Bm Affet beni akşamüstü, gölgem uzarken A                                                 F#                      G   A Sabaha kalmadan affet tam ayrıldık derken Bm  Gmaj7   A  Bm Bm  A  Em  G   F# G   A           Bm                              Gmaj7    A                                   Bm Çünkü sen çölüme yağmur oldun,   sen geceme gündüz oldun Bm                            A          Em   G         A            Bm  G   A Sen canıma yoldaş oldun, sen kışıma yorgan oldun           Bm                              Gmaj7    A                                   Bm Çünkü sen çölüme yağmur oldun,   sen geceme gündüz oldun Bm                            A          Em   G         A                G   A Sen canıma yoldaş oldun, sen kışıma yorgan oldun Bm  Gmaj7   A  Bm Bm  A  Em  G   A  Bm G   A  F# G   A Bm  G   A  Bm Bm  C#m7   Em  G   Bm Aşk Tesadüfleri Sever (Müslüm Gürses albümü) Madde Tartışma Oku Değiştir Kaynağı değiştir Geçmişi gör Araçlar Görünüm gizle Metin Küçük Ölçünlü Büyük Genişlik Ölçünlü Geniş Vikipedi, özgür ansiklopedi Aşk Tesadüfleri Sever Müslüm Gürses stüdyo albümü Yayımlanma 18 Nisan 2006[1] Tarz Avangart, Arabesk Süre 55:42 Dil Türkçe Şirket Pasaj Müzik Müslüm Gürses kronolojisi Gönül Teknem / Sen Olmayınca (2006) Aşk Tesadüfleri Sever (2006) Sandık (2009) Aşk Tesadüfleri Sever albümüne çekilmiş video klipler "Bir Ömür Yetmez" Yayımlanma: 2006 Aşk Tesadüfleri Sever, Müslüm Gürses`in 18 Nisan 2006`da Pasaj Müzik şirketinden çıkardığı albümdür.[2] Murathan Mungan'ın süpervizörlüğünü yaptığı albüm, Murathan Mungan'ın seçtikleriyle Müslüm Gürses: Aşk Tesadüfleri Sever tam adıyla yayımlanmıştır. Albüm için, tanınmış Batı müziği parçalarına edebiyatçılar, şairler Türkçe sözler yazmıştır. Ayrıca yine yıllarca birlikte çalışmış olduğu Burhan Bayar'da Ah Oğlum bestesiyle bu albümde yer almıştır. Şarkı listesi # Şarkı Söz Müzik Şarkının orijinal adı Süre 1 Bir Ömür Yetmez Mehmet Bilal Dede Garbage The World Is Not Enough 4:02 2 Hayat Berbat Ahmet Güntan Bob Dylan Mr. Tambourine Man 3:10 3 Affet Tuna Kiremitçi Rainbow Temple Of the King 4:39 4 Kış Oldum Birhan Keskin David Bowie I`m Deranged 2:56 5 Nilüfer Murathan Mungan Sunay Özgür  4:18 6 İstanbul'a Elveda Barış Pirhasan Leonard Cohen Alexandra Leaving 4:11 7 Artakalan Birhan Keskin Serge Gainsbourg Amours Des Feintes 4:25 8 Sebahat Abla (Sezen Aksu ile) Murathan Mungan Pantelis Thalassinos Krata Gia To Telos 3:54 9 Döndür Yolumdan Özgür Pamukçu Özgür Pamukçu  4:10

[scienza-magia]

Materia e antimateria repulsive e energia oscura

Arrampicandosi sulle cime dello spaziotempo. Con l'antimateria è possibile fare a meno dell'energia oscura? I risultati ottenuti l’anno scorso al Cern con l’esperimento Alpha-g hanno dimostrato l’esistenza di attrazione gravitazionale fra materia e antimateria, mettendo così in crisi le teorie sull’antigravità. Ma uno studio pubblicato su Annalen der Physik da uno scienziato dell’Inaf, Massimo Villata, prova a concedere un’altra chance alla gravità repulsiva ipotizzando uno spaziotempo invertito.

In primo piano, rappresentazione della curvatura dello spaziotempo in corrispondenza di grandi masse. Crediti: Esa/C. Carreau Complici gli exhibit di tanti festival scientifici, siamo ormai abituati a immaginare lo spaziotempo come un telo elastico punteggiato qua e là da avvallamenti, depressioni e pozzi, laddove un buco nero o qualche altro oggetto massiccio – interpretato di solito da una pesante biglia – ­lo affossa. Ma potrebbero esserci anche innalzamenti, nel tessuto dello spaziotempo? Picchi, rilievi e montagne? Forse sì, o almeno questa è l’opinione di chi ritiene che la gravità – un effetto, o meglio, una manifestazione, secondo la relatività generale, della curvatura dello spaziotempo – abbia anche una controparte repulsiva, una sorta di antigravità. Chi la eserciterebbe, questa repulsione? Cosa sarebbe in grado di “sollevarlo”, lo spaziotempo, invece d’affossarlo? Secondo alcuni fisici teorici, ad avere questa controintuitiva proprietà sarebbe qualcosa di ben noto e – per quanto non in abbondanza – presente ovunque attorno a noi: l’antimateria. E come funzionerebbe? Per rimanere nell’analogia del telo elastico, immaginiamo di poter guardare “da sotto” per vedere come apparirebbe l’altro lato del telo: in corrispondenza degli affossamenti vedremmo innalzamenti. E viceversa: laddove nello spaziotempo invertito un “anti buco nero” crea una profonda depressione, ecco che sul nostro versante d’universo ci ritroveremmo un picco. Vale a dire, una regione di spaziotempo che respinge tutto ciò che le si avvicina. Va detto che si tratta di ipotesi confinate nel regno della matematica (almeno per ora), ma se le cose stessero effettivamente così materia e antimateria potrebbero non subire una reciproca attrazione gravitazionale, anzi: si respingerebbero. Con alcuni gradevoli corollari. Per esempio, potremmo forse fare a meno dell’energia oscura, perché magari basterebbe questa repulsione a spiegare l’espansione dell’universo. E non avremmo più l’imbarazzante problema di dover giustificare la scomparsa dell’antimateria dopo il big bang, visto che si potrebbe ancora trovare in qualche regione del cosmo. Meraviglioso, no? C’è però almeno un problema: i dati sperimentali. Gli esperimenti condotti l’anno scorso al Cern dalla collaborazione Alpha, osservando il comportamento di atomi di anti-idrogeno in caduta libera, hanno dimostrato che materia e antimateria si attraggono, come previsto dal principio di equivalenza, e che l’antimateria è soggetta alla stessa accelerazione gravitazionale – o quasi – della materia ordinaria.

Rappresentazione schematica delle due soluzioni proposte da Villata al conflitto tra la gravità CPT e i risultati dell’esperimento Alpha-g. Nel primo caso (a sinistra), la gravità repulsiva su larga scala sarebbe data dall’interazione con la materia PT-trasformata (e non con l’antimateria) in un universo dominato dalla materia. Nel secondo caso (a destra), l’intera CPT si conserva, dando luogo a una gravità repulsiva materia-antimateria. Ma la minuscola quantità di antimateria immersa nel nostro spazio-tempo non può essere PT-trasformata. Crediti: M. Villata, Annalen der Physik, 2024 Ma c’è chi non si dà per vinto: Massimo Villata, ricercatore associato all’Inaf di Torino da tempo impegnato nelle ricerche sulla gravità repulsiva, ha pubblicato lo scorso aprile su Annalen der Physik – la stessa rivista sulla quale uscirono nel 1905 i quattro articoli storici di Einstein, e nel 1916 quello celebre sulla relatività generale – uno studio, disponibile in open access, nel quale propone due soluzioni (vedi schema a fianco) per salvare l’ipotesi della gravità repulsiva nonostante i risultati ottenuti al Cern. Com’è possibile? I fisici della collaborazione Alpha avrebbero forse commesso qualche errore? «No, non credo che ci siano errori sperimentali», dice Villata a Media Inaf, «e quindi qui sulla Terra abbiamo attrazione tra una materia dominante e le minuscole briciole di antimateria che riusciamo a produrre. Posso sinceramente dire che me lo aspettavo, perché quell’esigua quantità di antimateria non può invertire il proprio spaziotempo, immersa com’è nel flusso temporale della pervasiva materia che la circonda. Sarebbe come gettare controcorrente una fogliolina in un fiume impetuoso e pretendere che possa risalire la corrente. Ma quel valore che trovano di 0.75 g (invece di 1 g), sebbene abbia una grande incertezza, potrebbe essere un indizio del tentativo della foglia di opporsi al fluire del fiume». Se qui sulla Terra non possiamo apprezzarne gli effetti, dove bisognerebbe dunque andare, per misurare sperimentalmente l’antigravità? In quale luogo dell’universo si nasconderebbe, tutta questa antimateria respingente? La risposta che s’incontra nell’articolo di Villata è quasi ovvia: se cerchiamo qualcosa che respinge la materia, conviene andare a vedere anzitutto là dove la materia non c’è, o quanto meno scarseggia. Luoghi del genere nell’universo esistono: si chiamano vuoti cosmici. «Sono regioni ben note ad astronomi e cosmologi, immense “bolle” nell’universo dove la materia è quasi assente», spiega Villata. «E manifestano un notevole effetto repulsivo sulle galassie che le circondano. Sarebbero “isole” di spaziotempo invertito, alternate nel cosmo alle isole di materia occupate dagli ammassi di galassie». Poiché dei vuoti cosmici, per lo meno di quelli più grandi dell’universo visibile, non solo sappiamo che esistono ma ne conosciamo anche la posizione in cielo, viene a questo punto naturale chiedersi perché non siamo mai riusciti a osservarla, tutta questa antimateria teoricamente in essi presente. «Non la vediamo», suggerisce Villata, «proprio perché emetterebbe radiazione cosiddetta “anticipata” (cioè l’altra soluzione delle equazioni di Maxwell nel vuoto, rispetto a quella della radiazione che ben conosciamo), per la quale non abbiamo (ancora) strumenti capaci di rivelarla. Basti pensare che i fotoni emessi dall’antimateria verrebbero nel nostro spaziotempo “percepiti” come fotoni emessi dal rivelatore per raggiungere l’anti-stella che li ha prodotti, cioè con un cammino spaziotemporale invertito. Quindi, là dove vediamo il buio nell’universo non sappiamo per ora dire se c’è il vuoto oppure antimateria». Per saperne di più: Leggi su Annalen der Physik l’articolo “Antimatter Gravity and the Results of the ALPHA-g Experiment”, di Massimo Villata Read the full article

[acosmicotaku]

Unique worldbuilding scheduled for DIVINE WILL.

The historical worldbuilding of DIVINE WILL heavily draws on the work of James Lindsay & Eric Voeglin. For a detailed rundown of the material I'm working with, here's a series of lengthy lectures, in what I believe to be the most reasonable order for anyone new to the subject.

N.B. I am using the terms in a more narrow and precise manner than Lindsay or Voeglin did, so what they call "Gnosticism" is, in verse, called either "Dialecticism" or "Esotericism", and Gnosticism and Hermeticism are branches of that religious tradition.

The Negation of the Real

The Gnostic Parasite

The REAL Religion behind National Socialism

Further evidence that Hitler’s religion was Gnosticism

From Plato to Hitler: The Ideological Origins of National Socialism

The Theology of Marxism

Marx’s Ontology of Man and the Telos of History

Gnosticism in the Modern West

Breadtubers Are Crypto-Tankies

The Crime Of Being

Feminism is Feminist Gnosticism

Critical Race Theory is Race Marxism

The Queer Gnostic Cult

Queer Theory is Gender Marxism, Et Cetera

Why Communism is a Failed Religion [important for its section on Managerialism]

WTF is Christian Nationalism?

Two Wolves of Christian Nationalism

The Dawn of Medical Lysenkoism

Medical Lysenkoism in the American Medical Association

Fascism: Idolatry of the State

The Corruption of Stakeholder Capitalism

The Reflexive Alchemy of George Soros

The Occult Theosophy of the United Nations

Introduction to Eric Voeglin Playlist: Marx, Nietzsche, Golem, and Ideologies as Ersatz Religions

I picked this because it makes for unique worldbuilding distinct from other historical fiction. It lays out an ancient and dangerous force of manipulation, but unlike other fictions where the threat may be an ancient organization unchanging through the ages, the manipulative force is a rogue memetic religion which parasites other religions. It's a conspiracy with no mastermind, a virus of the mind which mutates to avoid detection and propagate itself.

The world of DIVINE WILL will also operate under the assumption of Andrew Lang's Urmonotheism hypothesis. So the history of religion within the setting of DIVINE WILL is that the primordial religion of mankind is a primitive Monotheism, and that polytheism and animism were later religious innovations. This would pose certain implications to monotheistic religions of all stripes, be they Christian, Jewish, Dvaitin, Tenrikyōists, &c.

The science fiction aspect will HEAVILY draw from the work of people like Michael Behe, Noam Chomsky, Carl Jung, Edwin May, Ludwig von Mises, &c.

[stmichaeldeorleans]

Orphanages where Michael stayed: Oklahoma City Good Sheppard of Hope Catholic,  St Agnus of Dallas, twelve main orphanages with outlets in Dallas,.. Ellyson Home for Children Dallas, ...Dallas Child Development Center Analysis and Orphanage,..Catholic Orphanage in.Yukon, Ok., Taft School near Littlerock, Ark..., " Arbeque" with the clinical name, owned and managed by Dr Joseph Arbeque M.D. Psychiatrist,  Imagination Dragon of New York City,  plus 14 other places where children can stay in NYC., then The Spicer in Germany, ...then The Loughe of Paris, France. 14 places in Paris, France....12 in Germany.   Michael Duerksen is " The Black Rose " of Germany, Tuscany and France and " The Black Pearl" of France.  Also " The Only Gift Child according to Illuminati Wisdom", "The Edge of Nightshade", " The Dark Fairy of the Night", " The Sacred Red Rose of Infiniti ", " The Son of the Evil Wickerman", " Buttercup of Remembrance". " Karen " Mariah" " Taylor (?)" Siguer Taro Telo Rothchild", " Mariah Rothchild Montasort, Redi LaMont, Snafa Al Ghul, Tilly Ting Evertyting C. Grant,  Mara /Mario Silo Parmiese Devereaux,  Michael Alluese' Silo Parmiese Devereaux, Tuolo Paoli Marcheti Luchia Geyford, Tonie Gilbraltor Luchia, Rachel  " The Saint" Luchia, Rosalie Luchia, Michael Duerksen Steinem Vanderbilt Montrose, Mike Duerksen Huntford Carlton, Carry Cardin Carlton, Carlotta DeBakey, Patricia DeValley DeGeneres, Michael Duerksen Gurley, Michael Lauren Hatch Bacall,  Michael Duerksen Bancroft Castilano May,   Mary May Ham Rothchild, Cassandra Gilbert Der Rothchild,  MaryAnn Richardson Rickert Weiner Rothchild,  Marie Rothchild Harrington, Marie Rothchild, Marie Marianette, Marie Rothchild Hall, Arthur Michael Ann Rothchild Bach, Ms.LaGuardia, Ms. Costello, William Preston, Eric Dathan, Matilda ( Michael ) Avager Rothchild Ponti,  Arthur Michael John Commencia, Michael Arthur Ann Rothchild Snelson Streisand, Carolina Michal " Muriel" Hemingway Winters Rodgers,  Isabelle or Emilia Duarte Galveston Rothchild Darlington, " Emmanuel Bogotta Rothchild" ( donor), Maria Angelus Mata Hari Rothchild, ( donor), Michelle L. Rouchefourde Phillips DeSousa DeMentos,  Phillip Newman Morris, Michael Newman, Angelina Isabelle Rothchild Childress ( donor) , Michael Rothchild Burnett, Princess Rothchild Luchia Hampas, Princess Maria Diedra Lyons Windsor, Michael Jean Paul Getty, John Robert Robin Blake,  Princess Maria Guttenburg Furstenburg Oldenburg Mountbatten DeGeneres ( Lafite), " Prince of Tides ", Princess Marissa Oldenburg Hamburg, Jack Michael Bouvier' Kennedy, Michael Dean Duerksen Garland, Michael Duerksen Monroe, " Michael Briarcraft Hyatt", Michael Stouphlous, Michael Casa Linda, Michael Feingold, Michael Feinstein, Michael Forester Turner, Michael Dan Turner, Cicelia Rothchild Luchia Hampas, 

[nita-nebula]

Stream done! We finished Peragus and got through most of the first part of Telos :)

Also I said the C word OOPS

[thegoodfuture]

Humans, Artificial Intelligence & The Future: Riveting Keynote #Futurist Gerd Leonhard NobelFest '23 from Futurist Gerd Leonhard on Vimeo.

This is my complete keynote at the Nobel Fest 2023 in Astana, Kazakhstan see nobel-fest.org/6en on the future of humanity and #artificialintelligence and of course #thegoodfuture

on YT youtu.be/RNclSCfqd9s?si=C-oASIKD6rKtiJ6j

I really enjoyed this event and as you can see, the production quality was quite outstanding as well

Some of my key messages:

- The next 10 years will bring more change than the previous 100 years. We'll see 6 King-Makers: AI, quantum computing, nuclear fusion, synthetic biology, genome editing and geo-engineering - Technology can be heaven or hell - it's our job to make sure it's mostly heaven #digitalethics - and this is crucial when we talk about AI! - Imagine if the social media disaster is further amplified by perfect disinformation and fake news that generative AI excels at - We will have all the tools (science and technology) - but will we have the telos? - If we roll out AI and AGI just to fuel more profit and growth things will not end well for us - Embrace the 3 revolutions: The Digital Revolution (info tech, bio tech, energy / climate tech, and AI tech), The Sustainability Revolution, and the Purpose Revolution

#lookupnowthefilm #generativeai #IAIA #kazakhstan #nobelfest

Have a look at my films: Look Up Now (2023): AI and the Future of Humanity: lookupnow.tv TWICE UPON A TIME: youtu.be/BanqTNbTotU The Good Future thegoodfuturefilm.com or youtu.be/yHC5n7G5SeI All about AI: weneedtotalkaboutai.com or youtu.be/XUVS5d3-Bis The future of work: howthefutureworks.tv or youtu.be/PEmyJNTraZg thegoodfutureexplained.com

Most of Gerd's videos can also be downloaded via my vimeo channel i.e. storiesfromthefuture.tv