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if there be rains in
autumn; if the winter be mild, neither very tepid nor unseasonably cold, and if in spring the rains be seasonable, and so
also in summer, the year is likely to prove healthy. But if the winter be dry and northerly, and the spring showery and
southerly, the summer will necessarily be of a febrile character, and give rise to ophthalmies and dysenteries. For when
suffocating heat sets in all of a sudden, while the earth is moistened by the vernal showers, and by the south wind, the
heat is necessarily doubled from the earth, which is thus soaked by rain and heated by a burning sun, while, at the same
time, men’s bellies are not in an orderly state, nor the brain properly dried; for it is impossible, after such a spring,
but that the body and its flesh must be loaded with humors, so that very acute fevers will attack all
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YouTube - SCO0275 - Scrivener 2.0 - Full Show - 0 views
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A tool to organise research, notes, corkboard and body text (for the essay) all in one place. - ver impressive stuff, available for windows and for Mac OSX.
'History of the Benin Bronzes' (1984) by Tony Philips on Flickr - Photo Sharing! - 0 views
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Since the advent of slavery, the African Holocaust, the Benin Bronzes have symbolised the intrinsic beauty and strength of African art and aesthetics. They also represent the pillage and rape of African people and cultures by European countries - a dehumanising attack for which there has been no reciprocity, compensation, or apology. The Bronzes represent a culture rich in knowledge, technology and democracy; now dislocated in Europe they have become ornaments of pleasure, sitting in glass cases in the drawing rooms of English private collectors, or being viewed and interpreted by gallery and museum visitors as examples of primitive art from the Dark Continent. Tony Phillips has captured the sense of dislocation caused by the legacy of trade and empire in his series of etchings called "History of the Benin Bronzes", a commentary on the British Punitive Expedition into Benin in 1897. Within this exhibition, the Bronzes work as a metaphor to represent the displacement and dislocation of Africans in the Diaspora who continue to struggle to maintain identity and culture on foreign shores. I am not suggesting the mass repatriation of my people, but I am arguing that locality and aesthetics are cousins who sit better together in their place of origin. Therefore, with the Benin Bronzes the authorities must let them go home. Kevin Dalton-Johnson www.whitworth.manchester.ac.uk/whatson/exhibitions/tradee... © The Whitworth Art Gallery, The University of Manchester
The location of religion: a spatial ... - Google Books - 1 views
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'scholars of religion have attended to space as both a context and an issue for religion.' - p.7
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"the 'sacred' is a relational and situational category that 'becomes visible in beliefs and practices in which value-laden distinctions are negotiated' in relation to 'powers and dangers' associated with things, places, or events on either side of a boundary." p.103
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Seahenge - OpenLearn - Open University - 0 views
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