A galaxy is a massive, gravitationally bound system that consists of stars and stellar remnants, an interstellar medium of gas and dust, and an important but poorly understood component tentatively dubbed dark matter. The name is from the Greek root galaxias [γαλαξίας], meaning "milky," a reference to the Milky Way galaxy. Typical galaxies range from dwarfs with as few as ten million (107) stars up to giants with one trillion (1012) stars, all orbiting the galaxy's center of mass. Galaxies can also contain many multiple star systems, star clusters, and various interstellar clouds. The Sun is one of the stars in the Milky Way galaxy; the Solar System includes the Earth and all the other objects that orbit the Sun.
Historically, galaxies have been categorized according to their apparent shape (usually referred to as their visual morphology). A common form is the elliptical galaxy, which has an ellipse-shaped light profile. Spiral galaxies are disk-shaped assemblages with curving, dusty arms. Galaxies with irregular or unusual shapes are known as peculiar galaxies, and typically result from disruption by the gravitational pull of neighboring galaxies. Such interactions between nearby galaxies, which may ultimately result in galaxies merging, may induce episodes of significantly increased star formation, producing what is called a starburst galaxy. Small galaxies that lack a coherent structure could also be referred to as irregular galaxies.
There are probably more than 100 billion (1011) galaxies in the observable universe. Most galaxies are 1,000 to 100,000 parsecs in diameter and are usually separated by distances on the order of millions of parsecs (or megaparsecs). Intergalactic space (the space between galaxies) is filled with a tenuous gas of an average density less than one atom per cubic meter. The majority of galaxies are organized into a hierarchy of associations called clusters, which, in turn, can form larger groups called superclusters. These larger structures are generally arranged into sheets and filaments, which surround immense voids in the universe.
Although it is not yet well understood, dark matter appears to account for around 90% of the mass of most galaxies. Observational data suggests that supermassive black holes may exist at the center of many, if not all, galaxies. They are proposed to be the primary cause of active galactic nuclei found at the core of some galaxies. The Milky Way galaxy appears to harbor at least one such object within its nucleus.
Friday, June 26, 2009
Stars
A star is a massive, luminous ball of plasma that is held together by gravity. The nearest star to Earth is the Sun, which is the source of most of the energy on Earth. Other stars are visible in the night sky, when they are not outshone by the Sun. Historically, the most prominent stars on the celestial sphere were grouped together into constellations, and the brightest stars gained proper names. Extensive catalogues of stars have been assembled by astronomers, which provide standardized star designations.
For most of its life, a star shines due to thermonuclear fusion in its core releasing energy that traverses the star's interior and then radiates into outer space. Almost all elements heavier than hydrogen and helium were created by fusion processes in stars. Astronomers can determine the mass, age, chemical composition and many other properties of a star by observing its spectrum, luminosity and motion through space. The total mass of a star is the principal determinant in its evolution and eventual fate. Other characteristics of a star are determined by its evolutionary history, including the diameter, rotation, movement and temperature. A plot of the temperature of many stars against their luminosities, known as a Hertzsprung-Russell diagram (H–R diagram), allows the age and evolutionary state of a star to be determined.
A star begins as a collapsing cloud of material composed primarily of hydrogen, along with helium and trace amounts of heavier elements. Once the stellar core is sufficiently dense, some of the hydrogen is steadily converted into helium through the process of nuclear fusion. The remainder of the star's interior carries energy away from the core through a combination of radiative and convective processes. The star's internal pressure prevents it from collapsing further under its own gravity. Once the hydrogen fuel at the core is exhausted, those stars having at least 0.4 times the mass of the Sun expand to become a red giant, in some cases fusing heavier elements at the core or in shells around the core. The star then evolves into a degenerate form, recycling a portion of the matter into the interstellar environment, where it will form a new generation of stars with a higher proportion of heavy elements.
Binary and multi-star systems consist of two or more stars that are gravitationally bound, and generally move around each other in stable orbits. When two such stars have a relatively close orbit, their gravitational interaction can have a significant impact on their evolution. Stars can form part of a much larger gravitationally bound structure, such as a cluster or a galaxy.
For most of its life, a star shines due to thermonuclear fusion in its core releasing energy that traverses the star's interior and then radiates into outer space. Almost all elements heavier than hydrogen and helium were created by fusion processes in stars. Astronomers can determine the mass, age, chemical composition and many other properties of a star by observing its spectrum, luminosity and motion through space. The total mass of a star is the principal determinant in its evolution and eventual fate. Other characteristics of a star are determined by its evolutionary history, including the diameter, rotation, movement and temperature. A plot of the temperature of many stars against their luminosities, known as a Hertzsprung-Russell diagram (H–R diagram), allows the age and evolutionary state of a star to be determined.
A star begins as a collapsing cloud of material composed primarily of hydrogen, along with helium and trace amounts of heavier elements. Once the stellar core is sufficiently dense, some of the hydrogen is steadily converted into helium through the process of nuclear fusion. The remainder of the star's interior carries energy away from the core through a combination of radiative and convective processes. The star's internal pressure prevents it from collapsing further under its own gravity. Once the hydrogen fuel at the core is exhausted, those stars having at least 0.4 times the mass of the Sun expand to become a red giant, in some cases fusing heavier elements at the core or in shells around the core. The star then evolves into a degenerate form, recycling a portion of the matter into the interstellar environment, where it will form a new generation of stars with a higher proportion of heavy elements.
Binary and multi-star systems consist of two or more stars that are gravitationally bound, and generally move around each other in stable orbits. When two such stars have a relatively close orbit, their gravitational interaction can have a significant impact on their evolution. Stars can form part of a much larger gravitationally bound structure, such as a cluster or a galaxy.
Friday, June 19, 2009
What is the secret about 'Mona Lisa'?
No one is really sure of 'the secret of the Mona Lisa'. The painting was painted so long ago that we don't have very much information on where, why and who the subject was, though there are many theories. Some people believe that it is Da Vinci's portrait of himself as a female and The Da Vinci Code (a novel by Dan Brown) also delves into theories about how it is connected to 'sacred feminity'. All these theories though are speculation.
There are also various theories on the identity of the model.
One is Lisa Gherardini. Vasari identified the subject to be the wife of socially prominent Francesco del Giocondo, who was a silk merchant of Florence. Until recently, little was known about his third wife, Lisa Gherardini, except that she was born in 1479, raised at her family's Villa Vignamaggio in Tuscany and that she married del Giocondo in 1495.
In 2004, the Italian scholar Giuseppe Pallanti published Monna Lisa, Mulier Ingenua (literally '"Mona Lisa: Real Woman", published in English under the title Mona Lisa Revealed: The True Identity of Leonardo's Model). The book gathered archival evidence in support of the traditional identification of the model as Lisa Gherardini. According to Pallanti, the evidence suggests that Leonardo's father was a friend of del Giocondo. "The portrait of Mona Lisa, done when Lisa Gherardini was aged about 24, was probably commissioned by Leonardo's father himself for his friends as he is known to have done on at least one other occasion." Pallanti discovered that Lisa and Francesco had five children and that she outlived her husband. In early 2007, Pallanti found a death notice in the archives of a Florence church that referred to "the wife of Francesco del Giocondo, deceased July 15, 1542, and buried at Sant'Orsola." Sant'Orsola is a convent in Florence. Pallanti ascertains with certainty that this refers to Gherardini. This would make her age at her death to be 63 years. Also in January 2007, Italian geneologist Domenico Savini identified the princesses Natalia and Irina Strozzi as living descendants of Lisa Gherardini.
In September 2006, Bruno Mottin argued that the guarnelo he studied using the 2004 scan data suggested that the painting dated from around 1503 and commemorated the birth of Lisa Gherardini's second son.
Other suggestions
Some have seen a facial similarity between the Mona Lisa and other paintings, such as St. John the Baptist.Vasari, however, wrote about the portrait, and described it, without ever having seen it; the painting was already in France in Vasari's era. So various alternatives to the traditional sitter have been proposed. During the last years of his life, Leonardo spoke of a portrait "of a certain Florentine lady done from life at the request of the magnificent Giuliano de' Medici." No evidence has been found that indicates a link between Lisa Gherardini and Giuliano de' Medici, but then the comment could instead refer to one of the two other portraits of women executed by da Vinci. A later anonymous statement created confusion when it linked the Mona Lisa to a portrait of Francesco del Giocondo himself - perhaps the origin of the controversial idea that it is the portrait of a man.
Which lead to the theory that it was a self-portrait as Dr. Lillian Schwartz of Bell Labs suggested. Critics of this theory suggest that the similarities are due to both portraits being painted by the same person using the same style. Additionally, the drawing on which she based the comparison may not be a self-portrait. Serge Bramly, in his biography of Leonardo, discusses the possibility that the portrait depicts the artist's mother Caterina. This would account for the resemblance between artist and subject observed by Dr. Schwartz, and would explain why Leonardo kept the portrait with him wherever he travelled, until his death.
Art historians have also suggested the possibility that the Mona Lisa may only resemble Leonardo by accident: as an artist with a great interest in the human form, Leonardo would have spent a great deal of time studying and drawing the human face, and the face most often accessible to him was his own, making it likely that he would have the most experience with drawing his own features. The similarity in the features of the people depicted in paintings such as the Mona Lisa and St. John the Baptist may thus result from Leonardo's familiarity with his own facial features, causing him to draw other, less familiar faces in a similar light.
Leonardo used a pyramid design to place the woman simply and calmly in the space of the painting. Her folded hands form the front corner of the pyramid. Her breast, neck and face glow in the same light that softly models her hands. The light gives the variety of living surfaces an underlying geometry of spheres and circles. Leonardo referred to a seemingly simple formula for seated female figure: the images of seated Madonna, which were widely spread at the time. He effectively modified this formula in order to create the visual impression of distance between the sitter and the observer. The armrest of the chair functions as a dividing element between Mona Lisa and us. The woman sits markedly upright with her arms folded, which is also a sign of her reserved posture. Only her gaze is fixed on the observer and seems to welcome him to this silent communication. Since the brightly lit face is practically framed with various much darker elements (hair, veil, shadows), the observer's attraction to Mona Lisa's face is brought to even greater extent. Thus, the composition of the figure evokes an ambiguous effect: we are attracted to this mysterious woman but have to stay at a distance as if she were a divine creature. There is no indication of an intimate dialogue between the woman and the observer as is the case in the Portrait of Baldassare Castiglione (Louvre) painted by Raphael about ten years after Mona Lisa and undoubtedly influenced by Leonardo's portrait.
The painting was one of the first portraits to depict the sitter before an imaginary landscape. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her a vast landscape recedes to icy mountains. Winding paths and a distant bridge give only the slightest indications of human presence. The sensuous curves of the woman's hair and clothing, created through sfumato, are echoed in the undulating imaginary valleys and rivers behind her. The blurred outlines, graceful figure, dramatic contrasts of light and dark, and overall feeling of calm are characteristic of Leonardo's style. Due to the expressive synthesis that Leonardo achieved between sitter and the landscape it is arguable whether Mona Lisa should be considered as a portrait, for it represents rather an ideal than a real woman. The sense of overall harmony achieved in the painting-especially apparent in the sitter's faint smile- reflects Leonardo's idea of the cosmic link connecting humanity and nature, making this painting an enduring record of Leonardo's vision and genius.
It was a portrait that illustrated the leap into 'Humanism' of the Renaissance. Humanism is a broad category of ethical philosophies that affirm the dignity and worth of all people, based on the ability to determine right and wrong by appeal to universal human qualities-particularly rationalism. Humanism is a component of a variety of more specific philosophical systems, and is incorporated into several religious schools of thought. Humanism entails a commitment to the search for truth and morality through human means in support of human interests. A move away from religious focuses in art (though Leonardo did still do some religious paintings) and more of a focus on normal, average, human beings was what this caused.
The Mona Lisa is likly the most famous Humanistic painting, if not simply the most famous painting. It forces us to think about the woman in the picture, what is she thinking? feeling? That is what makes it so grand and mysterious.
There are also various theories on the identity of the model.
One is Lisa Gherardini. Vasari identified the subject to be the wife of socially prominent Francesco del Giocondo, who was a silk merchant of Florence. Until recently, little was known about his third wife, Lisa Gherardini, except that she was born in 1479, raised at her family's Villa Vignamaggio in Tuscany and that she married del Giocondo in 1495.
In 2004, the Italian scholar Giuseppe Pallanti published Monna Lisa, Mulier Ingenua (literally '"Mona Lisa: Real Woman", published in English under the title Mona Lisa Revealed: The True Identity of Leonardo's Model). The book gathered archival evidence in support of the traditional identification of the model as Lisa Gherardini. According to Pallanti, the evidence suggests that Leonardo's father was a friend of del Giocondo. "The portrait of Mona Lisa, done when Lisa Gherardini was aged about 24, was probably commissioned by Leonardo's father himself for his friends as he is known to have done on at least one other occasion." Pallanti discovered that Lisa and Francesco had five children and that she outlived her husband. In early 2007, Pallanti found a death notice in the archives of a Florence church that referred to "the wife of Francesco del Giocondo, deceased July 15, 1542, and buried at Sant'Orsola." Sant'Orsola is a convent in Florence. Pallanti ascertains with certainty that this refers to Gherardini. This would make her age at her death to be 63 years. Also in January 2007, Italian geneologist Domenico Savini identified the princesses Natalia and Irina Strozzi as living descendants of Lisa Gherardini.
In September 2006, Bruno Mottin argued that the guarnelo he studied using the 2004 scan data suggested that the painting dated from around 1503 and commemorated the birth of Lisa Gherardini's second son.
Other suggestions
Some have seen a facial similarity between the Mona Lisa and other paintings, such as St. John the Baptist.Vasari, however, wrote about the portrait, and described it, without ever having seen it; the painting was already in France in Vasari's era. So various alternatives to the traditional sitter have been proposed. During the last years of his life, Leonardo spoke of a portrait "of a certain Florentine lady done from life at the request of the magnificent Giuliano de' Medici." No evidence has been found that indicates a link between Lisa Gherardini and Giuliano de' Medici, but then the comment could instead refer to one of the two other portraits of women executed by da Vinci. A later anonymous statement created confusion when it linked the Mona Lisa to a portrait of Francesco del Giocondo himself - perhaps the origin of the controversial idea that it is the portrait of a man.
Which lead to the theory that it was a self-portrait as Dr. Lillian Schwartz of Bell Labs suggested. Critics of this theory suggest that the similarities are due to both portraits being painted by the same person using the same style. Additionally, the drawing on which she based the comparison may not be a self-portrait. Serge Bramly, in his biography of Leonardo, discusses the possibility that the portrait depicts the artist's mother Caterina. This would account for the resemblance between artist and subject observed by Dr. Schwartz, and would explain why Leonardo kept the portrait with him wherever he travelled, until his death.
Art historians have also suggested the possibility that the Mona Lisa may only resemble Leonardo by accident: as an artist with a great interest in the human form, Leonardo would have spent a great deal of time studying and drawing the human face, and the face most often accessible to him was his own, making it likely that he would have the most experience with drawing his own features. The similarity in the features of the people depicted in paintings such as the Mona Lisa and St. John the Baptist may thus result from Leonardo's familiarity with his own facial features, causing him to draw other, less familiar faces in a similar light.
Leonardo used a pyramid design to place the woman simply and calmly in the space of the painting. Her folded hands form the front corner of the pyramid. Her breast, neck and face glow in the same light that softly models her hands. The light gives the variety of living surfaces an underlying geometry of spheres and circles. Leonardo referred to a seemingly simple formula for seated female figure: the images of seated Madonna, which were widely spread at the time. He effectively modified this formula in order to create the visual impression of distance between the sitter and the observer. The armrest of the chair functions as a dividing element between Mona Lisa and us. The woman sits markedly upright with her arms folded, which is also a sign of her reserved posture. Only her gaze is fixed on the observer and seems to welcome him to this silent communication. Since the brightly lit face is practically framed with various much darker elements (hair, veil, shadows), the observer's attraction to Mona Lisa's face is brought to even greater extent. Thus, the composition of the figure evokes an ambiguous effect: we are attracted to this mysterious woman but have to stay at a distance as if she were a divine creature. There is no indication of an intimate dialogue between the woman and the observer as is the case in the Portrait of Baldassare Castiglione (Louvre) painted by Raphael about ten years after Mona Lisa and undoubtedly influenced by Leonardo's portrait.
The painting was one of the first portraits to depict the sitter before an imaginary landscape. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her a vast landscape recedes to icy mountains. Winding paths and a distant bridge give only the slightest indications of human presence. The sensuous curves of the woman's hair and clothing, created through sfumato, are echoed in the undulating imaginary valleys and rivers behind her. The blurred outlines, graceful figure, dramatic contrasts of light and dark, and overall feeling of calm are characteristic of Leonardo's style. Due to the expressive synthesis that Leonardo achieved between sitter and the landscape it is arguable whether Mona Lisa should be considered as a portrait, for it represents rather an ideal than a real woman. The sense of overall harmony achieved in the painting-especially apparent in the sitter's faint smile- reflects Leonardo's idea of the cosmic link connecting humanity and nature, making this painting an enduring record of Leonardo's vision and genius.
It was a portrait that illustrated the leap into 'Humanism' of the Renaissance. Humanism is a broad category of ethical philosophies that affirm the dignity and worth of all people, based on the ability to determine right and wrong by appeal to universal human qualities-particularly rationalism. Humanism is a component of a variety of more specific philosophical systems, and is incorporated into several religious schools of thought. Humanism entails a commitment to the search for truth and morality through human means in support of human interests. A move away from religious focuses in art (though Leonardo did still do some religious paintings) and more of a focus on normal, average, human beings was what this caused.
The Mona Lisa is likly the most famous Humanistic painting, if not simply the most famous painting. It forces us to think about the woman in the picture, what is she thinking? feeling? That is what makes it so grand and mysterious.
KUSANAGI
Kusanagi-no-Tsurugi is a legendary Japanese sword as important to Japan's history as Excalibur is to Britain's, and is one of three Imperial Regalia of Japan. It was originally called Ama-no-Murakumo-no-Tsurugi ("Sword of the Gathering Clouds of Heaven") but its name was later changed to the more popular Kusanagi-no-Tsurugi ("Grass Cutting Sword").
The history of the Kusanagi-no-Tsurugi extends into legend. According to Kojiki, the Japanese god Susanoo encountered a grieving family of kunitsukami ("gods of the land") headed by Ashinazuchi in Izumo province. When Susanoo inquired of Ashinazuchi, he told him that his family was being ravaged by the fearsome Yamata-no-Orochi, an eight-headed serpent of Koshi, who consumed seven of the family's eight daughters and that the creature was coming for his final daughter, Kushinada-hime . Susanoo investigated the creature, and after an abortive encounter he returned with a plan to defeat it. In return, he asked for Kushinada-hime's hand in marriage, which was agreed. Transforming her temporarily into a comb (one interpreter reads this section as "using a comb he turns into [masquerades as] Kushinada-hime") to have her company during battle, he detailed his plan into steps.
He instructed the preparation of eight vats of sake (rice wine) to be put on individual platforms positioned behind a fence with eight gates. The monster took the bait and put one of its heads through each gate. With this distraction, Susanoo attacked and slew the beast (with his sword Worochi no Ara-masa). He chopped off each head and then proceeded to the tails. In the fourth tail, he discovered a great sword inside the body of the serpent which he called Ama-no-Murakumo-no-Tsurugi, which he presented to the goddess, Amaterasu to settle an old grievance.
Generations later, in the reign of the Twelfth Emperor, Keikō, Ama-no-Murakumo-no-Tsurugi was given to the great warrior, Yamato Takeru as part of a pair of gifts given by his aunt, Yamato-hime the Shrine Maiden of Ise Shrine, to protect her nephew in times of peril.
These gifts came in handy when Yamato Takeru was lured onto an open grassland during a hunting expedition by a treacherous warlord. The lord had fiery arrows to ignite the grass and trap Yamato Takeru in the field so that he would burn to death. He also killed the warrior's horse to prevent his escape. Desperately, Yamato Takeru used the Ama-no-Murakumo-no-Tsurugi to cut back the grass and remove fuel from the fire, but in doing so, he discovered that the sword enabled him to control the wind and cause it to move in the direction of his swing. Taking advantage of this magic, Yamato Takeru used his other gift, fire strikers, to enlarge the fire in the direction of the lord and his men, and he used the winds controlled by the sword to sweep the blaze toward them. In triumph, Yamato Takeru renamed the sword Kusanagi-no-Tsurugi ("Grasscutter Sword") to commemorate his narrow escape and victory. Eventually, Yamato Takeru married and later fell in battle with a monster, after ignoring his wife's advice to take the Kusanagi-no-Tsurugi with him.
The history of the Kusanagi-no-Tsurugi extends into legend. According to Kojiki, the Japanese god Susanoo encountered a grieving family of kunitsukami ("gods of the land") headed by Ashinazuchi in Izumo province. When Susanoo inquired of Ashinazuchi, he told him that his family was being ravaged by the fearsome Yamata-no-Orochi, an eight-headed serpent of Koshi, who consumed seven of the family's eight daughters and that the creature was coming for his final daughter, Kushinada-hime . Susanoo investigated the creature, and after an abortive encounter he returned with a plan to defeat it. In return, he asked for Kushinada-hime's hand in marriage, which was agreed. Transforming her temporarily into a comb (one interpreter reads this section as "using a comb he turns into [masquerades as] Kushinada-hime") to have her company during battle, he detailed his plan into steps.
He instructed the preparation of eight vats of sake (rice wine) to be put on individual platforms positioned behind a fence with eight gates. The monster took the bait and put one of its heads through each gate. With this distraction, Susanoo attacked and slew the beast (with his sword Worochi no Ara-masa). He chopped off each head and then proceeded to the tails. In the fourth tail, he discovered a great sword inside the body of the serpent which he called Ama-no-Murakumo-no-Tsurugi, which he presented to the goddess, Amaterasu to settle an old grievance.
Generations later, in the reign of the Twelfth Emperor, Keikō, Ama-no-Murakumo-no-Tsurugi was given to the great warrior, Yamato Takeru as part of a pair of gifts given by his aunt, Yamato-hime the Shrine Maiden of Ise Shrine, to protect her nephew in times of peril.
These gifts came in handy when Yamato Takeru was lured onto an open grassland during a hunting expedition by a treacherous warlord. The lord had fiery arrows to ignite the grass and trap Yamato Takeru in the field so that he would burn to death. He also killed the warrior's horse to prevent his escape. Desperately, Yamato Takeru used the Ama-no-Murakumo-no-Tsurugi to cut back the grass and remove fuel from the fire, but in doing so, he discovered that the sword enabled him to control the wind and cause it to move in the direction of his swing. Taking advantage of this magic, Yamato Takeru used his other gift, fire strikers, to enlarge the fire in the direction of the lord and his men, and he used the winds controlled by the sword to sweep the blaze toward them. In triumph, Yamato Takeru renamed the sword Kusanagi-no-Tsurugi ("Grasscutter Sword") to commemorate his narrow escape and victory. Eventually, Yamato Takeru married and later fell in battle with a monster, after ignoring his wife's advice to take the Kusanagi-no-Tsurugi with him.
Friday, June 12, 2009
EXCALIBUR
Excalibur is the legendary sword of King Arthur, sometimes attributed with magical powers or associated with the rightful sovereignty of Great Britain. Sometimes Excalibur and the Sword in the Stone (the proof of Arthur's lineage) are said to be the same weapon, but in most versions they are considered separate. The sword was associated with the Arthurian legend very early. In Welsh, the sword is called Caledfwlch. The name Excalibur is called so because it is believed to contain elements of battle and hard.
In Arthurian romance a number of explanations are given for Arthur's possession of Excalibur. In Robert de Boron's Merlin, Arthur obtained the throne by pulling a sword from a stone. In this account, the act could not be performed except by "the true king," meaning the divinely appointed king or true heir of Uther Pendragon. This sword is thought by many to be the famous Excalibur and the identity is made explicit in the later so-called Vulgate Merlin Continuation, part of the Lancelot-Grail cycle. However, in what is sometimes called the Post-Vulgate Merlin, Excalibur was given to Arthur by the Lady of the Lake sometime after he began to reign. She calls the sword "Excalibur, that is as to say as Cut-steel." In the Vulgate Mort Artu, Arthur orders Girflet to throw the sword into the enchanted lake. After two failed attempts he finally complies with the wounded king's request and a hand emerges from the lake to catch it, a tale which becomes attached to Bedivere instead in Malory and the English tradition.
In Welsh legend, Arthur's sword is known as Caledfwlch. In Culhwch and Olwen, it is one of Arthur's most valuable possessions and is used by Arthur's warrior Llenlleawg the Irishman to kill the Irish king Diwrnach while stealing his magical cauldron. Caledfwlch is thought to derive from the legendary Irish weapon Caladbolg, the lightning sword of Fergus mac Roich. Caladbolg was also known for its incredible power and was carried by some of Ireland's greatest heroes.
In many versions, Excalibur's blade was engraved with words on opposite sides. On one side were the words "take me up", and on the other side "cast me away" (or similar words), and this prefigures its return into the water. In addition, when Excalibur was first drawn, Arthur's enemies were blinded by its blade, which was as bright as thirty torches. Excalibur's scabbard was said to have powers of its own. Injuries from losses of blood, for example, would not kill the bearer. In some tellings, wounds received by one wearing the scabbard did not bleed at all. The scabbard is stolen by Morgan le Fay and thrown into a lake, never to be found again.
Nineteenth century poet Alfred, Lord Tennyson, described the sword in full Romantic detail in his poem "Morte d'Arthur", later rewritten as "The Passing of Arthur", one of the Idylls of the King:
There drew he forth the brand Excalibur,
And o’er him, drawing it, the winter moon,
Brightening the skirts of a long cloud, ran forth
And sparkled keen with frost against the hilt:
For all the haft twinkled with diamond sparks,
Myriads of topaz-lights, and jacinth-work
Of subtlest jewellery.
In Arthurian romance a number of explanations are given for Arthur's possession of Excalibur. In Robert de Boron's Merlin, Arthur obtained the throne by pulling a sword from a stone. In this account, the act could not be performed except by "the true king," meaning the divinely appointed king or true heir of Uther Pendragon. This sword is thought by many to be the famous Excalibur and the identity is made explicit in the later so-called Vulgate Merlin Continuation, part of the Lancelot-Grail cycle. However, in what is sometimes called the Post-Vulgate Merlin, Excalibur was given to Arthur by the Lady of the Lake sometime after he began to reign. She calls the sword "Excalibur, that is as to say as Cut-steel." In the Vulgate Mort Artu, Arthur orders Girflet to throw the sword into the enchanted lake. After two failed attempts he finally complies with the wounded king's request and a hand emerges from the lake to catch it, a tale which becomes attached to Bedivere instead in Malory and the English tradition.
In Welsh legend, Arthur's sword is known as Caledfwlch. In Culhwch and Olwen, it is one of Arthur's most valuable possessions and is used by Arthur's warrior Llenlleawg the Irishman to kill the Irish king Diwrnach while stealing his magical cauldron. Caledfwlch is thought to derive from the legendary Irish weapon Caladbolg, the lightning sword of Fergus mac Roich. Caladbolg was also known for its incredible power and was carried by some of Ireland's greatest heroes.
In many versions, Excalibur's blade was engraved with words on opposite sides. On one side were the words "take me up", and on the other side "cast me away" (or similar words), and this prefigures its return into the water. In addition, when Excalibur was first drawn, Arthur's enemies were blinded by its blade, which was as bright as thirty torches. Excalibur's scabbard was said to have powers of its own. Injuries from losses of blood, for example, would not kill the bearer. In some tellings, wounds received by one wearing the scabbard did not bleed at all. The scabbard is stolen by Morgan le Fay and thrown into a lake, never to be found again.
Nineteenth century poet Alfred, Lord Tennyson, described the sword in full Romantic detail in his poem "Morte d'Arthur", later rewritten as "The Passing of Arthur", one of the Idylls of the King:
There drew he forth the brand Excalibur,
And o’er him, drawing it, the winter moon,
Brightening the skirts of a long cloud, ran forth
And sparkled keen with frost against the hilt:
For all the haft twinkled with diamond sparks,
Myriads of topaz-lights, and jacinth-work
Of subtlest jewellery.
NAKED CYCLING!!!!!!!
Picture the scene: you're wandering through a city street this weekend and a group of cyclists pedal idly past, pinging their bells and smiling broadly. Oh yes, one more thing – THEY'RE ALL NAKED!
A hallucination? No, just the latest event organized by the World Naked Bike Ride (WNBR) group.
Beginning today 12th of June 12, 2009 and carrying on through the weekend, anything up to 2,000 riders are expected to place unadorned buttock against saddle for rides in seven towns and cities around England and Wales.
The largest naked cycle is scheduled for London, with organizers expecting around 1,000 nude or near-nude riders to set off from Hyde Park at 3pm tomorrow. And smaller events are planned for York, Manchester and Southampton today, Cardiff and Sheffield tomorrow and Brighton on Sunday. London will see its sixth annual event, after beginning in 2004 when a hardy and not easily embarrassed group of 58 pioneers took to the streets.
For people previously unfamiliar with the global naked cycling movement who happen to catch sight of one of these fleshy, two-wheeled processions, the first question – "What on earth?" – is inevitably soon followed by another: why?
Handily, the WNBR has a page of FAQs, one of which is the inevitable: "Why are you cycling naked?" The answer is:
"To celebrate cycling and the human body. The ride demonstrates the vulnerability of cyclists on the road and is a protest against oil dependency."
As well as the pro-bike, anti-car message there is of course the sheer toddler-like thrill of shedding your clothes and cycling around a big city. Also mentions, "most riders also find it exhilarating, liberating, empowering".
After knowing that this kind of activity is held in western country, will you be trying it out in Malaysia???????? TELL ME IF YOU DARE!!!
A hallucination? No, just the latest event organized by the World Naked Bike Ride (WNBR) group.
Beginning today 12th of June 12, 2009 and carrying on through the weekend, anything up to 2,000 riders are expected to place unadorned buttock against saddle for rides in seven towns and cities around England and Wales.
The largest naked cycle is scheduled for London, with organizers expecting around 1,000 nude or near-nude riders to set off from Hyde Park at 3pm tomorrow. And smaller events are planned for York, Manchester and Southampton today, Cardiff and Sheffield tomorrow and Brighton on Sunday. London will see its sixth annual event, after beginning in 2004 when a hardy and not easily embarrassed group of 58 pioneers took to the streets.
For people previously unfamiliar with the global naked cycling movement who happen to catch sight of one of these fleshy, two-wheeled processions, the first question – "What on earth?" – is inevitably soon followed by another: why?
Handily, the WNBR has a page of FAQs, one of which is the inevitable: "Why are you cycling naked?" The answer is:
"To celebrate cycling and the human body. The ride demonstrates the vulnerability of cyclists on the road and is a protest against oil dependency."
As well as the pro-bike, anti-car message there is of course the sheer toddler-like thrill of shedding your clothes and cycling around a big city. Also mentions, "most riders also find it exhilarating, liberating, empowering".
After knowing that this kind of activity is held in western country, will you be trying it out in Malaysia???????? TELL ME IF YOU DARE!!!
Sunday, June 7, 2009
Roasted Garlic And Almond Spread
Ok….. college life can very fun, and you cannot disagree with that. Even more if you are living on-campus, you feel the joy of being independent and out of control from your parent. But don’t you think that living outside alone can be sometimes boring too?? One of the stuff you get bored to is the food. I’m sure that if you are staying on-campus you will be thinking of what to eat every time there is a break time. Here is a recipe I found on the web that you can try out. It’s a recipe of a spread that you can eat with breads. It’s not a very complicated recipe and I’m sure almost everyone can make it.
Roasted Garlic And Almond Spread
1/4 cup unblanched almonds, chopped
16 garlic cloves, peeled
3 tablespoons olive oil
8 ounces cream cheese
1/4 cup sour cream
2 teaspoons Dijon mustard
1 teaspoon Worcestershire sauce
2 tablespoons chopped parsley
1 teaspoon rosemary (dried)
2 shallots, chopped
3 tablespoons whipping cream
1/4 teaspoon Tabasco sauce
Toast almonds in heavy pan until slightly brown. Place garlic in shallow baking dish. Add olive oil and
Bake at 275 degrees F for 30 minutes. Cool.
Pour garlic and oil in blender. Add cream cheese, sour cream, mustard and Worcestershire sauce;
Blend well. Add almonds, parsley, rosemary, shallots, whipping cream and Tabasco sauce and blend well again.
Chill for several hours and serve with thinly sliced, toasted bread.
Roasted Garlic And Almond Spread
1/4 cup unblanched almonds, chopped
16 garlic cloves, peeled
3 tablespoons olive oil
8 ounces cream cheese
1/4 cup sour cream
2 teaspoons Dijon mustard
1 teaspoon Worcestershire sauce
2 tablespoons chopped parsley
1 teaspoon rosemary (dried)
2 shallots, chopped
3 tablespoons whipping cream
1/4 teaspoon Tabasco sauce
Toast almonds in heavy pan until slightly brown. Place garlic in shallow baking dish. Add olive oil and
Bake at 275 degrees F for 30 minutes. Cool.
Pour garlic and oil in blender. Add cream cheese, sour cream, mustard and Worcestershire sauce;
Blend well. Add almonds, parsley, rosemary, shallots, whipping cream and Tabasco sauce and blend well again.
Chill for several hours and serve with thinly sliced, toasted bread.
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