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According to the myth, Pandora opened a jar (pithos), in modern accounts sometimes mistranslated as "Pandora's box" (see below), releasing all the evils of humanity—although the particular evils, aside from plagues and diseases, are not specified in detail by Hesiod—leaving only Hope inside once she had closed it again.[6] The Pandora myth is a kind of theodicy, addressing the question of why there is evil in the world. Hesiod[edit] Hesiod, both in his Theogony (briefly, without naming Pandora outright, line 570) and in Works and Days, gives the earliest version of the Pandora story. Theogony[edit] The Pandora myth first appears in lines 560–612 of Hesiod's poem in epic meter, the Theogony (ca. 8th–7th centuries BC), without ever giving the woman a name. From her is the race of women and female kind: of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmates in hateful poverty, but only in wealth. Works and Days[edit] Homer[edit] Notes[edit] Related:  apcoxWikipedia Cgestion de l'imaginaire (1)

Nomenclature Nomenclature is a system of names or terms, or the rules for forming these terms in a particular field of arts or sciences.[1] The principles of naming vary from the relatively informal conventions of everyday speech to the internationally-agreed principles, rules and recommendations that govern the formation and use of the specialist terms used in scientific and other disciplines. Onomastics, the study of proper names and their origins, includes: anthroponymy, concerned with human names, including personal names, surnames and nicknames; toponymy the study of place names; and etymology, the derivation, history and use of names as revealed through comparative and descriptive linguistics. The scientific need for simple, stable and internationally-accepted systems for naming objects of the natural world has generated many formal nomenclatural systems. Definition & criteria[edit] Nomenclature is a system of words used in particular discipline. Etymology[edit] Onomastics and nomenclature[edit]

Prometheus Titan, culture hero, and trickster figure in Greek mythology The punishment of Prometheus as a consequence of the theft is a major theme of his, and is a popular subject of both ancient and modern culture. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to eat Prometheus' liver, which would then grow back overnight to be eaten again the next day. (In ancient Greece, the liver was often thought to be the seat of human emotions.)[3] Prometheus was eventually freed by the hero Heracles. In another myth, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. Etymology[edit] Myths and legends[edit] Possible Sources[edit] Notes[edit]

Komos ritualistic_drunken (Dyonisos) The Kōmos (Ancient Greek: κῶμος; pl. kōmoi) was a ritualistic drunken procession performed by revelers in ancient Greece, whose participants were known as komasts (κωμασταί, kōmastaí). Its precise nature has been difficult to reconstruct from the diverse literary sources and evidence derived from vase painting. The komos must be distinguished from the pompe, or ritual procession, and the chorus, both of which were scripted. The komos lacked a chorus leader, script, or rehearsal.[1] In the performance of Greek victory odes (epinikia) at post-Game celebrations for winning athletes, the choral singers often present themselves as komasts, or extend an invitation to join the komos, as if the formal song were a preliminary to spontaneous revelry.[2] Nevertheless some komoi were expressly described as "semnoí" ("modest", "decent"), which implies that standard komoi were anything but. See also[edit] Corpus vasorum antiquorum Notes[edit] References[edit] Kenneth S.

Filles du feu Un article de Wikipédia, l'encyclopédie libre. Genèse[modifier | modifier le code] La genèse de cette œuvre est complexe. Selon Michel Brix, rédacteur de l’introduction à l’édition en classique de poche des Filles du feu, Nerval aurait demandé à son éditeur le 23 octobre 1853 de commencer d’imprimer un opuscule alors intitulé Mélusine, ou les Filles du feu et qui se serait composé de cinq histoires, dont trois seulement feront partie du volume définitif, Jemmy, Angélique et Rosalie (sans doute le nom provisoire d'Octavie). Au cours du mois de novembre 1853, Nerval déclare vouloir y joindre la Pandora. Puis, en décembre, Nerval annonce à son éditeur qu’il veut également insérer Sylvie (qui avait paru dans La Revue des Deux Mondes du 15 août 1853) ainsi que Émilie (qui avait paru en 1839 dans Le messager, sous le titre Fort de Bitche). Angélique[modifier | modifier le code] Sylvie[modifier | modifier le code] Résumé[modifier | modifier le code] Analyse[modifier | modifier le code]

Sound 'The Cube', one of the world's largest, privately owned electroacoustic measurement facilities, is an empty room measuring, 12 x 12 x 13 meters. Starting from the technical drawings it is used in all stages of product development. Its enormous size makes it possible to measure acoustic response without reflections from walls, floor, or ceiling. 'The Cube' gives us the precision we need to measure a loudspeaker’s frequency, power and directivity responses. Accurate measurements alone aren't enough though. To truly sense whether music comes alive with the right tone and detail the human ear is still the final judge. A 103 inch television is hoisted a meter high by a crane, then dropped. Welcome to 'The torture chamber', Bang & Olufsen's toughest test facility where products are put through stresses and strains far beyond standard limits. We inflict every conceivable hardship on our TV’s, speakers and remotes to prepare them for the toughest test of all - the home.

John Nash From Wikipedia, the free encyclopedia John Nash may refer to: Shield of Heracles An early 5th-century BCE depiction of Heracles (left) fighting Cycnus (Attic black-figure amphora, found at Nola) The Shield of Heracles (Ancient Greek: Ἀσπὶς Ἡρακλέους, Aspis Hērakleous) is an archaic Greek epic poem that was attributed to Hesiod during antiquity. The subject of the poem is the expedition of Heracles and Iolaus against Cycnus, the son of Ares, who challenged Heracles to combat as Heracles was passing through Thessaly. To serve as an introduction, fifty-six lines have been taken from the Hesiodic Catalogue of Women. The Iliad gives enough detail for its hearers to marvel at Hephaestus' workmanship. "They were bringing the brides through the streets from their homes, to the loud music of the wedding-hymn and the light of blazing torches. "The men were making merry with festivities and dances; some were bringing home a bride to her husband on a well-wheeled car, while the bridalsong swelled high, and the glow of blazing torches held by handmaidens rolled in waves afar.

Persée Persée est le fils de Zeus et de Danaé, la fille du roi d'Argos, Acrisios. C'est un Héros qui fut mêlé à plusieurs aventures, dans la mythologie grecque. Un oracle ayant prédit à Acrisios que son petit fils le tuerait, il enferma Danaé sa fille unique dans une tour isolée afin qu'elle n'ait pas d'enfant. Danaé donna naissance à un fils, Persée, ce qui mit Acrisios dans une colère folle. Persée grandit auprès du roi de cette île, Polydestès, jusqu'à son âge adulte. Athéna détestait la Méduse et aida Persée dans sa mission. Persée donna à Dictys le trône de Sériphos pour le récomprenser de l'avoir jadis sauvé. Lorsque vint le lancer du disque, à cause du vent, son disque dévia, atteignit Acrisios au pied et le tua.

Faith (religion) Etymology[edit] The English word is thought to date from 1200–50, from the Middle English feith, via Anglo-French fed, Old French feid, feit from Latin fidem, accusative of fidēs (trust), akin to fīdere (to trust).[7] Religions[edit] Bahá'í Faith[edit] In the Bahá'í Faith, faith is ultimately the acceptance of the divine authority of the Manifestations of God.[8] In the religion's view, faith and knowledge are both required for spiritual growth.[8] Faith involves more than outward obedience to this authority, but also must be based on a deep personal understanding of religious teachings.[8] By faith is meant, first, conscious knowledge, and second, the practice of good deeds.[9] Buddhism[edit] Faith (Pali: Saddhā, Sanskrit: Śraddhā) is an important constituent element of the teachings of Gautama Buddha— in both the Theravada and the Mahayana traditions. a conviction that something isa determination to accomplish one's goalsa sense of joy deriving from the other two Christianity[edit]

Montagu House Montagu House or Montague House may refer to: in England Montagu House, Bloomsbury, the first home of the British Museum, also known as Montague HouseMontagu House, Portman Square, built for Elizabeth Montagu on Portman SquareMontagu House, Whitehall, another London mansion in the United States Henry Montague House, Kalamazoo, Michigan, listed on the National Register of Historic Places in Australia Monty House (Montague Grant House, born 1946), Western Australian politician self-regulating (ghost machine) 1. The holon 1.1 The organism in its structural aspect is not an aggregation of elementary parts, and in its functional aspects not a chain of elementary units of behaviour. 1.2 The organism is to be regarded as a multi-levelled hierarchy of semi-autonomous sub-wholes, branching into sub-wholes of a lower order, and so on. 1.3 Parts and wholes in an absolute sense do not exist in the domains of life. 1.4 Biological holons are self-regulating open systems which display both the autonomous properties of wholes and the dependent properties of parts. 1.5 More generally, the term "holon" may be applied to any stable biological or social sub-whole which displays rule-governed behaviour and/or structural Gestalt-constancy. 2. 2.1 Hierarchies are "dissectible" into their constituent branches, on which the holons form the nodes; the branching lines represent the channels of communication and control. 3. 3.4 The canon determines the rules of the game, strategy decides the course of the game. 4. 5.