955 resultados para Books of Samuel, Davidic dynasty, dynastic promise, Judean royal ideology, Deuteronomistic history


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In a study of sandfly species in the Samuel Ecological Station, in Porto Velho, Rondônia State, the following species were identified: Lutzomyia brasiliensis, L. evangelistai, L. gomezi, L. anduzei, L. flaviscutellata, L. richardwardi, L. shawi, L. umbratilis, L. yuilli yuilli, L. dendrophyla, L. puctigeniculata, L. shannoni, L. amazonensis, L. ayrozai, L. carrerai carrerai, L. claustrei, L. davisi and L. lainsoni. L. richardwardi, L. umbratilis and L. c. carrerai were the predominant species captured of man forming 60.30% of the total catch. L. richarwardi was the most frequent at ground level (29.9%), while L. umbratilis predominated in the canopy (48.5%).

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Data on frequency and seasonal distribution of culicinae were recorded in the forest near a recently constructed hydroelectric plant - Samuel, in the State of Rondônia, Brazilian Amazon. Collections were performed almost daily from August 1990 to July 1991, between 6 and 9 p.m., using human bait. A total of 3,769 mosquitoes was collected, representing 21 species, including seven new records for the State of Rondônia. The most frequently collected species were Aedes fulvus (25%) and Ae. pennai (12.3%). The highest density for the majority of mosquito species coincided with the rainy season.

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The present article focuses on two stories dealing with acts of big blood shed. I Sam 22,6-23 relates the massacre of the priests of Nob; II Sam 21,1-14 is about the execution of seven descendents of Saul, as atonement for Saul's attempt to exterminate the Gibeonites. Most researchers consider both stories or at least certain parts of them old.1 For both stories few verses are regarded as secondary. In this paper I try to reassess the analysis of these stories and will point to indices favoring a late date of origin for both of them. They concern the language in use, intertextual connections and particular motifs. A further indication consists in the fact that the reported events of the stories lack significant resonance in the corpus of the Hebrew Bible. There are only two texts, I Sam 2,33 and Ps 52,2, which allude or refer to I Sam 22,6-23.With regard to the importance of the related events and acts this silence in the Biblical context is astonishing. Interestingly, also in the Book of Chronicles one does not find any allusions to these stories. This raises the question whether the latter were composed after the formation of the book of Chronicles.

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Concerning the request of the petitioners, former residents of Newark (present-day Niagara-on-the-Lake) in Upper Canada, for relief for the loss of their property when they were compelled to flee Canada after having aided the United States Army in the War of 1812.

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Indenture of release regarding a loan of 12, 500 pounds which Samuel Zimmerman (deceased) is said to have lent and advanced to the Woodstock and Lake Erie Railway and Harbour Company. This is put forward by the executors who include: Joseph A. Woodruff, Richard Woodruff, John L. Ranney and Richard Miller. This document releases and exonerates the Railway Company from any debts to the executors. [The outside of the document says 1857, but the actual date is Feb. 10, 1858].

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Certificate measuring 64 cm. x 48 cm. on the occasion of Samuel DeVeaux Woodruff’s retirement from the Water Works Commission of the City of St. Catharines. Mr. Woodruff served the commission from 1875 to 1899. He also served as chairman of the commission. This is signed by Lucius S. Oille, George C. Carlisle and Connolly B. Hare (members of the committee), Jan. 2, 1900.

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UANL

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Literary Meals in Canada étudie Pig Tails ’n Breadfruit d'Austin Clarke, Chorus of Mushrooms et The Kappa Child de Hiromi Goto, This Body de Tessa McWatt, ainsi que Diamond Grill de Fred Wah. Cette thèse entreprend d’établir la signification de la nourriture dans ces récits, ce qu'elle permet aux auteur(e)s d'exprimer par rapport à divers thématiques—les structures sociales, la culture, le langage, ou encore la subjectivité—et comment ils/elles établissent des connexions entre elles, et quelles conclusions ils/elles en tirent. En d'autres termes, cette thèse s'interroge sur les stratégies utilisées par ces auteur(e)s lorsqu'ils écrivent de la “nourritéra-ture.” Ma lecture de ces oeuvres est aussi ancrée au sein d'une conversation sur la nourriture au sens large: que ce soit dans les cercles académiques, dans les supermarchés, par l'intermédiaire des étiquettes, ou dans les médias. J'examine comment mon corpus littéraire répond, infirme, ou confirme les discours actuels sur la nourriture. Divisé en quatre chapitres—Production, Approvisionnement, Préparation, et Consommation—ce mémoire précise la signification du “literary supermarket” de Rachel Bowlby, en s'appuyant sur les travaux de Michael Pollan et Hiromi Goto; compare la haute cuisine d'Escoffier à la “hot-cuisine” d'Austin Clarke; recherche les connections entre l’acte de faire la cuisine et celui de l’écrire chez Luce Giard, Austin Clarke, et Fred Wah; confronte les préceptes d'Emily Post concernant les bonnes manières de la table à la cacophonie et aux bruits de mastication chez Hiromi Goto; et relie Tessa McWatt et Elspeth Probyn qui partagent, toutes deux, un intérêt et une approche à la sustentation des corps. Les textes qui composent ce corpus sont des “foodbooks” (“aliment-textes”). La nourriture, et les différentes activités qui y sont associées, y est transcrite. C’est pourquoi cette thèse accorde une grande importance aux particularités de ce moyen d'expression.

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Samuel Beckett was arguably one of the most influential writers of the 20th century. Known for his stage plays, including the renowned En attendant Godot (1948), Beckett’s contribution to the field of radio drama is often overlooked. His corpus of radio dramas included some of the most innovativeradio works of the post-World War II period. For Beckett, radio drama was not exclusively verbocentric, for he always maintained that his work was “a matter of fundamental sounds (no joke intended) made as fully as possible” (Frost 362). His (radio) drama aesthetics defined a strict hierarchy of sound whereby the dramatist balances sound effects, music and the characters’ dialogue – and the use of silence. In this essay, I examine the juxtaposition of sound and silence in Samuel Beckett’s most influential radio dramas: All That Fall, Embers, Words and Music and Cascando. In the end, this essay will show that the sounds and silence employed in Beckett’s radio dramatic works were inextricably linked, which added to the overall meaning of his dramas.