Secrets of a Soul is a 1926 silent German drama film directed by Georg Wilhelm Pabst. Martin Fellman, a learned professor, experiences nightmares that make him believe he is going insane, he fears. He hires a psychiatrist, to help him work out his psychoses. Werner Krauss as Martin Fellman Ruth Weyher as Seine Frau Ilka Grüning as Die Mutter Jack Trevor as Erich Pavel Pavlov as Dr. Orth Hertha von Walther as Fellmans Assistentin Renate Brausewetter as Dienstmädchen Colin Ross as Kriminalkommissar Lili Damita Secrets of a Soul's producer Hans Neumann was a firm believer in the theories of Sigmund Freud and tried to get Freud to participate in the making of the film. Freud did not respond, so he hired Karl Abraham, a close associate of Freud's, as an adviser on the project, to help Neumann make the most psychologically realistic film possible; the film was shot between September and November 1925. The film was released in Berlin on 24 March 1926. From retrospective reviews, Tom Milne in the Monthly Film Bulletin stated the film is split into "roughly three unequal parts" commenting that the "first and best, combining psychological subtlety and stark dramatic effect in the manner, to become Pabst's trademark, is the opening sequence" while calling the final sequence of the film "truly hideous final sequence, a tacked-on happy ending."
Milne concluded that the film sees Pabst "engaged on a trial run for the much more integrated approach to the unconscious and its aberrations which lowered in The Love of Jeanne Ney and Pandora's Box."Troy Howarth commented in his book Tome of Terror: Horror Films of the Silent Era that the film was "a reasonably compelling psychological thriller" and that "Krauss is too old for the part, which requires the viewer to believe that he's married to a childhood sweetheart 20 years younger than he is." Secrets of a Soul on IMDb
In Exile is a motet by Herbert Sumsion, for decades organist at Gloucester Cathedral. He set in 1981 a biblical text from Psalm 137 in English, beginning "By the waters of Babylon", scored for double choir a cappella; the motet was published by Basil Ramsey. Sumsion set in 1981 a translation of part of Psalm 137, expressing the distress of the Israelites in exile and captivity in Babylon after the destruction of the Solomon's Temple in Jerusalem. Sumsion selected Psalms 137:1–6 for his composition, it was premiered as part of [the Three Choirs Festival that year by the Donald Hunt Singers at the Gloucester Cathedral. Sumsion knew Gloucester Cathedral's acoustics well, as he was a chorister there from age nine, a pupil of Herbert Brewer, cathedral organist from 1928 to 1967, he wrote the motet for a double choir, both SATB. It is written in B♭ minor, beginning in 34 time, marked Andante. Coro II begins with wave-like flowing motifs on a vowel "ah". Marked legato and pianissimo. After three measures, Coro I enters in homophony, marked doloroso.
They carry the line "By the waters of Babylon we wept. The line is repeated with the choirs switching. For the continuation "when we remember'd thee O Zion", Coro I leads the text again; the scene between the captives and the guards is set with dramatic intensity, but the sorrowful beginning is repeated in text and music as a conclusion. A reviewer summarized that the "voices reproduce the effects of restless waters" in a piece, "melodically rich interesting and moving"; the psalm setting is suitable for Anglican Evensong, for programs around the topic of exile. It was recorded in 1999 as part of English Choral and Organ Music, sung by Donald Hunt Singers conducted by Donald Hunt, along with works by Sumsion, Herbert Howells, Gerald Finzi and Edward Elgar. Hunt conducted the Worcester Cathedral Choir in 2004 as part of the album An English Choral Tradition, along with Magnificat and Nunc dimittis for St Paul's Cathedral by Herbert Howells and the Mass in G minor by Ralph Vaughan Williams. Works cited Anthony.
The Three Choirs Festival: A History. Boydell & Brewer. P. 290. ISBN 978-1-78-327209-9. Miller, Sarah Bryan. "St. Louis Chamber Chorus excels in songs of exile". St. Louis Post. Retrieved 22 January 2018. Sumsion, Herbert. In Exile. Basil Ramsey. "Donald Hunt / Worcester Cathedral Choir / An English Choral Tradition". AllMusic. 2004. "In Exile". Hyperion. 2012
939 Isberga is a background asteroid from the inner asteroid belt near the region of the Flora family. It was discovered from Heidelberg on 4 October 1920 by Karl Wilhelm Reinmuth; as was his common practice, Reinmuth gave the asteroid a feminine name without reference to any specific person. Isberga rotates with a period of 2.9173 hours. It is suspected to be a binary asteroid, due to a second periodicity observed in its lightcurve from 24 Feb to 4 Mar 2006; the secondary object has an orbital period of 26.8 hours. Asteroids with Satellites, Robert Johnston, johnstonsarchive.net Asteroid Lightcurve Database, query form Dictionary of Minor Planet Names, Google books Asteroids and comets rotation curves, CdR – Observatoire de Genève, Raoul Behrend Discovery Circumstances: Numbered Minor Planets - – Minor Planet Center 939 Isberga at AstDyS-2, Asteroids—Dynamic Site Ephemeris · Observation prediction · Orbital info · Proper elements · Observational info 939 Isberga at the JPL Small-Body Database Close approach · Discovery · Ephemeris · Orbit diagram · Orbital elements · Physical parameters
USS Orvetta was built for the US Shipping Board as Tampa in 1920 by the Oscar Daniels Co. Tampa, Fla. and acquired by the United States Navy on a bareboat charter from the Maritime Commission 4 April 1944. She was renamed Orvetta and converted for military service as a barracks ship by the Matson Navigation Co. San Francisco. G. L. Armstrong, in command. By 18 June Orvetta had reported for duty with Pacific, she operated first with ServRon 8. As the war moved west and north from the south Pacific, she shifted to ServRon 10 to provide housing facilities at advanced bases. By the end of the war she was in the Philippines, anchored in San Pedro Bay. Following the signing of the official surrender documents, Orvetta steamed north to Okinawa, thence to Shanghai, arriving 30 September, she remained at Shanghai until 10 May 1946 when she was taken in tow by USS Serrano for return to the Philippines. Arriving at Subic Bay 18 May she continued to serve as, a barrack ship until decommissioned at the end of the year.
Struck from the Naval Register 10 June 1947, she was returned to the Maritime Commission, at Subic, 26 January 1948. Four months she departed for the United States and was sold for scrap in early 1949; this article incorporates text from the public domain Dictionary of American Naval Fighting Ships. The entry can be found here. Photo gallery of USS Orvetta at NavSource Naval History USS Orvetta
Various forms of witchcraft and divination are mentioned in the Hebrew Bible in a disapproving tone. The Torah assigns the death penalty to practitioners of certain forms of divination. According to Ann Jeffers, necromancy was practiced throughout Israel's history, as evidenced by the presence of laws forbidding it; the Masoretic Text forbids: nahash. The verb form can be extended to mean whispering. Onan. Kashaph; the Septuagint renders the same phrase as pharmakia. Being a ba'al ob; the corresponding parts of the Septuagint refer to eggastrimuthos.. This term is used to describe the Witch of Endor, whom Saul enlists to summon the shade of Samuel in 1 Samuel 28 being a yidde'oni. Khabar kheber. Micah 5:12 expresses that as specified, will be eliminated among those of Israel. Deuteronomy 33:8-10 refers to the Levites' use of the Urim and Thummim and various forms of sacrifice as instruments of divination to determine guilt and innocence in law cases; the silver chalice, placed in Benjamin's sack when he leaves Egypt is described as being used by Joseph for divination, taken as a reference to its use for scrying.
Numbers 5. 1 Samuel 28: Saul enlists a woman to summon the spirit of the deceased prophet Samuel Many of these condemnations come from Deuteronomy 18:9-14, the only part of the Hebrew Bible referring to legal precepts which portrays these forms of divination as of foreign origin. Leviticus makes no such claim; the exact difference between the three forbidden forms of necromancy is a matter of uncertainty. Rashi describes the doresh el ha-metim as a person who would sleep in cemeteries, after having starved themselves, in order to become possessed. Christian views on magic Daemonologie Halakha Jewish views on astrology Mediumship Practical Kabbalah Semitic neopaganism