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Divine law

Divine law is any law, understood as deriving from a transcendent source, such as the will of God or gods, in contrast to man-made law. Divine laws are regarded as superior to man-made laws, sometimes due to an understanding that their source has resources beyond human knowledge and human reason, they are accorded greater authority, cannot be changed by human authorities. Divine laws are noted for their inflexibility. Divine laws are understood as beyond the authority of humans to change; the introduction of interpretation into divine law is a controversial issue, since believers place high significance on adhering to the law precisely. Opponents to the application of divine law deny that it is purely divine and point out human influences in the law; this element of human influence is understood as incorporating some degree of fallibility. These opponents characterize such laws as belonging to a particular cultural tradition. Adherents of divine law, on the other hand, are sometimes reluctant to adapt divine laws to cultural contexts.

Divine law may be transmitted through several mediums. Most that are transmitted through religious texts. Medieval Christianity understood there to be three kinds of laws: divine law, natural law, man-made law. Others, on the other hand, understand natural law as a subset of divine law delivered through general revelation from a creator deity. Theologians have debated the scope of natural law, with the Enlightenment encouraging greater use of reason and expanding the scope of natural law and marginalizing divine law in a process of secularization; some people may understand themselves as receiving guidance through prayer or conscience, although the moral authority of these methods of transmission are much lower. Since the authority of divine law is rooted in its source, the origin and transmission history of divine law are important. There are conflicts between secular understandings of justice or morality and divine law. Religious law, such as canon law, includes both divine law and additional interpretations, logical extensions, traditions.

In Thomas Aquinas's Treatise on Law, divine law comes only from revelation or scripture, hence biblical law, is necessary for human salvation. According to Aquinas, divine law must not be confused with natural law. Divine law is and natural law, but it can be positive law. Biblical law in Christianity Glossary of ancient Roman religion § ius divinum Law and religion Mitzvah Morality and religion Regulative principle of worship, debate over the scope of divine law in 17th-century English Christian practices Rule according to higher law Sharia, Islamic law Theocracy Catholic Encyclopedia: Moral Aspect of Divine Law

Blessed Are...

Blessed Are... is a 1971 album by Joan Baez, her last with Vanguard Records. It included her hit cover of The Band's "The Night They Drove Old Dixie Down", songs by Kris Kristofferson, the Beatles, Jesse Winchester and The Rolling Stones, as well as a significant number of Baez' own compositions. Like its immediate predecessors, the album was recorded in Nashville, had a decidedly country feel; the original vinyl version was released as a double album, which included a bonus 7" 33​1⁄3 rpm record which included the songs "Maria Dolores" and Woody Guthrie's "Deportee", which she dedicated to the farmers of the world, adding, "May they soon cease to be victims." On CD pressings, these two tracks are on a separate disc, as the Red Book standards prohibit fitting them on a single, 80-minute disc. It would be Baez' final studio album for Vanguard, her label of the previous eleven years, as she was to sign with A&M in early 1972. All tracks composed by Joan Baez.

Bodrog

The Bodrog is a river in eastern Slovakia and north-eastern Hungary. It is a tributary to the river Tisza; the Bodrog is formed by the confluence of the rivers Ondava and Latorica near Zemplin in eastern Slovakia. It crosses the Slovak–Hungarian border at the village of Felsőberecki in Hungary, Streda nad Bodrogom in Slovakia, where it is the lowest point in Slovakia, continues its flow through the Hungarian county Borsod-Abaúj-Zemplén, until it meets the river Tisza, in Tokaj. A town along its course is Sárospatak, in Hungary, its length is 67 km. Its watershed area is 13,579 km ²; the river is rich in fish

Seefeel (album)

Seefeel is the self-titled fourth studio album by the British band Seefeel, released 31 January 2011 on Warp. The album received favorable reviews. Seefeel was released in the United Kingdom on 31 January 2011, it was released on compact disc and digital download. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album has received an average score of 72, based on 14 reviews indicating "generally favorable reviews". All tracks are written by Mark Clifford except. Credits adapted from Seefeel compact disc booklet Seefeel – creator, performer Mark Clifford – producer Zavoloka – design Noel Summervillemastering Fenk – photography 2011 in music List of 2011 albums

Lucien Clergue

Lucien Clergue was a French photographer. He was Chairman of the Academy of Fine Arts, Paris for 2013. Lucien Clergue was born in France. At the age of 7 he began learning to play the violin, after several years of study his teacher admitted that he had nothing more to teach him. Clergue was from a family of shopkeepers and could not afford to pursue further studies in a college or university school of music, such as a conservatory. In 1949, he learned the basics of photography. Four years at a corrida in Arles, he showed his photographs to Spanish painter Pablo Picasso who, though subdued, asked to see more of his work. Within a year and a half, young Clergue worked on his photography with the goal of sending more images to Picasso. During this period, he worked on a series of photographs of travelling entertainers and harlequins, the « Saltimbanques », he worked on a series whose subject was carrion. On November 4, 1955, Lucien Clergue visited Picasso in France, their friendship lasted nearly 30 years until Picasso's death.

Clergue's autobiographical book, Picasso My Friend, looks back on important moments of their relationship. In 1968, with his friend Michel Tournier, Clergue founded the Rencontres d’Arles photography festival, held annually in July in Arles, he exhibited his work at the festival during the years 1971–1973, 1975, 1979, 1982–1986, 1989, 1991, 1993, 1994, 2000, 2003 and 2007. Clergue illustrated books, among them a book by writer Yves Navarre. Clergue took many photographs of the gypsies of southern France, was instrumental in propelling the guitarist Manitas de Plata to fame. Clergue's photographs are in the collections of private collectors, his photographs have been exhibited in over 100 solo exhibitions worldwide, with noted exhibitions such as in 1961, at the Museum of Modern Art New York, the last exhibition organized by Edward Steichen with Lucien Clergue, Bill Brandt and Yasuhiro Ishimoto. Museums with large collections of his work include The Fogg Museum at Harvard University and the Museum of Fine Arts, Boston.

His work, Fontaines du Grand Palais, is in Museo cantonale d'arte of Lugano. His photographs of Jean Cocteau are on permanent display at the Jean Cocteau Museum in Menton, France. In the U. S. an exhibition of the Cocteau photographs was premiered at New York City. In 2007, the city of Arles honored Lucien Clergue and dedicated a retrospective collection of 360 of his photographs dating from 1953 to 2007, he received the 2007 Lucie Award. He was named Knight of the Légion d'honneur in 2003 and elected member of the Academy of Fine Arts of the Institute of France on May 31, 2006, at the same time as a new section dedicated to photography was created. Clergue was the first photographer to enter the Academy to a position devoted to photography, he was Chairman of the Academy of Fine Arts for 2013. Lucien Clergue was married to the art curator Yolande Clergue, founder of The Fondation Vincent van Gogh Arles, he was the father of two daughters: Anne Clergue, a curator of contemporary art who has worked at Leo Castelli Gallery, Olivia Clergue, a handbag fashion designer whose godfather was Pablo Picasso.

Corps mémorable, Pierre Seghers editions, Paris, 1957. Poems by Paul Éluard, cover by introductory poem by Jean Cocteau. Re-released in 1960 without Cocteau’s poem in 1963 in a German version where censors imposed changes to one of the dozen photos, it was again re-released in 1965 with all the text in black. In 1969, an updated edition with added photos and new marquetry was published. In 1996, on the occasion of the poet's centenary, another edition was published with new photos and a marquette designed by Massin. In 2003, a final edition was released. An exposition organized by the Carré d'Art of Nîmes at the end of 2006 celebrated the 50-year anniversary of this legendary work. Poésie Photographique = Photographic Poetry. Munich, Germany: Prestel Publishing, 2003. Edited by Eva-Monika Turck. ISBN 3-7913-2850-6. With a foreword by Manfred Heiting and a contribution by Ivo Kranzfelder. English and German editions. Langage des Sables, Marseilles, 1980, ISBN 2-902634-08-0 Portraits, Actes Sud, Arles, 2005, ISBN 2-7427-5423-7 Toros Muertos published in the U.

S. by Brussel & Brussel. This was a 48-page collection of images of the Spanish bullfights. Brasilia. Hatje Cantz, Germany 2013, English language text: ISBN 978-3-7757-3313-7 Portfolio and recent work by Lucien Clergue on Anne Clergue's website You can rent an exhibition of Lucien Clergue through Exposare, http://www.exposare.com/ Bibliography and Artwork

Jabab

Jabab is a Syrian village located in Al-Sanamayn District, Daraa. According to the Syria Central Bureau of Statistics, Jabab had a population of 7,699 in the 2004 census. In 1596 it appeared in the Ottoman tax registers under the name of Jib, being part of the nahiya of Butayna in the Qada Hauran, it had an Muslim population consisting of 15 households and 5 bachelors. They paid a fixed tax-rate of 40% on agricultural products, including wheat, summer crops and bee-hives, in addition to occasional revenues and winter pasture. 1/6 of this was Waqf income. In 1838, it was noted as a ruin, situated "the Nukra, east of Al-Shaykh Maskin". Bosra-map.