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Emperor Sujin

Emperor Sujin known as Mimakiirihikoinie no Mikoto in the Kojiki, Mimakiiribikoinie no Sumeramikoto or Hatsukunishirasu Sumeramikoto in the Nihon Shoki was the tenth Emperor of Japan. While Sujin is the first emperor that historians state might have existed, he is still referred to as a "legendary emperor" due to a lack of information available. Both the Kojiki, the Nihon Shoki record events that took place during Sujin's alleged lifetime; this legendary narrative tells how he set up a new shrine outside of the Imperial palace to enshrine Amaterasu. He is credited with initiating the worship of Ōmononushi, expanding his empire by sending generals to four regions of Japan in what became known as the legend of Shidō shogun; this Emperor's reign is conventionally assigned the years of 97 BC – 30 BC. During his alleged lifetime, he fathered twelve children with two consorts. Sujin chose his future heir based on dreams two of his sons had, in this case, his younger son became the next emperor upon his death in 30 BC.

Like other emperors of this period, the location of Sujin's grave if it exists is unknown. He is traditionally venerated at the Andonyama kofun in Nara. There is a consensus that if this figure did exist, he ruled or lived than the dates ascribed to him; the Japanese have traditionally accepted this sovereign's historical existence, a kofun for Sujin is maintained. There remains no conclusive evidence though that supports this historical figure reigning; the following information available is taken from the pseudo-historical Kojiki and Nihon Shoki, which are collectively known as Kiki or Japanese chronicles. These chronicles include legends and myths, as well as potential historical facts that have since been exaggerated and/or distorted over time; the records state that Sujin was born sometime in 148 BC, was the second son of Emperor Kaika. Sujin's mother was Ikagashikome no Mikoto, a concubine of Sujin's grandfather Emperor Kōgen. Before he was enthroned sometime in 97 BC, his pre-ascension name was either Prince..

Mimakiirihikoinie no Mikoto, Mimakiiribikoinie no Sumeramikoto, or Hatsukunishirasu Sumeramikoto. The former name is used in the Kojiki. Sujin was enthroned sometime in 97 BC, during the 3rd year of his reign it is the recorded that he moved the capital to Shiki, naming it the Palace of Mizu-gaki or Mizugaki-no-miya; the Kiki records that pestilence struck during the 5th year of Sujin's rule, killing half the Japanese population. The following year peasants abandoned rebellion became rampant. To help relieve the suffering of his people, the Emperor turned his attention towards the gods. At the time, both the sun goddess Amaterasu and the god Yamato-ōkunitama were enshrined at the Imperial Residence. Sujin became overwhelmed with having to cohabit with these two powerful deities and set up separate enshrinements to house them. Amaterasu was moved to Kasanui village in Yamato Province, where a Himorogi altar was built out of solid stone. Sujin placed his daughter Toyosukiiri-hime in charge of the new shrine.

Yamato-ōkunitama was entrusted to another daughter named Nunakiiri-hime, but her health began to fail shortly afterward. It is recorded that Nunakiiri-hime became emaciated after losing all of her hair, which rendered her unable to perform her duties; these events still did not alieve the ongoing plague that swept the empire, so Sujin decreed a divination to be performed sometime during the 7th year of his reign. The divination involved him making a trip to the plain of Kami-asaji or Kamu-asaji-ga-hara, invoking the eighty myriad deities. Sujin's aunt Yamatototohimomoso-hime acted as a miko, was possessed by a god who identified himself as Ōmononushi; this god claimed responsibility for the plague, announcing that it would not stop until he was venerated. Although the Emperor propitiated to the god, the effects were not immediate. Sujin was given guidance in the form of a dream to seek out a man named Ōtataneko and appoint him as head priest; when he was found and installed, the pestilence subsided allowing five cereal crops to ripen.

As an extra abundance of caution, the Emperor appointed Ikagashikoo as kami-no-mono-akatsu-hito or one who sorts the offerings to the gods. To this day the Miwa sept of the Kamo clan claim to be descents from Ōtataneko, while Ikagashikoo was a claimed ancestor of the now extinct Mononobe clan. In his 10th year of rule, Sujin instituted four of his Generals to the Four Cardinal Quarters in what would be known as the Shidō shogun; these areas were all centered around the capital in Yamato Province. Sujin instructed his generals to quell those. One of the four shoguns, sent to the northern region was named Ōhiko, Emperor Kōgen's first son. One day a certain maiden sang him a cryptic song, only to disappear afterwards. Sujin's aunt Yamatototohimomoso-hime, skilled at clairvoyance interpreted this to mean that Take-hani-yasu-hiko was plotting an insurrection. Yamatototohimomoso pieced it together from overhearing news that Take-hani-yasu-hiko's wife came to Mount Amanokaguya, took a clump of earth in the corner of her neckerchief.

Emperor Sujin gathered his generals in a meeting upon hearing the news, but the couple had mustered troops to t

Arlene Bishop

Arlene Bishop is a Canadian lyricist, screenwriter and singer-songwriter. Arlene Bishop was born in Churchill and raised in Ottawa, Ontario, she resides in Toronto. As a recording artists Bishop has placed several songs in television. Most notably her song "98 Points" has appeared in New Waterford Girl, The Michael Jackson Story and The Man in the Mirror for VH1; as a first time music producer Bishop, released "Begin Again" with two parts: Part One as a voice production with acoustic guitar and Part Two with an array of special guests that included Amin Bhatia, Blair Packham, Simon Law and Will Ackerman. The resulting album is titled "Twenty Four is Twelve Twice or Twenty Four for Short". In 2017 Bishop assembled a vocal orchestra she called The Spirit of Adventure and recorded a live concert album called "Together Tonight" and in 2019 she discovered and released a bootleg recording from 1992 at The Cabana Room in Toronto; as a screenwriter Bishop penned the Fringe Festival one-woman play Joan of Montreal, which became Brigitte Gall's Joan of Montreal for The Comedy Network.

She has written several unproduced screenplays. As an experimental artist she created the "I, Butterfly" digital collage for Begin Again and as a videomaker created an animated video series for the same CD; as a theme lyricist Arlene Bishop has written for Pandalian, Beyblade, Beyblade: Metal Fusion and Jane and the Dragon. As a guest singer she has appeared on recordings by Marc Nadjiwan, Scott Dibble and Barenaked Ladies, her songs and co-writes have appeared on recordings by Blair Packham, John Alcorn, Suzie Vinnick, Jackie Richardson and Marie Rottrova. Pinky Spin Another One Cherry Moon Small Girlish Hand I Can't Stand It Black Cat RabbitSnarky Girlpop NV 98 Points Hurricane Bow Before Your Love Six Little Angels Eleven Seconds Eddie Standing Ready My Way of Saying Goodbye Sympathy Irresponsible Thing Human BeingCut a Man's Heart Out Metaphor For Your Life Cut A Man's Heart Out Invisible Woman Ruin Me One Shoe Arctic Wolf Bend the River Insomniac Half Plus Half More Au Revoir Superstar In Context Cut A Man's Heart Out Twenty Four is Twelve Twice or Twenty Four for Short Save Me My Time Will Come Beehive Let Them Swing Now Once it Changes Get Back Home Window Your Name Carved If There's a God Ring of Truth Begin AgainTogether Tonight: Live in Concert with the Spirit of Adventure Nothing Confession Long Slow Kiss Terminate Someone I Used to Love Psychic Sparrow Reincarnation I Would Do It Again Hummery The Moon Something Lovers and Satan's Basement I'm One Thank YouThe Cabana Room Bootleg Black Cat When it was just me and Jimmy Half Plus Half More Bad News Boys Arctic Wolf Well, any birthdays today?

Human Being Of course it's not a pleasure Bend the River Big Ending Arlene Bishop

2012–13 Egyptian Premier League

The 2012–13 Egyptian Premier League was the fifty-sixth season of the Egyptian Premier League since its establishment in 1948. Following the 2013 Egyptian coup d'état on 3 July 2013, the season was suspended for security reasons, a decision was reached to cancel the remainder of the season. Thus, the championship play-off and the relegation play-off were not played. A total of 64 clubs have played in the Egyptian Premier League from its inception in 1948–49 up to and including the 2012–13 season, but only two clubs have been members of the Egyptian Premier League for every season since its inception. They are Al Zamalek. Most of this season's matches and the 2011–12 season have been postponed, because of the Egyptian revolution; the following 18 clubs are competing in the Egyptian Premier League during the 2012–13 season

Annabel Soutar

Annabel Soutar is an award-winning Canadian playwright who specializes in documentary theater. Annabel Soutar was born in Westmount, Quebec, to Ian Alexander Soutar, an investment banker and philanthropist, Helgi Soutar, she has James Soutar and Adam Soutar. She attended Princeton University where she studied English and Theatre and discovered the early documentary plays of Anna Deavere Smith, whose plays influenced her to create drama which focuses on social action and critique. In 1998, Soutar and her husband actor Alex Ivanovici began work on the play Novembre by interviewing people about the 1998 provincial election in Quebec. Lacking an official title for this endeavor and Ivanovici came up with the name "Porte Parole" which has since become an award-winning Montreal company. Soutar is still the artistic director of Projet Porte Parole and is focused on producing theater of immediate social relevance. Soutar's work explores contemporary issues such as the high-tech industry, the health care system in Quebec, the 2006 collapse of the De la Concorde overpass in Montreal that left five people dead.

Soutar gained national acclaim for her play Seeds, a re-enactment of the legal battle between Percy Schmeiser and Monsanto Inc, called "one of the most important new works to appear on the Canadian stage in recent times." Most her play The Watershed was commissioned to appear as part of the cultural events associated with the 2015 Pan American Games. Soutar's work is notable both for its exploration of contemporary issues and for its inclusion of herself, her friends, her family as characters. In The Watershed, for instance, played by Kristen Thomson, leads her family on a cross-country journey in an effort to understand why a federal omnibus bill eliminated funding for the Experimental Lakes Area, her children are played by other actors while actor Alex Ivanovici, plays himself. Her theatrical style incorporates elements of both epic theater and naturalism and her scripts are compiled by recreating dialogue from published transcripts or personal interviews. Soutar has been nominated for several awards by the Soirée des Masques de l'Académie québécoise, Académie québécois du théâtre, Le Prix Michel Tremblay.

Soutar has had two daughters with Ivanovici and Ella. Soutar, Seeds. Talonbooks, British Columbia. 2012. Soutar, The Watershed. Talonbooks, British Columbia. 2015

Syllabic verse

Syllabic verse is a poetic form having a fixed or constrained number of syllables per line, while stress, quantity, or tone play a distinctly secondary role — or no role at all — in the verse structure. It is common in languages that are syllable-timed, such as Japanese or modern French or Finnish — as opposed to stress-timed languages such as English, in which accentual verse and accentual-syllabic verse are more common. Many European languages have significant syllabic verse traditions, notably Italian, Spanish and the Baltic and Slavic languages; these traditions permeate both folk and literary verse, have evolved over hundreds or thousands of years. It is implied — but it is not true — that word stress plays no part in the syllabic prosody of these languages. Indeed in most of these languages word stress is much less prominent than it is in, English or German. Broadly speaking, syllabic meters in these languages follow the same pattern: Line length: The line is defined by the number of syllables it contains.

Hemistich length: All but the shortest lines are divided into part-lines. Hemistich markers: The ends of the hemistichs are marked and contrasted by an obligatory stress: a specific syllable position near the end of each hemistich must be filled by a stressed syllable, this position differs between the first and second hemistich, so that they are audibly distinct. Marker reinforcement: Often the syllables before or after the obligatory stresses are obligatorily unstressed to further emphasize the stress. Other structure: Further rules may be imposed, such as additional word-boundary constraints on certain syllabic positions, or allowances for extrametrical syllables. Linguistically, the most significant exceptions to this pattern are in Latvian and Serbian verse which, instead of stress, retain the older quantitative markers; because all of these variables — line length and length of hemistichs, obligatory stress positions, etc. — differ in detail among various verse traditions. Humans can perceive the number of members in a small set without counting them or mentally breaking them into subsets.

Syllabic verse in English is quite distinct from that in most other languages structurally, perceptually. English syllabics have not evolved over time from native practice, but rather are the inventions of literate poets in the 20th century. Structurally, syllable counts are not bound by tradition very long lines are not divided into hemistichs, the verse exhibits none of the markers found in other syllabic meters, relying for their measure on total count of syllables in the line. Perceptually "it is doubtful that verse lines regulated by nothing more than identity of numbers of syllables would be perceived by auditors as verse... Further, absent the whole notion of meter as pattern, one may question whether syllabic verse is'metrical' at all." In English, the difficulty of perceiving brief isosyllabic lines as rhythmically equivalent is aggravated by the inordinate power of stressed syllables. In English, unstressed syllables are much weaker and shorter than stressed syllables, their vowels are phonetically reduced.

Moreover auditors tend to perceive word stresses to fall at equal intervals in time, making English a perceptually "stress-timed" language. So the conventional patterns of accentual and accentual-syllabic English verse are perceived as rhythmic, whereas to the listener, syllabic verse is not distinguishable from free verse, thus syllabic technique does not — in English — convey a metrical rhythm. A number of English-language poets in the Modernist tradition experimented with syllabic verse; these include Dylan Thomas, Louis Zukofsky, Kenneth Rexroth and Thom Gunn. Some more traditional poets have used syllabics, including Elizabeth Daryush and Robert Bridges whose Testament of Beauty is the longest syllabic poem in English. Dylan Thomas's "In my Craft or Sullen Art" is an example of syllabic verse in English: it has seven syllables in each line, but no consistent stress pattern; because of its consistent short lines marked with end-rhyme, these lines could conceivably be heard as 7-syllable gr

Cleorodes

Cleorodes is a monotypic moth genus in the family Geometridae described by Warren in 1894. Its single species, Cleorodes lichenaria, the Brussels lace, was first described by Johann Siegfried Hufnagel in 1767; the species can be found in Europe. The wingspan is 31–38 mm; the length of the forewings is 14–18 mm. The grey forewings only show a greenish tint when the moth is newly hatched – this quickly fades into a pale brown tint; the forewings are dark. The fringes are white patched. There are two black cross lines; the outer cross line is characteristically shaped. A serrated black cross line is located on the rear wings; the hindwing margin contains a few crescent-shaped lines. The antennae of the males are combed on both sides, those of the females are filiform; the moths fly in one generation from June to August.. The larvae feed on lichens. ^ The flight season refers to Belgium and the Netherlands. This may vary in other parts of the range. Brussels lace on UKMoths Lepidoptera of Belgium Lepiforum e.

V. Vlindernet.nl