Esagil-kin-apli was the ummânū, or chief scholar, of Babylonian king Adad-apla-iddina, 1067–1046 BC, as he appears on the Uruk List of Sages and Scholars listed beside him and is best known for his Diagnostic Handbook, Sakikkū, a medical treatise which uses symptoms to ascertain etiology supernatural, prognosis, which became the received text during the first millennium. He was a “prominent citizen of Borsippa” from a learned family as he was referred to as the “son” of Assalluḫi-mansum, the apkallu, or sage, of Hammurabi’s time, ca. 1792–1750 BC. The Exorcists Manual is sometimes described as a “vade mecum” and is a compendium of the works all those aspiring to master the āšipūtu, or craft of exorcism, should be cognizant; these include exorcism rituals, royal rituals, medical knowledge and omen series. It begins, “Incipits of the Series belonging to the art of exorcism, established for instruction and testing, all to be read out.” It is composed of two manuals, the first concerning kakugallūtu, “exorcism corpus,” and išippūtu, “esoteric knowledge,” and the second of which begins on the reverse line 4 stating that what follows on lines 5 to 20 is the manual of the exorcist according to the scholar Esagil-kin-apli and goes on to list works such as the great omen series of astrological and terrestrial portents.
Subtitled the niṣirti E, “secret of Ezida,” this is extant in a Neo-Assyrian and a Neo-Babylonian copy. It provides a biographical introduction and Esagil-kīn-apli provides an explanation for the new edition of the diagnostic compendium SA. GIG and the physiognomic series Alamdimmû, which he describes “ the twin series, their arrangement is one.” Although the Catalogue of Texts and Authors credits the authorship of the two works to the god Ea, it is this catalogue together with the codicil on the Sakikkû which suggest otherwise. The catalogue opens with an index of sorts, providing incipits for each of the tablets together with the number of their lines. Šumma alamdimmû, “if the form,” contains physiognomic omens on twenty-seven tablets. In his catalogue, Esagil-kin-apli describes the work as: “... external form and appearance the fate of the man that Ea and Assaluḫi/Marduk ordained in heaven.” The term alamdimmû, “form” or “figure,” comes from the Sumerian alam.dímu. Following the first twelve tablets of the Šumma alamdimmû proper, the work is subdivided into sections beginning with Šumma nigdimdimmû, “if the appearance” or “shape,” on two tablets, whose extant copies are too fragmentary to interpret.
The section named Šumma kataduggû, “if the utterance,” on one tablet describes the consequences of utterances and habitual conduct and shares characteristics with omens from the Šumma ālu, “if a city,” terrestrial omen series. The section beginning Šumma sinništu qaqqada rabât, “if a woman’s head is large,” on two tablets provides omens based on the appearance of a woman; the Šumma liptu section, “if a spot” or “mole,” was complete on nine tablets, eight devoted to the location of blemishes on males and one on females. The final tablet, Šumma šer’ān pūt imittišu ittenebbi, “if the vein on the right side of his forehead throbs,” concerns itself with involuntary movements. In the colophons of the two extant catalogues of diagnostic and physiognomic omens, the origin of the Sakikkū, “symptoms,” is given. Esagil-kīn-apli relates that he assembled the diagnostic omens to produce the received text for the first millennium during the reign of Adad-apla-iddina, he says of these omens, “that since long ago had not been organized into a new edition but was tangled like threads and had no master edition.”
The primary purpose of the diagnosis was to identify the divine sender of the disease, as this was perceived to be a message from a deity. He applies a logical set of axioms and assumptions, including the need to inspect the symptoms of a patient in order to come up with a diagnosis, arranges the more than 3,000 entries systematically from head to foot, left to right, in the color sequence red/brown, yellow/green, black or white, two shades of uncertain hue on 40 tablets as this is the number of the god Ea who gave man diagnostic knowledge, it is divided into six chapters of unequal length and starts with a two-tablet section beginning “when the exorcist goes to the house of a sick person,” which provides the omens that one might encounter on the way such as a multi-colored pig. The second chapter, “when you approach the sick man,” is arranged a capite ad calcem, “inspection from the head to the feet,” and was attributed to the authorship of the deity Ea, it was complete in the first seven of which are devoted to the head.
The third chapter on infectious diseases, “if he is sick for one day and…” includes the course of the disease. The fourth chapter deals with neurological syndromes including epilepsy, strokes and gods and contains the few magical prescriptions contained within the work; the catalogue names the five tablets of this chapter, “if miqtu falls upon him and…,” “if a man’s face has been struck by palsy,” “if the hand of a spirit turns him into an an.ta.šub.ba,” “if Lugal.ùr.ra is born with him,” and “if he is ill and opens his mouth all the time.” The fifth chapter, consisting of five tablets treats with specific diseases such as those evidenced by skin lesions and fever. The 33rd tablet is dedicated to giving the name to a disease based upon its nature; the sixth and final chapter consisting of five tablets on the woman and infants, “if a fertile woman is pregnant,” concerns
Virginia Walcott Beauchamp was an American educator and writer, the founding coordinator of the Women's studies program at the University of Maryland, College Park. Walcott was born in Sparta, the daughter of two teachers, she earned a B. A. in English at the University of Michigan in 1942, after serving with the Red Cross during World War II, she returned to Michigan to complete an M. A. in 1948. She received a Ph. D. in English from the University of Chicago in 1955. Beauchamp moved to Greenbelt, Maryland in 1957, soon joined the staff of the Greenbelt News Review, where she would serve as a reporter, editorial writer and a member of the Board of Directors over several decades. During a two-year stint in Lagos, she helped found the American International School of Lagos in 1964. Beauchamp joined the University of Maryland faculty in the 1965 and helped to found the women's studies program, serving as its first coordinator when it was inaugurated in 1973. At the University, she helped start the Chancellor's Commission on Women's Affairs in 1971, which became the President's Commission on Women's Affairs, which she chaired from 1987 to 1990.
When she retired in 1990, Beauchamp was honored with the Outstanding Faculty Woman on Campus award. In 1976, Beauchamp was a founding member of the Women’s Action Coalition of Prince George's County, she served on the Prince George’s County Commission on Women from 1990 to 1993. Beauchamp was named to the Prince George’s County Women’s Hall of Fame in 1991 and she was inducted into the Maryland Women's Hall of Fame in 2003. Beauchamp died on February 10, 2019 at a hospice center in Harwood, Maryland of cerebrovascular disease, she was survived by three children, five grandchildren, two great-grandchildren. Beauchamp, Virginia Walcott. A private war: letters and diaries of Madge Preston, 1862-1867. Rutgers University Press. ISBN 0813512069
The legend of the Wizard Clip is a popular ghost story about an incident said to have occurred in Middleway, West Virginia in the 1790s. The story of the Wizard Clip is part of the oral history of the area, was called by Rev. Alfred E. Smith, editor-in-chief of the Baltimore Catholic Review and secretary to the late Cardinal Gibbons, "The truest ghost story told". According to the story, around 1794, a traveling stranger boarded at the house of a former Pennsylvanian named Adam Livingston, where he took ill, asked Livingston to bring a Catholic priest; the area was devoid of Catholics and no priest could be found, the Lutheran Livingston was not enthusiastic about finding one. The stranger died of his illness and was buried nearby without the benefit of a Catholic service. After the stranger died, it is said that candles would not stay lit in the room where his corpse was, sounds of horses galloping and crockery breaking were heard, burning embers jumped from the fireplace hearth. Sounds of heavy shears making clipping noises were heard in various parts of the house, all sorts of materials - fabric and boots were clipped with half-moon shapes and other figures.
According to the legend, the manifestations continued over a period years, causing great distress to the Livingston family. One repeated tale is of a visitor who wrapped her new silk cap in a handkerchief to keep it safe while in the Livingston house, but upon her departure she found the cap had been cut to ribbons. Legend holds that after Livingston implored Father Dennis Cahill, an immigrant Irish priest, in Shepherdstown, WV, to visit his house to investigate, Cahill sprinkled holy water about the house, some of the manifestations changed, a sum of money that had gone missing was deposited on the threshold of the house. Father Cahill returned with Reverend Prince Demetrius Augustine Gallitzin, who had heard of the tale of the'Clip' at his home on Conewago Township, Adams County and performed a mass at the house, after which the haunting ceased. In 1802, Livingston deeded 35 acres of his land along the Opequon Creek to the Catholic Church as "A field to sustain a priest" "for favors granted".
This parcel has since been known as'The Priest's Field'. In 1983, the Catholic Diocese of Wheeling-Charleston dedicated the Priest Field Pastoral Center on the site. Middleway, West Virginia List of ghosts Demetrius Augustine Gallitzin Bates, Robert L; the Story of Smithfield, Jefferson County, West Virginia, 1729–1905, New York, 1958. Finotti, Joseph Maria; the Mystery of the Wizard Clip, Maryland and Company, 1879. 100 Year Old Story of Wizard Clip," WV Hillbilly, 8-28-1965. Catholic Service Ends Contest Arising Over Haunted Farm," Baltimore Sun, 11-5- 1922. Mystery Befuddles the Mind, Frustrates the Rational," Washington Star, 10-31- 1978. Eerie Tale of'The Wizard Clip, I, II, III," Beckley Post Herald, 1-14, 15, 16-1969. Legend of Conspiracy? Were the Strange Happenings of Wizard Clip the Doings of Demons or Men?" Martinsburg Journal, 5-12-1984. Sketch of Manifestations of Wizard Clip Recently Found in an Old Volume, Gazette, 10-21- 1922. Wizard Clip: Historic Scene of Haunted Occurrences Researched by Sate Resident," Bluefield Daily Telegraph, 9-7-1980
Vrnjačka Banja is a town and municipality located in the Raška District of central Serbia. The population of the town is 10,065 inhabitants, while the population of the municipality is 27,527 inhabitants. Vrnjačka Banja has many hot springs with temperatures measuring that of the human body, it is home to a summer music festival Lovefest. Aside from the town of Vrnjačka Banja, the municipality includes the following settlements: According to the last official census done in 2011, the municipality of Vrnjačka Banja has 27,527 inhabitants. Population density on the territory of the municipality is 115.2 inhabitants per square kilometer. Most of its population is of Serbian ethnicity and 36.6% of the municipality’s population is urban. The ethnic composition of the municipality: The following table gives a preview of total number of registered people employed in legal entities per their core activity: Situated in a great park full of trees with charming houses, Vrnjačka Banja is the most celebrated and most popular spa town of Serbia and at same time, a attractive recreation center.
Surrounding Vrnjačka Banja are UNESCO protected medieval buildings, which serve as a reminder to early European civilization. Other nearby landmarks include the first court of the Serbian Archbishop, the Žiča Monastery and Sopoćani Monastery which both date back to the thirteenth century and the twelfth century Studenica Monastery all of which are nestled in the colorful Ibar River Valley, it owes its reputation to its therapeutic effects known to the Roman troops in the second century AD. It was upgraded by the Czech Baron Herder in 1835 after Prince Miloš Obrenović wanted it to be like Karlovy Vary, it has since received people from all of southern Europe, who came to rest or for treatment. Summers are pleasant, the winter is mild. With organized walks along the tree bordered paths, Vrnjačka Banja is an ideal place to come to for one's own salvation. Natural springs can be found on five mineral water sources well positioned in the park; the warm water is ideal for cool sufficiently reviving.
There are seven mineral springs +1 Legend in Vrnjačka Banja, from which first four are used for medical treatment: Topla voda Snežnik Slatina Jezero Beli izvor Borjak Vrnjačko vreloThe hotels are numerous and have swimming pools and halls for games. In winter, it is convenient for skiing on the Goč, just a few kilometres away. In the summer, Vrnjačka Banja is transformed into one of greatest cultural centres in Serbia: literary soirées in a nice library of the modern style, classical concerts under the column capitals and the festival of the cinema scenario; the restaurants are on the border of a water current and offer terraces under the trees of the park. The largest Opanak in the world, in the Guinness World Records since 2006, is the 3.2m shoe, size 450, weighing 222 kg, made by opančar Slavko Strugarević, from Vrnjačka Banja, Serbia. One of the famous landmarks of Vrnjačka Banja is the Bridge of Love. List of spa towns in Serbia Trstenik Airport Official website
Ricardo Siri, better known by the name Liniers, is an Argentine cartoonist. Liniers is related to viceroy Santiago de Liniers, he began drawing from a early age. "I wanted to have the only way to have it was to draw it. So we could look at it whenever we wanted to." His father was a lawyer and his mother worked at various jobs, including making slippers and little paintings. He has two siblings, who are younger, is married and has three daughters. In regards to the name he uses for his comic strips, Liniers has remarked: "Liniers is my second name. In Buenos Aires there was a viceroy named Liniers, he was something like a greatgreatgreatgrandfather. So when I began to sign my comic strips, I used the name, because I like names that do not and are appropriate to the subject –for example, the teddy bear in my comic strip is called Madariaga."He studied advertising, but decided to pursue a career in comics. His work is influenced by Patrick McDonnell, Hergé, Goscinny and Uderzo, Quino, Héctor Germán Oesterheld and Francisco Solano López, Charles Schulz and George Herriman.
He started working in fanzines moved on to magazines and newspapers. His work has been featured in Lugares, ¡Suélteme!, Hecho en Buenos Aires, Zona de Obras, Consecuencias y ¡Qué suerte!, Olho Mágico, 9-11 Artists respond, Comix 2000. Along with Santiago Rial Ungaro, Liniers published Warhol para principiantes, for Ediciones Era Naciente in 2001. Liniers appeared as a presenter at the second Pecha Kucha night in Buenos Aires, October 3, 2006. In September 1999 he started publishing a weekly strip called Bonjour in NO!, a supplement of Página/12. Bonjour is experimental and features some adult language, showcases many characters that would reappear in works. Bonjour appeared for the last time on June 27, 2002. In June 2002, fellow cartoonist Maitena got him into the Argentine newspaper La Nación, where he began a new daily strip called Macanudo, which appears on the last page of the paper. Just like Bonjour, Macanudo is experimental and deals with meta humor. Conejo de viaje is a collection of illustrated travel journals that describe his journeys through France, Germany, Spain and Antarctica.
The Big Wet Balloon, a TOON Book is the first book by Liniers published in the U. S. In 2014 the artist illustrated some covers for The New Yorker Macanudo Nº1 Macanudo Nº2 Bonjour Macanudo Nº3 Macanudo Nº4 Cuadernos 1985-2005 Lo que hay antes de que haya algo – children's book Macanudo Nº5 Macanudo Nº6 Conejo de viaje – Oops!, joint work with Kevin Johansen El Macanudo Universal - Vols. 1-5 Macanudo Nº7 Macanudismo Macanudo Nº8 Macanudo Nº9 Macanudo Nº10 El Globo Grande y Mojado and The Big Wet Balloon, a TOON Book – picture book in simultaneous Spanish and English-language editions Escrito y Dibujado por Enriqueta, LCCN 2015-4011. Logo by Kevin Johansen La Lengua Popular by Andrés Calamaro – for which Liniers won the Gardel Prize for best cover art Cosas que te pasan si estás vivo – Liniers' comic blog Liniers at Lambiek Comiclopedia The Big Wet Balloon, a TOON Book in English and Spanish. Liniers at Library of Congress Authorities, with 10 catalogue records
Youngsbury House is a Grade II listed house near Wadesmill, England. The stable block is Grade II* listed; the house was built in about 1745 by David Poole, with 97 acres of grounds, gardens landscaped by Capability Brown. David Barclay, the Quaker banker and abolitionist, bought the manor in 1769, enlarged the house. A plan by Capability Brown the following year introduced a serpentine lake. Barclay sold it in 1793, after the death of his second wife, to William Cunliffe Shawe, it passed in 1796 to Daniel Giles. In 2012, it was for sale, "offers in excess of £3,900,000"; as of 2015, it was owned by Jeremy Langmead, the former editor of Wallpaper* magazine and Esquire magazin, who used to be married to writer India Knight.. In 2017 it was sold to James Pearce who plans to restore it to its original state