The Genesis creation narrative is the creation myth of both Judaism and Christianity. The narrative is made up of two stories equivalent to the first two chapters of the Book of Genesis. In the first, Elohim creates the heavens and the Earth in six days rests on, blesses and sanctifies the seventh. In the second story, now referred to by the personal name Yahweh, creates Adam, the first man, from dust and places him in the Garden of Eden, where he is given dominion over the animals. Eve, the first woman, is created as his companion. Borrowing themes from Mesopotamian mythology, but adapting them to the Israelite people's belief in one God, the first major comprehensive draft of the Pentateuch was composed in the late 7th or the 6th century BCE and was expanded by other authors into a work like the one we have today; the two sources can be identified in the creation narrative: Jahwistic. The combined narrative is a critique of the Mesopotamian theology of creation: Genesis affirms monotheism and denies polytheism.
Robert Alter described the combined narrative as "compelling in its archetypal character, its adaptation of myth to monotheistic ends". Misunderstanding the genre of the Genesis creation narrative, meaning the intention of the author and the culture within which they wrote, can result in misreadings of the myth as history; this has inspired some believers to deny evolution. As scholar of Jewish studies, Jon D. Levenson, puts it: How much history lies behind the story of Genesis? Because the action of the primeval story is not represented as taking place on the plane of ordinary human history and has so many affinities with ancient mythology, it is far-fetched to speak of its narratives as historical at all." Although tradition attributes Genesis to Moses, biblical scholars hold that it, together with the following four books, is "a composite work, the product of many hands and periods." A common hypothesis among biblical scholars today is that the first major comprehensive draft of the Pentateuch was composed in the late 7th or the 6th century BCE, that this was expanded by the addition of various narratives and laws into a work like the one existing today.
As for the historical background which led to the creation of the narrative itself, a theory which has gained considerable interest, although still controversial, is "Persian imperial authorisation". This proposes that the Persians, after their conquest of Babylon in 538 BCE, agreed to grant Jerusalem a large measure of local autonomy within the empire, but required the local authorities to produce a single law code accepted by the entire community, it further proposes that there were two powerful groups in the community – the priestly families who controlled the Temple, the landowning families who made up the "elders" – and that these two groups were in conflict over many issues, that each had its own "history of origins", but the Persian promise of increased local autonomy for all provided a powerful incentive to cooperate in producing a single text. The creation narrative is made up of two stories equivalent to the two first chapters of the Book of Genesis; the first account employs a repetitious structure of divine fiat and fulfillment the statement "And there was evening and there was morning, the day," for each of the six days of creation.
In each of the first three days there is an act of division: day one divides the darkness from light, day two the "waters above" from the "waters below", day three the sea from the land. In each of the next three days these divisions are populated: day four populates the darkness and light with Sun and stars. Consistency was evidently not seen as essential to storytelling in ancient Near Eastern literature; the overlapping stories of Genesis 1 and 2 are contradictory but complementary, with the first concerned with the creation of the entire cosmos while the second focuses on man as moral agent and cultivator of his environment. The regimented seven-day narrative of Genesis 1 features an omnipotent God who creates a god-like humanity, while the one-day creation of Genesis 2 uses a simple linear narrative, a God who can fail as well as succeed, a humanity, not god-like but is punished for acts which would lead to their becoming god-like; the order and method of creation differs. "Together, this combination of parallel character and contrasting profile point to the different origin of materials in Genesis 1 and Genesis 2, however elegantly they have now been combined."The primary accounts in each chapter are joined by a literary bridge at Genesis 2:4|, "These are the generations of the heavens and of the earth when they were created."
This echoes the first line of Genesis 1, "In the beginning God created the heaven and the earth", is reversed in the next phrase, "...in the day that the LORD God made the earth and the heavens". This verse is one of ten "generations" phrases used throughout Genesis, which provide a literary structure to the book, they function as headings to what comes after, but the position of this, the first of the series, has been the subject of much debate. Comparative mythology provides historical and cross-c
Wilfred Wellock was a socialist Gandhian and sometime Labour politician and MP. He was imprisoned as a conscientious objector in the First World War, he was elected at Member of Parliament for Member of Parliament for Stourbridge at a by-election in February 1927, having unsuccessfully contested the seat in 1923 and 1924. He was re-elected in 1929, but at the 1931 general election he was defeated by the Conservative Party candidate. Wellock did not regain his seat. Wellock was an active member of both the Peace Pledge Union, he was a prolific pamphleteer. Wellcock was a vegetarian. Wellock's work was admired by Aldous Huxley, who stated in his book Science and Peace that Wellock and Ralph Borsodi's work constituted a "tiny piece of decentralist leaven" within the "whole large lump of contemporary society". Wellock, Wilfred. A Modern Idealist. Wellock, Wilfred. Christian Communism, etc. Wellock, Wilfred. India's Awakening: Its National and World-Wide Significance. Wellock, Wilfred. Destruction or Construction-Which?
An open letter to members of the Labour Party, Wilfred. A Mechanistic or a Human Society?. Wellock, Wilfred. Gandhi as a social revolutionary Wellock, Wilfred; the Challenge of our Times. Annihilation or creative revolution? Wellock, Wilfred. Not by Bread alone. A study of America's expanding economy. [ Wellock, Wilfred. Off the beaten track: adventures in the art of living. Wellock, Wilfred; the crisis in our civilisation: reorganisation by industry a key to world peace, Wilfred. Youth and adventure: on which side shall I enlist? Wellock, Wilfred. Power or peace western industrialism and world leadership Wellock, Wilfred. Rebuilding Britain. A new peace orientation. Rigby, Andrew. A Life in Peace: A Biography of Wilfred Wellock. Prism. ISBN 1-85327-005-9. Hansard 1803–2005: contributions in Parliament by Wilfred Wellock
The third season of Monk aired in the United States on USA Network from June 18, 2004, to March 4, 2005. It consists of 16 episodes. Tony Shalhoub, Ted Levine, Jason Gray-Stanford reprise their roles as the main characters, Traylor Howard joins the cast. Bitty Schram left the show due to a contract dispute during the Winter hiatus. A DVD of the season was released on July 5, 2005. Andy Breckman continued his tenure as show runner. Executive producers for the season include David Hoberman. NBC Universal Television Studio was the primary production company backing the show. Randy Newman's theme continued to be used, while Jeff Beal's original instrumental theme can be heard in some episodes. Directors for the season include Randall Zisk, Jerry Levine, Michael Zinberg, Andrei Belgrader. Zisk received an Emmy award-nomination for his work on "Mr. Monk Takes His Medicine." Writers for the season included Andy Breckman, David Breckman, Lee Goldberg, William Rabkin, Joe Toplyn, Daniel Dratch, Hy Conrad, Tom Scharpling.
Tony Shalhoub returned as Adrian Monk. Ted Levine and Jason Gray-Stanford reprised their roles as Captain Leland Stottlemeyer and Lieutenant Randall "Randy" Disher, respectively. Bitty Schram portrayed Monk's nurse, Sharona Fleming, for the first half of the season, but left due to a contract dispute. Traylor Howard was cast as Natalie Teeger in a main role as Monk's new assistant. Andy Breckman, the show's creator, stated, "I will always be grateful to Traylor because she came in when the show was in crisis and saved our baby We had to make a hurried replacement, not every show survives that. I was scared to death."Guest stars for season three are in more abundance than the previous two. Stanley Kamel reprised his role as Monk's psychiatrist, Dr. Charles Kroger, in nine episodes, while Kane Ritchotte continued to play Benjy Fleming, Sharona's son. Emmy Clarke entered the series as Julie Teeger, Melora Hardin returned as Monk's beloved deceased wife, Trudy Monk. Tim Bagley made his first two appearances as Monk's main rival.
Jarrad Paul portrays Kevin Dorfman, Monk's annoying upstairs neighbor, while Glenne Headly continues to portray Karen Stottlemeyer, the captain's wife. Other guest stars for the season include Brooke Adams, Scott Adsit, Kelly Albanese, Amy Aquino, Moon Bloodgood, James Brolin, Emma Caulfield, Jonathan Chase, Maree Cheatham, Enrico Colantoni, Frank Collison, Alicia Coppola, Carmen Electra, Patrick Fischler, Rosemary Forsyth, Sutton Foster, Neil Giuntoli, Michael A. Goorjian, Parker Goris, Harry Groener, Eileen Grubba, Saverio Guerra, Bob Gunton, Philip Baker Hall, John Michael Higgins, Rick Hoffman, James Intveld, Sung Kang, Chris Kennedy, Edward Kerr, Lance Krall, Olek Krupa, Ken Marino, John Maynard, Larry Miller, Jeffrey Dean Morgan, Glenn Morshower, Lochlyn Munro, Niecy Nash, Arthel Neville, Patrick Thomas O'Brien, Raymond O'Connor, Nick Offerman, Faith Prince, David Purdham, Judge Reinhold, Mark Sheppard, Nick Spano, Josh Stamberg, Nicole Sullivan, Alanna Ubach, Jill Wagner, Michael Weston, Mykelti Williamson, Adam Wylie, Rachel Zeskind.
The band Korn makes an appearance. One episode, written but never filmed for the first half of season 3 would have been an episode called "Mr. Monk Is At Sea"; the premise would have been that Monk and Sharona would investigate a murder committed on a cruise ship. A script was made for the episode, but it was never filmed because no cruise line was willing to loan a ship to the production crew to use for shooting, out of sensitivity to the idea of murders being committed on-board or people falling overboard, they refused to budge when the victim count was reduced and the killer's identity was changed. This script became considered 126th episode, it only came to light in early 2014, when it was rewritten and published by Hy Conrad as Mr. Monk Gets on Board, which maintains most of the original plot, but substitutes Natalie for Sharona, adds in a subplot involving a book collector. Outstanding Actor - Comedy Series Outstanding Directing - Comedy Series Best Actor - Musical or Comedy Series Outstanding Actor - Comedy Series
Roanoke is an unincorporated community in southern Lewis County, West Virginia, United States. Most of the original town is located under 60 feet of Stonewall Jackson Lake's water. A display at the Stonewall Resort State Park's lodge tells the story of the flood-plagued town, purchased in the 1980s by the United States Army Corps of Engineers; the flood control dam at Stonewall Jackson Lake went into service in 1988. According to the U. S. Geological Survey, Roanoke has been known as "Bush Mills", "Bushs Mills", "Roanville", "Roanville Station"; the community was named after Virginia. Historic American Buildings Survey No. WV-209, "Town of Roanoke, Lewis County, WV" HABS No. WV-209-J, "Town of Roanoke, Bee's Shoe Shop & People's Telephone Exchange" HABS No. WV-209-G, "Town of Roanoke, Bosley Store" HABS No. WV-209-K, "Town of Roanoke, Craig Store" HABS No. WV-209-O, "Town of Roanoke, Cutright Log House, Highway 38" HABS No. WV-209-Q, "Town of Roanoke, Erasmus Rhodes Barn, County Route 19/7" HABS No.
WV-209-P, "Town of Roanoke, Erasmus Rhodes House, County Route 19/7" HABS No. WV-209-N, "Town of Roanoke, James Lewis Cutright House, Highway 38" HABS No. WV-209-H, "Town of Roanoke, John Conrad House" HABS No. WV-209-D, "Town of Roanoke, M. E. Whelan House" HABS No. WV-209-E, "Town of Roanoke, M. E. Whelan Office" HABS No. WV-209-L, "Town of Roanoke, Odd Fellows Lodge" HABS No. WV-209-R, "Town of Roanoke, Rhodes Tenant House, U. S. Highway 19" HABS No. WV-209-M, "Town of Roanoke, Rinehardt Store" HABS No. WV-209-A, "Town of Roanoke, Roanoke Methodist Protestant Church" HABS No. WV-209-B, "Town of Roanoke, Roanoke Methodist Protestant Church, Parsonage" HABS No. WV-209-C, "Town of Roanoke, Smith House" HABS No. WV-209-S, "Town of Roanoke, Smith Log House, County Route 23/5" HABS No. WV-209-I, "Town of Roanoke, Thomas Feeney House" HABS No. WV-209-F, "Town of Roanoke, White Hotel"
Bryn-Celynog Halt was an unstaffed passenger railway station which served the rural area of Bryn-Celynog, east of Trawsfynydd, Wales. In 1882 the Bala and Ffestiniog Railway opened the line from Bala Junction to a temporary terminus at Festiniog, Trawsfynydd was one of the stations opened with the line. At Festiniog passengers had to transfer to narrow gauge trains if they wished to continue northwards. To do this people travelling from Bala to Blaenau or beyond walked the few yards from the standard gauge train to the narrow gauge train much as they do today between the Conwy Valley Line and the Ffestiniog Railway at Blaenau Ffestiniog; the following year the narrow gauge line was converted to standard gauge, but narrow gauge trains continued to run until 5 September 1883 using a third rail. Standard gauge trains first ran through from Bala to Blaenau Ffestiniog on 10 September 1883; the line was taken over by the Great Western Railway in 1910. Bryn-Celynog Halt was one of the 198 opened by the Great Western Railway between 1927 and 1939, spurred by rising competition with buses and, to a lesser degree, cars.
The halt stood in thinly populated uplands with no obvious source of traffic. The unstaffed halt's single platform's edge was made of sleepers, the platform itself being infilled with ash and cinders, it was a mere 50 feet long, so drivers had instructions to stop ensuring the guard's compartment was alongside. Access was by a footpath only; the September 1959 timetable shows Northbound three trains calling at all stations from Bala to Blaenau on Monday to Saturday an extra evening train calling at all stations from Bala to Blaenau on Saturday a Monday to Friday train calling at all stations from Bala to Trawsfynydd The journey time from Bala to Bryn-Celynog Halt was around 40 minutes. Southbound three trains calling at all stations from Blaenau to Bala on Monday to Saturday two extra trains calling at all stations from Blaenau to Bala on Saturday an extra train calling at all stations from Blaenau to Trawsfynydd on Saturday evening a Monday to Friday train calling at all stations from Blaenau to Bala, except Llafar, Bryn-celynog and Cwm Prysor Halts The journey time from Blaenau to Llafar Halt was 39 minutes, except for one Saturdays Only train which took an hour because it sat at Trawsfynydd for 25 minutes.
There was no Sunday service. After the Second World War at the latest most trains were composed of two carriages, with one regular turn comprising just one brake third coach. At least one train along the line ran as a mixed train, with a second between Bala and Arenig. By that time such trains had become rare on Britain's railways. Workmen's trains had been a feature of the line from the outset; such a service between Trawsfynydd and Blaenau Ffestiniog survived to the line's closure to passengers in 1960. Up to 1930 at the earliest such services used dedicated, lower standard, coaches which used a specific siding at Blaenau where the men boarded from and alighted to the ballast. By the 1950s the line was deemed unremunerative. A survey undertaken in 1956 and 1957 found that the average daily numbers of passengers boarding and alighting were: Blaenau Ffestiniog Central 62 and 65 Manod Halt 7 and 4 Teigl Halt 5 and 5 Festiniog 28 and 26 Maentwrog Road 8 and 6 Trawsfynydd Lake Halt 1 and 1 Trawsfynydd 28 and 24 Llafar Halt 2 and 2 Bryn-Celynog Halt 2 and 2 Cwm Prysor Halt 3 and 3 Arenig 5 and 5 Capel Celyn Halt 7 and 8 Tyddyn Bridge Halt 4 and 6 Frongoch 18 and 15 Bala 65 and 58Military traffic had ended and, apart from a finite contract to bring cement to Blaenau in connection with the construction of Ffestiniog Power Station freight traffic was not heavy, most arriving and leaving Bala did so from and to the south and that to Blaenau could be handled from the Conwy Valley Line northwards.
In 1957 Parliament authorised Liverpool Corporation to flood a section of the line by damming the Afon Tryweryn. Monies were made available to divert the route round the dam, but it was decided that improving the road from Bala to Llan Ffestiniog would be of greater benefit. Road transport alternatives were established for groups such as workers; the plans afoot for rail serving Trawsfynydd nuclear power station were to be catered for by building the long-discussed cross-town link between the two Blaenau standard gauge stations. The estimated financial savings to be made were £23,300 by withdrawing the passenger service and £7000 in renewal charges; the halt closed in January 1960 but freight trains between Bala and Blaenau continued to pass the site for a further year, the last train of all passing on 27 January 1961. The track though the halt was lifted in the 1960s. In 1964 the line reopened from Blaenau southwards to a siding near the site of Trawsfynydd Lake Halt where a large gantry was erected to load and unload traffic for the new Trawsfynydd nuclear power station.
The main goods transported. The new facility was over four route miles north of Bryn-Celynog Halt, so the reopening brought no reprieve. Rail enthusiasts' special trains traversed the line from time to time, notably the "last train" from Bala to Blaenau Ffestiniog and return on 22 January 1961; the mountainous countryside around Arenig was of particular interest to James Dickson Innes who introduced his friend Augustus John to the area. Innes painted several works which have been publicly displayed to some renown, such as "Arenig, North Wales", he and his friend are known to have use
Habana Abierta is a Cuban band. They are a member of a generation of composers, sculptors, actors, etc. which emerged in the early 90s with its own identity in Havana though some of their creations had been well known for some years in the island's cultural circles. The origins of Habana Abierta go back to a personal project of music duo Gema y Pável, who wanted to produce a compilation of everything they and their peers had been doing in Havana clubs with hardly any resources. Luis Alberto Barbería, Pepe del Valle, Carlos Santos, Boris Larramendi, Andy Villalón, Kelvis Ochoa and José Luis Medina, backed by the NUBENEGRA recording label, gave us a first glimpse released under the name Habana Oculta. In July 1996 most of them travelled to Spain to showcase their music at several festivals and clubs, soon spurred interest among audiences and the media alike, well-known Spanish artists and musicians. Ana Belén and Víctor Manuel, along with Ketama, were the first to show an interest and to take the initiative in a gradual and rich exchange with our Habana Abierta, which whom they made music in Spain.
BMG Ariola asked Gema y Pável to come up with a project bringing a group of different singer-songwriters together on the album, based on the individuality of each member yet with combined expression of the diverse unity of Cuban music. Vanito Brown and Alejandro Gutiérrez joined what was to become Habana Abierta, recording a new album under this name, they played over 80 gigs throughout Spain in 1997, 50 of them in Madrid and in 1998 recorded am album with the line-up down to 6, as Andy and Barbería had left to branch out on their own. With 24 Horas, the second album with Habana Abierta, an eclectic line was followed with some tracks from previous recordings, with a more defined fusion between popular Cuban music and funk and hip-hop. Rock and Pop Cuban-style with national roots: Van Van by Juan Formell, Irakere by Chucho Valdés, or NG La Banda by José Luis Cortés, refrains attributed to Matamoros over Red Hot Chili Peppers or Rolling Stones riffs. Conga-funk, timba-rock, bolero-hop, chachacha-blues and pop....
In January 2003, after six years in Spain, they returned to Cuba for a series of sell-out individual shows, with a performance by the Habana Abierta full line-up at La Tropical, playing to with over 10,000 people. This gave rise to the Habana Abierta documentary directed by Jorge Perugorría and Arturo Soto, presented at several film festivals. Vanito Brown: Chronicler of personal issues, a versatile songwriter; the scale of his work ranges from a contemporary rock ballad to the most traditional of Cuban music. Recording a solo album with producer Robin Taylor-Firth for the BlancoMusic.com label. Alejandro Gutiérrez: It would be fair to say he is a modern-day bolerista, with Filin and urban song influences of the continental south, though he is able to create the most contemporary rock. Luis Alberto Barbería: The resonance of his voice and guitar work takes on Afro-Cuban rhythms, his melodies are lyrical with jazz influences. His poetry, colloquially uninhibited due to its exquisite Cubanness, he has worked with Ketama on their tours.
Jose Luis Medina: Refined pop blended with son and guaracha, able to come up with the barest social criticism or the most conciliatory ballad. Boris Larramendi, Kelvis Ochoa, Andy Villalón and Pepe del Valle have been members of the band. In 1998 they record "Habana Oculta", with the participation of Alejandro Frómeta and Raúl Ciro from Superávit; as Habana Abierta they record "Habana Abierta", "24 horas" and "Boomerang", this last one in 2006 with the collaboration of musicians such as Bebo Valdés and the arrangements of Alain Pérez. Three of its members have recorded solo albums: Kelvis Ochoa recorded "Kelvis", Boris Larramendi "Yo no tengo la culpa" and Luis Barbería, "Luis Barbería". Kelvis Ochoa and Boris Larramendi were the singers of Habana Blues Band, the band created after the success of the movie Habana Blues, winner of a Best Soundtrack Goya Award in 2006. Nowadays Habana Abierta is about to present its new album, self-produced, Vanito Brown is preparing his solo album with producer Robin Taylor-Firth.
Habana Abierta official myspace http://i19.tinypic.com/2h6dr0h.jpg BlancoMusic, Vanito Brown's label for solo work