Heka was the deification of magic and medicine in ancient Egypt. The name is the Egyptian word for "magic". According to Egyptian literature, Heka existed "before duality had yet come into being." The term ḥk3 was used to refer to the practice of magical rituals. The name Heka is identical with the Egyptian word ḥk3w "magic"; this hieroglyphic spelling includes the symbol for the word ka, the ancient Egyptian concept of the vital force. The Old Kingdom Pyramid Texts depict ḥk3w as a supernatural energy; the "cannibal pharaoh" must devour other gods to gain this magical power. Heka was elevated to a deity in his own right and a cult devoted to him developed. By the Coffin Texts, Heka is said to be created at the beginning of time by the creator Atum. Heka is depicted as part of the tableau of the divine solar barge as a protector of Osiris capable of blinding crocodiles. During the Ptolemaic dynasty, Heka's role was to proclaim the pharaoh's enthronement as a son of Isis, holding him in his arms. Heka appears as part of a divine triad in Esna, capital of the Third Nome, where he is the son of ram-headed Khnum and a succession of goddesses.
His mother was alternately said to be Nebetu'u, lion-headed Menhit, the cow goddess Mehetweret, before settling on Neith, a war and mother goddess. Other deities connected with the force of ḥk3w include Hu, Werethekau, whose name means "she who has great magic"; as Egyptologist Ogden Goelet, Jr. explains, magic in The Egyptian Book of the Dead is problematic. The text uses various words corresponding to'magic,' for the Egyptians thought magic was a legitimate belief; as Goelet explains: "Heka magic is many things, above all, it has a close association with speech and the power of the word. In the realm of Egyptian magic, actions did not speak louder than words--they were one and the same thing. Thought, deed and power are theoretically united in the concept of heka
The Knesset Eliyahoo Knesset Eliyahu, is an Orthodox Jewish synagogue located in downtown Mumbai, India. It is the city's second oldest Sephardic synagogue, it was established in 1884 by Jacob Elias Sassoon, son of Eliyahoo David Sassoon and grandson of David Sassoon. It is maintained by the Jacob Sassoon Trust; the building's significance is attributed to its Jewish traditions as well as Indian and English colonial influences. It was designed by the British architectural firm Morris of Bombay; the basement part of the edifice is built in stone masonry and the superstructure is built in brick masonry. The exterior facade of the synagogue is painted turquoise; the sanctuary within the interior of the building is towards Jerusalem. Knesset Eliyahoo, an Orthodox Jewish synagogue, the second oldest Sephardic, is located in Colaba at 55, Dr. V. B. Gandhi Marg, Mumbai; the Taj Mahal Palace Hotel, Oberoi Trident are nearby. Prior to the arrival of Baghdadi Jews in India, the Jews residing in Bombay — the name used for Mumbai — had settled in the towns of India, living peacefully with other communities in India.
Harry D. Wall, in an interview to the New York Times, has said that among the Jews who now remain in Mumbai are a group of Jews known as Bene Jews or Bene Israel who were descendants of seven tribes of Israel who, in the 2nd century BC, were shipwrecked on India's Konkan coast while escaping persecution in the Galilee, they found that living in India, amidst a cosmopolitan community consisting of Hindus, Jains, much Muslims, was a cordial environment free of anti-Semitic feelings. The Jewish merchant community, which played a significant role in the commercial development of Bombay, consisted of Jews from Iraq and other Middle Eastern countries who immigrated in the late 18th century under the threat of persecution, they found the environment conducive to continuing their trade and settled in the city, becoming prosperous in business ventures such as textile mills and international trading. In 1784, the British government took over the East India Company. With this change, many business opportunities emerged in India, Bombay in particular, encouraging immigrants to set up businesses.
In 1790, one such business magnate was Shalom ben Ovadiah HaCohen, a Baghdadi Jew who had migrated from Aleppo, in Syria to Bombay. In 1832, David Sassoon immigrated to Bombay and established himself as a magistrate of the cotton industry, he built the Magen David Synagogue in Kolkata in 1861. His son, Abdulla Sassoon, transformed the weaving industry in Bombay. To cater to the increasing need of the Baghdadi Jews, Knesset Eliyahoo synagogue was constructed on a premium piece of land in the hub of Bombay's commercial area by Jacob Sassoon, grandson of David Sassoon, commemorating his father, Eliyahoo Sassoon, it was established in 1884. More Jews came from Bukhara, and, following the Farhud pogrom in Iraq in 1941, many more immigrants shifted to Bombay, they all used to assemble in the Knesset Eliyahoo synagogue in large numbers during festival days and on Rosh Hashana and Yom Kippur. On many such occasions, in view of the large crowd of devotees, overflow prayer services were held in the neighbouring Cawasjee Jehangir Public Hall.
In 1985, President Giani Zail Singh visited the site to honour the centennial of the synagogue's construction. India Post issued a commemorative stamp in honour of the centennial; the first-ever terrorist attack on Jews in Mumbai occurred on 26 November 2008. Rabbi Gavriel Holtzberg, who had conducted Sabbath services on the previous day and held religious discourses at the Knesset Eliyahoo, was killed, along with his wife and a few other Jews at the Nariman House, a community center operated by Chabad; this sowed fear among the Jewish community members residing in Mumbai, forged a closer bond between the city's Baghdadi and Bene Israel Jews. Designed by the British architectural firm Gostling & Morris of Bombay, the building's base is of stone masonry while the superstructure is of brick masonry; the external frontage of the synagogue is painted turquoise. The inner space contains ornamented pillars, the sanctuary faces west towards Jerusalem; the bimah is bordered on both sides by ornately carved marble, over, placed a tall, stained-glass arch that reaches the ceiling.
Women worshippers sit in an upstairs gallery. The synagogue contains a number of Torah scrolls, along with silver-cased sefarim belonging to the Sassoon family. On the ground floor, there are meeting and school rooms, a mikveh; the staircase, timber balconies, ceiling and roof are in need of restoration. Synagogues in India "Mumbaiwale: Agog over a synagogue". Hindustan Times. 9 February 2019. Birnbaum, David. Jews, Church & Civilization, Volume VII. David Birnbaum. GGKEY:79ST9DTYU28. Dana, Leo Paul. Asian Models of Entrepreneurship: From the Indian Union and the Kingdom of Nepal to the Japanese Archipelago: Context and Practice. World Scientific. ISBN 978-981-256-878-6
The Continence of Scipio (Bellini)
The Continence of Scipio or An Episode from the Life of Publius Cornelius Scipio is a painting in oils on canvas by Giovanni Bellini, dating to 1507–08 and now in the National Gallery of Art in Washington, D. C.. It was commissioned in 1505 from Andrea Mantegna by cardinal Marco Cornaro for the'studiolo' or study of his brother Francesco's palace in San Polo; this would make it a pendant to The Introduction of the Cult of Cybele at Rome, with the pair intended to form part of a series of four works. However, Mantegna did not begin any of the four except Introduction, the only one that Mantegna he completed before his death in 1506, he and Bellini had trained together as young men and the latter was the former's brother in law. Bellini was himself an old man by 1506 but still took over this part of the commission and produced it in one of Mantegna's signature styles, grisaille. Roberto Longhi has suggested that Sofonisba and Tuccia from Mantegna's Exemplary Women of Antiquity series were produced to go with Introduction and Continence – they are the same height as them but are on panel not canvas and no documents survive to support the theory.
Francesco Cornaro was a Venetian patrician and his family was supposed to be descended from the Cornelia gens of ancient Rome, hence the choice of two subjects from that gens' participation in the Second Punic War. Continence is derived from a story in Livy and Valerius Maximus about the aftermath of the capture of Carthage in 209 BC by Publius Cornelius Scipio. A virgin was delivered to him as a hostage, but she pleaded to be returned to her parents and Celtiberian fiancé, he agreed on the single condition that her fiancé would work for peace between Carthage. Just left of centre Scipio sits on a throne and refuses the gold brought to him by the woman's parents as her ransom, she stands at the foot of his throne with her fiancé, shown with a sword and helmet. Between Scipio and the virgin is a plaque reading TVRPIVS / IMPER / VENERE /. Q. A. / MIS AI. The more peripheral figures were painted by Bellini's studio and overall his and their figures show more animation than Mantegna's more rigid classicism, showing that Bellini had taken on board innovations by Giorgione but refused to be influenced by Dürer.
The work reappeared on the art market in 1873 when it was sold by Sir John Charles Robinson to Sir Francis Cook of Doughty House, Richmond-upon-Thames. Cook's son Frederick Lucas, his grandson Herbert Frederick and his great-grandson Francis Ferdinand Maurice all inherited the painting in turn. Sir Francis Ferdinand Maurice Cook sold it in February 1948 to Gualtiero Volterra, buying it on behalf of count Alessandro Contini-Bonacossi of Florence; the count brought it back to Italy before selling it to the Samuel H. Kress Foundation in March 1949; the Foundation gave it to its current owner in 1952
The Tokyo Metro 06 series was an electric multiple unit train operated by the Tokyo subway operator Tokyo Metro on the Tokyo Metro Chiyoda Line in Tokyo, from 1993 until 2015. The 06 series set operated on Tokyo Metro Chiyoda Line services, with through running to and from Toride on the JR East Joban Line; the sole 06 series set, numbered set 71, was based at Ayase Depot and is formed as shown below with four motored cars and six non-powered trailer cars, car 1 at the Yoyogi-Uehara end. Cars 2, 4, 7, 9 each had one lozenge-type pantograph. Car 4 was designated as a mildly air-conditioned car. Cars 2 and 9 had wheelchair spaces. Built by Kawasaki Heavy Industries, the ten-car set was delivered in December 1992, entered service in March 1993. From January 2015, the set was removed from regular service, it was moved to Shinkiba Depot in August 2015, where cutting up commenced in September 2015. Tokyo Metro Chiyoda Line 06 series information at the Wayback Machine
Vincent Sherman was an American director and actor who worked in Hollywood. His movies include Mr. Skeffington, Nora Prentiss, The Young Philadelphians, he began his career as an actor on Broadway and in film. He directed B-movies for Warner Bros. and moved to directing to A-pictures. He was a good friend of actor Errol Flynn, he directed three Joan Crawford movies: The Damned Don't Cry, Harriet Craig, Goodbye, My Fancy. Sherman was born Abraham Orovitz to Jewish parents, he was born and raised in the small town of Vienna, where his father was a dry-goods salesman. Not long after graduating from Oglethorpe University in Atlanta, he became a professional actor. Sherman soon became a stage director and actor; as a stage actor, he made his debut in May 1936 in Bitter Stream which included Frances Bavier known for her role on The Andy Griffith Show. He arrived in Hollywood during the early sound era, where he appeared in William Wyler's 1933 film Counsellor at Law starring John Barrymore. In 1938, Sherman signed on at Warner Bros. as a director.
His first film as a director was the 1939 horror film The Return of Doctor X, which starred Humphrey Bogart. The 2006 release of The Return of Doctor X included a director's commentary that Sherman had recorded that year at the age of 99. Sherman built a reputation for his ability to rewrite any script he was given and turn it into the basis for a successful film, it was these skills that led him to star-studded pictures. Sherman was known as a "woman's director" during the mid 1940s, but his range expanded as his career developed. After his film career wound up, Sherman ended his career in television. In 2004, he was the oldest of 21 individuals interviewed in the documentary film Imaginary Witness, a work that chronicled 60 years of film-making about the Holocaust. Sherman was married to Hedda Comorau from 1931 until her death in 1984, he had a daughter Hedwin Naimark. He had a number of high-profile affairs during his life, including on-set affairs with Bette Davis and a three-year relationship with Joan Crawford.
In his memoir Studio Affairs: My Life as a Film Director, he described his relationship with Crawford and Rita Hayworth. During the last nine years of his life, he was in a romantic relationship with Francine York. Sherman died on June 18, 2006, a month short of his 100th birthday, at the Motion Picture and Television Country House and Hospital in Woodland Hills, California. Vincent Sherman on IMDb Studio Affairs: My Life as a Film Director, by Vincent Sherman, University Press of Kentucky, 1996, 344 pages
Salon Kitty is a 1976 erotic-war-drama film directed by Tinto Brass. The film was coproduced by Italy and West Germany, it is based on the novel of the same name by Peter Norden, covering the real life events of the Salon Kitty operation, under which the Sicherheitsdienst took over an expensive brothel in Berlin, had the place wire tapped, replaced all the prostitutes with trained spies, in order to gather information on various members of the Nazi party and foreign dignitaries. It is considered among the progenitors of Nazisploitation genre. In the U. S. the film was edited to lighten the political overtones for an easier marketing as a sexploitation film and released under the title Madam Kitty with an X rating. Blue Underground Video, for the uncut version, has surrendered the X rating for an unrated DVD and Blu-ray release. Wallenberg, an ambitious Nazi SS commandant, devises a plan to select a special group of female informants in order to plant them as prostitutes in a high class brothel on the eve of World War II in order to collect intel on various important members of the Nazi party and foreign dignitaries who frequent the establishment.
The selected SS auxiliaries are group tested with SS men to assess their suitability. The brothel is purged of its regular girls and Kitty, the owner and Madam of the brothel, is forced to comply and allows her original girls to be deported as the building gets wiretapped with listening devices and other surveillance equipment, after which the new girls proceed to spy on their illustrious clients. However, when one of the informants named Margherita discovers that the surveillance project resulted in the death of her lover, Luftwaffe pilot, Hans Reiter, she enlists Kitty to help her take down Wallenberg. Margherita entraps Wallenberg via a recording where he tells her that he has the dirt on all the top Nazi hierarchy and intends to bring them all down; as a consequence, Wallenberg is executed for treason. Helmut Berger as Helmut Wallenberg Ingrid Thulin as Kitty Kellermann Teresa Ann Savoy as Margherita John Steiner as Biondo Bekim Fehmiu as Captain Hans Reiter Stefano Satta Flores as Dino Sara Sperati as Helga, the dominatrix Maria Michi as Ilde Rosemarie Lindt as Susan John Ireland as Cliff Paola Senatore as Marika Tina Aumont as Herta Wallenberg Dan van Husen as Sergeant Rauss Luciano Rossi as Dr. Schwab Giancarlo Badessi as German Officer with Projector Malisa Longo as New Kitty Girl Patrizia Webley Aldo Valletti as Dart Throwing Client Salvatore Baccaro as Neanderthal Prison Inmate The film includes a large number of uncredited actors.
Salon Kitty was filmed at Dear Studios in Rome, with some additional location filming in Germany. Production designer Ken Adam had suffered a nervous breakdown while working on Barry Lyndon, he described his participation in this film as a creatively regenerative one, he has stated that the production was an enjoyable one, that he feels Salon Kitty is "underrated." Adam based his design of Wallenberg's apartment on his own memories of his family's apartment in World War II-era Berlin. Wallenberg's enormous office, though a set features a real marble floor, as it was cheaper to use real marble than create a mock-up version. Costumes and uniforms for the film were designed by Ugo Pericoli and Jost Jacob, were constructed by Tirelli Costumi of Rome. Adam credited Jacob with the design of the'kinky' uniforms that Wallenberg wears throughout the film. Salon Kitty was released in Italy on March 2, 1976. In a contemporary review, the Monthly Film Bulletin found the film to contain "a script that does nothing more than pile up the perversions as fast as possible" and hoped that "Italian directors will soon examine their recent track record of the atrocities of Nazi Germany and abandon the subject for a long while to come."