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Oku no Hosomichi

Oku no Hosomichi, translated alternately as The Narrow Road to the Deep North and The Narrow Road to the Interior, is a major work of haibun by the Japanese poet Matsuo Bashō, considered one of the major texts of Japanese literature of the Edo period. The text is written in the form of a prose and verse travel diary and was penned as Bashō made an epic and dangerous journey on foot through the Edo Japan of the late 17th century. While the poetic work became seminal of its own account, the poet's travels in the text have since inspired many people to follow in his footsteps and trace his journey for themselves. In one of its most memorable passages, Bashō suggests that "every day is a journey, the journey itself home"; the text was influenced by the works of Du Fu, revered by Bashō. Of Oku no Hosomichi, Kenji Miyazawa once suggested, "It was as if the soul of Japan had itself written it." Bashō's introductory sentences are the most quoted of Oku no Hosomichi: Oku no Hosomichi was written based on a journey taken by Bashō in the late spring of 1689.

He and his traveling companion Kawai Sora departed from Edo for the northerly interior region known as Oku, propelled by a desire to see the places about which the old poets wrote in an effort to "renew his own art." He was emulating Saigyō, whom Bashō praised as the greatest waka poet. Travel in those days was dangerous, but Bashō was committed to a kind of poetic ideal of wandering, he traveled for about 156 days altogether, covering 1,500 miles on foot. Of all of Bashō's works, this is the best known; this poetic diary is in the form known as a combination of prose and haiku. It contains many references to Confucius, Saigyō, Du Fu, ancient Chinese poetry, The Tale of the Heike, it manages to strike a delicate balance between all the elements to produce a powerful account. It is a travel account, Bashō vividly relates the unique poetic essence of each stop in his travels. Stops on his journey include the Tokugawa shrine at Nikkō, the Shirakawa barrier, the islands of Matsushima, Sakata and Etchū.

He and Sora parted at Yamanaka, but at Ōgaki he met up with a few of his other disciples before departing again to the Ise Shrine and closing the account. After his journey, he spent five years working and reworking the poems and prose of Oku no Hosomichi before publishing it. Based on differences between draft versions of the account, Sora's diary, the final version, it is clear that Bashō took a number of artistic liberties in the writing. An example of this is that in the Senjūshu attributed to Saigyō, the narrator is passing through Eguchi when he is driven by a storm to seek shelter in the nearby cottage of a prostitute. Bashō includes in Oku no Hosomichi a tale of him having an exchange with prostitutes staying in the same inn, but Sora mentions nothing. Nobuyuki Yuasa notes that Bashō studied Zen meditation under the guidance of the Priest Buccho, though it is uncertain whether Bashō attained enlightenment; the Japanese Zen scholar D. T. Suzuki has described Bashō's philosophy in writing poetry as one requiring that both "subject and object were annihilated" in meditative experience.

Yuasa writes: "Bashō had been casting away his earthly attachments, one by one, in the years preceding the journey, now he had nothing else to cast away but his own self, in him as well as around him. He had to cast this self away, for otherwise he was not able to restore his true identity. Yuasa notes "The Narrow Road to the Deep North is Bashō's study in eternity, in so far as he has succeeded in this attempt, it is a monument he has set up against the flow of time." Bashō, Matsuo. The Narrow Road to the Deep North and Other Travel Sketches. Intro. and trans. Nobuyuki Yuasa. London: Penguin Books, 1966. Print. ISBN 978-0-14-044185-7 Bashō, Matsuo. "The Narrow Road Through the Provinces". Japanese Poetic Diaries. Ed. and trans. Earl Miner. Berkeley: University of California Press, 1969. Print. Bashō, Matsuo. "The Narrow Road to the Interior". Classical Japanese Prose: An Anthology. Ed. and trans. Helen Craig McCullough. Stanford: Stanford University Press, 1990. Print. Bashō, Matsuo. Narrow Road to the Interior.

Trans. Sam Hamill. Boston: Shambhala, 1991. Print. ISBN 978-0-87773-644-8 Reedition: Bashō, Matsuo. Narrow Road to the Interior and other writings. Trans. Sam Hamill. 2nd ed. Boston: Shambhala, 2000. Print. ISBN 978-1-57062-716-3 Bashō, Matsuo. Back Roads to Far Towns: Bashō's Oku-no-hosomichi. Trans. Cid Corman and Kamaike Susumu. 2nd ed. Hopewell: Ecco Press, 1996. Print. ISBN 978-0-88001-467-0 Reedition: Bashō, Matsuo. Back Roads to Far Towns: Bashō's Travel Journal. Trans. Cid Corman and Kamaike Susumu. Buffalo: White Pine Press, 2004. Print. ISBN 978-1-893996-31-1 Bashō, Matsuo. Bashō's Narrow Road: Spring and Autumn Passages. Trans. Hiroaki Sato. Berkeley: Stone Bridge Press, 1996a. Print. ISBN 978-1-880656-20-4 Bashō, Matsuo; the Narrow Road to Oku. Trans. Donald Keene. Tokyo: Kodansha International, 1996b. Print. ISBN 978-4-7700-2028-4 An earlier and different partial translation appeared in the same translator's 1955 Anthology of Japanese Literature. Bashō, Matsuo. A Haiku Journey: Bashō's N

San Costantino Albanese

San Costantino Albanese is a town and comune in the province of Potenza, in the Southern Italian region of Basilicata. San Costantino Albanese sits on a hilltop overlooking the Sarmento Valley and is located across the valley from San Paolo Albanese; the Sarmento River is a dry rock-strewn riverbed during the summer but can be a torrent during the winter rains. The two towns are 3 kilometres apart but the path through the river valley by road is about 8 kilometres; the village is bordered by the towns of Alessandria del Carretto, Noepoli, San Paolo Albanese and Terranova di Pollino. It is adjacent to Pollino National Park. San Costantino Albanese was founded in 1534 by ethnic Albanians refugees or Arbëreshë, from Corone, Morea in Greece, occupied by the Ottoman Turks. Surnames such as Scutari, reflect this connection with the Albanian heritage. In the early 20th century, the town, like much of Southern Italy, saw a wave of emigration to the United States and South America. Immigrants clustered in the New York Metropolitan Area but distributed throughout the USA.

Venticalia is a village located 3.9 kilometres from San Costantino. Since the end of the 17th century, it has been the feudal rustic retreat of the Pace family of St. Constantine Albanese. In the seventeenth century; the Pace family built a small votive chapel dedicated to the cult of Saint Helena mother of the Emperor Constantine, of which today only a few remnants remain visible. Today the village is the site of a compressed wood pellet factory. Martorino is one of the concessions granted by the Pignatelli feudal family in the late 17th century to the Pace family. Local businesses include agriculture and agritourism

Death in ancient Greek art

The theme of death within ancient Greek art has continued from the Early Bronze Age all the way through to the Hellenistic period. The Greeks used architecture and funerary objects as different mediums through which to portray death; these depictions include mythical deaths, deaths of historical figures, commemorations of those who died in war. This page includes various examples of the different types of mediums in which death is presented in Greek art. Greek heroa were tombs dedicated to both actual heroes of the Ancient Greek world; these tombs contained the remains of the hero and acted as a place where citizens of the polis where the tomb was located could hold feasts as a hero cult in order to honor the hero. They were built in a variety of different styles, were located in many different polis across Greece, their legacy was continued by the Romans; the heroon at Nemea is an example of a hero shrine, the resting place of the late Ophletes and a place for Greeks to worship. The heroon was a way to memorialize the infant and transform his legacy from that of a mere mortal to that of a hero.

Ophletes' death elevated him above the status of other humans and made him more divine, thus his final resting place became a sacred space to Greeks. The ancient Greeks would use this space and the surrounding land to host the Nemean Games in Ophletes' honor, as well as practice magic and other cult activities; the grave monument from Kallithea is an example of a funerary monument from the Hellenistic period. They were for wealthy people and families that served to remind the living of the power and wealth of the dead by exhibiting conspicuous consumption; this monument was for a non Greek family from Romania. The grave monument had a podium, pedestal, a frieze, a naiskos with statues of two family members and a slave inside; these grave monument disappeared in Attica after an austerity law that banned them. The tombs at Xanthos, are funerary architecture that display the cultural synthesis enacted by a Lycian Dynasty; the tombs at Xanthos take the form of pillar tombs, which were composed of a stone burial chamber on top of a stone pillar.

The decorative motifs surrounding many of the elevated burial chambers depicts Near Eastern imagery, with roots in Persia. However, the Lycian rulers employed Greek artisans to carve the relief sculptures in the Archaic style. Thus, the monumentalization of the dead rulers is accompanied by regionally-specific visual motifs that bring together both Greek and Near Eastern influences. Brasidas was a successful Spartan General who won a major battle in Amphipolis during the second Peloponnesian War. After Brasidas died, the people of Amphipolis monumentalized him by cremating him, placing his ashes in a silver ossuary with a gold wreath, burying him in a cist grave within the city walls. Sparta dedicated a cenotaph in his honor, his legacy was remembered and celebrated with these things and contributes to the theme of monumentalization of important Greek figures after death. The Pelike of Odysseus and Elpenor is a jar from Attika in 440 B. C, it portrays Elpenor begging Odysseus to give him a proper burial.

Elpenor had drunkenly fallen off the roof of a boat and his death went unnoticed which means he did not get his burial rights and could not proceed through his journey in the underworld. Hermes stands next to Odysseus watching over the scene as he a guide for the dead; the Thanatos Painter is a lekythoi painter from Athens, Greece in the 5th century BCE. The lekythoi attributed to the Thanatos Painter are all white-ground, used in the funerary context; these lekythoi had depiction of death on them and thanatos is the Greek word for death. They would hold special oil used for funerals. Another example of pottery being used in funerary contexts is the Eleusis Amphora by the Polyphemos painter, a neck amphora that dates back to the Middle Protoattic; the amphora's decoration reflects the pottery of the Orientalizing period, a style in which human and animal figures depict mythological scenes. It was used as an urn. Ancient Greek funerary vases were made to resemble vessels used for elite male drinking parties, called symposiums.

Funerary vases were painted with symposiums, or Greek tragedies that involved death. There are many types of funerary vases including amphorae, kraters and kylix cups. Funerary scenes show us; such ritualistic practices included laying out the body for mourners to see, called prothesis. An example of this was painted on the Dipylon amphora. Next, was the ekphora, the moving of the body to a cemetery in a procession. If cremation was practiced the ashes of the deceased would be placed inside the funerary vase, buried; the Odysseus in the Underworld krater is a Lucanian kalyx-krater decorated in the red-figure style dating to dating to ca. 380 BC - ca. 360 BC. Side A of the krater depicts Homer's story of Odysseus's visit to the Underworld to consult the dead seer Teiresias; this meeting is known as a nekuomanteion or “consultation with the dead”. Side B depicts the judgment of Paris where Hermes asks Paris, the Trojan prince, to arbitrate the contest between Aphrodite and Athena and determine, the most beautiful.

The suicide of Ajax vase was made by Exekias during the Archaic Period. The scene depicts Ajax preparing for his suicide in black-figure on a neck amphora. Ajax is bent over his sword. There is a tree to his suit of armor on the other side; this scene is unusual in Greek art because it depicts the

Acacia midgleyi

Acacia midgleyi known as Cape York salwood, is a tree belonging to the genus Acacia and the subgenus Juliflorae, native to north eastern Australia. The tree grows to a height of 8 to 25 m and has a single stem or divides sparingly near ground level, some trunks have a diameter of up to 90 cm; the tree has branchlets. Like most species of Acacia it has phyllodes rather than true leaves, it has glabrous green to milky green dimidiate to sickle shaped phyllodes with a length of 8 to 16.5 cm and a width of 0.8 to 4.2 cm and has many longitudinal nerves that are parallel and packed together. The simple inflorescences occur in groups of two to four in the axils and has cylindrical shaped flower-spikes with a length of 3 to 7 cm with loosely packed cream to pale yellow to lemon yellow coloured flowers; the resinous and crustose seed pods that form after flowering have a narrowly oblong shape and can be flat or spirally twisted one to three times. The pods have a width of 1 to 2.5 cm with transverse obscure nerves.

The seeds inside are arranged transversely. The glossy balck seeds have an ovoid, ellipsoid or obovoid shape with a length of 4 to 7 mm and a width of 2 to 4 mm with a creamy-grey or greyish coloured many folded aril, it is endemic to Queensland in the northern part of Cape York Peninsula. It is found around the Coleman River in the south up to the catchment areas for the Wenlock River and Olive Rivers in the north, it is situated along the river banks and seasonal drainage systems along the eastern side of the Peninsula where it is a part of rainforest communities. List of Acacia species


Intralot is a Greek company that supplies integrated gambling, transaction processing systems, game content, sports betting management and interactive gambling services, to state-licensed gaming organizations worldwide. The company acts both as a lottery operator, it has a presence in 53 countries and a workforce of 5,400 people It is a publicly listed company in the Athens Stock Exchange. Intralot originated as a spin-off of the Intracom group, owned by the Greek billionaire Socrates Kokkalis, it provided infrastructure for the Greek National Lottery, under a 1999 contract, but has since expanded its operations into a worldwide market. Intralot's games library includes a variety of games such as numerical games, TV lottery games, sports lotteries, fixed odds betting, instant lotteries, pari-mutuel, video lottery and monitor games. In December 2009, Intralot announced purchasing 35% of the American online games provider CyberArts, purposing to expand its subsidiary company, Intralot Interactive.

In October 2011, Intralot concluded the sale of its minority stake in CyberArts, as per the Group's decision not to exercise the option to increase its participation to 51% and focus on its own technology and services. During ICE Totally Gaming 2015 the company announced that it will acquire a stake of 25% of Bit8. In December 2017, Intralot completed its acquisition of Bit8, enabling its digital transformation strategy for lottery modernisation. In May 2008, Intralot was implicated in the criminal investigation of Romanian Politician Christian Boureanu for "abuse of office against the public interest" by the National Anticorruption Directorate for Boureanu's role in signing a contract in 2000 between Loteria Română and Intracom SA Hellenic Telecommunication Electronics Industry that caused Loteria Română to incur losses of over €120 million. In December 2016, Intralot signed a long-term contract with Idaho Lottery in the US, that will come into force in October 2017 and last until October 2027, extendable by up to two additional five-year periods..

In February 2018, Intralot announced that they had agreed a 10-year deal worth an estimated $340 million with the Illinois State Lottery. The deal will cover the installation of technology solutions in over 7,500 retail locations across the US state. In February 2019, the D. C. Council authorized a sole-source contract for sports betting throughout Washington D. C. Intralot, who runs the lottery within the district, will manage and provide services for the online sports betting component within D. C. Intralot is a member of international gaming associations, including the World Lottery Association, European Lotteries, the North American Association of State & Provincial Lotteries and CIBELAE, as well as the Gaming Standards Association in the US and the Asia Pacific Lottery Association. Intralot was named one of the World Economic Forum's "New Champions", as it was listed in its "Global Growth Companies Community" in 2007. Intralot received a "Global IT Excellence Award 2008" by the World Information Technology and Services Alliance during its 16th World Congress on Information Technology, Kuala Lumpur, Malaysia.

Intralot is a member of the Ηellenic Network of Corporate Social Responsibility, a National Partner Organization of, promotes the adoption of business practices in line with concepts of social responsibility and cohesion. Intralot is a member of the United Nations "Global Compact Network" for Corporate Social Responsibility. Betting Company, a subsidiary of Intralot that operated sports betting in 12 countries, signed a cooperation agreement with FIFA's Early Warning System for the protection of the integrity of football

Storefront Hitchcock

Storefront Hitchcock is the title of a soundtrack album by Robyn Hitchcock, released in support of a film of the same name, directed by Jonathan Demme. The film is an audience-eye view of its subject matter, singer-songwriter Hitchcock, standing inside a derelict shop window in New York, performing selections from his considerable back catalogue on acoustic guitar; the street scenes and passers by glimpsed through the glass act as a backdrop to the movie, which went on general release in 1998. Recorded by John Hanlon and David Hewitt on Remote Recording Services' Silver Truck The soundtrack CD features twelve songs, interspersed with several Hitchcock monologues, which are ad-libbed in front of the audience in the manner of his concert appearances. At times macabre, they are always witty and imaginative and form a substantial part of the artistic appeal of the set; the songs themselves include five not released in any form by Hitchcock, one of, an acoustic cover of Jimi Hendrix' "The Wind Cries Mary".

Hitchcock would make full studio recordings of a couple of others for subsequent albums, although "Let's Go Thundering" and "Where Do You Go When You Die" remain unavailable elsewhere. The CD captures Hitchcock in typical live mode, neatly encapsulates his solo act at that stage. Other titles from the film surfaced on the concurrent vinyl edition. All tracks composed by Robyn Hitchcock. Song" "I Am Not Me" "You and Oblivion" "Airscape" "Freeze" "Alright Yeah" "No, I Don't Remember Guildford" "1974" "Let's Go Thundering" "I'm Only You" "Glass Hotel" "I Something You" "The Yip! Song" "Freeze" "All Right Yeah" "Where Do You Go When You Die?" "The Wind Cries Mary" "No, I Don't Remember Guildford" "Beautiful Queen" Side One "1974" "Let's Go Thundering" "Filthy Bird" "Statue With a Walkman"Side Two "I'm Only You" "Glass Hotel" "I Something You" "The Yip! Song" "You and Oblivion"Side Three "Freeze" "Airscape" "Alright Yeah" "Where Do You Go When You Die?"Side Four "The Wind Cries Mary" "No, I Don't Remember Guildford" "Eerie Green Storm Lantern" "Beautiful Queen" Robyn Hitchcock - vocals, acoustic guitar, electric guitar, harmonica Tim Keegan - guitar, vocals Deni Bonet - violin "Official Robyn Hitchcock website".

Archived from the original on 1999-10-12. Retrieved 2007-05-14