click links in text for more info


In Greek mythology, Pandora was the first human woman created by Hephaestus on the instructions of Zeus. As Hesiod related it, each god co-operated by giving her unique gifts, her other name—inscribed against her figure on a white-ground kylix in the British Museum—is Anesidora, "she who sends up gifts". The Pandora myth is a kind of theodicy, addressing the question of. According to this, Pandora opened a jar, in modern accounts sometimes mistranslated as "Pandora's box", releasing all the evils of humanity. Hesiod's interpretation of Pandora's story went on to influence both Jewish and Christian theology and so perpetuated her bad reputation into the Renaissance. Poets, dramatists and sculptors made her their subject and over the course of five centuries contributed new insights into her motives and significance. Hesiod, both in his Theogony and in Works and Days, gives the earliest version of the Pandora story; the Pandora myth first appeared in lines 560–612 of Hesiod's poem in epic meter, the Theogony, without giving the woman a name.

After humans received the stolen gift of fire from Prometheus, an angry Zeus decides to give humanity a punishing gift to compensate for the boon they had been given. He commands Hephaestus to mold from earth the first woman, a "beautiful evil" whose descendants would torment the human race. After Hephaestus does so, Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver; this woman goes unnamed in the Theogony, but is Pandora, whose myth Hesiod revisited in Works and Days. When she first appears before gods and mortals, "wonder seized them", but she was "sheer guile, not to be withstood by men." Hesiod elaborates: Hesiod goes on to lament that men who try to avoid the evil of women by avoiding marriage will fare no better: Hesiod concedes that a man finds a good wife, but still "evil contends with good." The more famous version of the Pandora myth comes from another of Hesiod's poems and Days. In this version of the myth, Hesiod expands upon her origin, moreover widens the scope of the misery she inflicts on humanity.

As before, she is created by Hephaestus, but now more gods contribute to her completion: Athena taught her needlework and weaving. Hermes gives this woman a name: Pandora – "All-gifted" – "because all the Olympians gave her a gift". In this retelling of her story, Pandora's deceitful feminine nature becomes the least of humanity's worries. For she brings with her a jar containing "burdensome toil and sickness that brings death to men", diseases and "a myriad other pains". Prometheus had warned his brother Epimetheus not to accept any gifts from Zeus, but Epimetheus did not listen. As a result, Hesiod tells us, "the earth and sea are full of evils". One item, did not escape the jar: Hesiod does not say why hope remained in the jar. and closes with the moral: "Thus it is not possible to escape the mind of Zeus." Hesiod outlines how the end of man's Golden Age was brought on by Prometheus. When he stole Fire from Mt. Olympus and gave it to mortal man, Zeus punished the technologically advanced society by creating a woman.

Thus, Pandora was given the jar which releases all evils upon man. Archaic and Classic Greek literature seem to make little further mention of Pandora, but mythographers filled in minor details or added postscripts to Hesiod's account. For example, the Bibliotheca and Hyginus each make explicit what might be latent in the Hesiodic text: Epimetheus married Pandora, they each add that the couple had a daughter, who married Deucalion and survived the deluge with him. However, the Hesiodic Catalogue of Women, fragment #5, had made a "Pandora" one of the daughters of Deucalion, the mother of Graecus by Zeus. In the 15th-century AD an attempt was made to conjoin pagan and scriptural narrative by the monk Annio da Viterbo, who claimed to have found an account by the ancient Chaldean historian Berossus in which "Pandora" was named as a daughter-in-law of Noah in the alternative Flood narrative; the mistranslation of pithos, a large storage jar, as "box" is attributed to the sixteenth century humanist Erasmus of Rotterdam when he translated Hesiod's tale of Pandora into Latin.

Hesiod's pithos refers to a large storage jar half-buried in the ground, used for wine, oil or grain. It can refer to a funerary jar. Erasmus, translated pithos into the Latin word pyxis, meaning "box". T

Faisal Antar

Faisal Antar is a Lebanese former footballer who played as a defender. He played his entire career in the Lebanese Premier League, for Tadamon Sour, Olympic Beirut and Mabarra. Antar represented the Lebanese national team at the 2000 AFC Asian Cup, where he had been present for the national team from 1998 to 2007. Faisal is the brother of former footballer Roda Antar. In June 2010, Antar announced his retirement and became a Hall of Famer in the Lebanese Football Association, he is a defender who started his career at Tadamon Sour, where he played for 5 years before moving to Olympic Beirut. He spent two years at the club before moving to Nejmeh in 2005 following a trial at Rangers. After a couple of years, he moved to Mabarra. In June 2010, Faisal announced his retirement from football. In 2011, Antar returned to Tadamon Sour for the 2011-12 Lebanese Premier League season where he made two appearances. Antar had made his full international debut in 1998 but featured for Lebanon U21 in 1999 in a fixture against the Czech Republic.

Scores and results list Lebanon's goal tally first. Faisal Antar at

Kanchi Kingdom

Kanchi was a southern kingdom mentioned in the epic Mahabharata. This kingdom took part in the Kurukshetra War, it was considered as one among the Mlechcha kingdoms. It is identified as the Kanchi city in Tamil Nadu. Mahabharata, Book 1, Chapter 177When the sage Vasistha was attacked by king Viswamitra's army, Vasistha's cow, brought forth from her tail, an army of Palhavas, from her udders, an army of Dravidas and Sakas, and from the froth of her mouth came out hosts of Paundras and Kiratas and Sinhalas, the barbarous tribes of Khasas and Chivukas and Pulindas and Chinas and Hunas with Keralas, numerous other Mlechchhas. In the ancient Indian literature, cow is a symbol of land, thus the myth mentioned above means that, these tribes gathered for the protection of sage Vasistha's land against the army of king Viswamitra. Mahabharata, Book 5, Chapter 161, 162Kaurava army is protected by the kings of the East, the West, the South and the North, by the Kamvojas, the Sakas, the Khasas, the Salwas, the Kurus of the middle country, the Mlechchhas, the Pulindas, the Dravidas, the Andhras, the Kanchis.

Mahabharata, Book 8, Chapter 12The Parthas, headed by Bhima, advanced against Kaurava army. They consisted of Dhrishtadyumna, Draupadi's sons, the Prabhadrakas, Satyaki and Chekitana with the Dravida forces, the Pandyas, the Cholas, the Keralas, all possessed of broad chests, long arms, tall statures, large eyes. Decked with ornaments, possessed of red teeth, attired in robes of diverse colours, smeared with powdered scents, armed with swords and nooses, equipped with quivers, bearing bows adorned with long locks, agreeable in speech were the combatants of the infantry files led by Satyaki, belonging to the Andhra tribe, endued with fierce forms and great energy. Other brave warriors such as the Cedis, the Pancalas, the Kaikayas, the Karushas, the Kosalas, the Kanchis, the Maghadhas rushed forward. Kingdoms of Ancient India Mahabharata of Krishna Dwaipayana Vyasa, translated to English by Kisari Mohan Ganguli

Medusa (Annie Lennox album)

Medusa is the second solo album by the Scottish singer Annie Lennox, released in March 1995, consists of cover songs. It entered the UK Albums Chart at number 1 and peaked in the United States at number 11, spending 60 weeks on the Billboard 200 chart, it has since achieved double platinum status in both the United Kingdom and the United States and sold more than 6 million copies worldwide. The album yielded four singles in the United Kingdom: "No More I Love You's", "A Whiter Shade of Pale", "Waiting in Vain" and "Something So Right"; the album was nominated for Best Pop Album at the Grammy Awards of 1996, losing to Turbulent Indigo by Joni Mitchell. Lennox took home the Best Female Pop Vocal Performance award for her work on the first single "No More I Love You's"; this album was re-released in late 1995 in a double jewel case containing the album Medusa and a nine-track bonus CD featuring the studio version of Paul Simon's "Something So Right" and eight tracks recorded live from the concert in Central Park: "Money Can't Buy It", "Legend in My Living Room", her Eurythmics hits "Who's That Girl?", "You Have Placed a Chill in My Heart" and "Here Comes the Rain Again", along with "Why", "Little Bird" and "Walking on Broken Glass".

Professional reviews for Medusa were mixed. AllMusic notes that critics "savaged" the album upon release: Trouser Press was the most severe in its criticism, characterizing Lennox's interpretations of classic material as "obvious", "milquetoast" and "willfully wrongheaded". Reviewer Ira Robbins did single out the track "No More I Love You's" for genuine, if backhanded, praise: "The only song here that benefits from her ministrations is'No More'I Love You's,' a minor 1986 hit for Britain's otherwise forgotten The Lover Speaks, that's only by dint of the original's obscurity."Meanwhile, Rolling Stone gave the album a more positive, though still mixed review: Annie Lennox called her justifiably popular solo debut Diva, but it's on the follow-up effort Medusa that she starts acting like one. This wildly uneven album of cover versions starts with its highest point—a wonderful interpretation of "No More I Love You's", a obscure British hit by The Lover Speaks. Lennox doesn't work the same magic with more familiar material like Al Green's "Take Me to the River" and Procol Harum's "A Whiter Shade of Pale".

Produced by Stephen Lipson Engineered and mixed by Heff Moraes Pre-production by Marius de Vries Annie Lennox – all vocals, flute Stephen Lipson – programming, keyboards, bass guitar Martin De Vries – keyboards and programming Peter-John Vettese, Andy Richards, Mathew Cooper – keyboards Luís Jardim – bass, percussion Tony Pastor – guitar Dan Gillen, Neil Contidrums Doug Wimbish – bass guitar Judd Lander, Mark Felthamharmonica Pandit Dinesh – tablas Kirampal Singh – santoor James McNallyaccordion Anne Dudley – orchestral and string arrangements Although no tour was held to promote this album, Lennox played a one-off concert in Central Park, New York City on 9 September 1995. This was subsequently released on videotape as Annie Lennox in the Park and on DVD as Annie Lennox Live in Central Park. Director: Joe Dyer Recorded: Live at Central Park, New York City, 8 September 1995 Release date: December 1995. "You Have Placed a Chill in My Heart" "Waiting in Vain" "I Love You Like a Ball and Chain" "Little Bird" "Sweet Dreams" "Train in Vain" "Why" Promotional video clips "No More "I Love You's"" "A Whiter Shade of Pale" "Waiting in Vain" "Something So Right"

Johann Friedrich Abegg

Johann Friedrich Abegg was a German theologian. He was the brother of many siblings in a family of preachers, was adopted in 1786 as candidate for the preacher office in the Electorate of the Palatinate, he visited the college in Heidelberg from 1789 to 1794 and worked as extraordinary professor of philology since 1791. In 1794 he started to practise as priest, first in Boxberg in Leimen and Heidelberg in the parishes St. Peter and Heiliggeist. Beginning in 1807 he was member of the Grand-Ducal Higher Clergy Council of Baden. In 1819 he was appointed professor of practical theology at the University of Heidelberg, where he acquired his doctorate in theology. Only few written works exist of Abegg, as he always saw his duty more in the application of his studies than in the theory. However, he held an important place in Heidelberg's society of the time, being an intimate friend of romantic personalities like Anton Friedrich Justus Thibaut, Friedrich Creuzer, Carl Daub and Friedrich Wilhelm Carl Umbreit.

Allgemeine Deutsche Biographie - online version

Big Shot (ride)

Big Shot is a pneumatically powered tower ride. It was at one time the world's highest amusement ride in terms of overall elevation above ground level; the 160 feet tower is built atop the 921 feet high deck of the Stratosphere in Nevada. The world's highest amusement ride in terms of overall elevation above ground level is the Sky Drop built atop the 1,492 feet high deck of the Canton Tower in Guangzhou; the new Sky Drop reaches a height of 1,591 feet above ground level, 510 feet higher than Big Shot. Big Shot is a pneumatically powered tower ride, featuring a rapid ascent from an elevation of 921 ft to 1,081 ft; the ride accelerates to 45 miles per hour. The ride up generates 4Gs during the rapid ascent. High Roller SkyJump Las Vegas X-Scream