The Promised Land is the land which, according to the Tanakh, was promised and subsequently given by God to Abraham and his descendants, in modern contexts an image and idea related both to the restored Homeland for the Jewish people and to salvation and liberation is more understood. The promise was first made to Abraham confirmed to his son Isaac, to Isaac's son Jacob; the Promised Land was described in terms of the territory from the River of Egypt to the Euphrates river. A smaller area of former Canaanite land and land east of the Jordan River was conquered and occupied by their descendants, the Israelites, after Moses led the Exodus out of Egypt, this occupation was interpreted as God's fulfilment of the promise. Moses anticipated that God might subsequently give the Israelites land reflecting the boundaries of God's original promise, if they were obedient to the covenant; the concept of the Promised Land is the central tenet of Zionism, whose discourse suggests that modern Jews descend from the Israelites and Maccabees through whom they inherit the right to re-establish their "national homeland".
Palestinians claim partial descent from the Israelites and Maccabees, as well as all the other peoples who have lived in the region. The imagery of the "Promised Land" was invoked in African-American spirituals as heaven or paradise and as an escape from slavery, which can only be reached by death; the imagery and term have been used in popular culture, sermons and in speeches, such as the "I've Been to the Mountaintop" speech by Martin Luther King Jr.: "I just want to do God's will. And He's allowed me to go up to the mountain, and I've looked over. And I've seen the Promised Land. I may not get there with you, but I want you to know tonight. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord." The promise, the basis of the term is contained in several verses of Genesis in the Torah. In Genesis 12:1 it is said: The LORD had said to Abram, "Leave your country, your people and your father's household and go to the land I will show you."and in Genesis 12:7: The LORD appeared to Abram and said, "To your offspring I will give this land."Commentators have noted several problems with this promise and related ones: It is to Abram's descendants that the land will be given, not to Abram directly nor there and then.
However, in Genesis 15:7 it is said: He said to him, "I am the LORD, who brought you out from Ur of the Chaldeans to give you this land to take possession of it." However, how this verse relates to the promises is a matter of controversy. There is nothing in the promise to indicate God intended it be applied to Abraham’s physical descendants unconditionally exhaustively or in perpetuity. Jewish commentators drawing on Rashi's comments to the first verse in the Bible, assert that no human collective has any a priori claim to any piece of land on the planet, that only God decides which group inhabits which land in any point in time; this interpretation has no contradictions since the idea that the Jewish people have a claim to ownership rights on the physical land is based on the idea of God deciding to give the land to the Jewish people and commanding them to occupy it as referred to in Biblical texts mentioned. In Genesis 15:18-21 the boundary of the Promised Land is clarified in terms of the territory of various ancient peoples, as follows: On that day the LORD made a covenant with Abram and said, "To your descendants I give this land, from the river of Egypt to the great river, the Euphrates - the land of the Kenites, Kadmonites, Perizzites, Amorites, Canaanites and Jebusites."The verse is said to describe what are known as "borders of the Land".
In Jewish tradition, these borders define the maximum extent of the land promised to the descendants of Abraham through his son Isaac and grandson Jacob. The promise was confirmed to Jacob at Genesis 28:13, though the borders are still vague and is in terms of "the land on which you are lying". Other geographical borders are given in Exodus 23:31 which describes borders as marked by the Red Sea, the "Sea of the Philistines" i.e. the Mediterranean, the "River,". The promise is fulfilled at the end of the Exodus from Egypt. Deuteronomy 1:8 says: See, I have given you this land. Go in and take possession of the land that the LORD swore he would give to your fathers—to Abraham and Jacob—and to their descendants after them, it took a long time. The furthest extent of the Land of Israel was achieved during the time of the united Kingdom of Israel under David; the actual land controlled by the Israelites has fluctuated over time, at times the land has been under the control of various empires. However, under Jewish tradition when it is not in Jewish occupation, the land has not lost its status as the Promised Land.
Traditional Jewish interpretation, that of most Christian commentators, define Abraham's descendants as Abraham's seed only through his son Isaac and his grandson Jacob, to the exclusion of Ishmael and Esau. This may however reflect an eisegesis or reconstruction of primary verses based on the biblical emphasis
The 2014 Changchun Yatai F. C. season is Changchun's 9th consecutive season in the Chinese Super League. Changchun will be competing in the Chinese FA Cup. Manager Šapurić was sacked for the second time by the club after a 2-3 loss to Guangzhou R&F on 20 April, his compatriot Okuka was appointed with a 1+1 contract 6 days and made his managerial debut for the club in a 1-3 loss against Harbin Yiteng on 4 May. Changchun stayed up after a 1-1 draw against Hangzhou Greentown in the final game but did not go through the season with many relegation fears; the iconic moment of their 2014 season was that they beat league giant Guangzhou Evergrande home and away, became only the second Chinese team to achieve that, after Guangzhou R&F in 2012. Official Site
Head in the Clouds is a 2004 Canadian-British war drama film written and directed by John Duigan. The original screenplay focuses on the choices young lovers must make as they find themselves surrounded by increasing political unrest in late-1930s Europe. In a prologue set in Paris in the year 1924, a young 14-year-old Gilda Bessé, the daughter of a French aristocrat and an unstable American mother, reluctantly is told by a fortune teller that the life line on her palm doesn't extend past the age of 34. Fast forward to a rainy night in 1933, when Gilda stumbles into the room of Guy Malyon, an Irishman, a first-year scholarship student at Cambridge University, she has had a lover's quarrel with one of the dons, rather than turn her out into the storm, Guy gallantly allows her to spend the night. They become lovers, but the two are separated when Gilda's mother dies and she opts to leave England. A few years Guy sees her as an extra in a Hollywood film, shortly after he coincidentally receives a letter from her inviting him to visit her in Paris, where she's working as a photographer.
Guy discovers that Gilda is living with the Spanish-born nursing student/model Mia and has a lover, whom she discards when Guy moves in. The trio are enjoying their unusual living arrangement, but world events are beginning to affect their existence, it is the height of the Spanish Civil War, idealistic Guy, a long-time supporter of the army of the Second Spanish Republic, is determined to do what he can to help them as Francisco Franco's fascists gain strength. Mia, too, is anxious to come to the aid of her native land. Gilda, has no interest in politics or anything else that might disrupt her life of luxury, pleads with the two to ignore the conflict, but they feel compelled to act and depart for Spain. By January 1938, Guy becomes a soldier, while Mia tends to the wounded, they cross paths one night and, before sleeping with Guy, Mia confesses she was Gilda's lover. In the morning, her ambulance is destroyed by a land mine resulting in Mia's death as well as the ambulance driver. A few months in July 1938, Guy returns to Paris, where he is ignored by Gilda, who feels his abandonment of her was a form of betrayal.
Six years Guy is working as a spy with the underground in occupied Paris under the auspices of British intelligence. He learns that Gilda has taken Nazi Major Franz Bietrich as a lover and visits her in their old apartment, where the two make love; the following morning she tells him their affair and the two can never see each other again. D-Day is approaching, Guy throws himself into his work. One day he arrives at a café to meet a contact, but instead is approached by Gilda, who has overheard her German lover plotting a trap and has come to help him escape in cleric's clothing she has concealed in the restaurant's washroom; that night, he and his associates destroy a rail station, but only Guy manages to elude the German soldiers. Guy returns to London. With the occupation of Paris having come to an end, he realizes that the locals, who had long regarded Gilda as a Nazi sympathizer and traitor, will seek revenge; as he returns to Paris to find her, Guy is unaware that Bietrich has been killed in Gilda's apartment and that she has been taken captive by a mob intent on avenging the deaths of their loved ones.
She is killed, off-camera, by a local youth to avenge the death of his sister. The movie ends with Guy in Gilda's ransacked apartment reading the last letter written by her to him. Charlize Theron as Gilda Bessé Jolyane Langlois as 14 Year old Gilda Penélope Cruz as Mia Stuart Townsend as Guy Malyon Thomas Kretschmann as Sturmbannführer Franz Bietrich Steven Berkoff as Charles Bessé David La Haye as Lucien Karine Vanasse as Lisette Gabriel Hogan as Julian Elsworth John Jorgensen as Django Reinhardt Christine Solomon as Parisian Woman #2 The film was shot in London, Cambridge and Paris; the soundtrack included "Parlez-moi d'amour" by Jean Lenoir, "Blue Drag" by Josef Myrow, "Minor Swing" by Stéphane Grappelli and Django Reinhardt, "Big Jim Blues" by Harry Lawson and Mary Lou Williams, "La rumba d'amour" by Simon Rodriguez, "Vous qui passez sans me voir" by Charles Trenet and Jean Sablon, "My Girl's Pussy" by Harry Roy and performed by John Duigan and "La litanie à la vierge" by Francis Poulenc.
The film featured John Jorgenson as Django Reinhardt. His reproduction of Django's playing was applauded throughout the world by many critics and the media; this led to the formation of the John Jorgenson Quintet. The score won best score award in the 2005 Genie Awards; the film earned $46,133 its opening weekend. It grossed a total of $398,278 in the US and Canada and $3,112,327 in other markets for a total worldwide box office of $3,510,605; the film has a rating of 16% at Rotten Tomatoes. In his review in The New York Times, Stephen Holden said, "The strength of go-for-broke performance only underlines the weaknesses of the film... plays like an entertaining compilation of Hollywood's favorite World War II clichés" and added, "Could it be that Hollywood's six decades of replaying the Good War has left us with nobility fatigue? At least Head in the Clouds is not the debacle of other epic-manqués, but if World War II is to continue to mean anything anymore, it has to be reimagined as a real event, not a deluxe, romantically spiced-up newsreel."Roger Ebert of the Chicago Sun-Times said the film "is silly and the plot is preposterous, but it labors under no delusions otherwise.
It wants to