A saber arch is a wedding tradition in which sabers or swords are used to salute a newly married couple. The bride and groom pass under an honorary arch of sabers when exiting the building in which the wedding ceremony took place; the tradition is in use worldwide. In the United States and United Kingdom, the tradition is performed at the weddings of military service members and had its origins in the Royal Navy; the tradition varies among the different branches of the U. S. armed is considered a privilege accorded to members of the service. An honor guard composed of officers or NCOs from the same unit as the service member, form the arch with sabers or swords. Officers and enlisted personnel in the bridal party wear formal dress uniforms in accordance with seasonal regulations of the services. A female may wear a traditional bridal gown. White gloves are required for all saber or sword bearers, who are officers or NCOs. Military guests have the option to attend the wedding in uniform or appropriate civilian attire, but none may carry a saber or sword unless attired in a formal dress uniform.
After the marriage ceremony is officiated but not always in a building such as a church or chapel, the saber team positions itself in formation just outside the doorway, with six or eight saber bearers taking part. The guests of the wedding are afforded the opportunity to assemble outside to view the event before it begins. On the command, the saber team raises their sabers into a high arch, with tips nearly touching and the blades facing up and away from the bride and groom; as the newly married couple exits the building, the senior usher announces, "Ladies and gentlemen, it is my honor to present to you and Mr/s." This is modified. The bride and groom proceed into the arch, as the couple passes through, the last two saber bearers lower the sabers in front of the couple, detaining them momentarily. Before releasing the couple, the saber bearer to the couple's left gives the bride a gentle swat on her backside with his saber, announcing "Welcome to the Ma'am!" If the bride is in the military, this step is omitted.
In some ceremonies, every pair of saber bearers may lower their sabers, stopping the couple from proceeding each time. One of the pair may say something along the lines of, "Kiss required to pass," and the bearers will not raise their sabers until the bride and groom share a kiss. After the couple leaves the arch, the saber team recovers on dissolves formation. Only the bride and groom pass under the arch, it is traditional at the wedding reception for the wedding cake to be cut with a saber or sword. In Germany and Austria, saber arches are employed by various types of male-only Studentenverbindungen. At weddings, the current officials – a team of three – salute their newlywed member and his bride by a single arch featuring a flag just outside the church. No further protocol is common. In a similar fashion, the aforementioned officials salute their deceased brothers at funerals. Walking directly behind the coffin bearers in the procession, they surround the grave from three sides at the graveyard.
The saber arch is presented from both sides, the flag is raised above the head of the corpse. As the coffin is lowered into the earth, both the saber arch and the flag follow him resting there while last words are uttered. Sabers are held by the first and second member in charge, whereas the third highest-ranking member presents the flag displaying the fraternity's characteristic colors or coat of arms; the process is inspired by military traditions, as early Studentenverbindungen consisted of officers or aristocrats. The uniforms worn are derived from those employed in the Polish revolution of 1830 and are complete with hat and jacket in the fraternity's colors, white pants, riding boots with spurs and white gloves. In Indonesia, this ceremony is known as "Pedang Pora"; this ceremony is done on weddings of a military or police officer as the groom. Other uniformed services has the similar ceremony for an officer's wedding ceremony. Service Etiquette Fourth Edition, by Oretha D. Swartz. Naval Institute Press, 1988.
ISBN 978-0-87021-620-6. Cavhooah.com: Arch of Swords Ceremony, retrieved 2007-11-05
Arabic is a Central Semitic language that first emerged in Iron Age northwestern Arabia and is now the lingua franca of the Arab world. It is named after the Arabs, a term used to describe peoples living in the area bounded by Mesopotamia in the east and the Anti-Lebanon mountains in the west, in northwestern Arabia, in the Sinai Peninsula. Arabic is classified as a macrolanguage comprising 30 modern varieties, including its standard form, Modern Standard Arabic, derived from Classical Arabic; as the modern written language, Modern Standard Arabic is taught in schools and universities, is used to varying degrees in workplaces and the media. The two formal varieties are grouped together as Literary Arabic, the official language of 26 states, the liturgical language of the religion of Islam, since the Quran and Hadith were written in Arabic. Modern Standard Arabic follows the grammatical standards of Classical Arabic, uses much of the same vocabulary. However, it has discarded some grammatical constructions and vocabulary that no longer have any counterpart in the spoken varieties, has adopted certain new constructions and vocabulary from the spoken varieties.
Much of the new vocabulary is used to denote concepts that have arisen in the post-classical era in modern times. Due to its grounding in Classical Arabic, Modern Standard Arabic is removed over a millennium from everyday speech, construed as a multitude of dialects of this language; these dialects and Modern Standard Arabic are described by some scholars as not mutually comprehensible. The former are acquired in families, while the latter is taught in formal education settings. However, there have been studies reporting some degree of comprehension of stories told in the standard variety among preschool-aged children; the relation between Modern Standard Arabic and these dialects is sometimes compared to that of Latin and vernaculars in medieval and early modern Europe. This view though does not take into account the widespread use of Modern Standard Arabic as a medium of audiovisual communication in today's mass media—a function Latin has never performed. During the Middle Ages, Literary Arabic was a major vehicle of culture in Europe in science and philosophy.
As a result, many European languages have borrowed many words from it. Arabic influence in vocabulary, is seen in European languages Spanish and to a lesser extent Portuguese, Catalan, owing to both the proximity of Christian European and Muslim Arab civilizations and 800 years of Arabic culture and language in the Iberian Peninsula, referred to in Arabic as al-Andalus. Sicilian has about 500 Arabic words as result of Sicily being progressively conquered by Arabs from North Africa, from the mid-9th to mid-10th centuries. Many of these words relate to related activities; the Balkan languages, including Greek and Bulgarian, have acquired a significant number of Arabic words through contact with Ottoman Turkish. Arabic has influenced many languages around the globe throughout its history; some of the most influenced languages are Persian, Spanish, Kashmiri, Bosnian, Bengali, Malay, Indonesian, Punjabi, Assamese, Sindhi and Hausa, some languages in parts of Africa. Conversely, Arabic has borrowed words from other languages, including Greek and Persian in medieval times, contemporary European languages such as English and French in modern times.
Classical Arabic is the liturgical language of 1.8 billion Muslims, Modern Standard Arabic is one of six official languages of the United Nations. All varieties of Arabic combined are spoken by as many as 422 million speakers in the Arab world, making it the fifth most spoken language in the world. Arabic is written with the Arabic alphabet, an abjad script and is written from right to left, although the spoken varieties are sometimes written in ASCII Latin from left to right with no standardized orthography. Arabic is a Central Semitic language related to the Northwest Semitic languages, the Ancient South Arabian languages, various other Semitic languages of Arabia such as Dadanitic; the Semitic languages changed a great deal between Proto-Semitic and the establishment of the Central Semitic languages in grammar. Innovations of the Central Semitic languages—all maintained in Arabic—include: The conversion of the suffix-conjugated stative formation into a past tense; the conversion of the prefix-conjugated preterite-tense formation into a present tense.
The elimination of other prefix-conjugated mood/aspect forms in favor of new moods formed by endings attached to the prefix-conjugation forms. The development of an internal passive. There are several features which Classical Arabic, the modern Arabic varieties, as well as the Safaitic and Hismaic inscriptions share which are unattested in any other Central Semitic language variety, including the Dadanitic and Taymanitic languages of the northern Hejaz; these features are evidence of common descent from Proto-Arabic. The following features can be reconstructed with confidence for Proto-Arabic: negative particles m *mā.
Saber Ben Frej
Saber Ben Frej is a Tunisian footballer. During the first half of the 2007–08 season, Ben Frej scored nine goals in 13 games for Etoile du Sahel, before moving to Le Mans UC72 in January 2008. On 4 January 2010, his club have released the Tunisian defender. Saber Ben Frej at National-Football-Teams.com
A lightsaber is a fictional energy sword featured in the Star Wars universe. A typical lightsaber is depicted as a luminescent blade of magnetically contained plasma about 3 feet in length emitted from a metal hilt around 10.5 inches in length. The lightsaber is the signature weapon of the Jedi Order and their Sith counterparts, both of whom can use them for melee combat, or to deflect blaster bolts, its distinct appearance was created using rotoscoping for the original films, with digital effects for the prequel and sequel trilogies. The lightsaber first appeared in the original 1977 film A New Hope and has since appeared in every Star Wars movie, with at least one lightsaber duel occurring in each main film installments. In 2008, a survey of 2,000 film fans found it to be the most popular weapon in film history. In its most prominent showing, the lightsaber's energy blade can cut and melt through most substances with little resistance, it leaves cauterized wounds in flesh, but can be deflected by another lightsaber blade, or by energy shields.
The blade has been used as a tool to weld metal substances. Other times, the lightsaber has been shown to cause bleeding wounds in the flesh, sometimes accompanied by burns; some exotic saber-proof materials have been introduced in the Expanded Universe. An active lightsaber gives off a distinctive hum, which rises in pitch and volume as the blade is moved through the air. Bringing the blade into contact with another lightsaber's blade produces a loud crackle. There are several literary precedents in science fiction for a "sword" of pure energy that can cut through anything, notably: Edmond Hamilton's story Kaldar: World of Antares, it was reprinted in one of Donald A. Wollheim's well-known and read science fiction anthologies, Swordsmen in the Sky, Ace Books 79276, 1964, thus available to the science fiction reader community of the 1960s and 1970s. Fritz Leiber's Gather Darkness: the priests' "rods of wrath" only end where they cut into solid matter, so that a single duel led to numerous casualties of bystanders and charred scores across all nearby walls.
Isaac Asimov's Lucky Starr series: The force-blade is "a short shaft of stainless steel" which can project a force field that can cut through anything, making it "the most vicious weapon in the galaxy." Asimov's force-blade expands on his earlier invention of "a penknife with a force-field blade," first used in his Foundation novel. Gordon R. Dickson's Wolfling: the rod “… something in appearance like a cross between the flame of a welding torch and the arc of a static electricity charge crackled from the end of the rod … as it burst from the end of the rod … the discharge from Galyan's rod met the discharge from Slothiel's head on, the two lines of white fire splashed harmlessly into an aurora of sparks, …". In a 1977 interview, Lucas stated "As a kid, I read a lot of science fiction,…I was interested in Harry Harrison…” and this issue of Analog ends a Harry Harrison story on the back of the page with a drawing of this duel. Larry Niven's Ringworld: Louis Wu uses his "flashlight laser" as a sword of indefinite length.
Ringworld features a "variable sword", consisting of a handle containing a spool of invisibly thin, molecule-thick wire. In use the wire is unspooled to the desired length and made rigid by a "stasis field"; some depictions show the field glowing. M. John Harrison's The Pastel City: the energy baan are used by the Methven, an order of knights sworn to protect their empire. For the original Star Wars film, the film prop hilts were constructed by John Stears from old Graflex press camera flash battery packs and other pieces of hardware; the full sized sword props were designed to appear ignited onscreen, by creating an "in-camera" glowing effect in post-production. The blade is a three-sided rod, coated with a Scotchlite retroreflector array, the same sort used for highway signs. A lamp was positioned to the side of the taking camera and reflected towards the subject through 45-degree angled glass so that the sword would appear to glow from the camera's point of view. Set decorator Roger Christian found the handles for the Graflex Flash Gun in a photography shop in Great Marlborough Street, in London's West End.
He added cabinet T-track to the handles, securely attaching them with cyanoacrylate glue. Adding a few "greebles", Christian managed to hand-make the first prototype of a lightsaber prop for Luke before production began. George Lucas decided. Once Lucas felt the handle was up to his standards, it went to John Stears to create the wooden dowel rod with front-projection paint so that the animators would have a glow of light to enhance on in post production. Due to lack of preparation time, Christian's prototype and a second spare were used for the shooting in Tunisia, where Star Wars filming began, it was discovered, that the glowing effect was dependent on the rod's orientation to the camera, during the Obi-Wan Kenobi/Darth Vader duel, they could be seen as rods. Because of this, the glow would be added in post-production through rotoscoping, which allowed for diffusion to be employed to enhance the glow. Korean animator Nelson Shin, working for an American company at the time, was asked by his manager if he could animate the lightsaber in the live action scenes of a film.
After Shin accepted the assignment, the live action footage was given to him. He drew the lightsabers with a rotoscope, an animation, superimposed onto the footage of the physical lightsaber blade prop. Shin explained to the pe
Saber Marionette J
Saber Marionette J is a Japanese anime produced by Hal Film Maker, aired on TV Tokyo from October 1, 1996 to March 25, 1997. It is the first installation of the Saber Marionette line of series; the show was localized in North America by Ocean Productions and into six other languages by various companies. In between production, Saber Marionette J made transitions in other media. A manga serialized in the Kadokawa Shoten magazine Dragon Age was circulated from October 1996 to November 1999, collected into five volumes by the company. A concurrent radio drama was broadcast and the show's original soundtrack was published by Kings Records; the show was the basis for a PlayStation fighting game called Saber Marionette J: Battle Sabers and published by Tom Create. Otaru Mamiya is an adolescent working-class laborer, independent who's about 18 years old, living on his own in the fictional city state of Japoness. Employed as a fish peddler and running a morning's catch, he is hit by a car driven by Mitsurugi Hanagata, an acquaintance, spoiling his merchandise and sparking a fight the two agree to take elsewhere.
Traveling to a gully outside of the town, the boys continue their quarrel on a bridge where a skilled Otaru makes quick work of his opponent. In an unfortunate turn of events however, balancing himself on a fencepost which breaks off, is dumped into the river below where he is helplessly washed away. Moments having drifted ashore in a small pond, Otaru finds himself at a rural athenaeum, the Japoness Pioneer Museum, he curiously explores the decrepit building, falling through a trapdoor and into a secret underground basement where he finds and awakens an encapsulated marionette. She introduces herself as Lime, embracing the dumbfounded boy with a laugh and revealing an unprecedented ability to express emotion; the prologue of Saber Marionette J is set sometime into the 22nd century, when Earth's population has grown to such a magnitude that humanity cannot feasibly continue without colonizing space. The initial stages of the project make a promising effort of moving civilization into orbit, however it is during travel to a planet name Terra II that a transport vessel, the Mesopotamia, experiences a catastrophic fate, destroying all but a lone escape pod of people who plunge to the surface below.
Of the handful of survivors however, only six males survive the crash, a ratio that both cripples their manpower and leaves them unable to reproduce. Marooned and without communication, the men turn to genetic engineering as a method to produce clones of themselves, enough to populate the planet and sustain habitation; the effort is critically fruitful, over a course of three centuries, each of the survivors and their successors establish individual settlements in the form of six city-states. In spite of the remarkable success however, notwithstanding advancements in technology, Terra II remains uninhabited by women. An effort to substitute this absence is made with the manufacture of feminine androids name marionettes. Saber Marionette J contains several groups of notable themes in the names of characters and locations; the focal heroines, Lime and Bloodberry, are named after fruits, while their counterparts, Tiger and Panther are named after animals of the Felidae family. Ieyasu Tokugawa, the fictional shogun of Japoness, derives his name and appearance from Tokugawa Ieyasu, while Gerhardt von Faust, führer of Galtland, is an allusion of Adolf Hitler whose name may be derived from Faust, a character of German folklore.
The city-states established by the male survivors are based on the political and developmental histories and periods of countries. Japoness is a reminiscence of feudal Japan, Galtland portrays the totalitarian regime of Nazi Germany, Peterburg is structured after Soviet Russia, New Texas is representative of the modern United States, Xi'an paints the image of Imperial China and Romana takes after the Roman Empire; the letters that affix the titles of the franchise have been explained to represent the city-state in which a particular series is set in. Saber Marionette R, for example, takes place in Romana while Saber Marionette occurs in Japoness. Besides the show's botanic and historic references, as well as its comedic overtones, Saber Marionette J explores deeper motifs as well. One such motif, outspoken by Mitsurugi, is the discriminatory notion that marionettes are of no importance to humans beyond their menial labor, should be disenfranchised to the affection or privileges of people; this idea becomes more recurrent in the series when Otaru finds himself growing closer to the girls and questions himself for it.
Another visited theme is the exploration of life, its senescence, death. These truths have a major impact on the girls' developmental identity as they come to terms with themselves and humans. Saber Marionette J follows the life and adventures of Otaru Mamiya, an obstinate young man, who through mishap and predestination, goes from a nondescript street vendor to a national hero and sensation. During the onset of the series, Otaru comes into the inadvertent acquisition of three marionettes.
Saber Marionette is a science fiction humor/adventure series created by Satoru Akahori featuring android girls. It has been produced in the form of anime and light novels. In January 1995 a twelve-episode audio drama series called SM Girls Saber Marionette R aired on the radio show Nowanchatte Say You; the audio drama concluded in April 1995 and the story was continued one month with the release of the first episode of the Saber Marionette R OVA. Episode two was released in late July 1995, in September 1995, the final episode was released. From April, 1995 to December 1995, an incomplete seven-chapter manga titled SM Girls Gaiden Saber Marionette Z was published in the Gakken's magazine AnimeV, in its Vcomi section, it was never published in a tankoubon format. The eighth chapter was released in a novel format. Akahori and Katsumi Hasegawa attempted to re-compose the story as an Saber Marionette R 2 novel, but it was never realized and was released as another novel. In October 1995 the SM Girls Saber Marionette J audio drama series premiered on Nowanchatte Say You and ran until January 1996.
In October 1996 the Saber Marionette J anime series aired. The series ran through March 1997 with 25 episodes. Beginning with a short story published in the October 1994 issue of Gekkan Dragon Magazine, twelve volumes of serialized light novels were produced. A manga series illustrated by Yumisuke Kotoyoshi was adapted from an anime series serialized in the Gekkan Dragon Jr. and in Gekkan Comic Dragon. In October 1997, a sequel arrived on video, the Saber Marionette J Again OVA. In June 1998, the sixth and final episodes of the OVA were released. In October 1998, the Saber Marionette J to X TV series was first broadcast; the series ran for 26 episodes, concluding in March 1999. A manga titled Saber Marionette 2: Shiritsu Oedo Gakuen Koubouki started serializing in Fujimi Shobo's Gekkan Dragon Magazine in October 2000, but it was soon canceled. A manga titled Saber Marionette i − Neo Gene illustrated by Megane Ōtomo started its serialization in July 2008 in Fujimi Shobo's Gekkan Dragon Age and was compiled in one tankōbon.
The Saber Marionette R OVA is licensed by Media Blasters. The Saber Marionette J TV series, the Saber Marionette J Again OVA, the Saber Marionette J to X TV series are licensed by Bandai Entertainment; the English language Saber Marionette J manga is licensed by TOKYOPOP. The American translation is imported to Australia by Madman Entertainment; the original novels, audio dramas, SMJ radio show, the Saber Marionette Z and Saber Marionette i manga are not licensed. Arrival of the colony ship Mesopotamia at the planet Terra 2 300 years after arrival Saber Marionette J Saber Marionette J Again Saber Marionette J to X 500 years after arrival SM Girls Saber Marionette R audio drama Saber Marionette R Saber Marionette i − Neo Gene 800 years after arrival Saber Marionette Z Saber Marionette J is about Mamiya Otaru and his three marionettes, humanoid female robots. In a world with no women, the surviving men have reintroduced the female in the form of an android. Called Marionettes, they are limited in their interactions with humans.
That is. Lime is a Saber model with a special circuit; when Otaru awakens two more Saber Marionettes, his life as an'average' boy becomes as extraordinary as the lives of his eager, busty new friends. Audio drama cast Narrated by Shigeru Chiba Lime Megumi Hayashibara Cherry Yuri Shiratori Bloodberry a.k.a. Barbilly Akiko Hiramatsu Mamiya Otaru Yuka Imai Hanagata Takehito Koyasu Faust Hikaru Midorikawa Luchs Yūko Mizutani Panther Kikuko Inoue Tiger Urara Takano Muenchhausen Ken'yū Horiuchi Saber Marionette J Again is a 6-episode OVA that has events which take place after Saber Marionette J. In the story, Faust asks Otaru to receive the three Saber Dolls in his apartment, so that he can educate them as he did with Lime and Bloodberry. At the same time, Lorelei is asked to repair Tiger's maiden circuit, broken. Meanwhile, planet Terra II is beginning to experience a plasmatic crisis; the key to save the planet lies within a new marionette. The mystery behind Marine lies in her triple maiden circuit, is not unveiled until episode four.
She matures faster than the other marionettes, is stronger than Bloodberry and Panther combined. Saber Marionette J to X continues a year after the conclusion of Saber Marionette J. Otaru and the girls continue to live routine lives, while Lorelei works on the cloning project to reintroduce human females into the population; the first few episodes revolve around the personal growth of the girls as individuals, their interactions with the people around them. Faust's Saber Dolls still live in Japoness, although as they continue to develop begin to feel restless and desire to return to their master; when they receive an envelope from Faust containing nothing but a blank piece of paper, they take it as a sign that he wishes them to rejoin him. After saying a heartfelt farewell to the marionettes, they depart Japoness. In contrast to the care-free lifestyle of the marionettes, Lorelei begins to feel stifled by her over-protected existence within the walls of Japoness Castle, begs Otaru to help her escape for a day.
Otaru and the marionettes manage to succeed in smuggling Lorelei out of the castle, but their act of goodwill backfires when she is kidnapped by former members of the Gartland regime
Moinul Ahsan Saber
Moinul Ahsan Saber is a Bangladeshi fiction writer. He is the executive editor of weekly magazine Saptahik 2000, published from Dhaka, he was awarded Bangla Academy Literary Award in 1996. Saber's father, Ahsan Habib, was a poet. Saber emerged as a writer and got breakthrough with the publication of his first novel Porasto Sahish in 1982. Porasto Sahish, 1982 Aadmer Jonye Opeksha, 1986 Pathor Somoy, 1989 Char Torun Toruni, 1990 Manush Jekhane Jai Na, 1990 Dharabahik Kahini, 1992 Opeksha, 1992 Tumi Amake Niye Jabe, 1993 Kobej Lethel, 1993 Prem O Protishodh, 1993 Songshar Japon, 1997 Pathor Somoy, Bangladesh Television Liliputera Ber Hobe (screenplay based on Gulliver's Travels