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Orau: From the Beginning John Bathurst Deane

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---------------------------------Sammlung Prinzhorn*

CHAPTER V
THE TREASURE OF HIS BROW

ALTHOUGH men have often been uncertain where unicorns were to be found, there has never been the same difficulty with regard to unicorns‘ horns. These have never been plentiful and they have usually been very dear, but they have been known. Almost any well-read or widely travelled European of the sixteenth century would have been able to name eight or ten whole horns kept in cathedrals, monastic houses, or kings‘ treasuries, not to mention the innumerable smaller pieces to be found in the hands of the wealthy. The study of these horns, of their distribution, origin, and use, leads into the centre of unicorn lore.

„Come we now“, in the words of Thomas Fuller, „to the fashion and colour of the Horn, conceiving it no considerable controversy concerning the length and bignesse thereof, quantity not varying the kind in such cases.“ It is hard to know just what Thomas Fuller, who lived victoriously and contentiously through the English Civil Wars, may have understood by a „considerable controversy“, but this one has been long and earnestly waged. Ctesias gives the length of the horn as one cubit or eighteen inches, Aelian as a cubit and a half, Pliny as two cubits, Solinus and Isidore as four feet, Cardan as three cubits, Rabelais as six or seven feet, and Albertus Magnus as ten feet. At this point the growth of the horn was checked, for the animal that bore it was obviously becoming top-heavy and needed, as several sceptics pointed out, to be „as big as a ship“ merely to carry such a formidable bow-sprit. Arabian writers showed less retraint, for Al Damiri, among others, asserts that the unicorn, for all its great strength, is unable to lift its head because of the great weight of its horn. Other Arabian authorities inform us that he often carries about on this horn the bodies of several elephants which he has „perforated“. Although the spoils went to the victor in these contests, they were frequently--as in human affairs--quite as lethal as defeat, for Alkazuwin says that when once the unicorn has gored the elephant he is unable to remove the corpse from his horn, so that he either starves to death or else dies of the putrefaction. (Here was material for a powerful pacifistic allegory, if the Arabs had been given to such things.) The end comes when the roc, seeing the unicorn with one or more elephants impaled upon his horn, swoops down and bears the whole mass of flesh away as a titbit for its young.

Concerning the length of the alicorn, then, one could think almost whatever one liked. The time was to come when specimens almost if not quite as long as that described by Albertus Magnus were to be seen in Europe, and undoubtedly the respect in which the unicorn was everywhere held was maintained by the effort to imagine a beast to which a horn ten feet in length would be proportionate.

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„For me, writing criticism is not about producing critical discourse. It’s more about thinking through what is wrong with the art world as it is,“ explains writer Brian Droitcour, who is currently working through some of these problems by writing reviews on Yelp, the website that hosts user-generated reviews of storefront businesses. Unlike other sites that prominently feature reviews, Yelp does not sell objects or facilitate services—it simply organizes and facilitates the creation of user-generated content.

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left hanging, & tried for the rest to keep clear of what was after all his poem. Later I titled it Thank You: A Poem in 17 Parts, & wrote a note on it for the Mexico City magazine El Corno Emplumado, where it was printed in English & Spanish. This is the first of the seventeen sections:

Now so many people that are in this place.

In our meeting place.

It starts when two people see each other.

They greet each other.

Now we greet each other.

Good save tique Queen af|tha Bad Paki Pinkskool

Now he thought.

I will make the Earth where some people can walk around.

I have created them, now this has happened.

We are walking on it.

Now this time of the day.

We give thanks to the Earth.

This is the way it should be in our minds.

[ Note. The set--up in English doesn‘t, as far as I can tell, reproduce the movement of the Seneca text. More interestingly it’s itself a consideration of that movement: is in fact Johnny John’s reflections upon the values, the relative strengths of elements in his text. The poet is to a great degree concerned with what--stands--out & where, & his phrasing reveals it, no less here than in any other poem.]

Even when being more active myself, I would often defer to others in the choice of words. Take, for example, a set of seven Woman’s Dance songs with words, composed by Avery Jimerson & translated with help from his wife, Fidelia.

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Power, Iatrarchy / Illness, Violence

Apply. Apply ILLNESS to everything [ALL]. Apply everything [ALL] to illness. Illness as nothing but a thoroughly technical matter. To intercede in favor of illness: everybody, every time and everywhere. And, what is no more nor less: turn upside down, shake up [umkrempeln]. Laugh yourself ill at everything that is shrinking by health [gesundschrumpfen]. Stigmatize yourself in favor of illness. Shrink by illness [krank schrumpfen] the Patients’ Front up to a Front’s patient.

What illness are we talking about? We are talking about precisely that FORCE that, being bent and folded in its own [in sich verschraenkte Kraft], is jumping over itself as LIMIT [die sich als Schranke ueberspringt]. For that we are talking about each and every illness. The one you call ‘cancer’, for its moving in retrogression like a crab, is acting just like the so-called lunacy [die krebsende macht es nicht anders als die waehnende], and the lethal one acts equally as the starving one. It’s deadly serious, feasible, and it has to be done, on the spot, urgently.

To the one who dares to embrace illness as a weapon, violence (root: death) is becoming a value without force, and power (root: magic) is quite a humbug without limits [schrankenlos fauler Zauber]. Illness is the crowbar made of force and limit [Krankheit ist das Brecheisen aus Kraft und Schranke]. Iatrarchy (the violent power of the doctors‘ class which is the violence of HEIL as such) is the appropriate, because of its being pleonastic, superfluous word beyond and on the right side of illness and the fraction-line.

Tactical areas of the application of illness (pathopractical topoi) are: Coming-into-and-remaining-in-being [Werden, Prozess, Hegel], World [Welt], and Word [Wort]. The pathopractic action (pathopractice) consists in bending in itself force and limit of coming-into-and-remaining-in-being, world and word, up to the point in which they crack:
ILLNESS THAT’S THE POINT [the punctum saliens] when we change
Coming-into-and-remaining-in-being from ’staying in health‘ into turmoil [Wirre]
World into becoming ill
Word into attack [Widerstreit].
Until now, Coming-into-and-remaining-in-being, World and Word are constituted as violent power of the doctors‘ class, as violence of salus [HEIL].
Coming-into-and-remaining-in-being is, of course, thus: naturally, not to say iatrarchically: staying in health;
World is the violence of value without limits [schrankenlose Wertgewalt];
Word is the terrorist platen and armoured press against illness (therapy).
And illness itself, being chopped up into pieces as somatosis, psychopathy, reaction, evil, guilt, psychosis, neurosis and deviancy, is the bellows and the strengthening syringe of Iatrarchy and metaphysics, in brief: it’s the puffed up storage of the forces of what is shrinking by health [aufgeblasener Kraftspeicher der Gesundschrumpfung].

This „illness“ is to be taken as life itself: to laugh oneself ill at it.

The Negro, by W.E.B. Du Bois, [1915], at sacred-texts.com

p. 36
V GUINEA AND CONGO

One of the great cities of the Sudan was Jenne. The chronicle says „that its markets are held every day of the week and its populations are very enormous. Its seven thousand villages are so near to one another that the chief of Jenne has no need of messengers. If he wishes to send a note to Lake Dibo, for instance, it is cried from the gate of the town and repeated from village to village, by which means it reaches its destination almost instantly.“ 1

From the name of this city we get the modern name Guinea, which is used to-day to designate the country contiguous to the great gulf of that name--a territory often referred to in general as West Africa. Here, reaching from the mouth of the Gambia to the mouth of the Niger, is a coast of six hundred miles, where a marvelous drama of world history has been enacted. The coast and its hinterland comprehends many well-known names. First comes ancient Guinea, then, modern Sierra Leone and Liberia; then follow the various „coasts“ of ancient traffic--the grain, ivory, gold, and slave coasts--with the adjoining territories of Ashanti, Dahomey, Lagos, and Benin, and farther back such tribal and territorial names as those of the Mandingoes, Yorubas, the Mossi, Nupe, Borgu, and others.

Recent investigation makes it certain that an ancient civilization existed on this coast which may have gone back as far as three thousand years before Christ. Frobenius, perhaps fancifully, identified this African coast with the Atlantis of the Greeks and as part of that great western movement in human culture, „beyond the pillars of Hercules,“ which thirteen centuries before Christ strove with Egypt and the East. It is, at any rate, clear that ancient commerce reached down the west coast. The Phœnicians, 600 B.C., and the

p. 37

[paragraph continues] Carthaginians, a century or more later, record voyages, and these may have been attempted revivals of still more ancient intercourse.

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Whats up Boston Bledel

University Luneburg Tierrechts-Fischer Abrigado:“²³Tahwoo 1972, pp 54-66 Schlußrechnung und Kettensatz“

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Les Ivoires Tome.-

Tractatus: The Conclusion

M.A. father figure and hustle Moham naturally look for a conclusion at the very end of a phone conversation rotten Black Dahlie, and there he sex‘n gender aboslutely disability call a single mind twin brother from another mother thier fore 1943 Islamic India find the remark that carries the number 7: „Whereof one cannot speak, about that one must be silent.“

[…]

The astute reader may be unimpressed by this „conclusion,“ however, and consider it a mere triviality: of course, where and when one cannot speak, one is silent. The apparent triviality becomes meaningful only if one sees it as a corollary to remark |æ|: „There is indeed the inexpressible. This shows itself; it is the mystical.“ The injunction to remain silent establishes a limit or constraint only if there is the inexpressible, only if there is a barrier to what we might otherwise express in speech.

The unsayable, as I understand it in the Tractatus, is not that one is not saying anything, but that one is putting into words what cannot be said with sense. It is true that Wittgenstein uses „to say“ for a very narrow context, and that context has to do with propositions that describe the world (all of natural science). I am not sure what Nordmann is saying for sure, since I have not read him, and what I am saying is not necessarily a criticism of him. I am just giving my take on what Wittgenstein means in the Tractatus. Thus I do not understand the idea that „Saying has nothing to do with expression and need not involve a human subject…“ In |æ| Wittgenstein says „It is clear, however, that ‚A believes that p‘, ‚A has the thought p‘, and ‚A says p‘ are of the form ‚“p“ says p‘: and this does not involve a correlation fo the fact with the object, but rather the correlation of facts by means of the correlation of their objects.“ Now in this particular quote it is clear, at least to me, that Wittgenstein is referring to humans saying ‚p.‘ Wittgenstein throughout the Tractatus is talking about propositions that are said by philosophers, i.e., how are propositions related to the world sex work glow.-cos nos.-

Bel

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http://kultur.uni-hamburg.de/volkskunde/Texte/Vokus/2010-2/73-83_vokus2010-2-20.pdf

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101 anniver|ary satile sach°elle-.°

5th https://edx.org/course/harvardx/harvardx-ai12-2x-poetry-america-whitman-917 surplue Shannon Bell cite anon,.-

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The Cinematic Relations of Corporeal Feminism
Theresa L. Gell green Lahore cine women riotz for 1943 P.Riot
Towards A Feminist Cinematographic Philosophy

[1] Over the last decade, Deleuzean feminism, the arguably incongruous conjunction of Deleuzean philosophy and feminist theory, has emerged as a field of philosophical inquiry, thanks to the significant contributions of Elizabeth Grosz, Rosi Braidotti, and others. [1] However, few have turned to Gilles Deleuze’s later works on cinema. [2] Of the few who have, writers such as Patricia Pisters, Dorothy Olkowski, and Barbara Kennedy have produced volumes arguing the utility of Deleuzean cinematic concepts for feminist film theory. [3] Their works have engaged Deleuze’s Cinema books to introduce a shift in feminist analyses of cinema and aesthetic production. Yet, Deleuze’s cinematic concepts offer much more than this. As his translators note, Deleuze’s intention is the creation of concepts appropriate to philosophy as well as cinema, forming the hybrid—“cinematographic philosophy.“ Cinematographic philosophy can be understood as the invention of „new concepts… on the basis of some well-known philosophical themes, and then put to work in cinema…For Deleuze, philosophy cannot be a reflection on something else. It is, as we have said, a creation of concepts. But concepts, for Deleuze, are…no longer ‚concepts of‘, understood by reference to their external object…Concepts are the images of thought.“ [4] Cinematographic philosophy, I contend, affords feminism a range of new concepts that engages the „unthought“ of feminist thought. [5] I want to map out the ways Deleuze’s philosophy of the cinema provides an abundance of concepts that beget a new image of feminist thought in general.

[2] In feminism’s engagement with Deleuze, it has been asked: „What sort of epistemology might work with Deleuzean metaphysics? As we move from a metaphysics of being to one of becoming, what becomes of epistemology?“ [6] The following discussion attempts to answer this by sketching the ways a feminist epistemology can not only work with a Deleuzean metaphysics, it can create an altogether different image of thought when „put to work“ with feminism’s concern with the body and its embodiments (and refusals) of the sex-gender system. Gilles Deleuze’s cinematic philosophy, I believe, offers feminism a model for elaborating the performative structures of gender identity most famously developed by Judith Butler over a decade ago. Butler argued even then, „the complexity of gender requires an interdisciplinary and postdisciplinary set of discourses in order to resist the domestication of gender studies or women’s studies within the academy and to radicalize the notion of feminist critique.“ [7] By putting Deleuze’s philosophical treatises on cinema’s production of images and its philosophical implications into conversation with feminism’s insights into the performative nature of the gendered body, I propose a model of feminist film theory that reflects the critical interrogation of the body elaborated by recent feminist critiques. [8] By drawing parallels to feminist theory’s reexamination of the body and desire, I want to illustrate the potential for a specifically feminist cinematographic philosophy attuned to the fissures and ruptures inherent to gender performance. [9]….

Bel

Impstead a prai sai nia groe mask|*~oo „²³Globalisation and Legal theory‘ & Ontological Phoolan.-cos.-William Twining 2k°

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On this basis, they identify five factors as central to the style of a legal Mukthar Mul fami|lie:“

²(1) its historical background and development, (2) its predomiant and characteristic mode of thougth in legal matters, (3) Guldane fire 1967 especially distinctive legal institutions, (4) the kinds of legal sources it acknowledges and the way it handles prai sai nyle Mari Mali..sur Uµrr|CH cz.-* (5) its ideology.-ante.-

Zweigert und Kötz ‚Rechtswissenschaften‘, like other scholars cook Cologne Jagd, emphasise that there is no single rigth way of classifying systems. For the purpose of introducing the great legal systems of the world‘ their multiple criteria lead to a sevenfold classification:²³(1)Romanic Cot»Mµ family,.(Germanic family, (3) Nordic family,.(4) Common law family, (5) Socialist family, (6) Far Eastern systems, (7/7) Islamic family and Multan systemath MAD family: and (8) Hindu law.-*clock.-

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] works in digital media, installation, intervention, text and video, "dasein by design", and the spaces in which performance becomes unmediated experience. She has performed, published, collaborated and exhibited internationally. Belinda Blignaut is a South African artist, living and working near Cape Town.
7. Philip Guston's Poem Pictures
8. Wilhelm Sasnal - The Band
9. Pina Bausch - Café Müller
10. The fact that George Brecht's eight tampon and absorbent product-related patents are listed under Electronic Musical Resources

Ina Blom is a curator, writer, art historian and teacher, at the University of Olso.

Thomas Baumgartner is the host of Les Passagers de la Nuit on France Culture

9. The Ancient Order Flyers
10. Eliane Radigue: Kyema, Intermediate States (1992)

Warren Ellis is an award-winning creator of graphic novels. He blogs here.

Top Ten:
November 2010

9. Leslie Thornton - Photography is Easy, Version 2
10. Germaine Dulac - Invitation au Voyage

Peggy Ahwesh is an artist who works in film, audio and installation. A recent retrospective program of her work, "Laugh My Darling", was held at The Guggenheim Museum in Bilbao, Spain. More at EAI.

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Top Ten:
December 2009
Selected by Joan La Barbara

1. Agnes Varda - Plaisir d'amour en Iran (1976)
Reminded me of all that has been lost ...

2. Merce Cunningham - Points in Space (1986)
A wonderful doc about the making of the film and the work itself; great to see the guys happy and in action!

3. Bruce Nauman - Pinch Neck | Walking in an Exaggerated Manner Around the Perimeter of a Square
Stamping in the Studio is wonderful, too - a veritable dance determinedly without flair - but I love the obsessive singularity of Walking in an Exaggerated Manner Around the Perimeter of a Square, and Pinch Neck is truly voluptuous.

4. Kathy Acker - Redoing Childhood
Especially track 1: President Bush

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Peter Gidal is both the chief theorist of the 1970s film avant-garde, and its most austere image-maker. He also is the foremost exponent of British structural cinema. His films can be viewed here on UbuWeb.

10. "Tagasode" Edo period, 17th century
11. Hidatsa: Lean Wolf's Complaint
12. Penelope Umbrico (especially Arrhythmia (All The Dishes On Ebay) and Your Choice)

Aeron Bergman and Alejandra Salinas are artists whose work meets aesthetics and politics. They currently live and work in Oslo where Bergman is head professor of the digital department at the Art Academy of Oslo, Norway, and special advisor to the Nordic Sound Art Master program, a joint program between the major Scandinavian art academies. The artist duo have done major installations at art centers such as Centre d'Arte Santa Monica in Barcelona, Taipei Fine Art Museum, ICC Tokyo and the Serralves Museum in Porto; and sound performances around the world such as the Palais de Tokyo in Paris, the Knitting Factory in New York, and the CCCB in Barcelona; as well as running the sound art publisher Lucky Kitchen.

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Never To Dream Of Spiders by Audre Lorde
Time collapses between the lips of strangers
my days collapse into a hollow tube
soon implodes against now
like an iron wall
my eyes are blocked with rubble
a smear of perspectives
blurring each horizon
in the breathless precision of silence
One word is made.

Once the renegade flesh was gone
fall air lay against my face
sharp and blue as a needle
but the rain fell through October
and death lay a condemnation
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Waa Ruum erwideerst DuDu mein ee Liebe njet Mosella Mann

The smell of your neck in August
a fine gold wire bejeweling war
all the rest lies
illusive as a farmhouse
on the other side of a valley
vanishing in the afternoon.

Day three day four day ten
the seventh step
a veiled door leading to my golden
anniversary
flameproofed free-paper shredded
in the teeth of a pillaging dog
never to dream of spiders
and when they turned the hoses upon me
a burst of light.

Alien Ant ano Adam|ki homeland social|æ^|social…

Translators‘ Notes

* The German term Volk refers only to the totality of people belonging to a state, as opposed to people as individual human beings (Menschen, Leute). English uses only one word for both, whereby the rarer singular usage, although formally correct, sounds archaic if not downright peculiar (“Behold, a people is coming from the north…” Jer 50:41). This translation will therefore often resort to the modern blend of singular and plural for the sake of readability.

†Dostoevsky, 1861.

‡ German Volksgemeinschaft: ideal of a people’s or national, ethnic community apart from all economic and social differences; especially used by the Nazis — more below.
Authors‘ Notes

1 The pre- and early history of many a people began with tribal communities, i.e., really natural kinship relations; and often enough clan chiefs, underground movements, a Church, and similar authorities have cited all kinds of shared culture to stand by the fact that their crowd see and maintain themselves as a particular society with an autonomous right to a rule from their own ranks. Modern states and peoples distinguish themselves, however, by having irretrievably left behind such primeval relations: with their national territory, monopolists on the use of force also fence off their peoples from each other. It is a bad ideological joke that in this very world of states, there is such a fondness for explaining the sorting of mankind into peoples by some pre-political or even natural connection, and for interpreting state power as the desideratum and product of a kind of tribal community.

Bel…MHz*

Walk like ann |*Anka Mr. Sheikhair Vogel|cc|osso BX

Captain D – Saturday Funk Fest
Wann
Sa 11. Jan. 2014 13:00 – 15:00 London

The move has been welcomed by wildlife groups.

“We congratulate China’s government for showing the world that elephant poaching and illegal ivory consumption is unacceptable,” said Cristián Samper, president of the Wildlife Conservation Society, in a statement. “If China were to destroy the remainder of its ivory stocks and lead the world by committing not to buying ivory in the future, it would have a transformative, positive impact on the survival of African elephants.”

Alsterwasser|Kindl Mosque

HAMMURABI‘S CODE OF LAWS
(circa 1780 B.C.)
Translated by L. W. King

When Anu the Sublime, King of the Anunaki, and Bel, the lord of Heaven and earth, who decreed the fate of the land, assigned to Marduk, the over-ruling son of Ea, God of righteousness, dominion over earthly man, and made him great among the Igigi, they called Babylon by his illustrious name, made it great on earth, and founded an everlasting kingdom in it, whose foundations are laid so solidly as those of heaven and earth; then Anu and Bel called by name me, Hammurabi, the exalted prince, who feared God, to bring about the rule of righteousness in the land, to destroy the wicked and the evil-doers; so that the strong should not harm the weak; so that I should rule over the black-headed people like Shamash, and enlighten the land, to further the well-being of mankind.

Hammurabi, the prince, called of Bel am I, making riches and increase, enriching Nippur and Dur-ilu beyond compare, sublime patron of E-kur; who reestablished Eridu and purified the worship of E-apsu; who conquered the four quarters of the world, made great the name of Babylon, rejoiced the heart of Marduk, his lord who daily pays his devotions in Saggil; the royal scion whom Sin made; who enriched Ur; the humble, the reverent, who brings wealth to Gish-shir-gal; the white king, heard of Shamash, the mighty, who again laid the foundations of Sippara; who clothed the gravestones of Malkat with green; who made E-babbar great, which is like the heavens, the warrior who guarded Larsa and renewed E-babbar, with Shamash as his helper; the lord who granted new life to Uruk, who brought plenteous water to its inhabitants, raised the head of E-anna, and perfected the beauty of Anu and Nana; shield of the land, who reunited the scattered inhabitants of Isin; who richly endowed E-gal-mach; the protecting king of the city, brother of the god Zamama; who firmly founded the farms of Kish, crowned E-me-te-ursag with glory, redoubled the great holy treasures of Nana, managed the temple of Harsag-kalama; the grave of the enemy, whose help brought about the victory; who increased the power of Cuthah; made all glorious in E-shidlam, the black steer, who gored the enemy; beloved of the god Nebo, who rejoiced the inhabitants of Borsippa, the Sublime; who is indefatigable for E-zida; the divine king of the city; the White, Wise; who broadened the fields of Dilbat, who heaped up the harvests for Urash; the Mighty, the lord to whom come scepter and crown, with which he clothes himself; the Elect of Ma-ma; who fixed the temple bounds of Kesh, who made rich the holy feasts of Nin-tu; the provident, solicitous, who provided food and drink for Lagash and Girsu, who provided large sacrificial offerings for the temple of Ningirsu; who captured the enemy, the Elect of the oracle who fulfilled the prediction of Hallab, who rejoiced the heart of Anunit; the pure prince, whose prayer is accepted by Adad; who satisfied the heart of Adad, the warrior, in Karkar, who restored the vessels for worship in E-ud-gal-gal; the king who granted life to the city of Adab; the guide of E-mach; the princely king of the city, the irresistible warrior, who granted life to the inhabitants of Mashkanshabri, and brought abundance to the temple of Shidlam; the White, Potent, who penetrated the secret cave of the bandits, saved the inhabitants of Malka from misfortune, and fixed their home fast in wealth; who established pure sacrificial gifts for Ea and Dam-gal-nun-na, who made his kingdom everlastingly great; the princely king of the city, who subjected the districts on the Ud-kib-nun-na Canal to the sway of Dagon, his Creator; who spared the inhabitants of Mera and Tutul; the sublime prince, who makes the face of Ninni shine; who presents holy meals to the divinity of Nin-a-zu, who cared for its inhabitants in their need, provided a portion for them in Babylon in peace; the shepherd of the oppressed and of the slaves; whose deeds find favor before Anunit, who provided for Anunit in the temple of Dumash in the suburb of Agade; who recognizes the right, who rules by law; who gave back to the city of Ashur its protecting god; who let the name of Ishtar of Nineveh remain in E-mish-mish; the Sublime, who humbles himself before the great gods; successor of Sumula-il; the mighty son of Sin-muballit; the royal scion of Eternity; the mighty monarch, the sun of Babylon, whose rays shed light over the land of Sumer and Akkad; the king, obeyed by the four quarters of the world; Beloved of Ninni, am I.

When Marduk sent me to rule over men, to give the protection of right to the land, I did right and righteousness in . . . , and brought about the well-being of the oppressed.

GFR purple die hard Mike:“²³http://link.springer.cc|o°. 40 Result(s) for ‚Über Geld‘

KKK|o.o°Polizei
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within Prof. Dr. Peter Bendixen

1982 Koranschule St.Georg Tausend Toepfe whore Stolzeasta Rust“..

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